Make Hip-Hop Interviews Great Again! Why Many Artists Aren’t Selling Well!

[00:00:00] Speaker A: Doggydamansnofilter.com is the official website of Doggy diamonds. On there you might find content that you missed. This is not a website with me on there, my instagram, or just posing or anything. This is strictly content. Doggydomonsnofilter.com is a content website. It's not my bio and all that other stuff. So you can go there daily and, you know, see content that you might not have saw, hear audio podcasts that might have went past you. All of that is on Doggydime is no filter.com. also my social media sites, everything is on there. Listen, in this promotion that I have, have you heard about my hundred dollar promo deal? This might be able to help your project or whatever you doing. Let me give you some details really quick. So the promotion will be done on doggy diamonds tv as well as the interlude tv on the Insta stories, YouTube community threads on the Facebook account and the Twitter accounts. That's about 910 accounts. But this is for serious inquiries only. You must be cash app ready, and I can help you bring more awareness to your products. Whether it's your movie that you got coming out, whether it's your facebook, whatever it is that you want to promote. I can help bring awareness on all my social media platforms for only $100. Let's go. Yo, yo. Doggie Diamonds did this. Yes, that's a fact. He did do this. He did do this. Okay. Shout out, check vids online. Checking vids online. I always mess your name up. Checking vids online. Shout out to black dot. That's the homie right there. Big ma elmatic. I see you. Carlos Hernandez. Heritage hip hop. Philly seed zero one. That's a day one supporter. Bishar and green. Yes. Unpopping opinions. I see you in the building. Make sure you hit the like button. It's very, very, very important. April Brown, I see you. Thanks for being a supporter. April Brown. Vera, Mickey, I see you. For my members on my page, I got something exclusive that I'm gonna upload tonight. Let me upload it tonight, and I'll give you some details on that. Yes. So what I'm gonna upload to my members is a special course on how to optimize your YouTube page. Yes, I did a whole course that I'm selling, but my members get it for free. Yes, my members get it for free, but I'm selling it. And it might cost you a little, might cost you a lot, but the members get it for free because they're members. Yes. Rochelle love, I see you. Herbert Moore. I see you. What's up? Make sure you hit the like button. The like is essential. Malcolm Madkins, what's up? Yes, sometimes I be jamming to my own music that I don't know what to do. I gotta chill sometimes. Sometimes I just get caught up in the beat, in the music, but the members will get this content. Mickey Knox, what's up? So again, what I'm going to upload is how to optimize your YouTube channel step by step. It's about a 25 minutes video. Step by step. Shout out to general Steele of the legendary group Smith and Wesson for reminding me that I produced a record for them. Talk show the visionary. I know I did production for people, but I be forgetting sometimes. So Steele just posted it on his instagram today and I was like, damn, I forgot. I remember sometimes. Megabills, what's up? I be forgetting that I'm a dope, dope music promoter as well as a dope, dope music producer. Sometimes I be forgetting Bernadette. Bernie. What's up? So how's everybody doing? Hopefully everybody is doing well. Came on here on a late night. The 730 thing ain't gonna work for me because it's not really just clashing with the audience. You know, some people, 730 is too early on the west coast and too early on the east coast. So I gotta go late. Do lives later when everybody do they little shows and stuff. I like to play cleanup for the night. When you finish watching a lot of that filth that be going on, you get to come chill with a real one on a late night. So this is why I come on live and then I'll be having a lot of other stuff. I'm doing exercise, man. You know me, always exercising. So I'd be clashing, then I'd be up all night, then my sleep be compromised. I just got a lot going on that I'm trying to fix, but it's working. So how's everybody doing? Hopefully, hopefully everybody is doing well. See the title? I believe that I'm qualified to speak about the title, and I think it's time that somebody speak on what's going on in the state of their favorite word, the culture. So we're watching these artists that get all of this play on social media, a mass amount of followers, um, a lot of things they do go viral. We talk about the Lottos, the sexy Reds, and others. Even Ghostface dropped the album with Nas. Did y'all know that he dropped an album on mass appeal a few months back during the height of the Kendrick and Drake feud. He dropped the album. Ghostface Killer of the legendary Wu Tang Clan dropped an album. Did you know that? Lotto selling very, very low. Nice looking young lady. Um, many people like her sex appeal. Many people think she can rap. Sexy Red dropped the project. Project is so bad as they cancel her tour because the tickets wasn't selling. So these are people that are. That we see, and there's always something about them in media, but for some reason, when we see them, we see them. But they're not on their selling personality. They're not on there selling box, per se. The goal is to sell music. That's why they're rappers. Because if you're not a rapper, just do onlyfans. How is it somebody legendary that was a part of so many historical records like a ghostface killer, nobody knows he did an album. Leah, shout out to you. Disrupting reality. NYC, I see you in the building. As always, when we see these artists doing press, one thing we never heard of about is the music. We hear about everything. We hear about who they beefing with, who's smashing, anything that they're going through. What the music. Who they dating, who they smashing, who they dating? Their children. So what happened and what's happening now is that the music is taking a backseat to why you're there. Because I'm gonna be real with you. I don't care who you smashing. I don't care about your street cred. I don't care about if you've been to jail. I don't care about you being a custody. I don't care about none of that. If I look at you as an artist, an artist first, when do you discuss the arthem? They never discuss the art. They'll say, yeah, I got this one. It's so bad that people are still saying they're dropping a mixtape. A mixtape. I'm about to drop this tape. The audience, and if you somebody like me that's a creator, the audience really loves the creative process. For example, let's take a Ryan Leslie. You remember, like, eight years ago or longer. It definitely was longer than eight years ago when Ryan Leslie was showing the making of diamond girl and all these records, and he was in there. He had you. Even if you didn't know how to do music, you were so inspired by his creativity. When is the last time you saw that? When is the last time you seen somebody in the studio, somebody talking about the art, somebody talking about the creativity of the music? And you might get it here. Tools and fuse scattered. But overall, we talking about YG and sweetie, who was also with Quavo. We talking about pass arounds. We talk about community dudes who smashing up everything. We don't hear the music. We don't hear about the music. We talk about who got beef, who's spinning the block. And that's why nobody is really selling anymore. Because the last thing we hear about is the music. We don't even know you got an album out. We don't even know you working on stuff. And they like to say, I'm gonna put him out there, right? One time, I hit Dinko D from the legendary group, well, subjective leaders of the new school. I hit Dinko D. I got his number. I was like, damn, dinko D. I would love to interview him. I reached out to Dinko D. I said, hey, you know, my name is Doggy Diamonds, the standard third. We spoke on the phone. I said, yo, we should do an interview. He says to me, well, I only want to do an interview when I got a project coming out. So if you somebody legendary in the culture and you like to think as yourself as legendary, or whether you don't, it might be some people who think you're legendary for your contributions to the culture. What is this old school way of thinking that I gotta have a project coming out before I talk? You don't do shows. You still have a catalog that I'm pretty sure that as the catalog streams. Cause if you say one thing or two about the catalog that goes viral, there goes your streams. Is that not money? And I'm not trying to be disrespectful, but I'm just stating some facts. So I seen something with Dinko D performing on Instagram, and it might have been a little bit of people. There wasn't a lot of people. So I'm like, here it is. I wanted to help put you out there in front of people so they could know who you are and what you did. And you're talking about a project? What project? Let's talk about what you previously did. Let's give the history to qualify you for a project today. Because if we don't know what you did before, why would people care about what you're doing now? So imagine in said interview, dinko D was like, buster didn't know how to start the scenario. So I went up to him and I was like, yo, as I combined all the do's from my mind. So when we hear stories like that, it makes us appreciate the art and the culture again. So what's happening? We're not hearing about the music. So being that we don't hear about the music when it comes out, we don't care. Some people, they be doing interviews. I don't even know if they rap or not, so respectfully, and I'm not dissing no platform. But when I see some of these people, I always say, what did this do? So he's on here to say, he's from said place and he got beef with such as, does he rap? Do this nigga sing? Do this nigga fried chicken? Like, what the fuck this nigga do? Why is he even getting interview? Throughout the whole time, you never heard anything about music. As for me, I love the idea of creative process. I love the fact that many of us have a lot in common. So when a person say, hey, man, I go into the studio, you know, I light some incense, you know, I make sure I got a gallon of water. A lot of times we like to hear that. That means a lot to us because it makes us relate to you. But the fact that who you got beef with, it just became one big gossip show. So. And no matter what interviews I've ever done with somebody, I always talk about the music, the creative process, the backstory of the music, and I don't really hear that no more. We hear it every now and again. But the way people pose questions to people, it's always for a headline, it's always for beef. So now we know you about beef, but we don't know nothing about your music. For example, I always supposed to do an interview with large professor for some reason, whatever reason, it never took place, right? I used to see large walking around my hood. We used to bump into each other grocery store. Yeah, we gonna do it. We gonna do it. We gonna do it. We never did it. So he ended up doing an interview with Vlad. That shit used to bother me a long time ago. Like when I used to see people that I knew in the street, not from the street or any street, anything, but I saw you face to face standing right here, and I know said person might have dm'd you and you went to do an interview with me, but you didn't do an interview with somebody that was in your face. Now let's think. Large professor, to me, is a legend. Large professor taught a lot of these, your favorite producers, and gave them techniques. This is a fact. So what I wanted to put in the perspective is large professor is bigger than Nas producer. That's kind of shrinks him. No diddy to me, that's disrespectful to say he's just Nas this, Nas this. Right. So I felt like he got asked 900 Nas questions, but not 1 million source question, not one production question. It was all about Nas, Nas this, Nas this, Nas that. So leaving that interview, I didn't even know who this guys was. Guy was. So if I was a 22 year old and I see Nas in the title, I might be, you know, dudes know how the sensationalize the title. So you might go there, you know, and listen to it. Well, who is this guy? Oh, he produced for Nas. What? He produced shit, some people might not even have been born when he did halftime and when he did it ain't hard to tell. They might never, they might not even been born. They could have been jiggling around and they daddy nuts around that time. So if he went there and you just asked about Nas, what does that say about you? But I wanted to put him and the proper perspective of, okay, you incredible dj, you're a producer. What was it like when you did this record? What was this like? What was, what was the mind frame you was in main source looking. You did classic records, looking at the front door. Classic. Faking the funk classic. I like friendly game of baseball, too. Live at the barbecue, which introduced an artist by the name of Nasty Nasda and a caneli. You did a Nelly's whole project, Vagina Dinah. A lot of people don't know that. And that's talking about the music. That's talking about the creativity of the music. Instead, you ask them all about Nas. What does that have to do with him? We look at the breakfast club. A lot of artists go on there. Don't talk about the music. Those streets in New York, see, we're not even going to talk about the G rap production and rock him production. But streets in New York alone is anyway, so these guys, I don't know what they think about me. Maybe because I'm opinionated, they don't like it. I might have said something about one of their friends or whatever. I don't know. I might have had an opinion on hip hop that they didn't agree with. So they don't want to do interviews with me. That's fine. It don't matter. Never chased anybody for an interview. I never asked three times, but asked once. You were too busy, I reminded you, but you ain't busy three times. I'd have been busy twice. But you ain't busy three times. By the time you got the second message, I got your message, you didn't want to do it, that's fine. I go for anybody. But I find when these guys do these interviews, they called us, these publications, that I'd be like, who the hell is this? This is a PR interview. This is a favor. Like, what is this shit? So we got the Bobby chick, whoever that little young lady is, and she's interviewing people, and it's so boring. And what are they even talking about? I'm saying to you artists, you're doing yourself a disservice by sitting down, talking about shit that has nothing to do with your music. Because if you're an artist, we don't care about none of that other shit. I'm telling you. Cause what happens is, we get to know your life. We get to know everything. All this shit about you. Then when you put out your project. Oh, you rap. I didn't know you rap. Remember Tiana Taylor and this girl had a sweet 16? When my sweet 16 was popping on MTV, and I was like, she signed a Star Trek. What did she do? Oh, they say she's a choreographer. So why is she signed as an artist? We never knew? So then when she put out her music, she starts saying stuff like, she was on good music and Kanye didn't promote it and all that. No, you didn't promote it, cuz we didn't even fucking know. You sung all we knew. When you messing with Emon Shumper and having kids and you allegedly eating box and all this other shit. We didn't even know you sung. Not once do you sit down and say, hey, this is what I do. I do this, I do this and I do this, but I'm putting out an album. On my album, I did this, I did this, it did this. And what's happening now? You artists thinking you too good to do press and it's hurting you. You think you got to do press when you got an album coming out, and you think, I got an album coming out, and I'm gonna give everybody seven minutes to interview me and it's gonna help my album, and it ain't helping shit. It ain't. It ain't helping all you artists. Charleston is more viral than y'all. Jaguar Wright is more viral than y'all. Omar Johnson is more viral than artists. These individuals are more viral, and people care more about what they have to say. And they never created shit in the music business. They just have an opinion. So people care more about opinions of regular people than people who created music? Jaguar Wright don't talk about the music. She did but she seemed to be everywhere. Know everything about everybody. Says she know the color drawers you had on yesterday. She was there. We don't know nothing about artists. We don't know shit. When you started rapping, when you started rapping, what do we. Who inspired you? What was the first rhyme you wrote? We love the story. I'm telling you, artists. We love the story. We love the story about how you started, how you put this together. What were you thinking? So now we just follow personalities. You dropping the album? So what? I didn't know you rapped. Charleston White could drop an album tomorrow and go platinum. Doctor Omar Johnson can drop an album called say it three times and stream a lot. There's no way in hell that personalities should be streaming interviews more than your music is streaming. Ghostface Killer dropped. Dropped an album on mass appeal, and his first single has Nas rapping on it. Now we know Ghostface, verbal intercourse with Nas. An eye for an eye with Nas. They have a record together. Matter of fact, I'm gonna do something that I, you know, don't have to do because nobody did an interview with me. He did an interview with Torreye. Torrey. But I'm gonna show you something. I'm gonna go to YouTube, and as I go to YouTube, I want to type in Ghostface and Nas. I'm gonna do this in real time. All the people listening is back on the audio. That's why you should watch the live. You can see what I'm doing in real time. I think scar tissue is the record. Yeah, here we go. So for yo, for those who don't know, Ghostface Killer, featuring NASCAR tissue, has 694,000 views. That's it. This Nas. This is the actual music video Nas is rapping on this. That's all. Look, something old as verbal intercourse. 6 million. And this is Nate. This is Raekwon, official thing. Rich Fisher pays, which has Nas on it as well. You see? That's it. Why? Because he didn't do no interviews talking about music. He sat down with Torre. They think I'm ghostface and people. All I gotta do is go to my gram and announce that I got an album, and people gonna gravitate towards it. Well, that's not true. So let's. For argument's sake, let's put in Charleston White in real time. Charleston White with Cam Newton. Eight months ago 9 million views two weeks ago 971k. Do you understand what I'm saying? Charleston White with little Woody a day ago 153k views two months ago 700,902 views. See this is what I'm saying. Shout out. This is tzariah. This is what I'm saying. These are not artists. When the art took a backseat to the personalities, where's the art now, though? Nobody cares about the art. So when you put out an album, who's gonna listen to it? That's why the name of this is make hip hop interviews great again. There was a particular time where you watched the interview and you loved it. The person was talking about the music, of course, get into the backstory, the history, but it has it be a particular time where you say, hey, I got this new album, this new album called such and such, and it features this person, this person and this person, and I did this and we like, wow, when is the last time somebody talked about their album and they talked about the features and they talked about the producers? When is the last time somebody said, hey, mandy, I got this dope record with just Blaze. Ceelo Green is singing on it and Stevie Wonder is playing a tambourine. We don't hear that no more. There's no anticipation of the music. But everybody has a take on the music. Everybody's talking about the music, but the people who should be talking about the music don't talk about the music. So how are we supposed to review music and say, this is dope, this ain't dope if the own person who put the music out don't say shit about it. So if you get a chance, go stream. Ghostface album is called set the tone. It's called set the tone. Did you know that? No. Why am I here talking about something and you have these big platforms? Because these so called big platforms, all they do is knock the culture of music. They got something to say about everybody. Me, I care about the music. You know why? Because I'm a creator and real true lover of music who actually spent money getting the equipment to make music. So as much as we can criticize the music, you also have to be a maker of the music to know what you're criticizing because you can't just sit there and say, oh, such and such is whack. I appreciate you, uh, I don't know how to pronounce your name, so my bad. But I appreciate you for supporting my independent voice with the super chat. Thank you. You get what I'm saying? Because when Justin Timberlake is going to drop a new album, guess what he's going to do? He's going to go to good Morning America. He's going to go everywhere and say, yes, I have a new project. And the new project is, yeah, I got Timbaland. They make sure they do that. But with hip hop, there's none of that. We talking about everything else. Who you shot, who you got beef with, we don't care. We don't care. And we relinquish the hip hop art and the music to these poop butt ass interviewers in these platforms. And you keep chasing numbers, right? This is the deal. You keep chasing numbers because the said platform got numbers and the numbers don't help you. So who cares how many subscribers they got? Who cares that they might be a little caucasian or whatever the case may be? Who cares? Their numbers do not help you. Why? Because when you go on their platforms, they're not versed in the music and the art of making music. So they can't ask you about it. They start asking you questions about somebody else. They start asking you, I could talk to Dame dash for an hour and never ask him one Jay Z question. I could prove it. I could prove it. I could talk to Ghostface and never ask him a Wu Tang question. It'll be all about you. Why? I used to do interviews early on and never got on the camera because it was all about Spotlight and the artist. What are you about? What are you into? Even if you look at my. Look at my Helter skelter interview on here. It was all about the music. We were in the studio when I did the interview. Did you know that Smith and Wesson in Helter Skelter was an interchange group? It was supposed to be, if I'm not mistaken. I gotta refresh myself. But the interview was. It was supposed to be Sean Price in general, still as a group, in tech and rock as a group. But that's how you find out shit from interviews. You find out things you didn't know, where you think these questions come from. Give me a beat that you turned down. Give me a record that you. That everybody love that you don't really like. I started all that, so you get sprinkles of it. And I'm glad people asked that question because it's important. Why do you think Eric Sermon, I was like, yo, why didn't you produce on ill matic? You know what he said? I gave Nas C list beats. Why would I sit with Eric Sermon and talk to Eric Sermon about his beef with Paris Smith when this guy's responsible for EPMD himself, Redman, Keith Murray, Shaq and countless others? I gotta dive into the brain of the music. Look at my easy mobi interview. All about the music. That's all that matters now, because the music is dying. Because the conversation is dying. But everybody's a critic. Everybody's a critic. It's easy to criticize some shit that you don't know about. That's why when these talking heads come on here and they start saying, this is whack. That's whack. How would you know? Give me one beat you made. Give me one rap you wrote. How would you know what's whack? Because we gotta follow the lead of the creator. So as you sit there and say, damn, you know what? I don't like this. It sounds like something is missing. So set artists come and say, you know what? On that particular beat, there's no hi hat on purpose, because this, that, and the third. So did you know on Aaliyah, what's the name of the record? Are you somebody? I don't know. Uh uh. I just know it's a. That's somebody. It's one of them records, but it has the baby crying in there. Timbaland, in an interview said he purposely didn't put a high hat in their beat, that beat, because people said all he do is hi hats. So he made the beat. Are you that somebody? I think that's the name of the record. He said he made the beat with no high hat and purpose to show people he don't need high hats in his beat. But when I first heard it, I was like, where the high hat at Timberland, known for his high hats, he purposely didn't do it. But the fact that he explained that made it that much dopa. But if he didn't explain that, we would be listening to it, like something sound missing. So when these artists explain a beat, I did a 16 and I got an eight from him and an eight for him, which is 16 as well. Then the songs won't sound so weird to you. Sometimes you ever listen to the music and you be like something sound. I don't know, something don't sound right or something. And then they explain, oh, nah, what I did was this, this, that, and the third, and you like. That's why one of the first records I heard where it sounded different was a record called recognized thresholds of negative stress by a group called the Boogie Monsters, produced by LGD, Easy Mo B, brother. And it was a rapper named Vex. Shout out to Vex, wherever you at, homie. I still remember you. I still remember our talks. But I ain't speak to Vex in years. It was in a group called the Boogie Monsters. They also had a song called Honey Dips and Gotham, which was dope. When he comes in and say, well, I came through the door, I said, I was like, why his voice sound like that? Come to find out, it was a distortion effects that they. That they used for that. But I thought they messed up, but it was done on purpose. But you have to sometimes explain the music for people to like it. Where have we seen art get put out there without it being explained? Do they put out movies? No. They drop a trailer and they give a synopsis of the movie, a little caption. This movie is about this, that, and the third. So based on the artwork, based off the trailer and the synopsis of the movie and the actors is whether you want to see the movie or not, am I right or wrong? So how are people dropping music? And there is nothing about the album that we know said, dude is sitting there. The next thing you know, he got an album. We don't know who's on it. We don't know who produced it. We don't know where it was recorded at. We know nothing about the music. So if it works for the movie industry, it works for every other industry. Why do these artists think they don't have to give us anything about the music, but we're supposed to buy it? Who? Purdue? Who's on the album? But we got a million and one podcast, and everybody like. But I just felt like, well, I look at it like this, and if you notice, whenever people talk about artists, it's never the new artist. They always go back to the nostalgia. We still talking about top five. Listen, if hip hop been around for 50 years, they say 50 years, how come the same artists are spoken about and they came into culture 30 years ago? Don't you think that? Because eventually, we love Michael Jordan, right? But we have to have LeBron in conversations now. We have to have Steph Curry in conversations. We have to have Durant. That's how the NBA grows. That's how the NBA flourishes. But if we still talking about Jordan and he's this or he's that or Kareem or magic, then that means the NBA didn't grow. So we talking about hip hop, and we still saying the top five is biggie and Tupac and all of them, although they might still be the top five in many people's eyes. We have to have a way where we enter in new people in the conversation, at least, to take the reins. And that's why the culture didn't grow, because it's limited people because of these big platforms. They don't want to talk about none of that shit. Because look how dope Kendrick is as an emcee and an artist. His biggest record is a diss record now. So for the rest of his life, he can't do nothing without performing. They not like us. He has to a diss record, but he got a whole catalog. But he gotta perform. They not like us. All the conscious music y'all said he made, all the deep songs he made. He gotta perform a diss record forever. But Jay Z could perform. Don't have to do takeover. Nas could perform, and don't have to perform ether. But the big three is Kendrick, drake, and J. Cole. How did the big three if they not in nobody's top five of all time? Because at one time, Rakimdev, Kane, different people was in people top five. And then we had to move that out the way we had to say, now we got to make the ways for the pox, the Nas, the biggies, the Jay Z's. You mean to tell me they're still in the top five of all time? We. There's no new artists that we could say? No, we gonna have to. We gonna have to, uh. We gonna have to retool this top five because other artists came into shit. Then we got, yo, we got legendary groups. Where's the hip hop group at? Niggas can't even stay together. So again, and I'm blaming the artists, I can't really blame the platform, because when you go somewhere to promote yourself and your project, you don't allow people to talk about. You don't allow people to control the conversation. That's. That's real. You never let people control the conversation. You go there with a mission. Go there and you about to talk to Denzel about his. If you go in and Denzel got a new movie, I dare you to talk to him about glory. I dare you. I dare you to sit behind him. Rather sit in front of him, and behind him is his artwork. Before, about his music, I mean, about his movie. And you say, so what was it like playing Malcolm X? He gonna look at you like, the fuck you talking about? But hip hop dudes go on these platforms. You go on the no jump. And I'm not single on them. I'm just saying, you go on the no jumpers, you go on the vlads, you go on these platforms that are big. They don't ask you shit about your music. But then you'll have myself, you'll have others that want to talk about the music, but we're not this. We're not that, you know? So with me, I might have tweeted something that bothered you ten years ago. So you don't fuck weed him. I don't fuck weed him. You don't fuck with me, but you fuck with them, though. And I'm actually of this culture, even if you got to come before me and we clear something up or whatever the case may be, as long as we ain't talking disrespectful to one another. But you got me, you know, you gave me clarity and understanding or something. Or we debate hip hop. Because I never went on any platform and said, this dude is a bitch. And all. I always say, yo, I didn't like that record. I don't like that song. I said, what was my last tweet? I don't like the soul. I don't like this new Kanye West. I missed the soul sample Kanye. I just. I do. So that means I'll never get an interview or quant. Kanye never fuck with me. But when he went on platforms, he talked about everything but the music. But I miss. I miss the soul sample Kanye west. Also, the new records that ll did, I don't like none of them. It's not personal. It's the arthem. I love the common and Pete rock album. I love the new Benny the butcher tonight at midnight. It's probably already dropped. 38 special is dropping a project. I can't wait to hear it. Soon as I get off with y'all. I already showered, got my shit all together. You know what I'm saying? For bed, when I go chill, I'm gonna listen to the 38 special project. It's shit that I anticipate, but people only hear when I say I don't like something. But when I like something. You didn't hear that, though. I just hate everything. But when I say I like something, you ignore that. You ignore that. Can't wait to hear this. 30 express. Graff just dropped a dope project when Graff was on drink champs and other shit. Didn't really talk about the music much. Y'all artists. And don't pick me. I don't care. I know I'm the most qualified to talk about music with you. I'm just being real with you. I'm the most qualified to talk about music with you because I could talk about it from the beat, the lyrics, the production, the samples, everything. I am the most qualified to talk about your music with you. I know where your samples came from. I know what drums you use. I know the tempo, I know the rhyme scheme you use. I know everything. But if you feel the way about me personally, you're not going to do it. I don't beg people for interviews, but if you want to talk about your album, this is the place you should come. There's some other places, but make your stop here. But you go in places for the numbers. No, it's actually Benny the butch, not Benny the butcher's 38 special and method man, I think have a joint project coming out. Matter of fact. Hold on, hold on 1 second. Your call has been forwarded to voicemail. He gonna call me back after the fact. They always do that. So do I get offline? So I wanted to. I didn't even talk to him. But I'm sitting here, see, I'm sitting here tonight. Plug in projects. Poor righteous teacher, I appreciate you. Plug in projects, plug in the music. I don't get paid for this. They pay academics all this money, all this money. The labels pay him all his bread to where he could live in these big extravagant houses and all this shit like that, and that's cool. But the music suffers. The music actually suffers. The music suffers. Matter of fact, I'm gonna show you right now. Hold on, hold on right now. And I want y'all to hit these artists and tell them, yo, here we go. What's out? Hold on, let me, let me darken the, um, the actual such and such for you. Still too light. Hold on 1 second, y'all. Can you see that this is out right now? Right now. Well, I don't know if it's a full project with method man, but I know they do. Oh, it might be one song school. Yeah, it's not a full project. It's one song. My bad, my mistake is cool. Special methods. Oh, I don't want to play it because this is it right here. Nandy Johnson, I agree with you. I'm going to be real with you. Out of a lot of people, I am one of the only black american platforms that speak about hip hop. Don't let my light skin fool you. I am a black american man, ain't mixed with nothing. I mix with nigger and nigger, seriously, don't look at me and say, oh, he must be this, it must be that. And you must be a damn fool. You must be a damn fool. But 38 specials drop. So now I gotta get my bro on to talk about the music. Kai Sinai, big platform, playing video games, jumping around, and I don't want to make it personal because it ain't personal with anybody, right, it ain't personal. But look what they're pushing. You don't think it's by design for them to get these artists and say, well, you didn't sell any music, what you owe? T pain told a story recently how he got a $40 million advance. Look it up. His split was 1580, 515 for him, 85 for them. How you think that worked out? Now, t Pain is a streamer. One of the most talented artists ever. One of the most talented artists ever. But now he has to stream in order to be relevant. When he was one of the people who made auto tune popular and everybody took his auto tune, shit, future took it. Kanye west took it. But now look at T Pain. He's a streamer. So that 40 million look good. It's a nice advanced shit. When you pull, you broke. That's some good money. But the long term, we don't know any better. Because again, if you're a starving artist, if you're starving, not even an artist, if you're a starving person, a millionaire or multimillionaire, somebody risk to give you a pack of oodles and noodles and you're going to be like, damn, this shit like a filet mignon. And they know that. I'm saying, for these artists, I better start talking about your music again. You better start talking about your creativity. You better start doing more in studio videos. You better start doing more creative process videos. You better start doing that. Cause your music is suffering. It's not enough talk about your music. And that's why hip hop as a whole culture is dead. Everybody's talking about the australian chick who went to the Olympics and was breakdancing and how she this and she's that. But let me ask you something. If an individual came out breakdancing right now, most people will laugh at them. Right or wrong. People will be like, nigga, breakdancing. So how come when you got a bullshit motherfucker across the world doing it, it makes you mad? You don't really care anyway. You don't care if somebody came out right now breakdancing, you'd be like, look at bull breakdancing. I don't know what ball on. I don't know what type of time bull on you. A dissa. But being that you see it in the Olympics and somebody's making a mockery of it, you act like you care. You don't care. You don't care. You still have people who break dance. We still have people who do stuff in hip hop culture that you don't care about, but then when it goes around the world, you want to gatekeeping and be like, man, look at them messing it up. Because if you go in certain places, why do you think all of these artists is always overseas? Because you want to call them old, that's why. Listen, Jadakiss broke out and did a windmill one day. Jadakiss, I was like, oh, wow. Like coach said, commons still will breakdance. Y'all call them old school. Y'all call them old heads. Y'all love the corn niggas old. You know, that's people favorite shit. Oh, I had a nigga on Facebook call me old yesterday. I said, well, old, subjective. But why do you look like that, though? Cause if you're young and I'm old, what's your excuse? You look washed and set you a doobie. It's a rap for you. You young looking like that. I'd rather be old and look like this than to be young and look like that. So calling me old ain't a dis shit. I've been around the culture I've been around, and I love the fact that I've been around because you would want to have my experience. But I'm old and you look like that and you young. Oh, fam, it's a rap for you. Washington set, bobby pins and all is over. Imagine you in ten years. Shit. Cause I love the fact that I'm old and I get to tell you stories about how I was a child in the studio with all of these great classic records being made. That's why with me being old. Cause I'm not the age of Elliot Wilson. Shout out to him, I'm younger than him, right? But I love the fact that I was there. My experience of being there and caring about the culture is why I can orate the culture and ask these guys questions about shit. And I can ask them stuff that would be never been asked before. That's why even if you look at many interviews, when they talk about hip hop, it's always from a story that comes from me. When I interviewed Tracy Lee, what was it about the music? Did you know what sticker rights was? Did you know that he wasn't allowed to have Biggie's name on his single? Did you know that? You did certain things you don't know? Because I like to talk about the music and how you calling me old and I'll fuck you up. Just really think about that. I'm old, but I whip your ass, take your girl if you had one. Definitely outrun you out. Anything to do with stamina, you. This is a fact. Niggas be young and washed skin bad, crunchy facial hair growing down on your neck, hairline gone. How you young with no hairline? I got my. I got my hairline. So really think about that before you want to call me name. Oh, you're this. You know what I am, and I'm proud. You know why? Cause I got a lot of my good friends who died before they had facial hair, and I was amongst them. That bullshit. And I'm glad to have escaped it. But look at you. Young ass dummy. Young dummy. How you ain't got no hairline and you young, how you more stressed than me? And you young. You ain't got no hairline. Famous, you weigh like a buck. Your ribs is showing. I'd rather be old and healthy than to be young, malnourished and no hairline. You'll never know who the shape up feel like. You'll never know what a shape up feel like. You'll never be able to go sit in the barber chair and be like, yo, shape me up. You'll never be able to take your hat off and show your hairline. You can never do that. You see that? You can never do that. You can't show your hairline. You can't do that. And I ain't even brush my hair. You can't do that. I'll be old with my hairline. Fine. Lucky stardust, I appreciate you. Herbert Moore. Shout out to you. So, ageism is another thing that hurt the culture because for me, right, I like the young dudes because me, as an elder statesman in the culture, because in comparison to some, I'm young. So when it comes to Ralph McDaniels, you know what I do to Ralph McDaniels every time I see him? I bow. You know why? Because he was before me. Although me and Ralph McDaniels don't do the same thing. He wasn't digital like I am, but he's the inspiration for what I do, right? And I always give him that props. You know why I give him those props? Because he deserve it. And I'm supposed to, right? As somebody who is inspired by him, I'm always supposed to tell somebody I'm inspired by them. Nowadays, in the culture, people will copy your whole shit. And I didn't see you do that. Use a motherfucking liar. You are a liar. But it's cool. It's cool. What I'm supposed to do with the youth. When I was. When I did the interview with Freddie P, I can see something in his spirit wasn't right. What I say, yo, Freddie P, I think you need help. I think you need help. So we. We didn't care about the art. We didn't care about the music. I cared about the person. Yo, get counseling, bro. You seem like this shit is fucking with you bad. It seem like it's weighing down on your brain to where, you know, when the man just sit there and you can see real tears, not, you know, that crocodile shit dudes be doing. I see real tears. I see the pain in your face. I hear the pain in your voice talking about the situation. That's when I could say, yo, you need help. Because what I'm supposed to do is somebody who's older than him, because you only owe to me in my eyes is how you feel. Especially when you old and you wanna act like a little nigger. You understand what I'm saying? When you wanna act like a little nigga, when you wanna still be out there but see me old. With age comes wisdom for some, not everybody. So I feel like I should be given wisdom based upon my experiences. And I don't want you to go to go through some of the things that I went through. So I got to say this down the third. But again, it's been in conversations that I've had where I talked to Pete Rock. I talked to Mo B. They're older than me, so I got to be the sponge. Why? Because sometimes in my personal conversations I have with them, they might have gave me some information that I got to convey to you because I got the platform. But people listen. One of the things that we have a problem do, and I just seen Wallow say this shit. One of the things that we have a problem doing is listening. You got people who give you game every day. You got people who give you information, but you look what you fall victim to. Look what you want to hear. But then you want to hit me on a motherfucking dm and say, yo, how do I do this? How do I do that? I said that on last night's show. But you don't watch me because I'm not crying about somebody or going in. I ain't telling you. I don't have no fucking jail stories for you. I don't have no homoerotic stories about nobody, either. I don't have no long term feud. I'm not going on every night talking about one person, and he said this, and I got a reply. Ain't doing none of that shit. Listen, when I came into this culture, I really wanted to document hip hop. That's why I did that. Nobody has done it as much as I've done this is a fact. But now we got all these platforms, we got people. So now it falls back on the people now, because if you are giving these individuals these views based off of this bullshit, then they gonna keep doing it. But once you say, yo, listen, all right, we need some music talk. We need some music talk. Joe Button, as great as he was, in my opinion, as an artist, that's my opinion, maybe people might not agree. I think he was incredible artist. As much opinion that he has about the music, nobody even around him asks him about music and ask him why he has that opinion, how simple that is. And it goes back to the music. When he says, I like this record, or, I don't like this about this. Me personally, I would be like, yo, if you had that beat, what type of song would you have made? Then we get back into talking about the music. How do you feel about the opening line? Would you have done that hook? Nobody asked Joe button about music. They just let him rant and rave about what he like and what he don't like. But all you have to do is ask that Nick. So, yo, if you had that beat, first of all, do you like the beat? Would you have done that? Because he's talking now as not only a critic, but as a creator of music. And if we don't talk about the creation of music more, then the music dies. That's all I'm saying to y'all. If I had to just say that in a nutshell and I had to write a description. If we don't talk about the music enough, then the music dies. So we could look at Lotto and say, you look, I show ass. What do we know about Ice Spice? The artists. Seriously, what do we know about the artists? I Spice. What do we know? What the fuck is her real name? We don't know nothing. We just know she just came out with the little Ronald McDonald, had a catchy record, and she shake ass was looking one way, it was getting big. Then she started hitting that busta rounds pack, and then she was bony again. And then she's twerking and look like she don't want to do that shit. So we're supposed to buy music from somebody we don't know? Let's really think about that. We're supposed to buy music from somebody we don't know. And again, like I said, when a movie comes out, we see a trailer, we see the actors, we see the director, and we see a synopsis of what the movie is about. When music come out, all we get is music. It's records on albums that was produced by some of our favorite producers. Just Blaze and different people have been doing music on albums, and we don't even know that shit. We like, damn, what happened to judge Blaze? People be like, oh, he just did something with such and such. He did. I didn't know that. Why not? Because nobody's talking about it. We're supposed to just know. We're supposed to just say, yeah, well, you dropped the album. You tweeted it, you dropped the album, you put it on instagram. I'm automatically gonna listen to it. Cause it's you. No, because every time an actor does a new movie, they go on a press run for they movie. I don't care who it is. If the biggest actors in the world have done movies that gross 2300 million, they still will do press. Wasn't Martin and Will Smith fresh off the slap promoting bad boys four he could have just rested on? Hey, I'm Will Smith. I just slapped fire out of Chris Rock. By the way. I got a new movie. You do? What is about? Cause we start saying bad boy four. Damn. How we get the four? I don't even know if I want to talk about four. Cause I didn't really like three. But they have to come before you and talk about the movie. Who directed it, the plot and all that. Hip hop is the only motherfuckers that think we could just put the. Put the shit up and everybody's gonna fuck with it. Lincoln bio. And if you didn't like it and if you didn't repost it, you're a hater, nigga. I don't know what your music is about. I don't know who's on this project. Listen, you could have did a new album. Banging on pots. Andre 3000 with that flute Zelda shit. Got more love than other motherfuckers. Why? Cause he was speaking about the music now. The platforms don't talk about music. And it's the same conversation. People still talking about Ethan take over in 2020. Fucking four. That should hurt Jay Z in 2024. We still having those conversations. We still having those talks. We still doing top ten lists. We still talking about, who's this? Who's your top five of all time? That's all y'all could come up with in 2024. Shit. To make people argue shit, really, to get engagement. Now, if I interview Conway, I wouldn't ask him, who's his top five. I think that that's a shallow ass question. Honestly. That's a shallow question I would ask Conway. Yo, do you have to hear the beat to write? Or did you have rhymes that you wrote to other beats? And then when you hear said beat, you say, this could go to that. Cause you know, that's important, right? Some artists write to that beat, so it's tailor made to this beat. Some people heard another beat that inspired them to write. And when they hear this beat, they start kicking that rap in their head and they say, oh, shit, that go to that. I already got a verse for that. That's important. That's what we need to know. Or did you hear this beat? Did you hear this beat and wrote, and it's tailor made to this specific beat? Or did you write to the world is yours? Or did you say to the producer. Cause I've had people say to say this to me before, yo, I need a beat like this. They gotta be this tempo. Did you collab on the beat? But we're still asking Conway, who's your top five ever in 2024? It's always gonna be subjective of who somebody top five is. Nobody's gonna agree. But see, that's the shit I gotta report, because that's all people care about. Because people are looking to argue. When I interviewed Eric Sermon, I was so amazed by, you did all your beats on this, huh? He tells me a story because I gotta remind me to put part two of the interview how, shit. Damn. He tells me this story about how Roger Troutman was just with him before he died. This is we talking about Roger Troutman. More bounce of the albums, computer love. And you know when I hear that, give me some of that right there. Let's talk about this music. I got asked Eric Sermon, about ePMD breakup and all, but the fucking broke up, like 35 years ago. Why are we talking about that? There's nothing new to talk about. So what these bum ass niggas do, they don't know how to talk hip hop. They let me do it. And being that they got a bigger platform, they sit there and watch my interview and trying to find a way to remix my questions, and I see it happen over and over again. Over and over again, I see it happening. Matter of fact, hold on, let me give you all something really quick, if I may. If I may. Hold on. [01:10:35] Speaker B: The flash said it to either, like you or hate you. [01:10:39] Speaker A: This is random. This isn't rehearsed. I didn't know I was gonna do this. This is just very impromptu at the time I'm doing this. This is random. I'm just gonna pick up any clip of this interview. Any clip. [01:10:54] Speaker B: Take all that. That's why you see people cobrain offer themselves of people doing massive drugs or homeboy am still, you know, overdose. No matter what. This game, right? You gotta be built for this, man. This game will break you. [01:11:08] Speaker A: What are we talking about? The music. We're talking about the music. This is Eric Sermon. [01:11:18] Speaker B: Go ahead now with the. With the social media, with the people verbally getting at you or telling you you whack or this and that. [01:11:29] Speaker A: You ever seen Eric Sermon that animated? Let's skip to another part, any part. What we talking about again? [01:11:34] Speaker B: They have put my name down so fast. [01:11:37] Speaker A: Gotcha. [01:11:38] Speaker B: You know what I'm saying? Like, before I even tell people, like, yo, this is what happened, you know, bang. But I didn't want people to get it twisted. Like, yo, this is what I do. [01:11:49] Speaker A: Yeah, yeah, yeah. [01:11:49] Speaker B: You know, I need no one to do anything for the kidde. How many barbers are selling over 75 million albums? I don't need nothing high. [01:12:00] Speaker A: What are we talking about? The music. We're talking about the music. I don't know nothing else to talk about with these dudes. I don't know nothing else to talk about with these guys. And this ain't the same interview. This is part two. Y'all didn't see this interview. Y'all did not see this. But y'all saw was part one. This is part two. The other part. See, we supposed to do a two part. We were supposed to wear the same clothes. He changed his clothes, and I had on the same clothes. Cause in the other interview, he had on the white hoodies. That's the backstory to that. Cuz I got a backstory to every interview, too, you know, so all I be wanting to talk about is the music. So don't ask me, should I interview somebody, hit them up and start telling them to do an interview with me. We gonna talk about music. We gonna talk about music. That's it. Um, daddy o, you seen my daddy o interview? We talking about stetsasonic and how he feel about how he felt about horror corps. Remember that? We saw my horror corps. We talking about fruit Kwan leaving the group. What happened to conscious music? This is what I talk about with these guys. This is what I talk about with these guys. But if it's played out, I gotta chase the numbers, like, say cheese. I gotta chase the numbers like real such and such. I gotta chase the numbers like everybody else, because one thing you not gonna me do to me is make me the person that don't get it. These people are paying their bills off of this. These people are building empires off your culture, not even covering your culture. These people were building $5 million facilities off your culture, exploiting it, though. This influx of gang shit, this influx of beef shit. Let's talk about a platform. And I don't even want to single them out, but you got platforms like no jumper. What the fuck do they talk about? Music, and got 5 million subscribers. So what am I doing wrong? Maybe I talk about the music too much. Maybe I should stop. Hip hop was built off the 5% culture. But that's why I asked what happened to conscious music? Because I was gonna do a documentary, and I had started it. But again, I be needing funding. I be doing different shit. Cause I do everything out my pocket, and I ain't gonna be doing that if people gonna be getting funded for shit. And I'm doing shit for the coach out of my pocket. So I was gonna do a documentary. So I asked daddy o the question. I asked Lord Jamal the question, what happened to conscious hip hop? And it was called. The name of the documentary was from righteous to ratchet. The fall of conscious hip hop. That was it. So that's why that question I asked daddy o and I asked. I asked Lord Jamal the same question. You know what I'm saying? So, yeah, it's called from righteous to ratchet, how we went from these songs about stuff, and we still had party records and all that. But then now it's all ratchet. I wanted to know what happened. But again, if I put up a GoFundme, you got clowns, he's begging. Because you got people who fuck Gofundme up. So it's like, we can't complete nothing. We can't do nothing, because people always fuck it up. You know what I'm saying? So when you have somebody that's authentic, like me, that want to come do something, people say, you such as such and such and such. Just like, such as. Because you know us, we always cheat each other. But I wanted to do a documentary called from righteous to Ratchet. And I wanted to talk to the poor, righteous teachers. I wanted to talk to wise, intelligent. I wanted to talk to Graham. I wanted to sit down, and I also wanted to talk to the new artists and ask them, have you ever heard this before? Have you ever did. You know, this type of music exists. What makes you make the music you make? But again, I'm not gonna fucking sit here and be paying for shit out of my pocket. And then when you say, hey, I want to do this shit, nigga be like, she paying that nigga nothing and giving him nothing so it don't get done. So we all get exploited, we all sit around, and we all complain about what ain't being done. But you got more control than you fucking know. I'm not funding shit. I should. Listen, man. This culture is crowd funded. This is not. I'm not. I should not have to go out there and throw shows and do all this shit. Any monies that I make, I should not have to put it into bad. I put all my money into this shit anyway. I put all my money into this shit anyway. I should be able to go to bet or somebody or one of these producers and say, hey, I want to do this. Holla. Holla. That shit sound good. Let me tell you something. As a black man, y'all really have to learn about what funding is and what money is, because y'all have no clue. And one day, I might educate y'all, but I know y'all talk from the state of emotion and not logic and not knowing what you're talking about, because you're saying, don't worry about the money. If you build it, it will come. Just like the movie. That's not how that shit work. Shit is not built off of. If you do it, it will come. That's not how shit works. Nobody does shit out of their pocket. Nobody does shit out of their pocket. It's something called OPM. Other people money. So when they want these people to win and they want to do shit to our culture, they fund it. I told you earlier, record labels pay academics, so they're being paid to report certain shit. How does that help us? When Tariq Nasheed wanted to do a documentary about the foundations of hip hop, he had to crowdfund it. You think him exposing that certain people wasn't a part of it? You think they was gonna give him money for that? No, he came to the people. So y'all need to listen respectfully. Respectfully. I really have to learn about finances. It's not what you think. It's not what you think. And I'm tired of spending my money when somebody could. I could be on here talking about rap and music, and somebody could sit down with Jaguar Wright and pay her $5,000, right? Pay her $5,000. And she'll lie for 2 hours. And people, million people to watch that. Just really think about that. People got. Listen, people got the money to put up. We the biggest spending community. What you talking about? Maybe you got to cut back on that reefer and that liquor and that bullshit. If you really care, sometimes you gotta sacrifice. But again, why would I be. Why would me talking about hip hop? Why would people. Why would me be talking about hip hop? Why would people care? Just really think about that. Niggas be like, yeah, Spike Lee crowdfunded for Malcolm X. But see what the problem is? When motherfuckers see me raise money, that's when they can start pocket watching and say, he probably took this and he kept this. But when it comes to others, you do not ask any questions. You do not ask any questions. So you ever seen an interview with Robert Downey was proposing, and I was promoting Iron man. The interviewer tried to bring up it. Exactly. They don't play that. Thank you, child Northside, for supporting my independent voice. They don't play that. They don't play that. Listen, we going to stand on, you know what? I'm going to put it together. Let me put it together. I'm going to do a crowdfunding. I'm going to see how much it costs. Because I want to fly in some places. Let me put it together. Give me, like a few months. I would like to put some stuff together. Of course, because I would like to do interviews with artists. But I would like to give them, compensate them in some way for their time, you know? So I may not be 20,000 or no shit, but I would like to give dudes a couple of dollars. Could you come sit with me, you know, and get them to sign off on some stuff? So I think that'd be dope from righteous. You heard it here first. From righteous to ratchet. The fall of conscious hip hop. Because we want to know what happened. How is we all, I'm black and I'm proud to fuck that nigga. What happened? We want to know. We deserve it. In everybody's opinion, what happened. Because it's certain people that could tell the story of them going to the record label. And the record label was like, yo, we don't want to hear that shit no more. It's not nobody's duty, bro. Listen, compensate them for doing their duty. It's not nobody's duty. Again, we want to hold people feet to the fire, what they should be doing, right? But when it comes to others, they get to do what they want Dartmouth. If you feel crack happen, that's a good point for somebody to make. Lord Jamal told me what he thought happened. I got footage from Lord Jamal. Cause he was one of the forefront, one of the people on the forefront of conscious hip hop. But I want to get, like, um. See, I don't really have to do a trademark, because I put it out here. So if anybody steal it, I said it first. That's why I documented, you know, say it. That's why I'm documenting. You know, I'm saying. But let me. Let me, um. Let me figure it out. Let me talk to some people about how I could do it. Of course, I got the cameras, cameramen, and all that, but I would want to fly to different places and sit down and have that polished, professional look. No nigger rigging shit. I want this shit to be someplace. Maybe I could go to a Netflix or Hulu or to be and say, look, I got this, and we got the names on the documentary. Got the name. The names on the documentary so people will want to pick it up. We got the names because, of course, I want to get the grand pool buzz. I want to get the Chuck D's. I want to get those type of people. The bucket list is Grand Pooba. That's his first wise, intelligent grand Poobah. I would start with them. We could fill in the blanks from there. But then I want to go to the so called ratchet side. I want to get a juicy J or DJ Paul or little John or somebody to say, in your part of town where you grew up, how you grew up, did you hear this music? So, if you heard this music and this is what hip hop was about, from what you heard, what made you make the music you was making, was consciousness a part of your society, or did you. Was it strictly some dudes that was gods, or was it some dudes? Did you think it was just some nation of Islam thing? So, yeah, and I got to get people to sign off. So I think it's important that I got to start with Pullback, got to start with grandpuba. Got to. So, yeah, I would interview anybody that want me to interview them. If long. We could talk about the music. We could. We could go into everything, but we have to talk about the music. Even when I interview Max B, as controversial as that interview is, I still asked him about the music he did with Jim Jones. I still asked him about the albums that he had to make and are still always gonna go back to the music. But you know what? Y'all got me ready to brainstorm? Y'all got me, um, ready to. We got to get the radio stations. I want to get an exec or two. I know some execs. Yeah. And I think that shit would be dope. And I got. I would have to get Chuck D, but I really would want to have something to put together for them. And y'all hearing it here first. I been had this idea. That's why that question that I asked Daddy. Oh, it was supposed to go for that. I asked Taleb Kweli, too. I got tal. I got tale of quality. So if I already had a foundation, I had Daddy o, Lord Jamal and Taleb Quali. And that's why I never put out those interviews with Lord Jamal and Taleb Kweli, because I wanted to use some of our interview for a documentary from righteous to ratchet. And just, you know, I just wanted to go into, how did we get here? You know? So, um. Yeah, it is what it is. I did ask Max B. How could he squash it with Jim? And he was like, somebody gotta die. You remember that? I was like, yo, how could we dead? The issue with you and Jim Jones. And he was like, somebody gotta die. And I was like, nah, you don't mean that. You can hear me say, nah, you don't mean that. I never wasn't like, word. Oh, that's what's up. I'm like, nah, you don't mean that. But, you know, anyway, I don't want to talk about Rakim, but, yo, shout out to y'all, man. Again, um. Damn. Now I want to come up. Y'all gonna make me do an outline and come up with a budget for how much money I think I need for the production, because, of course, I could do the production and all the editing and everything, but again, the people who work with me on this, I don't want nobody to think they're going to be doing it for free or. And like I said, it's not. I don't need a bunch of money, but just something might be something like five grand, 7500 or something like that. But, you know, I seen shit, Tyreek Nasheed raising millions and shit. So, you know. But, yeah, now I'm gonna put it together. I'm gonna put it together from righteous to ratchet. But I gotta put it, you know, it's important. You know why it's important and why I think a documentary like that needs to be made. Because how do we get here? In music, right? How did we get here? How are we just. Only here now, you know, there's no more conscious music. That was the importance of reggae and dancehall, too. It was conscious. You understand what I'm saying? So, yeah. All right, y'all, let me run, man. I appreciate y'all, as always, um, always supporting me, always hanging with me on the late night, early morning, afternoon. Make sure you, uh, if you're not getting the notifications, hit the bell over and make sure it's on all. I upload videos periodically throughout the day. And I could tell y'all not getting the notifications for that today. Um, but, yeah, we gonna get this money together. I'm just gonna. I'm. Tomorrow, I'm gonna make this my priority to talk to some people. Matter of fact, um, a lot of my west coast people, um. Yeah, no neo soul either. Yeah, it's a lot. Yeah. All right. Yeah, I'm, um. Figure it out. But, yeah, I appreciate y'all, um, always for rocking with me. Make hip hop interviews great again. It's our job to hold people accountable. It's our job. So, yeah, let me call some people on the west coast, give them my own ideas, and I'm. See what we could do. Cuz he. Look, I could get MC eight on there. I could. I definitely could get MC eight. You know, that's the, that's the partner for the. For the show that I got. So I could get MC eight. He could talk about growing up in Compton. Did he hear boogie down productions and all that? Yo, now, see, now y'all got me hype. Now y'all got me hype, cuz I can hit eight right now. Oh, hold on, hold on, hold on, hold on, hold on, hold on. Please leave. You can see his name. I was calling him west coast cam. He still. Still got love for him. He's part of the Nation of Islam. He was on the west coast. He does, um, he's on digital soapbox every night, going live. Make sure you check out west coast cam. I could get cam on it. So I got, um, I got some people I could hit up. They all going to hit me back, too, after I'm offline, because I wanted them to talk to me live. I could get west coast cam on. He probably live right now. Damn. I ain't think about it. Y'all could get west coast cam to say, yo, on that west coast and watch. Because you got to remember, you could have been a gangster rapper. You could have been ratchet. But you joined the Nation of Islam. Why? Why? See what I'm saying? Hmm? Yes. Thank you. The monetization been back. I just don't tell people, because when you do, people start hating. Listen, I could get anybody. I'm anybody's attainable. You know what I'm saying? So, yeah. Yeah, that was. That's west coast cam. That's the bro. We just had a. Again, I speak to these guys every day, but, um, I just got to bring them on the stream. If you look on here, too, I got a dope interview with west coast cam, too. You know, I'm saying, um, diggable planets. One of them, um, was living in my hood for a while, too. I want to get some executives, too. I know some executives that I could get a lot of them. A lot of the, um, a and rs from loud records, like Maddie C. Scott free. Remember, they signed dead Prez? So at what point was dead Prez? Not relevant. When they was turning, the music was loud, saying, yo, we don't want this no more. Hmm. Yeah. Aight. Y'all got me in my bag. I char. Man, let me get up out of here. Yeah, rest. I got mad papa woo interviews, too. Rest in peace to papa woo. I got his sons on his channel, too. If you look on, look up papa wu sons. Just type it in there. I interviewed all his sons, too. I'm real, very, very close. Shout out to e. That's the homie. Of course, I could get Capadonna. Of course, I could get Inspector deck. Could get a lot of. Yeah, this is gonna be big, but I want to be. Listen, my vision is to be able to sit them down and have a dope setting where it's not roomy, where the audio was dope, lavalier microphones. We got boom mics. We got nice cameras. Everything. Everything looking good. That's the vision for it. I don't want to do no street dvd looking shit. No, I want this to look like some production. Production. So, yeah, that's it, man. I holler at y'all, man. I appreciate y'all, as always. Uh, I holla David Banner. That's very, very possible. Shit, I would even get killer Mike. But, yo, let me go. I talk for a living. I won't talk no more. I holl at y'all. Peace.