Speaker 1: Watch up and welcome back to another episode of No
Speaker 1: Sealers Podcast with your host. Now fuck that with your
Speaker 1: loaw glasses. Malone really is the it's the ad libs
Speaker 1: like selling it. It's not a ton of it. It's
Speaker 1: really just the ad libs and selling it. It don't
Speaker 1: take that much. It be small things to let you
Speaker 1: know somebody is there. You know what I'm saying? And
Speaker 1: what's crazy about that song? And actually the last fourteen
Speaker 1: years we was having this conversation on the Live Pete
Speaker 1: about how people digest music being instrumental to how the
Speaker 1: records that people make.
Speaker 2: Right.
Speaker 1: I was reading last night about seventy eights, the history
Speaker 1: of seventy eighths, like the ten in seventy eight revolutions
Speaker 1: per minute the elect record and it's three minutes, you
Speaker 1: know what I'm saying. And it's funny because we've been
Speaker 1: having records that whole time. But I think because of
Speaker 1: the price record player that would play a seventy eight
Speaker 1: inch record, but not a seventy eight excuse me, a
Speaker 1: seventy eight rpm record or a ten inch record. It
Speaker 1: was like seventy eight dollars in the twenties, Like the
Speaker 1: player which is like two thousand dollars. Now, I was
Speaker 1: thinking like if music, like if the medium to play
Speaker 1: music was two thousand dollars, if the device was two
Speaker 1: thousand dollars, how few people like people wouldn't be playing music.
Speaker 3: Yeah, it's amazing how that seems to be the converted
Speaker 3: price point almost for everything new. I bet if you
Speaker 3: were to go nineteen fifty five basic entry television new
Speaker 3: to the market, probably about that price. I remember that
Speaker 3: was about the price when a flat screen came out.
Speaker 3: It came out of ten, but it dropped two, and
Speaker 3: then it was kind of like two for while, like
Speaker 3: twenty years ago. Like anytime something hits, it's kind of
Speaker 3: about that price until sum's made just to be accessible.
Speaker 1: But I was looking at right the record itself was
Speaker 1: like the I think it was like it was expensive.
Speaker 1: It might have been like two dollars back then. I
Speaker 1: wrote it down. Hold up, I wrote it down. Here's
Speaker 1: my notes for it. I think it was like two dollars.
Speaker 1: In the team like in the nineteen like nineteen ten,
Speaker 1: it might have been like two dollars, and the player
Speaker 1: was like seventy eight dollars still to play music, so
Speaker 1: we did. Year was there, that's nineteen ten, nineteen twenty,
Speaker 1: nineteen thirty. So in nineteen thirty, the record player seventy
Speaker 1: eight player, the record that would play the seventy eight
Speaker 1: revolutions per minutes to seventy eight, the ten and twelve,
Speaker 1: they were seventy eight dollars.
Speaker 3: Got a rain men that it was in nineteen thirty.
Speaker 2: Gen, you said, I was all the way until nineteen thirty.
Speaker 3: Yeah, that we have. There's an economic statistic on learning
Speaker 3: curves for emerging technologies. This is actually very true here
Speaker 3: as you can see because just think about also just
Speaker 3: the material to make a record, like the physical whatever
Speaker 3: specific piece of type of plastic that was that was
Speaker 3: also new. Yeah, So like for every doubling of units sold,
Speaker 3: the price of production reduces between twenty to thirty percent.
Speaker 4: So we'll use it. Here's the interest effect. I'll try
Speaker 4: to pick you off.
Speaker 2: Gen.
Speaker 4: Seventy eight dollars in nineteen thirty would be fourteen hundred
Speaker 4: and seventy three dollars and fifty six cent today for
Speaker 4: a record player to.
Speaker 1: Play music, right, but think about it is one dollar
Speaker 1: per record in nineteen ten. Right in the twenties it
Speaker 1: went up to a dollar twenty five a little bit more,
Speaker 1: which would be like eighteen dollars in eighty six cents.
Speaker 1: You know, remember the twenties is really great. Depression happened
Speaker 1: the thirties. It was still over a dollar for a song,
Speaker 1: which would be twenty dollars. But what happened was when
Speaker 1: the forty fives came out and they started printing them
Speaker 1: on vinyl. Right that material, that plastic material, it dropped
Speaker 1: it all the way down to like sixty five cent.
Speaker 1: I think they was the cheapest forty five cent and
Speaker 1: the player itself dropped down to twenty dollars. It was
Speaker 1: thirty five cent seventy five cent in the forties. So
Speaker 1: that changed the dynamic of what it hit record was
Speaker 1: because right if you go to the Duke Ellington's, Duke
Speaker 1: Ellington made a lot of good big records. Lewis Jordan,
Speaker 1: Lewis Jordan made some big records. Lewis Jordan made some
Speaker 1: big records. It's crazy. I was reading too. It's another
Speaker 1: lady Ruth Brown. She made some big records. But because
Speaker 1: music wasn't like for the everyday man, it wasn't available
Speaker 1: like you had to go out to hear music.
Speaker 2: It was hard to have recorded music at home pre
Speaker 2: nineteen forties.
Speaker 1: Even the process of recording music all the way up
Speaker 1: to nineteen twenty five. They used to kind of perform
Speaker 1: into like a horn, and as they were performing, the
Speaker 1: horn right would take the vibration and carve into whatever
Speaker 1: the shelacci is. You know, to record the music, you
Speaker 1: had to record in a horn, like it was horn
Speaker 1: in front of you. So I was just I've been
Speaker 1: doing a lot of research, just really foundation research, you
Speaker 1: know what I mean, Like I said, as early as
Speaker 1: eighteen eighties, just coming forward, and I was just thinking, like, like.
Speaker 2: I don't think we take it serious enough.
Speaker 1: I think we've been blessed and lucky enough to have
Speaker 1: so many people, and it depends some people don't feel
Speaker 1: like it's lucky. Some people talk crazy about the business
Speaker 1: structure that monetizes the cultural records we present, but really
Speaker 1: without it, you know what I mean, it might be
Speaker 1: a different kind of challenge because you would not realize
Speaker 1: how much work it is to make a record or
Speaker 1: even market a record.
Speaker 3: Sure, so that's absolutely true.
Speaker 1: So just staring at it and reading it and really
Speaker 1: getting to it, like some crazy facts.
Speaker 2: Ike Turner is considered to have the first rock and
Speaker 2: roll record.
Speaker 1: My Man, right, nineteen fifty one, Brother, that's right Turner, right,
Speaker 1: So that's before Obviously little Richard, Little Richard gets credited
Speaker 1: as playing the music. And obviously I think think it's
Speaker 1: a combination of what Ike Turner and Little Richard did,
Speaker 1: what I Turner was doing with the bust and amp
Speaker 1: on the guitar in nineteen fifty one, and what Little
Speaker 1: Richard was doing in the mid fifties with his styling
Speaker 1: and how he's playing the radeck and stuff that creates
Speaker 1: what's the brother name actually is considered the father of
Speaker 1: rock and roll, Chuck Berry. Chuck Berry like, he took
Speaker 1: those two things and made it, and his idea was
Speaker 1: a flip of an old country song as well. Yeah,
Speaker 1: so it's been it's been an interesting journey as I
Speaker 1: as I look to rewrite the independent hip hop record
Speaker 1: business for twenty twenty five, this is no siblings, last
Speaker 1: luck in the house. My brother Peter Boss with me,
Speaker 1: got my big brother Norm Stell, big steal, whatever y'all
Speaker 1: want to call it.
Speaker 3: I call him medium.
Speaker 4: Well. Yeah, as long as it's not Norman Norm, as
Speaker 4: long as it's not like Norm.
Speaker 3: Well done.
Speaker 2: Mister well done.
Speaker 4: No, that's not me. I actually had I actually, I
Speaker 4: actually had a really good medium beef rid By roast
Speaker 4: that I made and it was actually you know what,
Speaker 4: it was actually on the more on the side of rear.
Speaker 4: I said, I'm gonna try something different this year. It
Speaker 4: was actually one side of rear. And it actually tastes
Speaker 4: a pretty good you feel of it. I don't know,
Speaker 4: it actually tastes a pretty good serious pictures, no, Marie,
Speaker 4: tell you right now, send the pictures. Let me have
Speaker 4: a picture of it.
Speaker 3: Let me see on one small step from man, I
Speaker 3: don't know if I.
Speaker 4: Took a picture of this. Let me see.
Speaker 2: So this is what I was tripping off of. Right.
Speaker 1: So now again for me to go forward, I have
Speaker 1: to understand the foundation of something, which is why I
Speaker 1: understand how important it is to understand your history, you
Speaker 1: know what I mean, Like I get why, especially for
Speaker 1: a mind like Mines, that's a big thing. So as
Speaker 1: I get into the foundation of recorded music, right, and
Speaker 1: then I could look at, like I said, those three artists,
Speaker 1: and because music is not so accessible to the everyday
Speaker 1: common man in America that even a record that's big
Speaker 1: is not as big as a record became in the
Speaker 1: forties and fifties, when records became affordable and the record
Speaker 1: player became affordable, you know what I'm saying. So you
Speaker 1: fast forward and to where Ray Charles. That's why he
Speaker 1: becomes what looks like the first megastar because of what
Speaker 1: changed in and even fast forward when you look at
Speaker 1: the technology, switches were not giving a lot of credence
Speaker 1: to it. Right, you go from Duke Ellington and like
Speaker 1: I said, Louis Jordan and Ruth Brown to Ray Charles
Speaker 1: and you're like, oh, is Ray Charles a better musician?
Speaker 1: Probably not, But because music was more accessible, it went
Speaker 1: from let's say, just as an example, it went from one,
Speaker 1: you know, four hundred thousand people being able to afford
Speaker 1: recorded music at home, where you had to go to
Speaker 1: a bar to hear music or some outing, to where
Speaker 1: four hundred thousand went to four million people being able
Speaker 1: to afford you know, recorded music and playing recorded music
Speaker 1: at home. So then if you putting out music, then
Speaker 1: it's just a different journey. And it's the same thing
Speaker 1: with technology to me that happened with.
Speaker 2: MTV.
Speaker 1: Like if you look at Rick James Prince and Michael
Speaker 1: Jackson right, who all began their careers solo to a
Speaker 1: degree right around the same time. I mean, Michael Jackson
Speaker 1: was a little earlier, but he wasn't really having the
Speaker 1: type of success that he was going to be known for,
Speaker 1: you know, I mean we start talking about Off the Wall,
Speaker 1: we start talking about you know that version, Yeah, to
Speaker 1: Quincy's Michael, to Quincy's Michael Jackson. But Rick James was
Speaker 1: just as polarizing as a musician and probably just as
Speaker 1: accomplished if you remove to Jackson five as Prince and
Speaker 1: Michael Jackson when he first came out, right, But the
Speaker 1: separation of the technology that we reference as MTV changed
Speaker 1: their ability to be marketed to more people. You know,
Speaker 1: Sony had the opportunity. Sony was able to say, Hey,
Speaker 1: if you don't play Michael Jackson's record, we're gonna pull
Speaker 1: our white artists from it. And Sony had white artists,
Speaker 1: So guess what we get Billy Jean at this massive level. Right,
Speaker 1: and then with Prince, right, Warner Brothers has the same opportunities, Hey,
Speaker 1: if you don't put our artists on because MTV wasn't
Speaker 1: playing black artists, we don't put our artists on, We're
Speaker 1: gonna pull our white artists. Now, Prince Is on MTV.
Speaker 1: Guess who didn't have black artists botown? So when it
Speaker 1: was time to get Rick James on, they were able
Speaker 1: to keep Rick James off of MTV, and you could
Speaker 1: see what happened to their careers, you know after the
Speaker 1: mid eighties, you know, post that going into the mid eighties,
Speaker 1: every print and Mike went this way, and Rick was
Speaker 1: kind of stuck in just our world.
Speaker 4: Rick James. You know what, ze, Rick James was actually
Speaker 4: pretty big in eighty five though, he was actually big,
Speaker 4: but I'll tell you where you Yeah, he was big
Speaker 4: in the hood too though, like like like, Rick James
Speaker 4: was one of them dudes. Though I'm trying to think
Speaker 4: of a comparison him to somebody today. He was big
Speaker 4: without being popular. You feel what I'm saying. Yeah, but
Speaker 4: this is what I'm saying to you still point Yeah,
Speaker 4: I knowd MTV.
Speaker 1: He has MTV and they showed Rick doing his thing
Speaker 1: with street songs versus what does that look like to
Speaker 1: white America at that point that's been able to now
Speaker 1: coming to our world because of m TV. What happened, Hue,
Speaker 1: Like what happens to Rick James. Rick James probably would
Speaker 1: have been dead in the eighties almost like he almost
Speaker 1: like that Rappers wet.
Speaker 2: That's what I'm saying. Imagine before it was rappers, we imagine. Yeah,
Speaker 2: it's funny, we just had that conversation.
Speaker 1: Imagine if White America got a bar of Rick like
Speaker 1: at that level as MTV like they didn't want to
Speaker 1: play give it to Me Baby like.
Speaker 2: Imagine if they would.
Speaker 1: Have on MTV like Brick like Mike and Prince probably
Speaker 1: would have looked like nothing compared to this wild boy
Speaker 1: from New York.
Speaker 4: Think about the lyrics of giving to Me Baby. Think
Speaker 4: about the lyrics what he was saying though when I
Speaker 4: came home last night, you wouldn't make love to me.
Speaker 1: You went fast asleep mm hm, like a juvenile. That's
Speaker 1: juvenile whole premise of that. Let's see, I'm in a
Speaker 1: room with it and a hole worn fuck like a man.
Speaker 1: I'm gonna beat my meat and get my fucking up
Speaker 1: for show that was on that back in the eighties.
Speaker 1: He's gonna be drove in and I'm gonna turn the
Speaker 1: TV off and go to sleep on that hold in.
Speaker 2: You feel me? So I'm gonna cut the TV off.
Speaker 1: But I'm saying all that to say that technology has
Speaker 1: been at the forefront of what happens to music, like
Speaker 1: for a while. You know, somebody like Russ who really
Speaker 1: benefited from a SoundCloud as a community. Remember that social
Speaker 1: media created new communities. The blog era created new communities.
Speaker 1: Before that, it was just standard communities. You know, people
Speaker 1: that was grouped together, lived close together. D you know,
Speaker 1: couple couple exceptions to the rule, but very few versus
Speaker 1: now where there's a ton of different communities where people
Speaker 1: they don't in the physical live with each other, but
Speaker 1: you know mentally they reside in the exact same place.
Speaker 1: They may share the same Facebook groups, you know, they
Speaker 1: may live on the same apps. That has a sense
Speaker 1: of community on the apps. So there's so many more
Speaker 1: communities now than ever before, and all of those communities
Speaker 1: are kind of developing their own culture. It's not quite
Speaker 1: culture because you don't walk outside and see it, but
Speaker 1: their conduct on social media is the same. Like you
Speaker 1: use words like you see people using terms like glazer,
Speaker 1: Oh he's he glazes that person. I guess that's the
Speaker 1: equivalent of saying like a doughnut, where like you you
Speaker 1: you on somebody's jock. You suck and they you know
Speaker 1: you you showing them too much love, you know. I
Speaker 1: guess it's a negative connotation that you suck and they dick.
Speaker 1: So it's like a spin on a penis. I would
Speaker 1: imagine these words are weird nowadays. Well, the other day,
Speaker 1: she says, Dad, you're constantly trying to trigger me. I said, what, Like,
Speaker 1: what does that mean? Everybody's bringing this whole mental health
Speaker 1: age and to just normal sustain.
Speaker 2: Everybody told you.
Speaker 3: I hate that ship. I hate that ship so bad.
Speaker 2: Everybody call them trauma words.
Speaker 3: Yeah, you're the trauma. Tell you about your durability. That's
Speaker 3: my motto.
Speaker 1: I used to tell Jay you one day told me
Speaker 1: that he like you gaslight me. Bro, don't never say
Speaker 1: that to me. I've really had to step up, Like,
Speaker 1: I don't say that to me never again. I don't
Speaker 1: never say that to me again. God, don't even don't
Speaker 1: do that. Don't say that to me.
Speaker 3: Don't gas English language even the word like, you know,
Speaker 3: like the best example to me of of of a
Speaker 3: heisting of a word is equity as like equality on steroids.
Speaker 2: You know what?
Speaker 4: For me woke?
Speaker 1: Yeah, there used to be something that was like black
Speaker 1: like when people understood the assault they was under. Now
Speaker 1: woke has become like what white people is, and white
Speaker 1: people attack other white people as a weird way of
Speaker 1: still offending black people.
Speaker 4: They just took our word from They just took the
Speaker 4: word our word. He's made. It's some whole other shit.
Speaker 2: It's like the rainbow. It used to be like a
Speaker 2: representation of Jesus love.
Speaker 3: Yeah, sure, sure, I thought the rainbow was a representation
Speaker 3: of God's love after the Great flood.
Speaker 2: Yeah, our God's love. Forgive me, forgive me God after
Speaker 2: the flood. Yeah. So it's like hijack. So it's like.
Speaker 1: I was thinking about that and as I prepare, like
Speaker 1: I said, to rewrite the independent hip hop record business, right,
Speaker 1: I'm just thinking about really the challenges that exists, right,
Speaker 1: And one of the greatest challenges is outside of the
Speaker 1: fact that we have been you know, we were spoiled
Speaker 1: by the traditional style of record of seventy years ago,
Speaker 1: you know what I mean. Let's let's just say because
Speaker 1: Ray Charles and them were still making like a rock
Speaker 1: version of record, like the first pop record, not popular record,
Speaker 1: but the first kind of concept of a pop record
Speaker 1: to me would be Ray Charles's I got a woman
Speaker 1: right where you kind of take the flavor out of
Speaker 1: some some cultural genre and you make it digestible to
Speaker 1: the masses. Sure, now, there were some cultural things that
Speaker 1: were digestible to the masses, obviously rock and roll, but
Speaker 1: they were very much rock and roll, and people just
Speaker 1: got into the spirit.
Speaker 4: But what Ray.
Speaker 2: Charles, Yes, I like that, or I like that. A
Speaker 2: lot of sugar, no saltings.
Speaker 1: So he took a lot of the the God out
Speaker 1: of He took a lot of God out of the
Speaker 1: Southern tones, must be Jesus, and made it kind of worldly.
Speaker 1: Took a lot of the seasoning out of the gospel,
Speaker 1: seasoning out of it, and made it really to where people, Hey,
Speaker 1: I like this.
Speaker 3: He's the guy who originally started a massive societal paradigm
Speaker 3: focus shift of seventy years ago. People were worse than God.
Speaker 3: Now they're worse pussy because he remade that song.
Speaker 2: I'm not mad.
Speaker 1: That might be some truth to that. It's some truth
Speaker 1: to that. Pussy could be God too. I thank that weirdness.
Speaker 3: Many people kneel to it, people do.
Speaker 2: Pray to it.
Speaker 1: Said, Actually, when you think about it, it's very It
Speaker 1: has a very weird godly effect on men?
Speaker 2: How many prayers?
Speaker 3: Now? Is Jared? God give me some pussy.
Speaker 1: I remember I heard a dude say on a on
Speaker 1: a podcast he was like. I was like, yeah, man,
Speaker 1: oh no. I was listening to it and the host
Speaker 1: was like, yeah, man, would you take five hundred million dollars?
Speaker 1: But you can never pussy no more? He said, no,
Speaker 1: what I'm gonna do with the money? I was like,
Speaker 1: holy shit. But the point I'm saying, as I arrive
Speaker 1: at the obstacles, right, and I'm looking at the obstacles,
Speaker 1: I'm like, damn, okay, what's going on right now? What's
Speaker 1: really the problem? Like, let me stop walking to the crosswalk.
Speaker 1: I always say that hip hop is jaywalking, It's not
Speaker 1: walking to the crosswalk, right, And it's like, what is
Speaker 1: the problem now, what does a crosswalk look like?
Speaker 2: And what I thought about.
Speaker 1: Still was because we've been spoiled by the traditional standard
Speaker 1: record for seventy years or longer, right, which is the
Speaker 1: hook verse bridge, hook verse bridge, whatever that is, right,
Speaker 1: And we had that seven years, and then hip hop
Speaker 1: for the last forty years on wax has gave us
Speaker 1: culture like a lot of the audience that we want
Speaker 1: to speak to grow up. Culturally entitled.
Speaker 2: M that's my new we When you.
Speaker 4: Say culturally entitled, I know what you mean, but explain
Speaker 4: to the audience a little bit. What you're saying.
Speaker 1: Culturally entitled means you have no in hip hop. It means,
Speaker 1: specifically street urban culturally entitled that you believe because you've
Speaker 1: listened to enough rap songs, right, that you've listened to
Speaker 1: enough rap songs and digested enough social media content that
Speaker 1: you are totally in tune with.
Speaker 2: The street urban culture.
Speaker 4: You are in an expert of what's going on, much
Speaker 4: like people that watch a lot of football.
Speaker 3: Coach, that's that's universal. That's it's it's an academicist perspective.
Speaker 3: It's it's white sociology PhDs. What that's every white sociology
Speaker 3: PhD breathing oxygen in this country.
Speaker 2: Tell me more, telling the truth, Telling the truth, Tell
Speaker 2: me more.
Speaker 3: I pontificated over some peer reviewed horseship essays that aren't
Speaker 3: backed up. I spent a lot of time in the classroom.
Speaker 3: I read a lot of books. Now I think I
Speaker 3: know sub culture. I've never seen it by life.
Speaker 2: Mm hm.
Speaker 3: Of a white man, and they certified me.
Speaker 4: White man or a white woman.
Speaker 1: They certify you on other people's coach black. I know
Speaker 1: what's going on with those guys.
Speaker 2: I read them.
Speaker 4: It's because of their social economic conditions that they ate
Speaker 4: this way. So when I meet them, I'm going to
Speaker 4: rep to them. I'm going to rep.
Speaker 3: That's that's that's why you get like Hillary. She carries
Speaker 3: hot sauce in pers on fucking Charlottage Show.
Speaker 4: If you ever start getting in trouble around some black people,
Speaker 4: just start rapping immediately astimulating to the environment. You imagine
Speaker 4: the motherfucker being stuck in the hooks. He at the
Speaker 4: gas stationed off from period, you know, across from the projects,
Speaker 4: and some brothers pointing to a white dude. He just
Speaker 4: start going, Yo, bro, you ain't got to mess with
Speaker 4: my fro. Don't mess with my float. The brother just saying, okay,
Speaker 4: he'd be hip to us. What's up, brother, you down
Speaker 4: with us?
Speaker 2: I'm crying.
Speaker 4: Oh you ever seen the Soul plane man, that where
Speaker 4: the dude was talking jive on the plane They're plane when.
Speaker 3: The dude was talking with the old white lady.
Speaker 4: Yeah, I'm.
Speaker 3: That's famous city. He translates with the stewardess because he
Speaker 3: has his stomach ache from the fish.
Speaker 4: M let me see you see like the finally to
Speaker 4: play that real quick.
Speaker 2: Anywhere tu ris man, But anyway, that's over there.
Speaker 3: It's running a little hot.
Speaker 4: We're starting.
Speaker 2: This is got way, it's not going it's not there.
Speaker 1: Anyway, said go on, there's this, I'm starting the ravee.
Speaker 1: Hold over here playing weird.
Speaker 2: When you're doing that, I get you something more, folks.
Speaker 2: But laying into the boom.
Speaker 3: I'm sorry, I don't understand.
Speaker 2: You said you can't hang us.
Speaker 3: I speak good, he said, anyone you can help me?
Speaker 2: All right? Would you tell him to just relax and
Speaker 2: I'll be back as soon as I can with some medicine.
Speaker 3: M hmm, just Alw's blood.
Speaker 2: She gonna catch up to.
Speaker 1: Raise no dummies, tell me some second chat.
Speaker 2: Don't got no brands?
Speaker 1: Oh man, please stop, please stop anyway. But that's b
Speaker 1: And it's weird because all of this stuff, like I've
Speaker 1: talked about this, all of this hoopla right now currently
Speaker 1: that's going on in my in my universe as far
Speaker 1: as socially is because around seven years ago I realized
Speaker 1: what hip hop street urban culture was personified through the
Speaker 1: arts hip hop, and five years ago, I realized Drake
Speaker 1: wasn't a part of it.
Speaker 2: Within the context of a conversation and.
Speaker 4: We're talking about Drake before you get the sixes on.
Speaker 2: You six is crazy. Oh man, that's exactly what it's like.
Speaker 2: It's like even then, it's like I can hear the
Speaker 2: rhetoric that.
Speaker 1: His fans or even he's presenting, and it's like in
Speaker 1: his mind, he feels like he's in tune with street
Speaker 1: urban culture. And it's like he probably he has to
Speaker 1: be in his mind, Like who this Glasses think he is?
Speaker 1: I'm as aware as him, Like like I am as
Speaker 1: aware of street urban culture as he is. And it's
Speaker 1: because he is studying talk. But that's what I'm saying.
Speaker 1: I think.
Speaker 4: He has study jaf talk. Yeah, Glasses, he more thief.
Speaker 3: This is inter because he speaks certified. He has certified records.
Speaker 3: They were certified platter that's a PhD in this genre.
Speaker 1: Oh yeah, he understands and that works to the fans.
Speaker 1: The fans really be like, gee, man, like, look how
Speaker 1: well he's doing.
Speaker 2: You mean to tell me he's not speed urban cult.
Speaker 3: And I'm like, I was talking with this girl who
Speaker 3: she's West African and she lives in Cleveland about this thing,
Speaker 3: because she hit me up on Instagram and it was
Speaker 3: just like really funny talking about like this Kendrick Drake shit.
Speaker 3: It was like such a weird converging dynamic of a
Speaker 3: West African immigrant in Ohio talking about a Canadian black
Speaker 3: Jewish guy versus a dude from Compton with a white
Speaker 3: guy from Orange County. It was the strangest like pile
Speaker 3: of stuff thrown in a blender in conversational history. It
Speaker 3: was so weird.
Speaker 1: Anyway, I realized that was going on. That's one of
Speaker 1: the greatest it's barriers I have to overcome is the
Speaker 1: average person in America who grew up listening to hip
Speaker 1: hop feels like they're as culturally savvy as I am. Like,
Speaker 1: and I get it because they hear the songs and
Speaker 1: they watch the content on social media and it's like
Speaker 1: I had somebody tell me that Glasses we heard the
Speaker 1: same songs, and I'm like, no, I'm living the songs.
Speaker 2: I've lived the song man.
Speaker 4: Like the Mama Mama say Mama, Michael Saw didn't know
Speaker 4: what's going on.
Speaker 2: Gee.
Speaker 3: Think about this. Also, though twenty years ago, hip hop
Speaker 3: wasn't dominated by per se but there certainly was a
Speaker 3: significant aspect of the space, not culturally, but like industry
Speaker 3: wise to this discussion as to who's a gangster versus
Speaker 3: studio gangster. Right, this isn't a difficult decision to make
Speaker 3: if you're looking at people, but if you don't no
Speaker 3: heads from tails that it's like some of you have
Speaker 3: to discuss and debate for hours and days and weeks
Speaker 3: on end. It's like like you'd have to be distant
Speaker 3: enough from the epicenter to not understand that rapper ABC
Speaker 3: or D maybe in his past didn't actually buy and
Speaker 3: sell thirty million dollars worth of rock cocaine in his life.
Speaker 1: I mean, I've always thought that that conversation was kind
Speaker 1: of like goofy.
Speaker 3: It was goofy, but it was emblematic of the audience.
Speaker 3: There had to be enough of an audience that didn't
Speaker 3: understand shit for that cars didn't even persist longer than
Speaker 3: seventeen seconds.
Speaker 1: But I don't think the audience started that conversation. I think, no,
Speaker 1: they didn't reject it either. Well, I don't think they can.
Speaker 3: I think that you would degree there was enough caring
Speaker 3: for it to have sustained itself.
Speaker 1: Well, I think that was something that started within the art. Again,
Speaker 1: hip hop is the artistic expression, it's the artistic expression
Speaker 1: of the culture. So again, like if we start talking
Speaker 1: about who really did what, that's not quite like the
Speaker 1: conversation to me, right that It's like if somebody next
Speaker 1: to you, if you did something and somebody you grew
Speaker 1: up with did something and you know the experience. Yeah,
Speaker 1: it's task upon you to explain it. Now, whether you
Speaker 1: explain it in first person or third person is irrelevant
Speaker 1: to me. I mean, that's just your creativity because obviously
Speaker 1: you're making art. But I'm saying this is a little
Speaker 1: different than that, because this is not like, this is
Speaker 1: not the same conversation as oh, who is a studio
Speaker 1: gangster and who is Like we're we're talking way past around.
Speaker 3: Yeah, I'm not saying that specifically.
Speaker 1: I'm just saying, but I don't want people to listen
Speaker 1: to this pod and get confused thinking that a studio
Speaker 1: gangster is somebody that's culturally entitled.
Speaker 3: No, I'm not talking about the artists at all. I'm
Speaker 3: not talking about anything that's going on in or around
Speaker 3: the studio by the artists, labels, distributors, or otherwise I'm
Speaker 3: simply just talking about the audience and their perception.
Speaker 1: No, no, but even the perception they didn't even again,
Speaker 1: like I said before we get loose to that, I
Speaker 1: don't think they really was into the studio gangster side.
Speaker 2: I think that was something.
Speaker 1: That the culture itself started, and then the audience was
Speaker 1: able to say, Okay, do we really care about this?
Speaker 1: And I don't as much as I think, as much
Speaker 1: as I think they do, they don't.
Speaker 3: I post one question, sure.
Speaker 2: And I don't want to stay there only because this
Speaker 2: kind of becomes counterproductive, like this is where we're gonna
Speaker 2: get lost and of what I have to do because.
Speaker 3: It's like, yes, it's the weeks.
Speaker 1: Yeah, exactly, like it's a tangle because that's not what
Speaker 1: hip hip hop was never about. The actual person, Like
Speaker 1: I'm just lucky to be to make it through to
Speaker 1: be the actual person to describe it.
Speaker 3: But saying it was, I'm saying it speaks to the
Speaker 3: illiteracy of the audience. If you don't think the audience
Speaker 3: cared asked Ja rou.
Speaker 1: But I don't think. I don't think. I don't even
Speaker 1: think that's even what happened at Ja Ruh. Like I
Speaker 1: because if that was a case, Jahru would probably be
Speaker 1: the one that's doing well. Jahru was the aggressor in
Speaker 1: the conversation and that whole sequence of him in fifty cent.
Speaker 2: His crew was more of the aggressor. His crew was
Speaker 2: more of the thorough crew.
Speaker 1: Again, we're talking about two bunch of street guys to
Speaker 1: some degree, right, but the supreme team that was with
Speaker 1: ja Ru. Jahru was a guy. They had fights, you know,
Speaker 1: sometimes I think gu and it won some of the fights.
Speaker 1: They had another fight where murdering stab fifty cent if
Speaker 1: I remember hearing correctly, Like, it was always a back
Speaker 1: and forth thing and the biggest player and the whole
Speaker 1: situation is on the murder ink side. So it's like,
Speaker 1: I don't think jah Ru. If people thought jo Ruth
Speaker 1: was a studio against they probably might be a little wrong.
Speaker 1: I mean, I'm sure they're wrong to some degree. So
Speaker 1: it's like, that's why you can't have the audience deciding that,
Speaker 1: you know what I mean? Really, it was always within
Speaker 1: the culture conversation that leaked out.
Speaker 2: But again I don't want to get caught there because
Speaker 2: this is not that conversation.
Speaker 1: This is not whether you think somebody that grew up
Speaker 1: in the community or you know that grew up baptized
Speaker 1: in street urban culture. If they're actually a criminal, if
Speaker 1: they're a participant, because your job as an artist is
Speaker 1: to paint the pictures of what's happening in the culture.
Speaker 3: Sure, sure, I'm just saying if you don't, If if
Speaker 3: you're a literist low enough, then you can get taken
Speaker 3: for a ride.
Speaker 1: It's all same, Yeah, I know, but right otherwise, so,
Speaker 1: but it's like you have people that are culturally unaware.
Speaker 2: That's the thing.
Speaker 1: The depth of their understanding is they're being taught by
Speaker 1: the artists or what's going on on social media, and
Speaker 1: I don't think there's really okay, So, while that's not
Speaker 1: hip hop, if the songs are teaching you about what's
Speaker 1: going on in the culture, you know, especially where you're from,
Speaker 1: mainly where you're from, you probably are not the culture. Yeah,
Speaker 1: And I think that's what's happening to the fans. I
Speaker 1: think we have a group of fans who grew up
Speaker 1: with the culture in their airphone, you know, in their
Speaker 1: air force, in the in their earphones.
Speaker 4: Right.
Speaker 1: This is another this is a This is probably the
Speaker 1: third Is this the third generation that grew up with
Speaker 1: hip hop. Still you the first generation that grew up
Speaker 1: with hip hop?
Speaker 2: Yeah?
Speaker 4: You know what I would say this is, this is the.
Speaker 1: Third generation growing up with hip hop, because yours the
Speaker 1: first generation that.
Speaker 2: Grew up with hip hop. Because hip hop still when
Speaker 2: you were a teenager.
Speaker 4: Yeah, because I remember when it really wasn't I remember
Speaker 4: when we were like there was Yeah, we were listening
Speaker 4: to Duran, Duran, a lot of R and.
Speaker 1: B had we had other things outside of hip hop,
Speaker 1: versus my era where it was just hip hop.
Speaker 3: Yeah, X gen X millennials gen Z.
Speaker 1: Yeah, so it's three generations, right, So I think what's
Speaker 1: happening is as we're marketing music to this third generation
Speaker 1: or even the first and second, right, I think you
Speaker 1: have people who you used to sell the culture to
Speaker 1: right the art too, and they knew that they weren't
Speaker 1: from this environment like we're still grew up at There
Speaker 1: were people who grew up in different places and they
Speaker 1: were honest enough that still age to say, hey, I
Speaker 1: didn't grow up like still grew up. My experience was different,
Speaker 1: and they would let Still tell them about his experiences
Speaker 1: of growing up in Cleveland, you know, coming to Long Beach,
Speaker 1: right like this is his experience, and they didn't. The
Speaker 1: people from Crito's didn't act like, oh, I know what
Speaker 1: he's talking about. They were still open. Even my generation,
Speaker 1: right as that second generation that grew up in it
Speaker 1: right to a degree, we still let other people tell
Speaker 1: us about culture that wasn't our own. But this third
Speaker 1: generation is really unique because they feel like they understand
Speaker 1: what's going on based off of growing up generationally with
Speaker 1: street urban culture at their fingertips.
Speaker 2: Not just the.
Speaker 1: Songs, not just a history of songs, a history of books,
Speaker 1: a history of films, a history of content that you
Speaker 1: can access on social media.
Speaker 2: And what I came to the conclusion of is like, we.
Speaker 1: Have to like there's a group of people outside of
Speaker 1: that group of people that we have to start targeting.
Speaker 4: You know what I found interested in coming up in
Speaker 4: a place like Cleveland that was really segregated. We did
Speaker 4: have white folks that lived on our side of town,
Speaker 4: you know, on the east side off one hundred and five, right,
Speaker 4: same community we lived in, Right. I don't think you
Speaker 4: couldn't have told them dudes that they wasn't black, dude,
Speaker 4: they had white parents. It wasn't like they either they
Speaker 4: had white parents. They just lived in the neighborhood. But
Speaker 4: they were into the same things that we were doing,
Speaker 4: and they didn't really know how to. I remember my
Speaker 4: boyfriends man when we first got Bush to Clark Elementary.
Speaker 4: He was on the bus with us and his white
Speaker 4: dude asked him, why are you hanging out with the
Speaker 4: nigros all day? Why are you hanging out with these
Speaker 4: like And he didn't understand what they were saying. He
Speaker 4: didn't understand. He really didn't understand that stuff because he
Speaker 4: was raised with us. True, So I think I think
Speaker 4: it's very important to note dog did.
Speaker 3: Yeah, And that's an interesting micro macro on the segregational
Speaker 3: concept because while the segregation in the macro had all
Speaker 3: the people who were asking that same person the question,
Speaker 3: he wasn't. He was integrated. He was in your neighborhood.
Speaker 3: So he's two different Those are two radically different people
Speaker 3: and experiences.
Speaker 4: Yeah, what you think due to this day is married
Speaker 4: to a black woman, married to a black woman. Also
Speaker 4: had a white home boy that dated pretty much everybody
Speaker 4: dated white girl. I was saying black girls, but he
Speaker 4: was from the neighborhood. Though.
Speaker 1: I always say that the root of culture is not
Speaker 1: your skin. The root of culture is the land.
Speaker 3: Mm hm yeah. Sure.
Speaker 2: So it's like when of the dudes in.
Speaker 4: The phone see would swear up and down it was black.
Speaker 2: I mean, I don't quite know what that means, but
Speaker 2: I got it.
Speaker 4: No, But they just speak a certain way. You feel
Speaker 4: what I'm saying. But look at a perfect example, look
Speaker 4: at Storing Baker bro dude, that was raising the black community.
Speaker 2: But but again it.
Speaker 1: This goes back to that same conversation I keep having
Speaker 1: with people about hip hop not being black, hip hop
Speaker 1: being black based off of demographics, not being black based
Speaker 1: off of an understanding or existing of being black.
Speaker 3: Well, it's yeah, it's it's the fruit of a tree.
Speaker 3: It's there's a difference between the tree and the fruit,
Speaker 3: you know what I mean.
Speaker 2: Yes, But I mean.
Speaker 1: Because somebody, like I said, somebody like Fat Joe who
Speaker 1: grew up in a project full of brothers, he doesn't
Speaker 1: have a full understanding of what it's like to be black.
Speaker 1: Even somebody who's a Puerto Rican who grew up in
Speaker 1: the Bronx, who grew up in hip hop, you know
Speaker 1: what I mean, And the culture itself still could use
Speaker 1: a term like radical black racist because there's a level
Speaker 1: of blackness that he's unaware of, because again, being hip
Speaker 1: hop doesn't mean being black to a full point.
Speaker 3: Or he's aware of it, and he's using polarity for
Speaker 3: self servitude.
Speaker 1: I don't even I don't even think he would do that,
Speaker 1: as I think if you were'm aware, he wouldn't even
Speaker 1: do that. And see, that's what I think most people
Speaker 1: think of what he's doing, is that he's using it
Speaker 1: as like he knows better. And it's like, I don't
Speaker 1: think he knew better, because Joe's the kind of person
Speaker 1: I believe if you knew better, he would do better.
Speaker 1: Better man if he didn't know any better. But again,
Speaker 1: like I said, it's like there are certain things that
Speaker 1: being black. You know that naturally, you just know coming up.
Speaker 1: You've heard it enough in your life.
Speaker 2: You hear it inside your house, you hear it outside
Speaker 2: your house, you hear it. You know.
Speaker 1: For the most part, it's a standard when you start
Speaker 1: to assimilate with people that look like you, you know
Speaker 1: what I mean. And for most of us, it comes with
Speaker 1: our parents. I mean, there is a small percentage of people.
Speaker 1: I would imagine there are some black parents that's teaching
Speaker 1: a kid racism. Don't exist. I just don't know if
Speaker 1: I know any of them. I don't think I've ever
Speaker 1: met a black parent that doesn't think racism doesn't exist.
Speaker 1: But I'm sure there are some preaching it. So again
Speaker 1: we're talking about the macro. I mean, what's happening in most.
Speaker 3: Homes from my own experience, like, I think there's maybe
Speaker 3: not enough like gradient this to that spectrum. What I
Speaker 3: people who I know who might be loosely described as
Speaker 3: having that perspective, it's not it doesn't exist, it's while
Speaker 3: it exists, your problems you you haven't even got there
Speaker 3: yet kind of thing, you know what I mean. It's
Speaker 3: like that might exist, but you fucked up at this,
Speaker 3: so that could exist, or otherwise you fucked up before
Speaker 3: you even got there. Is largely like the the root
Speaker 3: of most of the conversations that I have that are
Speaker 3: further down on that side of that perception spectrum, because
Speaker 3: I don't know anybody who said it doesn't exist, but
Speaker 3: it usually have to the extent that it exists, it
Speaker 3: doesn't matter for you. You already made a bad decision that
Speaker 3: costs you, So don't blame it on that because you
Speaker 3: fucked up for you even hit that point.
Speaker 2: Yeah, that's technically that's yeah.
Speaker 4: I think there are a large contingency of people that
Speaker 4: believe that racism no longer exists, you black people. I
Speaker 4: think it's a few black people that think.
Speaker 2: Especially large, A large, A large, not at large.
Speaker 4: It's a larger percentage of white folks that don't think
Speaker 4: racism exists. But there's a there's a small segment of
Speaker 4: black people that think racism that think everything is just fine.
Speaker 1: Don't don't don't play with words.
Speaker 2: No, don't play with words.
Speaker 1: Do you think there's a large number of black people
Speaker 1: that don't think racism exists.
Speaker 4: I think it's I think it's more than it should be.
Speaker 4: I wouldn't say it was large, right, but I think
Speaker 4: it's more than it should be.
Speaker 3: More a million is three percent, So it depends on
Speaker 3: how you're defining the raw number or the percent number.
Speaker 4: I just think, man, and there are some people that
Speaker 4: are doing well in life, bro, that think that certain
Speaker 4: stuff don't effect impact them. You feel what I'm saying.
Speaker 4: They think, Oh, I'm up there, not because I have money.
Speaker 4: I have this. I've never thought, no matter how much
Speaker 4: money I have, dog, I always got reminded, man that
Speaker 4: I was a nigga. I always got a reminder that
Speaker 4: you are still black. I remember, man, when we was
Speaker 4: an escro for a house. You know, we're getting our
Speaker 4: stuff together for a house, right, and you know that's
Speaker 4: the stressful last time. People. You know, when you're buying
Speaker 4: a house, you got to have a certain amount of
Speaker 4: money in the bank, you know, when you're doing certain
Speaker 4: things right. So I had, you know, my my mortgage.
Speaker 4: You know, my real estate agent said, hey, y'all gotta
Speaker 4: put like fifteen to twenty more grand in the bank
Speaker 4: to show that y'all, you know, do this. So I
Speaker 4: had I had a cashiers checked, like one hundred thousand dollars.
Speaker 4: Cashiers checked dogs. I went to put in the bank.
Speaker 4: I went to the bank down in pair of my dude.
Speaker 4: They wanted to put a hold on it, wanted to
Speaker 4: had me do this show reforms ID and I was
Speaker 4: mad as hell. So I left there, went to the
Speaker 4: bank and Beverly Hills. Dog went up there with my attorney,
Speaker 4: you know, the attorney from the publisher coming. He met
Speaker 4: me up there, some people. My stuff is available the
Speaker 4: same day. Dog money was available. Funds available the same day.
Speaker 4: Whereas I went to this other spot. Oh, there's no
Speaker 4: way you can have Where did you get this from
Speaker 4: Norman Steel? That doesn't sound like your name. You don't
Speaker 4: look like a Norman you know. Just little things, bro,
Speaker 4: And you get reminded, Yeah, you're still the nigga dog, even.
Speaker 3: Like that's that's a that's a poverty that that's a
Speaker 3: zip code thing, you know.
Speaker 4: Yeah, which which ultimately first over the racism.
Speaker 2: Thing is it's still yeah, Pete, that's what we're telling
Speaker 2: you though.
Speaker 1: No, but yeah, but even at the top level, it's
Speaker 1: still not a zip code thing. And I think that's
Speaker 1: the thing where it's like, this is the kind of
Speaker 1: thing that that might be one of the things that's
Speaker 1: in black cultures that we all know about racism at
Speaker 1: a full I think that may be one of the
Speaker 1: few things that we do share as a macro, you know.
Speaker 1: I mean, I don't think it's one percent of Black
Speaker 1: people that don't think, you know, America is racist. I'd
Speaker 1: be surprised if you could find one million Black people
Speaker 1: that don't think America.
Speaker 2: Yeah.
Speaker 1: I just think that just that would be one of
Speaker 1: those cultural things that we all communicate and know.
Speaker 2: But again, we have to be at a different place where.
Speaker 1: Culturally, a middle upper class Jewish kid from Canada things
Speaker 1: that he is as urban culturally savvy as somebody who
Speaker 1: grew up in Watson Compton, you know what I mean.
Speaker 1: And there's an audience of people saying, oh, well, he's
Speaker 1: as culturally savvy as you. He's as urban culturally savvy
Speaker 1: as you, And I'm like, huh really. But then again
Speaker 1: it goes to the audience, right, the audience who has
Speaker 1: no idea what urban culture is, but they feel like
Speaker 1: they do because of what they saw on social media
Speaker 1: or the records that they listen to.
Speaker 3: Whatever happens with the rest of this podcast, there's a
Speaker 3: piece between grew up in Canada versus I grew up
Speaker 3: in Wahston Compton and you, and then a pause and
Speaker 3: the word huh. That clip needs to be extracted and
Speaker 3: circulated elsewhere whatever happens on the rest of the show,
Speaker 3: that little twelve seconds was just spectacular.
Speaker 1: All right, Still, you need to make sure you cut
Speaker 1: that out. It's between forty forty eight minutes. Write this
Speaker 1: down between the forty six minute and the forty eight
Speaker 1: minute mark.
Speaker 4: Forty six and forty eight minute, Yeah.
Speaker 2: Write that down, so we could chop that clip. Again,
Speaker 2: It's just we're in a different time and.
Speaker 1: People will say to me and again, it's not about
Speaker 1: cuz it's about the fans, like with his dad's from
Speaker 1: Memphis and I'm like Nikka, like I ain't from Compton,
Speaker 1: like in Watts like again, because people are culturally entitled,
Speaker 1: and I think the goal is hip hop has not
Speaker 1: only have I been critical of artists who are just
Speaker 1: using old rap songs, old hip hop songs to hatch
Speaker 1: new songs, which is kind of while we're not, you know,
Speaker 1: growing hip hop the way our predecessors were, you know,
Speaker 1: in the in the early two thousands and the nineties,
Speaker 1: in the eighties, they were all growing it.
Speaker 2: But we're like feasting on what's they're already.
Speaker 1: Know, like like a like a buzzard, like a you know,
Speaker 1: what do you call it, a scavenger. Were just feasting on,
Speaker 1: you know, ourselves, like a accountibal. While our predecessors were
Speaker 1: always bringing new people to the party.
Speaker 2: While Dre was bringing people who liked.
Speaker 1: David McCallum to the party. You know, the guys who
Speaker 1: made the edge or or using no doubt, you know,
Speaker 1: declined to make forgot about Drake bringing no doubt fans
Speaker 1: to the hip hop party or jay Z you know,
Speaker 1: using the doors to make takeover, bringing rock fans to
Speaker 1: the party where for years hip hop used to bring
Speaker 1: people to the party. If you were at the It's
Speaker 1: also party, Big Pun brought you to the hip hop
Speaker 1: party with the remix of I Still Don't want to
Speaker 1: be a player, Like that's what hip hop used to do,
Speaker 1: used to rush your people into the party, into our
Speaker 1: cultural party. But now hip hop is so spoiled and
Speaker 1: the audience, so the artists are so spoiled, and then
Speaker 1: the base is so culturally entitled that they like, yeah,
Speaker 1: I know as much as anybody else, the artists themselves
Speaker 1: painting the picture. So I think the goal is hip
Speaker 1: hop is to go outside of the space. Like I said,
Speaker 1: It's like like if the first single on the one
Speaker 1: ten album, right, it's chili cheese fries. We need to
Speaker 1: go teach Rachel Ray on her show she needs to
Speaker 1: make chili cheese fries, and we need to tell her
Speaker 1: what does that mean to La street urban culture. That
Speaker 1: base of people is probably not culturally entitled, true. I
Speaker 1: mean we need to really get back to servicing this
Speaker 1: party and bringing people who haven't came to this party,
Speaker 1: to this party because there's an audience for people that's
Speaker 1: doing it. That's why Taylor Swift is doing so well.
Speaker 1: We was pursuing that audience, Snoop and Dre was pursuing
Speaker 1: that audience. They started to compete for that audience. They
Speaker 1: wasn't competing for this audience that we naturally already have.
Speaker 1: They were competing for whoever. The biggest act was in
Speaker 1: ninety two ninety three period.
Speaker 4: Yeah, chili, cheese, fries and interest. And when they come out.
Speaker 3: And they understood, like those guys understood not maybe the
Speaker 3: artistic bridge, but just the like the consumer parallel between
Speaker 3: and you've talked about this between cinema and music. Yeah,
Speaker 3: they made miniature cinema into music or vice versa.
Speaker 4: Do you think that if Snoop band, Snoop Dass, all
Speaker 4: those guys when they came at the around the time
Speaker 4: they came to Dre, do you think they had more
Speaker 4: of an influence on Dre than Drey had on them.
Speaker 2: Influence is a different word, probably not.
Speaker 4: Because you got to remember they was fresh out the hood,
Speaker 4: fresh out.
Speaker 3: I think it's.
Speaker 1: Probably not more because I think Dre they picked up
Speaker 1: a lot of doctor Dre's ways as a veteran. They
Speaker 1: all looked up to Dre. I think artistically they could
Speaker 1: have shaped where the chronic was going. But I think
Speaker 1: he was way more influential to them. He was way
Speaker 1: by that time when he was thirty years old, I
Speaker 1: mean roughly, so it's like, you know, they were all
Speaker 1: looking up to doctor Dre from n W A.
Speaker 4: So.
Speaker 3: And to the extent that one learn or another, they
Speaker 3: learned different things. Like Draymond learned a little bit more
Speaker 3: what was fresh, but they learned a lot more. And again,
Speaker 3: you're in you're in that room. You're trying to be
Speaker 3: a music professional. He was a music professional. You have
Speaker 3: more to learn from him than he has to learn
Speaker 3: from you.
Speaker 4: Yeah, you know, of course musically. When I'm talking about
Speaker 4: is culture and style and all that other stuff. Stuff
Speaker 4: that might you know, because when people gee, when people
Speaker 4: attained a certain level of success, they do become removed somewhat.
Speaker 3: Look at this way, though Dre had been at a
Speaker 3: Compton four or five years.
Speaker 2: Was it that long? I don't even think it is
Speaker 2: that I'm being generous. You be a year old.
Speaker 3: Those guys been in the music industry.
Speaker 2: Never well, I think I think.
Speaker 1: I think also remember, like they said, even when they
Speaker 1: start recording it at Dre's house, he even had furniture.
Speaker 2: It wasn't like somebody who was.
Speaker 1: At millions of dollars and was out of the hood,
Speaker 1: like you know, straight out to the n w A. He
Speaker 1: was in the hood. And eighty eight he was still
Speaker 1: in the hood. Eighty nine he was still in the hoo.
Speaker 1: It probably didn't get out the hood till probably eighty
Speaker 1: nine ninety and then he finds Scoop in ninety one,
Speaker 1: ninety ninety one, you know what I mean. He wasn't
Speaker 1: that far removed. But I definitely think they brought a
Speaker 1: youthful energy Warren you know, Warren Dog corrupt RBA. They
Speaker 1: you know what I mean, they brought.
Speaker 4: And you could listen to the music eating. At the
Speaker 4: height of Warren Jee's popularity, he was living right over
Speaker 4: behind what's the grocery store over there. Now they used
Speaker 4: to be like Alberson's or something. I was a winkles them, mom.
Speaker 4: The gated community over there and Long Beach Lakewood like Lake.
Speaker 2: South and South and Downy, yeah, South and Downey.
Speaker 4: Warren was all that gaeated community in a gated community, though,
Speaker 4: Warren and Leaf from over there. It was that when
Speaker 4: regular was going on Dog, I would see Warren sometimes
Speaker 4: driving down South Street and his beans dog top down,
Speaker 4: just hanging out, still going to the same records store
Speaker 4: to get samples and stuff Dog, and people see Warren like,
Speaker 4: what's up Warren? He was just always in the hood.
Speaker 4: I think Warren was more in the hood than the
Speaker 4: mother dudes was for a long time.
Speaker 2: Sure, So again again, I think.
Speaker 1: I think we have to get away from the culturally
Speaker 1: entitled marketing to the culturally entitled.
Speaker 3: Sure, and I.
Speaker 1: Think there's something specifically we have to do with the records.
Speaker 1: But I think when you are making a traditional seventy
Speaker 1: year old record, I think you have to get away
Speaker 1: from the culturally entitled based that that that that we've
Speaker 1: been marketing to, you know what I mean, not necessarily
Speaker 1: streaming again, not not going to the same thing, because
Speaker 1: I think they just spoiled. They've had it too long,
Speaker 1: They've been so aware, like think about it, like I
Speaker 1: always say this, but well, cripping and blood and there's
Speaker 1: a general racing.
Speaker 2: The kids who grew up with crypton bloods in their town.
Speaker 1: They don't even care where it comes from.
Speaker 3: Sure, and like I'll quote George Gilderton, dead and buried,
Speaker 3: there's a certain universality to the to the principal information
Speaker 3: is surprised at this point, there's no longer information being
Speaker 3: trans preferred because there's no news. It's just shit we
Speaker 3: know and heard before, recirculating the people who've heard it before.
Speaker 4: Peter before. I forget what I was looking for on
Speaker 4: the phone. What was the name of that white doctor.
Speaker 4: She was an older lady and she did this experiment
Speaker 4: in the sixties where she was showing a bunch of
Speaker 4: white kids what racism.
Speaker 2: Was, and those kids and wanted to be black.
Speaker 4: Yeah, what was that woman was brilliant, though.
Speaker 3: I don't know what. I don't know what you know.
Speaker 3: I know you're talking about. I just got my head
Speaker 3: confused because I started watching the Stanford prison experiment yesterday and.
Speaker 4: I was trying to find that broke because those white
Speaker 4: kids were really in their feelings some kind of but like,
Speaker 4: this is not fair, and she said, well, that's what
Speaker 4: happens to black people every day.
Speaker 1: Well, if y'all know what it is, make sure y'all
Speaker 1: leave it in the comments.
Speaker 2: No selings.
Speaker 1: Looking out for tuning into the No Sellings Podcast. Please
Speaker 1: do us a favorite, subscribe, rate, comment, and share. This
Speaker 1: episode was recorded right here on the West coast of
Speaker 1: the USA. Were produced A Boy, The Black Effect Podcast Network,
Speaker 1: and now hard Radio.
Speaker 2: Yeah.