Speaker 1: Watch up and welcome back to another episode of No
Speaker 1: Sealer's podcast with your host. Now, fuck that with your
Speaker 1: low glasses, Malone ca what that is?
Speaker 2: My household? The same thing too.
Speaker 3: You don't know what? Huh?
Speaker 1: Trying that mother had that head of ordu. Charlotta Magne
Speaker 1: did a dope back because that that's really nice right there.
Speaker 4: Yeah, he paid, he paid some money. Hey, Charla, Man,
Speaker 4: you gotta autograph my ship, nigga, it's really nice the
Speaker 4: one you met.
Speaker 1: Yeah, that's hard.
Speaker 2: That's a good looking hat.
Speaker 3: Black effect and white effect. Peter here man, it's all up.
Speaker 2: I'm surprised you showed up on the Glasses podcast wearing
Speaker 2: a hat with a big letter B on it.
Speaker 5: Boy banging on niggas work too?
Speaker 1: Yeah? Peace. So Now that it's a good movie, like
Speaker 1: a dumb Money where they're teaching you about stocks and shit.
Speaker 1: It's kind of dope. It's like what it is on
Speaker 1: Apple TV. No, it's on Netflix. Dumb Money is about
Speaker 1: the film. It's a film about when kind of the
Speaker 1: public started fucking over like Wall Street with the game stock,
Speaker 1: the game stop Stock and it.
Speaker 3: Was they made a movie out of that.
Speaker 1: Yeah, and it's kind of cool. Because it kind of
Speaker 1: gives you some insights on how stocks work, but it's
Speaker 1: still very vague. Pete, this this your forte, because explain
Speaker 1: to us what happened. But in terms that niggas finances
Speaker 1: could get.
Speaker 2: Yeah, I think basically they had orders out to make purchases,
Speaker 2: like some institutional investors on some of these stocks that
Speaker 2: were projected to on pretty good you know analysis or
Speaker 2: leaked infot or however the hell they did it, they're
Speaker 2: supposed to go down. So a bunch of Internet slusive
Speaker 2: of sorts so to speak, or what do you want
Speaker 2: to call it, the Reddit you know crew, they all
Speaker 2: bought and because and then it just drove the price
Speaker 2: way up, which served you know them pretty well, but
Speaker 2: it also really screwed over the people who had order
Speaker 2: purchases in because you say, Okay, I'm gonna buy next
Speaker 2: week like one hundred thousand shares and you're expecting to
Speaker 2: get to be at six dollars, and all of a sudden,
Speaker 2: it's at forty five dollars. So your commitments you kind
Speaker 2: of kind of fork over a big fat check.
Speaker 1: What's crazy is it almost gave me the feel of
Speaker 1: a real like a revolution, like an economic revolution of sorts.
Speaker 2: Yeah, yeah, that was the feel.
Speaker 1: I got from watching the film. Make sure I check
Speaker 1: that out. Though dumb money. It's dope as fast as
Speaker 1: a motherfucker as far as how you got to pick
Speaker 1: up stocks, and if you don't know much about stocks,
Speaker 1: it's a bit weird, but they give you a decent
Speaker 1: insight to enjoy it. It's I'm fuck with you, gotta
Speaker 1: keep you, gotta pay attention, cub, but just open your eys.
Speaker 1: It'll be fine.
Speaker 3: So I can stay in the house and I go
Speaker 3: outside to spend money.
Speaker 1: Man, Cuse, every day I lead this motherfucker Cuz it's
Speaker 1: one hundred dollars to start. Wow, I'm not exaggerating. Somehow,
Speaker 1: one hundred.
Speaker 2: Dollars You go to the strip club in Palm Delle
Speaker 2: every day.
Speaker 1: Bruh, No fucking way I would even go at all.
Speaker 1: It's just life, man. Fucking I fill up my gas tank.
Speaker 1: I don't know how to just put ten to twenty
Speaker 1: dollars in everywhere I go, and then if I get
Speaker 1: some food, I eat that shit thirty dollars somehow, Like
Speaker 1: I can get grilled chicken. Bro it's a spot that
Speaker 1: sell grilled chicken with rice and beans. Right, I have
Speaker 1: played this twenty two dollars. A double cheese burger combo
Speaker 1: with no onions and extra sauce from doubles cost seventeen
Speaker 1: dollars and eighty six cents.
Speaker 4: Man Chick fil A meals is twenty five dollars, and
Speaker 4: that's cheap.
Speaker 2: Yeah for fast Harden. It's tough.
Speaker 1: It's hard out here for a player, bro. And even
Speaker 1: the gas, like every time I find gas, the gas beat,
Speaker 1: you know. Then I eat Orange Ruffy, you know what
Speaker 1: I mean. Orge Ruffy is fifteen dollars a pounds, so
Speaker 1: you get two pounds of fish, you know what I mean?
Speaker 1: That motherfucker forty dollars.
Speaker 3: They fried for you.
Speaker 1: No, you got fried that shit yourself because it be fresh.
Speaker 3: Yeah, the far raise, huh.
Speaker 1: I mean, Orge Ruffy is just a better fish. I
Speaker 1: don't fuck with tilapia cause that shit came out when
Speaker 1: I remember when they dropped that shit. Then come to
Speaker 1: find out it really is a fake fish. And I
Speaker 1: don't like half fish cause cast fish got skinned like
Speaker 1: humans and they have periods. And then the red snapper, Bro,
Speaker 1: it ain't what it used to be. It ain't snapping
Speaker 1: no more.
Speaker 2: Damn man, so I stayed.
Speaker 1: With the orange ruffy you know what I mean, which
Speaker 1: is a deep c perch, so really could fish, but
Speaker 1: it cost a couple of dollars. When we were talking
Speaker 1: about something earlier, Joey and it was we had a
Speaker 1: great conversation about content, and it just made me think,
Speaker 1: like I've been seeing the West Coast under heavy criticism
Speaker 1: from its own its own media, you know what I mean,
Speaker 1: like its own media, a ton of criticism about what's wrong,
Speaker 1: you know, I mean, it's broken, it's broken, it's broken,
Speaker 1: and it just I want to pick up from that
Speaker 1: same conversation. That's why I brought you back right about
Speaker 1: content right and understanding the record business? Right? Business? Is
Speaker 1: it fair to say it's about commerce to some degree, right, Pete,
Speaker 1: some kind of commerce, that's all's happening for it to
Speaker 1: be business. So if you're not selling records, what are
Speaker 1: you marketing? And I think everybody is in the in
Speaker 1: the publicity like the publicity lottery. Everybody wants to blow
Speaker 1: up and sell themselves.
Speaker 2: Yeah yeah, Oh, there's only two. There are two things
Speaker 2: you can sell musically. You can sell recordings and you
Speaker 2: can sell live performance. That's it. Anything else is ancillary
Speaker 2: and most of them or.
Speaker 4: Their live performances, they're not even selling those. Most niggas
Speaker 4: that's trying to do it, they're not. They're not trying to.
Speaker 4: They're monetizing themselves. And look at me, I know how
Speaker 4: to wrap. Look I'm dope. Look at my clothes. I'm popping.
Speaker 4: It's like where's the music? Though, Like where can we go?
Speaker 3: It's crazy? Man, he's got like five jobs.
Speaker 1: I had a real interesting conversation with Head probably two
Speaker 1: months ago, and like when I first met Head DJ,
Speaker 1: Head shout out to Head. Head wasn't a DJ. He
Speaker 1: was a radio host at Sorito's College. He used to
Speaker 1: do radio at Sorito's College. And him and the homie
Speaker 1: Teddy shout out to the homy Teddy, Uh Teddy cheating
Speaker 1: Teddy is dope. It's my nigga. But again, like I've
Speaker 1: said this a few times, I convinced had to be
Speaker 1: a DJ. But Head was gifted and he's had a skill.
Speaker 1: And I was telling him two months ago, I said, Head, look, man,
Speaker 1: I know you. You know you're doing all this other
Speaker 1: shit based off personality, but yo, you got an actual skill.
Speaker 1: Like Head is a dope DJ. And when I tell
Speaker 1: you this motherfucker picked it up quick, I mean lightning
Speaker 1: it fast. He could read the room and know how
Speaker 1: to move everybody to which you know, way he wanted
Speaker 1: them to do. Like when I used to have head Bro,
Speaker 1: I wouldn't even have to really do a set, Like
Speaker 1: I would rehearse all my songs and Head would guide
Speaker 1: me in my songs. He would figure out what's popping.
Speaker 1: He'll figure out the room, play records, get the room,
Speaker 1: and he'll say, Okay, these are the records we're gonna do.
Speaker 1: Not tell me. He'll just start playing the motherfuckers and
Speaker 1: I just know how they bring in and do every record.
Speaker 1: But that's how good he got. And I was telling him,
Speaker 1: like roughly sixty days ago, I say, man, you gotta
Speaker 1: get back to DJ in like I get you know,
Speaker 1: everything going on with what you're trying to do with
Speaker 1: publicity and your brand as DJ head the person, I said,
Speaker 1: but you skilled as a DJ that always opened every door.
Speaker 1: Every door for him was open because he was such
Speaker 1: a really good DJ. And I don't think he noticed
Speaker 1: it at first. And ironically we talked today and he
Speaker 1: was talking about how he really noticed it and really
Speaker 1: saw it for the first time. No sellers. Gl got
Speaker 1: my man Pete in the house. We're doing some we're
Speaker 1: doing some work. I brought my man Joey Westside back
Speaker 1: from the La Giants. If you heard the conversation about content,
Speaker 1: we're picking up on that conversation about content creating. We're
Speaker 1: picking up on that conversation, you know when it comes
Speaker 1: to marketing. So he's telling me how you went to
Speaker 1: OKAC and just rocked it, and that's head is like
Speaker 1: that fucking up. So he was like, yeah, man, I'm
Speaker 1: finna really get back into it. And I'm like, man,
Speaker 1: you a build a set that you could, you know,
Speaker 1: have five ten thousand people come see you do because
Speaker 1: that's how good you are with your personality. But it
Speaker 1: hit me during this conversation that everybody is in the
Speaker 1: personality lottery. They like, Okay, I want to just hit
Speaker 1: it big and just be popular. And then I understand
Speaker 1: where the record business is going as far as the majors.
Speaker 1: That's why they're just getting popular people and giving records. Right.
Speaker 1: They're finding artists who they know will become popular or
Speaker 1: that that is popular and give them the hit and
Speaker 1: give them hit.
Speaker 4: And put it in and put it behind them, push them,
Speaker 4: make it work.
Speaker 1: So that's the business that the three majors are in.
Speaker 1: So you got everybody trying to follow that business. But
Speaker 1: they don't have the kind of promotional budgets for the
Speaker 1: social media's, whether Spotify, YouTube, and Instagram, none of them.
Speaker 1: They don't have the money to pay, you know, none
Speaker 1: of the looks. They don't have access to the playlisting,
Speaker 1: they don't have access to anything. They don't have access
Speaker 1: to anything. And it's been hitting me over and over,
Speaker 1: dog over and fucking over, like this is what's wrong
Speaker 1: with the West Coast. Like, so it's simply the records
Speaker 1: are not good enough, right, But we're also in a
Speaker 1: weird time where people don't know how to judge music,
Speaker 1: Like we're in a weird time where people don't know
Speaker 1: how to judge food. If you ask most people what's
Speaker 1: the best restaurant, it's probably gonna be some buzzshit. How
Speaker 1: do you argue if somebody say McDonald's is the best restaurant,
Speaker 1: it's the most populated, it's the one everybody goes spend
Speaker 1: their money at. It's the one that got fucking dried.
Speaker 1: Right now, if I go to the motherfucker the motherfucking line.
Speaker 1: It's out the motherfucking drive through. We could try to
Speaker 1: blame it on the marketing. No, it's marketing better, it's available.
Speaker 1: But wendyse don't got no motherfucking line, cause like when
Speaker 1: I go to McDonald's, Taco Bell don't got no lines,
Speaker 1: like when I'm trying to go to McDonald's to get
Speaker 1: some shit. So how could I argue in a time
Speaker 1: when most a lot of people, especially children who are driving,
Speaker 1: A lot of the conversations will tell you this is
Speaker 1: the best fool So how the fuck do we tell
Speaker 1: people what's good music, what's dope? M seeing? How the
Speaker 1: fuck do they know motherfucking McDonald's is the number one
Speaker 1: fucking fast food establishment in the country, if not the
Speaker 1: whole world.
Speaker 3: Mmm, makes sense.
Speaker 4: You, It's like, how do you how do you debate that?
Speaker 4: How do you how do you challenge that? It's like
Speaker 4: and that's how they look at it too, Like you say,
Speaker 4: even our media, they'd be like everybody going there and
Speaker 4: if you say something against that person where everybody's going
Speaker 4: to it, everybody can see you the hater.
Speaker 1: Man. I just saw motherfucker you interview. I explained to
Speaker 1: them Cardi b disc crips and I said, my response
Speaker 1: to that is if she caught on fire, I wouldn't
Speaker 1: pistol put her out. Do you know people are mad
Speaker 1: at me said she's somebody's mom.
Speaker 3: It's just this crip like like crips ain't got kids.
Speaker 1: And it just hit me that we live in a
Speaker 1: time because where everybody is in the I'm telling you, bro,
Speaker 1: they want to be viewed as righteous. So they want
Speaker 1: to stand in the space that they feel the rest
Speaker 1: of the general public will view them as righteous. That's
Speaker 1: what makes gangster raps so great today because we're in
Speaker 1: that time again where everybody's trying to look like they're righteous.
Speaker 1: So I'm asking you, Pete, because Pete, you fuck with
Speaker 1: music a lot more than everybody gives you credit. Why
Speaker 1: don't you listen to West Coast music as a West
Speaker 1: Coast guy?
Speaker 2: Uh, I just said, I don't. There's there's not a
Speaker 2: lot of very compelling artists. There's not a lot of
Speaker 2: compelling really much of anything. I mean as far as
Speaker 2: personalities go, as far as I mean a lot of it,
Speaker 2: I mean like a lot for a long time. Really,
Speaker 2: there were some some good personalities you know, like Snoop
Speaker 2: was a crazy good personality. Igh School was a great personality,
Speaker 2: you know, even like maybe not on a maybe not
Speaker 2: off off Wax, but like on the record, like why
Speaker 2: g had at least kind of a unique ish enough
Speaker 2: person I understand how he got popular, you know what
Speaker 2: I mean? Like I feel like ge Perico has a
Speaker 2: good on microphone personality, you know what I mean. So
Speaker 2: there are people like that, Uh, they're kind of fewing
Speaker 2: far between. I think it's I think some of it is,
Speaker 2: like and it was. It's interesting like we were in
Speaker 2: the in Atlanta and the drive through it like who
Speaker 2: go Church's Chicken or something like that. You were talking
Speaker 2: to a guy on the phone who was like, oh,
Speaker 2: when I want to hear a West Coast song, I
Speaker 2: want to sound like a West Coast song. Right at
Speaker 2: least is the only city that has to have a
Speaker 2: sound that sounds exactly the same forever, well, not other
Speaker 2: like like even like like Miami has a very had
Speaker 2: for a period of time, a very specific sound like
Speaker 2: the Luke the Luke sound that was not the same
Speaker 2: as the Trick sound, which was very specific for a
Speaker 2: very long time, and everybody down here sounded like that
Speaker 2: for like ten years, but then like Cool and Dre
Speaker 2: and those guys changed it up again, and the ones
Speaker 2: doesn't sound like the other. And I think there's a
Speaker 2: little bit of there's there, there's some strain there with
Speaker 2: the expectation or the if it's I don't know if
Speaker 2: it's an expectation or what it is. It's like it's
Speaker 2: it's like this schizophrenic consumer desire of always wanting something
Speaker 2: new and fresh and different, but at the same time
Speaker 2: really going here because you want something that's familiar, and
Speaker 2: you know what that that creates a real intersectional challenge,
Speaker 2: you know, for creativity and marketing. In my opinion, if
Speaker 2: that makes any sense, I can dig it.
Speaker 1: What about you West I You're you're you and deucemag
Speaker 1: make up the La Giants. You're artists, you know what
Speaker 1: I mean. Y'all been making music now for a while.
Speaker 1: Now you're becoming a professional, starting to be in the
Speaker 1: record business. What do you think is wrong with the West?
Speaker 4: Like we've just been talking about, I think a lot
Speaker 4: of dudes are It seemed like they don't know they
Speaker 4: did chase chasing that popularity, man not. I think a
Speaker 4: lot of them too. It seems like a lot of
Speaker 4: dudes are real amateur at it. Like when you listen
Speaker 4: to some dudes, you can hear the potential, but it's
Speaker 4: almost like they rap into it, be like a hustle,
Speaker 4: like you know what I'm saying, let me just put
Speaker 4: stuff out.
Speaker 3: I'm a rap.
Speaker 4: I'm like, I say, look at me. But it don't
Speaker 4: it be like it's like lacks of days ago. It's
Speaker 4: not like it's not produced well, you know, Russian, Russian
Speaker 4: to put it out, like you know, the conversation becomes
Speaker 4: putting out a lot of music maybe, or you know
Speaker 4: what I'm saying, or they feel like they need a feature,
Speaker 4: or sometimes niggas be thinking they got to dress a
Speaker 4: certain way, you know what I mean, they got to
Speaker 4: look a certain way in order for it to work.
Speaker 4: And it's like you more, you more into what you
Speaker 4: look like than being good at creating the music itself.
Speaker 1: But to Pete, but to Pete's point, in a time
Speaker 1: where we see everything, uh first, before we hear everything back,
Speaker 1: you know, thirty years ago. You know it's nineteen ninety four,
Speaker 1: we heard everything first, so you had to be extra
Speaker 1: careful with what you put out sonically because we heard
Speaker 1: it first Coie and Pete.
Speaker 2: I think you hit on something that struck a nerve
Speaker 2: or be real quick and not in a bad way.
Speaker 2: But in LA hip hop is swept up and has
Speaker 2: been for a very long time in a very materialist
Speaker 2: sort of image. Right the West Coast has always hedged
Speaker 2: against that. Rappers from the West Coast look a lot
Speaker 2: more plain. They don't stun out a lot of the
Speaker 2: same stuff, and in LA that's not really a cool
Speaker 2: thing to do in general. And if you were gonna
Speaker 2: like really like, you know, do some eye popping, it's
Speaker 2: gonna have to be like seventy eight hundred thousand dollars,
Speaker 2: Whereas if you're coming out of Manifest or you're coming
Speaker 2: out of Louisville, you can do some twenty thousand dollars
Speaker 2: and look like you did some great shit, right, And
Speaker 2: there's maybe some relatability to some listening audience to go, oh, yeah, no,
Speaker 2: that's cool. I get that. I can almost kind of
Speaker 2: sort of relate that. Not like I'm gonna wear a
Speaker 2: pro club in khakis and hop out of a seven
Speaker 2: hundred thousand dollars car on a cliff and Malibu overlooking
Speaker 2: the ocean and a thirty million dollar mansion like that.
Speaker 2: It's too it's too far away from the minds of
Speaker 2: a lot of consumers.
Speaker 3: You know what I'm saying.
Speaker 2: To be impressive on the West Coast, to be impressive
Speaker 2: in other places that might be challenged too.
Speaker 1: I've thought about that too. I've talked about this. I've
Speaker 1: said one of the greatest blessings of the West and
Speaker 1: the reason it did so well was because it was
Speaker 1: the everyday humans rap. Right, you can be ice Q
Speaker 1: the first day you saw NWA even growing up, I've
Speaker 1: remember seeing Yeah, I remember seeing some of the ll
Speaker 1: coolj's outfitting. I'm a nigging like this shit. You know
Speaker 1: this nigga wear MCM and badly these is two hundred
Speaker 1: dollars shoes in the fucking eighties of more, you.
Speaker 4: Know what i mean.
Speaker 2: So like the way, Yeah and Adidas jumpsuit and a
Speaker 2: gold chain must cost a ton of money in the
Speaker 2: middte all.
Speaker 1: These gold change versus the first time you saw a Waight.
Speaker 1: But it goes to that point, Joey, We've been talking
Speaker 1: about that hip hop is the voice of the poor kids,
Speaker 1: the poor kids being the cool kids. It was the voice.
Speaker 1: So the first time you saw NWA. People don't realize
Speaker 1: why it was so polarizing because they looked like regular niggas.
Speaker 1: You could buy the outfit that they had on for
Speaker 1: twenty six dollars. The shoes was cheap. They wore a
Speaker 1: crew neck sweater, dickie work pants, work pants pants, and
Speaker 1: people that worked at the factory. Even when you got
Speaker 1: to death Row, you know what I mean. You see
Speaker 1: these dudes wearing penalties. They sold that at every corner
Speaker 1: store around the country. Dickies. They had these old cars
Speaker 1: that you push out the yard and you painted them
Speaker 1: and you fixed them up. Everything about it embraced being
Speaker 1: poured in a way nobody else had ever done it before.
Speaker 1: Nobody had ever done it before, Like that hip hop was,
Speaker 1: you know, in his earliest face. Even the first time
Speaker 1: you saw a million them, these dudes looked like real entertainers,
Speaker 1: you know what I'm saying. They was like they had
Speaker 1: custom outfits and ship and ll and you know Caine
Speaker 1: and look like money slick Rick. The niggas from the
Speaker 1: West No n w a Q quick.
Speaker 3: At the liquor stove and they look like it.
Speaker 1: And I guess that's why everybody related to them. Outside.
Speaker 1: Even the attitude was so free and to your point, Pete,
Speaker 1: fast forward thirty years. If you look at some of
Speaker 1: the videos, some of these houses are not obtainable. They're
Speaker 1: too far out the way, like cash money. It only
Speaker 1: worked with cash money. And the foreign cars because they
Speaker 1: looked like Project Niggas in foreign cars. They wasn't wearing designer.
Speaker 2: Well that not all those cars were crazy fucking expensive,
Speaker 2: you know, like some of those things were just like
Speaker 2: E class Mercedeses and shit like that.
Speaker 4: You know, as youngsters, we didn't know the difference. We
Speaker 4: just fans of what we see, you know what I'm saying.
Speaker 2: Like I was thinking about who's this HyG did a
Speaker 2: song and I only know it because like Maya Bliss,
Speaker 2: who I used to know from the Stars, and a
Speaker 2: couple other girls whose faces were familiar to me. I
Speaker 2: remember seeing the video because I was like, oh, I
Speaker 2: know those girls. But they're next to a fucking Phantom,
Speaker 2: and then they're next to a Lamborghini, and then and
Speaker 2: they're like at a house they rented in the hills
Speaker 2: somewhere that is an eight figure property. It's just it's
Speaker 2: way man, yea. And the other thing is it's there's
Speaker 2: no spectrum of it. It's not like, oh yeah, they're
Speaker 2: doing all this other stuff, but they got that cool watch.
Speaker 2: It's like a band and I want that. No, they
Speaker 2: don't have a watch on. All they have on is
Speaker 2: fifteen million dollars, so it's that or nothing, and then use.
Speaker 4: It sometimes don't even match the scenery. It's like because
Speaker 4: videos and music is supposed to be cohesive, and it's
Speaker 4: like a nigga can be. It's just a lot going on.
Speaker 4: You could tell people are really trying to mimic whoever
Speaker 4: they listen to.
Speaker 3: Like you, like, I hear a lot of like like
Speaker 3: street niggas like.
Speaker 4: Singing, singing, rapping a lot now and just in pain
Speaker 4: and still gangster at the same time, like you know
Speaker 4: what I'm saying, Like like you got a West Coast
Speaker 4: rode wave over here, you know what I'm saying, Or
Speaker 4: or niggas is biting like uh, like you you sounded
Speaker 4: like Roddy Rich, you know what I'm saying, Like Roddy
Speaker 4: Rich sounded like somebody else, And now y'all trying to
Speaker 4: sound like Roddy Rich.
Speaker 3: You know what I mean?
Speaker 1: Even in that conversation, Ain't that kind of standard. You
Speaker 1: know what I mean. You start off when you start
Speaker 1: off rhyming. For most people, you start rhyming like the
Speaker 1: person you're listening to the most like usually your style
Speaker 1: developed into a his own style eventually, like in rioty situation.
Speaker 4: It is the difference, right like you said, though, the
Speaker 4: difference is they honing they style in front of us.
Speaker 4: While back then, if you could have been rapping for
Speaker 4: a few years you know what I'm saying, and never
Speaker 4: been heard, and then when they find you, you know
Speaker 4: what I mean, it was developed. I mean like produced.
Speaker 4: You feel me that which is we lacking right now?
Speaker 4: Niggas are not being produced, Vocals are not being produced.
Speaker 4: They looking at people, they seeing that they could come
Speaker 4: in the room create it theyself, and like I'm gonna
Speaker 4: put it out right now and hopefully I can win.
Speaker 3: You know what I'm saying, No studying at all, just
Speaker 3: like I could do that and let me just try it.
Speaker 1: Is anybody really winning though? Like once you get past
Speaker 1: the big dude, like the most successful people right the
Speaker 1: twenty ones, who's doing well? Maybe little baby is doing
Speaker 1: well out the a gunna came home and did decent.
Speaker 1: But you know, sexy read is probably the latest and
Speaker 1: greatest thing, and she's such a cultural phenomena. Just looking
Speaker 1: at hers like you never seen what's crazy is. I
Speaker 1: don't think we ever really saw the hood rat, not
Speaker 1: like they got that embraced being. Remember little Kimminon was
Speaker 1: never really the hood.
Speaker 4: He's embracing the real hood rat, like like basically like
Speaker 4: the n w A ship, Like you see her at
Speaker 4: the swap Meet. It's sexy rads at the swap me.
Speaker 4: They on the baddies East and South Central baddies, like whatever.
Speaker 4: All that is, Like that's what sexy Red is and
Speaker 4: she embracing it. And then you got people that's from
Speaker 4: that acting like they never seen it before.
Speaker 1: Yeah, because now that's because because they're growing up. They're
Speaker 1: growing up. But yeah, yeah, yeah, everybody grows up in
Speaker 1: hip hop and immediately be hella hard over hip hop.
Speaker 1: Like I was talking to the homie from Intellectually Petty
Speaker 1: podcast That's Changing Mount's Dope. We did a great conversation
Speaker 1: and I'm like, sometimes the way we talk, you would
Speaker 1: think we're not from the same place she's from. It's like, oh,
Speaker 1: but I grew up and it's like, well then the
Speaker 1: mod then wisdom should tell you allow that person to
Speaker 1: grow up right and and show love, fuck with it
Speaker 1: or don't fuck with it. But why would you give
Speaker 1: twenty five?
Speaker 3: Hold?
Speaker 1: Is she like twenty six or something? Yeah?
Speaker 3: She gonna man?
Speaker 1: Yeah, but so you so so you think so so
Speaker 1: this shit is really broken because Pete is talking about
Speaker 1: from a marketing perspective as far as what you see
Speaker 1: the brand of it all, and you actually talking about
Speaker 1: the music is broken. I mean, I guess that is
Speaker 1: true to some degree. It isn't very it isn't a
Speaker 1: very lost place. But you know what my greatest feory
Speaker 1: is because poverty is slipping away, you know what I'm saying,
Speaker 1: Like poverty drives hip hop, Like yeah, culture, you know
Speaker 1: what I mean. Poverty drives culture. So without poverty, you
Speaker 1: don't really have the need to develop lingo, to develop
Speaker 1: fashion out of nothing?
Speaker 3: Right where?
Speaker 4: And saw all that now, like oh I don't want
Speaker 4: I'm going over there. We on Mayor Roads, we had Noble,
Speaker 4: we had maestros and.
Speaker 3: Like just.
Speaker 2: Like politically speaking, it's not politically but like the the
Speaker 2: demographics you can and this is true, I talk about it.
Speaker 2: As far as college football goes to they're the percent
Speaker 2: per capita on the West Coast of black people per
Speaker 2: one hundred, it's lower than other parts of the country.
Speaker 2: One thing that's changed for sure since hip hop started
Speaker 2: in the Bay Area and in LA is that those
Speaker 2: concentrations have now they're now scattered, you know, so you
Speaker 2: don't have an insular cultural time and place in space
Speaker 2: that can't really develop and become cohesive. Now you got
Speaker 2: a few thousand people in San Bordino and in the
Speaker 2: High Desert that are Victorville, and then they're in the
Speaker 2: Valley and the Summit, and then the Bay Area to
Speaker 2: it fillmore districtetting fil no fillmore, no more. One hundred
Speaker 2: points tore down. Half of Oakland is gone, Richmond's gone.
Speaker 2: Like people are scattered around Oakley and Brentwood and you
Speaker 2: know whatever, Vacaville and shit. It's harder to organ if
Speaker 2: they create a culture when you're pulling from fifty people
Speaker 2: at a middle school.
Speaker 1: It's a great point. It's hard to even create a
Speaker 1: culture with everybody that spread it. Yeah, you know, yeah,
Speaker 1: you needed to have a lot of people packed into
Speaker 1: the same place, and then that that type of power
Speaker 1: that concentrate was able to create a lot of enough
Speaker 1: voice for everybody to hear the message versus now where
Speaker 1: Yeah you like s gattered, I.
Speaker 3: Mean, because now internet slang is being.
Speaker 4: It's like they creating words on the Internet that's becoming
Speaker 4: the words outside.
Speaker 1: Yeah.
Speaker 2: Like I remember when I moved to Phoenix, it was like,
Speaker 2: you know, the current like presently Phoenix has the demography
Speaker 2: of southern California. Didn't used to be that way so much,
Speaker 2: but it's like that now, you know. And I think
Speaker 2: that as an impact, you don't see too many rappers
Speaker 2: coming from like spots of of sparse you know, like minded,
Speaker 2: com like minded populations.
Speaker 1: Mm hmm. So then we hold on the heritage at
Speaker 1: that point.
Speaker 2: Huh yeah, And I think some of that's why it
Speaker 2: sounds kind of old. And you see that too, Like
Speaker 2: I see that with other people, like I can go
Speaker 2: I go deep in this. I mean even not even
Speaker 2: just in New York, but like you see, like I
Speaker 2: see high school football players that I know where you
Speaker 2: went to high school, and then you get to college
Speaker 2: and you can choose your hometown and they say that
Speaker 2: where they were at in the city when they were
Speaker 2: six years old. You know, you're not from there, You're
Speaker 2: from Fontana, You're not Inglewoods. You went to Simi Valley.
Speaker 2: You're not from Guardena or Compton. You went to Lakewood
Speaker 2: or you went to the Corona or whatever.
Speaker 4: They understanding prestige is saying they're from these places. People
Speaker 4: are not representing. Man, you see a lot of them.
Speaker 2: They're not They're talking about and it's you know, the
Speaker 2: areas and and you know what, it's.
Speaker 3: A lot of people too like that.
Speaker 4: It'd be people that, like I know, individuals right that
Speaker 4: that try to claim certain areas that they're really not
Speaker 4: from and to a degree they not even really interested
Speaker 4: in the in the true culture of what they claiming
Speaker 4: they're from too.
Speaker 3: No, it's like I'm I'm I'm from here. But like
Speaker 3: we said, but I go to Noble. You know, I
Speaker 3: ain't rock I ain't rocking over motherfucker Cortes. I ain't
Speaker 3: not wouldn't there wearing no.
Speaker 4: Kse swiss nigga like you know what I'm saying, Like
Speaker 4: they want to, but they want to represent the place
Speaker 4: that popularized this.
Speaker 3: Special thing, you know what I'm saying.
Speaker 1: So well, that's where it gets tricky, right, because hip
Speaker 1: hop at its core is about celebrating poverty. You know what,
Speaker 1: I mean again, not.
Speaker 3: Not like.
Speaker 1: About the fact that you still are Okay, you still
Speaker 1: made good. You steal fresh. YEA only got these nineteen
Speaker 1: dollar pans, these dicky pants, but looking increase them, I'm
Speaker 1: still fresh. Yeahll only got these tennis shoes from the
Speaker 1: company k Swiss and they were fifteen dollars. But look
Speaker 1: how I put these laces and look how I make them.
Speaker 1: Look you know what I mean? You start it. So
Speaker 1: even listening to what you're saying is a great point
Speaker 1: because if you have a bunch of people who are saying, look,
Speaker 1: I don't want to look poor anymore, you know what
Speaker 1: I mean, or I don't want to speak the language
Speaker 1: of the locals, then it probably wouldn't be hip hop.
Speaker 1: You know what I'm saying. If you don't embrace the
Speaker 1: culture that poverty has created, it's not hip hop because
Speaker 1: you just got to realize Noble is just a nationwide franchise.
Speaker 1: Noble is not a Los Angeles thing, right.
Speaker 3: But it's man, it's funny, man, It's amazing to watch sometime.
Speaker 2: Man.
Speaker 3: That's why like I'd be like, I don't know, man,
Speaker 3: this shit crazy?
Speaker 1: Man?
Speaker 4: Is I mean, like I remember we was kids that
Speaker 4: we used to bag on each other about and we
Speaker 4: was all poor. But we're like, ah, your mama in
Speaker 4: the county, nigga, your mom might be on the county too,
Speaker 4: though you use full STAPs, nigga, all our parents he
Speaker 4: was in full stabs, you know what I'm saying.
Speaker 3: And now niggas has grown doing the same thing.
Speaker 1: Well and changed, right. It went from trying to get
Speaker 1: it to having it.
Speaker 3: Yeah, when niggas don't even have it. But no, but
Speaker 3: we're gonna act like we got it.
Speaker 1: It was hip hop was but hip hop was about
Speaker 1: the grind, not to have. Like, don't get me wrong,
Speaker 1: some artists in early New York that talked about having,
Speaker 1: but for the most part, it's greatest pupils was about
Speaker 1: the grind. The song Juicy is all about the grind
Speaker 1: Snoop is all about the grind.
Speaker 3: Video too.
Speaker 1: Yeah, Tupac is all about the grind, you know what
Speaker 1: I mean. Jay is probably the first person that had
Speaker 1: and I think that could be what throws everybody off,
Speaker 1: you know what I mean, Like artists like whole.
Speaker 3: He came in he said, I changed the game. The
Speaker 3: platinum and he came in flossy.
Speaker 1: Yeah, and it's dope because he's a D boy, right,
Speaker 1: So it makes sense. But again that I also think
Speaker 1: that's why the public wasn't as indebted to him like
Speaker 1: they were to the Snoop Dogs, the Big East, the Pox,
Speaker 1: because I think they can relate to the other guys
Speaker 1: more than a D boy like me. Like I remember
Speaker 1: being one of the only people on jay Z like
Speaker 1: for a long time because I was hustling at the
Speaker 1: time and the music fit what I was doing at
Speaker 1: that time. But other people didn't see it like that.
Speaker 1: They did not fuck with Hohle, And eventually he got
Speaker 1: to a space where he was able to wrap his
Speaker 1: success and he started just selling winning. So it's a
Speaker 1: weird thing. But the more I think about the West,
Speaker 1: it's almost like it has to be. It's counterproductive, Like
Speaker 1: it's counterproductive because like, if you're not going to celebrate
Speaker 1: the culture itself, then what the fuck do you have
Speaker 1: to offer the world? Why would the why would they
Speaker 1: buy Atlanta culture from a Los Angeles nigga?
Speaker 3: I have no clue.
Speaker 1: That's like buying Mexican food. I'm a black person. You're
Speaker 1: not gonna put nothing on that. You're not gonna ground
Speaker 1: the beef you're not gonna ground the beef. You're not
Speaker 1: gonna fry the shells, or you're gonna just put the
Speaker 1: shells on the on the on the on the thing
Speaker 1: without frying. You're just gonna toast them. If you're gonna
Speaker 1: sell a soddle, why the fuck would I buy this
Speaker 1: ship from you? Nigga wine is right there, and the
Speaker 1: problem is everybody feels like, well, as long as I
Speaker 1: can cook, I can make me know the fuck you
Speaker 1: fucking can't. And somebody can't but know the fuck you can't.
Speaker 3: Hey, man, what it what it really takes?
Speaker 4: People underestimate They just like I could do it because
Speaker 4: you're looking at it like, man, a lot of this
Speaker 4: ship take real commitment and skill in learning, and you
Speaker 4: gotta care, you know what I'm saying, Like you're speaking
Speaker 4: like the tortilla, Like yeah, like you gotta like I
Speaker 4: was always my Pop's always told me, Man, I learned
Speaker 4: how to.
Speaker 3: Cook because I enjoy it. I love doing it, like
Speaker 3: you got to put love in a food. You know
Speaker 3: what I'm saying. It ain't no, it ain't no, it
Speaker 3: ain't no love.
Speaker 4: And what niggas is doing, they are just trying to
Speaker 4: get popular they get rich and then they're claiming rich too.
Speaker 1: It's like you're trying to get popular.
Speaker 2: Yeah, well, I mean it's it's also this this goes
Speaker 2: back into the like real dug in like meanings and
Speaker 2: roots of like what innovation means to a marketplace. This
Speaker 2: conversations going the West Coast didn't have a sound that
Speaker 2: snooping them jumped on. They were really really fucking good
Speaker 2: at what they did, and they made a sound and
Speaker 2: then other people jumped on their sound because they were
Speaker 2: so good that people associated that part of the country
Speaker 2: with them. So like you can say, say, oh, you
Speaker 2: don't want to buy whatever you know Atlanta sound from
Speaker 2: people from LA. It's fine, but people from LA need
Speaker 2: to just put out any old sound that's just simply better.
Speaker 2: There wasn't a demand for people I need to hear
Speaker 2: about hip hop from LA. That didn't exist until somebody
Speaker 2: from LA came out and made a sound that was
Speaker 2: better than what the sound being made out of studios
Speaker 2: in New York was. Or whoever is good.
Speaker 1: Yeah, that's my slogan, bro, two slow winners win and
Speaker 1: it's either good or is not. And I think for
Speaker 1: sure that's my automatically go to. I don't think the
Speaker 1: music is good from the coast right now. I think
Speaker 1: some of the programming is qualifying. There are some flash
Speaker 1: in the pants, but overall there's no consistency of an idea.
Speaker 1: Like you couldn't open a restaurant because you can't repeat
Speaker 1: the rest, because you don't understand why the recipe even
Speaker 1: hit in the first place.
Speaker 2: Well, like, look at Eve forty and a click right,
Speaker 2: you've been in the bay. You just spent time there.
Speaker 2: I lived there. I mean, Vallejo is not a brand
Speaker 2: name place up there, you know what I mean, Like,
Speaker 2: it's just not you know what, you don't pop up,
Speaker 2: Oh yeah, I'm wrap, I'm from valle Oh damn man,
Speaker 2: that got from No. They just were really unique and
Speaker 2: good and then all the same now you've heard of Vallejo.
Speaker 3: They made it cool.
Speaker 1: What scaring me is through this whole conversation, all I
Speaker 1: think is like, oh, the ship is in trouble. Bro
Speaker 1: oh it is. At this point, I'm worried that we're
Speaker 1: on the Titanic, but not just because of the artists.
Speaker 1: I just feel there's no need to there's no poverty
Speaker 1: to embrace, Like you can be broke in Los Angeles
Speaker 1: and I keep saying this, but you can't be poor
Speaker 1: in Los Angeles, you know what I mean, Like, you
Speaker 1: can't be poor. Like I was telling the HOMI said
Speaker 1: that we were comparing the murder rate of Chicago and
Speaker 1: Los Angeles, and I'm like, bro, it's probably twice as
Speaker 1: many black people in Los Angeles. It's probably four times
Speaker 1: the poverty in Chicago than there is in Los Angeles.
Speaker 2: Then you'd be you'd be surprised on the on as
Speaker 2: far as the black population Los Sam's, it's not very high.
Speaker 2: It's single digits.
Speaker 1: Yeah, I'm looking at Chicago. Bro, there were houses there
Speaker 1: for sale for eighteen thousand dollars.
Speaker 2: Yeah, I mean twenty twenty one. Very recently, the city
Speaker 2: of La all of it that includes Mexicans, had three
Speaker 2: more homicides in the city of Memphis, which is not
Speaker 2: much bigger than Long Beach. Three more.
Speaker 1: That's a good thing.
Speaker 2: That's a very good thing.
Speaker 1: I get the point. Yeah, No, nobody settling.
Speaker 2: And you don't need the other is not being.
Speaker 1: Settled primitively, like in most poor places.
Speaker 2: And I think I just say that, like if you
Speaker 2: get off of one of the you get off of
Speaker 2: the one ten and go east to west, or you
Speaker 2: get off of the ten and or the one oh
Speaker 2: five and go north to south for a long long
Speaker 2: ways when you're in that part of the city where
Speaker 2: culture comes from, what dominates the feel of what you're
Speaker 2: looking at, Chicano Latino culture. Sure, it's just not as well.
Speaker 2: There's just forty five years ago it wouldn't have looked
Speaker 2: like that, but it does now. Yeah, whatever, But I
Speaker 2: think that's an issue. I mean, like you have to
Speaker 2: look for black people to find them in La like but.
Speaker 1: Even even but even that, right, like Chicano culture, we've
Speaker 1: used that. We've been a part of that as long
Speaker 1: as it's been in Los Angeles. Well, not as long
Speaker 1: because obviously it exist did games like white Fence's White
Speaker 1: Fence been in Los Angeles since the third But I'm
Speaker 1: saying we've always been able to fuse. Like we were
Speaker 1: all poor together. I don't even think but I don't
Speaker 1: even think they're poor anymore.
Speaker 2: My point is critical mass on some of the because
Speaker 2: of them, you know, they do a lot of them
Speaker 2: be just getting here too.
Speaker 1: But like.
Speaker 2: It's different when there's one hundred thousand of you here
Speaker 2: with an intact culture and one hundred thousand of them
Speaker 2: there versus there's six thousand of you peppered all over
Speaker 2: their grid. You know what I'm saying, it's harder to
Speaker 2: I think that's a real cultural challenge.
Speaker 1: But then we still embraced it, which is how we
Speaker 1: share low riding, which is why we share a lot
Speaker 1: of the things that we do. Right, the flannels, a
Speaker 1: thousand things right. But I'm part of the mask though,
Speaker 1: But I think them motherfucker's not poor no more.
Speaker 3: That's the problem it costed.
Speaker 1: Are you forcing? No culture can No culture can come.
Speaker 1: Culture don't come from middle class people.
Speaker 2: Man or is the Westlake district. There's nobody rapping over there,
Speaker 2: And I.
Speaker 1: Don't even know if that ship poured them. I think
Speaker 1: I was looking at over there there was three twelve.
Speaker 1: The cheapest west Lake is three peat. We was looking
Speaker 1: at a fucking condo in Atlanta for nineteen thousand dollars.
Speaker 2: But like those apartments, there's dozens of people living in
Speaker 2: those things over seventh and eighth Street and over shit over.
Speaker 1: There, man, shit twenty eight hundred a month.
Speaker 2: But there's not one person paying for it. It's seven
Speaker 2: people in there.
Speaker 1: That still you doing good? Because now you broke the
Speaker 1: rent up, and now everybody getting three thousand dollars a month.
Speaker 1: That ain't gonna force.
Speaker 3: No sty rocking. That designer on the coning nigga.
Speaker 1: They getting that money, they getting the fucking I'm telling you,
Speaker 1: I am worried. The more I have this conversation, I
Speaker 1: am worried that. Actually the only idea I've been telling
Speaker 1: Joey inducing is the West can't the culture can't evolve
Speaker 1: because it's dead, right, culture is dying or dead here right,
Speaker 1: like because there's no need like the just think about
Speaker 1: the schools. They're getting better teachers. It's more money to
Speaker 1: live in the community. So why is culture happening?
Speaker 2: Well, like, what will be the hip hop cultural epicenter
Speaker 2: of Los Angeles? It's Sunday on Crashshaw now media. Yeah, Now,
Speaker 2: what's the median age over there? My age exactly what
Speaker 2: I said about forty five, maybe even actually older. Yeah yeah,
Speaker 2: but in real jozuz But yeah, he is right.
Speaker 4: And if I feel like, even when we was younger,
Speaker 4: it seems fifty year olds, don't it was always a
Speaker 4: grown that was always a grown nigga thing.
Speaker 1: Yeah, but but it was niggas twenty something Yeah, well
Speaker 1: you're not.
Speaker 2: You're you're not fresh over there.
Speaker 1: It's very rare. You gonna see a bunch of now
Speaker 1: you're on board.
Speaker 3: Now, No, you're not seeing no today. No.
Speaker 4: First of all is them niggas don't man. Niggas, don't
Speaker 4: even niggas today, powder Man, you gotta do it first
Speaker 4: of all with them.
Speaker 3: Cars costs. These niggas. Way niggas want car notes.
Speaker 1: You can't. You can't use no CPN to get this before.
Speaker 3: They spend twenty five hundred on some on some Dayton's.
Speaker 1: And then motherfuckers six thousand.
Speaker 4: Now look okay, right, okay, so they six thousand, they
Speaker 4: rather put they rather pay.
Speaker 3: Seventeen hundred a month.
Speaker 4: Nigga for shit for because it's monthly for twenty eighteen.
Speaker 3: That's spider, I don't.
Speaker 2: That's the whole point.
Speaker 1: Though.
Speaker 2: You have an area where what is cool is now false,
Speaker 2: like it's fossilized, it's like calcified, and.
Speaker 3: That's the old nigga. That's that old nigga shit.
Speaker 2: Yeah, but what's the It's emblematic of the problem. You
Speaker 2: didn't have younger people move in doing because those are
Speaker 2: cars from like the sixties. You don't have people with,
Speaker 2: you know, being creative, doing something with cheap cars from
Speaker 2: the eighties or nineties and just moving them on up
Speaker 2: the street a little bit, or just setting up shop
Speaker 2: over there, and oh that's where the old timers hanging out,
Speaker 2: but els popping over there, all those guys a fresh cars.
Speaker 2: Look at what they're doing is creatively. That is, you know,
Speaker 2: nineteen ninety six, whatever the fuck it never ever happened.
Speaker 2: What's cool in LA is frozen in time like a fossil.
Speaker 2: Like that's the root of the issue.
Speaker 3: It's still a lot. Yeah, yeah, and that shit still
Speaker 3: be cracking and they still be having fun. They just old. Yeah.
Speaker 2: Now now they're coming from Pips Sunday Brunch.
Speaker 1: But I'm gonna tell you something crazy though. I think
Speaker 1: that's the feel of it in LA, but I don't
Speaker 1: think that's the feel of it outside of LA.
Speaker 2: That's my point. That's why old Body.
Speaker 3: With more line.
Speaker 4: Like when we was talking about when we was in
Speaker 4: New York, the ideas we got because if you take,
Speaker 4: you take, really feed and and use like because it's
Speaker 4: still admire.
Speaker 1: Just listen, if you take a Rag sixty one and
Speaker 1: piler through Memphis, you're gonna attract every young person there.
Speaker 2: Is that fair to say, that's probably true. But they'll
Speaker 2: look at anything out there because they don't see anything
Speaker 2: out there.
Speaker 1: Hence the dilemma, hence the problem. Right, you gotta take
Speaker 1: the fucking show on the fucking road.
Speaker 2: But it's but here's here's I think the challenge. Are
Speaker 2: you taking a new show on the road or are
Speaker 2: you taking an old show on the road.
Speaker 1: But this is the point. There is no old show
Speaker 1: to a twenty year old from Memphis. There is no
Speaker 1: old show. The show is only old in Los Angeles
Speaker 1: because people are spoiled by culture. In Memphis, the old
Speaker 1: show looks like three six mafia.
Speaker 3: We spoil our culture here, man, I'm telling you because
Speaker 3: our culture is not even well.
Speaker 1: Like to other people.
Speaker 3: But the rest of the world they fuck with it
Speaker 3: to other people.
Speaker 1: If I'm in Dallas and I'm dragging a foe down
Speaker 1: a boulevard, every twenty year old person there is going
Speaker 1: to stop and stare and want a piece of whatever's
Speaker 1: going on and lay. And this is what makes it hard.
Speaker 1: That's a great point. It's hard here, right, because you
Speaker 1: can't get everybody excited about something we've been celebrating for
Speaker 1: fifty years. Right, you can't get people, don't get me wrong,
Speaker 1: but low rider is still low right. There's not a
Speaker 1: community you're gonna go to that Everybody ain't gonna be
Speaker 1: like this, motherfucker. I don't care if it's a twenty
Speaker 1: one year old woman, anybody. They're gonna be like, this
Speaker 1: is the shit. But it's hard to be as excited
Speaker 1: about something you've been celebrating for forty years.
Speaker 2: But that's my question with so far as this kind
Speaker 2: of logical strain that's being created in that hip hop
Speaker 2: tends to embrace the new and the fresh. It's youth oriented.
Speaker 2: Young tend to want that.
Speaker 3: So it's like.
Speaker 2: You can show up with something that is not new,
Speaker 2: but it needs to be wrapped and new in some way.
Speaker 1: But I think that's only for Los Angeles three ride
Speaker 1: outs to everywhere else it is.
Speaker 2: Now. If that were the case, then any LA rapper
Speaker 2: just sounded like LA would blow up because they're just
Speaker 2: sounding like La.
Speaker 1: They are Perco just sounds like LA. It took forever
Speaker 1: for his music to actually he was actually just a
Speaker 1: crip rapping for a long time.
Speaker 5: His literal sound got him everything, everything, everything, every.
Speaker 1: Move before he even got good at music. He had
Speaker 1: to deal with rock Nation because he had a fucking
Speaker 1: girl and he sounded like Eric Wright.
Speaker 2: That shit worked.
Speaker 3: Yeah, I think that.
Speaker 2: It's like, I don't know, I'm trying to pull like
Speaker 2: streaming numbers of his, but that's.
Speaker 1: What I'm okay, I streaming them.
Speaker 2: They're seven million, twelve million, Sexy the Red Song Baby
Speaker 2: Daddy's one hundred and sixty million.
Speaker 1: But you're talking the difference. But you're talking the difference
Speaker 1: of somebody doing g Perico's music right and motherfucking take
Speaker 1: Keith doing Sexy Reds music.
Speaker 2: See the true that's the whole issue though.
Speaker 1: No, but but but I'm telling you what. We were
Speaker 1: having a conversation rooted in brand, right, and I'm like,
Speaker 1: I'm telling you that the brand is only oh to La.
Speaker 1: So if you're trying to be the man in LA,
Speaker 1: that that looks like nothing no more because there has
Speaker 1: never been no man in LA for a long time.
Speaker 1: There's never gonna be another man in LA because LA
Speaker 1: don't really embrace me in. But you can be that
Speaker 1: La nigga to everybody outside of Los Angeles, and it's
Speaker 1: new to them. They don't care what LA think. Long
Speaker 1: as he's real. They don't care what you think of
Speaker 1: the music. People don't care. They like, look, this is
Speaker 1: what we're fucking with. But the problem is, if you
Speaker 1: make something too cool for LA, it's not gonna happen
Speaker 1: anywhere else on a global scale. It's gonna stay at
Speaker 1: an underground minute level.
Speaker 2: So how big can an LA rapper get? Then it's
Speaker 2: Marck that you know.
Speaker 1: Well, I think you can get as big as I
Speaker 1: think you can get as big as Sexy Red. I
Speaker 1: don't think sexy Red is that big. I think sexy
Speaker 1: Red is current.
Speaker 2: Sure. I'm just saying from a numbers standpoint that whatever.
Speaker 1: Whatever the highest numbers you can get below where's Kendrick Lamar.
Speaker 3: I don't know a nigga like forty million view, forty
Speaker 3: million monthly listening.
Speaker 2: His daily streams looks like here one hundred and fifteen thousand,
Speaker 2: are a few hundred thousand here at a couple hundred
Speaker 2: thousand here.
Speaker 1: So I think this is kind of an issue, right.
Speaker 1: I think trying to impress Los Angeles is going to
Speaker 1: be the death of Los Angeles.
Speaker 2: You know what I mean? You see that, yeah, because
Speaker 2: it's part of LA culture is not being impressed by anything,
Speaker 2: So it's gonna be challenging.
Speaker 1: How the fuck do you impress these motherfuckers. These motherfuckers
Speaker 1: is insatiable, and I'm telling you they're gonna be the
Speaker 1: first one Like man, I don't care about that. Man,
Speaker 1: that shit ain't nothing. You see this nigga, thish nigga,
Speaker 1: that's what we do. But the rest of the will
Speaker 1: he niggas won't. Then you've seen the new Ferrari truck nigga,
Speaker 1: and don't nobody but trust me, you can't drag a
Speaker 1: six fold through none of these motherfucker cities outside of
Speaker 1: this bitch and the whole town is not impressed. Calling
Speaker 1: everybody talking about you see this nigga card.
Speaker 2: But but you can't bring the thing into l A either.
Speaker 2: Nobody cares, you know. But if you took a donk
Speaker 2: there was Miami the fuck out through Memphis, people gonna
Speaker 2: be expla the same thing. You can take a stock
Speaker 2: rolls roy.
Speaker 3: I don't want to do l A. Still just want
Speaker 3: they want to have fun. They want to party. It's
Speaker 3: my place.
Speaker 2: At least one place you go go to, go to
Speaker 2: the club in l A. Everybody's okay you to the club,
Speaker 2: anywhere else they're having the time of their life.
Speaker 3: Well, our party in fun is different, you know.
Speaker 1: Yeah, we we club versus party.
Speaker 3: We too school, We too cool for club.
Speaker 2: Club party in l a versus house party somewhere else.
Speaker 2: It's the same ship.
Speaker 1: No, our house party. We got some good house parties.
Speaker 1: You gotta you gotta take you this. I gotta take
Speaker 1: you to some Our house party still is cool. Our
Speaker 1: clubs is trash. I agree with you.
Speaker 3: They hook a louses now.
Speaker 2: The house parties, though, are just this is this is
Speaker 2: a house party.
Speaker 1: But that But that's what hip hop is. It got spoiled,
Speaker 1: mistake it. It got spoiled and mistaked itself as a club.
Speaker 1: Hip Hop got spoiled and mistaked itself as the club.
Speaker 1: The disco is the club. Hip hop is the party.
Speaker 1: It always has been a party. And you have to
Speaker 1: break it back down to the party. Chase the club. Yeah,
Speaker 1: if you chase the club, if you chase status quo,
Speaker 1: you will fall every time. Sexy don't look like she
Speaker 1: belong to the fucking club.
Speaker 2: She looked like all those bitches in the club.
Speaker 1: She looked like the motherfucker's at the house party. Sexy
Speaker 1: Red couldn't even get into a club in Los Angeles.
Speaker 1: They would not be like, nah, you know how they
Speaker 1: hold the little rope on you and then let everybody
Speaker 1: pass you. That for sure would be sexy Red at
Speaker 1: any club on sunset. They would not even let get
Speaker 1: in the club.
Speaker 3: That shit.
Speaker 4: Still to this day, house think about that the other day,
Speaker 4: like damn, they really was like, man, if sexy Red
Speaker 4: and bitches in and shit, like.
Speaker 1: If sexy Red took her ass the prime Greystone comes
Speaker 1: with that outfit on Barefoot, they would have that bitch
Speaker 1: waiting at that velvete rope the whole night. And what
Speaker 1: happened is I'm glad we got to this point because
Speaker 1: now I'm just really wrapping it up. Hip Hop is
Speaker 1: the party.
Speaker 3: It is not the club.
Speaker 1: And that is the greatest mistake hip hop is making.
Speaker 1: It's trying to transform itself into the club. The club
Speaker 1: is a mainstream experience.
Speaker 2: I thought I had New Yorker's you know that was
Speaker 2: live DJ venue type shit.
Speaker 1: No, it wasn't no live djving you the niggas was
Speaker 1: in the projects and at the park they plugged up
Speaker 1: into free electricity peak. That's when it was at its peak.
Speaker 1: At its highest when Snoop and then was throwing a
Speaker 1: party at their mother's house because their mother left and
Speaker 1: they was twenty two, still living at home. That's prime
Speaker 1: hip hop. Prime hip hop is not at the fucking club.
Speaker 1: The club, you know, the club came out because of
Speaker 1: the disco. They called it the Disco club. It's the disco.
Speaker 2: Yeah, I get that, but I thought, like you, like
Speaker 2: the battle rapping and the break dancing and all that
Speaker 2: kind of.
Speaker 1: Shit.
Speaker 2: Wasn't all the battle rapping that was in like venues
Speaker 2: and stuff.
Speaker 1: No, they was inside the fucking basement, the fucking projects.
Speaker 1: You didn't see the water and ship hanging, that b
Speaker 1: street shit food everybody, them niggas wasn't. Wasn't nobody letting
Speaker 1: No nigga dressed in like that at no fucking club.
Speaker 1: You couldn't dress like that and get into those fucking
Speaker 1: club and no motherfucking eighties y'all wish you would bring
Speaker 1: your ass up here wearing a big ass laces, some
Speaker 1: big ass shoes. Them people ain't letting you win. It's
Speaker 1: people in here that's getting to some money. We're not
Speaker 1: letting you niggas in here. Hip Hop gave itself a
Speaker 1: voice because nobody would listen to them before. It wasn't
Speaker 1: because they was accepted at the club. They couldn't get
Speaker 1: in the club. Oh wasn't that niggas? First off, you
Speaker 1: look like fucking broke ass dope boys. You're wearing these
Speaker 1: tracks on these big ass shoes. You're not getting in here.
Speaker 1: Sexy Red couldn't get into no club in LA, not Prime, Graystone,
Speaker 1: not Prime, Green Door, not Prime none of that playhouse.
Speaker 1: That bitch would be sitting on the side. LA has
Speaker 1: spoiled itself. It is overly spoiled.
Speaker 2: Bro.
Speaker 1: They think that they the niggas in LA and LA
Speaker 1: nigga like you niggas. Ain't them niggas y'all trying to
Speaker 1: come up here with us? Shut it down? Shut it down.
Speaker 1: I'm telling you. Hip hop was not in the motherfucking
Speaker 1: club man. Hip hop was at a fucking house party.
Speaker 1: It was at a project party. That's the origination. The
Speaker 1: actual flower that they passed around the start of pak
Speaker 1: in seventy three. August eleventh, seventy three was at a
Speaker 1: fucking projects fifteen twenty segwich. That's a project that's a
Speaker 1: housing project in the Bronx. I got a picture there.
Speaker 1: I went there and talked to legends, and shit, that
Speaker 1: shit is crap and it's gentrified. Now I went there.
Speaker 1: That's a fucking housing project. They used to plug into
Speaker 1: the free fucking park electricity and play the music. It
Speaker 1: wasn't no motherfucking clubs. When when they seen them parties
Speaker 1: was happening in the club, was like, shit is too
Speaker 1: much money, man, we gotta let these niggas in. And
Speaker 1: then niggas got spoiled and thought they belonged there. And
Speaker 1: that's what's happening to Los Angeles. Hip hop the West
Speaker 1: think they belonged there, so they take their ass there
Speaker 1: and really they look to do because don't, like I said,
Speaker 1: like your pointer originally don't. Nobody got no motherfucking mansions
Speaker 1: and ship in they fucking town. You see little Baby
Speaker 1: and them in a phantom man, they got fanas in
Speaker 1: real life. Guess what they driving into music videos? Hell Cats,
Speaker 1: the Obtainable Street Nigga Special, The Obtainable Street Nigga Special,
Speaker 1: a hell cat a scat. Niggas don't even got demons,
Speaker 1: bigga got track holes, obtainable cp CPN finance specials.
Speaker 2: Yeah, well that's I mean, that's the the whole thing.
Speaker 1: That's poor ship.
Speaker 2: Yeah, and and l A culturally wants to be way well,
Speaker 2: they want they want to be more grand than relatable.
Speaker 3: I don't know.
Speaker 4: I'm telling you, it's all all good posts was made man,
Speaker 4: It's uh. And that's why it's important to continue to
Speaker 4: be creative. And I still think it's a space for
Speaker 4: our culture and it's still admired. But you definitely gotta
Speaker 4: be presenting it to the to who fuck with him
Speaker 4: versus Karen. I'm worried about who not fucking with it.
Speaker 1: I just know you gotta pull this ship out. I
Speaker 1: think you gotta stop pulling it out here because we
Speaker 1: spoil by it and you gotta take this ship on
Speaker 1: the road. I do think there's a real conversation about music,
Speaker 1: but I think again that's that's gonna take a lot
Speaker 1: of work for people. But culturally, we still the niggas bro.
Speaker 1: We just don't show up in these other times. We
Speaker 1: don't bring the culture with us in no other towns.
Speaker 1: People don't see the culture. They gotta see that. They
Speaker 1: got to see the life right now, everybody's highlighting it.
Speaker 1: Our life has been celebrated again, I say for thirty
Speaker 1: years Man forty years. Fucking Colors came out in the eighties.
Speaker 1: People been celebrating us for a long time and looking
Speaker 1: up to us, and then so there's a bunch of
Speaker 1: kids who never saw it. They seeing it done improper.
Speaker 1: They want to see the real fucking thing, bro, they
Speaker 1: want to see it. I think the music. Me and
Speaker 1: you had a conversation when we was leaving Atlanta. We
Speaker 1: was leaving there fucking because zay where I felt like
Speaker 1: there was a richer bottom end to what they were doing.
Speaker 1: And I still believe in it. I still think there's
Speaker 1: a darkness about the lowest points of hip hop coming
Speaker 1: out of the Midwest, out of the South, you know
Speaker 1: what I mean. There's a really dark place that we
Speaker 1: have to be able to employ into our music that
Speaker 1: connects to blackness that hip hop is currently in. So
Speaker 1: we have to use that. But I think outside of
Speaker 1: the fact that the music needs to be better, you
Speaker 1: have to stay rooted and the rest of the country's
Speaker 1: belief in who you are if you are a street
Speaker 1: urban act.
Speaker 2: That's that's like kind of goes back to the question though,
Speaker 2: it's like, does the rest of the audience want to
Speaker 2: know about what is going on in black culture in
Speaker 2: Los Angeles today or do they want to hear a
Speaker 2: story of what was going on in black culture in
Speaker 2: Los Angeles in nineteen eighty nine.
Speaker 1: It's the same shit happening, Nick, It's the same game,
Speaker 1: Meg and shit. Tell me something that we could talk
Speaker 1: about what culturally has changed in Los Angeles.
Speaker 2: Culturally, well, all all the optics, the close largely change.
Speaker 1: They are the only part of the optics, Pete, that
Speaker 1: they ever cared about was crips and bloods, the low riders.
Speaker 1: They never even cared about the houses. The houses don't
Speaker 1: matter if a crip or blood lived there. Like they
Speaker 1: only cared about dough Boys house because crips and bloods
Speaker 1: lived there. They only cared about fucking a Kris house
Speaker 1: because somebody La from the street lived there. We never
Speaker 1: had the scenery that they connected to that, Like, we
Speaker 1: don't even have even back then, we didn't have horrible
Speaker 1: looking landscape. Sure sure, sure Nigga Memphis, Chicago. Some of
Speaker 1: that shit I saw, bro that ship shouldn't even be legal. Yeah,
Speaker 1: when we all saw New Orleans for the first time
Speaker 1: in Juvenile Hot video. As far as like seeing the
Speaker 1: projects like that, nigga. That shit was frightening. It was
Speaker 1: new kids with flies on their face because it looked
Speaker 1: like Africa. And how they used to show us Africa
Speaker 1: when they used to ask us to do neighbors, little kids,
Speaker 1: them niggas was living, And how this nigga that was
Speaker 1: boarded up projects. It never was that, No, for sure.
Speaker 3: It was always us.
Speaker 1: It was always the crips and the bloods. It was
Speaker 1: always how we transported ourselves. It was always what we was,
Speaker 1: kuzuine gin and juice and eight balls. It was never
Speaker 1: the landscape.
Speaker 2: Well that's that's kind of my thing, though, Like what
Speaker 2: do you think, matter of fact, Oh.
Speaker 1: The pete. The only thing they remember our landscape is
Speaker 1: the fucking tree that needs to be.
Speaker 2: The fucking shape fucking fu So yeah, the palm well yeah,
Speaker 2: the line to palm trees. As far as the landscape goes,
Speaker 2: I just mean it so far as like I don't
Speaker 2: go anywhere and see people drinking eight balls that are
Speaker 2: twenty two years old. That's why you can't about eight balls, yeah,
Speaker 2: nor driving low riders that are twenty two years old.
Speaker 2: They don't really dress quite so much the same anymore either,
Speaker 2: Like a lot of that stuff's changed. So it's like,
Speaker 2: are you gonna sell what it looks like today or
Speaker 2: it looked like then?
Speaker 1: And what you couldn't sell what it looks like today
Speaker 1: because it doesn't look like anything.
Speaker 2: That's the point.
Speaker 1: That's not a point because by that same standard, you're like,
Speaker 1: well the game is over because if you say what
Speaker 1: it looks like today, it doesn't look like anything. There
Speaker 1: is no.
Speaker 2: Cultural thing about a designer weed.
Speaker 1: That nobody would care. Everybody got designer weed. You can't
Speaker 1: tell these niggas in Detroit they weed ain't as good
Speaker 1: as all that shit done. You can't tell them niggas
Speaker 1: in Colorado the weed ain't good no more. You can't
Speaker 1: tell no more. You can't tell the people in Detroit
Speaker 1: they we ain't that ship did. All those things are dead.
Speaker 1: You we don't even have that. The thing that listen
Speaker 1: hip hop is merging, right, because the social media is
Speaker 1: forcing culture to really adapt and move fast. Right, He
Speaker 1: could find something out about how Chicago niggas talk, and
Speaker 1: within a week the whole world has it. The whole
Speaker 1: urban scene in every ghetto has it, and they're starting
Speaker 1: to talk about it like the term op, like Chicago
Speaker 1: had that shit a week. That shit was everybody's shit.
Speaker 3: Man wouldn't use that shit like a motherfucker man.
Speaker 1: So really, hip hop is just becoming an antique store,
Speaker 1: especially in Los Angeles and New York. It could only
Speaker 1: be an antique store, but everybody likes a fucking good
Speaker 1: classic because there is no new culture. What would be
Speaker 1: the what would be the cheap pair of shoes that
Speaker 1: everybody's wearing in La It would be the same pair
Speaker 1: of shoes that everybody's went all over. If you're gonna
Speaker 1: rap about Balenciaga, guess what everybody got Blienciaga. It's not special.
Speaker 1: It's a pop song. If you rap about a rolex,
Speaker 1: everybody has rolexes. It becomes a pop song. If you
Speaker 1: don't have a cultural take about what you're doing to
Speaker 1: this shit it, you know, rapping about no Bulls, that
Speaker 1: ain't no West Coast shit. People don't realize no Bulls
Speaker 1: is in Miami, No Bulls is in different states. People
Speaker 1: don't know that. They just think no Bulls is in
Speaker 1: Santa Monica because they heard the Drake song. They don't
Speaker 1: realize no Bulls is in a lot of towns.
Speaker 2: Yeah, I just it seemed save Atlanta which is yes,
Speaker 2: that's success things. It's well, we were talking about it
Speaker 2: when we were down there. It is done, bro, Atlanta,
Speaker 2: you can just sell anything. It's basically just anything that's
Speaker 2: black enough can just can justifiably come out of Atlanta.
Speaker 1: But that that shit's done because their poverty is flyeing
Speaker 1: and we've been celebrating their culture for thirty years. That's
Speaker 1: why there isn't no new artists coming from Atlanta. Who's
Speaker 1: the new artist that's killing New York? Same thing they're
Speaker 1: like everybody's trying to adopt, like you're trying to have
Speaker 1: the Brooklyn drill, and that's what they're adopted right now.
Speaker 1: Niggi Minaj album has the New Jersey kind of dance
Speaker 1: break like you're just I told you this. We have
Speaker 1: to mix it to make you work. But the appeal
Speaker 1: has to be the antique store because without it, culture
Speaker 1: is nothing void, Like what does new culture look like
Speaker 1: in Atlanta? A bunch of people being crimson bloods. That's
Speaker 1: not gonna work.
Speaker 5: It's not.
Speaker 2: So.
Speaker 1: So hip hop has turned into the antique store, especially
Speaker 1: on the West, because poverty is no longer here. There's
Speaker 1: poverty is not Oakland is not you know what I mean, Like,
Speaker 1: what are you gonna do? Yeah, Oakland being gentrified every day.
Speaker 3: And agents fighting all this shit.
Speaker 1: So the places that are doing well in hip hop
Speaker 1: are still going through shit. Saint Louis. We're looking at
Speaker 1: the houses in Saint Louis Pete twelve thousand. I got
Speaker 1: twelve thousand in.
Speaker 2: My pocket my house for you can't you can't move
Speaker 2: into the twelve thousand dollars house of Saint Louis.
Speaker 1: I'm just saying, it's twelve thousand. We couldn't even live
Speaker 1: in the house. We couldn't get it. That's not even
Speaker 1: a down payment for no house in California. Yeah, that
Speaker 1: might be a down payment on the house and watch
Speaker 1: and you still don't have the closing costs or the
Speaker 1: fucking signing fees.
Speaker 2: Deep like Ridge Crest and and a trailer. Maybe that's
Speaker 2: what I'm saying.
Speaker 1: That's what I'm like. We're fighting an inevitable battle of us.
Speaker 1: California is doing such a great job of allowing everybody
Speaker 1: to come into the country and have six families and
Speaker 1: competing for the housing. You can't get the house no more.
Speaker 1: That's over. You're being priced out. Poverty is being priced
Speaker 1: out there like we'll be poor somewhere else. We'll get
Speaker 1: six families to move in this motherfucking pay twenty nine hundred. Yeah.
Speaker 2: See, it's interesting because you know, twenty years ago Hillary
Speaker 2: Clinton wrote that book It Takes a Village. I didn't
Speaker 2: know that meant to come up with a down payment.
Speaker 2: I didn't realize that was a real estate investment. Bucking shit.
Speaker 3: We don't have big selling beat that mother boy, take
Speaker 3: a village like a motherfucker.
Speaker 1: Good looking out for tuning into The note Seller's Podcast.
Speaker 1: Please do us a favorite, subscribe, rate, comment, and share.
Speaker 1: This episode was recorded right here on the West coast
Speaker 1: of the USA and produced by my homeboy A King
Speaker 1: for the Black Effect Podcast Network and now Hard Radio. Yeah.