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Speaker 1: Afro Tech, Oakland, California. Angela couldn't want to do of

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Speaker 1: the Shade Room is on stage talking with Blavity editorly

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Speaker 1: working it about how her company came to be such

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Speaker 1: a pop culture powerhouse, reportedly the third most engaging platform

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Speaker 1: on the entire Instagram app for the past two years,

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Speaker 1: while speaking directly and authentically to a largely black audience.

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Speaker 1: What was the idea for the Shade Room At first?

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Speaker 1: What was it meant to be in? And then I

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Speaker 1: want to talk about how it's evolved over the years.

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Speaker 1: It was meant to be just a side little business.

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Speaker 1: That was the most that I had wanted from it.

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Speaker 1: I thought I was gonna have like a hundred thousand followers,

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Speaker 1: and that was the most. Like, I didn't see much.

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Speaker 1: It was just a plan B and so I didn't

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Speaker 1: know how to make a website. So I was like, well,

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Speaker 1: I think I was watching some motivation video that was

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Speaker 1: saying you should start right now, start right now on

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Speaker 1: your dreams, don't delay, and so I was like, okay,

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Speaker 1: So I was like, well, how do I start right now?

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Speaker 1: So so the only thing I could do was open

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Speaker 1: up a Instagram page, because that's all I knew how

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Speaker 1: to do. You know, I didn't have any money to

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Speaker 1: pay graphics, you know, a website designer, um, And so

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Speaker 1: I opened it. In a week later we had ten

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Speaker 1: thousand followers, and I knew from there. I was like, oh,

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Speaker 1: it's probably in one week, the week you launched, you

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Speaker 1: got ten thousand followers. Yeah, wow, thank you deservedly. And

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Speaker 1: right now, years later she had seventeen million followers. Okay,

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Speaker 1: because that deserves a rather applause thank you, But that is,

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Speaker 1: you know, a significant number of followers to acquire within

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Speaker 1: one week of launching a new platform, right, so tell

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Speaker 1: us about like what's that beginning was? Like? Was what

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Speaker 1: was that first week like? And how did you acquire that?

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Speaker 1: So the first week I opened the page of I

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Speaker 1: made a little logo, you know what I mean, and

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Speaker 1: I started doing what I love to do. I just

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Speaker 1: started telling Instead of telling my friends, I was telling

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Speaker 1: them like, girl, did you know what Chris Brown? Did

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Speaker 1: you know? He did it? You know what I mean?

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Speaker 1: I was like, oh, guys, you know this is what's

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Speaker 1: going on? Like you know everything. And then the first

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Speaker 1: day it was three hundred followers and I d M

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Speaker 1: all of them and I had conversations with all of

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Speaker 1: them even till this day. Like if you d M

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Speaker 1: in the shade room, you'll get a response like we

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Speaker 1: we try to respond to every um DM because it's

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Speaker 1: so important to building that relationship with your audience. But

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Speaker 1: I would d M all of them, and so they

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Speaker 1: got personally invested in me because they were like, we're

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Speaker 1: doing this together. We're building this together, you know what

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Speaker 1: I mean, Like she is talking to me, I'm giving

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Speaker 1: her content, she's posting it. I kind of have control

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Speaker 1: over this platform and that wasn't something that they felt

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Speaker 1: like they had before. And so, you know, after that

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Speaker 1: talking to them and building this relationship, they took it

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Speaker 1: upon themselves to want to promote this. They were like,

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Speaker 1: y'all better follow this cod like they would do because

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Speaker 1: this is what they felt like ownership of this platform.

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Speaker 1: I'm with Lucas and this is black tech, Green money.

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Speaker 1: I'm gonna introduce you to some of the biggest things,

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Speaker 1: some of the brightest minds and brilliant ideas. If you're

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Speaker 1: black in building or simple, we're using tech to secure

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Speaker 1: your bag. This podcast is for you to Mobiss, director

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Speaker 1: of Urban Music at YouTube and previously Services Global program

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Speaker 1: he had a hip hop at Spotify, responsible for curating

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Speaker 1: the widely popular playlists including rap Cavia, one of the

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Speaker 1: biggest and most popular playlists with over nine million followers.

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Speaker 1: I asked too about the opportunity black creatives have to

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Speaker 1: capitalize on the global audience of the African diaspora and

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Speaker 1: if too many of us are missing now I think

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Speaker 1: tech a lot of times. You hear the words scale

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Speaker 1: a lot, right, And whenever I hear the word scale,

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Speaker 1: it reminds me of when I was in TV and

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Speaker 1: you would hear about hits. We need a hit, this show,

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Speaker 1: is this song a hit? This music feel a hit?

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Speaker 1: Just show a hit? So so technically talk about scaling

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Speaker 1: and getting as many like like reaching as many people

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Speaker 1: or the ability to uh scale And so I think

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Speaker 1: that uh in that kind of um uh not not

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Speaker 1: umbrella but a blanket, you know what I mean? Sense

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Speaker 1: that we we we fall in that. But I don't

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Speaker 1: think that. I don't think the words specifically in mind,

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Speaker 1: I don't I've never seen that. I've never been like,

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Speaker 1: you know, like only when they're talking about things like diversity.

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Speaker 1: You know, that's the only time I ever I ever

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Speaker 1: think we're ever in mind. So I think by default

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Speaker 1: because we're part of the global population, you know what

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Speaker 1: I mean? And yeah, so that's I think about you know,

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Speaker 1: when when I see people who are building applications in

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Speaker 1: their building, you know, these technologies, you know, just I

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Speaker 1: wonder if we consider that there is an audience beyond

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Speaker 1: the States that could be potentially customers or downloaders, users

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Speaker 1: of our applications. Yeah, but who I'm I'm being theoretical

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Speaker 1: who thinks about us other than us? And then like,

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Speaker 1: I don't think I don't think any I don't think

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Speaker 1: anyone's thinking about us like the They may be thinking

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Speaker 1: about us in terms of not offending us or or

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Speaker 1: be including us, but I don't think. I think the

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Speaker 1: only people this is. This isn't some something scientific or

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Speaker 1: or research. This is just through observation and is the

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Speaker 1: only people who think about black people are global black

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Speaker 1: people are black people. So the thing is is, so

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Speaker 1: I think that the spirit in which we think about

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Speaker 1: us is more important than who's thinking about us. You

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Speaker 1: know what I'm saying that I don't think we should

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Speaker 1: care to be honest with you, I think it's about

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Speaker 1: us taking care of each other and performing each other

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Speaker 1: building applications for each other. And then the same way,

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Speaker 1: somebody builds an application in let's say Korea or in

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Speaker 1: India or in Switzerland, and then they hope that the

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Speaker 1: whole world catches on. They hope that America catches on.

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Speaker 1: They hope, you know, I mean to China, China. You know,

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Speaker 1: we were seeing TikTok is like huge reals in China.

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Speaker 1: So they hope that the rest of all catches on, etcetera, etcetera.

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Speaker 1: And I think I think we should have the same approach,

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Speaker 1: uh is and in hip hop and music that is

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Speaker 1: the approach, by the way in music that is music

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Speaker 1: like Okay, let's get the streets, let's let's get the

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Speaker 1: you know what I mean, let's get the South or

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Speaker 1: like and and then if it blows up, that's great,

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Speaker 1: like that's amazing, But if it doesn't, it's still it

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Speaker 1: still means something to like the core uh bait, you know,

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Speaker 1: the black people, or the same thing in Jamaica with

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Speaker 1: dasshole is like they like a starng whether you like

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Speaker 1: it or not, they love it. And and you go

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Speaker 1: to you go to Jamaica and they're doing all the

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Speaker 1: dances and etcetera. Etcetera. And and and you're like, what

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Speaker 1: frong is this? And they don't care if it out

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Speaker 1: on in Brooklyn or in Toronto or in uh London.

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Speaker 1: They like the song. So it's the same thing for

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Speaker 1: us tech. It's like, hey, we build stuff and then

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Speaker 1: we hope that everyone catches on and we hope that

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Speaker 1: it goes to global. You know. Yeah, I mean that's

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Speaker 1: that's so good because I remember seeing I think it

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Speaker 1: was Tyler Perry on Black af the show on Netflix,

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Speaker 1: and he was saying like, look, I don't make products

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Speaker 1: for people who are not in my core demographic. I

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Speaker 1: make plays and TV shows for Britics, really black women,

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Speaker 1: and maybe everybody else catches on, but I don't care

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Speaker 1: what the critics say. I made it for my audience,

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Speaker 1: and and and and I think from a creativity perspective,

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Speaker 1: that's the best way to do it, because then then

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Speaker 1: you don't get caught up, and then you don't lose

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Speaker 1: the original attraction or essence of what you do. That

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Speaker 1: you remain consistent because you're not trying to please too

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Speaker 1: many people. And so I love that. I love, Yeah,

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Speaker 1: I love that approach, and I respect prepared for that mindset.

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Speaker 1: You know beautiful. So um, there's this conversation um about

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Speaker 1: getting a labeled deal that helps me potentially go fast.

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Speaker 1: It's like kind of like getting VC money. You know,

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Speaker 1: if you're building technologies, like getting a deal potentially helps

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Speaker 1: you go faster and it gives you the infrastructure. Um,

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Speaker 1: but in the meantime, you're likewise sacrificing some ownership of

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Speaker 1: that thing. Conversely, me going you know, building something out

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Speaker 1: of my pocket, me bootstrapping, or me going direct to

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Speaker 1: YouTube or tune Core or CD baby and distributing myself,

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Speaker 1: I sacrifice a little bit of that built in support, right,

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Speaker 1: And so how do you see this evolving for people

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Speaker 1: who decide to take their product direct to consumer? The

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Speaker 1: thing is this is when you decided to take uh,

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Speaker 1: director consumer, you're doing more work. Well, when you make

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Speaker 1: these deals with these record companies or distribution companies, it's

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Speaker 1: you're basically your team up to become partners and they

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Speaker 1: do a lot of the heavy lifting, whether it be

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Speaker 1: marketing or radio promotion or or or delivery to dspstead

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Speaker 1: it's a partnership. How much you actually sacrifice depends on

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Speaker 1: how much leverage you have, and and and and and

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Speaker 1: the terms of that partnership, so you don't necessarily always sacrifice.

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Speaker 1: There's a lot of people who, uh maintain control. I

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Speaker 1: know Nipsey Hustle had like a joint venture with Atlantic,

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Speaker 1: which is a major label, but he maintained a lot

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Speaker 1: of all money in beteen, a lot of control in

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Speaker 1: terms of decision making, in terms of timing, terms of

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Speaker 1: so much like right, there was a partnership. It was

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Speaker 1: a partnership, but because he came in with leverage. Um,

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Speaker 1: not everyone comes in at the same stage or and

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Speaker 1: and this has the ability to negotiate that type of

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Speaker 1: autonomy or or or influence on their project. Um. So

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Speaker 1: there are people who do operate like independence within those

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Speaker 1: big label system hims. And then there are people who

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Speaker 1: who are independent, but they they don't act back an

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Speaker 1: independent like you know who you know in terms of

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Speaker 1: the do it yourself, you know, there's something else, there's

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Speaker 1: another force behind it. Um. Yeah, that's that's controversial though,

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Speaker 1: I don't know. Yeah, but to that point, like you know,

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Speaker 1: if you think about the days of like master p

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Speaker 1: and No Limit and cash money, you know they had

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Speaker 1: this directed consumer model, like and they were selling out

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Speaker 1: of their trunks. So that how do you how do

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Speaker 1: you build if you if you can go out on

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Speaker 1: this road because I sensitive said you don't want to

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Speaker 1: no no, no, no no. That this is this is

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Speaker 1: very interesting what you're saying, because I I haven't thought

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Speaker 1: about I think I know where you're going. So basically,

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Speaker 1: so when you're talking about master PS had this conversations

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Speaker 1: where master P and these guys what they did was

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Speaker 1: UM CD ROM right was the big innovation where they

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Speaker 1: didn't have to depend on the record labels and UM

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Speaker 1: in New York or or Los Angeles to print out

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Speaker 1: these CDs. Right, so they go make their own CDs,

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Speaker 1: They make their own artwork, one of the penn and Pixel,

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Speaker 1: you know, instead of doing everyone's album art and and

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Speaker 1: and and you know, they may not have retail space.

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Speaker 1: Or Masterp happened to have retail space at a record

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Speaker 1: store in Richmond, California in the Bay. A lot of

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Speaker 1: people don't know. No Limits started as a No Limit

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Speaker 1: Records in the Bay and then he moved back to

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Speaker 1: New Orleans. So so what happens is so these guys

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Speaker 1: sell out the trunk of the because they don't have

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Speaker 1: UH warehouse is to inventory retail space. So they became

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Speaker 1: mobile retail outlets. Right, they did it themselves, gain enough

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Speaker 1: leverage where they could strike deals with these uh distribution

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Speaker 1: companies and they don't have to do it themselves. And

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Speaker 1: they can now they can focus on their creativity. They

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Speaker 1: can folk a song, there on on on on things

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Speaker 1: like imaging and things like getting features. So long story short,

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Speaker 1: that same exact thing happens now and as young kids,

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Speaker 1: and we kind of look down on those young kids

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Speaker 1: where they use YouTube, where they use SoundCloud, they use

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Speaker 1: TikTok used to create buzz and it's the same as

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Speaker 1: the CD ROMs, Like okay, uh, now, all I need

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Speaker 1: to do is get my music out there to create,

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Speaker 1: to build an audience. Because what Masterp and them and

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Speaker 1: cash Money had was they have an audience. Whether it

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Speaker 1: was Drew VI or U n l V with UM

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Speaker 1: No Limit or master P with himself and True and

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Speaker 1: and Silk and c Murder, you know what I mean,

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Speaker 1: they had audiences. And that's what that's what that's why

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Speaker 1: these other the priorities of the world and the universals

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Speaker 1: of the world, UM did these deals with these guys, right, Like,

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Speaker 1: so the thing is the same exact thing happening on

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Speaker 1: the on the web out is and the problems is

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Speaker 1: a lot of times it's a little young kids, so

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Speaker 1: we look down on them as if they don't know

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Speaker 1: what they're doing. They know what they're doing. They're figuring

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Speaker 1: it out just like everyone else, you know, and and

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Speaker 1: and they're taking advantage of uh these bears to entries,

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Speaker 1: you know. Uh yeah, and and you know what the

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Speaker 1: next one is what you want to know what the

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Speaker 1: next one is given a jewel or gym, whatever, the

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Speaker 1: next thing is. The kids will figure out monetizing live streaming.

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Speaker 1: That's that's. That's that the the that's the kids who

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Speaker 1: figure that out right, whether it be through product placement,

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Speaker 1: whether through be through paygating, whether it be through um

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Speaker 1: things like super chats on YouTube, which is like um

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Speaker 1: super chats is big in the gaming world, and it's

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Speaker 1: big in Japan and South Korea. So where you paid

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Speaker 1: your comments to be seen you or you can pay

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Speaker 1: for stickers. It's it's very much a part of k

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Speaker 1: pop fanom and there's very much part of video the

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Speaker 1: video game world, but it just hasn't extended it to

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Speaker 1: music yet. Tor Lanes is the only one. Well, Tory

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Speaker 1: Lanes is the only major artist who's used it so

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Speaker 1: far and everything, uh in the U S at least

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Speaker 1: in the US and Canada. Uh Uh, he's the only one,

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Speaker 1: h the major artist who's used it. M that I know. Well,

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Speaker 1: there's there's others, there's others, but but like the major major, Like,

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Speaker 1: so I think about it. So everybody's gone, everybody's live

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Speaker 1: on Instagram every time I pull up my Instagram, everybody's

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Speaker 1: life right, and everybody has, you know, videos on YouTube,

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Speaker 1: and everybody's an influencer, wants to be an influencer. And

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Speaker 1: but you said before in a different interview, like it's

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Speaker 1: it's not enough to work hard anymore, Like you have

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Speaker 1: to decommodify, right and in your in your experience, So

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Speaker 1: in your experience, like what's been consistent about those people

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Speaker 1: who have been able to break through? I think it's. Yeah,

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Speaker 1: I'm gonna steal. I'm gonna steal the answer. And this

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Speaker 1: is an answer I I got from a Steve Himan

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Speaker 1: who manages Beyonce. I saw him speak once and it

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Speaker 1: blew me away, and and somebody asked him about Beyonce,

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Speaker 1: and one of the things he said was her intent.

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Speaker 1: Her intent was always to deliver to like be high quality.

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Speaker 1: Her intent was always too mostly connect her intenders, to

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Speaker 1: teach her intenders to just go hard, you know, I

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Speaker 1: mean every time championship levels, and and and after watching

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Speaker 1: the last ten episodes of Last Dance, UM, the documentary series,

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Speaker 1: so I was like, wait, Michael Jordan is kind of

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Speaker 1: the same way. And the other people who kind of

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Speaker 1: gravitated like their intent was to win a championship, like

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Speaker 1: he was pure, like they knew exactly what they wanted

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Speaker 1: and went for it, and and and and I think

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Speaker 1: that UM, a lot of people along the way forget

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Speaker 1: about the original intention, of the intention that got them

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Speaker 1: to where they are right or or that helped them

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Speaker 1: break through the commodities, through the through the sameness, the

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Speaker 1: the amogin magin the tea work. Yeah, exactly, you know

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Speaker 1: what I mean. Yeah, monotony. Let's let's let's say monotony

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Speaker 1: with it, right, Let's called fresh Prince. He's a consistent one.

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Speaker 1: Will Smith is a consistent one, remember in summertimes, like

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Speaker 1: to help you break through all this hardcore, this monotony

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Speaker 1: that's a little bit out of control. Remember, So what

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Speaker 1: happens is this is uh so, what happens is people

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Speaker 1: forget people literally, uh forget that. They become formulaic, right

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Speaker 1: because it work this time. So instead of trying something

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Speaker 1: new or something fresh, they just want to maintain. They're

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Speaker 1: just they're just they're just there there, are playing it.

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Speaker 1: You know, in sports, when you're you're you're running the

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Speaker 1: clock down right, you know, you're not really trying to

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Speaker 1: just trying to keep the score as is. So they're

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Speaker 1: just trying to keep the status quo. We're just trying

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Speaker 1: to keep score. So so the people who don't do that,

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Speaker 1: who keep playing, and who pays themselves out so that

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Speaker 1: they don't burn out by the time, you know, those

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Speaker 1: are the ones who who consistently break through the clutter consistently,

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Speaker 1: you know, and we can name them like this music,

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Speaker 1: we can. This is a handful, just a handful, you know.

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Speaker 1: Other ones they disappear eventually, you know. Yeah, it's it's

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Speaker 1: so it's crazy that you bring up like the Last Dance,

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Speaker 1: Because I was reading an article yesterday about Dennis Robbing

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Speaker 1: and his impact on the culture of a lot of

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Speaker 1: artists today, Like he broke the mold for people to

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Speaker 1: be little oozy verds and young thugs and to break

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Speaker 1: down that gender, do ye Kanye? Also, yes, someone talking

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Speaker 1: about Kanye Dennis Robman and the hair colors and the

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Speaker 1: phase and uh and the people dated, you know what

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Speaker 1: I mean, like uh, comparing with then it's Rotherman Kanye

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Speaker 1: and so and then this Frotherman was Chicago, so that's

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Speaker 1: his era, like the direct and and then Kanye influences

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Speaker 1: so many people, That's right, so many young people directly

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Speaker 1: or indirectly. We can see it well. We often talk

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Speaker 1: about the lack of equity creators realized from places in

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Speaker 1: our work, whether it be our music, our dance, our jokes,

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Speaker 1: or hot takes on social media platforms. In the return,

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Speaker 1: don't get the ear of those companies that capitalize on

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Speaker 1: our contributions. I asked to about how black artists and

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Speaker 1: techies are like can monetize our creative genius? I think

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Speaker 1: that's on the burdens on us, you know what I mean,

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Speaker 1: Like because we build these platforms and we're content with

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Speaker 1: social capital, you know what I mean, So that which

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Speaker 1: is likes and followers and you know I mean etcetera,

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Speaker 1: and sing this and sat calm that one the influencer, etcetera, etcetera.

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Speaker 1: I think Portability is a big thing there is are

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Speaker 1: you building the messaging and who you are or what

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Speaker 1: you stand for just the same as a brand. Is

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Speaker 1: that portable to other platforms? Uh? If I go to

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Speaker 1: another place that also has the same amount of attention

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Speaker 1: or whatever, am I gonna have an equal? One of

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Speaker 1: the things I used to do. I used to get

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Speaker 1: in the heads of artists back in the day they

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Speaker 1: were big on another platform, like, Okay, are you doing

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Speaker 1: well on there? Let's see how you do with the

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Speaker 1: big boys over here, just the pros and and and

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Speaker 1: if if you if you have enough influence or connection

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Speaker 1: with your quote unquote followers, they migrate to another platform.

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Speaker 1: You're at. Your call to action is hey, come support

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Speaker 1: me here or come listen. And it's the same thing,

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Speaker 1: the same thing with so so. So how you handle

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Speaker 1: this if you're just showing your ass and and and

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Speaker 1: you get all these followers or you get all these

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Speaker 1: I think, is you gonna have to show your ass

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Speaker 1: the other platforms, etcetera. But if you're there's people are

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Speaker 1: actually connecting with you and the buying is with you,

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Speaker 1: right then the like I want I want whatever, whether

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Speaker 1: it be inspiration, whether it be comedy, whether it be

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Speaker 1: great music, whether it be um uh intellect, you know,

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Speaker 1: like I'm getting that from this and I want that,

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Speaker 1: so I will go you know what I mean. And

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Speaker 1: that's how people monetize, to be honest with you, that's

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Speaker 1: how people monetize. The thing about it is, I'm giving

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Speaker 1: you these great mixtapes for free, for nothing, right, and

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Speaker 1: when it's time to formalize what I'm putting out, the

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Speaker 1: actual body of work that's put it in production, etcetera, etcetera,

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Speaker 1: or I'm going on tour, I'm testing your willingness to pay, okay, right,

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Speaker 1: and I'm hoping that I've done a great job and

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Speaker 1: giving you the love right like with the love meaning

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Speaker 1: no out of pocket price, you know what I mean?

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Speaker 1: Out of pocket price, and and and and when we're

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Speaker 1: put in a situation where you do have to pay,

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Speaker 1: we're going to find out who the real revolutionaries are,

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Speaker 1: like you know what I mean, Like to quote Ba Molly,

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Speaker 1: you know, to quote Ba Molly, Like, We're gonna find

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Speaker 1: out who's really willing to pay, who's really uh. I

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Speaker 1: always use Little Wing as an example. Who's a real

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Speaker 1: weezy Little Wing because I thought he mastered that a

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Speaker 1: freemium model. The freemium model, you know what I mean.

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Speaker 1: He mastered that. He mastered that when back in the

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Speaker 1: day when he did all those cards, droughts and against

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Speaker 1: the grills, he mastered it so well. So it's like okay, now,

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Speaker 1: So so the equity is not necessarily having equity in

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Speaker 1: the platform. That having brand equity, That that that that

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Speaker 1: that that you are your whether it be your brand

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Speaker 1: or your service or your product, that it creates a

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Speaker 1: connection or relationship that your audience or followers or stakeholders

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Speaker 1: are willing to migrate to another platform. That's what I'm saying.

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Speaker 1: And that's the real test of them. You know, I

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Speaker 1: was I was talking to a friend that we were

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Speaker 1: talking about like George, how George Lucas knew with Star

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Speaker 1: Wars that the content was just the gateway to get

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Speaker 1: you into this whole rabbit hole of products and other experiences.

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Speaker 1: And so when you I don't know if you've been

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Speaker 1: to Disney World disney Land, but like you know, it's

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Speaker 1: like when you go too to have the experience of

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Speaker 1: you going, let's say the Frozen Castle. You go into

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Speaker 1: the Frozen Castle to meet with one of the princesses. Right,

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Speaker 1: And as soon as you walk out, you're they They've

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Speaker 1: got the toy there for you to buy. So the

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Speaker 1: movie is the gateway to get you to go the experience.

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Speaker 1: The experience leads you to buy the product. So the

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Speaker 1: the content has always been like the gateway since people

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Speaker 1: like George Lucas has have innovated on that concept. I

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Speaker 1: wonder if number one, if you agree with that that philosophy,

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Speaker 1: but number two, if you do, how does the work

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Speaker 1: you do allow creators to monetize their artistry? Well, the

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Speaker 1: work I currently do, the work I've done, the work

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Speaker 1: I do. Just talk about your experience overall. Okay, I

406
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Speaker 1: can talk more than the past because the work I

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Speaker 1: do now is a little bit different in terms of

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Speaker 1: its more enabling or empowering through information or access uh

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Speaker 1: and the best practices you know, uh, letting partners know

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Speaker 1: or letting people internally. Uh So what I call I

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Speaker 1: call I called um. One of my UH colleagues was

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Speaker 1: breaking down like different duties for different people, like lit'sten

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Speaker 1: let's uh. And I said, and they were like, what

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Speaker 1: do you want to call yourself? I said, call me

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Speaker 1: the cultural attache? Right, And this is why this, I said,

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Speaker 1: I was like, because I've always kind of looked at

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Speaker 1: myself as I'm in a company, right, I'm an ambassador

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Speaker 1: to the culture within a company and representing and making

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Speaker 1: sure that opportunities are available or that our importance is understood,

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Speaker 1: right and and and and in a way that's not

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Speaker 1: in a protest way, not protest. Nobody owes anyone anything.

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Speaker 1: It's just like it's like, hey, in a way that's

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Speaker 1: coming like with as a peers as equals, like look, look,

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Speaker 1: this is what we can add how we can add value.

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Speaker 1: Do you want this value? No? Okay, you know what

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Speaker 1: I mean. It's as simple as that. Yes, okay, then

427
00:24:55,640 --> 00:24:58,320
Speaker 1: let's do this, Let's do this, Let's compound this value,

428
00:24:58,520 --> 00:25:02,399
Speaker 1: Let's continue this these relationships, let's let's let's make this

429
00:25:02,920 --> 00:25:07,760
Speaker 1: as a friendly to um um our world is possible.

430
00:25:08,560 --> 00:25:11,679
Speaker 1: Uh And but but what what you're talking about George

431
00:25:11,720 --> 00:25:14,120
Speaker 1: Lucas and the way he views it as like as

432
00:25:14,200 --> 00:25:18,840
Speaker 1: a gateway. I always looked at things like MTV jams

433
00:25:18,920 --> 00:25:23,120
Speaker 1: or wrap caviare or or or BT back in the day.

434
00:25:23,320 --> 00:25:25,000
Speaker 1: I need see. Of course I was entry level, I

435
00:25:25,040 --> 00:25:30,720
Speaker 1: was a junior um Uh. But as vessels, right, So

436
00:25:31,240 --> 00:25:37,679
Speaker 1: when I say vessels, is that those same songs that

437
00:25:37,760 --> 00:25:41,600
Speaker 1: were played on the playlist or on TV station or

438
00:25:41,680 --> 00:25:44,200
Speaker 1: on or even on the radio or wherever. Or let's

439
00:25:44,200 --> 00:25:46,840
Speaker 1: sen to magazine. Right, If you look at it as

440
00:25:46,840 --> 00:25:51,200
Speaker 1: a vessel, you can apply those same the same principles

441
00:25:51,320 --> 00:25:56,080
Speaker 1: or spirit or meaning in other ways. You can apply

442
00:25:56,200 --> 00:25:58,760
Speaker 1: that to live events, like you know, this is the

443
00:25:58,880 --> 00:26:04,199
Speaker 1: same we just lost Andrea Herral and Andre. Andre. Andrea

444
00:26:04,320 --> 00:26:06,960
Speaker 1: was like I mean, he was very dear too many people,

445
00:26:07,280 --> 00:26:09,960
Speaker 1: but one of the things that he liked talked about

446
00:26:10,280 --> 00:26:14,440
Speaker 1: a lot was um, get yout fabulous. Like you know,

447
00:26:14,440 --> 00:26:17,880
Speaker 1: what's what I'm saying, Like he's like, I created fabulous. Yeah,

448
00:26:18,000 --> 00:26:20,440
Speaker 1: He's like, I created gettle fabulous. So what but what

449
00:26:20,520 --> 00:26:23,879
Speaker 1: the thing that says so so so he like, you

450
00:26:24,000 --> 00:26:26,200
Speaker 1: got to know, Andrea, I love talking to Andres and

451
00:26:26,280 --> 00:26:28,240
Speaker 1: one of the best people talk to because you learned

452
00:26:28,280 --> 00:26:30,720
Speaker 1: so much and it's like so so fun to talk

453
00:26:30,760 --> 00:26:33,760
Speaker 1: to it. And and and he'll give you examples. He'll

454
00:26:33,800 --> 00:26:36,080
Speaker 1: he'll give you examples of people like yeah, so and

455
00:26:36,119 --> 00:26:38,359
Speaker 1: so so and so yeah that brand that that that

456
00:26:38,400 --> 00:26:41,760
Speaker 1: has No, that's not getting fabulous, that's this, that's street

457
00:26:42,040 --> 00:26:45,720
Speaker 1: that's uh that's hipster. That's uh, you know what I mean?

458
00:26:46,600 --> 00:26:49,800
Speaker 1: This is that he liked that. You know, So what

459
00:26:49,880 --> 00:26:53,360
Speaker 1: happens is this? So what what what you're talking about,

460
00:26:53,359 --> 00:26:57,280
Speaker 1: George Lucas? And I'm talking about all these other platforms

461
00:26:57,280 --> 00:26:59,199
Speaker 1: because that's what these are. These are platforms. What you

462
00:26:59,280 --> 00:27:03,040
Speaker 1: do with it is what determines how people connect with

463
00:27:03,080 --> 00:27:05,919
Speaker 1: it or react to it, or reuse it, or or

464
00:27:05,960 --> 00:27:08,919
Speaker 1: build on it or because because you're asking people for

465
00:27:08,960 --> 00:27:12,080
Speaker 1: their time and their attention, you know. So what happens

466
00:27:12,160 --> 00:27:17,480
Speaker 1: is so what what Georgio Lucas is talking about is, uh,

467
00:27:17,800 --> 00:27:21,879
Speaker 1: is if you have let's say, a playlist when those

468
00:27:21,920 --> 00:27:24,760
Speaker 1: same artists, those same songs, you can also do live shows.

469
00:27:25,240 --> 00:27:28,199
Speaker 1: If you have a visual identity, like a logo, you

470
00:27:28,240 --> 00:27:31,679
Speaker 1: can also put it on hats. You can also you

471
00:27:31,680 --> 00:27:33,879
Speaker 1: know what I mean, like things that fit the lifestyle.

472
00:27:34,119 --> 00:27:36,359
Speaker 1: I'm gonna give you example. Let me give you example

473
00:27:36,680 --> 00:27:38,720
Speaker 1: when I was when I was in the TV, when

474
00:27:38,720 --> 00:27:42,320
Speaker 1: I was in MTV. Um so if you remember MTV

475
00:27:42,480 --> 00:27:45,840
Speaker 1: jams used to have horrible commercials, these like cash for

476
00:27:45,920 --> 00:27:50,680
Speaker 1: gold and pillow pets instead of all right, all right, right,

477
00:27:51,640 --> 00:27:56,160
Speaker 1: probable like cheating the brand and like like like you

478
00:27:56,160 --> 00:27:58,320
Speaker 1: you put it on mute as soon as those commercials

479
00:27:58,320 --> 00:28:01,280
Speaker 1: came on, you know, I mean mean they're called direct response.

480
00:28:02,280 --> 00:28:04,720
Speaker 1: One of the things that I remember when with Khalifa

481
00:28:04,800 --> 00:28:07,480
Speaker 1: and currency started coming up in the whole weekend big

482
00:28:07,520 --> 00:28:12,919
Speaker 1: thing is I remember, uh thing, and I pitched it

483
00:28:13,200 --> 00:28:16,120
Speaker 1: it got shot down. Shot down is that we make

484
00:28:16,160 --> 00:28:19,800
Speaker 1: our own kind of products that direct response that you

485
00:28:19,840 --> 00:28:22,080
Speaker 1: can call one hundred number to call etcetera, you know,

486
00:28:22,160 --> 00:28:25,480
Speaker 1: and and and make money off of that. So I

487
00:28:25,520 --> 00:28:28,879
Speaker 1: remember bringing Big Room spread you know big room spreads, No,

488
00:28:29,040 --> 00:28:33,760
Speaker 1: don't big big oom. He stole these mixtapes in Atlanta, right,

489
00:28:34,640 --> 00:28:39,720
Speaker 1: I met Big Rooms or nineteen in Impact Nashville, um

490
00:28:40,000 --> 00:28:42,720
Speaker 1: the music conference right him and DJ Jelly, I met

491
00:28:42,720 --> 00:28:45,000
Speaker 1: them both and and and then for a long time

492
00:28:45,560 --> 00:28:48,719
Speaker 1: the early days there were my my, my, my, my

493
00:28:48,800 --> 00:28:52,560
Speaker 1: cultural touch points in Atlanta like that goes by uh

494
00:28:52,680 --> 00:28:56,360
Speaker 1: the mixtapes so that later on DVDs. But something Big

495
00:28:56,640 --> 00:28:59,760
Speaker 1: used to give it was big room spray. Right. And

496
00:28:59,760 --> 00:29:05,920
Speaker 1: and my grandmother who doesn't speak English, right, she uh

497
00:29:06,200 --> 00:29:09,000
Speaker 1: like the big m spray like she she would ask a,

498
00:29:10,000 --> 00:29:12,200
Speaker 1: can you send me some big boom spray? Like she

499
00:29:12,240 --> 00:29:15,640
Speaker 1: wasn't even speaking shug in Alabama. My parents did in

500
00:29:15,640 --> 00:29:17,600
Speaker 1: Alabama and my uncle and aunt and stuff, so she

501
00:29:17,640 --> 00:29:21,080
Speaker 1: stayed in mark On, Alabama. Didn't speak English, but she

502
00:29:21,160 --> 00:29:24,320
Speaker 1: knew Biglon spray. So I remember going to MTV and

503
00:29:24,440 --> 00:29:29,000
Speaker 1: pitching Big Hoom Spray for because the advertising market was

504
00:29:29,040 --> 00:29:34,920
Speaker 1: going down, so they needed like non advertising dependent ideas

505
00:29:35,080 --> 00:29:39,680
Speaker 1: like each one cruises or you know what I mean, tours,

506
00:29:39,720 --> 00:29:42,320
Speaker 1: et cetera. And I picked Big hom Spray. I was like, yo,

507
00:29:42,960 --> 00:29:46,000
Speaker 1: like the big hom spray and the reason and the heir,

508
00:29:46,080 --> 00:29:48,280
Speaker 1: it's all coming full circle. The whiskey for the currency

509
00:29:48,320 --> 00:29:52,640
Speaker 1: thing is people used to use it to spray if

510
00:29:52,800 --> 00:29:56,360
Speaker 1: to kill the odor of weeds. Right, and then this

511
00:29:56,440 --> 00:29:58,960
Speaker 1: is before we was sweet, was still a little bit taboi.

512
00:29:59,000 --> 00:30:01,800
Speaker 1: It wasn't as normal as this now was legalized as

513
00:30:01,840 --> 00:30:07,600
Speaker 1: it is now this is breeze. Yeah, but I mean

514
00:30:07,960 --> 00:30:09,320
Speaker 1: that's what people use it. I don't know if that

515
00:30:09,360 --> 00:30:11,520
Speaker 1: was his original intention, but people used to use it

516
00:30:11,600 --> 00:30:16,040
Speaker 1: like like in the car or you know, the bedroom,

517
00:30:16,200 --> 00:30:18,760
Speaker 1: or or if you could use it for the bathroom.

518
00:30:18,800 --> 00:30:22,200
Speaker 1: They killed the order, you know. So I was like, yeah,

519
00:30:22,280 --> 00:30:23,760
Speaker 1: I was like, I was like, I told him, I

520
00:30:23,800 --> 00:30:26,560
Speaker 1: was like, look if you can get rid of some

521
00:30:26,600 --> 00:30:33,320
Speaker 1: of these um uh is direct response horrible infomercial feeling commercials.

522
00:30:33,720 --> 00:30:36,320
Speaker 1: And we make our own promos and we and we

523
00:30:36,400 --> 00:30:39,440
Speaker 1: sell the products that fit the culture, like big room,

524
00:30:39,520 --> 00:30:44,640
Speaker 1: spray right right and and and and use spokesperson's like

525
00:30:44,880 --> 00:30:47,240
Speaker 1: a currency or or whiz at the time you know

526
00:30:47,280 --> 00:30:51,440
Speaker 1: what I mean, etcetera, etcetera. Uh. Then literally, I kid

527
00:30:51,440 --> 00:30:53,560
Speaker 1: you not, we're going to sell a boatload of these

528
00:30:53,600 --> 00:30:57,440
Speaker 1: things because we have attentive audience, but we're polluting the

529
00:30:57,560 --> 00:31:02,680
Speaker 1: channel with these irrelevant ads just and and and and

530
00:31:02,680 --> 00:31:04,680
Speaker 1: and from them. They don't even care about audience. They're

531
00:31:04,720 --> 00:31:07,800
Speaker 1: just bottom feeling because this is the cheapest rades because

532
00:31:07,840 --> 00:31:13,160
Speaker 1: we're valuing what what's happened, because because all you're you're

533
00:31:13,200 --> 00:31:17,000
Speaker 1: basing your pricing inventories based on your pricing AVCTORI is

534
00:31:17,040 --> 00:31:20,000
Speaker 1: based on reach because MTJM is only twenty million homes,

535
00:31:20,000 --> 00:31:23,160
Speaker 1: so they were valuing it based on reach, not based

536
00:31:23,160 --> 00:31:27,920
Speaker 1: on influence, not based on how dope it was, etcetera.

537
00:31:28,280 --> 00:31:30,200
Speaker 1: And then they shut down. They left at me extually

538
00:31:30,240 --> 00:31:32,880
Speaker 1: to be honest, and I didn't have enough seniority in

539
00:31:32,920 --> 00:31:35,800
Speaker 1: the room, so like to make it happen so I

540
00:31:35,880 --> 00:31:38,560
Speaker 1: just let to let it go. But but my whole

541
00:31:38,600 --> 00:31:41,440
Speaker 1: point was George Lucas is approaches the same thing where

542
00:31:41,440 --> 00:31:44,520
Speaker 1: he's like, yo, there's so many different vessels. This can

543
00:31:44,560 --> 00:31:47,360
Speaker 1: be a vessel, right, and all that need is the

544
00:31:47,440 --> 00:31:50,200
Speaker 1: visual identity, you know, exactly, this is a youngest camp.

545
00:31:50,200 --> 00:31:53,680
Speaker 1: You know what this means? Yeah, So so it's that's

546
00:31:53,800 --> 00:31:55,960
Speaker 1: but that's what I'm talking about. That so what this

547
00:31:56,000 --> 00:31:58,760
Speaker 1: is what you're talking about? What he's talking about Star Wars,

548
00:31:59,440 --> 00:32:03,000
Speaker 1: Harry Potter, he did the same thing where Harry Potter

549
00:32:03,080 --> 00:32:06,720
Speaker 1: was a book. Uh, Harry Potter was a book. It

550
00:32:06,880 --> 00:32:11,040
Speaker 1: was Halloween costumes, it was an experience, it was a

551
00:32:11,080 --> 00:32:14,920
Speaker 1: movie I'm guessing as a cartoon. But guess who the

552
00:32:14,920 --> 00:32:18,920
Speaker 1: most interesting? Uh? The person who just didn't really and

553
00:32:18,720 --> 00:32:22,840
Speaker 1: and she killed it, Michelle Obama. The Coming Becoming was

554
00:32:22,880 --> 00:32:25,880
Speaker 1: a book. Becoming was a Netflix series, and it was

555
00:32:25,920 --> 00:32:30,040
Speaker 1: a tour was becoming with a school. And and she's

556
00:32:30,040 --> 00:32:34,240
Speaker 1: still on her becoming a blitz. She didn't just as

557
00:32:34,240 --> 00:32:38,520
Speaker 1: good as George Lucas or the Harry Potter lady. The uh,

558
00:32:38,680 --> 00:32:42,120
Speaker 1: she's still doing these fundraisers with like g nice so

559
00:32:42,320 --> 00:32:45,400
Speaker 1: the graduate with me stuff on YouTube and all that stuff,

560
00:32:45,600 --> 00:32:47,320
Speaker 1: you know what I mean, and and and and she's

561
00:32:47,320 --> 00:32:50,160
Speaker 1: still on that becoming blitz That's what I'm saying. So

562
00:32:50,160 --> 00:32:54,520
Speaker 1: so so yeah, yeah, so yeah, that's all great as

563
00:32:54,600 --> 00:32:58,840
Speaker 1: that's fantastic, that's fantastic. Yeah yeah, No, I respect Obama.

564
00:32:59,040 --> 00:33:02,120
Speaker 1: I was like, okay, and paid and she did this right.

565
00:33:02,720 --> 00:33:04,480
Speaker 1: She sequenced this right too, you know what I mean.

566
00:33:04,520 --> 00:33:06,760
Speaker 1: She and she hit the spot. She was doing like

567
00:33:06,920 --> 00:33:09,160
Speaker 1: red as an adminion of Burda, you know what I mean.

568
00:33:09,280 --> 00:33:13,720
Speaker 1: She she went in, she put in her work. Um,

569
00:33:13,760 --> 00:33:17,680
Speaker 1: so you are director of Urban Music at YouTube now

570
00:33:17,760 --> 00:33:23,640
Speaker 1: and so yeah, but that's just the title again. But so, like,

571
00:33:23,720 --> 00:33:25,880
Speaker 1: the reason I bring that up is because how do

572
00:33:26,000 --> 00:33:30,840
Speaker 1: we understand the value of our offering recognizing that our perspective,

573
00:33:31,520 --> 00:33:34,360
Speaker 1: Like Jay's host said, like nothing moves without us nothing.

574
00:33:35,760 --> 00:33:39,240
Speaker 1: So if that's true, how do you see your role

575
00:33:39,320 --> 00:33:42,239
Speaker 1: and people who are building things and people who are

576
00:33:42,280 --> 00:33:46,480
Speaker 1: amplifying our culture? Um, how do you see the impact

577
00:33:47,040 --> 00:33:49,520
Speaker 1: so that we can recognize the power we have? I

578
00:33:49,560 --> 00:33:51,959
Speaker 1: think I think I think we know the impact. I

579
00:33:51,960 --> 00:33:55,880
Speaker 1: think the recognition of the impact is not the recognition

580
00:33:56,720 --> 00:33:59,880
Speaker 1: for us. We know the recognition is sometimes with these

581
00:34:00,040 --> 00:34:05,120
Speaker 1: big companies or big institutions, etcetera. And the way we

582
00:34:05,840 --> 00:34:11,240
Speaker 1: can do that is to populate uh these uh institutions

583
00:34:11,440 --> 00:34:15,319
Speaker 1: or or companies or you know, and and and not

584
00:34:15,840 --> 00:34:19,680
Speaker 1: um not viltinize them. You know what I'm saying. Look

585
00:34:19,719 --> 00:34:24,120
Speaker 1: at them as like hey like, look at them as possible,

586
00:34:24,239 --> 00:34:28,879
Speaker 1: whether it be partners right with partners or or um

587
00:34:29,640 --> 00:34:33,600
Speaker 1: and and and and and they create some accountability where

588
00:34:33,600 --> 00:34:37,920
Speaker 1: we're like, oh no, these are like they bring so

589
00:34:38,000 --> 00:34:41,040
Speaker 1: much business or etcetera, etcetera. Because that's how these companies

590
00:34:41,040 --> 00:34:45,200
Speaker 1: are institutions think you know, is they measure everything and

591
00:34:45,200 --> 00:34:47,920
Speaker 1: and and like they look at things as market share

592
00:34:47,920 --> 00:34:52,680
Speaker 1: and pies, graphs, high charts and graphs and spreadsheets and

593
00:34:52,800 --> 00:34:57,440
Speaker 1: you know, etcetera. And and so what happens is uh

594
00:34:57,719 --> 00:35:02,200
Speaker 1: uh to build leverage. That that's the only way internally

595
00:35:02,239 --> 00:35:04,439
Speaker 1: and externally, that's the only way. It's the only way,

596
00:35:04,840 --> 00:35:10,360
Speaker 1: like I understand to understand how they operate. And because

597
00:35:10,400 --> 00:35:13,000
Speaker 1: because I don't I think we recognize it, we don't

598
00:35:13,000 --> 00:35:16,560
Speaker 1: always do we don't. Oh or you want you I

599
00:35:16,600 --> 00:35:21,000
Speaker 1: know you want you want how to work around that's

600
00:35:21,000 --> 00:35:24,879
Speaker 1: what you want? Okay, Okay, that's stay in your eyes

601
00:35:25,040 --> 00:35:30,520
Speaker 1: all right, Well then then then then it's the age

602
00:35:30,600 --> 00:35:34,280
Speaker 1: old answer of building our own ecosystems and that and

603
00:35:34,280 --> 00:35:38,800
Speaker 1: and and again. I'm gonna give music some credit because

604
00:35:39,760 --> 00:35:42,240
Speaker 1: when I was coming up, you had the rocket fellas,

605
00:35:42,320 --> 00:35:44,960
Speaker 1: and you had the bad boys, you had no limits,

606
00:35:45,040 --> 00:35:48,160
Speaker 1: you had you know what I mean, all these uh

607
00:35:49,200 --> 00:35:51,680
Speaker 1: you had those, right, but you also had other ecosystems.

608
00:35:51,680 --> 00:35:56,400
Speaker 1: You had DJ coalitions that will it be UM heavy

609
00:35:56,480 --> 00:36:02,240
Speaker 1: Hitters or or what those other coalitions UH Coalition DJs

610
00:36:02,280 --> 00:36:07,799
Speaker 1: or Core DJs, Tony Core DJs, uh DJ big X

611
00:36:08,200 --> 00:36:11,200
Speaker 1: Coalition DJs. In Atlanta, you have all these different ecosystems.

612
00:36:11,200 --> 00:36:14,880
Speaker 1: You have clubs. I love Atlanta. Love Atlanta because Atlanta

613
00:36:15,080 --> 00:36:20,080
Speaker 1: is an ecosystem, right, and the ecosystem it's a withow

614
00:36:20,120 --> 00:36:23,160
Speaker 1: without your ecosystem. Let's call them a widow without your ecosystem,

615
00:36:23,239 --> 00:36:27,160
Speaker 1: because that's what we're talking about from Alapare earlier. So

616
00:36:27,320 --> 00:36:31,160
Speaker 1: Atlanta is a widow without your ecosystem. You can be

617
00:36:31,200 --> 00:36:33,960
Speaker 1: with them. They're gonna work with you or without you.

618
00:36:34,440 --> 00:36:37,239
Speaker 1: It's just so they're not gonna stop. They have enough.

619
00:36:37,360 --> 00:36:40,680
Speaker 1: There's enough support, there's enough different moving parts, whether it

620
00:36:40,760 --> 00:36:44,439
Speaker 1: be studios, nightclubs. You could put strip clubs in there,

621
00:36:44,920 --> 00:36:50,839
Speaker 1: DJs radio stations, urban radio stations, including black owned radio

622
00:36:50,840 --> 00:36:55,960
Speaker 1: stations on Steve Hedgewood like Streets one five, uh, and

623
00:36:56,000 --> 00:37:00,080
Speaker 1: then Cathy Hughes I think one of seven point and

624
00:37:00,239 --> 00:37:05,200
Speaker 1: in Atlanta and oh Cleveland, Cleveland, Bill Black, you know

625
00:37:05,200 --> 00:37:07,200
Speaker 1: what I mean, it's digit Buil Black. That's my guy.

626
00:37:07,360 --> 00:37:11,600
Speaker 1: That's my guy. So is is so you have enough?

627
00:37:11,680 --> 00:37:14,680
Speaker 1: So it's with the thoughts. So we have to take Atlanta,

628
00:37:14,800 --> 00:37:18,719
Speaker 1: that microcosm and apply it as a whole. And so

629
00:37:18,840 --> 00:37:24,360
Speaker 1: what happens so that these companies uh who outsourced a

630
00:37:24,360 --> 00:37:29,920
Speaker 1: lot of different type of uh functions or kind of

631
00:37:29,960 --> 00:37:31,799
Speaker 1: have to come to you. You know what I'm saying,

632
00:37:31,960 --> 00:37:35,840
Speaker 1: They have to go through you because you're gonna operate

633
00:37:35,880 --> 00:37:39,560
Speaker 1: with the without them and and for too dependents were

634
00:37:39,560 --> 00:37:42,360
Speaker 1: too dependent, like oh they please please please? Then working up,

635
00:37:42,360 --> 00:37:44,120
Speaker 1: we're in a position of weakness. We're not a position

636
00:37:44,120 --> 00:37:47,200
Speaker 1: of strength. So so being a position of strength is

637
00:37:47,200 --> 00:37:49,440
Speaker 1: you're gonna do it anyway. One of the things I

638
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Speaker 1: love about artists, the type of artists that you were

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00:37:52,320 --> 00:37:57,640
Speaker 1: asking about earlier, is they're gonna blow up anyway. It's

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00:37:57,719 --> 00:38:01,560
Speaker 1: what I'm saying, Like a drake, Like you go inside

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00:38:01,560 --> 00:38:03,640
Speaker 1: the mind of a drake, or go inside the mind

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00:38:03,680 --> 00:38:06,400
Speaker 1: of an inacy hustle, or go inside the mind of

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00:38:06,920 --> 00:38:09,880
Speaker 1: uh the name of jay Z. He was gonna do

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00:38:09,880 --> 00:38:12,120
Speaker 1: it anyway, That's what I'm saying all the people along

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00:38:12,160 --> 00:38:16,160
Speaker 1: the way. Yeah, it was in his mind so so

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00:38:16,160 --> 00:38:21,799
Speaker 1: so so if we have those mindsets of of of

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00:38:21,360 --> 00:38:26,480
Speaker 1: of successful um people are successful brands or etcetera, etcetera,

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00:38:26,680 --> 00:38:29,160
Speaker 1: that figured it out and figured out how what what

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00:38:29,239 --> 00:38:33,960
Speaker 1: their value proposition was and how to uh capitalize on

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00:38:34,000 --> 00:38:38,120
Speaker 1: that value. Uh, they have that mindset, they're gonna all right,

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00:38:38,360 --> 00:38:42,320
Speaker 1: Like it doesn't work with you, We're not gonna burn bridges.

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00:38:42,360 --> 00:38:46,719
Speaker 1: Maybe next time. Yeah, And those are the best people

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00:38:46,719 --> 00:38:49,280
Speaker 1: to deal with. It's like it didn't work out, maybe,

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Speaker 1: but we're not gonna be mad at each other or etcetera.

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Speaker 1: Maybe next time we love, We'll keep the doors open.

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00:39:16,760 --> 00:39:18,920
Speaker 1: Black Tech Green Money is a production of Black of

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00:39:19,000 --> 00:39:21,880
Speaker 1: the Afro Tech and it's produced by Morgan Dubon and

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00:39:22,000 --> 00:39:26,240
Speaker 1: me Will Lucas, with additional production supported by Love Beach,

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00:39:26,600 --> 00:39:31,200
Speaker 1: stephaniak Bogu and Ravennabor. Special thank you to Michael Davis.

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00:39:31,320 --> 00:39:33,960
Speaker 1: It's a car Savan yon you know, like the wine.

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00:39:34,120 --> 00:39:37,879
Speaker 1: And yes, that's his real name. Learn more about Tombassa

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Speaker 1: and other tech disruptors and innovators at afro tech dot com.

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Speaker 1: Go get your money. He's in love. Um m