Latest / So Shameless / Somebodies Gotta Care About The Culture Feat @IamPvnch (Part One)

Transcript

Somebodies Gotta Care About The Culture Feat @IamPvnch (Part One) · So Shameless

• 0:01
  Speaker 1: If you know what I'm saying, so so shameless, If
• 0:07
  Speaker 1: you know what I'm saying, due, so shameless, If you
• 0:13
  Speaker 1: know what I'm saying, so shamous, so shameless, so so
• 0:21
  Speaker 1: so shameless.
• 0:24
  Speaker 2: If you know what I'm saying, so.
• 0:27
  Speaker 1: Shameless, If you know what I'm saying, so shameless. Say
• 0:36
  Speaker 1: if you know what I'm saying, so shameless, if you
• 0:42
  Speaker 1: know what I'm saying, so shames.
• 0:45
  Speaker 3: It is Andy talking all day. It's a whole family
• 0:49
  Speaker 3: thing going on. Shout out to Scord. We're in here,
• 0:53
  Speaker 3: dang well we're ready. Yeah, yes, sir, speaking of family
• 0:59
  Speaker 3: things going on. Got punch in here? What shaking punch?
• 1:05
  Speaker 3: How you feeling today?
• 1:06
  Speaker 2: It feels good to be in Brooklyn.
• 1:07
  Speaker 4: I don't be back to back to back, back to back.
• 1:12
  Speaker 2: He was listen. I wanted to see one of my
• 1:14
  Speaker 2: old Knasi girls. I wanted to I might ring her bell,
• 1:18
  Speaker 2: ring mine down.
• 1:21
  Speaker 3: I don't know about it. Call just hello, it's me.
• 1:26
  Speaker 3: I'm out front side.
• 1:27
  Speaker 2: Right yo.
• 1:29
  Speaker 4: That could go eat that go to a dangerous game.
• 1:31
  Speaker 4: That's a dangerous game.
• 1:33
  Speaker 3: True, but he's six six, that's a danger Being your
• 1:36
  Speaker 3: size is kind of dangerous. You don't get out the
• 1:41
  Speaker 3: car niggas gonna be like, yeah, don't get on.
• 1:43
  Speaker 5: Who is this nigga? You get up the car, nigga
• 1:45
  Speaker 5: change his mind immediately.
• 1:48
  Speaker 3: Exactly got my other family, a lot of family equity
• 1:50
  Speaker 3: in the house. I got both my cousins in the building.
• 1:53
  Speaker 3: Yesterday's here, Yes, sir, how you feeling.
• 1:56
  Speaker 2: I'm feeling good, bro, feeling good.
• 1:57
  Speaker 3: Ready to get to it, matching. I know what you
• 2:01
  Speaker 3: did last summer. We know what they were. We're gonna
• 2:05
  Speaker 3: talk about. You know he's excited for this, Drake drop.
• 2:09
  Speaker 3: Let's wait, we know, well you excited.
• 2:14
  Speaker 2: I'm chilling man.
• 2:15
  Speaker 4: Don't now.
• 2:17
  Speaker 3: He's trying to because he knows what's about to happen.
• 2:21
  Speaker 4: You got him.
• 2:23
  Speaker 3: It's no way he gets away with it. It's no
• 2:26
  Speaker 3: way he gets away with it. Punch you like that, punch?
• 2:29
  Speaker 3: I like you, punch. I like you talk to me.
• 2:32
  Speaker 3: I like, this is my cousin he has. He has
• 2:35
  Speaker 3: a podcast, right, he shoots it here. Okay, I love
• 2:41
  Speaker 3: I love the pot.
• 2:44
  Speaker 4: I love the pot.
• 2:44
  Speaker 3: It's called Conversations with Real Easy right, It's amazing part.
• 2:48
  Speaker 4: He was here yesterday. He had Tyrock Black work TV.
• 2:52
  Speaker 2: He had him here.
• 2:53
  Speaker 3: You know he has the They do the videos in
• 2:56
  Speaker 3: the street with the mike hanging from the sky.
• 2:58
  Speaker 4: I don't know one d per.
• 3:01
  Speaker 3: You know that, you know the model, I know that, right,
• 3:04
  Speaker 3: Lola Brook, Jim Jones, A bunch of everybody.
• 3:08
  Speaker 4: Right, he's moving. Legendary run, legendary run.
• 3:11
  Speaker 2: They're here.
• 3:13
  Speaker 3: They're hit till about nine o'clock last night. I have
• 3:18
  Speaker 3: to be I have to wake up for work at
• 3:19
  Speaker 3: three something in the morning. So when they get here,
• 3:22
  Speaker 3: when they leave, I scarf down a couple of bites
• 3:26
  Speaker 3: of chicken breasts. Maybe I didn't. I think I had
• 3:28
  Speaker 3: like two strawberries. To be honest, I went and laden bad.
• 3:34
  Speaker 3: I get a call at ten thirty pm last night. Yo,
• 3:41
  Speaker 3: that's you outside making all the noise. My moms lives
• 3:43
  Speaker 3: downstairs first two floors, said, I'm asleep. I don't know
• 3:47
  Speaker 3: what you're talking about, but now I hear it.
• 3:51
  Speaker 2: Boom boom boom boom boom boom boom. Not here. I
• 3:56
  Speaker 2: don't do that.
• 3:58
  Speaker 6: Now with Yo, It's like, what the fuck I'm laying
• 4:08
  Speaker 6: because you now you're up, you know, somebody wake you up?
• 4:10
  Speaker 4: Just sleep?
• 4:10
  Speaker 3: You're laying in your boom boom boom boom. Right, Old Fried,
• 4:20
  Speaker 3: I go to the window punch. No, lie, okay, they
• 4:24
  Speaker 3: shooting a video in front of my house.
• 4:25
  Speaker 4: Bro oh wow.
• 4:27
  Speaker 3: They got the lights up like this, the light on
• 4:30
  Speaker 3: the seat stand, the mic hanging from the sky.
• 4:35
  Speaker 4: It's ten thirty pm on a Thursday. It's two three
• 4:40
  Speaker 4: cars outside, about ten niggas.
• 4:42
  Speaker 2: Niggas got seats where they get the seats from.
• 4:44
  Speaker 4: They got a boom box punch in.
• 4:47
  Speaker 2: Front of my house. Boom boom, boom, boom boom. Shorty
• 4:53
  Speaker 2: in front of it, wrapping to the fucking mic. Hoo.
• 4:55
  Speaker 2: These people who these people? She got you hot boy, yo, yo,
• 5:02
  Speaker 2: I'm bugging yo, bro. I hit my cousin. I recorded
• 5:06
  Speaker 2: a guest passes, I got recorded. He brought the guest passage.
• 5:09
  Speaker 4: No, I got recordings, hold on, I got I.
• 5:12
  Speaker 2: Got the package deal for show show. Yeah.
• 5:17
  Speaker 4: Maybe.
• 5:21
  Speaker 2: Oh. They was filming filming and they got the that's
• 5:24
  Speaker 2: the boom box with the colors.
• 5:25
  Speaker 5: Yes, it's the party, yo, that's the ship. They like
• 5:28
  Speaker 5: the block up. It's a plot like the block up tripods.
• 5:33
  Speaker 4: They was doing different takes and everything. I stood here
• 5:35
  Speaker 4: for a second.
• 5:36
  Speaker 3: Like because I'm what the fuck, yo, bro, I see
• 5:44
  Speaker 3: block I see you rock out there. I said, that's terror.
• 5:47
  Speaker 3: He went outside the shot a video. He just, Yo,
• 5:49
  Speaker 3: we're gonna do this right here. Fu that that stop right.
• 5:52
  Speaker 4: Here right, that's crazy.
• 5:56
  Speaker 3: I opened my phone. I said, my cousin the video. Yo,
• 6:00
  Speaker 3: your man let me be clear the video Yo, man, Yo,
• 6:10
  Speaker 3: your man.
• 6:12
  Speaker 4: Drink.
• 6:13
  Speaker 3: He said, yeah, I apologize. That's why I'm still here.
• 6:16
  Speaker 3: We out we out right after this, I said, nigga,
• 6:20
  Speaker 3: you out there.
• 6:25
  Speaker 2: You part of the video. Yo. They got me weeks Yo,
• 6:30
  Speaker 2: you was out there. Bro.
• 6:31
  Speaker 3: You had like, I'm gonna put the video in the
• 6:33
  Speaker 3: discord so that y'all can see it.
• 6:35
  Speaker 5: Hold on, I have a question, bro, are you in
• 6:38
  Speaker 5: the Are you in the block Works TV ship?
• 6:40
  Speaker 1: Nah?
• 6:40
  Speaker 2: So look right? He like, Yo, I got a busy day.
• 6:44
  Speaker 2: So I told them to MEMI over here. I think
• 6:47
  Speaker 2: I can record a video. He recorded a video before
• 6:49
  Speaker 2: he did the episode on the Block Crazy. But you
• 6:52
  Speaker 2: couldn't hear nothing.
• 6:53
  Speaker 7: So I'm like, oh, I ain't here the first joint,
• 6:55
  Speaker 7: I said, you don't really hear nothing, right, He's like nah,
• 6:57
  Speaker 7: I said, all right, cool. So yeah, the first one
• 7:01
  Speaker 7: he was up here, you heard nothing.
• 7:04
  Speaker 2: I'm like, all right, cool.
• 7:04
  Speaker 3: So he didn't do that right, here though the first one, Yes,
• 7:08
  Speaker 3: he did so based off that, I'm like, yeah, suldn't
• 7:12
  Speaker 3: be no problem.
• 7:13
  Speaker 7: I ain't because I'm already here, you know what I'm saying.
• 7:17
  Speaker 7: So he like, allright, bet, I'm like all right, cool.
• 7:19
  Speaker 7: So now I'm like, yo, this ship a little different
• 7:21
  Speaker 7: from me. I'm like, yo, like, yeah, you turn it
• 7:26
  Speaker 7: down a little bit, sad your lipsinking right, Yes, he
• 7:28
  Speaker 7: turned it down a little bit.
• 7:30
  Speaker 2: But you know, I was already into deep, so I
• 7:31
  Speaker 2: couldn't already had the black letter from damn. So then
• 7:37
  Speaker 2: I'm like, all right, I'm like, oh, they're good. Hold on, Harry,
• 7:40
  Speaker 2: we good. I'm chilling talking to my man. Came through. Yeah,
• 7:44
  Speaker 2: your man out there recording the video.
• 7:47
  Speaker 7: Then the dude behind the girl holding her ponytails, he
• 7:50
  Speaker 7: magically just had that particular scene, caught that.
• 7:54
  Speaker 4: Scene with the said what's he seeing that? He was like, nah,
• 7:59
  Speaker 4: I said, I ain't gotten nothing the TV on.
• 8:03
  Speaker 7: I'm not gonna na. He said, nah, that's what I said.
• 8:06
  Speaker 7: I'm like what, I'm like, well, no.
• 8:10
  Speaker 4: That happened.
• 8:11
  Speaker 2: You know. Now's a powerful word because if it could
• 8:14
  Speaker 2: be like nah, you're like you don't know what what's next?
• 8:19
  Speaker 4: Anywhay.
• 8:21
  Speaker 2: Yeah, it's like now this is mad funny.
• 8:24
  Speaker 7: Yeah, like now that's crazy now you o d that's
• 8:29
  Speaker 7: crazy as now now you're.
• 8:33
  Speaker 4: Going too far.
• 8:35
  Speaker 2: Nah, cut that ship the funk off.
• 8:37
  Speaker 4: Nah, it's like a.
• 8:38
  Speaker 2: Very it's a universe, universe universe.
• 8:45
  Speaker 3: I couldn't believe it. Bro Ya put the damn. I
• 8:48
  Speaker 3: put the videos in the discod for y'all to go watch. Right,
• 8:52
  Speaker 3: I wake up this morning. I opened up Facebook.
• 8:57
  Speaker 4: Real niggas cleaning his house but naked. He's playing games.
• 9:08
  Speaker 2: This is not your games?
• 9:10
  Speaker 4: Are you?
• 9:11
  Speaker 2: Why is that you open.
• 9:12
  Speaker 8: Your frigerator this? He has six items and refrigerated No, no,
• 9:16
  Speaker 8: yes to say, look look at him open refrigerating clean. No,
• 9:21
  Speaker 8: look look look at the frigerator. I've never seen refrigerated
• 9:25
  Speaker 8: at empty. I've never seen Did you take everything out
• 9:29
  Speaker 8: the formal? Did you take everything out refrigerator?
• 9:32
  Speaker 2: Man, I don't have it. I cooked.
• 9:35
  Speaker 4: It's water and baker, so.
• 9:39
  Speaker 2: I cooked nothing last in my fridge. I'm not one
• 9:41
  Speaker 2: of them dudes who I don't.
• 9:43
  Speaker 4: So you're doing so, you're doing this content. This is
• 9:44
  Speaker 4: your content. You're doing now, naked cleaning, naked clean. I'm
• 9:47
  Speaker 4: not naked.
• 9:48
  Speaker 2: I'm not naked?
• 9:49
  Speaker 4: Why?
• 9:52
  Speaker 2: Yes?
• 9:53
  Speaker 4: Why are you?
• 9:53
  Speaker 1: Yeah?
• 9:54
  Speaker 4: We're not? How you doing today?
• 9:57
  Speaker 2: Man?
• 9:57
  Speaker 4: Yo, I'm in here with my metro sexual cousins.
• 10:00
  Speaker 2: Yeah.
• 10:04
  Speaker 3: If I ever get to the point where I'm doing
• 10:07
  Speaker 3: naked cleaning, naked hygiene, just understand I stopped giving the
• 10:12
  Speaker 3: funk about everything.
• 10:14
  Speaker 4: What if you o f it? That's what you bond
• 10:16
  Speaker 4: as well.
• 10:17
  Speaker 2: That's the next time, yo.
• 10:19
  Speaker 4: Are you gonna let me.
• 10:21
  Speaker 7: Put this out there right? Cleaning content is a thing.
• 10:25
  Speaker 7: Cleaning cleaning as m R and stuff like that.
• 10:28
  Speaker 2: That's a it's a lane for that.
• 10:30
  Speaker 4: Are you now a part of that lane?
• 10:32
  Speaker 2: Why are you doing it?
• 10:34
  Speaker 4: Yes?
• 10:34
  Speaker 7: I support that men should men should have healthy manscape?
• 10:37
  Speaker 4: Manscape? Man, y'are still in business?
• 10:40
  Speaker 2: Man escaped?
• 10:41
  Speaker 4: Send him the underwear.
• 10:42
  Speaker 3: He's gonna wear the underwear with the manscape around the way.
• 10:45
  Speaker 4: Yeah, show the V yeah, so the V cut.
• 10:50
  Speaker 2: Yeah, I can't.
• 10:51
  Speaker 4: I'm with it. I'm with it. Get listen.
• 10:54
  Speaker 3: Hello, checks we're all about getting checks. Punch were about
• 10:58
  Speaker 3: getting checks out.
• 11:00
  Speaker 4: Punch is.
• 11:02
  Speaker 3: Very well known. I don't know, man, what the hell
• 11:07
  Speaker 3: do you call yourself?
• 11:08
  Speaker 2: Brott most prevalent. I introduced myself as a creative director.
• 11:13
  Speaker 2: Creative director that's where that's my most universal term.
• 11:16
  Speaker 4: Yeah.
• 11:16
  Speaker 2: But if I'm in music means, I introduced, I'm executive producer, songwriter,
• 11:21
  Speaker 2: uh DJ.
• 11:24
  Speaker 4: On the other side, you're playing games.
• 11:26
  Speaker 2: Talk to me.
• 11:27
  Speaker 4: You have more energy of it.
• 11:28
  Speaker 3: Day, give me your rape you. He spoke his resume
• 11:32
  Speaker 3: of a day. He spoke for about four minutes. This
• 11:35
  Speaker 3: Nigga said, I'm a creative director.
• 11:36
  Speaker 2: Yeah, because it's do we start? Do we start so much?
• 11:41
  Speaker 2: I'm going heavy Listen. I'm a creative director. I'm a songwriter,
• 11:46
  Speaker 2: many many, many records. I've DJ'd around the world, a
• 11:49
  Speaker 2: hairline under sixty different countries. Hello, okay, I'm on my
• 11:52
  Speaker 2: third past that the other day. Okay, he wants me
• 11:55
  Speaker 2: to do it like this. I want you know what
• 11:58
  Speaker 2: I'm saying. I have wrote songs. I just began producing
• 12:03
  Speaker 2: a couple of years ago. I'm new to it, but
• 12:05
  Speaker 2: I'm great. You get what I mean. I've always executive produced.
• 12:08
  Speaker 2: I have podcasted. I'm one of the early early early
• 12:10
  Speaker 2: people in on this, on this, on this music podcasting
• 12:15
  Speaker 2: curate content. I react to content, I commentate. I'm the
• 12:20
  Speaker 2: president of hip hop. Last time I check. Anybody feels away.
• 12:23
  Speaker 2: Hopefully that you got some information to articulate and argue that.
• 12:26
  Speaker 2: You get what I'm saying. Hopefully you got the kind
• 12:28
  Speaker 2: of hours that I put into this culture. You give
• 12:30
  Speaker 2: me I got about thirty forty fifty Platinumtis that a
• 12:33
  Speaker 2: co sign.
• 12:33
  Speaker 4: What I'm saying? Okay, it's been a light. I want to.
• 12:36
  Speaker 2: Educate the people. I don't want to talk. As Tahoe
• 12:38
  Speaker 2: asks me to up the pressure the rail, I can
• 12:41
  Speaker 2: perform if I need to.
• 12:42
  Speaker 4: Reality at handles this.
• 12:44
  Speaker 2: I'm the president of hip hop because I care about
• 12:46
  Speaker 2: the culture. So vote for change. Hello. Talking about Donald vote,
• 12:55
  Speaker 2: I said, somebody got to care about the culture. Somebody
• 12:57
  Speaker 2: got to care what hip hop changed? My life changed
• 13:02
  Speaker 2: my life. It changed min arguably every single person in
• 13:05
  Speaker 2: my life's life. You get what I'm saying because of
• 13:08
  Speaker 2: how much it changed my life and how I've been
• 13:10
  Speaker 2: able to reshift things, responsibilities and experiences for people that matter.
• 13:15
  Speaker 2: So I love this shit. So when I see people
• 13:17
  Speaker 2: mishandling it or doing wrong, you know, I try to
• 13:21
  Speaker 2: get in front of it. And it's gonna be someone
• 13:22
  Speaker 2: who will probably see me do one thing.
• 13:25
  Speaker 4: Look what he did.
• 13:25
  Speaker 2: You get what I'm saying, But overall you mean by
• 13:28
  Speaker 2: that you think can put up a picture of me
• 13:31
  Speaker 2: in front of game members and be like I thought
• 13:32
  Speaker 2: you were for the better.
• 13:33
  Speaker 3: You know they're gonna always be. Can I say something
• 13:35
  Speaker 3: that start with it? Somebody told me this, I did
• 13:39
  Speaker 3: research on you.
• 13:40
  Speaker 2: Let's do it.
• 13:41
  Speaker 4: First of all, I've been following your content. Thank you,
• 13:43
  Speaker 4: love the content.
• 13:45
  Speaker 3: I've been in the space content as well. I've been
• 13:47
  Speaker 3: in the space of recently. And I know y'all seen this,
• 13:50
  Speaker 3: You've seen me, your face, I'll be talking about shit,
• 13:52
  Speaker 3: but I'm like, yo, I want this summer to be different.
• 13:58
  Speaker 3: I've been around since shit, Veranda, Griffin, Speed, Envy, you understand.
• 14:05
  Speaker 3: I've been around Greenhouse, Lotus, Pink Elephant.
• 14:08
  Speaker 4: I've been through them, the spaces. I remember when.
• 14:14
  Speaker 3: I'm not going to say the dj MC thing, it
• 14:18
  Speaker 3: kind of became redundant.
• 14:20
  Speaker 4: I don't mean it in a way that.
• 14:23
  Speaker 2: They were.
• 14:24
  Speaker 3: I was started to hear the same sets over and
• 14:28
  Speaker 3: over and over. And this was fifteen years ago. This
• 14:32
  Speaker 3: is sixteen seventeen years ago. So now right, Veranda two
• 14:37
  Speaker 3: thousand and nine, two thousand and eight. Now we have
• 14:43
  Speaker 3: the juniors of those seniors and they're running it. Yeah,
• 14:48
  Speaker 3: and I'm like this ain't hip hop with me and
• 14:54
  Speaker 3: Punch is talking the other day. Where's hip hop? No, somebody,
• 14:57
  Speaker 3: I'm not sure if it was you. Where is hip hop?
• 15:00
  Speaker 2: Now?
• 15:00
  Speaker 4: Where's the heart of hip hop? Right now? Hip hop
• 15:03
  Speaker 4: the way.
• 15:04
  Speaker 2: You know it, it's lost at the exact moment, it's
• 15:08
  Speaker 2: lost right now. It's just it's lost right now. There's
• 15:10
  Speaker 2: no the culture. Hip hop doesn't have the proper structure.
• 15:14
  Speaker 2: The structure and that's why you know it started out
• 15:16
  Speaker 2: playfully shot to Ray Daniels, my brother, when he was
• 15:19
  Speaker 2: like your punches the president of the hip hop and
• 15:24
  Speaker 2: the reality hand is the real reason why I like
• 15:27
  Speaker 2: the title. It's not for a bravado or a macho
• 15:30
  Speaker 2: and the ship. It's none of that. It's because I care,
• 15:33
  Speaker 2: like I actually care what happens to the culture rap.
• 15:37
  Speaker 2: I care what happens to the culture of DJing. I
• 15:39
  Speaker 2: care what happens to the culture of producers. I care
• 15:41
  Speaker 2: what happens to the culture of podcasting about music, you
• 15:43
  Speaker 2: know what I mean? And I think that a lot
• 15:46
  Speaker 2: of people that are in control are mishandling it and
• 15:51
  Speaker 2: someone has to be there at times for a ground
• 15:55
  Speaker 2: level stake in the ground like this person's gonna talk
• 16:00
  Speaker 2: from a healthy, educated position, like I see people like
• 16:04
  Speaker 2: it's so much different ways. We can go on a
• 16:05
  Speaker 2: million different ways, but let's just start like this. It's
• 16:08
  Speaker 2: super trendy now to do music reviews, right, very trendy.
• 16:11
  Speaker 2: And I look at people who do music reviews and
• 16:13
  Speaker 2: I'm not mad at it, but I just want someone
• 16:16
  Speaker 2: to go, like, if you're gonna take information and advice
• 16:19
  Speaker 2: from someone, let it be someone who's had some man
• 16:21
  Speaker 2: I was doing it. Let it be a DJ who's
• 16:24
  Speaker 2: played the records. Let it be a producer who's created
• 16:27
  Speaker 2: the records. Let it be a songwriter who's wrote the records.
• 16:30
  Speaker 2: You get what I'm saying, Like, when it's just a
• 16:32
  Speaker 2: random person, Like I'm a fan, I'm like, I just
• 16:34
  Speaker 2: don't feel like I don't feel like enough hours were
• 16:38
  Speaker 2: put in on creating it to understand how to critique it.
• 16:42
  Speaker 2: I think as a fan, I think the Internet has
• 16:45
  Speaker 2: made fans believe that they're musical scientists, and you can
• 16:50
  Speaker 2: as a fan authentically, I think you could be like
• 16:53
  Speaker 2: I like it or I don't like it. But like
• 16:55
  Speaker 2: when fans be like, yeah, I mean I think the
• 16:57
  Speaker 2: drums could be different, all right, cool. If I put
• 16:58
  Speaker 2: a drum pad in front of you, could you correct it?
• 17:03
  Speaker 2: Could you you get what I'm saying. I think it
• 17:05
  Speaker 2: should be faster. Just tell me if you like it
• 17:07
  Speaker 2: or you don't like it. If you are a fan,
• 17:09
  Speaker 2: it is okay. Like I am a fan of basketball.
• 17:14
  Speaker 2: I dare never to be like Lebron this way. I
• 17:20
  Speaker 2: dare not. I'd be like, I wish you played better today.
• 17:22
  Speaker 2: I wish you won. Yo, Bro, looked like you didn't care.
• 17:25
  Speaker 4: I am not.
• 17:26
  Speaker 2: Yeah, Bro, when you're follow through your risk is and
• 17:29
  Speaker 2: arcing right like, like, have some humility. I wish I
• 17:33
  Speaker 2: wish fans would have more humility to the culture, more
• 17:37
  Speaker 2: humility and and respect and let you do that and
• 17:43
  Speaker 2: and grace.
• 17:44
  Speaker 4: I don't think I could let you do That's a
• 17:46
  Speaker 4: that's a good point. I could.
• 17:47
  Speaker 3: It might be it is, but that's not the fault.
• 17:50
  Speaker 3: The fans aren't the fall of his hip. Hop what
• 17:53
  Speaker 3: was the fall? Because we can say about what happened
• 17:55
  Speaker 3: now with the endter ofnet, we never really.
• 17:57
  Speaker 2: Control, so what what happened? I know I have that
• 18:01
  Speaker 2: in clarity. If that's if I articulated that in any way,
• 18:03
  Speaker 2: I don't think so. But I'm taking it there. Oh no,
• 18:06
  Speaker 2: the fall of hip hop is very I know exactly
• 18:08
  Speaker 2: what it is, the fall of hit is it fifty No,
• 18:11
  Speaker 2: it's not.
• 18:11
  Speaker 4: It's not a rapper's affiliated, he's affiliated. He's affiliated to.
• 18:17
  Speaker 2: The fall of rat falls on the executives who did
• 18:23
  Speaker 2: not want to let in new people. Now there's a
• 18:27
  Speaker 2: fault in that system that I'm attacking because executives did
• 18:32
  Speaker 2: not let in new talent. But I started to ask
• 18:35
  Speaker 2: myself this thought because I felt like this is well
• 18:37
  Speaker 2: with DJs as well, because there are a limited amount
• 18:41
  Speaker 2: of spots. I don't feel like this with rappers, and
• 18:43
  Speaker 2: I don't feel like this with producers because they can
• 18:45
  Speaker 2: be unlimited producers and unlimited rappers because there are unlimited
• 18:49
  Speaker 2: fans that will listen to it. There are a limited
• 18:52
  Speaker 2: amount of executive seats, and they are a limiting amount
• 18:55
  Speaker 2: of radio slots for a DJ. And when I started
• 19:00
  Speaker 2: to look at it and go, the problem is is
• 19:02
  Speaker 2: that they aren't bringing in new energy.
• 19:04
  Speaker 3: You're talking about fun Flex, I mean flex is you're
• 19:08
  Speaker 3: talking about.
• 19:13
  Speaker 2: That's that's short by about fifteen years. Flex has been there.
• 19:16
  Speaker 2: He's been there for over thirty.
• 19:17
  Speaker 4: He's been life.
• 19:18
  Speaker 2: Know what I'm saying, but obviously it's more. But they're
• 19:20
  Speaker 2: not letting nobody get in no seats.
• 19:22
  Speaker 5: But that's the problem, that's saying, that's the problem though,
• 19:24
  Speaker 5: That's the exactly.
• 19:25
  Speaker 4: That I want to ask.
• 19:27
  Speaker 2: So when I started, when I when I went, when
• 19:29
  Speaker 2: Flex and me had our back and forth, right legendary
• 19:32
  Speaker 2: that it was is it was all entertaining the greatest
• 19:35
  Speaker 2: radio DJ in the history of hip hop. Big Dog
• 19:40
  Speaker 2: pit Bulls creator just done. Flex has done a bunch.
• 19:43
  Speaker 2: Does not mean he's right and does not mean he
• 19:45
  Speaker 2: knows what the fuck is going on presently. Let's just
• 19:48
  Speaker 2: get that he's a legend. You're a legend because you
• 19:50
  Speaker 2: know what.
• 19:51
  Speaker 4: I know.
• 19:51
  Speaker 2: You watched my stuff? How you feeling? Asked, what's up?
• 19:53
  Speaker 2: Good afternoon? As crazy? It's grandpa assing, it's my guy
• 19:56
  Speaker 2: and I and I joke with it because I have
• 19:58
  Speaker 2: fun so crazy one's nasty guy. He'll I promise you,
• 20:07
  Speaker 2: Flex will see this and post it and laugh because
• 20:09
  Speaker 2: he's entertained by me. I'm one of the only people
• 20:11
  Speaker 2: that still entertain him. Everybody else does it. Fletcher posted
• 20:14
  Speaker 2: me the other day, like a couple of months ago.
• 20:16
  Speaker 2: They ended up doing a quarter million views. He took
• 20:18
  Speaker 2: it down. He was mad because it didn't go the
• 20:20
  Speaker 2: way he wanted to Grandpather'm press the wrong bun for Facebook.
• 20:23
  Speaker 2: He bumped the funk out. Now, I grew up looking
• 20:25
  Speaker 2: up to you.
• 20:27
  Speaker 4: See.
• 20:27
  Speaker 2: This is the difference with a lot of people on
• 20:28
  Speaker 2: this Internet. They play with this and they joke it.
• 20:31
  Speaker 2: Oh he's a bump. No no no, no no no no
• 20:32
  Speaker 2: no no, You're a legend. You did great. I grew
• 20:36
  Speaker 2: up idolizing what you did does not mean you know
• 20:39
  Speaker 2: what you're doing now. Don't confuse. What I'm saying does
• 20:45
  Speaker 2: not mean you know what you're doing now. The way
• 20:47
  Speaker 2: that he tries to start a pot, to create controversy
• 20:50
  Speaker 2: to gain ratings, it's it's breathes. They yells and screams
• 20:55
  Speaker 2: desperation that one hurtlogize, But I'm being authentic with you
• 21:02
  Speaker 2: as being a legend. Desperation should never be one of
• 21:04
  Speaker 2: your artillery. Like it's just not it. But I digress.
• 21:07
  Speaker 2: To go back, the executives and the radio DJs sold
• 21:14
  Speaker 2: the dream to the new generations that they were going
• 21:18
  Speaker 2: to be like, yeah, do what you do, put in
• 21:21
  Speaker 2: your work, because there's a subconscious that if I do this,
• 21:24
  Speaker 2: I'm gonna get graduated. I'm gonna get to go to
• 21:27
  Speaker 2: the next level. And they never opened the door, and
• 21:30
  Speaker 2: I was mad at the executives and I was mad
• 21:33
  Speaker 2: at the DJs until one day Rest in Peace. I
• 21:36
  Speaker 2: was talking to DJ Mississ and See asked me the
• 21:40
  Speaker 2: most simplistic question ever, and it was pertaining to Flex Punch.
• 21:46
  Speaker 4: Where do you want him to go? And what do
• 21:48
  Speaker 4: you want him to do?
• 21:49
  Speaker 2: And I'm like, See, I want him to put off
• 21:51
  Speaker 2: for the where do you want him to go? And
• 21:54
  Speaker 2: when what he was really asking is if you want
• 21:56
  Speaker 2: Flex to step down and let the new DJ shine,
• 21:59
  Speaker 2: where does he go? And it unlocked a different thought
• 22:03
  Speaker 2: to me, which then made me at that exact second,
• 22:07
  Speaker 2: because I started to not like Flex. I was like,
• 22:10
  Speaker 2: the og is trying to cut my knee caps off.
• 22:11
  Speaker 2: He's trying to shoot my legs out. Fuck this nigga,
• 22:14
  Speaker 2: until I thought and said, oh, he's trying to defend
• 22:17
  Speaker 2: his seat. He's trying to defend the throng because he
• 22:21
  Speaker 2: like this young nigga is on my body paused. It's
• 22:24
  Speaker 2: like he's just just he's he's he can run too
• 22:27
  Speaker 2: damn fast. He's too damn strong on this internet. Too
• 22:30
  Speaker 2: many people like him, and I didn't understand. I took
• 22:32
  Speaker 2: it as hate at the beginning, but it wasn't. It
• 22:36
  Speaker 2: was it was fear that there was a new boy
• 22:40
  Speaker 2: that was that that that that that had all of
• 22:42
  Speaker 2: the razzle dazzle, knows how to do all of the
• 22:45
  Speaker 2: shit manipulate, and he didn't know if he can compete.
• 22:48
  Speaker 2: So he's like, if I shoot his legs out, now
• 22:50
  Speaker 2: I got a better chance at maintaining it. But I digress.
• 22:54
  Speaker 2: The real issue, The real issue is that he had
• 22:59
  Speaker 2: nowhere to go. And that's when I started to dissect
• 23:03
  Speaker 2: our culture. And when I dissected our culture, I said,
• 23:07
  Speaker 2: the problem is is that us as a people, as
• 23:10
  Speaker 2: a race, and as a fan of the hip hop culture,
• 23:13
  Speaker 2: we don't take it serious enough, because if we did,
• 23:16
  Speaker 2: we would treat our culture as rock does. Let me
• 23:19
  Speaker 2: tell you how. There's hard rock, there's alternative rock. There's
• 23:24
  Speaker 2: adult rock, there's contemporary, there's soft rock, there's regular rock.
• 23:29
  Speaker 2: This is this is what it is. There's a live rock.
• 23:33
  Speaker 2: There literally is all of these pop rock as well.
• 23:37
  Speaker 2: You get what I'm saying, which is like Avril Levine
• 23:39
  Speaker 2: and all that the reality hand is like these genres
• 23:44
  Speaker 2: care so much about their music, their artists, and their
• 23:47
  Speaker 2: fans that they subgenre out the culture. And now we
• 23:52
  Speaker 2: are hip hop, and what's our subgenre? Why don't we
• 23:56
  Speaker 2: Now this connects back to flex, Why don't we have
• 24:00
  Speaker 2: an adult hip hop or a traditional hip hop to
• 24:05
  Speaker 2: where when you become fifty or fifty five or sixty,
• 24:10
  Speaker 2: Because I don't want it to just be an age.
• 24:11
  Speaker 2: It could be also a mindset. It could be forty.
• 24:14
  Speaker 2: But when you go back and go I am only
• 24:17
  Speaker 2: entertained and I am only a fan of this style
• 24:20
  Speaker 2: of music that I can out graduate to this because
• 24:24
  Speaker 2: that's what we need. We need a growth. Like there's
• 24:28
  Speaker 2: no way that Snoop Dogg should put out an album
• 24:32
  Speaker 2: and the same day he should be, you know, competing
• 24:35
  Speaker 2: with like Chef Boy, you know, do you gang bang
• 24:38
  Speaker 2: or you know what I mean, I'll be outside with
• 24:40
  Speaker 2: my gangang like why cause like why you get what
• 24:43
  Speaker 2: I'm saying. And then the same exact person that's there,
• 24:47
  Speaker 2: jay Z has to compete on the same chart and
• 24:49
  Speaker 2: nobody jump out the win about what I'm saying, don't
• 24:51
  Speaker 2: don't don't clip the wrong part. But jay Z has
• 24:54
  Speaker 2: to compete with Ice Spice. It's not a competition, but
• 24:57
  Speaker 2: they shouldn't be on the same chart. They're not aiming.
• 25:00
  Speaker 4: It's not even the same style of music.
• 25:02
  Speaker 2: You put everybody because it's like, oh that's niggas man
• 25:06
  Speaker 2: put the big that's what's happening like that though, But
• 25:10
  Speaker 2: if we if we sub genred out and we get
• 25:13
  Speaker 2: traditional rap and we get just rap, like if rap
• 25:17
  Speaker 2: is it's normal, like that would be rap, and then
• 25:20
  Speaker 2: we should get in my opinion, we should have And
• 25:22
  Speaker 2: I don't want anybody to hold onto the name. I
• 25:25
  Speaker 2: like calling it wave rap, wave, hip hop, wave music,
• 25:28
  Speaker 2: whatever subgenre. But that's the Roddy Rich the you get
• 25:33
  Speaker 2: what I'm saying, Like little little Dirk gunna a boogie.
• 25:38
  Speaker 2: You get what I'm saying, Like all of the Blast,
• 25:41
  Speaker 2: Travis Scott, even Drake at times, you get what I'm saying,
• 25:45
  Speaker 2: like the what is that feeling?
• 25:46
  Speaker 4: What is wave rap? What would that feeling be that.
• 25:48
  Speaker 2: It's not lap and it's not R and B melodic,
• 25:51
  Speaker 2: I'd say it's melodic music. What what's that?
• 25:55
  Speaker 4: Baby?
• 25:56
  Speaker 2: Yeah, we just went through I mean we just went
• 25:57
  Speaker 2: Little Dirk, Roddy Rich a boogie.
• 26:00
  Speaker 3: Think about that you know, Rod Waves, it's almost like
• 26:03
  Speaker 3: the swag sir.
• 26:04
  Speaker 4: A little bit like.
• 26:06
  Speaker 2: Nobody like the more melodic is well, they're not singing
• 26:16
  Speaker 2: in or not rapping. Because if a boogie is a singer,
• 26:19
  Speaker 2: then he's a bad singer. And if a boogie is
• 26:22
  Speaker 2: a rapper, he's not the best rapper. But a boogie
• 26:24
  Speaker 2: is a book. And that's what we got to stop comparing,
• 26:28
  Speaker 2: because when you put a boogie in certain conversations where
• 26:31
  Speaker 2: and I'm not just killing a boogie. I funk with
• 26:33
  Speaker 2: a boogie, but you put a boogie with like rappers,
• 26:36
  Speaker 2: his verses aren't better than rappers and his and his
• 26:39
  Speaker 2: range isn't Chris Brown and Usher. Why are we trying
• 26:43
  Speaker 2: to confine him a boogie? And Rod Wave and Blast
• 26:47
  Speaker 2: and Roddy Rich they're their own das Loaf. They're their
• 26:52
  Speaker 2: own and they should compete with themselves. And we need
• 26:56
  Speaker 2: to put more respect on our culture. What is what is?
• 27:01
  Speaker 4: I loved where you was going?
• 27:02
  Speaker 2: Right? But I need more Yes, yes, talk to me.
• 27:06
  Speaker 3: If he's saying wave wrap is one, what's another one
• 27:10
  Speaker 3: of the genres?
• 27:11
  Speaker 4: Adult? Adun't a don't.
• 27:12
  Speaker 5: Contem be adult like the clipses of the world, the
• 27:16
  Speaker 5: jay Z's if they do the NAS forty because the
• 27:19
  Speaker 5: forty to his point, like when you have like a
• 27:22
  Speaker 5: NAS drop, right, we know NAS has dropped quality music
• 27:25
  Speaker 5: in this later part of his career, right to his
• 27:27
  Speaker 5: point that music shouldn't be competing with the A Buggies
• 27:31
  Speaker 5: or the wave g exactly know what I'm saying, because
• 27:34
  Speaker 5: there's there's a laye for it and then is an
• 27:36
  Speaker 5: audience for it.
• 27:37
  Speaker 2: You get what I'm saying.
• 27:38
  Speaker 5: So it's the same problem that we've always had with
• 27:40
  Speaker 5: the awards, right, how they always slapped hip hop and
• 27:42
  Speaker 5: R and B together, Right, So you have the hip
• 27:43
  Speaker 5: hop artists with R and B artists and it's like, Yo,
• 27:46
  Speaker 5: why is this.
• 27:47
  Speaker 2: Nigga competing with this thing? Like it should be?
• 27:50
  Speaker 5: But that's all to his point, because that's how we've
• 27:52
  Speaker 5: always been. It's always been to put these niggas.
• 27:55
  Speaker 2: If you really think about how many times be like
• 27:56
  Speaker 2: hey we're at the home, Hi, Hi about RB party?
• 27:59
  Speaker 2: No no, no, this is this hip Hop is our culture.
• 28:03
  Speaker 2: R and B is is is is like a branch off.
• 28:07
  Speaker 2: It's like a cousin of it, but it's not they're
• 28:08
  Speaker 2: not the same. Hip Hop is the culture under hip hop.
• 28:13
  Speaker 2: We got rap and we got these things. You get
• 28:14
  Speaker 2: what I'm saying. R and B is a genre of music.
• 28:16
  Speaker 2: Hip Hop's our culture. They put hip hop?
• 28:19
  Speaker 4: Why do they do that?
• 28:19
  Speaker 2: Because that's what I'm gonna say. That's the whole point
• 28:21
  Speaker 2: of what I'm saying. That they're disrespecting our culture and
• 28:24
  Speaker 2: they're being very short ended with it. And I don't
• 28:26
  Speaker 2: want to get down to such a remedial ground level
• 28:29
  Speaker 2: position to be like it's race. But I blame us
• 28:33
  Speaker 2: that we're not being like, Yo, this award is stupid.
• 28:36
  Speaker 2: We don't want the award because it's misclassifying us. I got,
• 28:40
  Speaker 2: I got hip hop is still.
• 28:42
  Speaker 3: I feel like we don't respect our culture though that's
• 28:44
  Speaker 3: the whole exactly.
• 28:45
  Speaker 4: You know, who respects our coaching?
• 28:46
  Speaker 3: And we were speaking about this the other day.
• 28:50
  Speaker 4: Yeah, does that mean you? Well, we were talking about it.
• 28:53
  Speaker 4: They over there still break dancing, They still they're doing.
• 28:56
  Speaker 5: Graffiti to your point, because you know, then I'm going
• 29:00
  Speaker 5: back to punch point about the hip hop shit. They
• 29:02
  Speaker 5: are studying the pillars of hip hop. So the graffiti
• 29:05
  Speaker 5: to break dancing, that's the djaying and that's a part
• 29:07
  Speaker 5: of what they're doing. So I feel like in our
• 29:10
  Speaker 5: culture where we're at now, a lot of that shit
• 29:12
  Speaker 5: is lost, Like you know what I'm saying.
• 29:13
  Speaker 4: It's just the the homework is gone.
• 29:15
  Speaker 5: I'm talking about like graffiti, DJing, like those are all breakdancing,
• 29:20
  Speaker 5: like those are all key components of hip hop, you
• 29:23
  Speaker 5: know what I'm saying. So like, I feel like when
• 29:25
  Speaker 5: you just disregard it, it's like, but when you have
• 29:28
  Speaker 5: that culture, take it. Yeah, they're taking everything to them.
• 29:30
  Speaker 5: It's fresh, it's new, so they're getting every piece of
• 29:32
  Speaker 5: it and utilizing it.
• 29:34
  Speaker 2: So, you know, so I get it. It's there's not
• 29:37
  Speaker 2: enough respect. I mean, American culture is disrespectful culture. American
• 29:41
  Speaker 2: culture is a culture of personal satisfaction. So we get
• 29:45
  Speaker 2: to a point where we go, hey, this makes me happy.
• 29:49
  Speaker 2: I'm getting it doesn't matter.
• 29:51
  Speaker 4: Oh do you know what?
• 29:52
  Speaker 2: I just can It doesn't matter. I want the shirt? Yeah,
• 29:54
  Speaker 2: do you know what they made it?
• 29:54
  Speaker 4: In?
• 29:54
  Speaker 2: This sweat? Doesn't matter. Like our culture of American culture
• 29:58
  Speaker 2: is just very dismissive, very like, I just want it,
• 30:01
  Speaker 2: What does it matter? I don't really care about the
• 30:02
  Speaker 2: back end. And that's how it goes. And I think
• 30:05
  Speaker 2: because of American culture overpowering hip hop culture. It makes
• 30:09
  Speaker 2: us be like yo, at the end of the day,
• 30:11
  Speaker 2: what does it matter?
• 30:12
  Speaker 4: Like?
• 30:12
  Speaker 2: Who cares? It's just music and they've become very passive.
• 30:17
  Speaker 2: But what it takes is people who care, with voices,
• 30:20
  Speaker 2: who can articulate at a high level, who can put
• 30:22
  Speaker 2: on for the culture and start to redefine it. And
• 30:24
  Speaker 2: what we need to redefine is how hip hop is
• 30:27
  Speaker 2: being viewed and looked at on many different spaces.
• 30:30
  Speaker 4: I feel like I disagree with you a little bit.
• 30:33
  Speaker 3: When Beyonce made a country album, they made a section
• 30:36
  Speaker 3: for Beyonce's country.
• 30:38
  Speaker 4: They made it like a con contemporary culture. You're not
• 30:41
  Speaker 4: going to be with the rest of us. It mattered
• 30:45
  Speaker 4: to them, it mattered then to us.
• 30:47
  Speaker 3: We don't do that. But I also think that we
• 30:49
  Speaker 3: don't own enough to be able to dictate what happens.
• 30:54
  Speaker 3: It's the record executives, and those aren't necessarily us. You
• 30:58
  Speaker 3: have a few of us, sprinkle you know better than
• 31:00
  Speaker 3: I do. But I would think that other people control
• 31:03
  Speaker 3: our culture a lot more than we do.
• 31:05
  Speaker 2: I think a lot of a lot of other races
• 31:06
  Speaker 2: do control the culture. I don't really know if it's
• 31:08
  Speaker 2: just about body count in those offices as compared as
• 31:12
  Speaker 2: it is.
• 31:14
  Speaker 4: Power power way to power lize because it.
• 31:16
  Speaker 2: Might be and I want to and I don't want
• 31:18
  Speaker 2: to jump out the winow because there's so much in it.
• 31:20
  Speaker 2: But it might be closer to evenly spread racially. But
• 31:24
  Speaker 2: when it gets up to the top of the tree,
• 31:27
  Speaker 2: it's a slaughter. You get what I'm saying, Like I'm
• 31:29
  Speaker 2: talking about like the branches of all of these labels. Yeah,
• 31:32
  Speaker 2: it's worker that worker, it's worker at work. Look, they're
• 31:34
  Speaker 2: asgients here, there Indians here, there's blacks here, there's the
• 31:36
  Speaker 2: Europeans here. All of the variations are probably and I
• 31:39
  Speaker 2: would go to a leap and say closer to even
• 31:42
  Speaker 2: than not. But when you go up up up to
• 31:45
  Speaker 2: the top of that tree to where it starts getting
• 31:47
  Speaker 2: to the chairman's and you know the vices and the
• 31:52
  Speaker 2: top and and you know the GMS and all like
• 31:54
  Speaker 2: the presidents of the labels, it gets so drastically different representation.
• 32:00
  Speaker 2: But again, I think hip hop I've always said it.
• 32:03
  Speaker 2: I think that there needs to be I'd love to
• 32:07
  Speaker 2: see I'd love to see RAP have at least, in
• 32:10
  Speaker 2: my opinion, i'd love to see RAP at minimum have
• 32:12
  Speaker 2: three possibly four subgenres.
• 32:14
  Speaker 4: What we say wave wrap, traditional rap itself just normal.
• 32:18
  Speaker 4: What about drill?
• 32:20
  Speaker 2: No, you can't you have to put the drill on
• 32:23
  Speaker 2: because is the thing you don't have to I don't
• 32:26
  Speaker 2: think drills. I don't think drill is a genre. I
• 32:27
  Speaker 2: think drills a sound. I think it's a trend, just
• 32:31
  Speaker 2: not a genre.
• 32:32
  Speaker 4: Where do y'all think? What do y'all think? It's not
• 32:35
  Speaker 4: at that point.
• 32:35
  Speaker 2: If we're taking all trends, then snap music would have
• 32:38
  Speaker 2: a genre, then krunk would have a genre.
• 32:40
  Speaker 4: No, no, no, Drill is.
• 32:41
  Speaker 2: A type of rap, but it's it's it's consumed to
• 32:46
  Speaker 2: the culture. It's more of a trend. It may not
• 32:48
  Speaker 2: last that long though, I mean drill barely last now
• 32:52
  Speaker 2: for sure.
• 32:54
  Speaker 3: What happened to the New York sound? What is the
• 32:57
  Speaker 3: New York sound today?
• 33:00
  Speaker 5: I think it's hard to say. I think part of
• 33:03
  Speaker 5: why I like Punch content. I started following Punch a
• 33:05
  Speaker 5: while ago was because of what he used to talk
• 33:07
  Speaker 5: about with the flex shit and the New York DJs. Right,
• 33:10
  Speaker 5: and to your point of asking, what's the New York sound?
• 33:13
  Speaker 5: I think it's lost, right because when we have people
• 33:16
  Speaker 5: here that you know, have sounds of Griselda.
• 33:18
  Speaker 2: Right, that's you can go there.
• 33:21
  Speaker 4: No, that's my thing.
• 33:21
  Speaker 5: You know what I'm saying, you can go there. But
• 33:23
  Speaker 5: I think it's lost because when you have the New
• 33:25
  Speaker 5: York DJs or the people that are at the higher
• 33:27
  Speaker 5: reps that are the people that stamping in music, and
• 33:29
  Speaker 5: they're only staying in the southern sounding or other type
• 33:33
  Speaker 5: of sound in music, then the artists that are in
• 33:35
  Speaker 5: New York, what do they have to do? They feel
• 33:37
  Speaker 5: like they got to make that type of music in
• 33:38
  Speaker 5: order to get heard because they're not getting heard other
• 33:41
  Speaker 5: places or you know, in the city.
• 33:42
  Speaker 3: So it's a weird matrix, you know. I remember when
• 33:46
  Speaker 3: that happened, bro. I remember the exact moment that happened.
• 33:50
  Speaker 4: Bro.
• 33:50
  Speaker 3: I was going down south to the A and you
• 33:53
  Speaker 3: would hear scrappy yeah, get.
• 33:56
  Speaker 4: On my level, get piece.
• 33:58
  Speaker 2: Up a Town down.
• 34:01
  Speaker 3: And I got on the plane that came home and
• 34:04
  Speaker 3: they was playing piece up a Town Down. And it
• 34:08
  Speaker 3: slowly started becoming more that more little jan more that
• 34:13
  Speaker 3: type of music that we would hear during the main
• 34:16
  Speaker 3: moments of hip hop, right right, not at eleven am.
• 34:20
  Speaker 5: Yeah, the problem I was, that's that's what most people
• 34:22
  Speaker 5: are listening, and I think that's that goes to the problem,
• 34:24
  Speaker 5: because that's.
• 34:25
  Speaker 4: My bugget No. I just have a different perspective of
• 34:28
  Speaker 4: what it is because I see you making it a fake.
• 34:29
  Speaker 4: I'm sorry, yes, but he's what.
• 34:33
  Speaker 2: New York lost this sound when clubs changed their structure
• 34:38
  Speaker 2: of design, When clubs became section driven minus the dance floor,
• 34:46
  Speaker 2: it altered the feel of the music and it became very,
• 34:51
  Speaker 2: very very driven towards celibratory, arrogant, drug trap, which is
• 35:01
  Speaker 2: what it was because it's a very much look at
• 35:05
  Speaker 2: me phase. Now, that was always an element in all
• 35:08
  Speaker 2: of night life, but sections clearly like compartmentalized the level
• 35:14
  Speaker 2: of success because now me and my fifteen people are
• 35:17
  Speaker 2: doing this, you and that fifteen people are doing that.
• 35:20
  Speaker 2: You and it's fifteen. Now everyone is in a comparative state,
• 35:23
  Speaker 2: which allowed everybody to be in a very flexing, very
• 35:26
  Speaker 2: arrogant I get money, I sell drugs, I do credit,
• 35:29
  Speaker 2: I do whatever I gotta do. Now look at me. Now,
• 35:32
  Speaker 2: you take that to what New York music represented and
• 35:35
  Speaker 2: then what music in Atlanta represented, which then embodied its
• 35:38
  Speaker 2: genre change where they went into a sound like their
• 35:42
  Speaker 2: version of what would be their shift, which was trap music,
• 35:46
  Speaker 2: which by definition of trap is the hood because the
• 35:49
  Speaker 2: trap was really like originally they called like the trap
• 35:53
  Speaker 2: the hood now, but originally the word trap was about
• 35:57
  Speaker 2: like the drug houses on blocks. It's like you can't
• 36:01
  Speaker 2: get out of here without being able to kind of
• 36:04
  Speaker 2: be trapped in here, Like we're putting this trap house
• 36:07
  Speaker 2: because we're doing all of this ship and you're not
• 36:08
  Speaker 2: going to it's one you know, like one way in
• 36:11
  Speaker 2: like you can't you can't just escape this. It is
• 36:13
  Speaker 2: a trap. So then people started widening the word. The
• 36:16
  Speaker 2: whole hood is the trap. The trap was really the
• 36:19
  Speaker 2: drug houses. The gun house was like where it is.
• 36:22
  Speaker 2: So now when you take that thought process and you
• 36:25
  Speaker 2: make music to represent that we getting drug money, we're
• 36:28
  Speaker 2: doing this. Let's also talk about and this is a
• 36:32
  Speaker 2: very very it might sound exaggerated to someone, but I
• 36:36
  Speaker 2: want you to be clear that the success of b
• 36:40
  Speaker 2: m F altered the entire pace of hip hop. If
• 36:46
  Speaker 2: BMS lived in New York.
• 36:49
  Speaker 4: No, he's cooking.
• 36:54
  Speaker 2: If BMF was heavily and I know to BMF, Exireed told,
• 36:59
  Speaker 2: I'm my brother, like, there's BMF dudes in New York. Facts.
• 37:03
  Speaker 2: But BMF was in Atlanta. Right when BMF is in Atlanta.
• 37:10
  Speaker 2: There was a shift in the culture of music with
• 37:12
  Speaker 2: what was successful music. It's not a coincidence that the
• 37:16
  Speaker 2: richest black people in the country and our culture. Of
• 37:19
  Speaker 2: course they're a rich black businessman, but in our culture
• 37:23
  Speaker 2: that BMF was the loudest expression of we got money.
• 37:27
  Speaker 2: It maximized and it accelerated. And even if you look
• 37:30
  Speaker 2: at Jermaine du Preez's documentary about Magic City and the
• 37:32
  Speaker 2: strip clubs, they speak about what BMF did shift like
• 37:36
  Speaker 2: shifting the culture wise to the strip clubs because the
• 37:39
  Speaker 2: money in flux was astronomical. There are strippers that were like,
• 37:43
  Speaker 2: I was making ten to fifteen thousand a night for
• 37:46
  Speaker 2: three four years in a row. You get what I'm saying.
• 37:49
  Speaker 2: Of course, please don't pick that, you know what I mean.
• 37:51
  Speaker 2: They'll go and be like she said, nine thousand, like
• 37:54
  Speaker 2: they missed the point to be difficult, but unbelievable money
• 37:59
  Speaker 2: because the drug dealers was moving because BMF was the
• 38:04
  Speaker 2: source of all that energy, and it shifted the sound
• 38:08
  Speaker 2: of music because that music is what they wanted to hear. Now,
• 38:13
  Speaker 2: as a DJ who's broke records, the most influential records
• 38:18
  Speaker 2: is when that club feels like something you have never
• 38:21
  Speaker 2: in your life, not one person, not one, not one
• 38:25
  Speaker 2: has been in a club where it was nothing but
• 38:27
  Speaker 2: ugly women and it wasn't packed and you heard a
• 38:30
  Speaker 2: song a by the DJ and it was like, that's
• 38:32
  Speaker 2: my new favorite song. It doesn't happen. We're all human.
• 38:36
  Speaker 2: Music is affected by emotion, but we've all been in
• 38:40
  Speaker 2: the club when that room is packed and that motherfucker
• 38:43
  Speaker 2: behind the wheels crack on the mic. Hold on, y'all,
• 38:46
  Speaker 2: niggas want to know what this shit is like. And
• 38:48
  Speaker 2: then that record comes on money like that, that's different.
• 38:52
  Speaker 2: Like I was in Atlanta. I was in Atlanta. Now
• 38:56
  Speaker 2: I was in Atlanta just hearing hearing DJ's tearing down
• 38:59
  Speaker 2: arm but just being in there and I remember here
• 39:02
  Speaker 2: put on by Jeezy and just feeling what they did
• 39:08
  Speaker 2: and just and I'm like, what is that? Not only
• 39:15
  Speaker 2: does the sound the emotion of the environment, everything, the emotion,
• 39:20
  Speaker 2: the environment, the women and authentically where the women in
• 39:24
  Speaker 2: night life like to be around the motherfucking money. Who
• 39:28
  Speaker 2: had the most money in the fucking country. They did
• 39:31
  Speaker 2: by light years, And it's gonna be someone we was
• 39:33
  Speaker 2: getting money to look at your Smack DVD and go
• 39:35
  Speaker 2: back bm Meth was doing it way different.
• 39:39
  Speaker 4: Everybody was doing. Look at shots smackshot the Bez Brothers.
• 39:43
  Speaker 2: But you go back to Smack and you look at
• 39:45
  Speaker 2: what every rapper was doing when they was doing in videos,
• 39:47
  Speaker 2: and then look at BMF scenes.
• 39:49
  Speaker 4: It's a whole different case. It was a whole different scenes.
• 39:55
  Speaker 3: I remember being in the club the first time meet
• 39:59
  Speaker 3: was in the club and BMF. It was Atlanta. I
• 40:01
  Speaker 3: believe it was magic. I'm not sure it was years ago.
• 40:04
  Speaker 3: It might have been two thousand and one, two something
• 40:06
  Speaker 3: like that. The money was flying this way, the fans
• 40:12
  Speaker 3: was taking up. It was so much money. It was
• 40:14
  Speaker 3: sticking to your face, like you really could not see
• 40:18
  Speaker 3: the stage. You couldn't The money was everywhere. It was
• 40:21
  Speaker 3: flying by like fucking win nigga.
• 40:24
  Speaker 2: It was everywhere.
• 40:27
  Speaker 4: You couldn't walk without it just being stuck to your clothes.
• 40:32
  Speaker 4: The niggas just throwing it like they must have spent
• 40:34
  Speaker 4: four hundred that night. What the fuck?
• 40:37
  Speaker 2: I was too young to understand it. So I've heard
• 40:40
  Speaker 2: every story. Even when you hear Gez on what is
• 40:42
  Speaker 2: that is that shot?
• 40:43
  Speaker 4: And any of my BMF niggas from New York. Y'all know,
• 40:46
  Speaker 4: y'all know, I think it's.
• 40:47
  Speaker 2: GZ and two chains way too young. What the fuck
• 40:51
  Speaker 2: am I doing? And he was like, he's just blue
• 40:53
  Speaker 2: quarter mill. He bought our house. That was over.
• 40:57
  Speaker 4: It was over by then.
• 40:58
  Speaker 2: Yeah, I know, but I'm talking about when I'm talking
• 41:01
  Speaker 2: about Jez, like speaking about those moments to hear a
• 41:04
  Speaker 2: nigga be like he spent a quarter million in a night.
• 41:06
  Speaker 3: They shipped their cars where they was going. When they
• 41:10
  Speaker 3: got to New York, their cars came with them.
• 41:13
  Speaker 2: That's the fact. It's a whole different game. So to
• 41:16
  Speaker 2: go back and to pull it all in the impact
• 41:19
  Speaker 2: of what BMF did to night life shifted the power
• 41:24
  Speaker 2: of culture to Atlanta, which then shifted the leverage of
• 41:29
  Speaker 2: the culture to Atlanta. And then Atlanta also had an
• 41:33
  Speaker 2: astronomical amount of talent down there at that time to
• 41:36
  Speaker 2: fill into those gaps because when New York had the control,
• 41:41
  Speaker 2: which the control at that point was, we had the
• 41:43
  Speaker 2: best night life and we had the entire music industry.
• 41:46
  Speaker 2: That's what we did in the nineties. That's why there
• 41:49
  Speaker 2: were one hundred rappers that were signed from New York
• 41:51
  Speaker 2: at that time. Because the industry was here, but didn't
• 41:55
  Speaker 2: we didn't we start the money talk?
• 41:58
  Speaker 3: You got who money, cash clothes? Like we literally was
• 42:02
  Speaker 3: the ones big everybody. We was always talking about getting money.
• 42:05
  Speaker 3: So how is it that that BMF was the ones
• 42:07
  Speaker 3: that actually changed everything when.
• 42:10
  Speaker 2: We already were talking about getting I said the clubs,
• 42:12
  Speaker 2: and I just said that BMF hit turbo on it.
• 42:15
  Speaker 2: The shape of the clubs, the separation of the dance
• 42:17
  Speaker 2: floor to the sections, the shift to it being like
• 42:21
  Speaker 2: you are only mattering in this club. If you buy bottles, bottles,
• 42:25
  Speaker 2: you only are impacting this club. If you have bottles.
• 42:28
  Speaker 2: If you was in general pop, don't show up and
• 42:30
  Speaker 2: you couldn't impact the club. If you were in general population,
• 42:33
  Speaker 2: if you were just in the club, you didn't look
• 42:36
  Speaker 2: like you were shifting the club. It didn't look like
• 42:37
  Speaker 2: we wanted to follow what you were doing. And I
• 42:40
  Speaker 2: think that that had the largest, the largest impact of
• 42:43
  Speaker 2: why New York lost it. You get what I'm saying,
• 42:45
  Speaker 2: Like up here, you gotta understand it's just different. I
• 42:48
  Speaker 2: mean also the NYPD. Again, this is gonna sound like
• 42:51
  Speaker 2: I'm making it about other things, but these are the
• 42:53
  Speaker 2: true reasons. The nypds cracked down on guns. When Giuliani
• 42:57
  Speaker 2: raised the prison time for guns, that just left a lot.
• 43:03
  Speaker 2: It caused certain people not to be around, not do
• 43:06
  Speaker 2: certain thing. It's just a lot of the guys who
• 43:08
  Speaker 2: are really getting it were in jail. It shifted a lot.
• 43:11
  Speaker 2: And then you gotta then remember then when we went
• 43:13
  Speaker 2: and then rat was starting to pick up. Then New
• 43:15
  Speaker 2: York is the first is the first city that had
• 43:17
  Speaker 2: hip hop police. That's a fact. These things altered how
• 43:21
  Speaker 2: impactful the night life was. It. If the right night
• 43:24
  Speaker 2: life is not occurring, the records can't be born.
• 43:28
  Speaker 4: Now.
• 43:28
  Speaker 2: The records are born on the internet until maybe until realistically,
• 43:34
  Speaker 2: probably like twenty twenty ten. I don't think that there
• 43:38
  Speaker 2: was a record that could have been created that was
• 43:41
  Speaker 2: not from the actual like real nightlife. Where else would
• 43:46
  Speaker 2: a record come from?
• 43:47
  Speaker 4: There is.
• 43:50
  Speaker 2: There is a because radio night life work tanning it in.
• 43:54
  Speaker 3: There is a variant where people say fifty cent killed
• 43:58
  Speaker 3: New York.
• 43:59
  Speaker 2: A bro used to say that, shit, nah, fifty they
• 44:02
  Speaker 2: even came out, he said, because of all of the beef.
• 44:04
  Speaker 4: I don't came out.
• 44:05
  Speaker 3: He ran at nas he ran bru. Is that not
• 44:11
  Speaker 3: what happened? Though A thousand percent did he not?
• 44:14
  Speaker 4: But did not? Did fifty not go at all of
• 44:16
  Speaker 4: these rappers? Did?
• 44:17
  Speaker 3: Because I know you? Like I said, I know you
• 44:19
  Speaker 3: affiliate over there. I don't know, I mean for three years.
• 44:22
  Speaker 3: But I was a fan of I was a fan first.
• 44:24
  Speaker 3: Of course, we all have fans fifty. No, I was
• 44:26
  Speaker 3: a fan first. So I have an opinion of fifty
• 44:28
  Speaker 3: before I worked with him. I started working for fifty
• 44:30
  Speaker 3: and twenty fifteen. Fifty is two thousand and two realistically
• 44:34
  Speaker 3: before that. If you count as Columbia deal, you get
• 44:36
  Speaker 3: what I'm saying. But I wasn't in tune during the
• 44:37
  Speaker 3: Columbia Deal.
• 44:39
  Speaker 4: Wrong.
• 44:39
  Speaker 2: I wasn't a fan at the Columbia Deal when he
• 44:42
  Speaker 2: did Power the Dollar right right? Yeah, I became a
• 44:44
  Speaker 2: fan through the Juno tapes, through the independent route.
• 44:47
  Speaker 3: Are you going to say that he did not impact
• 44:50
  Speaker 3: the New York scene by going at all of the
• 44:53
  Speaker 3: rappers that was popular at the time.
• 44:54
  Speaker 2: Oh, he shifted the entire culture.
• 44:56
  Speaker 4: And the same time period that Atlanta was made, and
• 45:00
  Speaker 4: it's move.
• 45:02
  Speaker 2: No, they try to blur that that's Ebro. Ebro really
• 45:04
  Speaker 2: said this dumb shit one day and really wanted to
• 45:07
  Speaker 2: do it, And I yo, I've been trying to avoid
• 45:10
  Speaker 2: going at it with Ebro Bro. I've been trying to
• 45:12
  Speaker 2: avoid it because I don't know man, Like I just
• 45:14
  Speaker 2: don't want to create. I didn't get it Abro. That's
• 45:18
  Speaker 2: an Ebro quote that started that. Then it's trickled down.
• 45:21
  Speaker 2: The reality is like this the reason why I want
• 45:23
  Speaker 2: to get into Ebros because I haven't been around Ebro
• 45:25
  Speaker 2: enough times and I don't like to beef with people
• 45:26
  Speaker 2: that I've never met. You get what I'm saying because
• 45:29
  Speaker 2: and I've met him but not enough to ever do it.
• 45:32
  Speaker 2: Then I feel like I'm just beefing with the internet personality.
• 45:34
  Speaker 2: You get what I'm saying. So I'm just not a
• 45:35
  Speaker 2: fan of it. But he says a lot of dumb
• 45:37
  Speaker 2: shit to be a og. Jesus Christ, he says dumb shit,
• 45:41
  Speaker 2: and I hope to God that he hears it with respect.
• 45:44
  Speaker 2: And don't think I'm disrespecting him, because I'd be trying
• 45:47
  Speaker 2: to give the ogs of the culture a lot of
• 45:50
  Speaker 2: grace and a lot of respect. But honestly that just
• 45:52
  Speaker 2: because you're a OG doesn't mean you're right. You get
• 45:57
  Speaker 2: what I'm saying, And I feel like fifty definitely dis
• 46:00
  Speaker 2: rupted a lot of New York. But to be like
• 46:02
  Speaker 2: like he made it not work, like it's insane.
• 46:06
  Speaker 5: I think personally, I think obviously I think punched his
• 46:09
  Speaker 5: stance would be that because I think me personally, if
• 46:11
  Speaker 5: you ask me, I think he's one of the people
• 46:13
  Speaker 5: for the reason for the change as well. Yeah, he
• 46:16
  Speaker 5: was the program director for ninety seven for years and
• 46:18
  Speaker 5: so remember you're the program director of the radio station
• 46:22
  Speaker 5: telling the one artist that he is the reason that
• 46:24
  Speaker 5: it shifted, and you're responsible for playing the music for
• 46:26
  Speaker 5: the last however many years, thirty fifteen, twenty fifteen to
• 46:31
  Speaker 5: twenty you know what I'm saying. So I feel like
• 46:33
  Speaker 5: as the person that.
• 46:34
  Speaker 3: Has Hebro way Ebro has been on the radio for
• 46:37
  Speaker 3: ten years. He was programmed director way before that.
• 46:40
  Speaker 2: No, but this is way before this. But this is
• 46:42
  Speaker 2: what I'm saying.
• 46:43
  Speaker 5: As far as the music New York music, right, who
• 46:47
  Speaker 5: was responsible for pushing New York music forward. He's one
• 46:50
  Speaker 5: of the main people because going back to the power conversation,
• 46:53
  Speaker 5: he's one of the few.
• 46:54
  Speaker 2: People that had the power, Real says, So that's a fact.
• 46:58
  Speaker 5: He's one of the few people that had the power
• 47:00
  Speaker 5: to get the music heard at a level that it
• 47:02
  Speaker 5: needs to be heard in order for it to be successful.
• 47:04
  Speaker 5: Like I said before, if you're only playing down South
• 47:07
  Speaker 5: music or music from other regions, where's the like, how
• 47:11
  Speaker 5: do you keep the talent going forward? It was no talent.
• 47:13
  Speaker 5: That's not true. And in New York, you know, hold on,
• 47:16
  Speaker 5: you know that's not true because every New York hold
• 47:19
  Speaker 5: on that was crazy.
• 47:20
  Speaker 2: You said that New York had like the hot that
• 47:22
  Speaker 2: was who was the talent in New York? There was
• 47:25
  Speaker 2: no talent. Bro, there's no you know, there's bro this
• 47:28
  Speaker 2: talent all over New York.
• 47:29
  Speaker 4: Bro.
• 47:29
  Speaker 5: We've we've actually probably had the biggest record consistently like
• 47:34
  Speaker 5: for like was it maybe five six years consecutively, going
• 47:36
  Speaker 5: back to Hot Nigga, Computers, Young and May Panda, like there.
• 47:41
  Speaker 2: Was one that wasn't really in New York. Sun know
• 47:43
  Speaker 2: you missing the point.
• 47:44
  Speaker 5: But going back to what I said earlier, niggas are
• 47:47
  Speaker 5: making the music that has to get played through the radio.
• 47:49
  Speaker 5: They're not even going to play this ship if it's
• 47:51
  Speaker 5: not the ship that they're playing the sound of the Yeah,
• 47:54
  Speaker 5: that's what I'm saying. So that's why I said this.
• 47:55
  Speaker 5: You already in a bad matrix because it's like Okay,
• 47:57
  Speaker 5: I'm I'm a artist from New York. I'm trying to
• 48:00
  Speaker 5: my ship played. I can't have all the money in
• 48:02
  Speaker 5: the world. Sometimes they an't going to be like, nah,
• 48:04
  Speaker 5: this is not the ship that we're playing. We want
• 48:06
  Speaker 5: this over here. This, Yeah, this is working, So this
• 48:09
  Speaker 5: is what we want. So as artists, no matter what
• 48:11
  Speaker 5: you're trying to do personally, what are you going to
• 48:13
  Speaker 5: try to do if you're trying to get played in
• 48:14
  Speaker 5: the radio?
• 48:16
  Speaker 4: Makes it sound that's out there right now? You look mad?
• 48:19
  Speaker 2: He said there was no talent in New York. That
• 48:20
  Speaker 2: was That was crazy people from New York.
• 48:25
  Speaker 7: Bro, we're talking about that's fine, but we're talking about
• 48:28
  Speaker 7: the New York sound.
• 48:29
  Speaker 2: But they wasn't nice. They had they had.
• 48:33
  Speaker 4: You said the hot, the hot just Bobby Smurder hot.
• 48:37
  Speaker 2: He's not nice. He had a good song, all right.
• 48:40
  Speaker 5: I think, okay, the nice and having a good situation
• 48:44
  Speaker 5: label wise is two different things. I think there's a
• 48:46
  Speaker 5: lot of kids that are nice and they have talent,
• 48:47
  Speaker 5: but I don't think they always get the best situation.
• 48:49
  Speaker 5: And I think obviously in New York, based off of
• 48:52
  Speaker 5: how I just explained to you, how it's happening I
• 48:54
  Speaker 5: wouldn't see that them. I wouldn't think that they would
• 48:55
  Speaker 5: get the best situation for them. I think it's a
• 48:58
  Speaker 5: money play.
• 48:59
  Speaker 7: Nice longevity to me, Bro like fab is nice, Jada
• 49:03
  Speaker 7: kiss is nice, HM like these people are nice.
• 49:06
  Speaker 2: Like these people there's one hit Wonders, they're not nice.
• 49:09
  Speaker 5: I think young man, so I think young some name
• 49:14
  Speaker 5: some fire, younger MA songs, big.
• 49:18
  Speaker 4: Name a verse like, that's.
• 49:21
  Speaker 2: Crazy, That's what I said.
• 49:23
  Speaker 4: It definitely, I remember that that words.
• 49:26
  Speaker 2: Definitely, you can't have a memorial birds for younger men.
• 49:29
  Speaker 2: You never had a younger make caption. That's a crazy metric.
• 49:34
  Speaker 2: So that's the metric. I'm not I'm not disrespecting younger.
• 49:39
  Speaker 2: You can't put when you're younger.
• 49:42
  Speaker 4: That was crazy. What are you trying to do?
• 49:45
  Speaker 2: Listen, right, But I get what you're saying.
• 49:52
  Speaker 4: When it comes down.
• 49:56
  Speaker 2: And knows how to rap to just address that.
• 49:59
  Speaker 3: You know, he was around all of them artists that
• 50:01
  Speaker 3: you just mentioned. This Nigga was around. He was around
• 50:04
  Speaker 3: when young and May, he was around Bobby bro young
• 50:07
  Speaker 3: Man Manage lived on my block. I know I know him.
• 50:09
  Speaker 3: I don't know him, but I've known his work for
• 50:12
  Speaker 3: a long time.
• 50:12
  Speaker 4: So I know you had a role with Bobby, am
• 50:15
  Speaker 4: I right?
• 50:15
  Speaker 2: Yeah, yeah, I mean all of this. I toward the
• 50:18
  Speaker 2: entire country with his entire run. I'm there from day
• 50:21
  Speaker 2: zero to the whole thing. But I don't I try
• 50:24
  Speaker 2: to dance very light when I speak about is very
• 50:27
  Speaker 2: good at rap?
• 50:28
  Speaker 4: Is nice?
• 50:28
  Speaker 2: She's I would I would categorize MA is nice like
• 50:32
  Speaker 2: suret he's nice.
• 50:33
  Speaker 4: You get me in.
• 50:34
  Speaker 2: Reference with like catalog like catalog. People confuse catalog. She
• 50:39
  Speaker 2: has a strong catalog, has a strong catalog. But people
• 50:42
  Speaker 2: speak about the power of someone's catalog by the success
• 50:45
  Speaker 2: of the records. So I think, like what this is? What?
• 50:48
  Speaker 2: Anytime that I argue about rap and we banter anything
• 50:52
  Speaker 2: like that, I just define what are we saying so
• 50:55
  Speaker 2: that I can like state my position in the argument.
• 50:58
  Speaker 2: The best if we're talking about is there people in
• 51:01
  Speaker 2: New York who were nice that that in that time
• 51:04
  Speaker 2: period there were tons of nice rappers. If we were
• 51:06
  Speaker 2: talking about talent, there were tons of people making good records.
• 51:09
  Speaker 2: The reality at hand is that the sound and rap
• 51:13
  Speaker 2: shifted and it was favoring not only a sound, but
• 51:17
  Speaker 2: there's a thing that fans are unaware of. It was
• 51:20
  Speaker 2: also favoring a bpm. A bpm is a beats per minute,
• 51:24
  Speaker 2: which is which is a bounce that DJs are playing in.
• 51:28
  Speaker 4: And when it comes down to.
• 51:30
  Speaker 2: When it comes down to DJ's there was a there
• 51:33
  Speaker 2: was a range of bpm that they were very excited
• 51:37
  Speaker 2: to stay in because so many records were in that pocket,
• 51:40
  Speaker 2: which is why when producers are the lead of a sound,
• 51:44
  Speaker 2: it lasts longer. I E. Eight Away Mafia, Alex Luger's
• 51:47
  Speaker 2: South Side, all of that with the Gucci Waka oj them,
• 51:51
  Speaker 2: I E. The original drill with Young Trap. You get
• 51:55
  Speaker 2: what I'm saying. I forget his name, DJ I forgot
• 51:58
  Speaker 2: his name, damn it. But from all of the guys
• 52:01
  Speaker 2: from there from Chicago, then eight Away, Mellow Axel who
• 52:06
  Speaker 2: all did the all the drills. Talking about Mustard who
• 52:09
  Speaker 2: did all of the his own his own right, you
• 52:12
  Speaker 2: know what I'm saying, Like all of these are producer
• 52:14
  Speaker 2: drill and then there what happens is that Mustard. People
• 52:17
  Speaker 2: give Mustard a hard time and they were like Mustard
• 52:20
  Speaker 2: made the same beat over and over. Everyone gave him
• 52:22
  Speaker 2: a hard time. The reality is Mustard created a groove
• 52:25
  Speaker 2: that he was able to live in, and he was like,
• 52:28
  Speaker 2: why am I trying to fix something that isn't broken?
• 52:32
  Speaker 2: And and he pumped out. Mustard might have pumped out
• 52:35
  Speaker 2: and I might even be low balling twenty hit wreck
• 52:37
  Speaker 2: like twenty bombs Mustard, Like Mustard went twenty bombs.
• 52:43
  Speaker 4: He got at least four or five of Chris Brownie.
• 52:45
  Speaker 2: Got two with Ty Dollar, he got six seven with
• 52:48
  Speaker 2: with with yg ridiculous a couple with Drake Rihanna fixed
• 52:54
  Speaker 2: nuts like Mustard went ballistic with that salary had all
• 52:59
  Speaker 2: of the raxities. It was not it was ridiculous, kid
• 53:02
  Speaker 2: ink it was. It was madness like Mustard win Banana's.
• 53:07
  Speaker 2: But the point of what I'm saying is that those
• 53:09
  Speaker 2: were all sounds that these producers were creating. Like I
• 53:13
  Speaker 2: don't think that there was a record and nobody be annoying.
• 53:15
  Speaker 2: I'm talking about the majority were Mustard made. That was
• 53:18
  Speaker 2: out of ninety five bpm passed to maybe one o three.
• 53:21
  Speaker 2: I don't think it was all the same exact you know.
• 53:24
  Speaker 4: What I mean.
• 53:25
  Speaker 2: Burner ra burn you know what I mean. It's always
• 53:29
  Speaker 2: in that tempo and it was just all just there,
• 53:32
  Speaker 2: you know what I mean, Like it was there and
• 53:33
  Speaker 2: nothing's no knock to that. That was great point being
• 53:38
  Speaker 2: when the sound changes there if you wanted to get
• 53:41
  Speaker 2: a record I'm giving this is this is also a
• 53:44
  Speaker 2: gem to artists that are on to come up. Find
• 53:47
  Speaker 2: a DJ friend and when you get a bunch of beats,
• 53:50
  Speaker 2: make your DJ friend put it in Serado and let
• 53:53
  Speaker 2: Serado auto detect the bpm and find what bpm it is,
• 53:56
  Speaker 2: and then look at the Billboard charts on what's successful on.
• 54:00
  Speaker 2: This is science for anybody that does music and feel
• 54:04
  Speaker 2: what the tempo of rap is right now. And if
• 54:07
  Speaker 2: you get a record that's in that bpm, your probability
• 54:11
  Speaker 2: of your song being played in that batch is astronomical
• 54:15
  Speaker 2: because DJ's are already in that bounce. That's it. So
• 54:19
  Speaker 2: most of its being is for the club in a sense, right,
• 54:23
  Speaker 2: club and radio is the same, exact the same outcome
• 54:26
  Speaker 2: because they all have to be in a certain groove
• 54:28
  Speaker 2: and that's where people are getting the records. Like I said,
• 54:30
  Speaker 2: ninety records until the Internet just birthed it. We're all
• 54:33
  Speaker 2: sources from the radio of the club because the emotion
• 54:36
  Speaker 2: of feeling it. If you have to think about the
• 54:37
  Speaker 2: most impactful records to you ten to one, you have
• 54:40
  Speaker 2: club memories about where it was like your broad using
• 54:43
  Speaker 2: a club and that record because you're already connected to
• 54:45
  Speaker 2: an emotional moment with it.
• 54:47
  Speaker 3: Started from the bottom that week.
• 54:51
  Speaker 4: Started started start quiet.
• 54:58
  Speaker 3: I don't know you started from the bottom about you, yo, yo,
• 55:02
  Speaker 3: I remember what? Hold on, let's move let's move forward,
• 55:06
  Speaker 3: let's move forward.
• 55:07
  Speaker 2: Right.
• 55:07
  Speaker 4: I'm loving this conversation. I know the ladies in here
• 55:10
  Speaker 4: is like, where were we going to talk about men
• 55:11
  Speaker 4: versus women? Right?
• 55:13
  Speaker 2: Right?
• 55:13
  Speaker 3: Y'all told me to get y'all told me to get
• 55:15
  Speaker 3: the pro black lady off the show. Y'all didn't want
• 55:18
  Speaker 3: to hear that, right, y'all don't want to hear men
• 55:20
  Speaker 3: versus women?
• 55:21
  Speaker 2: Right?
• 55:22
  Speaker 4: We talked about something else?
• 55:23
  Speaker 2: Oh yeah, talking about wrap for an hour, all right?
• 55:25
  Speaker 2: When we got to talk.
• 55:26
  Speaker 4: About where y'all want the fucking cooking show.
• 55:31
  Speaker 3: Punches cookie right is cooking? We got new drops coming.
• 55:38
  Speaker 3: Matter of fact, before I do that. This is what
• 55:42
  Speaker 3: I'm gonna do. This is where I'm gonna go with
• 55:44
  Speaker 3: this ice spice.
• 55:47
  Speaker 2: Come on, damn, hold on, hold.
• 55:49
  Speaker 3: On, let me drop. The record got attacked right as
• 55:55
  Speaker 3: they said, they said she got attacked. Yeah, I saw
• 55:58
  Speaker 3: internet conspiracies that said, oh No, this is what she's
• 56:02
  Speaker 3: doing to get her name back out there so that.
• 56:05
  Speaker 4: She can follow with a project.
• 56:09
  Speaker 2: A stunt. I've seen people do crazier things. That's a
• 56:13
  Speaker 2: wild stunt, though, bro, I don't know.
• 56:16
  Speaker 4: I don't think.
• 56:16
  Speaker 2: I don't think that was that, But I've seen people
• 56:18
  Speaker 2: do crazier.
• 56:18
  Speaker 3: I don't think that was the reason I'm saying that
• 56:21
  Speaker 3: is because I want to know, how do you drop
• 56:26
  Speaker 3: how do you get.
• 56:29
  Speaker 4: You know where I'm going? How do you.
• 56:34
  Speaker 2: Go from that.
• 56:36
  Speaker 4: Release? How do you get out there?
• 56:38
  Speaker 2: Now?
• 56:39
  Speaker 3: How do you if the if the radio is is fucked,
• 56:44
  Speaker 3: the internet is all only Drake fans over here, Kendrick
• 56:49
  Speaker 3: fans over here. If you like that one, you can't
• 56:51
  Speaker 3: like this one. Everybody's partitioned off. What do you do
• 56:55
  Speaker 3: to get popular?
• 56:55
  Speaker 2: Now?
• 56:57
  Speaker 9: You bring punks to the studio and let them leak
• 56:59
  Speaker 9: it that. I was just about to say, I knew
• 57:02
  Speaker 9: that's what he's drop on that. I knew that's what
• 57:04
  Speaker 9: he's doing. But seriously, I think that, Yeah, it's funny,
• 57:08
  Speaker 9: it's funny, but I think it's people like him and
• 57:13
  Speaker 9: and the Ray Daniels of the world, and it's the
• 57:15
  Speaker 9: people that are willing to give new ship and even
• 57:18
  Speaker 9: some of the older ship a chance, right, And I
• 57:21
  Speaker 9: think at this point today ain't no real formula to
• 57:24
  Speaker 9: this ship, Like there is no like.
• 57:26
  Speaker 4: I think that's the loss.
• 57:28
  Speaker 3: And the reason why I think that's the lost art
• 57:29
  Speaker 3: is because what Rail was talking about on his pot
• 57:31
  Speaker 3: I'm telling you again, go watch conversations with Real Easy.
• 57:34
  Speaker 4: He has a lot of great guests on the show.
• 57:37
  Speaker 2: Right.
• 57:39
  Speaker 4: The loss of the.
• 57:40
  Speaker 3: Djh the loss of the DJ and hip hop was catastrophic.
• 57:48
  Speaker 3: The fact that we don't really have the Yo DJ
• 57:50
  Speaker 3: clue Yeah Monday Night back when we had the mixtape
• 57:57
  Speaker 3: we we was getting but see we would we would
• 58:00
  Speaker 3: listen because we see jay Z. But then you also
• 58:02
  Speaker 3: had Nature, then you also had CNN, then you also
• 58:05
  Speaker 3: had all of these people. I wouldn't have known nim
• 58:07
  Speaker 3: niggas from I wouldn't have heard Mike Geronimo, I wouldn't
• 58:10
  Speaker 3: have heard them other niggas from from wherever else unless
• 58:14
  Speaker 3: they was packaged in this thing.
• 58:16
  Speaker 4: And now we.
• 58:16
  Speaker 3: Don't really have that because we don't have You understand
• 58:19
  Speaker 3: what I'm saying, good good, because.
• 58:21
  Speaker 2: We don't have people that are finding the new artists and.
• 58:24
  Speaker 4: Everybody's doing the same thing.
• 58:26
  Speaker 5: And that's my problem with somebody like DJ Khalit, right,
• 58:29
  Speaker 5: because we used to look at him and we used
• 58:30
  Speaker 5: to be like, Yo, here's aightx hood, here's this guy
• 58:32
  Speaker 5: that we never heard of. You put them with this guy.
• 58:34
  Speaker 5: So that's how we get only that. It's not even
• 58:38
  Speaker 5: about the CDs. It's just really about the records. But
• 58:40
  Speaker 5: if you keep packaging the same niggas together and we're
• 58:42
  Speaker 5: never we're not going to get the young niggas a shot.
• 58:44
  Speaker 5: We're not gonna give the different niggas a shot. We're
• 58:46
  Speaker 5: just gonna keep slapping the same thirteen niggas together, bro,
• 58:51
  Speaker 5: Like we're losing or we're losing artists in the in
• 58:55
  Speaker 5: the in that thing, because there's a lot of artists
• 58:56
  Speaker 5: that are great that could actually go, but if they're
• 58:58
  Speaker 5: never getting the eye opportunity to be heard at.
• 59:01
  Speaker 2: A mass levels, it's hard to break through. Bro.
• 59:04
  Speaker 5: That's why you need those looks, and that's why those
• 59:06
  Speaker 5: tapes and things like that, those features and affiliations is
• 59:09
  Speaker 5: important because you get other odds on it. When niggas
• 59:12
  Speaker 5: are not sharing the odds, bro, it's it's.
• 59:15
  Speaker 2: Kind of just niggas in your neighborhood. Listen you disagree.
• 59:20
  Speaker 7: Clue put out a mixtape right now and he added
• 59:22
  Speaker 7: like four new artists to a ill.
• 59:24
  Speaker 2: Pop right now. It's the how is he marketing it?
• 59:29
  Speaker 5: Anything is possible now, it's just really about how you're
• 59:31
  Speaker 5: marketing it pop. If I brunch, you can speak to
• 59:35
  Speaker 5: a punch he got try to give you a pressure, right,
• 59:38
  Speaker 5: He's trying.
• 59:38
  Speaker 2: But you asking him for help, asking you, You asked.
• 59:41
  Speaker 3: Me where to pop? If you market it the right way,
• 59:42
  Speaker 3: anything of pop, isn't it hell almost? I mean, if
• 59:46
  Speaker 3: we go to Ice Spice. She was her first joint
• 59:50
  Speaker 3: with that silly Annie Afro.
• 59:54
  Speaker 4: Who was she with? Who is it? She was singing
• 59:56
  Speaker 4: next to somebody was singing next to her right, which you.
• 59:59
  Speaker 2: Mean that first single it was by something that was
• 1:00:02
  Speaker 2: by herself on the second single.
• 1:00:03
  Speaker 7: But TikTok is helping to because people are putting the
• 1:00:05
  Speaker 7: sounds on the TikTok and stuff like that.
• 1:00:07
  Speaker 2: That's helping them out. That's why.
• 1:00:08
  Speaker 5: That's why I said, if you mark anything, anybody can
• 1:00:11
  Speaker 5: anything this day if you market three when you have
• 1:00:13
  Speaker 5: the dollars for it.
• 1:00:14
  Speaker 2: But no, really, no heavy bars is really.
• 1:00:16
  Speaker 7: Being attached to a TikTok song it has to be
• 1:00:18
  Speaker 7: something kind of goofy.
• 1:00:20
  Speaker 2: Goofy's hilarious. I mean, that's funny. Thing is bars. If
• 1:00:25
  Speaker 2: it doesn't have bars, I'm now learning if it doesn't
• 1:00:27
  Speaker 2: have bars, that's not true.
• 1:00:28
  Speaker 7: Like I'm a I'm a fan of music. But it's
• 1:00:30
  Speaker 7: just we're talking about, like we use situation and all that.
• 1:00:33
  Speaker 3: We used to have Mike selectives. We used to have
• 1:00:35
  Speaker 3: people that put it in front of us. Yes, people
• 1:00:38
  Speaker 3: and could you could depend on? Right, And this is
• 1:00:41
  Speaker 3: what I'm seeing this nigga do with them. First of all,
• 1:00:45
  Speaker 3: he's challenging the older culture. Punch yelling at Ebro, yelling
• 1:00:50
  Speaker 3: at this is gonna respond. I just want to yell yelling. Fine,
• 1:00:55
  Speaker 3: I don't I used to listen to the show, so whatever.
• 1:00:58
  Speaker 3: But yelling at Ebol, yelling at fl It's like, Yo,
• 1:01:00
  Speaker 3: stop being bitch ass niggas. Let other niggas in right, listen.
• 1:01:05
  Speaker 3: I don't know y'all niggas, So it is what it is.
• 1:01:07
  Speaker 3: But this is what he's doing, Like, let these other
• 1:01:10
  Speaker 3: niggas in stop behaving this way. The culture needs us,
• 1:01:13
  Speaker 3: the culture needs you. You're letting us down, right, And
• 1:01:17
  Speaker 3: now he's getting other artists to send him stuff and
• 1:01:21
  Speaker 3: he's dropping it.
• 1:01:22
  Speaker 4: Punch. What the hell are you doing right now in
• 1:01:24
  Speaker 4: the game.
• 1:01:24
  Speaker 2: So the thing is like this. I think the biggest
• 1:01:27
  Speaker 2: problem to me was that how we receive music. I
• 1:01:29
  Speaker 2: think that's the biggest thing, Like how how do we
• 1:01:32
  Speaker 2: really get TikTok and and and and that's where the
• 1:01:34
  Speaker 2: shit started getting back. And the problem with TikTok being
• 1:01:39
  Speaker 2: the source is that you're not even receiving the music
• 1:01:44
  Speaker 2: you think you're receiving. You're receiving what the TikTok algorithm
• 1:01:47
  Speaker 2: felt like you need to hear.
• 1:01:49
  Speaker 4: See.
• 1:01:49
  Speaker 2: What people got to understand is that we're totally, totally, totally,
• 1:01:54
  Speaker 2: totally controlled by the algorithm totally. There are certain people
• 1:01:58
  Speaker 2: where you can just look at no matter what they post,
• 1:02:00
  Speaker 2: it's just not gonna give views because they're out of
• 1:02:03
  Speaker 2: the algorithm at the moment. Because Instagram Meta basically says,
• 1:02:07
  Speaker 2: we're not categorizing that style of content. That's just what
• 1:02:10
  Speaker 2: it is. I'll give you an example. After COVID twenty two,
• 1:02:14
  Speaker 2: twenty three, maybe even some of twenty four, the most
• 1:02:18
  Speaker 2: viral content on the Internet was gender beefing. If you
• 1:02:23
  Speaker 2: said anything like all women should all men should it
• 1:02:28
  Speaker 2: was a guarantee viral. Now less still gets engagement. But
• 1:02:34
  Speaker 2: now you know this. When there was a Grand Slam
• 1:02:36
  Speaker 2: on it, I know, and we watched it go because
• 1:02:41
  Speaker 2: Instagram was in the business of, Hey, if we keep
• 1:02:44
  Speaker 2: doing this, people will stay on the app longer. If
• 1:02:48
  Speaker 2: they stay on the app longer, we're gonna make more money. Now,
• 1:02:52
  Speaker 2: Instagram they started stopping with like skits and now they're
• 1:02:57
  Speaker 2: more like with reactions and you can just see whoever like.
• 1:03:01
  Speaker 2: You can see what's viral by, who's popping, who's the
• 1:03:05
  Speaker 2: most popular people on the internet.
• 1:03:06
  Speaker 4: We can see it. And then there's other.
• 1:03:08
  Speaker 2: Talents that we've watched become victims of this exact scenario.
• 1:03:12
  Speaker 2: So I say all of that to say, I'm ana
• 1:03:14
  Speaker 2: pull back, but I just want to give. I want
• 1:03:15
  Speaker 2: to give landing for what I'm saying. When TikTok or
• 1:03:20
  Speaker 2: Instagram or Facebook is giving you the new song, TikTok
• 1:03:23
  Speaker 2: is basically going all right, cool, We're gonna feed this
• 1:03:25
  Speaker 2: right now to fifty fifty thousand males that are between
• 1:03:29
  Speaker 2: thirty five and forty. We're gonna feed this to one
• 1:03:31
  Speaker 2: hundred thousand males between twenty six and twenty nine in
• 1:03:34
  Speaker 2: the Northeast region. It's an algorithm that's deciding what you
• 1:03:38
  Speaker 2: see the value of what Clue Envy, Big Mike, Case
• 1:03:41
  Speaker 2: Late on and on on, cub Massive Ce, insert any
• 1:03:44
  Speaker 2: mixtape DJ was. They were the algorithm. Ah, they were
• 1:03:51
  Speaker 2: the mix tape DJ was the original algorithm. Okay, so
• 1:03:58
  Speaker 2: because of the original algorithm, we only got to receive
• 1:04:02
  Speaker 2: music by whichever mixtape DJ we decided to live. But
• 1:04:06
  Speaker 2: they controlled it. Well, there was no other option in
• 1:04:09
  Speaker 2: the theory. There was only those are the options, right.
• 1:04:11
  Speaker 2: There was a reason why Case Slate's power was what
• 1:04:14
  Speaker 2: it was uptown, and there's a reason why we started
• 1:04:16
  Speaker 2: to see way more dip sett and d blocks starting
• 1:04:20
  Speaker 2: off his tapes than other tapes.
• 1:04:23
  Speaker 4: And if you listen to.
• 1:04:26
  Speaker 2: A cut Master c or a DJ clue, they were like, Yo,
• 1:04:28
  Speaker 2: this is going Brooklyn and Queens. We've seen Stack Bundlestar tape,
• 1:04:32
  Speaker 2: We've seen we've seen fab star tapes. They were catering
• 1:04:35
  Speaker 2: to their regional demographic. Now not saying that Fab wouldn't
• 1:04:39
  Speaker 2: appear on a Sleigh track four or five, you get
• 1:04:43
  Speaker 2: what I'm saying, or a dipset track four or five
• 1:04:45
  Speaker 2: on a clue. They were regionally distributing the content by
• 1:04:49
  Speaker 2: what they believed their fan base was, which, in theory,
• 1:04:52
  Speaker 2: their fan base was the algorithm, because they're like, this
• 1:04:57
  Speaker 2: is what I am giving you. The algorithm is only
• 1:04:59
  Speaker 2: the in which you receive content. That's all it is.
• 1:05:03
  Speaker 2: It's the brain in which which order you received shit.
• 1:05:06
  Speaker 2: So they're telling the same exact shit by them. They're
• 1:05:09
  Speaker 2: going by this thought, I want you to hear this first,
• 1:05:14
  Speaker 2: and that's what it was. So now when this occurred
• 1:05:17
  Speaker 2: for such a long period of time, what happened is
• 1:05:21
  Speaker 2: is that we now watched these people control everything that
• 1:05:26
  Speaker 2: we received musically and go, yo, just tell me what's hot.
• 1:05:29
  Speaker 4: So now when we say can it happen?
• 1:05:31
  Speaker 2: Now, the reason why I say it really, I don't
• 1:05:34
  Speaker 2: really think it can. With great marketing, it can add attention,
• 1:05:38
  Speaker 2: but to really say they can break is because they'll
• 1:05:41
  Speaker 2: just go to somewhere else. So if there is a
• 1:05:44
  Speaker 2: DJ drama mixtape or anybody anybody's insert any DJ, you
• 1:05:48
  Speaker 2: get what I'm saying, and they put out a tape.
• 1:05:50
  Speaker 2: I don't like this, I'm going to the next. When
• 1:05:53
  Speaker 2: we were young, we spent five dollars for it, which
• 1:05:57
  Speaker 2: to a kid now I'd say would probably be the
• 1:06:00
  Speaker 2: equivalent of maybe twenty to thirty dollars when we were
• 1:06:02
  Speaker 2: spending five dollars I'd say about thirty years ago, would
• 1:06:06
  Speaker 2: probably be the same number twenty five years ago. For
• 1:06:08
  Speaker 2: some you get what I'm saying, depending on when you
• 1:06:10
  Speaker 2: was buying tapes, that that twenty to thirty dollars that
• 1:06:14
  Speaker 2: you went, which also it was less income at our fingertips.
• 1:06:18
  Speaker 2: You get what I'm saying. Our parents were also less,
• 1:06:21
  Speaker 2: you know, financially stable, so that five that we might
• 1:06:24
  Speaker 2: have begged for or saved to go, and then we
• 1:06:27
  Speaker 2: had to spend that money to go downtown, to go
• 1:06:30
  Speaker 2: to the bootlegger, to go get that tape. That shit mattered,
• 1:06:34
  Speaker 2: and we only had that as our only option.
• 1:06:38
  Speaker 3: It was in your mix tape, It was in your
• 1:06:41
  Speaker 3: CD play, it was in your car.
• 1:06:43
  Speaker 4: You could only press fast forward.
• 1:06:45
  Speaker 2: And you were listening from one today because you had
• 1:06:48
  Speaker 2: to figure it out. So I say all of this
• 1:06:50
  Speaker 2: to say that level of control is not possible now
• 1:06:55
  Speaker 2: because if something comes out and your discomfort and your
• 1:06:59
  Speaker 2: unhappy it, the first thing you're gonna either do is
• 1:07:02
  Speaker 2: go to another page, or you might just swipe out
• 1:07:04
  Speaker 2: the app it's too many things pulling at your attention,
• 1:07:08
  Speaker 2: which is why the algorithm is so aggressive and controlling
• 1:07:12
  Speaker 2: now because Meta does anything that they can to keep
• 1:07:15
  Speaker 2: you on the app. So that's why they keep feeding
• 1:07:18
  Speaker 2: everybody the same exact content because the only thing that
• 1:07:21
  Speaker 2: they have data about to prove they won't leave the app.
• 1:07:26
  Speaker 5: And you hold that and you know, what he's saying
• 1:07:28
  Speaker 5: is a good point because when he said that the
• 1:07:29
  Speaker 5: DJs was the algorithm before, right, that algorithm was a
• 1:07:33
  Speaker 5: tested algorithm because these are the DJs that are playing
• 1:07:35
  Speaker 5: these records outside. So when they're giving it to you
• 1:07:38
  Speaker 5: on the tape, it's coming kind of with the with
• 1:07:41
  Speaker 5: the form of being vetted, right, you know what I'm saying.
• 1:07:43
  Speaker 5: So all of the records from one to thirty is
• 1:07:46
  Speaker 5: kind of tried and true and some type of truth
• 1:07:49
  Speaker 5: I would take.
• 1:07:51
  Speaker 3: I feel like the mixtape is giving you a sound
• 1:07:54
  Speaker 3: of an artist because you was getting freestyles, you was
• 1:07:57
  Speaker 3: getting that one song, you was hearing Ship to make
• 1:08:00
  Speaker 3: you go by his album. Yeah, but you remember this
• 1:08:03
  Speaker 3: is this ship that's that Ship wasn't being played nowhere.
• 1:08:06
  Speaker 3: All of them wasn't getting the take, and then it
• 1:08:10
  Speaker 3: was hard.
• 1:08:10
  Speaker 4: It get played in this I mean, I'm talking about
• 1:08:12
  Speaker 4: the hardships.
• 1:08:13
  Speaker 5: I'm talking about the bangers that was on the tape,
• 1:08:15
  Speaker 5: those univers That's what I'm talking about.
• 1:08:18
  Speaker 2: So how did somebody that's nice reach the algorithm? Now,
• 1:08:21
  Speaker 2: now the other groom, if you you gotta beat, you
• 1:08:24
  Speaker 2: just got a flood. And first of all, everything is like,
• 1:08:27
  Speaker 2: you know, how did tahos pod get lit? Just kept flooding,
• 1:08:31
  Speaker 2: kept flooding people. I found out I found out about
• 1:08:35
  Speaker 2: I found out about it because I just it popped
• 1:08:38
  Speaker 2: on my timeline. If the algorithm will test new consumers
• 1:08:43
  Speaker 2: every single time you post every single time. Now to you,
• 1:08:47
  Speaker 2: if you have a smaller fan base, they might test
• 1:08:49
  Speaker 2: forty people, and he might have a larger one, so
• 1:08:52
  Speaker 2: they might test four hundred. They might say, punches on,
• 1:08:54
  Speaker 2: they might test me with four thousand. That's the reality.
• 1:08:56
  Speaker 2: And they're gonna test and when that data comes back
• 1:09:00
  Speaker 2: and says did they like it? Then what they then
• 1:09:03
  Speaker 2: do is reserve more people. Ah, the algorithm is you
• 1:09:09
  Speaker 2: can conceptualize it, but we have to understand that the
• 1:09:12
  Speaker 2: algorithm is the smartest brain that's ever been created. Ever.
• 1:09:17
  Speaker 2: So when you go and they go like they're keeping
• 1:09:21
  Speaker 2: data of when you hover on a post and then
• 1:09:24
  Speaker 2: swipe away without you even liking it, it knows you
• 1:09:27
  Speaker 2: hover it on it. So what it's gonna do is
• 1:09:29
  Speaker 2: it's gonna repurpose it. They also know that the second
• 1:09:32
  Speaker 2: that you start googling, you've already allowed them to watch
• 1:09:35
  Speaker 2: your searches on other platform. There's so much different things
• 1:09:37
  Speaker 2: that technically is affecting how we receive music. So what's
• 1:09:41
  Speaker 2: your core question? When you go how do you find bars?
• 1:09:44
  Speaker 2: They know that the second that this person is like
• 1:09:48
  Speaker 2: AI can tell this is a gritty, traditional hip hop
• 1:09:53
  Speaker 2: sounding that's popular to this demographic, then they're gonna serve
• 1:09:56
  Speaker 2: you to it, and if they interact, they go, we
• 1:09:58
  Speaker 2: got it built, reserve it again. That's why hashtags used
• 1:10:02
  Speaker 2: to matter. Now they don't even need hashtags because they
• 1:10:03
  Speaker 2: can the AI. The reason why hashtags don't matter no
• 1:10:06
  Speaker 2: more is because we were guiding the algorithm. Hashtags were
• 1:10:11
  Speaker 2: created to guide the algorithm. When AI was fully functioning
• 1:10:15
  Speaker 2: on these social apps, pastags were useless because the AI
• 1:10:19
  Speaker 2: now guides it. So when you go pound sign, install
• 1:10:22
  Speaker 2: food pound sign, going out to eat, pound sign on
• 1:10:25
  Speaker 2: a date, telling hello took my food Hello Instagram now
• 1:10:29
  Speaker 2: they're like pound sign oval food food logo, Applebee's Blue.
• 1:10:34
  Speaker 2: Now it does it all for its own It tells
• 1:10:38
  Speaker 2: you everything, so it's making all the decisions. So inclosing
• 1:10:42
  Speaker 2: to drop the mic on exactly what you're saying, you
• 1:10:45
  Speaker 2: have to flood the timeline and feed the timeline and
• 1:10:48
  Speaker 2: the people who are hungry for your content will appear.
• 1:10:51
  Speaker 7: So I'm an artist, right, Yeah, I'm nice put out
• 1:10:54
  Speaker 7: some good music that in order for me to be
• 1:10:57
  Speaker 7: heard after flood my time one hundred not even on tour,
• 1:11:02
  Speaker 7: believable with the marketing coount like if I'm putting a
• 1:11:05
  Speaker 7: posters and things of that nature.
• 1:11:06
  Speaker 2: I think that marketing in today's day and age is
• 1:11:09
  Speaker 2: less impactful if you're talking about physical marketing, because I
• 1:11:12
  Speaker 2: think less people are paying attention to their outside surrounding.
• 1:11:15
  Speaker 4: Exactly enough.
• 1:11:15
  Speaker 3: Yeah, I have a this is a fake page for
• 1:11:19
  Speaker 3: hard to sauce on face on face. They post three times,
• 1:11:24
  Speaker 3: four times a day, your content, Yes, and they're damn
• 1:11:28
  Speaker 3: they're blowing by our following. We post once. They are
• 1:11:32
  Speaker 3: posting boom boom boom, boom boom. They're posting, posting, posting, posting, posting.
• 1:11:36
  Speaker 3: We're watching them every day, another thousand followers, another thousand.
• 1:11:39
  Speaker 2: But I'm like, ya, what and that's not a stunt respectfully.
• 1:11:43
  Speaker 3: No, I'm dead ass. My editor, my media managers like,
• 1:11:46
  Speaker 3: we gotta post it be four times day. We gotta
• 1:11:47
  Speaker 3: do what they're doing, nigga follow They they're flooding the timeline.
• 1:11:50
  Speaker 2: So they're like, yo, bro, you're not posting enough.
• 1:11:52
  Speaker 4: They're flooding the timeline.
• 1:11:53
  Speaker 5: The same like pers about the algorithm, Like when you
• 1:11:56
  Speaker 5: post more, they will they start to open it up more.
• 1:11:58
  Speaker 5: It's just like a weird thing, like they know that
• 1:12:00
  Speaker 5: if you only post a certain amount, they're only going
• 1:12:02
  Speaker 5: to allow a certain amount to be said.
• 1:12:07
  Speaker 4: Drake talk, talk to me, Drake talk?
• 1:12:12
  Speaker 2: What what said? She said?
• 1:12:14
  Speaker 4: She said?
• 1:12:14
  Speaker 2: Meta, don't believe?
• 1:12:19
  Speaker 3: All right, y'all, I'm sorry for the abrupt, abrupt, abrupt.
• 1:12:25
  Speaker 4: Interruption, but yeah, it's the end of part one. Uh
• 1:12:29
  Speaker 4: y'all already know.
• 1:12:30
  Speaker 3: Tune into part two this Thursday, or tune in right
• 1:12:33
  Speaker 3: now to patreon dot com backslash So Shameless podcast to
• 1:12:39
  Speaker 3: hear the whole episode ad free.
• 1:12:42
  Speaker 2: I believe.
• 1:12:43
  Speaker 3: Right now, we're about to get into the Drake conversation
• 1:12:46
  Speaker 3: talk about whether.
• 1:12:46
  Speaker 4: He's a coach of Voltcher. Can he make it back
• 1:12:49
  Speaker 4: in the game.
• 1:12:50
  Speaker 3: Do the ladies still love him.
• 1:12:54
  Speaker 4: Or all y'all outside fucking to Kendrick Lamar. I don't know.
• 1:13:01
  Speaker 4: We'll see this Thursday.
• 1:13:03
  Speaker 2: Peace,