Conversations About Concepts & Concerns With Hip Hop

Watch up and welcome back to another episode of No Sealer's Podcast with your hosts Now fuck that with your loaw glasses Malone.

What's going on, big Dog?

Very little? Very little?

So I just got back from New York. How was that, I'll be honest, man.

The one thing about New York when it comes to hip hop, the records themselves only capture probably the greatest records, like juicy like Cream, at least for me, juicy Cream.

Why all the dessert references with the song titles coming out of that town.

Right shook ones the greatest records, you know, the message that's only at the greatest level ten percent of the energy that's in New York. Like when you get to feel true hip hop energy in New York, it is really unique compared to any place in this country. Actually, we went to this event. It was at a gaming center, so it was a it was a it was a lounge, a gaming lounge where they had a bunch of computer

It was a tournament and Redman was hosting it.

And when I tell you, even though it was in such a tech space, the hip hop energy was prevalent. Like they had this big wall where they had a bunch of graffiti on the wall. But man like, it wasn't that as much as the engagement with other human beings in that space, Like it didn't matter that they were all tecked out and geeked out. You could tell they came from the same type of struggle as everybody else. And and when I tell you, man, that shit it

Obviously this crip.

So I'm staying in Midtown right Hell's Kitchen, and I catch the Sea train up to one hundred and twenty fifth, an eighth right because I have to walk to one hundred and twenty seventh in Lenox.

Just standing. It was a brother I was talking to.

I didn't even catch his name, but just standing talking hip hop with a brother on the train. This mother brothers walked up and I'm talking to brother's on my way, you know they recognize me, but just to have a real conversation about the space of hip hop.

The concern.

It's it's like something you'll never like, people could never understand, and no matter how much time you sit there, it'll never be enough time for you to truly, you know, get the full experience of New York. I think people who've lived in New York their whole life still don't get the full experience of New York.

It is a really remarkable place, Pete.

And so like when you say it inspires you, like, how does that manifest Like how do you bring that back to California and channel that through a completely different style type of energy like all the rest, you know what I mean, Like there's a difference in the artistic expression side, you know what I mean.

Well, ironically, one big thing for me is, you know, everybody else is just trying to take advantage of hip hop. They're just trying to make some money. They just want to gone shows and get paid to show up. Like my mind since I first started, has always been I want to give people a really great experience. Watching that shows me that I can give an audience who wants to support the things that I do, the experience I want to give them, like I'm not as.

Scared like before, and it helps a lot of other people.

When I show other people the things that other people are able to pull off, they get more inspired.

I'm always inspired.

Like one of the biggest things coming up for me in this series of records, I'm about to release this rap revot right, which is kind of revolting against the current pay the current pay scale of records, and you know which means the medium at this point would have to be at the end of my sword. I wanted to start doing concerts right, and now the opportunities are starting to be present. I think people are starting to

Won't you know?

You might pay for the drinks the bar but it's a true backyard boogie. That's the type of stuff I.

Want to do.

I want to do things on Krinshaw Boulevard, like like on a special cruise night where you know, people get to really come see the culture, like even at the highest levels. I want to build a drag strip that literally is a hip hop drag strip, you know, a for quartermot drag strip. You'd have these big festivals or hip hop and and automotive mix. And going to New York and seeing that again reminds me of how possible

Goshcha, no seilings, gl my brother Peter Boss and now.

Yeah, without a king? Say who I said no king to that? We're a nation without a king?

I know, right went to the Northwest. Honestly, Pete Man, I promise you dog like you know, sometimes I worry about hip hop. I worry to myself, like man, you know, no matter what. Right, when it comes to street urban culture, you know, it's rooted in this pride of poverty.

If you get what I mean when I say that.

It's like people think dickies is culture hip hop or street urban culture in Los Angeles, and it's not. It's how you crease the dickies and cuff the dickies. You start to treat these pants like they're seventy eighty dollars slacks, not twelve dollars work pants. It's not the converse itself, right, It's how you buy the thick laces and you put them in there, how you lace the shoe, you know, how you flip the tongue down, colors, you know what I mean.

It's all of those things.

It's how you wear things, and it's usually rooted and taking so much pride and something so cheap and mediocre, like we always talk about it, no different than spaghetti or tacos or anything else. It's the pride you put in something in theory that's suld be.

Low quality, and in a time where.

It feels like the whole country, you know, even in some of the most disenfranchised places, you know, they're trying to overcompensate with buying things that are too expensive that really don't need pride. Sure, if you get a pair of Balenciaga's, there's no reason to put a thick laceism

True.

We were having a good conversation about it, probably a little earlier, and it was a lot of critigue for it's a lot of critique for early eighties hip hop, you know, the first generation stuff people like Uzi, and it's like we forgot that this thing is rooted in entertainment. You know, like if you go back to the seventies and sixties, when you know black bands or white bands would take you know, their designer would design something that

Sure, it's like.

The car don't really have a pizazz, is just really expensive. Yeah, and I think it's watering down hip hop. I think it's watering down hip hop like it was one thing when NWA wore Dicky's and T shirts and Chucks, nobody else in the landscape or entertainment was dressing like that. It represented you know, it represented a movement of people who didn't have a voice, who didn't have you know,

So it was unique.

Then run DMC wearing tracks and shout out to jam Master j Rest is so understanding. That's how the average quintessential d boy dressed in New York and was like, we're gonna wear this. We're not gonna have to wear those costumes that let's say Grand Master Flash War or Houdini shout out to Ecstasy and all the brothers. That was dressing fresh. But it was like we still look unique because this is not something that entertainment is wearing. It just reponed this group, this niche culture in New

It makes it like a costume trans entertainment.

It kind of almost like if you go back and look at like the generation one degeneration two evolution of like the Blues, So you have like I don't mean like way early like Robert Johnson, but like like your Muddy Waters and your bb King. You know, they kind of wore just like a nice suit that a guy with a night like. It was much more relatability across

But I think I'm still okay with that, Like, I agree, you do for sake commonality, for uniqueness, but now we're not even going to uniqueness. We're just going too expensive.

That's what I'm saying. I think that's what happened before. It wasn't even like I mean, it was unique, sure, but it was just only unique because expensive stuff is a little bit more unique because there's less of it and it's expensive.

Yeah, but I don't know. Again, it's like you couldn't go to a store and buy what they had.

True.

True, it was still a costume creator. Like Elvis stuff was very much a costume. Yeah, Little Richard stuff is very much a costume. It was created. Now it's just douchey. M Like like Elton John wasn't douchey.

Sure, sure it's pretentious. Now it's fun. It's weird, but it's like a weird bizarre.

That's the word I'm looking for. Yeah, it's John wasn't pretentious. It was like, hey, I'm an entertainer, I'm centric, I'm trying exentually. I stare at me. Yeah, you couldn't go to Gucci or Louis Vuitton and buy his outfit. It was like, you know, somebody made this to exaggerate who I am and what.

My brand is as an entertainer.

Yeah, now is it don't even matter what your brand is as an entertainer. It's like, let's go by the most expensive stuff, put it on, and it separates you from you know, the mainstream American person or even the cultural person you supposed to represent.

And I think you lose a lot in that.

Yeah, I agree, I ain't. A lot of it comes from the fact that, quite honestly, not a lot of people are putting out any shit that's better than the other shit that everybody else is putting out very few examples exceptions. I mean, so a lot of consumers don't like, no, this is fine, that's fine, whatever the hell. Well, that guy's draped in money, so he must be better because clearly more people like what he's doing than that guy shit. So I just like that guy shit.

Ironically, I can't even.

Like now when I dress like in the traditional West Coast, it's just unique.

Ain't that crazy?

Like this is how far we got away from it to where it's like if I wear a penalton, some cutoff.

Dickies and some vans.

Out and I'm talking about if I'm walking through Los Angeles, if I'm walking through New York, I just stand out.

Because nobody wears that anymore. Like I don't see who were wearing that in LA when I'm out there.

Are we to the point where if you wear a Dickey suit and some chucks, if they're tailored in, you kind of people like, who is that nigga?

That that probably would work, yeah.

Cause no one has worn that in a long time. I don't see it, like I go, like I'm in I've touched all the corners of the city when I'm in town, just passing through just to get if not to get food, to see different people, whatever the hell, I don't see anybody like standing behind somebody in line getting a getting lunch anywhere in the city is wearing a Dickie suit.

You know.

It's it's it's it's like it's it's almost dipping into like the vintage world, so to speak. Not that if you bought it from a vintage store, but it's like a vintage is more look mmm like I don't see like like like because the culture is driven by the youth, I don't see like eighteen nineteen year old kids wearing Dickie suits like out.

But that's so crazy that something so culturally niche at one time has now turned into very much a costume.

It was, yeah, it.

Went from it went from a uniform to people living the street life in southern California to a costume.

Yeah, but it was still it was still a fashion trend with time parameters like all other ones. M because it wasn't the trend in nineteen seventy five probably or whatever year.

You know, Yeah, I could dig that.

I think think that's part of something also that hurts, like hip hop culture insofar as it transfers into cars now, not only like the what's the term, like the modularity of old cars, Like they had basic bones. You could do a lot to them, but it would look really cool, Like the car that was a basic cheap car that was just like an any American car from nineteen sixty eight, nineteen seventy one, whatever, all those years, like probably twenty

But that's the cornerstone of a dunk. That's the cornerstone of a lowrider.

I understand it. But that only could exist in a time frame that was specific. Because if you do that now and you want to go buy a nineteen ninety nine Honda Civic, that's buying a nineteen sixty eight Chevy in nineteen eighty seven.

Well, you know what that You know what the cars is now? It's the ninety six and Pola. The ninety six and Pola is the classic right now. Still you could buy cheap right now, you still could buy those anywhere between five and fifteen thousand.

Still weird Monti Carlo with that tire thing on the back whatever from the late nineties whatever.

That one hasn't quite hit you. I don't know if that's going to be a classic. The two thousand and eight Dodge Challenger, the two.

Thousand and eight Dodge Challenger, is it classic?

It's funny, it's going to be a classic.

I'm giving you, like how you give me financial tips, I'm giving you advice on cultural phenomenon.

I mean, I can say, yeah, I can see that.

But if I was you, the ninety six and Pola is the one to buy, Like you could buy the ninety six and Pola right now, they're still low like the G bodies.

So what are you doing to it, though, is the question. You can have it looked like five or four boys.

No, No, you could stock it back up.

You could redo the stock interior, repaint the car backstock color, you know, put some you don't even have to put in the wheels.

It could actually be stocked.

Uh.

The only thing I would do, I would put an LS in it, m LSS engine, you know what I mean, the kind of the next generation of Chevrolet engines once you got out of the LTS, which is in the NPOLLA sure, and you could do that stock and ten years that car is a thirty thousand dollars car if not soon.

But like in so far as it applies to, like the hip hop cultural applications to car life and like lower tier economic demographics, like you know, you could custom up a car that you got for not a lot, do things to it to change it that don't cost a lot, but they cost some. Yeah, Like what how does that customization move forward? As cars over generation? At least in my opinion seems kind of a common opinion.

No, yeah, yeah, that's probably the issue with the two thousands. But shout out to Mopart for getting it right. Mopark went through a change where they got it right. You I mean Dodge Chevrolet. I mean you have the Supersport. It's like a supersport, sit Dan, that's going to be something. It's a couple of cars.

Christ or three hundred, we'll have that, or it's too soon.

No, that ain't gonna happen. It's not that kind of car.

The Magnum, the Magnum, you could buy the Magnum's cheap, Like I would buy a Magnum and put the new Challenger front end on it. That's gonna be something. Okay, the Magnum is gonna be something. I think Dodds nailed it the most. Camaro, the Chevy Camaros. You know when it gets to the two thousand tens, you know, when they come out with the two ten's, that's gonna be.

Something cool. But what's funny is.

When you build an Impala, a low rider the one you want is the most base model in Pola. You don't want the supersport. Sure, it's not cool to have the bucket seats, and you're Impoala. I gets something like people cut them in, they low ride them, but they don't have the same value like people kind of ask the buget seats, you want the bench seat. You don't want the floor shifter in that low rider because we've

I'll be in that course seventy thousand dollars that is.

That would be almost like I mean, Christ, it would be like buying because now they're you know, there's like that arc there's like shit's new, so it's expensive. Then it's old so it's not expensive. Then it's really old, and most of them have been destroyed, so the ones that you're still there are expensive again, but that's like forty years out. It would be like probably a nineteen forty two Packard or something like that.

Any of that shit expensive, any of that shit's fucked up.

Yeah, I'm saying it would be like doing that in nineteen eighty five.

Like you, you know, you know what you like that, you know what was like that for a while. I always tell you about the G bodies. So the G body is a it's.

Built on a General Motors platform.

So that's Pontiac, that's Buick, old GM Chevrolet. If I remember correct this about five mates, right, So it's the it's the Cutlass, that's eighty one eighty seven. It's the Malibus seventy nine to eighty seven. It's the El Camino seventy nine eighty seven. It's the Mighty Carlow. It's the Regal, the Buick Regal eighty one to eighty seven, it's the

Sure, I think so. Now it helps you, yea.

Now, the motherfucking cars.

I'm trying to help sticks from watch find one right now, a fucking cutlast that's clean. I'm not even talking about the four four two like the special models. No four four two also is uh. I think it's four barrels two will drive four four to two cent for different how the car was built. But a standard clean eighty seven colors could cost you fifteen twenty thousand dollars.

They're more than what they cost.

Yeah, I think that's something that actually helped like Houston's hip hop scene. And they didn't say it helped it, but like they made the most of it. Was like when screwbas was coming out in the eighty fours and all that shit. They were buying eighties Cadillacs in the year two thousand. Then nobody wanted, you know, and they and they were putting candy paint on them, those big vertical chrome grills and they're putting the fucking eighty fours

So if I had to buy carn from two thousand and five to two thousand and eight. I build a Dodge Challenger, Yeah, I build a Dodge Challenger. I'd find a two thousand and eight, like an SRT. Maybe just a Dodge Challenger supercharger, whale wheels, that's kind of the modern hot rider. Maybe a Magnum I try to find a Magnum Wagon. You barely see those now. I think the Magnum Wagon is like two thousand and five, four or five six, something like that.

The Magnum Wagon gives off malleible wagon. Yeah.

Man, the Dodge Challenger, that's I think a challenge with it with with those cars like that series, like the they did change the other one more the other Dodge. But like I pull up the twenty twenty three in the two thousand and eight, like just.

Now very similar mm hm, which is good.

It's good and it's bad. They're gonna have a hard time buying it. Like you can buy a two thousand and eight and do a lot of work to it and it's still might look not that much, like it's not a three year old car, you know.

I Well, that's why you can get a little bit more customized to it. But what I'm saying it's definitely not gonna be the same effect. It's not gonna be the same effect that then Poba had. Sure, that's what I would build. I would take a two thousand if I had to go twenty years, It'll be a magnum or a challenger, and I'll build a hot ride out of it. I think that's the car you look at in twenty years. That's gonna be thirty forty thousand dollars.

Sure, yeah, I get that.

Fifty thousand dollars.

Yeah, I don't know. Sometimes I worry about where hip hop is and I'm concerned, but then there's moments where I'm like, you know, it's always a new it's always a new niche part of the street, urban culture that needs to explain themselves.

It's always a new version that we can always catch up to. But I don't know. Besides that, everything else is mm hmm. I worry. I fucking worry, Pete. I worry.

How would you compare? Like, just from the simple artistic expressions standpoint, And I'm gonna saying compare better or worse, it's just whatever. It's just simply contrast whatever you know, like hip hop and and the blues.

How would I compare hip hop and the blues? You know what's funny, I'm not well versed in the blues, Like I know where the blues started as recorded music.

I'm not super well versus either. I'm not gonna lie.

I know it started right now.

This makes one hundred years of black blues records recorded records this year. Mamie Smith came out with a first record in nineteen twenty five, so this makes one hundred years.

I'll fit hold on, let me find a date to tell you the date right now. I still have it right here. I was studying it not too long ago.

I guess that's probably like Robert Johnson.

What was the first Mamie Smith? Was the first Mamie Smith? Mamie Smith, she recorded the first black recorded records. It was in twenty five, gotcha, let me tell you the exact day. I'll take that back. It was in nineteen twenty sesh, it was in nineteen twenty so it's one hundred and five years sure.

And that's something I also don't know.

I could said like a second solo of quick Wikipedia, like she recorded.

Jazz and blues, I know, like similar roots, but like the separation point, you know there with those two like genres in general, So.

Blues will be tough. Rock and roll I can compare it, Yeah, rock and roll. I'm a little more versed in it, you know what I mean. I wouldn't call myself an expert, but I do know some fundamental things about it, and that's what I like to compare hip hop to. But hip hop might be just a little bit better off. I mean, there is a few things that are concerning

It's a record I really like. It's from an artist. Her name is.

Flipp A T and it's called My Affirmations. It sounds like glow Realer a little bit. I think she's from Georgia. But I was looking at the record and the record was at like two million strings on Spotify. And then there's another record called Faery and it's by a young lady named Maya p out of Milwaukee.

Rest in peace to Twinemac, my boy twine Mak. He's been all the part.

Remember twine Twayn passed away, but Twinta's from Milwaukee, and I used to always tell I'm really in love with the things coming up from Milwaukee at the time, Like they had their own rock, their own movement, the way the kids was dancing and people was having fun, like they had their own way of having fun.

And Maya p who was one of.

The first people I followed in that movement, maybe two three years ago, and she finally got a song that's doing well. It's called Faery and like the song was that like three and a half million streams on Spotify, and I'm like shit, like they have really tightened how much they're going to market someone's song, you know, Spotify the company or as people say, put it in their algorithm.

Man.

You know what's interesting from a time frame standpoint, like hip hop and rock and roll are about twenty five years apart in age, and you see a similar track of the two because, like I remember, late nineties into early two thousands, it was like you could start to feel like this isn't working anymore, and both of them started becoming really dependent on these big like we call those big concerts, like festival concerts. Oh like like uh yeah, Lollapalooza.

Is kind of an interesting are four million, hm, there is a four million, four million streams and it's such

That you didn't really have hit records.

You didn't have hip hop records that was going number one or in the top ten, like it might be a one off. And then it just started being a bulk of records. Right ninety four. You know you have Gin and Juice, right, you have Doggy Dog World. You have Juicy that's in the top forty. You have Julio Take a Ride that's in there. You have all of these huge records, Warren g Regulators in the top five. You know what I mean, You just have all these records that are now competing with all the rest of

Records in the country. And we got spoiled. But in the eighties it wasn't about that.

And I think again, like I've been saying, I think we're back at that time.

We're back at that.

Time to where it was like maybe some of the hottest records are not exploding, Like I remember a record like Fairy ten years ago, a record that hot that that kind of in the know, in the in the in the position, that record would have been at twenty million by now it had been at twenty thirty million. But now Spotify has clamped down so tight. I don't know if it's a combination of Spotify just clamping down so tight on what they want to market, or is it people are just not.

Going to Spotify to hear their music all the time.

I don't know.

I don't know what the aggregators are like as far as you know across platform numbers, but there's it's fairly monopolistic as far.

As where you can listen to shit, you know. I mean, you can get around it, but you'd have to really put your mind to it.

It's still already put my mind to it for sure.

I don't mean you, I mean like Joe consumer, Like if I wanted to listen to a song, there's a few surveyed five hundred people. If you want to hear this song, where are you gonna go? Listen to it?

On?

You're gonna get three answers one hundred and fifty times.

I mean so, but I'm saying, maya peased audience got to be somewhere between twenty six thousand twenty six thousand and one hundred and thirty three thousand. I mean, even though they have a.

Monthly listeners listening at five seventy, does it make sense. I mean, I guess what monthly listeners.

Yeah, maybe maybe across that time, but it's taking somewhere between thirty thousand and one hundred and forty thousand people to drive a song to four million streams. And my thing is, even with that exposure, you know, that level of exposure, like, we have to be able to make like and it can't just be like we're back into a slave time to where its like we have this really great product. You know, imagine McDonald's making a fire ass burger and it's like, well, we can't really make

And that's the one thing hip hop didn't do in its exception. We didn't accept that.

And you know, I don't want to sound like this and I don't need this terminology because slaves went through a lot, but it's definitely turning people into modern slaves to some degree, Like you can't make a living unless you're going to go out and do a thousand shows rap on a bunch of people's songs, because they've been able to demonetize the record so crazy mind you you

But I think that's the historical norm. I think you're looking at this brief blip of time over the course of ninety years and thinking that that's the norm and everything else is the exception. When that's the exception.

Which part is the exception?

Not having to go tour a whole pantload of shows to get all your money.

Well, remember the record labels was making the money then, not the art, at least at least Barry Gordy was. Even if the Temptations wasn't making a bunch of money. Shit, Barry Gordy was making a bunch of money smoking Robinson. They didn't have to go tour off of Temptation records that they produced, wrote promoted they made that money there, shit, ain't nobody making no goddamn money.

At this point, you get what I'm saying.

Like, yeah, well the platforms are.

So so they did at New Regular Yeah, And that's the tricky part, Like right, it's like.

There's two that's the issue.

Now.

The issue is the vertical supply chain effectively has changed from drum to ear and there's too many intermediaries. You got to be cleaned out.

So you think that's the problem. Yeah, you wanting music, No.

And then if you wild to create it, the distance between the creative not the music producer, the IP producer, the person whose brain creates the sound, and the ear that consumes the sound has too many different channels in between.

But even if it's oh, well, I guess that is true, because you can't go straight to Spotify. You have to go through a middleman, right, which is a distribution company to many wholesalers. You have to have a phone, you have to have a service. You have to pay for the other service, the music service. So you pay Apple, do you pay t Mobile? And then you pay a Spotify m hm, and then Spotify pays themselves, then they pay the record company or the distribution company and then they pay you.

And Spotify pays Apple and Google a ton to be on there. I mean Spotify's biggest check per month that goes out of that office is going to Apple because they charge them fortunate to be on the play store or the like whatever the live store.

See.

To me, the catch is converting people into more money through Spotify. Like in the perfect world, you could get every artist together and say, hey, you know what, when you to stop putting our music on Spotify, we need to tell Spotify, hey, you guys need to have an iTunes service to well, we could have our singles for stream but if people like the singles, they have to buy the album more different than iTunes.

Screw that.

I would cut them completely out of the equation. You need to verticalize your own self like who's microwave famous to getting money for fucking nothing these days social media figures right sure, and they don't do anything. You need to figure out a way to go work with Instagram and TikTok or whoever else, so as you can advertise,

You don't think that would take a mass movement of artists, because people.

It takes to work. Uh, it takes to work. Drake did it? It already be done. I don't think he could do it, though maybe not because contract contractually he might be bound to not do it.

I mean not even contractually like they have.

They have, they have things like that called even even as a company, even Dabis is a company where you go to pay an artist and for his work, right, whatever you want to pay him. But the problem is the audience that is looking for music is looking to consume music on Spotify, So I think you have to have a stay there. To me, my thing is, even when you look at Spotify, Apple title, they're not meant to market albums.

They're not in that business.

Your Instagram is marketing the album and sending them to Spotify. That's my thing.

Yeah, but okay, but how would they play the music if they were to get it from.

Spotify or let's say, let's say the single. Huh, they don't get it from Spotify. No, I'm saying, how would they get it from you on Instagram?

Play your ship on Instagram? Like you that was something you'd have to work out a deal with Instagram to be able to allow. And I wouldn't even require that much tech. But you know how they have like how that shit even is they? You know, you have like your regular posts, your story and then like reels and yeah, it would have to be somewhere like the reels.

So kind of like how Kanye use it on Twitter.

Maybe I've never seen Kanye swear so.

Kanye released his music on Twitter. As I have this idea, Iron and you could do it on Twitter. Kanye's bran somehow, Like I don't know. That's why I know he's not completely crazy, and I know he's tuned into God because we get some of the same ideas. Like one of the things is like I've decided on my new project,

Does that make sense?

Yeah, that's like varsy what I'm saying the same people, like any of these smaller niche platforms or have to start the new platform. You have to train your consumer to go there. The consumers already going to Twitter, Instagram, et cetera. They're already on that, They're already going to Spotify, but they have to leave the one to go to the other. You can cut one out by just having

M I've almost thought I've almost thought of a few things where it's like, like with the one ten album, like is it really do I just put the single up and then I like, do I put snippets of.

The single you know on on streaming apps? Right?

Do I put snippets on of the of the album on Spotify?

Right?

And then just put thirty second snippets And then at the snippet you listen and you like, you know, at the end of it, you faded out, and you be like, head over to www. Dot thecripstore dot com and buy this album if you like this single, and then all the songs you just get a snippet and tells you

If you believe in the records.

Yeah, I mean, like, let's take like just reals for example, Like like if you put all the singles out, they're a real can accommodate that you would have the rights to it anyway. So it's say thirteen three minute songs, just pin them in order as your top thirteen and everything else that you do that's new at whatever. It

Hey you Spotify ten million? You mean, what do they want to give you for the album?

Yeah? See, I don't need you. I got ten million on Instagram of these songs full length in my reels in order pinned like an album. It got viewed ten million times. Do you want ten million views next month or twenty million views next month or whatever or listens whatever the hell it is on your platform or do you not want them there? That's ten million ads at the end of each song that your company's not gonna get paid for. What do you want for it?

That's interesting? I'm not mad at that thought, that's how you got it. I just think, and I think that's why I've been telling you I need you, you know, to do the business like I need your help with doing the business, because we're just at a time where.

We're at a time where.

Not only should hip hop be as creative and when it comes to making records, but it needs to be just as creative with doing business.

And that's the thing I think about. What made hip hop hip hop was two things, creativity and entrepreneurial verticality. What is the modern day virtual tech equivalent to selling cassette tapes out of the trunk your car? Like low flip.

That's the problem. There is no modern version of it.

Because the trunk of your car is now your social media page.

Well, the problem is, at that time a cassette was still ten dollars.

Sure, I get that.

It's hard to do business without that actual product for sale.

Yeah, so how do you do it? Then?

The what you're replacing with like the modicum of margin that you're gonna get from those you're making up for with.

Scale to access access to more people.

Yeah, so now the trunk of your car your virtual trunk, you might not get your two dollars per unit. But you're gonna not do thirty thousand cassette tapes out of the trunk of your car. You're gonna do thirty million you know, views or whatever, impressions whatever. The term dajour is across the country and you just have to transfer that value into you know, revenue on the backside.

But how would you do that if okay, agreed, Right, you have a greater audience, right that you have access to without you have to spend money. You have to spend money. Like let's say for one hundred tapes. To press up one hundred cassettes, it costs five dollars each. Yeah, so you know if you press up one hundred tapes, it'll be five hundred dollars, right, and then it's the gas money to go out sell the tapes, eat food, blah blah blah, Oh, sello tapes.

Let's focus on that.

Now.

You spend fifty dollars to go out and sell tapes.

So that's five hundred and fifty dollars if you want to go sell so many tapes a day, right, But those five hundred tapes, right would make you your five thousand dollars so if it's if it's so, if it costs you, let's let's make a Let's make a reasonable number. Let's say you're go. I used to have I used to tell Quiz this. I used to get Quiz. I say, man, Quiz. Look, I convinced Quiz to quit his job. Now, some people think it's crazy, but I'm like, yo, you gotta take

Right, you could make a living.

You could make two hundred dollars a day selling your music, especially if the music is good. Right, So let's say that number now is let's say it's twenty cassettes. Let's say it's two hundred dollars, right, and you know, if it's twenty CDs and to press up twenty CDs. He had a machine. We might have spent a dollar twenty to make every CD. So it was like twenty seven dollars in gas, maybe twenty five dollars in gas, you know,

What do you get for five hundred thousand views of a thing on Instagram? Of one particular.

Piece, not the total just one let's see.

Then beyond that also, like I think what it's doing is it is demonstrating the IP value. So if you had made because how many, how many of the same tape album? You're really going to sell in one city? You know what I mean? Like you're not going to do platinum numbers. You're not going to make a million of these damn things.

No, I'm just talking about a simple thing.

Sure, But like so with that, what you would do, like as an upstart who could get the capitol flow from just selling their own stuff, You're you're demonstrating the value of it to bigger players. So then you're getting a deal, or then you're getting this, or then you're getting that, or a show or whatever it might be.

So Shop of Fire article says.

Influencer pricing suggests that a nano influencer five hundred to ten thousand followers might earn ten dollars to one hundred dollars per post, while macro influencers one hundred thousand, five hundred thousand followers could charge five thousand to ten thousand dollars a post.

Okay, well, if each post is a song on an album, and you do twelve songs and you get sixty thousand dollars, that's about as much as you're gonna get net selling tapes out of the trunk.

Of your car.

You really crush.

One source average rate per real one source suggest that creators with ten thousand and fifty thousand followers might earn an average of two three hundred and twenty.

Dollars per real. Okay, so maybe maybe were looking at it wrong.

But then also if you control but those reels That's the other thing is there's no backdoor value to that, because that's a typical reel. If you're real as a song, you have now demonstrable value and total total access control for consumption. So that's where you can say, Okay, there's seven figure eight figures of people who consume this album, Spotify, YouTube, whatever the hell? So what has been lost in the novelty of people hearing for the first time. I'm not

Go to a distribution or do you go to Spotify. At that point, I'd go to Spotify.

You can do either one. I mean, you've proven value and been paid for it either which way at that point. But if you were talking about the issue with the Spotify model, then just don't deal with Spotify and do that or use it to demonstrate a different model for Spotify, because now it's like that that's the thing. Everybody's perceiving them as doing the artist the favor by promoting them, So it's like, Okay, you're just getting empty fame. At

Good looking out for tuning in to the No Sellers Podcast. Please do us a favorite, subscribe, rate, comment, and share. This episode was recorded right here on the West coast of the USA and produced about the Black Effect Podcast Network and Notheart Radio.

Yeah