1 00:00:00,880 --> 00:00:03,159 Speaker 1: So look, I'm recording this the first week of August, 2 00:00:03,279 --> 00:00:08,960 Speaker 1: and this week we saw some big deaths. Man, pee 3 00:00:09,039 --> 00:00:12,880 Speaker 1: wee herman. That's crazy, that's you know, a deep cut 4 00:00:12,880 --> 00:00:16,079 Speaker 1: from my childhood, so that I was painful to little 5 00:00:16,079 --> 00:00:21,680 Speaker 1: hommy from euphoria, apparently as a drug overdose. But I'm 6 00:00:21,720 --> 00:00:24,840 Speaker 1: a zero win on the death of Shnead O'Connor. Why 7 00:00:24,880 --> 00:00:27,840 Speaker 1: am I bringing up Shonad O'Connor on a podcast called 8 00:00:27,840 --> 00:00:35,800 Speaker 1: hood Politics mainly because Chuck d from Public Enemy posted 9 00:00:35,840 --> 00:00:42,640 Speaker 1: this lovely tribute to her about a moment in time 10 00:00:43,720 --> 00:00:50,680 Speaker 1: and following her, you had iced tea, you had questlove 11 00:00:50,720 --> 00:00:57,600 Speaker 1: of the roots. All these rappers posting about Shnado O'Connor, 12 00:00:58,160 --> 00:01:03,120 Speaker 1: which should, if you pay attention, be like, huh, here's 13 00:01:03,160 --> 00:01:08,280 Speaker 1: a crossover. I didn't expect the girl, the ball headed 14 00:01:08,319 --> 00:01:13,880 Speaker 1: girl from Ireland that was doing all the visuals standing 15 00:01:13,959 --> 00:01:16,000 Speaker 1: up in protests against the pope and all of the 16 00:01:17,520 --> 00:01:25,160 Speaker 1: child molestation charges in the Catholic Church in Ireland. You know, Nah, 17 00:01:25,560 --> 00:01:32,240 Speaker 1: thing compares, Nah compares to you. I sound just like her, right, 18 00:01:34,120 --> 00:01:38,240 Speaker 1: one would ask why will all these old school rappers 19 00:01:38,280 --> 00:01:42,120 Speaker 1: be posting these tributes to Sinead O'Connor, Well, if you 20 00:01:42,160 --> 00:01:48,280 Speaker 1: look at Chuck D's post, there's this moment where she's 21 00:01:48,360 --> 00:01:54,560 Speaker 1: performing at what turned out to have been the Grammys, 22 00:01:55,680 --> 00:01:59,200 Speaker 1: and on the side of her head is this painted 23 00:02:00,280 --> 00:02:05,400 Speaker 1: circle with a bullseye on it, just right on the 24 00:02:05,400 --> 00:02:10,000 Speaker 1: side of her head. And the bullseye, though, has a 25 00:02:10,120 --> 00:02:13,240 Speaker 1: silhouette of a man in what we know as the 26 00:02:13,280 --> 00:02:16,120 Speaker 1: bee boy stance, which is basically his arms folded right 27 00:02:16,160 --> 00:02:18,800 Speaker 1: and he's got his kind of a cowboy hat on 28 00:02:19,120 --> 00:02:21,359 Speaker 1: because he's a bee boy. This is like real eighties 29 00:02:21,440 --> 00:02:25,000 Speaker 1: hip hop type thing. And that logo for anybody, or 30 00:02:25,000 --> 00:02:28,280 Speaker 1: that symbol for anybody who loves hip hop would know 31 00:02:28,360 --> 00:02:31,960 Speaker 1: that's the public enemy logo as in nine to one 32 00:02:32,080 --> 00:02:35,080 Speaker 1: one is a joke, as in fight the power, as 33 00:02:35,160 --> 00:02:38,200 Speaker 1: in shut him down, as in welcome to the Terror Dome, 34 00:02:39,080 --> 00:02:44,040 Speaker 1: one of the most politically charged resistance driven I mean, 35 00:02:44,080 --> 00:02:51,080 Speaker 1: you think killer Mike, don't play, y'all, you need to 36 00:02:51,080 --> 00:02:54,400 Speaker 1: do your homework if I out who public Enemy is. Chuck 37 00:02:54,440 --> 00:02:59,000 Speaker 1: D in Flavor Flave. Y'all know Flavor flav differently, But 38 00:02:59,040 --> 00:03:00,840 Speaker 1: there was a reason why she he had that logo 39 00:03:00,960 --> 00:03:06,760 Speaker 1: painted on the side of her head. So by the 40 00:03:07,160 --> 00:03:15,120 Speaker 1: time this historical iconic photo was taken, rap was a 41 00:03:16,120 --> 00:03:21,560 Speaker 1: multimillion dollar industry. Wasn't always, but at this point it 42 00:03:21,639 --> 00:03:26,880 Speaker 1: absolutely was. Rap's been around for gosh, probably almost twenty 43 00:03:26,960 --> 00:03:31,600 Speaker 1: years at this time. Full industry in this photo is 44 00:03:31,919 --> 00:03:36,280 Speaker 1: people you may or may not know, but I can 45 00:03:36,360 --> 00:03:38,400 Speaker 1: run it down for you. It's a black and white photo. 46 00:03:39,120 --> 00:03:41,800 Speaker 1: You got right in the front young man that you 47 00:03:41,880 --> 00:03:47,080 Speaker 1: may know of from a reality show called Flavor of Love, 48 00:03:47,200 --> 00:03:49,640 Speaker 1: but we know him as Flavor Flav as one of 49 00:03:49,640 --> 00:03:51,960 Speaker 1: the members of a group called Public Enemy. You have 50 00:03:52,200 --> 00:03:56,760 Speaker 1: his arm around a woman known as Salt who was 51 00:03:56,920 --> 00:04:01,000 Speaker 1: a member of Salt and Peppa. So right behind is 52 00:04:01,240 --> 00:04:05,160 Speaker 1: Pep and DJ Spinderella. You got behind them. You got 53 00:04:05,240 --> 00:04:07,880 Speaker 1: will Smith, who we knew of as the Fresh Prince. 54 00:04:08,600 --> 00:04:11,360 Speaker 1: You got Jazzy Jeff. You got in the way far 55 00:04:11,480 --> 00:04:14,520 Speaker 1: back Chuck d. You could see the flat tops of 56 00:04:14,600 --> 00:04:19,360 Speaker 1: Kid and Play. You could see Slick Rick the ruler, 57 00:04:20,600 --> 00:04:24,440 Speaker 1: and the photo gets blurried towards the back. But there's 58 00:04:24,480 --> 00:04:27,359 Speaker 1: two other people in the picture that I might even 59 00:04:27,400 --> 00:04:30,400 Speaker 1: be too young to be able to just spot by face. 60 00:04:30,440 --> 00:04:32,760 Speaker 1: I would have to do some research for it. I 61 00:04:32,839 --> 00:04:38,200 Speaker 1: think it's Tetsosnic Daddy O and Anyway. I might be wrong, 62 00:04:38,279 --> 00:04:40,120 Speaker 1: but I think it's them. But the point of this 63 00:04:40,160 --> 00:04:44,560 Speaker 1: picture was in nineteen eighty eight, the Grammys were going 64 00:04:44,560 --> 00:04:48,840 Speaker 1: to for the first time give their first ever Rap Award, 65 00:04:49,640 --> 00:04:53,840 Speaker 1: and three of the five categories decided to boycott the show. 66 00:04:54,680 --> 00:04:57,920 Speaker 1: And you know, of the people that were nominated, this 67 00:04:58,000 --> 00:05:00,400 Speaker 1: is going back to Cali by. Are the songs that 68 00:05:00,400 --> 00:05:03,560 Speaker 1: were nominated? Artists going back to Cali by ll cool 69 00:05:03,640 --> 00:05:08,159 Speaker 1: J Right, parents just don't understand. From Fresh Prince, DJJZ, 70 00:05:08,240 --> 00:05:10,719 Speaker 1: Jeff and the Fresh Prince, Salt and Peppers, Push It 71 00:05:10,920 --> 00:05:14,400 Speaker 1: jj Fads, Supersonic, at Cool mo d Wild Wild West, 72 00:05:14,560 --> 00:05:16,880 Speaker 1: they were nominated for the Grammys. The only problem was 73 00:05:17,240 --> 00:05:21,200 Speaker 1: the Grammys didn't recognize rap or hip hop as legitimate music. 74 00:05:21,640 --> 00:05:24,000 Speaker 1: What do I mean by that? We're saying this is 75 00:05:24,040 --> 00:05:28,800 Speaker 1: a wildly popular genre of music. Right came out of 76 00:05:28,800 --> 00:05:31,200 Speaker 1: a culture that they have been fighting for recognition for 77 00:05:31,279 --> 00:05:36,559 Speaker 1: since nineteen eighty four. The Grammys had never acknowledged rap 78 00:05:36,600 --> 00:05:39,360 Speaker 1: as a legitimate music and now that they will finally 79 00:05:39,400 --> 00:05:42,000 Speaker 1: doing what they said was they wanted Will Smith to 80 00:05:42,040 --> 00:05:46,159 Speaker 1: write like this cute little rap about the Grammys and 81 00:05:46,200 --> 00:05:49,600 Speaker 1: then present the next award, But the Rap Award wasn't 82 00:05:49,600 --> 00:05:52,960 Speaker 1: even going to be on TV. They weren't even gonna 83 00:05:53,000 --> 00:05:55,440 Speaker 1: telecast it. It was gonna be one of the pre things. 84 00:05:55,440 --> 00:05:58,760 Speaker 1: And we're saying, these are multi these are platinum selling 85 00:05:58,839 --> 00:06:03,040 Speaker 1: artists with the fast in the fastest growing genre of music, 86 00:06:03,080 --> 00:06:04,880 Speaker 1: and you're not even gonna put it on TV. And 87 00:06:04,960 --> 00:06:09,080 Speaker 1: what Will Smith was quoted to say was, dang man, 88 00:06:09,600 --> 00:06:11,960 Speaker 1: you go to school for twelve years and then denied 89 00:06:12,279 --> 00:06:15,720 Speaker 1: the right to walk across the stage with your diploma. 90 00:06:17,400 --> 00:06:20,160 Speaker 1: And what did hip hop do? They said, who give 91 00:06:20,160 --> 00:06:22,560 Speaker 1: a fuck about a Grammy anyway? Protest that none of 92 00:06:22,560 --> 00:06:27,520 Speaker 1: them came and check this out. In solidarity for this protest, 93 00:06:27,960 --> 00:06:34,120 Speaker 1: Sinead O'Connor painted Public Enemies logo on her head. She 94 00:06:34,240 --> 00:06:37,960 Speaker 1: a real one, you find it. She cut from the 95 00:06:37,960 --> 00:06:42,320 Speaker 1: same cloth, right, It's the same energy, and that's why 96 00:06:42,360 --> 00:06:46,280 Speaker 1: she resonated with all these ogs. You ever wondered why 97 00:06:46,440 --> 00:06:49,440 Speaker 1: people that are in the punk somehow start loving underground 98 00:06:49,480 --> 00:06:53,880 Speaker 1: hip hop, it's you're cut from the same cloth. Because 99 00:06:53,920 --> 00:06:57,719 Speaker 1: it's always been about a protest, and I think it's 100 00:06:57,720 --> 00:07:00,200 Speaker 1: important to not only acknowledge this moment just because she 101 00:07:00,279 --> 00:07:04,960 Speaker 1: passed away, but because this year is hip hop's fiftieth 102 00:07:04,960 --> 00:07:09,760 Speaker 1: anniversary and why I'm bringing it up for hood. Politics 103 00:07:10,080 --> 00:07:14,480 Speaker 1: is politics and protests has always been a part of 104 00:07:14,560 --> 00:07:16,600 Speaker 1: hip hop. You may know it as just like wrap 105 00:07:16,760 --> 00:07:20,960 Speaker 1: and streetwear, but it's always been a protest. It's always 106 00:07:21,000 --> 00:07:24,520 Speaker 1: been about fighting the power. Happy fiftieth anniversary, let's talk 107 00:07:24,520 --> 00:07:38,640 Speaker 1: about it politics, y'all. Man, Welcome, Welcome, Welcome. This show 108 00:07:38,720 --> 00:07:41,120 Speaker 1: might be really educational for y'all, or this might just 109 00:07:41,160 --> 00:07:43,120 Speaker 1: be kind of a break. I know the news cycle 110 00:07:43,160 --> 00:07:45,600 Speaker 1: has been crazy, but we're gonna get to that, you know, 111 00:07:45,880 --> 00:07:50,640 Speaker 1: especially how it must absolutely feel horrible to be getting 112 00:07:50,680 --> 00:07:56,840 Speaker 1: your ass kicked just slacing the polls by a dude 113 00:07:56,840 --> 00:08:00,720 Speaker 1: who faced it over seventy years in prison and will 114 00:08:00,760 --> 00:08:03,600 Speaker 1: probably be out on bail while y'all on the campaign 115 00:08:03,680 --> 00:08:07,560 Speaker 1: trail and got impeached twice and you're finna lose to 116 00:08:07,600 --> 00:08:12,240 Speaker 1: this nigga. That's gotta feel awful. Anyway, we'll get to that, 117 00:08:12,440 --> 00:08:14,320 Speaker 1: but I want to back up and just kind of 118 00:08:14,360 --> 00:08:17,640 Speaker 1: like give y'all a little education as to like what's 119 00:08:17,760 --> 00:08:21,240 Speaker 1: what's really going on as we celebrate hip hop's fiftieth anniversary. 120 00:08:21,720 --> 00:08:24,720 Speaker 1: Back to Sinead O'Connor, I told y'all a long time ago, 121 00:08:24,800 --> 00:08:26,880 Speaker 1: back on the Bastards pod that, like when we was 122 00:08:26,880 --> 00:08:30,680 Speaker 1: doing the race drafts, like I'm telling you, y'all should 123 00:08:30,680 --> 00:08:32,520 Speaker 1: have Iris should have stayed black. Y'all should have just 124 00:08:32,520 --> 00:08:39,720 Speaker 1: gone been black with us. It's listen anyway, Snat O'Connor 125 00:08:39,760 --> 00:08:42,720 Speaker 1: man rest in peace to the g and a lot 126 00:08:42,760 --> 00:08:44,880 Speaker 1: of people like read her wrong because he looked at 127 00:08:44,920 --> 00:08:46,520 Speaker 1: it with her ball head. They thought she was like, 128 00:08:46,600 --> 00:08:51,720 Speaker 1: you know, skinhead, like she fighting the power. Homie down 129 00:08:51,760 --> 00:08:58,920 Speaker 1: for the calls. The way I want to set up 130 00:08:58,920 --> 00:09:02,559 Speaker 1: this thing is as I want to situate your minds 131 00:09:02,600 --> 00:09:06,080 Speaker 1: and brains into what I mean by like, hip hop 132 00:09:06,120 --> 00:09:09,280 Speaker 1: has always been political, okay, But the only way for 133 00:09:09,360 --> 00:09:12,319 Speaker 1: you to understand that is, first of all, I need 134 00:09:12,360 --> 00:09:16,319 Speaker 1: to situate hip hop in the broader history of black 135 00:09:16,440 --> 00:09:20,240 Speaker 1: music and the tradition of black music, and that black music, 136 00:09:20,400 --> 00:09:25,000 Speaker 1: at least in America, is inseparable from geopolitics. I'm going 137 00:09:25,080 --> 00:09:30,079 Speaker 1: to lay out the idea of the commercialization and how 138 00:09:30,679 --> 00:09:37,000 Speaker 1: commodified and even the complex relationship hip hop has with capitalism, 139 00:09:37,600 --> 00:09:39,040 Speaker 1: and then I want to teach you how to like 140 00:09:39,920 --> 00:09:45,080 Speaker 1: see it happening. Now, do that makes sense? Okay, Well 141 00:09:45,200 --> 00:09:48,040 Speaker 1: I asked a question again as if you can answer me, 142 00:09:48,720 --> 00:10:26,640 Speaker 1: I'm going to assume it makes sense. Yo. So look, so, 143 00:10:28,000 --> 00:10:33,120 Speaker 1: since we can't get any clearance for any songs except 144 00:10:33,120 --> 00:10:35,240 Speaker 1: for my own songs, I'm gonna go ahead throw to 145 00:10:35,240 --> 00:10:37,680 Speaker 1: get a little Spotify playlist to hear some like Harlem 146 00:10:37,679 --> 00:10:42,320 Speaker 1: Renaissance stuff, some like you know, Negro spirituals, some soul music, 147 00:10:42,400 --> 00:10:44,640 Speaker 1: just so you can hear what we trying to say, 148 00:10:45,440 --> 00:10:49,599 Speaker 1: all right, And I think Matt's kind of doing his 149 00:10:49,720 --> 00:10:53,520 Speaker 1: best to I haven't heard this completed thing yet because 150 00:10:53,520 --> 00:10:55,559 Speaker 1: I'm recording myself right now. I think Matt's kind of 151 00:10:55,559 --> 00:10:59,440 Speaker 1: doing his best to try to create some sound from this. 152 00:10:59,600 --> 00:10:59,880 Speaker 2: But you. 153 00:11:03,400 --> 00:11:08,280 Speaker 1: Guys seen Matt. It's not a dystomat. It's just you know, 154 00:11:10,600 --> 00:11:20,719 Speaker 1: he doesn't come from a seasoned, chicken washed legs history. Anyway, 155 00:11:21,040 --> 00:11:28,000 Speaker 1: I love you, Matt. So the first thing I want 156 00:11:28,040 --> 00:11:31,920 Speaker 1: to do is again situate you into the river of 157 00:11:32,120 --> 00:11:35,440 Speaker 1: the tradition of black music and black creation. And the 158 00:11:35,480 --> 00:11:38,240 Speaker 1: best way for me to start that is because I'm 159 00:11:38,240 --> 00:11:41,920 Speaker 1: talking about a uniquely American experience. Remember that I'm not 160 00:11:41,960 --> 00:11:46,640 Speaker 1: talking about our tribal traditions per se, although they influence it. 161 00:11:46,720 --> 00:11:50,600 Speaker 1: But that's more of an origin story pod. This is 162 00:11:50,640 --> 00:11:57,360 Speaker 1: about jumping into the stream as far as African American music, 163 00:11:57,600 --> 00:12:00,560 Speaker 1: and the best place to start is Negro spiritual. Now, 164 00:12:00,600 --> 00:12:03,080 Speaker 1: if you don't know what a Negro spiritual is, it's 165 00:12:03,559 --> 00:12:08,120 Speaker 1: gospel before we knew it as gospel. Obviously, at some point, 166 00:12:08,559 --> 00:12:13,400 Speaker 1: for whatever reason, a lot of African American slaves latched 167 00:12:13,400 --> 00:12:17,079 Speaker 1: onto the Christian faith. Now, don't let nobody tell you 168 00:12:17,600 --> 00:12:20,920 Speaker 1: that we were only Christian because the white man gave 169 00:12:20,960 --> 00:12:23,800 Speaker 1: it to us, Because you don't even get out of 170 00:12:23,800 --> 00:12:26,800 Speaker 1: the Book of Acts. So really, after Jesus died, and 171 00:12:26,840 --> 00:12:28,840 Speaker 1: if you follow in the Bible story, after Jesus died 172 00:12:28,880 --> 00:12:31,840 Speaker 1: and resurrected, I'm just quoting the book. Okay. The next 173 00:12:31,880 --> 00:12:33,600 Speaker 1: book after that is this Book of Acts, and it's 174 00:12:33,640 --> 00:12:37,320 Speaker 1: supposed to be about how the church or the Gospel, 175 00:12:37,360 --> 00:12:39,880 Speaker 1: if you will, is spread across the world. And before 176 00:12:39,920 --> 00:12:42,280 Speaker 1: you even get to Paul, Paul's the dude that writes 177 00:12:42,320 --> 00:12:44,640 Speaker 1: pretty much the rest of the New Testament because he 178 00:12:44,760 --> 00:12:48,400 Speaker 1: takes the Gospel to Asia Minor, right, which is you know, 179 00:12:48,480 --> 00:12:52,320 Speaker 1: Turkey and just cesarea Greece, right, all that stuff. Before 180 00:12:52,320 --> 00:12:55,320 Speaker 1: you even go there, you have this guy Philip who 181 00:12:55,360 --> 00:12:59,959 Speaker 1: meets an Ethiopian eunuch. He, according to the Bible, worked 182 00:13:00,160 --> 00:13:04,680 Speaker 1: for the king and queen of Ethiopia. This and in 183 00:13:04,760 --> 00:13:07,120 Speaker 1: the story, he's reading one of the Jewish scrolls, the 184 00:13:07,120 --> 00:13:11,480 Speaker 1: Book of Isaiah, about the promise coming Messiah, and Philip 185 00:13:11,559 --> 00:13:12,880 Speaker 1: is like, yo, you want to know what that's about. 186 00:13:12,880 --> 00:13:14,680 Speaker 1: He's like, yeah, I want to know what that's about. Apparently, 187 00:13:14,800 --> 00:13:17,319 Speaker 1: and on the side of this road he gets baptized. 188 00:13:17,520 --> 00:13:20,559 Speaker 1: And according to this, the Gospel goes to Ethiopia, goes 189 00:13:20,600 --> 00:13:24,240 Speaker 1: to Africa first. But this isn't even the first inflection point. 190 00:13:24,240 --> 00:13:26,040 Speaker 1: You got to go all the way back to King Solomon, 191 00:13:26,280 --> 00:13:30,840 Speaker 1: even where we get these ideas of Rastafarianism and Holly Selassie, 192 00:13:31,000 --> 00:13:33,719 Speaker 1: and so the Queen of Sheba meets King Solomon and 193 00:13:33,840 --> 00:13:36,800 Speaker 1: is totally impressed by his empire. So the point I'm 194 00:13:36,840 --> 00:13:40,240 Speaker 1: trying to make is the Jewish Judeo Christian, not the 195 00:13:40,280 --> 00:13:42,560 Speaker 1: way these white people talk, because I don't want you 196 00:13:42,600 --> 00:13:45,280 Speaker 1: to get triggered by these words. But the faith, the 197 00:13:45,360 --> 00:13:50,640 Speaker 1: Christian faith was African four hundred years before it was 198 00:13:50,679 --> 00:13:55,040 Speaker 1: European right, So don't let nobody tell you not a 199 00:13:55,040 --> 00:13:58,120 Speaker 1: white man gentrified it like they always do, right, but 200 00:13:58,679 --> 00:14:02,880 Speaker 1: out the box. Look, don't let them tell you. You 201 00:14:02,920 --> 00:14:05,800 Speaker 1: know what I'm saying now. Granted, this African version I'm 202 00:14:05,800 --> 00:14:09,040 Speaker 1: talking about is East African, while most slaves were West African. 203 00:14:09,160 --> 00:14:10,800 Speaker 1: The point I'm trying to make is, don't let nobody 204 00:14:10,840 --> 00:14:13,679 Speaker 1: tell you that they gave it to us. Now, we 205 00:14:13,760 --> 00:14:16,920 Speaker 1: gave it to them anyway, and they did what they 206 00:14:16,920 --> 00:14:20,880 Speaker 1: always do, Columbus in and gentrified anyway. That being said, 207 00:14:21,200 --> 00:14:25,600 Speaker 1: slaves were given these versions of the Bible, which they 208 00:14:25,600 --> 00:14:27,440 Speaker 1: made the mistake because at first they gave us the 209 00:14:27,440 --> 00:14:29,440 Speaker 1: whole Bible. And when they gave us the whole Bible, 210 00:14:29,480 --> 00:14:33,000 Speaker 1: we read the book of Exodus and saw Moses and 211 00:14:33,160 --> 00:14:35,520 Speaker 1: was able to look at these children of Israel being 212 00:14:35,640 --> 00:14:39,120 Speaker 1: slaved and looking as if, now, if you're reading the book, 213 00:14:39,160 --> 00:14:41,080 Speaker 1: you're gonna be like, damn. It seemed like this God 214 00:14:41,120 --> 00:14:44,240 Speaker 1: and the central figure in this story is always on 215 00:14:44,360 --> 00:14:47,640 Speaker 1: the side of the oppressed and not the oppressor. I 216 00:14:47,640 --> 00:14:49,720 Speaker 1: don't know why these people giving this to us, because 217 00:14:49,720 --> 00:14:51,920 Speaker 1: it sounded to me like they finna get judged according 218 00:14:51,960 --> 00:14:54,800 Speaker 1: to their own book, right, that's what we saw, right, 219 00:14:55,000 --> 00:14:57,560 Speaker 1: So we latched onto the Moses theory. We latched onto 220 00:14:57,560 --> 00:14:59,960 Speaker 1: the Promised Land. So that's why a lot of liber 221 00:15:00,040 --> 00:15:03,560 Speaker 1: racial theology, why black churches we don't be won't be 222 00:15:03,600 --> 00:15:06,080 Speaker 1: talking about Paul Like y'all we talked about Moses. We 223 00:15:06,120 --> 00:15:09,760 Speaker 1: talk about a deliverer God, Jesus is our savior. He's 224 00:15:09,800 --> 00:15:12,040 Speaker 1: our deliverer. You understand I'm saying we fit to get 225 00:15:12,040 --> 00:15:15,280 Speaker 1: out of this bondage cause blood gang banging. Now that 226 00:15:15,400 --> 00:15:18,960 Speaker 1: being said, we used a lot of our chants because 227 00:15:18,960 --> 00:15:22,200 Speaker 1: that's the way we already we already because again we're Africans, 228 00:15:22,440 --> 00:15:26,640 Speaker 1: we already sang collectively and had a lot of call 229 00:15:26,680 --> 00:15:29,080 Speaker 1: and response in our music right in the way that 230 00:15:29,120 --> 00:15:34,840 Speaker 1: we sang. Now, what Negro spirituals in some cases became 231 00:15:35,440 --> 00:15:39,800 Speaker 1: were codes. There were codes for the underground railroad. There 232 00:15:39,800 --> 00:15:44,480 Speaker 1: were codes for when we were going to leave, when 233 00:15:44,520 --> 00:15:46,600 Speaker 1: we was gonna get off this thing. They were codes 234 00:15:46,680 --> 00:15:49,680 Speaker 1: for when the master was coming. They were codes. So 235 00:15:49,960 --> 00:15:52,920 Speaker 1: because they didn't want slaves to talk, but we could sing, 236 00:15:53,320 --> 00:15:56,280 Speaker 1: and if we coded it in language, they understood that 237 00:15:56,400 --> 00:15:59,320 Speaker 1: sounded like we just singing worship songs, whereas we was 238 00:15:59,400 --> 00:16:02,600 Speaker 1: really commune de cating to each other. Do you see 239 00:16:02,600 --> 00:16:05,880 Speaker 1: what I'm saying? Our music has always been a protest. 240 00:16:06,040 --> 00:16:09,560 Speaker 1: It's always been political. Y'all got them category. Our music 241 00:16:09,560 --> 00:16:12,400 Speaker 1: always been political because our music has always been about 242 00:16:12,440 --> 00:16:15,920 Speaker 1: our experience. So Negro spirituals in a lot of in 243 00:16:15,960 --> 00:16:19,080 Speaker 1: a lot of situations were codes for when we was 244 00:16:19,160 --> 00:16:23,640 Speaker 1: gonna leave this goddamn plantation. You're following me, so I'm 245 00:16:23,640 --> 00:16:26,440 Speaker 1: gonna situate you in that river. We were always talking 246 00:16:26,440 --> 00:16:30,600 Speaker 1: about our experience, and our experience, unfortunately in America, was 247 00:16:30,680 --> 00:16:34,000 Speaker 1: never for us to just freely flourish and have joy 248 00:16:34,040 --> 00:16:37,320 Speaker 1: for ourselves. It was always tied to what we was 249 00:16:37,360 --> 00:16:39,520 Speaker 1: going through. Because the next thing I'm gonna talk to 250 00:16:39,560 --> 00:16:57,000 Speaker 1: you about is the blues. Now, why the blues became 251 00:16:57,040 --> 00:17:01,040 Speaker 1: what it was was these these spots called jupe joints, 252 00:17:01,640 --> 00:17:03,680 Speaker 1: now the juke joints. You have to remember when we 253 00:17:03,720 --> 00:17:08,840 Speaker 1: was making our music, every musician came from playing the church, right, 254 00:17:09,480 --> 00:17:12,040 Speaker 1: But everybody don't want no church music. Sometimes we want 255 00:17:12,040 --> 00:17:15,040 Speaker 1: to bump a grind. Yeahdam what I'm saying. Then you 256 00:17:15,119 --> 00:17:18,639 Speaker 1: got people like Maul Rainey. You feel me that you know? Uh, 257 00:17:18,920 --> 00:17:20,960 Speaker 1: I'm gonna fast forward to like Ray Charles. Like people 258 00:17:20,960 --> 00:17:23,159 Speaker 1: didn't like what Ray Charles was doing because he was 259 00:17:23,520 --> 00:17:27,199 Speaker 1: he was singing these songs that sounded gospel, but he 260 00:17:27,320 --> 00:17:30,560 Speaker 1: was singing them in the club because we all came 261 00:17:30,560 --> 00:17:34,040 Speaker 1: from singing gospel music, right. So anyway, so the blues 262 00:17:34,600 --> 00:17:39,560 Speaker 1: was played inside of these these little clubs we had. Now, 263 00:17:39,680 --> 00:17:41,920 Speaker 1: after a while, after you started getting good at these clubs, 264 00:17:42,200 --> 00:17:44,400 Speaker 1: you started playing what was called the Chitlin circuit. Now, 265 00:17:44,400 --> 00:17:50,160 Speaker 1: the Chitlin circuit is only exists because segregation. We weren't 266 00:17:50,160 --> 00:17:57,119 Speaker 1: allowed into these white venues. So we was like, okay, 267 00:17:57,200 --> 00:17:59,080 Speaker 1: I guess it is what it is. You could be 268 00:17:59,119 --> 00:18:01,040 Speaker 1: a star. You could be a star among what's called 269 00:18:01,040 --> 00:18:02,760 Speaker 1: the chittling. Sir, you wasn't making a lot of money, 270 00:18:02,800 --> 00:18:04,480 Speaker 1: but you could be a star among those things. If 271 00:18:04,520 --> 00:18:07,159 Speaker 1: you were gonna play this, y'all don't notice. If you 272 00:18:07,240 --> 00:18:12,040 Speaker 1: was gonna play these integrated clubs, they weren't really integrated. 273 00:18:12,240 --> 00:18:14,959 Speaker 1: If Lena Horn, people like Lena Horn, they you know, 274 00:18:15,040 --> 00:18:18,480 Speaker 1: these these these iconic black artists. You'd have to come 275 00:18:18,560 --> 00:18:22,760 Speaker 1: into the to the club via the kitchen or the 276 00:18:22,920 --> 00:18:25,760 Speaker 1: or the back door, and the room that you were 277 00:18:25,800 --> 00:18:28,399 Speaker 1: performing to there was a rope in the middle of 278 00:18:28,400 --> 00:18:29,960 Speaker 1: the room that had the side with white people on 279 00:18:30,000 --> 00:18:31,520 Speaker 1: the side with black people, because you know, we wasn't 280 00:18:31,520 --> 00:18:34,160 Speaker 1: posted to mix, so you we could we could sing 281 00:18:34,240 --> 00:18:39,199 Speaker 1: to y'all, but we can't dance among you. So obviously 282 00:18:39,280 --> 00:18:42,560 Speaker 1: that cleared that colored our experience, and obviously if you 283 00:18:42,560 --> 00:18:45,320 Speaker 1: were willing to play for these clubs, guess what that did. 284 00:18:45,520 --> 00:18:47,720 Speaker 1: That made it divide among black artists where it's like, 285 00:18:47,760 --> 00:18:49,440 Speaker 1: why you're gonna shuck and ji for the white people. 286 00:18:49,520 --> 00:18:52,560 Speaker 1: Then there was these things called minstrel shows, which is 287 00:18:52,600 --> 00:18:54,920 Speaker 1: where we got the idea of black face, or where 288 00:18:54,920 --> 00:18:57,040 Speaker 1: the culture gets this idea of black face. You know 289 00:18:57,080 --> 00:19:00,639 Speaker 1: what black face is, it's white people pay their face 290 00:19:00,720 --> 00:19:04,120 Speaker 1: with these dark black things and pretending to be black people. 291 00:19:04,160 --> 00:19:06,480 Speaker 1: They would try to sing our songs, they would try 292 00:19:06,480 --> 00:19:08,360 Speaker 1: to dance like us, but they would put on these 293 00:19:08,359 --> 00:19:13,520 Speaker 1: shows that were absurd. Right, You have characters like step 294 00:19:13,560 --> 00:19:16,440 Speaker 1: and Fetch. You know that we felt like these were 295 00:19:16,480 --> 00:19:22,000 Speaker 1: black people taking on these offensive personas for their money. 296 00:19:22,080 --> 00:19:24,720 Speaker 1: That's our art being commercialized. It's been going on for 297 00:19:24,760 --> 00:19:28,520 Speaker 1: a long time, right anyway, So now you take these 298 00:19:28,600 --> 00:19:31,320 Speaker 1: characters like the you know, the eye line buys like 299 00:19:31,480 --> 00:19:34,840 Speaker 1: them fools, and in some ways, somebody like a Takashi 300 00:19:34,880 --> 00:19:38,320 Speaker 1: six ' nine. Unfortunately, what like vanilla ice came to 301 00:19:38,359 --> 00:19:40,919 Speaker 1: symbolize to where it's like these fools are playing dress up, 302 00:19:41,800 --> 00:19:44,600 Speaker 1: you know what I'm saying, like and it's almost like 303 00:19:44,680 --> 00:19:47,639 Speaker 1: you're making fun of us. That's kind of what it 304 00:19:48,040 --> 00:19:51,960 Speaker 1: comes off as. You know, it feels like, you know, 305 00:19:52,040 --> 00:19:54,359 Speaker 1: a menstrual show, and then when you get black artists 306 00:19:54,400 --> 00:19:57,960 Speaker 1: participating in it, it feels even worse. Move forward to 307 00:19:58,000 --> 00:20:12,240 Speaker 1: the Harlem Renaissance. Now this is the birth of jazz. 308 00:20:12,400 --> 00:20:14,800 Speaker 1: Now this is really interesting to me because this is 309 00:20:14,840 --> 00:20:17,880 Speaker 1: almost like you can make a direct correlation between jazz 310 00:20:17,920 --> 00:20:21,800 Speaker 1: and hip hop. Jazz happened in Harlem. I'm gonna, I'm gonna, 311 00:20:21,800 --> 00:20:24,200 Speaker 1: I'm gonna situate us in the Harlem Renaissance. Right, So 312 00:20:24,560 --> 00:20:27,879 Speaker 1: in Harlem again, we're still talking about the segregated world 313 00:20:27,960 --> 00:20:29,920 Speaker 1: that we were in. I know that's up north. You 314 00:20:30,000 --> 00:20:31,480 Speaker 1: under see what I'm saying, But don't let you a 315 00:20:31,520 --> 00:20:34,280 Speaker 1: little like history not that clean. You know, the Cotton 316 00:20:34,280 --> 00:20:36,480 Speaker 1: Club was a black club. Harlem used to be all 317 00:20:36,520 --> 00:20:39,040 Speaker 1: black because even though you may not have had Jim 318 00:20:39,119 --> 00:20:42,760 Speaker 1: Crow laws, you had Jim Crow practices. Don't act like 319 00:20:42,760 --> 00:20:46,000 Speaker 1: the North wasn't racist. It was absolutely racist. So anyway 320 00:20:46,400 --> 00:20:53,760 Speaker 1: up there, what was happening. The Burroughs weren't necessarily connected 321 00:20:54,440 --> 00:21:00,359 Speaker 1: necessarily right then a train was built, right, and a 322 00:21:00,440 --> 00:21:04,600 Speaker 1: train that connected uptown to midtown, a train that connected 323 00:21:04,680 --> 00:21:08,639 Speaker 1: us to the boroughs. So now families were able to 324 00:21:08,720 --> 00:21:11,119 Speaker 1: work in the city and kind of go back home. 325 00:21:11,440 --> 00:21:13,080 Speaker 1: So now that we're able to work in the city 326 00:21:13,240 --> 00:21:15,480 Speaker 1: and you could go back uptown, now we got a 327 00:21:15,480 --> 00:21:18,320 Speaker 1: little more money. Right now, some of us have some 328 00:21:18,359 --> 00:21:21,320 Speaker 1: liquid some liquid capital. And these people that have now 329 00:21:21,359 --> 00:21:23,840 Speaker 1: liquid capital, they need entertainment. So we started having our 330 00:21:23,840 --> 00:21:26,879 Speaker 1: own club, our own dance things, our own our own stuff. 331 00:21:26,920 --> 00:21:29,840 Speaker 1: That wasn't so southern. I remember, like the Southern that's 332 00:21:30,119 --> 00:21:32,320 Speaker 1: that's the blues, that's them juke joints. They hot and 333 00:21:32,320 --> 00:21:34,320 Speaker 1: sweaty up here. You know what I'm saying. You got 334 00:21:34,359 --> 00:21:37,359 Speaker 1: the Nicholas Brothers, you got, you got you know, cab Calawas. 335 00:21:37,400 --> 00:21:38,760 Speaker 1: You know what I'm saying, It don't mean the thing 336 00:21:38,800 --> 00:21:42,320 Speaker 1: if it ain't got that swang right, and philosophy came 337 00:21:42,359 --> 00:21:47,560 Speaker 1: out of that. Poets Blanston, Hughes and him. You got poetry, music, art, 338 00:21:47,680 --> 00:21:53,280 Speaker 1: philosophy all was coming out of this moment that happened 339 00:21:53,800 --> 00:21:58,760 Speaker 1: because in a lot of ways, we took a situation 340 00:21:58,880 --> 00:22:02,320 Speaker 1: that we had no control and we made it beautiful 341 00:22:02,600 --> 00:22:05,560 Speaker 1: and we made it ourselves. And guess what happened. Powers 342 00:22:05,600 --> 00:22:07,240 Speaker 1: that be looked in there and was like, damn, that 343 00:22:07,280 --> 00:22:09,199 Speaker 1: looked fun. Can we do it? And we was like, 344 00:22:09,880 --> 00:22:12,240 Speaker 1: well no, because you haven't gone through what we're gone through. 345 00:22:12,400 --> 00:22:16,280 Speaker 1: And you know what they created? Swing dancing, Oh yeah, yeah, 346 00:22:16,320 --> 00:22:19,719 Speaker 1: your little sockops, your little swing, your little swing dancing stuff. 347 00:22:20,040 --> 00:22:23,680 Speaker 1: That is just the white version of jazz. That is 348 00:22:23,720 --> 00:22:29,040 Speaker 1: a commercialized, clean version where the economics of it all 349 00:22:29,520 --> 00:22:32,440 Speaker 1: took what we made and commodified it and then didn't 350 00:22:32,480 --> 00:22:34,479 Speaker 1: let us be a part of til much later. I mean, 351 00:22:34,520 --> 00:22:36,040 Speaker 1: we could do the same with rock and roll. Y'all 352 00:22:36,080 --> 00:22:39,800 Speaker 1: have to remember rock and roll was black Fats Domino, 353 00:22:40,359 --> 00:22:44,000 Speaker 1: you know what I'm saying, and all of yr Elvis songs, 354 00:22:44,040 --> 00:22:47,200 Speaker 1: Like I don't know if y'all saw that WEIRDO Elvis movie, 355 00:22:47,480 --> 00:22:50,760 Speaker 1: It was very weird. But the lesson you should pull 356 00:22:50,840 --> 00:22:53,919 Speaker 1: from that is that Elvis was copying black music. He 357 00:22:54,040 --> 00:22:57,760 Speaker 1: was a white dude doing black music, and it just 358 00:22:58,720 --> 00:23:02,240 Speaker 1: our stuff. Has been commodified and gentrified the whole time. Now, 359 00:23:02,359 --> 00:23:06,040 Speaker 1: it's also complicated because some of us were us. As 360 00:23:06,080 --> 00:23:09,080 Speaker 1: in the culture where passive participants, some of us were 361 00:23:09,119 --> 00:23:12,880 Speaker 1: active participants. And can you blame poor people when they're 362 00:23:13,000 --> 00:23:16,280 Speaker 1: dangled real money right and a real job? Like sometimes 363 00:23:16,280 --> 00:23:18,919 Speaker 1: you can't. It ain't gonna always be about you know, 364 00:23:19,000 --> 00:23:22,840 Speaker 1: you're fisted up, But the fisted up person has continued 365 00:23:23,200 --> 00:23:26,480 Speaker 1: throughout the history of black music, whether it's your Nina 366 00:23:26,520 --> 00:23:29,800 Speaker 1: Simon's Other World. You have to remember Ray Charles was 367 00:23:29,840 --> 00:23:32,080 Speaker 1: the first person to own his masters. I'm gonna say 368 00:23:32,119 --> 00:23:34,240 Speaker 1: that again. Ray Charles was the first person to own 369 00:23:34,320 --> 00:23:38,080 Speaker 1: his masters. Nobody else owned their masters. Gon google what 370 00:23:38,080 --> 00:23:41,520 Speaker 1: that means in the music industry. Songs like say It Loud, 371 00:23:41,720 --> 00:23:46,040 Speaker 1: I'm Black, and I'm Proud, these are protests, they and 372 00:23:46,080 --> 00:23:48,840 Speaker 1: they only exist because of the politics of the time. 373 00:23:49,320 --> 00:23:51,679 Speaker 1: Right now, you can put on Marvin Gaye's What's going On, 374 00:23:51,800 --> 00:23:54,679 Speaker 1: which was about the Vietnam War in the sixties. You 375 00:23:54,720 --> 00:23:57,280 Speaker 1: could play it now and be like, damn, I feel 376 00:23:57,320 --> 00:24:01,399 Speaker 1: like he wrote this mug today Because even within the industry, 377 00:24:01,560 --> 00:24:07,440 Speaker 1: even within these successful careers, our participation has always been 378 00:24:07,440 --> 00:24:09,280 Speaker 1: tied to our power. There's a group called the Last 379 00:24:09,320 --> 00:24:11,800 Speaker 1: Poets and Gil Scott Heron, y'all remember a long time 380 00:24:11,800 --> 00:24:13,719 Speaker 1: ago when I first started the show, I did an 381 00:24:13,720 --> 00:24:15,800 Speaker 1: episode called white He's on the Moon, and I read 382 00:24:15,840 --> 00:24:18,200 Speaker 1: the lyrics of white He's on the Moon Gil Scott 383 00:24:18,200 --> 00:24:21,080 Speaker 1: Heron in the Last Poets. What he's saying in that 384 00:24:21,359 --> 00:24:25,440 Speaker 1: was like, y'all got money to build these rockets. Meanwhile 385 00:24:26,320 --> 00:24:29,240 Speaker 1: we're starving in the streets. We just got civil rights, 386 00:24:29,320 --> 00:24:31,960 Speaker 1: y'all done killed all of our leaders. But you know what, though, 387 00:24:32,000 --> 00:24:36,639 Speaker 1: White He's on the Moon, y' you feeling me? And 388 00:24:36,680 --> 00:24:41,359 Speaker 1: one of the biggest songs that Gil Scott has has 389 00:24:42,280 --> 00:24:45,560 Speaker 1: is the revolution will not be televised, and that was 390 00:24:45,600 --> 00:24:49,640 Speaker 1: happening during the time of the Black Panthers. So Nina Simone, 391 00:24:49,840 --> 00:24:53,520 Speaker 1: so all these artists, they're what we choose. It whyatt 392 00:24:53,520 --> 00:24:56,040 Speaker 1: always resonates and why it stands to test the time 393 00:24:56,480 --> 00:24:59,800 Speaker 1: is because it was not a product of an industry. 394 00:25:00,080 --> 00:25:05,119 Speaker 1: The industry was made around what was authentic, but it 395 00:25:05,160 --> 00:25:07,159 Speaker 1: was always side to politics. It was always side of think. 396 00:25:07,240 --> 00:25:21,680 Speaker 1: Now let's get to hip hop right after this break? 397 00:25:47,600 --> 00:25:50,080 Speaker 1: All right, we're back. This is so interesting to me 398 00:25:50,160 --> 00:25:54,920 Speaker 1: because y'all remember Cracktoberfest and the Iran concert scandal, cocaine 399 00:25:55,000 --> 00:25:58,520 Speaker 1: being flooded into our streets. You guys remember us talking 400 00:25:58,560 --> 00:26:06,720 Speaker 1: about that these were huge, huge, huge geopolitical, cultural, ginormous moments, 401 00:26:07,320 --> 00:26:12,600 Speaker 1: but they were the goulagh that brought us the culture 402 00:26:12,640 --> 00:26:17,000 Speaker 1: of hip hop as we know it. And follow me 403 00:26:17,040 --> 00:26:18,600 Speaker 1: when I say this, but before I get into that, 404 00:26:18,720 --> 00:26:22,359 Speaker 1: I need to take y'all back to the Warriors movie. Warriors, 405 00:26:23,119 --> 00:26:28,359 Speaker 1: come out and play. Now. What happened in that flick 406 00:26:29,200 --> 00:26:32,560 Speaker 1: is based on actual things that happened. Hip hop, if 407 00:26:32,560 --> 00:26:35,080 Speaker 1: you don't know, started in the Bronx, And in the 408 00:26:35,080 --> 00:26:39,320 Speaker 1: Bronx around this time that this movie takes place, is 409 00:26:40,000 --> 00:26:45,680 Speaker 1: there was this ginormous city wide blackout because the city 410 00:26:45,760 --> 00:26:49,920 Speaker 1: was just absolutely bankrupt. It was like a shithole. Let's 411 00:26:49,920 --> 00:26:52,680 Speaker 1: not lie. It was miserable to live in the Bronx. 412 00:26:53,119 --> 00:26:57,320 Speaker 1: Part of what made it so miserable was the rent 413 00:26:57,400 --> 00:27:01,480 Speaker 1: got so bad, The buildings were so dilapidated, the money 414 00:27:01,600 --> 00:27:09,080 Speaker 1: was so drained, right because of Nixon, Because because of y'all. Listen, 415 00:27:09,440 --> 00:27:11,200 Speaker 1: do you remember when I did the Economics one, The 416 00:27:11,280 --> 00:27:15,480 Speaker 1: economics thing about about the changing of like world revolutions 417 00:27:15,480 --> 00:27:18,120 Speaker 1: and stuff like that. When Nixon tried to stop inflation, 418 00:27:18,240 --> 00:27:20,120 Speaker 1: but he did it wrong. You got to go back 419 00:27:20,160 --> 00:27:22,840 Speaker 1: and do this. What that did was it bankrupt the Bronx. 420 00:27:23,119 --> 00:27:25,880 Speaker 1: And once the Bronx got bankrupt, if you owned a building, 421 00:27:25,920 --> 00:27:28,760 Speaker 1: a tenement of housing project, it would be better for 422 00:27:28,800 --> 00:27:31,040 Speaker 1: you as the owner. This is where you get the 423 00:27:31,119 --> 00:27:35,360 Speaker 1: term slum lords. You just didn't fix the building because 424 00:27:35,640 --> 00:27:38,960 Speaker 1: the rent was paid by Section eight. And if the 425 00:27:38,960 --> 00:27:41,680 Speaker 1: city stopped paying Section eight, rather than fix the building, 426 00:27:42,000 --> 00:27:44,800 Speaker 1: you just destroyed it and you just collected on the insurance. 427 00:27:45,160 --> 00:27:47,720 Speaker 1: So you had where you get the term rubble kings. 428 00:27:47,800 --> 00:27:52,040 Speaker 1: It's because there was abandoned buildings that destroyed, dilapidated, broke down, 429 00:27:52,119 --> 00:27:57,800 Speaker 1: just piles of rubble everywhere in the Bronx. We created 430 00:27:57,840 --> 00:28:04,200 Speaker 1: beauty somehow, how you create beauty? Oh clack clacks started 431 00:28:04,240 --> 00:28:08,240 Speaker 1: painting murals, repping your territories and inside of that rubble. 432 00:28:08,440 --> 00:28:11,640 Speaker 1: During that time, you got to remember the schools are terrible. 433 00:28:11,920 --> 00:28:14,760 Speaker 1: Ain't no money, ain't no jobs. And if you as 434 00:28:14,800 --> 00:28:18,000 Speaker 1: a kid, you could either a start selling some drugs. 435 00:28:18,080 --> 00:28:21,160 Speaker 1: But sometimes you need other outlets. And part of our 436 00:28:21,240 --> 00:28:25,320 Speaker 1: other outlets, part of our protests, these black and brown kids, 437 00:28:25,359 --> 00:28:28,040 Speaker 1: these black and Puerto Rican kids inside the Bronx. Part 438 00:28:28,080 --> 00:28:31,400 Speaker 1: of they protest was they would just throw parties, basement parties, 439 00:28:31,600 --> 00:28:34,840 Speaker 1: park jams. What you would do is you would plug 440 00:28:35,480 --> 00:28:39,840 Speaker 1: you climb a light pole, plug your sound system into 441 00:28:39,880 --> 00:28:42,760 Speaker 1: the outside light pole, and you would just throw parties 442 00:28:42,800 --> 00:28:44,920 Speaker 1: and people would hang outside of their buildings. You'd listen 443 00:28:44,920 --> 00:28:47,240 Speaker 1: to the music, listen to the DJs, and what would 444 00:28:47,240 --> 00:28:49,560 Speaker 1: the DJs play? They would spend their records? What records 445 00:28:49,560 --> 00:28:52,040 Speaker 1: would they spend the records that their parents had. And 446 00:28:52,080 --> 00:28:54,920 Speaker 1: then one day somebody thought of the Merriagro round? What 447 00:28:55,040 --> 00:28:57,600 Speaker 1: is that? Well, because you trying to dance and the 448 00:28:57,680 --> 00:28:59,440 Speaker 1: people that were trying to dance, it would be the 449 00:28:59,480 --> 00:29:04,160 Speaker 1: beginning of the song to do do and then the 450 00:29:04,200 --> 00:29:21,000 Speaker 1: song would start. Somebody decided, if I got two of 451 00:29:21,040 --> 00:29:26,280 Speaker 1: those same song and I kept restarting it to where 452 00:29:26,440 --> 00:29:28,080 Speaker 1: Luke he used to call it the Merry Go Round, 453 00:29:28,840 --> 00:29:33,280 Speaker 1: you would create the break. Y'all, y'all follow him here. 454 00:29:33,920 --> 00:29:36,280 Speaker 1: They discovered you could loop tracks by just playing with 455 00:29:36,360 --> 00:29:42,160 Speaker 1: their parents' funk records. Now downtown was disco. Disco was 456 00:29:42,200 --> 00:29:44,880 Speaker 1: full of cocaine. That's where the rich white folks were 457 00:29:45,360 --> 00:29:49,040 Speaker 1: we wouldn't welcome down there, right, that's where the industry was. 458 00:29:49,320 --> 00:29:51,520 Speaker 1: That's not where we were. We was up in the Boroughs. 459 00:29:52,000 --> 00:29:55,200 Speaker 1: So when the Burroughs they discovered this is how you 460 00:29:55,200 --> 00:29:56,680 Speaker 1: make loose, and they would throw these parties. There was 461 00:29:56,720 --> 00:30:00,360 Speaker 1: a man named Cool Hurt, DJ Cool Hurt, and what 462 00:30:00,480 --> 00:30:03,000 Speaker 1: DJs would have is a guy on the mic just 463 00:30:03,080 --> 00:30:05,360 Speaker 1: kind of calling the shots like and all the DJ 464 00:30:05,440 --> 00:30:07,720 Speaker 1: would do or and that guy that was calling the 465 00:30:07,720 --> 00:30:10,560 Speaker 1: shots was the MC, the master of ceremonies, and all 466 00:30:10,600 --> 00:30:13,640 Speaker 1: he would do is shout out the DJ, yo this 467 00:30:13,840 --> 00:30:16,800 Speaker 1: brand Maath cast giving you live with DJ cool Hurt, 468 00:30:17,000 --> 00:30:19,280 Speaker 1: bring it up. So that's why all of your original 469 00:30:19,360 --> 00:30:23,560 Speaker 1: rap groups were DJ and a rapper, Eric being Rock him, DJ, 470 00:30:23,680 --> 00:30:27,560 Speaker 1: Jazzy Jeff and the Fresh Pence because Eric b was first. 471 00:30:27,600 --> 00:30:31,400 Speaker 1: Because the DJ ruled the world and the MC was there. 472 00:30:32,320 --> 00:30:33,960 Speaker 1: You know what I'm saying, just to keep the party live. 473 00:30:34,280 --> 00:30:39,240 Speaker 1: But you have to remember that happened because of geopolitics. 474 00:30:39,760 --> 00:30:42,400 Speaker 1: Now this is nineteen seventy three. Then you get groups 475 00:30:42,440 --> 00:30:44,320 Speaker 1: like you get Cowboy, you get groups like the Cold 476 00:30:44,320 --> 00:30:46,440 Speaker 1: Crush Brothers, you know what I'm saying, Get you get 477 00:30:46,440 --> 00:30:49,280 Speaker 1: the Furious Five, You get all these get you get 478 00:30:49,280 --> 00:30:52,720 Speaker 1: this massive boom that just started in the bronx of 479 00:30:52,760 --> 00:30:55,440 Speaker 1: these parties that kids are going to and everybody's no 480 00:30:55,560 --> 00:31:16,440 Speaker 1: matter what's happening in the world, we're able to find joy. 481 00:31:18,600 --> 00:31:22,360 Speaker 1: Then somebody from Manhattan comes and sees, man, there's a 482 00:31:22,400 --> 00:31:24,200 Speaker 1: lot of money to be made out here, Like, we 483 00:31:24,240 --> 00:31:25,959 Speaker 1: don't hear none of this stuff on the radio. How 484 00:31:26,000 --> 00:31:28,640 Speaker 1: do we get this on the radio? You can't put 485 00:31:28,640 --> 00:31:31,440 Speaker 1: a party on the radio, Like that's too much. Nah, 486 00:31:31,440 --> 00:31:33,680 Speaker 1: we already got DJs. We can't do that. But the 487 00:31:33,760 --> 00:31:38,600 Speaker 1: dude talking and the songs that they're producing, oh we can. 488 00:31:39,520 --> 00:31:42,000 Speaker 1: We can put that on the radio. Well, you need 489 00:31:42,040 --> 00:31:45,840 Speaker 1: to sign a group. And in nineteen seventy nine, Grand 490 00:31:45,880 --> 00:31:48,960 Speaker 1: Master Kaz and a group called the Cold Crush Brothers 491 00:31:49,520 --> 00:31:55,760 Speaker 1: had these bodyguards, right, and these bodyguards found out about 492 00:31:55,760 --> 00:31:58,720 Speaker 1: this audition for this rap group that this record label 493 00:31:58,800 --> 00:32:00,840 Speaker 1: was going to start. But you had to go auditions, 494 00:32:00,880 --> 00:32:03,120 Speaker 1: so you had to go be able to show your raps. 495 00:32:03,560 --> 00:32:07,680 Speaker 1: So one of those brothers asked Grand Master Kaz to 496 00:32:07,680 --> 00:32:09,720 Speaker 1: write him a rap, and he was like, all right, 497 00:32:09,760 --> 00:32:11,920 Speaker 1: I guess I'll write you a rap. And then the 498 00:32:12,000 --> 00:32:17,760 Speaker 1: dude wrote the rap performed it for this person and 499 00:32:17,800 --> 00:32:20,640 Speaker 1: they were able to form a group. And do you 500 00:32:20,680 --> 00:32:22,680 Speaker 1: want to know what that rap sounded like? What that 501 00:32:22,760 --> 00:32:25,240 Speaker 1: rap was that Grand Master Kaz wrote, I said, a 502 00:32:25,320 --> 00:32:27,680 Speaker 1: hip hop a hippie to the hippie to hip hop, 503 00:32:27,720 --> 00:32:29,640 Speaker 1: the dov don't stop to rock it to the bang 504 00:32:29,680 --> 00:32:31,880 Speaker 1: dang boogie up chump the boogie to the rhythm of 505 00:32:31,880 --> 00:32:35,920 Speaker 1: the boogey b he wrote, Rappers delight and those guys 506 00:32:36,000 --> 00:32:40,280 Speaker 1: that were just bodyguards with sugar Hill Gang, who the 507 00:32:40,320 --> 00:32:44,080 Speaker 1: rest of the industry believes were the first rap group. 508 00:32:44,240 --> 00:32:48,600 Speaker 1: Guys that was six years later because the industry economics 509 00:32:48,680 --> 00:32:52,280 Speaker 1: always steps in. But then you got people like Russell 510 00:32:52,320 --> 00:32:56,200 Speaker 1: Simmons right, who's from the culture part of the culture right. 511 00:32:56,440 --> 00:33:00,320 Speaker 1: And then you got dudes like Rick Ruman, right, Eastie 512 00:33:00,320 --> 00:33:03,200 Speaker 1: boys there was from Long Island. There was these like 513 00:33:03,280 --> 00:33:06,200 Speaker 1: rich Jewish kids who were in the punk music. And 514 00:33:06,240 --> 00:33:09,160 Speaker 1: like I said, punk music has always resonated with hip 515 00:33:09,200 --> 00:33:11,360 Speaker 1: hop because we got each other. They all kind of 516 00:33:11,360 --> 00:33:14,920 Speaker 1: connected together. Now, remember h Russell Simmons had a little 517 00:33:14,960 --> 00:33:19,800 Speaker 1: brother who was came to be known as Reverend Run. 518 00:33:20,240 --> 00:33:23,480 Speaker 1: So now you got run DMC right and run DMC 519 00:33:23,880 --> 00:33:27,200 Speaker 1: out in Queens, right and Hollis Queens. There was another 520 00:33:27,280 --> 00:33:29,680 Speaker 1: young man who was super talented rough Ruggin and Roy. 521 00:33:29,720 --> 00:33:32,000 Speaker 1: His name was ll cool J. Right, so now we 522 00:33:32,080 --> 00:33:34,120 Speaker 1: have a chance to start a label, right, but it's 523 00:33:34,160 --> 00:33:37,840 Speaker 1: a label put together by us. But listen, run DMC 524 00:33:37,960 --> 00:33:39,920 Speaker 1: started making money. They had an idea of like, yo, 525 00:33:39,920 --> 00:33:41,840 Speaker 1: whyon't we do this crossover? They was listening to this 526 00:33:41,920 --> 00:33:43,080 Speaker 1: Aerosmith song. 527 00:33:43,240 --> 00:33:51,520 Speaker 2: Righter Burn Wow why and you know what, Stephen Tyler 528 00:33:51,560 --> 00:33:53,240 Speaker 2: and them hated it at first. 529 00:33:53,560 --> 00:33:55,400 Speaker 1: Then they went to go hang with him and they 530 00:33:55,520 --> 00:34:00,000 Speaker 1: was like, actually, shit is hard, and there's the first 531 00:34:00,120 --> 00:34:04,800 Speaker 1: crossover rap song, and an industry was born. But that 532 00:34:04,960 --> 00:34:10,439 Speaker 1: was born out of like real rappers, right, oh man. 533 00:34:10,520 --> 00:34:12,560 Speaker 1: Out of that, you get your Queen Latifas your money 534 00:34:12,600 --> 00:34:16,120 Speaker 1: loves You're just and then Tribe and you know and 535 00:34:16,400 --> 00:34:19,319 Speaker 1: and and day La Soul and the Boom Bip and 536 00:34:19,360 --> 00:34:23,239 Speaker 1: the Flower like just the Jungle Brothers. Just amazing, amazing 537 00:34:23,280 --> 00:34:27,760 Speaker 1: stuff happened. However, at the same time, guess what happens 538 00:34:28,719 --> 00:34:34,600 Speaker 1: the crack attack ooh boy. Right. So, now as you're 539 00:34:34,640 --> 00:34:37,960 Speaker 1: listening to stuff like check yourself for you wreck yourself, right, 540 00:34:38,800 --> 00:34:43,480 Speaker 1: you're listening to you know, self destruction. You're listening to 541 00:34:44,120 --> 00:34:46,200 Speaker 1: We're all in the same gang. Once it came west, 542 00:34:46,280 --> 00:34:49,160 Speaker 1: right now, once it came west, guess what happened? Fuck 543 00:34:49,239 --> 00:34:52,960 Speaker 1: the police. Gangster rap happened? Now, why the gangster rap happened? 544 00:34:53,000 --> 00:34:56,279 Speaker 1: Because of the crack attack? Like it's all listen, gangs 545 00:34:56,480 --> 00:35:00,360 Speaker 1: it because of listen. It's always tied to politics. We were 546 00:35:00,360 --> 00:35:02,880 Speaker 1: always telling a story that had to do with what 547 00:35:02,920 --> 00:35:06,680 Speaker 1: we were going through. Now at the same time, you 548 00:35:06,760 --> 00:35:11,680 Speaker 1: have your more polished radio versions, right because the industry 549 00:35:11,719 --> 00:35:16,160 Speaker 1: is always looking for ways to make their money, and 550 00:35:16,200 --> 00:35:19,439 Speaker 1: who can blame them? Now, I haven't even gotten into 551 00:35:19,480 --> 00:35:22,560 Speaker 1: the women in hip hop history right that matter of fact, 552 00:35:22,560 --> 00:35:25,759 Speaker 1: the first rap group that was on SNL was with 553 00:35:26,960 --> 00:35:29,279 Speaker 1: I think it was Shante I forget homegirl name. But 554 00:35:29,320 --> 00:35:33,759 Speaker 1: there's a Louder than a Riot. On NPR, they have 555 00:35:33,800 --> 00:35:36,120 Speaker 1: a show about a series on women in hip hop. 556 00:35:36,160 --> 00:35:40,200 Speaker 1: It's so interesting, right because now it's the time that 557 00:35:40,320 --> 00:35:43,400 Speaker 1: I'm like a little infinite toddler. I'm hearing stuff like, 558 00:35:44,120 --> 00:35:46,319 Speaker 1: you know, go see the Vapors with Biz Marquee. I'm 559 00:35:46,360 --> 00:35:49,840 Speaker 1: hearing stuff like the JJ fads, the rock Sanne Chante's 560 00:35:49,880 --> 00:35:52,120 Speaker 1: you know what I'm saying, like, so I'm hearing that 561 00:35:52,200 --> 00:35:56,359 Speaker 1: stuff kind of in the background as I'm discovering what 562 00:35:56,400 --> 00:35:59,200 Speaker 1: it means to be from La and all this stuff 563 00:35:59,440 --> 00:36:01,719 Speaker 1: I'm looking. I'm going down to Venice Beach seeing these 564 00:36:01,719 --> 00:36:03,959 Speaker 1: guys spinning on their head. You under see what I'm saying. 565 00:36:04,120 --> 00:36:07,160 Speaker 1: Because of movies like Breaking and Breaking Too, now you 566 00:36:07,320 --> 00:36:12,720 Speaker 1: have a burgeoning business happening because you can make full 567 00:36:12,800 --> 00:36:16,959 Speaker 1: length movies that are based around the concept of hip hop. 568 00:36:17,680 --> 00:36:22,120 Speaker 1: You following me, this is the industry happening. And during 569 00:36:22,200 --> 00:36:25,000 Speaker 1: all of this time, you have people that still come 570 00:36:25,040 --> 00:36:28,040 Speaker 1: from the tradition of the music that it came from. 571 00:36:28,040 --> 00:36:31,719 Speaker 1: So you have people like Public Enemy, whose movement was 572 00:36:31,880 --> 00:36:35,759 Speaker 1: always about destroying the system. Chuck D was all Chuck 573 00:36:35,800 --> 00:36:37,719 Speaker 1: D and welcome to the Terra Dome. And nine to 574 00:36:37,719 --> 00:36:40,000 Speaker 1: one one is a joke in Yo town, get up 575 00:36:40,040 --> 00:36:41,920 Speaker 1: and get what he's talking about in nine to one 576 00:36:41,920 --> 00:36:43,799 Speaker 1: one is a joke. Is that like they don't come 577 00:36:43,840 --> 00:36:47,240 Speaker 1: to the hood. We've always been talking about our political 578 00:36:47,280 --> 00:36:51,840 Speaker 1: situation and even us talking about being flashy and flassing 579 00:36:52,400 --> 00:36:54,239 Speaker 1: when you start getting into the South, and it was 580 00:36:54,320 --> 00:36:56,719 Speaker 1: just about like, you know, Big Coop de veils and 581 00:36:57,840 --> 00:37:00,239 Speaker 1: Rowland lolos and tipping on Fox fos. We have to 582 00:37:00,320 --> 00:37:04,160 Speaker 1: understand this was also protest that we are able to 583 00:37:04,280 --> 00:37:08,920 Speaker 1: make joy from the situations that we're in. I haven't 584 00:37:08,960 --> 00:37:12,120 Speaker 1: mentioned so far because this is just be too long 585 00:37:12,280 --> 00:37:15,480 Speaker 1: a of a of a thing, but that what you 586 00:37:15,520 --> 00:37:18,359 Speaker 1: guys call street art, what is what we knew as 587 00:37:18,400 --> 00:37:22,680 Speaker 1: graffiti and vandalism, which came from again us being like, 588 00:37:22,719 --> 00:37:25,040 Speaker 1: fuck the system, we don't have no art programs, right, 589 00:37:25,040 --> 00:37:27,440 Speaker 1: We're gonna we're gonna beautify our own hoods. And then 590 00:37:27,480 --> 00:37:30,000 Speaker 1: you started putting them on T shirts, right, But that 591 00:37:30,080 --> 00:37:32,480 Speaker 1: came from it. And it's not to say that if 592 00:37:32,480 --> 00:37:34,799 Speaker 1: you're wearing a grap a graffiti T shirt or any 593 00:37:34,800 --> 00:37:39,920 Speaker 1: sort of streetwear that you're somehow selling out. No, it's 594 00:37:39,960 --> 00:37:42,960 Speaker 1: an evolution of the stock. And then at some point, 595 00:37:43,000 --> 00:37:47,359 Speaker 1: because what made more money what you can commodify was 596 00:37:47,840 --> 00:37:51,959 Speaker 1: the rapper. You can't commodify the DJ, right, So that's 597 00:37:52,040 --> 00:37:56,040 Speaker 1: when the rapper became the forefront. But the basic four 598 00:37:56,120 --> 00:37:58,600 Speaker 1: elements of hip hop, and some would argue five sound like, 599 00:37:58,600 --> 00:38:05,880 Speaker 1: ohhad is you have breakdancing, DJing with records, m seeing, rapping, 600 00:38:06,440 --> 00:38:09,360 Speaker 1: and graffiti, right, And then some would say The fifth 601 00:38:09,360 --> 00:38:13,280 Speaker 1: one is the philosophies, because again, hip hop's always been political, 602 00:38:13,760 --> 00:38:15,000 Speaker 1: So now I don't know if he was able to 603 00:38:15,040 --> 00:38:16,759 Speaker 1: follow that, but I was trying to make a case that, 604 00:38:16,880 --> 00:38:20,000 Speaker 1: like politics has always been about the story of hip hop. 605 00:38:20,680 --> 00:38:25,480 Speaker 1: And then obviously, now this is a global phenomenon. It's 606 00:38:25,920 --> 00:38:29,840 Speaker 1: it has reigned supreme in almost every element of culture 607 00:38:30,080 --> 00:38:33,759 Speaker 1: around the world. It's it's so amazing what it's been 608 00:38:33,760 --> 00:38:37,439 Speaker 1: able to become in fifty years. But now I want 609 00:38:37,440 --> 00:38:39,880 Speaker 1: to talk about some of the questions we still have 610 00:38:39,960 --> 00:38:44,600 Speaker 1: to answer because ultimately hip hop is still pretty young. 611 00:38:45,080 --> 00:38:47,920 Speaker 1: Because fifty years for a musical genre, especially compared to 612 00:38:47,960 --> 00:38:51,800 Speaker 1: something that started in the thirties like jazz. You know 613 00:38:51,840 --> 00:38:55,480 Speaker 1: what I'm saying, it's still pretty young. Pretty young genre 614 00:38:55,960 --> 00:39:00,480 Speaker 1: means that we don't we have very few elders who 615 00:39:00,520 --> 00:39:06,360 Speaker 1: are able to age well and reach levels of like Bono. 616 00:39:08,360 --> 00:39:10,080 Speaker 1: And the only one I could think that reach the 617 00:39:10,160 --> 00:39:14,879 Speaker 1: level of like Bono is Jay Z. It's Hove, where 618 00:39:14,880 --> 00:39:18,080 Speaker 1: he's gotten to this area of transcendence that I don't 619 00:39:18,080 --> 00:39:21,040 Speaker 1: think anybody in hip hop has ever like, there's no 620 00:39:21,120 --> 00:39:24,680 Speaker 1: other we have one. We have one Bono, It's Hove. 621 00:39:25,280 --> 00:39:27,799 Speaker 1: And then we don't have no Arnold Schwarzenegger's or Ronald 622 00:39:27,840 --> 00:39:34,120 Speaker 1: Reagan's who like, meaning these artists who became politicians at 623 00:39:34,160 --> 00:39:37,640 Speaker 1: that level. The closest we have is Killer Mike. And 624 00:39:38,160 --> 00:39:41,000 Speaker 1: I'm gonna say me, but really Killer Mike, right, the 625 00:39:41,080 --> 00:39:44,040 Speaker 1: closest we have Again, protest has always been a part 626 00:39:44,080 --> 00:39:45,680 Speaker 1: of politics, has always been a part of hip hop. 627 00:39:45,760 --> 00:39:49,440 Speaker 1: Is for somebody to move into politics the way that 628 00:39:49,680 --> 00:39:55,160 Speaker 1: Killer Mike has. So we got two examples. And the 629 00:39:55,280 --> 00:40:02,040 Speaker 1: question has always been since hip hop's in its what 630 00:40:02,280 --> 00:40:07,239 Speaker 1: role does white people money play? Are we here to 631 00:40:07,360 --> 00:40:13,840 Speaker 1: destroy the system, to create our own system, or to 632 00:40:13,960 --> 00:40:16,640 Speaker 1: take over the system that's already there? But that's not 633 00:40:16,800 --> 00:40:19,080 Speaker 1: just the question in hip hop? What are we here for? 634 00:40:19,200 --> 00:40:22,479 Speaker 1: Are we here for Drake to party? Are we here 635 00:40:22,520 --> 00:40:25,239 Speaker 1: for the dirks? Are we here to just talk about 636 00:40:25,280 --> 00:40:27,759 Speaker 1: our experiences where there is a lot of murder and 637 00:40:27,840 --> 00:40:31,360 Speaker 1: hoes and bitches? Are we here for that because we 638 00:40:31,520 --> 00:40:33,759 Speaker 1: just turn it up we party in? Are we here 639 00:40:33,800 --> 00:40:35,680 Speaker 1: for the j Coles of the world to where we're 640 00:40:35,680 --> 00:40:37,560 Speaker 1: trying to be better? We're trying to treat our women better, 641 00:40:37,800 --> 00:40:40,279 Speaker 1: Like sometimes you don't want to be on that revolutionary shit. 642 00:40:40,360 --> 00:40:42,799 Speaker 1: Sometimes you just want to drink in pop Molly's. But 643 00:40:42,840 --> 00:40:47,120 Speaker 1: then there's this question that are we being responsible because 644 00:40:47,600 --> 00:40:53,560 Speaker 1: the who's footing the bill for all this incredibly derogatory 645 00:40:54,480 --> 00:40:59,960 Speaker 1: destructive content in music. It's not so much that you know, 646 00:41:00,200 --> 00:41:02,960 Speaker 1: we making it, because sometimes we are ratchet, but why 647 00:41:03,040 --> 00:41:05,320 Speaker 1: is that on the radio all the time? Who paying 648 00:41:05,360 --> 00:41:08,239 Speaker 1: that bill? It's hard to not think that, like there 649 00:41:08,320 --> 00:41:11,399 Speaker 1: might be some sort of conspiracy going on here that yes, 650 00:41:11,480 --> 00:41:16,400 Speaker 1: you like pumping our you know, veins with this really 651 00:41:16,440 --> 00:41:20,200 Speaker 1: destructive stuff. On the other hand, you have us like 652 00:41:20,280 --> 00:41:23,960 Speaker 1: really explaining our stories. The question about it is always like, 653 00:41:24,320 --> 00:41:29,560 Speaker 1: is the answer to white racist capitalism? Black capitalism? And 654 00:41:29,600 --> 00:41:31,239 Speaker 1: there is a quote from jay Z where he was like, man, 655 00:41:31,320 --> 00:41:35,239 Speaker 1: y'all talk about capitalism like it's a bad thing. Yeah, 656 00:41:35,239 --> 00:41:40,359 Speaker 1: I from JAYZ was drug deal like this, I'll make money. 657 00:41:40,800 --> 00:41:43,480 Speaker 1: How he was like, we can't have freedom if we 658 00:41:43,520 --> 00:41:47,080 Speaker 1: don't control our dollars. I don't understand what the problem is. 659 00:41:49,560 --> 00:41:51,880 Speaker 1: And then some critiques on that is like, well, no, 660 00:41:52,000 --> 00:41:55,800 Speaker 1: you're the problem is capitalism itself. Right. You have people 661 00:41:55,880 --> 00:41:59,839 Speaker 1: like I Mortal Technique who's like, no, it destroy it all, 662 00:42:00,400 --> 00:42:05,000 Speaker 1: burn it all down, Like I don't know now does 663 00:42:05,040 --> 00:42:06,600 Speaker 1: he disagree with jay Z Well, I don't know a 664 00:42:06,680 --> 00:42:08,719 Speaker 1: mortal technique to know him well enough. I just know 665 00:42:08,880 --> 00:42:13,120 Speaker 1: his answer. Burn the whole thing down. You have people 666 00:42:13,160 --> 00:42:16,120 Speaker 1: like Killer Mike that's like, no, you invest in your 667 00:42:16,160 --> 00:42:21,160 Speaker 1: own you do you support black businesses, you only buy 668 00:42:21,160 --> 00:42:23,279 Speaker 1: black you put your money in black banks, And you 669 00:42:23,360 --> 00:42:26,600 Speaker 1: tell these politicians that I'm only voting for you if 670 00:42:26,640 --> 00:42:30,680 Speaker 1: you do shit for my community. This is transactional. I'n 671 00:42:30,920 --> 00:42:32,759 Speaker 1: fuck about who you are. Are you doing this for 672 00:42:32,800 --> 00:42:37,480 Speaker 1: black people? I don't care about nobody listen. Are you 673 00:42:37,480 --> 00:42:41,879 Speaker 1: gonna raise our community? Then yes, I'm damn If you're 674 00:42:41,880 --> 00:42:43,799 Speaker 1: not gonna raise our community, I don't want to hear shit. 675 00:42:43,840 --> 00:42:45,960 Speaker 1: You got to say, I'm gonna vote you out. I 676 00:42:45,960 --> 00:42:50,000 Speaker 1: will sit down with anybody that's gonna advance the black community. 677 00:42:50,080 --> 00:42:54,120 Speaker 1: That's Killer Mike's answer is that it's and what I'm 678 00:42:54,200 --> 00:42:57,920 Speaker 1: arguing is that's I mean, they're both a tradition of 679 00:42:57,960 --> 00:43:00,880 Speaker 1: hip hop because you can't separate them from politics. We 680 00:43:01,000 --> 00:43:06,320 Speaker 1: used to make bars about Donald Trump. Then why Z 681 00:43:06,440 --> 00:43:09,280 Speaker 1: and Nipsey had a song called Fuck Donald Trump? Because 682 00:43:09,280 --> 00:43:13,600 Speaker 1: it's always been about politics, It's always been about fighting 683 00:43:13,640 --> 00:43:18,840 Speaker 1: the power. The question still remains, do you fight the 684 00:43:18,920 --> 00:43:24,440 Speaker 1: power from within or without? How can we continue to 685 00:43:24,440 --> 00:43:26,520 Speaker 1: fight if we keep talking about our women the way 686 00:43:26,560 --> 00:43:30,279 Speaker 1: we talk about it? Do you stop talking about the 687 00:43:30,280 --> 00:43:33,920 Speaker 1: streets you only do the positive shit? I don't know. 688 00:43:35,400 --> 00:43:37,800 Speaker 1: All I know is I'm just happy hip hop is 689 00:43:37,840 --> 00:44:05,120 Speaker 1: here because it changed my life. Hood politics, y'all. You know, 690 00:44:06,640 --> 00:44:08,400 Speaker 1: I don't know why I ain't thought of this before, 691 00:44:08,719 --> 00:44:12,600 Speaker 1: but you know you could use promo code Hood for 692 00:44:13,440 --> 00:44:17,719 Speaker 1: fifteen percent off on terraform colbrew dot com. Like I 693 00:44:17,760 --> 00:44:22,200 Speaker 1: forgot I own that company and this is my pod, y'all, 694 00:44:22,440 --> 00:44:25,160 Speaker 1: go ahead and bunch it. Promo cold Hood if you 695 00:44:25,280 --> 00:44:29,360 Speaker 1: in the cold Brew, get you some cold Brew, Gonna 696 00:44:29,360 --> 00:44:32,160 Speaker 1: get you some coffee. Yeah, Like, I can't believe I 697 00:44:32,160 --> 00:44:33,279 Speaker 1: ain't think of this still right. 698 00:44:33,200 --> 00:44:46,239 Speaker 3: Now, yo, y'all. 699 00:44:46,320 --> 00:44:48,880 Speaker 1: This thing right here was recorded by Me Propaganda and 700 00:44:48,920 --> 00:44:52,359 Speaker 1: East Lows, boil Heights, Los Angeles, California. 701 00:44:52,719 --> 00:44:54,680 Speaker 3: This thing was mixed, edited. 702 00:44:54,600 --> 00:44:57,919 Speaker 1: Mastered, and scored by the one and the only Matt Awsowski. 703 00:44:58,080 --> 00:45:01,560 Speaker 1: Y'all check out this fool's music. I mean it's incredible. 704 00:45:02,080 --> 00:45:07,160 Speaker 1: Executive produced by Sophie Lichterman for Cool Zone Media. Man 705 00:45:07,520 --> 00:45:09,839 Speaker 1: and thank you for everybody who continue to tap in 706 00:45:09,880 --> 00:45:13,080 Speaker 1: with us, make sure you leaving reviews and five star 707 00:45:13,160 --> 00:45:15,160 Speaker 1: ratings and sharing it with the hommies so we could 708 00:45:15,160 --> 00:45:18,040 Speaker 1: get this thing pushed up in the algorithm and listen. 709 00:45:18,080 --> 00:45:20,160 Speaker 1: I just want to remind you these people is not 710 00:45:20,239 --> 00:45:23,799 Speaker 1: smarter than you. If you understand city living, you understand politics, 711 00:45:23,880 --> 00:45:24,839 Speaker 1: We'll see you next week.