Speaker 1: Watch up and welcome back to another episode of No
Speaker 1: Sealers Podcast with your hosts Now fuck that with your
Speaker 1: low glasses Malone, because I had some crazy thoughts from yesterday,
Speaker 1: but I just been going through this crazy shit for
Speaker 1: the last twelve months.
Speaker 2: It's just been crazy.
Speaker 1: And it's funny because I forgot Kiki was coming with Sega, right,
Speaker 1: So it's like, Dope, Dad, Kiki here, right, Kiki Lok
Speaker 1: shout out to everybody who don't know with Kiki Lok
Speaker 1: legendary West Coast foundation of gangster rap. Feel me somebody
Speaker 1: important in my life since I've been a kid. You
Speaker 1: know what I'm saying, Just all around talent, true blue
Speaker 1: go look it up, do your homework.
Speaker 2: You know what I'm saying. But it's important because more
Speaker 2: than anything, Mute that phone was that this is just yeah,
Speaker 2: somebody that's foundational to me and hip hop that understood
Speaker 2: it way before I understood it, and all of the above.
Speaker 2: So I thought it was dope to have everybody here.
Speaker 1: So my little bro here, my big bro here, Tommy
Speaker 1: Shagging here, my brother Saga, the whole team show.
Speaker 2: It's like dope, I told hid to come on today.
Speaker 1: I never usually have Head come on here, because I
Speaker 1: don't really have too much shenanigans, Like I don't really
Speaker 1: do shenanigans, like I really be thinking about the shit
Speaker 1: I be saying. All my shit be in good faith,
Speaker 1: even if people think I'm crazy, because it'd be in
Speaker 1: good faith, Like I don't really.
Speaker 3: Why does the audience have to suffer them for all
Speaker 3: these headless podcasts?
Speaker 1: Because Head got his own show and you can go
Speaker 1: see Head shit on his show. So I really don't
Speaker 1: try to have Head come over here be fucking up
Speaker 1: all our craziness. But this was important, and I had
Speaker 1: a great fucking idea.
Speaker 2: Yo, this is what I was saying here. May fourth
Speaker 2: should be a day that hip hop celebrates forever. May
Speaker 2: fourth is the day hip hop won its independence back.
Speaker 2: May fourth is.
Speaker 1: A day when an invasion, like a tyrant invaded this
Speaker 1: thing that we call hip hop. You know, fifteen years ago,
Speaker 1: a tyrant, a foreign tyrant, invaded this thing that we
Speaker 1: call hipposy. Sound crazy, I know it sounds bad, sound raggedy,
Speaker 1: but it's truth. Pete a foreign a foreign person, not
Speaker 1: foreign in land, but foreign and cultural experience foreign, and
Speaker 1: was able to mask themselves and parade themselves around as
Speaker 1: the culture.
Speaker 3: Right, huh, a northern imperialist.
Speaker 2: I'm not going to get the land.
Speaker 1: I'm just saying culturally unavailable because they have that same
Speaker 1: culture up there.
Speaker 2: It's just he's not a part of that.
Speaker 1: Think about it, right, May fourth is today hip hop
Speaker 1: won its independence back. It actually became a street even
Speaker 1: elk again thanks.
Speaker 2: To the song not Like Us. That is the day
Speaker 2: Not Like Us was released.
Speaker 1: And I think every May fourth we need to have
Speaker 1: a celebration to celebrate hip hop fighting back and winning
Speaker 1: its independence, no different than they did for the Revolutionary War.
Speaker 1: This morning I woke up, it was a bunch of
Speaker 1: people talking about a little brother, about dot Kop, about
Speaker 1: Kendrick oh Man glasses. You know, he took his moment
Speaker 1: to celebrate Drake as much, and I thought, as much
Speaker 1: as the British. It's celebrated on the fourth of July.
Speaker 4: Yeah, I mean, you know what I'm saying, that's a
Speaker 4: good that's a good take straight up.
Speaker 5: Right.
Speaker 2: It's like it's like, I mean, it's.
Speaker 4: A perversion of the victory. I mean it's like, okay,
Speaker 4: so what then we're celebrating the chiefs. You know what
Speaker 4: I mean there, it's just a way to try to
Speaker 4: pervert or downplay the victory. Like I get you going.
Speaker 4: But at the end of the day, bro, it's a victory.
Speaker 4: However you want to paint it that makes you comfortable,
Speaker 4: you celebrating Drake?
Speaker 5: Okay, cool? Right, cool, that's fine.
Speaker 1: So I was thinking here that we should turn that
Speaker 1: into the first national holiday in hip hop.
Speaker 5: Don't they didn't. Didn't the white people give us one already?
Speaker 2: No?
Speaker 1: No, like, no, they don't. They try to celebrate. No,
Speaker 1: they try to celebrate the day hip hop started with
Speaker 1: a party.
Speaker 5: I feel like there's.
Speaker 3: Gonna get people from New York not terribly pleased with
Speaker 3: this particular selection.
Speaker 5: I disagree.
Speaker 1: Hold up, yeah, we have somebody from New York, from Queens,
Speaker 1: New York, my man Trap looming over the chat with
Speaker 1: his presence and vocals right now, Trap, what do you think?
Speaker 3: Man?
Speaker 2: That's around when the wards was fought?
Speaker 6: Though, you know what I'm saying, Back in the days,
Speaker 6: what was that the Civil War that was fought between
Speaker 6: the North from the South and ship like that?
Speaker 5: Yeah, I mean so, I'm I mean, yeah, I guess
Speaker 5: I wouldn't have no problem with that at all.
Speaker 6: You know, what I'm saying, hip hop's independence day.
Speaker 2: We need to figure out a dope name for it.
Speaker 5: So I don't have a name. Okay, So look this
Speaker 5: is my question, right, Okay, what take So you're saying
Speaker 5: hip hop when it's independence from what?
Speaker 2: From this foreign hierarchy? It's okay.
Speaker 5: So so.
Speaker 4: As an emulator, but not necessarily the truth cloth cut
Speaker 4: from it. He knew cold knew what to do to
Speaker 4: you know, advance and and you know, advance the business
Speaker 4: and put it all together. You know how to manipulate
Speaker 4: that well and present it and mimic it. But at
Speaker 4: the same time, it wasn't of that. It's just like
Speaker 4: somebody coming to your family or your hood or your
Speaker 4: block saying, hey, they're looking at everything you do. They're like, oh,
Speaker 4: this that's cool. That's cool too, that's cool, I'm gonna
Speaker 4: do it. Oh look look I'm dressed like I'm like, y'all,
Speaker 4: look I did too. And then but then the real
Speaker 4: dude from the block comes out because he's talking tough,
Speaker 4: just like them. So it's like, now you meet up
Speaker 4: and just it's what the culture is gonna win every time.
Speaker 5: If you're not from there, no seling money, you grew
Speaker 5: up in it.
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Speaker 3: What is It Pete and Network.
Speaker 1: Glomorate you feel me shout out to my boy, he said,
Speaker 1: I agree, And I'm from South Bronx, the home of
Speaker 1: hip hop the Bronx.
Speaker 5: So again, so you're saying that, you're saying that hip
Speaker 5: hop was colonized.
Speaker 2: Yes, over the last fifteen years, and black.
Speaker 5: And black and culture took it back May fourth.
Speaker 2: And the street urban cultu urban culture took it. One
Speaker 2: man street urban culture came and took it back.
Speaker 5: So what's the significance of May fourth from back in
Speaker 5: the day you said fifteen years ago?
Speaker 2: No, No, May fourth last year.
Speaker 5: Oh got you twenty twenty four?
Speaker 3: Yeah, yeah, it was the day I thought you were
Speaker 3: saying when you started that May fourth was the day
Speaker 3: before like Drake's first shit dropped. No, so there had
Speaker 3: been like this occupation for fifteen years from May fourth
Speaker 3: of twenty ten or whatever the fuck until that ended.
Speaker 3: But we're just talking about when it ended.
Speaker 2: No, No, May fourth is the day that not like
Speaker 2: us dropped. Yeah, gotcha, and it stole it took it.
Speaker 1: Y'all gotta understand, this didn't happen for jazz, all right,
Speaker 1: This didn't happen for jazz. We just lost jazz. There
Speaker 1: was no fight to keep jazz. There was no fight
Speaker 1: to keep rock and roll. Mhm, there was no fight
Speaker 1: to kick this stuff. When when when these people came
Speaker 1: and colonized the rest of this stuff? Shout out to
Speaker 1: the people, because I'm not talking about y'all. Y'all did,
Speaker 1: y'all liked it, and then y'all became it. You know,
Speaker 1: you gotta invest in what's working, right, You gotta invest
Speaker 1: in what's working. If you're in business, you gotta invest
Speaker 1: in what's working. Hip Hop is the first genre of
Speaker 1: all black music that decided to say we're going to
Speaker 1: gate keep. Hm, I saw this white man, Frank.
Speaker 2: Stallan, Selvester Stallone's brother when now, mind you, Beyonce didn't get.
Speaker 5: Anything about to say the country because they was I mean,
Speaker 5: she didn't get.
Speaker 2: Anything the countryward she won Best Country Album at the Grammys,
Speaker 2: and Frank the Loan stood up and said that lady
Speaker 2: is not living.
Speaker 1: A country experience. He named a bunch of other country
Speaker 1: acts that happened to be white. I don't know if
Speaker 1: it's that's why, but they were white and.
Speaker 2: Even said post Malone like, these people dedicate their whole
Speaker 2: life to country.
Speaker 3: Which is funny because Frank's not a country guy, a
Speaker 3: funny guy.
Speaker 5: Yeah right, So it's like I thought about that. I
Speaker 5: was like, so I'm not crazy.
Speaker 2: Even Frank Stallone was like, you know, hey, you're not
Speaker 2: from that culture. You are not from the culture.
Speaker 1: So even if somebody likes Frank who's outside of the
Speaker 1: country culture can notice it.
Speaker 2: I'm not crazy.
Speaker 3: Culture perfect accuracy, it's just it's it's just rot with
Speaker 3: That's that's one of the funnier I wasn't even aware
Speaker 3: of that. That's that's one of the like most more
Speaker 3: layered funny irony statements like real of the recent times.
Speaker 5: Like that.
Speaker 2: I can't knock that, you know.
Speaker 3: Like you really like from like Houston, like that part
Speaker 3: of that culture area in Houston, like that's it's hard
Speaker 3: to I mean, you gotta be out like farming in
Speaker 3: the sticks to be more country culturally than like than Texas.
Speaker 3: I mean ship.
Speaker 1: Shout out to doctor, thank you for the two dollars.
Speaker 1: Y'all can celebrate on the West real good down south there.
Speaker 2: You need to get in on this.
Speaker 5: So do you think that so what happens when it
Speaker 5: gets colonized again, it's gonna I don't think.
Speaker 2: It's going to happen.
Speaker 5: It's gonna happen again.
Speaker 4: I'm going to be not for a long while. It's
Speaker 4: gonna be a minute. It's gonna be a minute. It's
Speaker 4: gonna happen.
Speaker 2: You're gonna control.
Speaker 5: Now we just have.
Speaker 4: It's a different perspective of understanding what you have now.
Speaker 4: What about to the next young generation?
Speaker 7: Do you think they're gonna be aware as much as
Speaker 7: what we're aware about right now?
Speaker 1: I don't think so. And I'm gonna tell you why.
Speaker 1: Me and Kiki was just talking about this off air.
Speaker 1: Shout out to my og on the k Loco. Right, No,
Speaker 1: it's not just that hip hop is in a weird space.
Speaker 1: Because if we don't find out the independent business side
Speaker 1: of this, it's gonna pass. It's gonna it's gonna die
Speaker 1: off anyway, right, because the production company creates the opportunities
Speaker 1: for the record labels, like they don't know what else
Speaker 1: to do.
Speaker 2: They're going to sign whatever we're pushing.
Speaker 1: So they're gonna either sign whatever we're selling them, right,
Speaker 1: or they're gonna try to get an identity identical version
Speaker 1: of what we're selling.
Speaker 2: So when they missed on Snoop Dogg, they signed Warren
Speaker 2: G def Jam.
Speaker 1: I mean, when people miss they go sign you know,
Speaker 1: That's why regions get hot, That's why people think the
Speaker 1: West has a chance.
Speaker 2: By the way, right, they feel like the West has
Speaker 2: a chance. Like, well, Kendrick is popping, he has the sound,
Speaker 2: and me and Kick was just talking about this.
Speaker 1: There is no West Coast sound. The West Coast what
Speaker 1: you call sound is built off funk music. We just
Speaker 1: adopted funk music. Their generation adopted funk music. But KEI
Speaker 1: gi them listen to all kinds of the music too. Yeah, yeah,
Speaker 1: I think it's fair to say that the party was
Speaker 1: more active to funk and that became the foundation of
Speaker 1: our hip hop.
Speaker 2: But that don't mean it's our sound. We have a
Speaker 2: pace of life like it is always talks about.
Speaker 3: Though it's all derivatives, it is in the context of
Speaker 3: hip hop.
Speaker 5: I think it does.
Speaker 4: I think that we do have a sound, though we
Speaker 4: don't have the way that we put together those sounds
Speaker 4: sound the way that we sound, yeah know, the way
Speaker 4: we put together context because because even the G Funk didn't.
Speaker 5: Use it, it was fun.
Speaker 2: The way we use those, we don't really have a sound.
Speaker 3: We talk about regional VPNs.
Speaker 5: Where would you say that?
Speaker 7: Where would you say that you find the way they
Speaker 7: use the G funk stuff somewhere else besides Detroit.
Speaker 2: Well, remember KEI can tell you firsthand they grew up
Speaker 2: off EPM D. That was the ship. All my older
Speaker 2: homies brag about EPMD and they was using.
Speaker 5: Funk, but they were using funk.
Speaker 4: When you take diamond D funk, it's a whole nother
Speaker 4: it's funk, but it's just the sound of it.
Speaker 5: Articular history.
Speaker 4: One of you hunted the perspective which gives us the
Speaker 4: West Coast sound.
Speaker 7: Because I mean, I mean I guess you can say
Speaker 7: this in different eras in ages, because when I think
Speaker 7: West Coast, I.
Speaker 3: Think them simps.
Speaker 7: I think that, like you said, in the sense because
Speaker 7: of the era of where I started at in my
Speaker 7: age group that boom boom, you feel me that that's
Speaker 7: in a sense considered West Coast in my era. But
Speaker 7: when you hear something else like that, you're not gonna
Speaker 7: consider that what you're thinking.
Speaker 3: Bro, you creep shaking your head. I think you're shaking
Speaker 3: your head at me because usually I'm the wrongest.
Speaker 5: I'm streaking because I have a real issue with this topic, right,
Speaker 5: so you said I have a super issue with this topic.
Speaker 5: I just Joe Budd. I was talking to Joe Budd
Speaker 5: and his minions about this, and because I asked him,
Speaker 5: I asked him, based on you know, what I've heard,
Speaker 5: and the conversation I've had is pump it Up. Has
Speaker 5: he ever heard pump it Up be considered a West
Speaker 5: Coast record? He said, no, He's never heard that. It's
Speaker 5: an interesting question. The reason why I asked that is
Speaker 5: because anything that has tempo to it now, everybody automatically
Speaker 5: assumes to this West Coast. I don't like that narrative
Speaker 5: because that's never been the case. I wanted to know
Speaker 5: when that pivot and when that shift happened. What defines
Speaker 5: a song that's being quote unquote West Coast or sounding
Speaker 5: West Coast? Is all based on funk, It's all based
Speaker 5: on the bass guitar. If the bass line plays a
Speaker 5: certain way at a certain tempo, that's considered West Coast
Speaker 5: music because stereotypically and traditionally culturally, our music is based
Speaker 5: on funk, which is or comes from the bass guitar itself.
Speaker 5: So you can play other records that are the same
Speaker 5: tempo but with censitizers in it, Like Bruno Mars uses
Speaker 5: a lot of you know that that type of sound.
Speaker 5: His songs are between one hundred and four and one
Speaker 5: hundred and ten bpm, and those songs are not considered
Speaker 5: quote unquote West Coast songs. Even a song called Uptown
Speaker 5: Funk is not considered a West Coast song, and that
Speaker 5: song is like I think one O seven if my
Speaker 5: memory serves me correctly. So I hate that narrative. Like
Speaker 5: even if you listen to Black Eyed Peas, Let's get
Speaker 5: it started, it's a classic song, right, that's one hundred
Speaker 5: and five bpm. That bassline, there's a strong bassline and
Speaker 5: there's two of them, goes boom boom boom boom boom boom.
Speaker 5: But the way it's played, people don't look at it
Speaker 5: like it's West Coast. People look at it like a
Speaker 5: pop record. So the reason why I say I have
Speaker 5: an issue with that is because music with music around
Speaker 5: one hundred and ten one hundred epm with a baseline
Speaker 5: doesn't automatically make it a West Coast song like I
Speaker 5: hate exactly. I agree.
Speaker 7: I would agree with that one hundred percent, though I
Speaker 7: would not say that the bpm and bassline determines West Coast.
Speaker 6: Know.
Speaker 4: What I'm saying is it does based on how it played.
Speaker 4: But the problem is that's for people that people are listening.
Speaker 4: I'm not saying it does make it West Coast. I'm
Speaker 4: saying to the percept, the reception and perception of human beings,
Speaker 4: they perceive it to be a West Coast song. Rick
Speaker 4: Flair Drip is not one hundred bpm and it has
Speaker 4: an eight a eight base to it, but Metro made
Speaker 4: it with trap sounds.
Speaker 3: Again on those like not like it's a corny example
Speaker 3: because it's been used a million times like from another scenario.
Speaker 3: It's like like the not all Muslims are terroristball terrorists
Speaker 3: and Muslims kind of thing, you know, type of like
Speaker 3: it's like not every time that.
Speaker 5: Song that j head has nothing to do with that
Speaker 5: statement that was just made.
Speaker 3: It's like, I mean, it's just like not every time
Speaker 3: West Coast every time.
Speaker 2: You know what I'm saying, but but that's not what
Speaker 2: I'm saying what people keep saying. So what people.
Speaker 1: Keep saying sounds West Coast, that's not what's happening. Like again,
Speaker 1: like he just who would you just say? That produced
Speaker 1: key from New York? There are Whudini Larry Smith used
Speaker 1: funk like this is a like this is a crap narrative.
Speaker 1: Remember g thing is just Leon Haywood. I want to
Speaker 1: do something freaky to you that's not really special to
Speaker 1: us or nothing.
Speaker 2: That was just something that was happening.
Speaker 1: So a lot of the things that we're getting caught
Speaker 1: up with on hip hop is what things sound like
Speaker 1: but sound like it's really a lazy effort to identify something.
Speaker 1: Shout out to my boy Low Diggs. He used to
Speaker 1: always have this expression and I use it all the time.
Speaker 1: To listen clinically is to listen and end right listen
Speaker 1: and in right. That's the clinical definition of listening. To
Speaker 1: listen and in to hear is to acknowledge sound. It's
Speaker 1: without detail. So that's why when like you arguing with
Speaker 1: a girl and she's not listening, she's hearing you, you're
Speaker 1: gonna say something. She gonna say what sound like you said,
Speaker 1: because she's telling you emotion what's happening. She's not taking
Speaker 1: the detailed listening. So that's my point when I'm saying
Speaker 1: when we keep saying West Coast hip hop, like West
Speaker 1: Coast hip hop is not really we built a foundation
Speaker 1: on funk, but it is not the complete foundation. The
Speaker 1: tempo and pace of life is more important than actually
Speaker 1: the genre we use. We can make the same thing
Speaker 1: with blues, which is how you get MC eight and
Speaker 1: Compass most morning records.
Speaker 2: We can make the same things with jazz, which is
Speaker 2: how you get dubbed C you are the one of
Speaker 2: different things. We can do the same thing with R
Speaker 2: and B, which is how you get Doctor Dre and
Speaker 2: a lot of the stuff they were doing early on.
Speaker 2: It's not just funk, but I get it that people
Speaker 2: start right there and say it sounds like something, but
Speaker 2: that's only to the common person who don't understand. There
Speaker 2: is nothing g funk about next episode. There's not even
Speaker 2: a funk song.
Speaker 8: But you know what, though, check on the body gonna
Speaker 8: you're gonna place. What sound sound like? What? Technically hip hop?
Speaker 8: Nobody don't sound like we're on hip hop?
Speaker 5: African of.
Speaker 8: All them cats that hip hop. That's that's how it started. Yeah,
Speaker 8: so ain't no rapper sounding like that?
Speaker 5: Sure, bro to touch on what Keith just said, just said, bro, like,
Speaker 5: if you go back right, what's the song put your hands,
Speaker 5: put your hands on mine to see. Yeahs runs Buster Runs,
Speaker 5: that's ninety nine b pm. That has a strong base
Speaker 5: based presence. But then one hundred bpm. If you go
Speaker 5: to like Lauren Hill do wop, you know that's on
Speaker 5: that thing, that's one hundred bpm too. Nobody ever said
Speaker 5: that that sounded like a West Coast song, you know
Speaker 5: what I'm saying. So, and that's and that's nothing sounds
Speaker 5: like that ship So my, that's why I asked the
Speaker 5: question when I was talking to Joe. It's like, when
Speaker 5: did this shift? I think it's just a bunch of
Speaker 5: motherfuckers who don't know what the fuck they're talking about exactly,
Speaker 5: classifying ship like that's trap exactly. Like if you think
Speaker 5: of trap music, wasn't even that slow DJ toom when
Speaker 5: they created trap music. Trap music was between seventy five
Speaker 5: and eighty eight bpm. It wasn't.
Speaker 4: It wasn't in the sixties, and shit like Bad and
Speaker 4: Bougie would probably be quote unquote the biggest trap song ever,
Speaker 4: and that's sixty four bpm.
Speaker 5: But when Tomping Them started that ship, that shit was
Speaker 5: in the mid eighties, same tempo as New York backpack
Speaker 5: hip hop.
Speaker 2: Yeah, and New York backpack hip hop can go as
Speaker 2: high as one hundred and ninety nine.
Speaker 1: If you go to Cane, you can go to one
Speaker 1: ten and one twenty. So the only thing I really
Speaker 1: resonate when it comes to West Coast sound is what
Speaker 1: Head talks about when he talks about pace of life.
Speaker 1: That's the consistency, right, bpm is the consistency.
Speaker 8: Frequency the vibration.
Speaker 2: I was saying, I like that too. If you think
Speaker 2: about it, right.
Speaker 9: It's like, does that would that be like considered vibe?
Speaker 9: I hate that word too vibe, So like well, saying
Speaker 9: something like that, but it's vibe is like dio like that.
Speaker 2: It would you consider that like the what is just
Speaker 2: like vibration and frequency the mic?
Speaker 8: Because Uh, vibration and frequency got to do with the tempo.
Speaker 8: So if you go to a party, you don't just
Speaker 8: plan something that said one hundred ppm and then all
Speaker 8: of a sudden drop down to forty or fifty just
Speaker 8: on the fly. Yes, you're doing some type of special
Speaker 8: set or something, but not as a party to keep
Speaker 8: the energy of the party gonna erupt. They're gonna be
Speaker 8: like what the hell?
Speaker 7: Yeah, So would y'all put genres in like situation by bpm?
Speaker 1: Then no, because you can't put jobs the question he said,
Speaker 1: do you put genres by bpm?
Speaker 6: No?
Speaker 5: But I'm saying, I'm asking him to break that question down.
Speaker 5: What do you mean by that?
Speaker 2: Before I say, can you define genres by how fast
Speaker 2: the song?
Speaker 6: Is? No?
Speaker 4: No, what defines? But okay, so what defines? So is
Speaker 4: there like an East Coast sound?
Speaker 2: You know what I mean?
Speaker 5: So there's no step to it. So we're saying, you're
Speaker 5: saying that's right. So you're saying there's no sounds.
Speaker 7: But if you're saying that everything is defined by if
Speaker 7: you're not saying that it's not defined by BPM, and
Speaker 7: you're saying that West Coast music, well you're not saying
Speaker 7: it's this because it's this BPM or it's this BPM.
Speaker 7: And I'm saying for me, I would not say a
Speaker 7: song is vibed or genre or anything by the BPM.
Speaker 1: If I say that, no, that's that's not what we
Speaker 1: that's not what we Okay, So I'm saying the closest
Speaker 1: you can get to consistency is that. But you got
Speaker 1: to remember, right, pace of life matters, how fast people
Speaker 1: are living their lives.
Speaker 2: But you can't. There's fast blue songs, there's slow blue.
Speaker 2: So what you call DJ quicker West Coast artists, yes,
Speaker 2: because he's from Compton.
Speaker 5: But would you say it has a West Coast sound?
Speaker 2: But but but that's a lazy No. I wouldn't say
Speaker 2: that anymore because like I you say, you would say
Speaker 2: more like it's generic.
Speaker 4: You would just more so say hey, let's let's let's
Speaker 4: call it what it is. I mean, funk music. I'm
Speaker 4: from the roots quin trying to quint.
Speaker 1: Essentially, he's the father of what you would call g
Speaker 1: funk based off of what the sound is right. Taking
Speaker 1: that clear song back in eighty eight, playing that baseline
Speaker 1: over doing tonight is what the quintessential G funk song
Speaker 1: sounds like. Are we saying G funk is West Coast
Speaker 1: hip hop? Sure, if that's what you want to say,
Speaker 1: But I'm telling you the problem is you won't miss headpoint.
Speaker 2: You won't call Bruno Mars G funk.
Speaker 1: No, you won't call a bust around using that seals
Speaker 1: and cross sample to make put your hands G funk.
Speaker 2: You wouldn't make it. So it's not the fact.
Speaker 7: Because I feel like they're just taking aspects of G
Speaker 7: funk to put into their day.
Speaker 2: But there is no aspect because it's only funk, right, elements,
Speaker 2: so elements the element.
Speaker 4: But well, no, it's how it's how G funk uses funk.
Speaker 4: They're taking the element the way that G funk is.
Speaker 4: It's a little separate from just regular funk because G
Speaker 4: funk gonna give you a whole nother, whole nother vibe.
Speaker 4: They're taking the same, the same it's just a it's
Speaker 4: just a tree. They're doing the same thing from G funk. Okay,
Speaker 4: this is how they did funk hm hm instead of
Speaker 4: doing it like this we're gonna do it like like
Speaker 4: they did it and.
Speaker 5: The U and the you know display, that's what they think.
Speaker 10: It's real quick. I think the main I think the
Speaker 10: main thing that's that's the difference between the Trump that
Speaker 10: they're using. You know, what I'm saying is the different
Speaker 10: different kicks, different trumps, different trump, different stands, use a
Speaker 10: different And also we're saying, you know, West Coast, Sam,
Speaker 10: what if that organ all the time on the home
Speaker 10: or the or the guitar that use within the sis
Speaker 10: y'all using the SAT.
Speaker 2: They don't use no other on all the coats. But
Speaker 2: that's what I'm saying.
Speaker 1: That's but I'm telling y'all because but just listen, trap
Speaker 1: y'all saying because we use more funk elements.
Speaker 2: That that makes it West Coast.
Speaker 5: I'm saying, how we use the funk elements makes it West, but.
Speaker 2: We don't use them any specific way that they only
Speaker 2: keeping used one.
Speaker 5: Definitely do because we listen. It's like Kanye, the way
Speaker 5: Kanye used his sound using.
Speaker 4: What we said, you're just using oldies. Kanye started out
Speaker 4: using oldies. It was how he used them. It's made
Speaker 4: that sound which is now Kanye Chicago sound. It is
Speaker 4: what it is, but it's taking a gang of oldies music.
Speaker 4: We can say, Okay, well that's not that's not is
Speaker 4: uh this is so this is R and B because
Speaker 4: you took.
Speaker 2: From listen, y'all are taking it's the same very it's
Speaker 2: the same idea to something that's way way way denser.
Speaker 2: I'm not saying much more dense than you could imagine. Again,
Speaker 2: we're using the same elements that we didn't create. An
Speaker 2: element like the lead existed. Like when you listen to
Speaker 2: Leon Heywood, I want to be that he uses it
Speaker 2: like nobody using like like like a DJ quick or
Speaker 2: like what's his name? Battle from Battley? Who else use
Speaker 2: is everybody?
Speaker 1: Larry Smith is the father of their style, right, so
Speaker 1: they took Larry Smith and and ma it's not unique,
Speaker 1: but they did the way they did it.
Speaker 5: They use storyline that was the West Coast.
Speaker 2: Y'are not heard else doing that.
Speaker 5: That's why it sounds cool when when I feel like
Speaker 5: you know, they're.
Speaker 1: Telling you this is what Kiki just said. Ask them
Speaker 1: about e PM. If you listen to E P, M D,
Speaker 1: if you listen to all the other funks, you would
Speaker 1: hear this thing.
Speaker 5: A lot of artists took the West Coast, saying.
Speaker 1: The norm that doesn't it's not the norm here. Don't
Speaker 1: nobody everybody don't use okay list when we're talking, y'all
Speaker 1: got because we're all talking at the same time, so
Speaker 1: it's one mic, one fee.
Speaker 2: So what I'm saying to you is we didn't invent
Speaker 2: the lead. We didn't invent that. That's a that's from
Speaker 2: the funk You weren't as a funk music asset that
Speaker 2: we took from funk music. So we all using out
Speaker 2: the same pot of music. We're all using out the
Speaker 2: same pot of music. We're all using got the same pot.
Speaker 3: A proportional that is so critical mass regionally that it
Speaker 3: is not in other regions.
Speaker 1: But it's not even nobody else uses it but them.
Speaker 1: It's not like Quick uses it. It's not like Warren
Speaker 1: uses it. It's not like none of these people use it.
Speaker 2: Kigg didn't use it.
Speaker 3: Siren proof a point yesterday. There's not there's not a
Speaker 3: big act that comes out of there other than.
Speaker 5: Like O T really, but.
Speaker 2: This is the problem is sometimes.
Speaker 1: This is gonna sound. That's the whole this is sound,
Speaker 1: he said. Paul's clapp, you talking about how to go
Speaker 1: from that. This is gonna sound more prejudice than I
Speaker 1: wanted to sound, not to you, like like in race
Speaker 1: related but just in music. Trust me, this is not
Speaker 1: how everybody sounds Pete like this. This is more and
Speaker 1: it's like if you hear it from this surface level,
Speaker 1: then you think everybody sounds like this. We're all pulling
Speaker 1: from one pot. The only music that I can remember
Speaker 1: that had a mass movement that was created on the
Speaker 1: West Coast from musicians with Sunshine pop. There is nothing else.
Speaker 1: Everything else in hip hop is an interpolation of some
Speaker 1: other genre.
Speaker 3: That's what I'm saying. It's all derivative.
Speaker 1: But what I'm telling you is everybody on the West
Speaker 1: didn't use that same element of funk that Dre used.
Speaker 1: The lead became popular for Dre, but that's not what
Speaker 1: everybody else did. Battle Cat didn't usual lead. Battle Cat
Speaker 1: don't have leads in the song. He plays the bass differently.
Speaker 1: So again, so when we keep saying West Coast sound,
Speaker 1: it's not really true. It's a lazy way of approaching
Speaker 1: something that's way deeper.
Speaker 5: Exactly.
Speaker 2: That's what we're trying to say to y'all. It's way deeper.
Speaker 2: So like when people say not like us sounds like
Speaker 2: a West Coast song, why the fuck does that sound
Speaker 2: like a West Coast song to you?
Speaker 5: You know why?
Speaker 2: Yes, But I'm saying again it's a lazy categorized.
Speaker 5: But also to G's point, I expect human beings to
Speaker 5: be lazy, and I expect human because it's light because
Speaker 5: I'm using a polite word lazy. Lazy is the polite
Speaker 5: word I call people stupid.
Speaker 3: That's where you and I agree that.
Speaker 5: I don't like to say people are stupid because they're
Speaker 5: not cable.
Speaker 3: But where's the line between nuance? And that's my question,
Speaker 3: because where's the line then between nuanced and theme because
Speaker 3: thematically there seems to be a general consensus of agreement
Speaker 3: and nuance. It was always space separated.
Speaker 1: First off, Pete, we never used the term gangst the
Speaker 1: rap that was not That's what everybody outside that didn't
Speaker 1: know class sonically.
Speaker 3: I'm not even talking terminology.
Speaker 2: I'm telling you, but that's what I'm saying. We didn't
Speaker 2: say that ever. Nobody said this is the West Coast
Speaker 2: sound that made the music, So it was only from
Speaker 2: how people needed to classify it that didn't know what
Speaker 2: it was that's exact y'all was making music. He was like,
Speaker 2: I'm making the New West Coast sound. Yeah no, he
Speaker 2: did not.
Speaker 4: I think that when it when it developed and it
Speaker 4: came out, it was like, this is what it is.
Speaker 4: That's where I'm from. And that's not what stamped a sound.
Speaker 5: Like people who didn't know it provided a sound though
Speaker 5: he didn't put so that's not that's not no, that
Speaker 5: makes sounds in the.
Speaker 2: City revolutionary war. Bro, this is crazy. That's not what happened.
Speaker 2: What you mean, that's not what happened, bro, Like I'm
Speaker 2: gonna tell you the war so quick quick.
Speaker 1: Tonight is the first song that would be titled the
Speaker 1: way or the sound that you would call g funk. Right,
Speaker 1: taking the sample, replaying the bass, making the bass centerpiece
Speaker 1: of the music, and then doing your tough rap whatever
Speaker 1: you think a tough rap is, right Boom. They were
Speaker 1: listening to Too Short shout out to play him. They
Speaker 1: were listening to two shorts album that Don't Fight the Feeling? Right,
Speaker 1: that became the first in New York. Right, what too Short,
Speaker 1: Don't Fight the Feeling? I was kidding, Oh okay, so again, right,
Speaker 1: but I'm saying that wouldn't be considered g funk, or
Speaker 1: that wouldn't be considered none of this. So again, everybody's
Speaker 1: pulling out of a funk pot. EPMD pulled out of
Speaker 1: a funk pot. Houdini pulled out of a funk pot.
Speaker 1: Have a song called five Minutes of funk that could
Speaker 1: be a West Coast song?
Speaker 3: Yeah, sure, there's examples of that. What's his name? Like,
Speaker 3: I just heard the song. It's actually a decent example,
Speaker 3: Like Filthy Riches did a song off the old Little
Speaker 3: John Trick Daddy track and it sounds seamless because because.
Speaker 2: We are not.
Speaker 1: First off, remember James Brown is coined as the creator
Speaker 1: of funk. He's from Georgia, the people who got the
Speaker 1: most props from funk. Right, it's probably Parliament in them, right,
Speaker 1: George Clinton from New Jersey. Boosy is from Ohio, like
Speaker 1: bro Dayton Roger and from Dayton Rogers happening from Dayton.
Speaker 1: You feel me like, it is not simple, it's a
Speaker 1: I get it. I get why the lazy fan likes
Speaker 1: to say the West Coast sound, but there's nothing about
Speaker 1: Leon Haywoods. I want to do something freaky to you
Speaker 1: and then sampling that to say, hey, this is West Coast, like,
Speaker 1: even if you hear the lead, it's because you don't
Speaker 1: understand it comes from a group out of Ohio.
Speaker 5: So again, use the sound was what made it West Coast.
Speaker 2: It was always big. It was always big. That's why
Speaker 2: they That's why Dre and them used it. It was
Speaker 2: already black.
Speaker 5: I'm on f y, which is will I AM's AI.
Speaker 5: It's probably the most powerful AI. Right. So I asked
Speaker 5: it what makes a song sound West Coast? And it says,
Speaker 5: Number one, funky bass lines. The groove is often driven
Speaker 5: by funky, smooth bass lines that give it relaxed bounce.
Speaker 5: Number two smooth R and B soulfulness. There's a blend
Speaker 5: of hip hop with elements of R and B and soul.
Speaker 5: Sometimes the use of melodic of melody to deliver the smoothness.
Speaker 5: UH three laid back beats. The beats tend to be
Speaker 5: uh the smooth. The beats tend to be smooth compared
Speaker 5: to other beats like East Coast rap. Uh four synthesizers
Speaker 5: and funky guitar riffs, five G funk elements, and six storytelling.
Speaker 5: So that makes the whole West Coast sound.
Speaker 2: And think about this we didn't originate any of that
Speaker 2: in hip hop space.
Speaker 3: That's not that's.
Speaker 4: It's like, now you're arguing, okay, well, since we didn't originate,
Speaker 4: we didn't make the guitar.
Speaker 5: This can't be rapped. This is just guitar, right, nobody
Speaker 5: I'm presenting to you.
Speaker 2: They're saying the base is the main melody of the song.
Speaker 2: We're not the first ones in.
Speaker 5: Hip hop to do that, all right. I have a
Speaker 5: question saying that you a producer, k you a producer?
Speaker 5: If I told you that this is a producer to hold.
Speaker 3: On hypothetically, You're not hypothetical.
Speaker 5: I'm getting out. This is but from a producer standpoint,
Speaker 5: if I told you to make me a trap beat, right,
Speaker 5: how would you approach that? Where would you set the
Speaker 5: metron though I'm setting it.
Speaker 4: I'm setting the metronome at one twenty, and then I'm
Speaker 4: going getting a ways.
Speaker 5: I was just about to start with that's starting with anyways.
Speaker 5: But that's what I'm saying. So it's like, but.
Speaker 7: How there exactly how you starts and from there it
Speaker 7: really don't matter because now we're in the trap.
Speaker 5: Mind of my snare is.
Speaker 2: About to be light.
Speaker 5: My high hats are about to be light. They're about
Speaker 5: to be sped up to.
Speaker 1: Which rolls us into this different conversation. Shout out to Dre,
Speaker 1: Shout out to the whole lunch table. Appreciate y'all comment,
Speaker 1: and thank y'all. It's cracking. I got a little bro
Speaker 1: head here, got my big logo, Here, got my brother
Speaker 1: Sega becuzz right here. Check it out, Dre says, malone.
Speaker 1: Did you hear that ship? Hit maker said? And that's
Speaker 1: my problem. This is why it goes back.
Speaker 2: To this point.
Speaker 1: So immediately when you start making trap, you're starting to
Speaker 1: emulate what you think trap sounds like.
Speaker 5: I'll give you that it's not this because because.
Speaker 3: That's to acknowledge that it has a sound.
Speaker 2: But that's the problem. It doesn't have a sound.
Speaker 1: Pete that you're the vex. The fact that you're a
Speaker 1: white person said that. You know what, this is the
Speaker 1: exact problem, right, it's it's it.
Speaker 3: Has depends on how you look at it.
Speaker 2: No, it's not the solution, but that's the problem. And
Speaker 2: this is why I'm saying saying. This is why May
Speaker 2: fourth is so important, right, because it forced you to
Speaker 2: stop fucking with other people's ship and emulating their ship
Speaker 2: to make some dope shit. That's why May fourth is
Speaker 2: important for the last sixteen seventeen years.
Speaker 3: So it's not extracting funk music leaving it where walking.
Speaker 2: Since the owl came out, the ow gotcha how came
Speaker 2: out hit maker? I said he set the standard of
Speaker 2: how you guys make hip hop producers. So you guys
Speaker 2: said to make it to the top, I need to
Speaker 2: make it sound like this. That's how you make fucking
Speaker 2: pop music. That's not how you do this thing called
Speaker 2: hip hop. Rick Rubin does not sound like Smith. Larry Smith,
Speaker 2: don't sound like Marlly Mare. Marlly Mare.
Speaker 1: Even when Dre tried to do his best rendition of
Speaker 1: Marlly More, it don't sound Dre didn't really hit until
Speaker 1: he figured out something that he can be the first
Speaker 1: and own.
Speaker 2: It looks like he creating in the space.
Speaker 3: It's not the whole thing we're talking about.
Speaker 1: No, because you keep saying the West Coast sound, Warren
Speaker 1: g didn't win because he sounded like doctor Dre.
Speaker 7: You're not wrong, But in a sense of being a
Speaker 7: in the sense of being a producer, we're looking to
Speaker 7: try to get shit placed.
Speaker 2: So hell yeah, I gotta make a beat that sounds
Speaker 2: like this person or this person or this.
Speaker 1: Person between industry, that's the difference between industry and hip hop.
Speaker 1: If I shout out to my boy Trapped for that
Speaker 1: difference between industry and hip hop, you're trying to be
Speaker 1: in the industry, not make hip hop.
Speaker 2: Hip Hop is not about industry. That's the trick. It's
Speaker 2: the reason why slip shit don't sound like Dre, Dre
Speaker 2: shit don't sound like Warren, and Warren shit don't sound
Speaker 2: like Quick.
Speaker 1: You can distinctively tell all the difference. Even though they
Speaker 1: all could be inspired by funk, all their ship sounded
Speaker 1: different because they wasn't trying to place fucking.
Speaker 3: Beats more similarity than they would have differences.
Speaker 5: They don't.
Speaker 2: Listen, they don't have similarities. They really don't. If you heard,
Speaker 2: if you heard m C A ghetto took me under.
Speaker 2: It does not sound like things.
Speaker 5: So the sound came from the.
Speaker 2: Sound is a lazy way of approaching making hip hop.
Speaker 1: Which is why the independence was one on May fourth,
Speaker 1: so you niggas could stop making.
Speaker 2: Them sound beats, them dom sounding type beats. Stop doing that.
Speaker 2: You actually gonna have to work your ass off and
Speaker 2: figure out what the public fucking want to hear again.
Speaker 1: You actually gotta get back out there and do it.
Speaker 1: Hit Makers sat down with Ray Daniels. Shout out to
Speaker 1: Ray because I can't wait to say when it Shout
Speaker 1: out to Bird. That's my brother to hit Makers, a
Speaker 1: solid du.
Speaker 5: Bird, But on my show he hard I love.
Speaker 3: Crazy.
Speaker 2: That is hello dope, and he's a mos.
Speaker 5: You know what we're doing for the new school niggas
Speaker 5: is a solid nigga was making a record, but this
Speaker 5: is my problem.
Speaker 1: For years, he was able to look at what was
Speaker 1: popping because the presence of that nigga looming over you,
Speaker 1: that foreign invader to the culture, foreign invader because he's
Speaker 1: outside of the culture. He had y'all motherfucker's handcuffed and
Speaker 1: maybe some of y'all benefited as producers. Maybe some of
Speaker 1: y'all benefited as producers, right because you was like, I
Speaker 1: can give me a check if I make this beat
Speaker 1: that sound like this, that is bullshit.
Speaker 2: And that's why hip hop is in the predicament. It's
Speaker 2: in and it's been fucked up for the last fifteen
Speaker 2: plus years.
Speaker 1: Because you niggas will not understand that this ain't about
Speaker 1: a sound, nothing about two thousand and one is g
Speaker 1: funk nothing. If you are a fucking producer in this space,
Speaker 1: you are you're supposed to be trying to rewrite this ship.
Speaker 1: You're supposed to be trying to to captivate the whole culture.
Speaker 2: Kept up?
Speaker 3: How many how many young producers they let it, they
Speaker 3: let come in on some new show.
Speaker 5: It's not when you said, who is it's not. No,
Speaker 5: That's what I'm saying.
Speaker 4: It's not gaatekeeping it's it's just the fact of the industry.
Speaker 4: It's an industry. So the sound is the product? How
Speaker 4: is it an industry thing? No, I'm saying like industrialized
Speaker 4: and far as as far as industry, not just music industry.
Speaker 5: I'm okay, So this is my this is my problem.
Speaker 5: I got with that the whole thing. Mhm, Well he
Speaker 5: just said about they and not letting in and and
Speaker 5: and then you y'all mentioned the word industry. Who's keeping
Speaker 5: you from working with artists that you know? No, that's
Speaker 5: what I'm saying. It's no one. Is what I'm saying
Speaker 5: is the sound. It's the sound.
Speaker 4: I'm what I'm saying, is the sound that we're talking
Speaker 4: about that you guys are saying, Hey, there is no sound.
Speaker 4: This is what we're doing. The sound is the classification.
Speaker 4: It's when it when Dre does it. Oh, the execs,
Speaker 4: oh look this is selling. Okay, that's that's that West
Speaker 4: Coast sound.
Speaker 5: I want that.
Speaker 4: Then they go in and then they get the producers
Speaker 4: that can make that. That's where the sound comes. But
Speaker 4: that's not what happened. That's not what happened.
Speaker 5: No, I'm just saying it.
Speaker 4: No, but that's what I'm but you're saying as far
Speaker 4: as happening now right, No, that happened. That happened before. No,
Speaker 4: I'm going to tell you they wanted the sound because
Speaker 4: I mean, nobody, nobody, because Drake does g Unit have
Speaker 4: a whole album full of West Coast records, the West
Speaker 4: Coast sound.
Speaker 5: But I mean, I get it.
Speaker 4: It's they wanted that sound. They wanted Dre's sound. They
Speaker 4: wanted that West Coast sound. Dre don't have a sound,
Speaker 4: But I don't know, Bro, he has a sound. Dra
Speaker 4: he has a sound, have a sound. He's not tied
Speaker 4: to a sound, but he has a there is sounds
Speaker 4: that dra Is know his sound.
Speaker 5: Bro, what do you mean?
Speaker 2: I'm telling you the truth.
Speaker 5: Sonic doesn't have a sound. Okay, what do you mean
Speaker 5: by that?
Speaker 2: He doesn't have ray does everything based off the project?
Speaker 5: What is that? And what do you mean by you mean?
Speaker 4: I mean I'm talking about really dynamically seeing it for
Speaker 4: the final men master Roger Way that it's already finalized master,
Speaker 4: that full master that's going, that's gonna be christ and pristine.
Speaker 2: That's a dre master. That's a quality.
Speaker 1: That's not a sound the same straight out of compt
Speaker 1: that sounds like Doggie Staff.
Speaker 2: You cannot see that. They're they're different, They're night and
Speaker 2: day different.
Speaker 5: They're definitely different.
Speaker 2: But you still because his name said it, not because
Speaker 2: you heard the beats. The problem so long.
Speaker 5: It has elements.
Speaker 2: Listen, it's no element that match in that makes that.
Speaker 5: Makes it makes sense? An element? Why you make this?
Speaker 5: It's it's definitely a thread, for sure, there's something there.
Speaker 2: Thread there is the only thread.
Speaker 4: There's a thread there, there's a there's Okay, so you're
Speaker 4: so okay, So you're saying that there's no sound, So
Speaker 4: why is there a sound?
Speaker 2: It's a lazy way of digesting what's happening. Okay, So
Speaker 2: what do I call it from?
Speaker 5: Okay? Now, now what do I call it what.
Speaker 1: What everybody sells on the West Coast is street urban
Speaker 1: culture from the West Coast.
Speaker 5: Okay, that's the difference.
Speaker 2: This is why.
Speaker 8: You know what you're right. You're right about that, because
Speaker 8: I was just thinking about earlier records, because don't know,
Speaker 8: none of that music sound like No Twilight twenty two
Speaker 8: that's West Coast.
Speaker 3: Yes, you know, or Egyptian Lover or that consolidation didn't
Speaker 3: start to happen until the nineteen nineties, Pete.
Speaker 1: The problem is you started to people white. People started
Speaker 1: to classify Pete.
Speaker 3: That's fine, but to tell you that, don't make that.
Speaker 1: Don't make it white, that make it identifiable to people
Speaker 1: that don't know what's happening. When you don't know what's happening,
Speaker 1: you label something, you call it gangster rap because that's
Speaker 1: all you can make out of it. It's lazy, it's
Speaker 1: intellectually lazy. And we don't have to be that way,
Speaker 1: Like listen, the general public does. We don't have to
Speaker 1: be that way. Us as the as the foundation of
Speaker 1: this thing we call culture, and these record makers we
Speaker 1: don't trap.
Speaker 5: We don't have to be that way. And when we
Speaker 5: start talking like the fans, that's a problem.
Speaker 1: Imagine KT talking like me and he and the game
Speaker 1: that Nigga can't imagine Luka Dancik's.
Speaker 2: Talking like he's playing. The problem is when you start
Speaker 2: letting the public control how you play the game.
Speaker 5: What would you call gospel music?
Speaker 2: Here's a great point.
Speaker 5: What's the.
Speaker 8: Because you've seen because you can see gospel of any
Speaker 8: type of music.
Speaker 2: And it'll be gospel.
Speaker 5: Kurt Franklin, So again, the culture drives music. They are
Speaker 5: Gospel has a sound.
Speaker 1: The culture is the sound. Now there'll be people trying
Speaker 1: to hold on and believe what is what it is.
Speaker 1: But gospel is specifically about one person facts. If you
Speaker 1: sing about that, now, maybe I don't know. Maybe if
Speaker 1: you sing about the Virgin Mary, people might consider it gospel.
Speaker 2: I wouldn't.
Speaker 7: Because I mean, I mean, you can you consider you
Speaker 7: consider the crag gospel in a sense.
Speaker 5: It's Christian rat but it's still gospel. That's crazy.
Speaker 2: You if you sung if you made a song about Luke,
Speaker 2: I don't know if.
Speaker 5: I was gospel, that's crazy.
Speaker 2: You keep saying it's not the same, Pete, it's the same.
Speaker 1: You're trying to hold on is something that you really
Speaker 1: have no fucking business holding on to I'm not trying.
Speaker 3: To hold because I'm literally just trying to see where
Speaker 3: the line is.
Speaker 2: There is no line. This is not the United States.
Speaker 3: Prior to this that have addressed this from the complete
Speaker 3: opposite end that you, that were driven by your opinion.
Speaker 5: My opinion is driven by culture. It's always been that opinion.
Speaker 1: How people hear what I'm saying is different than what
Speaker 1: I'm saying people people, people are not listening to me.
Speaker 1: They're hearing me because I never one time told you
Speaker 1: the West Coast sound. The further I get into it,
Speaker 1: I understand more than ever it's street urban culture. That's
Speaker 1: why Larry Smith, who DENI could have five minutes of funk,
Speaker 1: and then people still act like a funk song is
Speaker 1: a West Coast song because they don't know the culture
Speaker 1: drives this car we call hip hop.
Speaker 5: I still don't know what we call it now. So
Speaker 5: now you're just saying hip.
Speaker 1: Hop, I'm saying you could call your niches g funk.
Speaker 1: Now we can say what g funk sounds like. But
Speaker 1: then when you try to restrict g funk to a region,
Speaker 1: that becomes the problem.
Speaker 7: Okay, okay, because like you said, g funk arrived from
Speaker 7: five different people coming from five different area.
Speaker 1: Well, g funk is a coin term. By shout out
Speaker 1: to the big homie Hutch from a butlh Lah, he
Speaker 1: coined the term. But the sound that people lay. So
Speaker 1: the person who make it, you would don't. You wouldn't
Speaker 1: even call most of his music g funk. If I
Speaker 1: play you Hutch music, but outs that I get passed
Speaker 1: black shit man, you wouldn't even understand what's happening.
Speaker 2: The most people that even Dre.
Speaker 1: Don't have a lot of G funk songs the way
Speaker 1: you would imagine Kat would probably his sound would probably
Speaker 1: be the closest thing people labeled the g funk, and
Speaker 1: he far away from Hutch and Dre and all of them.
Speaker 1: So what I'm telling Pete is it's not the sound.
Speaker 1: The sound is the lazy way of identifying what's happening.
Speaker 1: It's the again, listening is to listen in right. So
Speaker 1: now we're having a conversation amongst all of us within
Speaker 1: the culture. Even Pete, you're within the culture, you're baptized
Speaker 1: in it. You within the culture. So now I'm telling
Speaker 1: you you can't have an outside white man's perspective.
Speaker 2: No more.
Speaker 3: From the consecutive seconds.
Speaker 2: So what I'm saying to y'all is this right.
Speaker 1: What I'm saying is it's more about it's more about
Speaker 1: culturally what's happening that determines the region, the culture of
Speaker 1: what's happening, the way you talking, because they talked his way,
Speaker 1: And for the last fifteen sixteen years, hip hop has
Speaker 1: been pasteurized between the arrival of the net and the
Speaker 1: arrival of the owl. The owl like like, shout out
Speaker 1: to shout out to Cuz because he just said that,
Speaker 1: shout out to Hitmaker, to Burr because he said that.
Speaker 1: He said that they were all shooting that, Oh, this
Speaker 1: is what you want to do, and it don't sound
Speaker 1: like it sounded like the world because it's pop music.
Speaker 3: That I don't disagree with anything.
Speaker 2: No, that's and his point.
Speaker 3: I get it.
Speaker 2: I agree with him.
Speaker 1: But that's why to this point, that's why, to this point,
Speaker 1: this is why May fourth, twenty twenty four should be
Speaker 1: celebrated in hip hop forever, because that is the day
Speaker 1: that somebody, single handling cut the head off of a
Speaker 1: foreign invader, right, cut the head off of a foreign
Speaker 1: invader and said, y'all gotta get back to fucking making
Speaker 1: hip hop.
Speaker 3: I have a question. I agree with that star, right,
Speaker 3: says Pete. Not Pete knowing who Philly is? Okay, Pete, Who's.
Speaker 5: I don't know me?
Speaker 3: That's it.
Speaker 2: That's the sarcastic ways. She was surprised that you knew
Speaker 2: who that was? Oh, filthy, Yes.
Speaker 3: We just had a Super Bowl champion from Philadelphia yesterday.
Speaker 3: My brain's not exactly that.
Speaker 2: She's surprised that you know who filthy is, and I,
Speaker 2: Pete is not the traditional.
Speaker 3: I appreciate that I didn't know who because of the
Speaker 3: because my brain's off Philadelphia. I didn't know what the
Speaker 3: reference was.
Speaker 5: That was all that I was asking.
Speaker 1: So again I'm saying to y'all, right, it's like, that's
Speaker 1: why May fourth becomes important. So why you're right if
Speaker 1: you're trying to be in the industry, Yes, this might
Speaker 1: be bad for you because you're a pop nigga. You
Speaker 1: shouldn't be over here with us anyway, get your ass
Speaker 1: over there. But if you really are the culture, there's
Speaker 1: no more looming presence for sure of a colonizer. Right
Speaker 1: who colonizes? Sound of a colonizer saying, Hey, this is
Speaker 1: the bar of success. Somebody was asking me yesterday. But
Speaker 1: what is Kendrick going to do tomorrow? I said, I
Speaker 1: hope you don't put out another record for you pump motherfuckers.
Speaker 1: I would finish my tour and ride off and tore
Speaker 1: on my music and whatever else until.
Speaker 2: I felt I needed to wrap. I wouldn't be talking
Speaker 2: to you niggas.
Speaker 1: Oh well, if he took out this person, if he
Speaker 1: took out the owl, then he should take his place. No,
Speaker 1: you need to find somebody else new to listen to.
Speaker 2: Hell is wrong with you.
Speaker 1: It's like you need one person to enjoy nigga. This
Speaker 1: is the culture nigga. Ain't no one person bigger than
Speaker 1: the program.
Speaker 2: Jay was doing.
Speaker 1: Fantastic his whole career, but it was always a new
Speaker 1: nigga every year you could listen to next to him.
Speaker 1: When you thought he had it in ninety six, here
Speaker 1: come Pack again with all lies on me and NAIs
Speaker 1: came with what it was written his commercial success, So
Speaker 1: jay Z didn't have that by self. In ninety seven,
Speaker 1: when Jay thought he was gonna have it Witholume one,
Speaker 1: guess what, here go Biggie, here go puff Daddy with
Speaker 1: a better album.
Speaker 2: Yeah yeah, puff Daddy. No way out it's better than
Speaker 2: Volume one.
Speaker 5: It was a good time for music to you.
Speaker 2: Yeah, New York.
Speaker 5: He was putting out good records. But this is what
Speaker 5: I'm saying. There was not one person you followed.
Speaker 1: They fucking sound so and I'm talking about probably the
Speaker 1: most accomplished and successful hip hop artist ever in jay Z,
Speaker 1: and nobody felt they needed to colonize his fucking sound.
Speaker 2: You didn't get the jay Z sound on the like beats.
Speaker 2: How they be putting on YouTube.
Speaker 5: Saying them sound like beats, the tight beats, the Volume Ahead,
Speaker 5: the Volume one type beats.
Speaker 2: You didn't have that. Guess So guess what because when
Speaker 2: Volume one came out, guess what came out that year,
Speaker 2: No Way Out, Life after Death, all kind of fly.
Speaker 1: Shit came out. Ninety seven, that happened. And guess what
Speaker 1: the ninety eight when jay Z finally broke through and
Speaker 1: he had Blue excuse me, he had re excuse me,
Speaker 1: Volume two, Volume two came out. Jay Z Volume two
Speaker 1: came out, he said, five millions, here come DMX. That
Speaker 1: shit don't sound shiny like that ship. That shit to gutt.
Speaker 5: He dropped two albums, double triple platinum, back to back,
Speaker 5: back to back.
Speaker 2: Here comes some nigga from New Orleans. Nobody knew who
Speaker 2: that nigga? Manny Freshman, Who was this nigga?
Speaker 1: He got that Mardi Gras jazz shitting there, cracking and
Speaker 1: they talking about backing ass up and high and all that.
Speaker 2: Guess what you couldn't sell No Volume two type beats
Speaker 2: go fast forward. Guess what ninety nine? Oh you think
Speaker 2: jay Z got it?
Speaker 4: Now?
Speaker 2: Jay Z got Volume three artists killing. Guess what here
Speaker 2: come Doctor Drake with some shit that don't sound nothing
Speaker 2: like the chronic right after that wasn't But y'all missing
Speaker 2: the point. Guess what here com dog come with some
Speaker 2: shit that don't sound nothing like jay Z. Listen to
Speaker 2: what I'm saying.
Speaker 1: Focused, I'm telling you about the most accomplished and successful
Speaker 1: hip hop artists in history, and I'm telling you how nobody.
Speaker 2: Had tight beats, real shit. You're not lying, bro. And
Speaker 2: two thousand, when he comes out, he goes and deals
Speaker 2: with Rick Rock and he makes the rock Life Familiar album.
Speaker 2: Some nigga out of Saint Louis come up here and
Speaker 2: he pronounced every e R what a U are? Herd
Speaker 2: and herd? And that ship didn't become the sound and
Speaker 2: then here come Emminem, this white man from Detroit.
Speaker 5: Every year that nigga came out, he nobody made the
Speaker 5: album that sounds like his album.
Speaker 2: But all a sudden, sisters, fucking ol came all.
Speaker 1: You motherfuckers want to make your records to sound like
Speaker 1: him because you think this what you gotta do.
Speaker 2: And that's the problem.
Speaker 3: That's fucking facts. I'm not gonna hold you.
Speaker 2: And that's what and that's what Bird said, and that's
Speaker 2: what Bird says. And I'm glad that nigga did forgive me.
Speaker 1: You are a live brother. You're gonna make your money
Speaker 1: in Australia. Getting your money, bro, it's cool, but you
Speaker 1: needed to die in this space because I'm.
Speaker 2: Tired of you niggas making these tight beats. Where is
Speaker 2: the hip hop? Where is the code you're in the music?
Speaker 1: You niggas making these tight beats, and that ship's embarrassing
Speaker 1: tat y'all.
Speaker 5: Y'all followed somebody who don't even know who he is,
Speaker 5: and y'all makeing y'all music sound like a nigga that.
Speaker 2: Don't even know who he is. He don't even know
Speaker 2: who hisself is. Every week he wake up with a
Speaker 2: new hairstyle of new braids. Niggain't never what breads in
Speaker 2: it's life before before thirty four, and now y'all niggas
Speaker 2: following him making music ain't got a bit.
Speaker 7: Niggas a bag man trying to get a bag, bro,
Speaker 7: And that's all we were chasing.
Speaker 2: And that's the problem.
Speaker 6: That's it.
Speaker 2: Niggas the bad and it ain't never no real bag
Speaker 2: in that. That's my stuff.
Speaker 1: That nigga had the dies and that's why May Fourth
Speaker 1: need to be celebrated forever, even if this motherfucking don't last.
Speaker 2: Rock and rolls, nobody chops every fucking head off. Yeah
Speaker 2: it economy, Nobody chopped Kenny g head off. Nobody protected
Speaker 2: those cultural movements in the arts. Nobody protected them. Nobody
Speaker 2: stood up and fought and decided that these.
Speaker 1: Things were not gonna be allowed. One motherfucker came for
Speaker 1: hip hop. This motherfucker had it by the boss had
Speaker 1: had had a nigga bird from Chicago.
Speaker 5: I don't have following him, Bro, Stop bringing burg up
Speaker 5: because I'm just saying, like he said it, No, I
Speaker 5: know that, but I'm just saying that's not the same thing, bro, Like, no,
Speaker 5: it is the same head because everybody thought like that. No,
Speaker 5: everybody does things like that.
Speaker 2: So now it's over.
Speaker 5: No it's not.
Speaker 2: Now you have nobody to follow.
Speaker 5: You can't get rid of ignorance.
Speaker 2: No, you can't get rid ignorant. But you know what,
Speaker 2: you can't get rid of the motherfucker everybody following.
Speaker 5: No you can't. It's just gonna be a new motherfucker.
Speaker 2: Heads because it wasn't a motherfucker before this.
Speaker 5: No, listen, bro, stop trying to save everybody.
Speaker 2: Yes I can't.
Speaker 5: I don't think. I don't think why I'm here, No,
Speaker 5: it's not. I'm here to doc for hip hop people.
Speaker 5: Some people, some people are meant to go down with
Speaker 5: the ship. You know what I'm saying, down with this motherfucker.
Speaker 2: Guess what I'm not.
Speaker 3: You know what they call that person. They call that
Speaker 3: person the captains.
Speaker 5: Every now and listen, I can't say what I want
Speaker 5: to say on this dream because I fuck it up,
Speaker 5: fuck my ship up. But what I'm saying is everybody
Speaker 5: is not meant to be a free thinker. Everybody's not
Speaker 5: meant to traverse the shackles of whatever ideology that systemically
Speaker 5: has been presented to them, like I'm not picking on Berg,
Speaker 5: but Bird does what he does. He's hit maker, right,
Speaker 5: he chases proverbial hits. Right, ain't perfect cool? Do that? Right?
Speaker 5: But then you have other people who are risk takers.
Speaker 5: You have other people who are trendsetters. Did Jermaine duprieze
Speaker 5: of the world? Right?
Speaker 2: JD?
Speaker 5: To me is my goal? You top and everybody got
Speaker 5: you know, they killed me for that. But he's my
Speaker 5: number one? Why? Because JD never chased the sound. JD
Speaker 5: has never and he there making all of the shit
Speaker 5: and he will vocally produce because he's a producer. Right.
Speaker 5: I don't expect Pete. Would you think? Do you think
Speaker 5: Glasses is an elite MC?
Speaker 6: Yeah?
Speaker 4: From an MC standpoint, okay, I don't expect everybody to
Speaker 4: be an e lead MC. Some niggas, I expect them
Speaker 4: to be whatever they are.
Speaker 5: I'm not expecting every I'm not holding everybody to the
Speaker 5: same esteem or standard that mustards at or Dot or
Speaker 5: Jermaine Duprie or Timbling or none of these people. I'm
Speaker 5: holding them to what they want to be. If you
Speaker 5: want to be drive through cool, be a drive through.
Speaker 5: If you want to be sitting down, if you want
Speaker 5: to be five star dining cool, but all that like
Speaker 5: trying to raise the bar on all these niggas that
Speaker 5: don't want to be that, fuck them.
Speaker 1: Now kill them niggas. Now, all the niggas who don't
Speaker 1: want to get down, lay down.
Speaker 3: And this is like a thing and like the.
Speaker 5: Gey, we can let them cook.
Speaker 1: Were all on the plantation, people on the plantations, because
Speaker 1: right now you ain't white, you you with the coach.
Speaker 1: We all on the plantation, Kiki, it's all of us
Speaker 1: on the plantation. We all coming up playing.
Speaker 2: It's all. It's all six of.
Speaker 1: Us on the plantation. Were all six of us on
Speaker 1: the planet. It's thirty of us on the plantation. Were
Speaker 1: trying to make a plan to escape.
Speaker 8: Most of the work.
Speaker 2: He gotta don't work, all six of us trying to escape.
Speaker 2: This is my thought.
Speaker 1: He had all six of us trying to escape. All
Speaker 1: six of us trying to escape. It's thirty niggas on
Speaker 1: the plantation. That's like, well, you know what masks say,
Speaker 1: we shouldn't go nowhere. No, the thing is kill all
Speaker 1: twenty four of them, motherfuckers. Now start with them before
Speaker 1: you even get to the slaver. Start with them, for
Speaker 1: you can get to the staving. Kill all twenty four
Speaker 1: of the people. That's gonna tell, and then you kill
Speaker 1: the masters. The problem is that we've been letting too
Speaker 1: many motherfuckers exist. We've been letting too many motherfuckers exist
Speaker 1: that ain't with the program. That's one thing that I
Speaker 1: appreciate about game banging. If you ain't with the program, bro,
Speaker 1: you're gonna get bumped off your bitch ass out of here.
Speaker 1: It's way too much letting people just be cool and
Speaker 1: shit and hip hop and oh you know what they're
Speaker 1: just doing.
Speaker 2: No, you ain't doing shit. Kill his ass. Now.
Speaker 1: May fourth should be a lesson. That is how you
Speaker 1: protect a fucking culture. Like that's how somebody's if they
Speaker 1: don't think Beyonce.
Speaker 5: Is that was Charlotte He Finnah, join the stream. I'm
Speaker 5: finish sitting the link, sitting the link.
Speaker 2: Kill that motherfucker.
Speaker 3: Now.
Speaker 2: That's why May fourth should be celebrated.
Speaker 3: That's why I agree on a thousand percent of that.
Speaker 3: I think what's this is like? This is one of
Speaker 3: those things. I mean, you can say it's bigger than
Speaker 3: hip hop, but you could have strap it a similar
Speaker 3: trend throughout like the entire economy by and large, you know,
Speaker 3: like you have your innovators and then you have your copiers.
Speaker 3: Usually the first guy goes down because there's that learning
Speaker 3: curve where it's like the innovator's dilemma, so to speak.
Speaker 3: And then the second guy comes in at the right
Speaker 3: time and he makes all the money. He didn't come
Speaker 3: with the idea. He just came at the other idea
Speaker 3: that failed the second time at the right time, and
Speaker 3: we saw that happen, and it's it's almost like this
Speaker 3: moment was the moment that like a third operating system
Speaker 3: was available at your cell phone store. Like I personally,
Speaker 3: it's stupid and trivial. I think it's bullshit. In the
Speaker 3: United States of America, I can't get an Android or
Speaker 3: an Apple or I mean anything besides Android that those
Speaker 3: are my only choices. I go to Hunt, I can
Speaker 3: go to a thousand cell phone stores this country. I'm
Speaker 3: getting two fucking types of apps period, you know. And
Speaker 3: that's kind of what happened.
Speaker 5: You saw, like.
Speaker 3: We want safe, proven, proof of concept money, and that's
Speaker 3: what this is. And that's kind of I think what
Speaker 3: you were saying with like or head was staying with hitmaker,
Speaker 3: Like you can step back and you can create a
Speaker 3: new sound. It might work, it might not work. If
Speaker 3: it works, you're the man. If it doesn't work, it's not.
Speaker 3: Or you can say what's the hottest. I'm just gonna
Speaker 3: do that and I'm gonna get that money.
Speaker 2: And that's what we have for And that's why niggas
Speaker 2: who gonna sell out the movement killed them. Niggas now.
Speaker 1: Shout out to shout out to the only geno, Thank
Speaker 1: you for that ten dollars had I left a body
Speaker 1: in New Orleans for the right reasons, for the right reason.
Speaker 2: All I'm saying to y'all is this right.
Speaker 1: A lot of the ways we see the business, it's
Speaker 1: based off of the last sixteen seventeen years. Sixteen seventeen years,
Speaker 1: one person came, a foreign invasion happened, and they started
Speaker 1: to try. They started to they colonize what was happening,
Speaker 1: and then it made all of the music sound exactly
Speaker 1: alike because people were pursuing, like he's saying, a check
Speaker 1: or a bag. And this is what Head's point is.
Speaker 1: It's like back in the day, you didn't pursue a bag.
Speaker 1: You broke an artist. That's how you got your ship cracking.
Speaker 5: That was my point I was making to you when
Speaker 5: you said, when niggas have the narrative that the industry
Speaker 5: is keeping me out, No, they not break an artist.
Speaker 2: For a second.
Speaker 7: And here you got to understand that even at that
Speaker 7: point in time, Bro, early on, UH labels was looking
Speaker 7: for artists to sound like other artists.
Speaker 5: Why do you think niggas a look into a label.
Speaker 3: That's my ama.
Speaker 5: Everybody matter, right, this is the truth. Don't matter, And
Speaker 5: I remember this, and this is the truth of the matter.
Speaker 6: Bro.
Speaker 5: When you when you I understand everybody's conditions. And God
Speaker 5: has blessed us to be in a fortune situation, but
Speaker 5: it hasn't always been like that. Me and Glasses by
Speaker 5: ourselves when it got on a plane with no return ticket,
Speaker 5: that's fact, you know what I'm saying.
Speaker 4: We didn't have money. We share hotel rooms. This nigga
Speaker 4: had me on the whole stro in Oakland, in East Oakland,
Speaker 4: we stayed in a hotel with nigga was.
Speaker 5: Bro. It was a nigga turning. It was a nigga
Speaker 5: pressing a trick about his money in the hotel room
Speaker 5: next door to us. But it's all facts. Nigga, We
Speaker 5: don't have no nothing. I'm not speaking on I'm not
Speaker 5: speaking from a place. I'm not speaking from a place
Speaker 5: of privilege where I'm saying like, fuck the money, don't
Speaker 5: chase the bag, and we all have life circumstances. Not
Speaker 5: what I'm saying, but what I'm what g is saying,
Speaker 5: and what I'm saying. If you want to be culturally potent,
Speaker 5: that's that can't be at the forefront of your mind.
Speaker 5: The forefront of your mind has to be I'm gonna
Speaker 5: break an artists, or I'm gonna make history, or I'm
Speaker 5: gonna take a risk, or I'm gonna do something that
Speaker 5: knowing that's never been done before, or I'm gonna do
Speaker 5: something extraordinary to the point where everybody's calling my phone
Speaker 5: and I'm not looking for the adulation or the monetization
Speaker 5: from somebody else. If you want to get industry, this
Speaker 5: is not to you, bro, This is the indus. This
Speaker 5: is to every artist. It's every artist that's watching this,
Speaker 5: or any producers or anything like that. The industry is
Speaker 5: not keeping you back. The white man is not holding
Speaker 5: you down. Kendrick is not gate keeping it because he
Speaker 5: didn't give you a retweet, or DJ is not holding
Speaker 5: you back. Because you wasn't on to pop out or
Speaker 5: none of that ship you want to matter, break up artists, it's.
Speaker 1: And so it just didn't got to a point to
Speaker 1: where we let it really get here. And this is
Speaker 1: what I'm saying, this is what may fourth is so important,
Speaker 1: This is what so important because somebody took away something
Speaker 1: that y'all use as a crutch for years.
Speaker 3: Had a quick question first for you guys in general,
Speaker 3: like you talked about beforehand, like the for for lack
Speaker 3: of a better word, we'll just say, the heisting of
Speaker 3: preceding genres be it jazz, blues.
Speaker 5: Rock and roll, whatever.
Speaker 3: There's also been like I wouldn't say, like a time
Speaker 3: frame where where like there was kind of sort of
Speaker 3: organically a new sound that was created like within like
Speaker 3: the broader I know, glasses, like the Turn, like the
Speaker 3: broader community, quote unquote. But hip hop's it's been on
Speaker 3: a pretty long run. It's it's close to fifty years. Like,
Speaker 3: did do you guys foresee anything in the future where
Speaker 3: like just culturally and like culturally and organically there could
Speaker 3: just be like the roots of a of an entirely
Speaker 3: new semi genre or whatever that could that could happen
Speaker 3: that could kind of get in you know, wedget it's
Speaker 3: its way into the into the space.
Speaker 5: I mean.
Speaker 2: So in other words, you're asking, do we see a
Speaker 2: possible evolution, Yeah, like.
Speaker 3: A new genre popping up just on its own from
Speaker 3: the from within the same culture that created almost in
Speaker 3: sequence jazz, blues, rock, R and B hip hop, you know,
Speaker 3: newstrated organically.
Speaker 2: You don't get techno.
Speaker 1: You don't get all the techno house are born out
Speaker 1: of hip hop. So we got other genres that really
Speaker 1: black people don't even really share in the space that
Speaker 1: already were birthed out of hip hop, like technou like.
Speaker 3: Hip hop replaced a previous, like like full on replaced,
Speaker 3: not like existed next.
Speaker 1: Hip ho didn't replace anything, right, it's everything still exists.
Speaker 1: Hip Hop is just the thing that everybody wants to
Speaker 1: do because it's the coolest thing to do. What's cool
Speaker 1: is always gonna change. But you shouldn't really be doing
Speaker 1: hip hop because it's cool anyway, like you.
Speaker 3: In the sense of as the cool thing in the
Speaker 3: place at the time, like in that time and place,
Speaker 3: you know what I mean.
Speaker 1: No, I agree, but that's what I'm saying you that
Speaker 1: shouldn't be the reason a person is making music. Anyway,
Speaker 1: you should do this because this is what you really
Speaker 1: want to do. Hence, while we're telling the money can't
Speaker 1: be the motivation, nobody's saying, be broke, but you gotta
Speaker 1: really want this shit Like I hate where we while
Speaker 1: I love where we at now, I hate where we're
Speaker 1: at now because where we at now makes people dream lower.
Speaker 2: Hell was telling me a story this morning about he
Speaker 2: did this news thing on Fox.
Speaker 5: Scare with me.
Speaker 1: I'm an collabor with y'all can check it out. But
Speaker 1: he tells a story with me and Dot. We was
Speaker 1: all on the tour bus right tech tour, and Kendrick
Speaker 1: is like, man Glass, He's showing me these pictures, this
Speaker 1: Corvette Corvett. Why look at him on the laptop and
Speaker 1: he's like, man, I ain't gonna never be able to
Speaker 1: get one of these. And I'm like, why, of course
Speaker 1: you're gonna get one of these. They make thousands of
Speaker 1: these motherfucker millions of motherfuckers on these cards because sometimes
Speaker 1: where we come from, bro it seemed like these things
Speaker 1: is far that we forget. This is math produced shit, right, somebody,
Speaker 1: I'm telling my shout out to my Boxy Coach. Shout
Speaker 1: out to Will that nigga was talking to me right now,
Speaker 1: you're like glass, I was telling him, you almost have
Speaker 1: to be deluded to be great to people like you
Speaker 1: almost have to sound crazy.
Speaker 2: Shout out to Queen Lady Act she's in this chat.
Speaker 2: I watched it.
Speaker 1: Lady take her career to another level, her obtain things,
Speaker 1: make great records, and be proud of her accomplishment, and
Speaker 1: then I watch other people try to tear it down
Speaker 1: because she's proud of what she's accomplished. You have to
Speaker 1: be deluded in this world to be great, bro, You
Speaker 1: nobody can see the shit you seeing. Like like my
Speaker 1: coach telling me right now, when I see shit, I
Speaker 1: see it mathematically. My math go crazy so I can
Speaker 1: make sense out of it. So when I'm telling him,
Speaker 1: I'm like, you're gonna dream about something that thousands of
Speaker 1: people make. Ferraris are mass produced. They not made by hand.
Speaker 1: It ain't like it's one motherfucker making them. It's a
Speaker 1: factory making them.
Speaker 2: Motherfuckers. How do you people be talking about dreaming about
Speaker 2: shit that that thousands of people on niggas That means
Speaker 2: it's thousands of ways.
Speaker 3: To see it.
Speaker 2: Because for sure all these motherfuckers ain't did the same
Speaker 2: thing to get it.
Speaker 1: So what I'm saying to your point, Pete, is like,
Speaker 1: we've already spawned that, but then there's a deluded thing
Speaker 1: that has to happen. There's a delusion that has to happen,
Speaker 1: and you have to allow yourself to be as great
Speaker 1: as possible, and you do all the work to back
Speaker 1: up what you're talking about, to learn how to be
Speaker 1: what you are trying to be. My thing, when I
Speaker 1: first got in this hip hop shit, I didn't know
Speaker 1: what to do. I was just doing it because I could.
Speaker 1: One day Kiki told me shout out to Kiki. He
Speaker 1: told me said make glass. God gave you this for
Speaker 1: me and other people. I thought the nigga was credible.
Speaker 1: I would God give me something for the next nigga.
Speaker 1: And ten years later I realized he was right. I
Speaker 1: was like, oh, this it's not crazy because I didn't
Speaker 1: give a fuck. Was that nigga told me said, man,
Speaker 1: you was fine. He was gonna be fine no matter what.
Speaker 1: It's other motherfuckers that ain't gonna be cool. So if
Speaker 1: I set my expectations like I had them at that time,
Speaker 1: where it was like, well, I'm making a living, I'm
Speaker 1: taking care of myself. I'm straight, But then everybody else
Speaker 1: is not straight. Little Jay get out of prison. He
Speaker 1: don't got no job. He in prison again right now,
Speaker 1: doing thirty years or whatever. Because I didn't look at
Speaker 1: it for the opportunity that it is. Hip hop is
Speaker 1: a different opportunity.
Speaker 2: This ain't no check.
Speaker 1: Ain't no check gonna take care of your family. That
Speaker 1: just ain't a check, gonna take care of yourself, and
Speaker 1: you can go, like I tell niggas, they'd be a glass.
Speaker 1: I just want to make some money and take and
Speaker 1: buy me a house. Go get a job, Go sell
Speaker 1: some dope.
Speaker 2: If your only goal is to get in this thing
Speaker 2: and make you some money and buy you a house,
Speaker 2: ain't gonna sell some dope. Go get your job. Nigga
Speaker 2: ain't got dated.
Speaker 5: I officially don't endorse with glasses alone.
Speaker 10: I'm not.
Speaker 4: I'm not telling you to do if you're that long.
Speaker 4: I had an acting teacher tell me. He said, if
Speaker 4: you want to be famous, go off the president. He said,
Speaker 4: if you want to if you want to be rich,
Speaker 4: go Robert Bank. Of course, it's an analogy. It's like
Speaker 4: this ain't for that. This is for if you want
Speaker 4: to be in acting, if you want.
Speaker 2: To take the bet.
Speaker 4: You know what I'm saying. This was like back way
Speaker 4: back in the day. It's like, if you want to
Speaker 4: be great, you have to really love this, you have
Speaker 4: to go into this. And it's about many people.
Speaker 5: It's not about it.
Speaker 1: It's way been too many people making type beats, right,
Speaker 1: type beats real life. There's way too many people for
Speaker 1: the last fifteen plus ye're making tight beats.
Speaker 4: And Drake was making type music. At the end of
Speaker 4: the day, nothing. He was making wonderful type music. And
Speaker 4: I don't take that nothing awesome, but that's what That's
Speaker 4: what the ultimate cause instances that when when you look
Speaker 4: at it, he's making type music, looking at it saying, oh,
Speaker 4: I can do that, I can do that, I can
Speaker 4: do that. Let me go over here and say say slight.
Speaker 4: Let me go over here and say slat, let me
Speaker 4: go here and say slun okay, let me say let
Speaker 4: me go over here and say we never sow.
Speaker 2: No fuck.
Speaker 1: We're talking being in an environment where they selling dope
Speaker 1: out of abandoned house.
Speaker 2: Your has have no business making trap music. I'm tired
Speaker 2: of niggas not respecting the culture of this ship. Respect
Speaker 2: the culture of this ship.
Speaker 5: You're not gonna win that fight. G I know, but that.
Speaker 2: You may affect one person.
Speaker 5: I agree with you, but I hate Halloween. It's stupid
Speaker 5: to me. That ain't gonna stop niggas from dressing up
Speaker 5: like a power ranger.
Speaker 2: I'm not saying, but I also can't across the bow.
Speaker 3: What the fuck a power.
Speaker 6: You know what here?
Speaker 1: As much as you want to save everybody, you understand
Speaker 1: you can't. But you gotta say the niggas that you can.
Speaker 1: That's your job as a human. And I know you
Speaker 1: hate this task, but that's the definition in.
Speaker 2: The verb of being a human. No no, no, with
Speaker 2: you to care and to save humans.
Speaker 5: I do said, I pick and choose more the ones
Speaker 5: that I saved, though I get know and you do it.
Speaker 1: That's better than where you started, facts and the house
Speaker 1: the body is. I'm glad you have made it to
Speaker 1: the next level to where.
Speaker 5: You at least like I have evolved. You've been You've
Speaker 5: been only for years. So what I do is, you
Speaker 5: know what I'm gonna do.
Speaker 4: I'm gonna call the fire department. I'm not gonna run
Speaker 4: in the house I'll get a nigg out of the yard.
Speaker 4: But I'm not running in the house the house on fire,
Speaker 4: Champ like what you want me to do?
Speaker 2: But now and and I got it.
Speaker 5: I got you to do tomorrow. You know what I'm saying.
Speaker 2: I'm not saying cause certainly I agree with that, And
Speaker 2: I'm not saying we.
Speaker 1: Just got to work one day at a time because
Speaker 1: we got you making one call, because that's a good start.
Speaker 1: But shout Out Too makes a great point. He said,
Speaker 1: where do we go from here? That's the best part
Speaker 1: about hip hop. Now, there's no way to know. You
Speaker 1: actually got to really care about what's happening culturally, and
Speaker 1: then you got to score the movement of somebody culturally.
Speaker 1: You actually gotta make hip hop right. That's why the
Speaker 1: last seventeen years has been miserable for me because I've
Speaker 1: been listening to a bunch of pop music.
Speaker 2: Jay Cole, Shit be Poppy as Ill shout out the Cold.
Speaker 1: But I'm not saying not hip hop. Artist's not what
Speaker 1: I'm saying. Cold don't get mad, but jo Shit been
Speaker 1: the hell.
Speaker 5: Of poppy within a week, So you better be doing
Speaker 5: Cold Cold.
Speaker 2: Know what I'm saying. You know, yeah, you know that, nigga. No,
Speaker 2: I'm not tripping.
Speaker 1: I'm tired of niggas the last seventeen years trying to
Speaker 1: make them forty type beats.
Speaker 2: The boy won the type beats. Now you don't have that.
Speaker 2: Now you don't have that.
Speaker 1: Now you stuck figuring out how to score the movement
Speaker 1: of some culture that you represent.
Speaker 5: Yeah, but what if they don't have culture to score?
Speaker 2: Gets your ass out the way.
Speaker 5: So you're saying they're occupying real estate that go that
Speaker 5: is valuable real estate that can go to somebody who
Speaker 5: actually you.
Speaker 3: Need to be imminent domained. There's that stupid empty lot
Speaker 3: in the middle of the train track that's connecting City
Speaker 3: A from City B. And somebody step in and say,
Speaker 3: we're pulling this strip from you for the greater.
Speaker 5: Good no more. Yes, all right, cool, But then there's
Speaker 5: just gonna be another another lot, and then another lot
Speaker 5: and another lot that's blocking it.
Speaker 3: That's why that stupid high speed rail hasn't been built.
Speaker 2: Listen, it's not I mean imagine if God, imagine, if
Speaker 2: DoD says, you know what, at the end of the day,
Speaker 2: they gonna prop this nigga up, so I might as
Speaker 2: well not kill him, or imagine in the revolutionary worlds,
Speaker 2: Christmas addicts like, you know what, I'm not gonna fight
Speaker 2: for this.
Speaker 1: They gonna like the English people that you don't fight
Speaker 1: in that moment, thinking of what's gonna happen tomorrow, you
Speaker 1: do have to be mindful. Imagine if Abraham Lincoln like, well,
Speaker 1: you know what, they gonna slay these niggas tomorrow, I
Speaker 1: might as well not free try my best to free them.
Speaker 5: Now.
Speaker 1: No, you gotta still do your big one. You don't
Speaker 1: get the luxury of looking at ten years. But you
Speaker 1: know what, in ten years I might be on crack,
Speaker 1: So I can't make no money. Now what we got
Speaker 1: we just stuck with this life.
Speaker 3: And in the greater scope of history, it's like you have,
Speaker 3: like you know, your rail line that can't get built
Speaker 3: or whatever else, and that eventually proceed precedes the invention
Speaker 3: of the cargo plan and just fly over it faster,
Speaker 3: cheaper anyway in time. So and that's kind of the
Speaker 3: space where those things need to happen. It's like, look,
Speaker 3: we've done this, it's max you self out. We need
Speaker 3: to innovate some new experience that can then just overtake
Speaker 3: that all.
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Speaker 2: We at this thing man. Much love of y'all.
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Speaker 1: This episode was recorded right here on the West coast
Speaker 1: of the USA. It produced a bout the Black Effect
Speaker 1: Podcast Network and Notheart Radio.
Speaker 2: Yeah