Conversations On A Tuesday - podcast episode cover

Conversations On A Tuesday

Jul 18, 202556 minSeason 5Ep. 17
--:--
--:--
Download Metacast podcast app
Listen to this episode in Metacast mobile app
Don't just listen to podcasts. Learn from them with transcripts, summaries, and chapters for every episode. Skim, search, and bookmark insights. Learn more

Episode description

Glasses Malone and Rose Gold Pete reflect on the emotional weight of navigating business relationships, the importance of trust, and the personal toll that often accompanies creative pursuits. They explore the demands of storytelling in music and film, the shifting values in a capitalist society, and how those shifts have shaped access and opportunity. The discussion also touches on the power of character development—both on screen and in real life—and the pursuit of possibility through migration. At its core, this episode is a meditation on integrity, resilience, and the evolving meaning of success.

Rate, subscribe, comment and share.

Follow NC on IG:

@GlassesLoc

@Peter_Bas_Boss

See omnystudio.com/listener for privacy information.

Transcript

Speaker 1

Watch up and welcome back to another episode of No Sealer's podcast with your hosts Now fuck that with your load glasses, Malone?

Speaker 2

What's that name?

Speaker 3

Got me?

Speaker 2

What do you mean I got you?

Speaker 3

I don't know what to make of anything anymore?

Speaker 2

What you confused about.

Speaker 3

All?

Speaker 2

It?

Speaker 3

All?

Speaker 2

It?

Speaker 1

I don't even want to know what that means, because I would imagine that means something crazy.

Speaker 3

No, No, I don't live a crazy live a crazy life.

Speaker 2

You don't live a crazy life.

Speaker 3

No. No, pretty simple, very very very simple. Just trying to corral small, tiny little bits of money and just you know, get a couple more of them. That's about it about it?

Speaker 2

Low.

Speaker 3

Did you go out of town? Were you in Colorado or something?

Speaker 2

I was in Denver?

Speaker 3

Gotcha? How'd that go?

Speaker 2

It was cool.

Speaker 1

I went out there Thursday because I had to do some extra hustling for Friday, and then the concert was Saturday, and I left Sunday morning at seven in the morning, like La. So I left Thursday night on Frontier and which the plane was two or three hours late, where I had mechanical issues.

Speaker 3

I'm extremely familiar with that process, as you know.

Speaker 2

Yeah, I didn't know I'm sleeping on Frontier.

Speaker 3

I spent more time on the frontier than David Crockett.

Speaker 2

Yeah, fuck man, anyway.

Speaker 3

Under Daniel boone of aviation.

Speaker 2

So I leave out.

Speaker 1

I get there at night, I end up doing one rap song for somebody, and then I go to the hotel and I go to sleep. Friday, when I wake up, I end up just getting a little extra sleep because I've been stressed crazy, just been going through it. I think yesterday, Coach, you know, made a lot of sense to me. Like I've been dealing with a problem with my business m hm, and it's threatening the ownership of you know, a lot of my songs pretty much my whole catalog, and it's been stressing me out over the

past two months, like beyond. But yesterday I went to box with coach. With coach, will you know who does the lunch hour?

Speaker 2

Sure?

Speaker 3

Sure, yeah awesome, And.

Speaker 1

Like it had me so stressed out, man, like all my shoulders, my back being tense, Like I've just been really going through it. And it's only because like somebody I trust is at the hest that you know, somebody I trust it is at the front of it, and I feel like the way they're dealing with it is just not cool. And it's like if you would think, like, you know, people know I've made sacrifices on having children. You know, part of the initial thing was I was

waiting to get married to have children. So it's not as simple as I just was sacrificing music, sacrifice to have a children make music. But people know that this is my pride and joy, my music, my create you know, my creative ensemble of songs. You feel me, it's my pride and joy. So losing it, I would think somebody who like I would trust, would be really you know,

they would understand why it would be so stressful. But it's to the point where like you watch that person's life go on and don't get me wrong, maybe you know, still the person maybe still feels like like, uh, you know, it's going to be okay.

Speaker 2

So it's like it's not a cool way.

Speaker 1

And then as I do more homework on a person, like everything coming back has been horrible and still is just going on with his life like it's all good, like you know what I mean, Like he might make a phone call, but he's at his job, he's with his wife, he's on his kids game, he's you know, celebrating his anniversaries, like this means that I won't make any more money off of my catalog, you know what I mean?

Speaker 2

And so to me, it's so serious.

Speaker 1

And if I was, you know, you know, managing an artist and this was I couldn't even sleep without fixing it. I couldn't do anything else without fixing it, especially if it's somebody that I've known for twenty years, you know what I mean, I be doing everything in my power to protect that relationship and to make sure that this person didn't lose everything. And I would still be talking

to this person all the time. I'd be talking to this person so much that they would be more you know, like confused, Like damn, you know you more affected than me, you know what I mean. I'd be trying to soothe, you know, Like if this was the Giants and it was happening to them, I'd be talking to them every day, like I'd be hitting them all day, like, hey, you

know what I made this car been thinking? Even if I was helpless in this situation, we'd be helpless and I'd be down for whatever you wanted to do.

Speaker 3

And can I ask, like what's the contractual? I mean it has to be some for a contractual conflict the legal.

Speaker 2

So like, so I did a.

Speaker 1

It's a couple of companies that have been, you know, licensing catalogs to sink to sink. You know, they've been they've been licensing catalogs so they could sink them and look for opportunities. So they advance you money based off your future royalties and the goal is for them to make you know, a lot of money and take into a profit share with you because you have this amount of songs and.

Speaker 3

They would like you're effectively borrowing out the equity in the music, and they assume that the it's going to earn itself back with appreciation at minimum.

Speaker 2

Yeah, you know what I mean. But the goal for them is to make more money.

Speaker 1

And still brought it to me as this is somebody that I'm friends with, and I'm thinking, I'm coming to the realization that's probably not true.

Speaker 2

Like he knows the person, but you know, even the person who.

Speaker 1

He met him through, right, was like I verified with certain people and they're like, now this dude that's doing the deal is very questionable.

Speaker 2

Like he's done some really questionable things.

Speaker 1

So it's put me in a situation where I have to go behind and check everything and it's like everything has been bad, and it got to the point to where, you know, I was ready to do something, you know, very glasses love thing from Seth.

Speaker 3

I wouldn't want to be the guy taking your catalog from him.

Speaker 1

Yeah, and I'm on the verge of doing I was on the verge yesterday of doing some very glasses love thing, some things that shout out to my older homies that I've been trained to do when people play with me, sure you know what I mean, And I haven't seen it in so long, like people trying to play with me and thinking it's okay, and yeah, it's just been a journey and it's been stressing me out. So yesterday I was going in to box, you know, you know, going to work out box those mans and it was

so stressful I couldn't even work. And that's how I know, because I'm not like a stressful person. Even when I was in Denver, there were times that I had a headache because I'm like dog like, this is my everything. And long story short, So I'm with coach, you know, at training and he's talking to me and I got the address to this location where the company is at sometimes, and I knew nobody was there, so my immediate thing was to go burn down this building, right saying it's

kind of in like Hollywood. But I was like, yeah, I'll just go burn it down, you know, because I can't get the person who who the deal was done with on the phone let alone. I don't even know who's financing that part of the deal for him, who's putting up the money and still has gotten to the place now where he's just not even talking to me.

Speaker 3

What's the name of this outfit?

Speaker 1

I don't quite know. I got to look at the contract. I know that's weird because they his people.

Speaker 2

I don't know.

Speaker 3

I have had a some exposure to a similar business model from a company called song Vest.

Speaker 2

You know it's not that though, Okay.

Speaker 1

That's got no selings live or look, excuse me, no seilings, not live, no seilings lasses Lowe.

Speaker 2

The boss working through some stuff, so.

Speaker 1

Like it's to the point now where I barely like still is barely gonna answer my cause you know what I mean, Like his job is now so important that he cannot talk to me. It's like, you know, forty eight hours at this point, you know what I mean, Like every promise has been broken and you know, from the company, and there is really no effort to kind of keep me cool. And normally that is usually a.

Speaker 2

Sign of disrespect, and it is a sign of disrespect. I mean to me.

Speaker 1

Now, maybe in the regular world it's not a sign of disrespect, but in my world, it's a sign of disrespect, you know what I'm saying. So my immediate thing is to do something to the man respect. I don't know who the person is or what they look like, so I can't find them. So the next thing is I just go burn this house down and then they'll know I'm not playing. So I got the address from a buddy of minees that that we all know, and shout

out to him. He didn't know what I was gonna plan to do, and lord knows, I would have never told the police where I got the address from. Sure, But as I'm going, as I'm about to walk out the gym, no, coach Willis just started talking to me.

Speaker 2

And something he he said.

Speaker 1

I don't quite know what it was specifically, but when I left the gym, I still was on the verge of going right. I was going to get a gas can, going to you know, do the thing, and right when I got to the freeway, his words just kept.

Speaker 2

Going back and back over my head, dog like in my ear, in my ear, in my ear. It was like God's testing you, like you know, God is testing you.

Speaker 1

And the more I thought about it, I was explaining to somebody that God has been testing me and I know it. Like right, I went through the same thing when I was about to put out white lighting in one.

Speaker 2

And like the CD was doing good.

Speaker 1

It was making noise, but it hadn't quite hit radio to start kicking up dust like I think maybe one station might have played it, and it was an opportunity for me to make a play on five gallons of PCP for sure, or people call it dust five gallons, right, And that play would have bought me an extra ten thousand dollars to survive, right because at that point, I'm living in Lynnwood.

Speaker 2

Shout out to mister hood rest in peace. I'm living on.

Speaker 1

Lynwood Road, thirty three forty four Lynn Warld Road, right at the corner of Lynwood Road and Long Beach Boulevard when you get off the one on five freeway coming from Los Angeles, and you exit on Long Beach Boulevard.

Speaker 2

You know that puts you on the side where you have to go that would be south. You know what I mean.

Speaker 3

I live right there, and you've missed out on some good opportunities to Uh there's pimping money to be made.

Speaker 1

I'll tell you about that. But after this, I had that opportunity too. But I would have picked up an additional ten thousand dollars. At that time my rent was four hundred and twenty five dollars. Ten thousand dollars goes a long way. I would have been straight, you know, for I don't know, you know, for a while, or I would have got busted. And my problem with it, and this is the point of sometimes being a crypt and a well trained crip. Shout out to my older home.

He shout out to Pluck moun Shady and all the guys that made me stand there for myself and realize I could do shit to people and get away with it.

Speaker 2

Is now I.

Speaker 1

Think I can get away with everything. Sure, I think I'm some kind of fucking criminal mastermind. And it's crazy because I think the police is smart. If nothing else, they have more time and resources. Even if they're even if my SAT score is better than some of these motherfuckers they have, Like I'm spending my whole day trying to get away with doing a crime, stay alive, not get ribbed, feel me, not get cheated, and they spend, you know, and I still have to do the transactions to make profit.

Speaker 2

They get paid all day to watch me.

Speaker 3

And even in the vacuum of one singular act, you have to go twenty for twenty and they have to go one for twenty.

Speaker 2

Yeah, you know, so.

Speaker 3

Like even that decks stacked enormously against you.

Speaker 2

Yes, So.

Speaker 1

I remember that happened, and I remember just thinking like, nah, I can't do it. I don't even know how I was gonna even pay my rent that month, or I didn't pay my rent, I might have been a whole month behind. But mister Hood used to try his best to keep the owner together. The lady she was. She was a cool lady too. I forgot her name. But the manager of the apartment unit, mister Hood rest in peace. You know, he would, mister Lewis Hood, he would do. He would try his best to help me. He's seen

I was trying to get my life together. He saw that I didn't want to sell drugs, and I was trying to do this music thing and it was a little energy, but it wasn't quite where it needed to be. And that opportunity came and I was right on the verge of doing it. And you know, part of the reason I stopped selling drugs is because I realized that, like I promised God that I wouldn't sell drugs if God got me out of a situation where I was about to go to prison. And it wasn't even a

serious prayer. I think I told you, yeah, and it wasn't a serious prayer. But it happened, and the only thing flowing in my mind was that promise. So I was going to break that promise to I'm like, oh, I gotta do it. Is one more time and I'll be straight because I could see it was going to happen, Like the opportunity was there and it was clicking and all I needed was one more time. And I remember turning it down, like, nah, man, I'm gonna hook you up with somebody else. Oh I pay you, Noah, I

want nothing for me. I don't even I don't want to get involved. I'm just making sure you accomplished what you're trying to accomplish. But I'm I don't want a profit from it.

Speaker 2

I'm cool.

Speaker 1

And I remember my brother was mad because he was like me, you ain't trying to hustle, you know, y'all.

Speaker 2

I'm like, now, I'm gonna do something different. And that was yesterday for me, and.

Speaker 3

It reminds me of one of my favorite probably not released singles of the last several years in the hip hop genre. Is that song Last Run by Yogatti.

Speaker 2

Oh, I never heard it.

Speaker 3

That's a great song, great, great song all the way around.

Speaker 2

And so.

Speaker 1

Yesterday Coach Wills talking to me, He's like, man, God has something right around the corner for you. He's like, man, I know this energy. And when he said it at that time, I heard him. But I'm like, man, I'm finish gonna burn his house down because I he was a way with him. And you know, these motherfuckers gonna know not to play with me. They're gonna have to get on the phone with me. They got to fix the shit, you know, period, blah blah blah. And I got you, guys, man, I'm the freeway.

Speaker 3

I just take anything. Coach, Yeah, Coach absolutely you're putting in all these things into the car.

Speaker 2

Yeah, no, no, I hear. I'm listening to it.

Speaker 1

But in my mind, I am so focused that I'm gonna show these motherfuckers, you know what I mean, I'm gonna show these motherfuckers, you know. Like and that kept saying God has something right around the corner for you. And when I was when I was right at the freeway and kept saying God had something, and I just turned around and went on. And I promised myself today that I wouldn't stress. I promised myself today that I

wouldn't call still like I promised myself. And today is the first day in a long time and a couple of about five seven weeks that I haven't stressed. Sure's And you know, I didn't call Steal. I didn't say nothing to him. At this point, I'm probably not going to call him anymore about it. But man, like, it was definitely and I think I could have got away with it. I know I could have got away with it. Yeah, but that that that really kind of repositioned my soul.

I don't even know if I like it, because it made me feel like I'm getting soft, you know what, I'm saying, but it's been a journey man, and so I was in Denver dealing with that. I came up with some really great ideas in Denver for like TV shows and those stuff. So you know, everything is straight even today, Like I was writing for this film, shout out Nebrasko, one of my partners out there in Memphis. No going out there in November to shoot a film.

You know, I've sold synopsis. You know, I sold you know, treatments before for films, three of them. But this is like my first one that we're gonna shoot, and you know, I'm I'm strapped in to go all the way for it, you know what I mean. Paul's like, I'm strapped in to go all the way with this.

Speaker 3

I hate, I hate to do it, but I have to ask. Are there any nominal speaking roles for presumed white characters in the film.

Speaker 1

One, Yes, okay, that's why I wrote you in. I got a cool part for you. But I gotta I need a I need I need an older white racist man. It's not for you. This is one specific thing. I got something for you that should be.

Speaker 3

Probably achievable in the Southern Tennessee, Northern Mississippi Greater Casting Net Area.

Speaker 1

Yeah, but uh nah man, So I've been really flushing out the characters again. Shout out to John Truby for Anatomy of a Story. It's one of the best. If you're a natural storyteller, you know, and I know they you know, John Truby ain't writing us no check. But if you're a natural storyteller and you really want to put your storytelling on an assembly line as far as for it to have depth, get Anatomy of a Story by John Truby, you know what I mean, and go

through it. Take your time, keep reading it. I've read it four times. I'm still reading it. I'm still ingesting it. I wanted to be a part of my natural story process from here on out, and especially as I moved into this film realm, because it's like.

Speaker 2

I've had opportunities to do films.

Speaker 1

Over the last three or four or five six years, but I am so dedicated to hip hop and finishing what I started. You know, I went through all the stuff to get into this position that I kind of neglected that, but I realized those that thing is coming to me because it's going to help finish what I started. With hip hop, especially for like a masterful storyteller. You know, if I could compliment myself like that, a masterful storyteller as myself like right, I look at the difference between

Scarface and ice CTE. To me, who are the two best storytellers in hip hop? They have some of the greatest and most widely known stories in the history of hip hop, you know what I mean, Scarface in songs like in songs for Scarface, it would be mind playing tricks. I've seen a man die like he has some incredible stories that everybody in hip hop knows what happened, you know, this year on the weekend. And then ice Cube, right, everybody knows what happens with the boys in the hood.

Everybody knows about the good day that ice Cube had. You know, They're like phenomenal stories and their catalog is built on incredible stories. And I definitely patterned myself, you know, in hip hop as a rapper behind them. Naturally, I'm a storyteller. I used to tell sell stories at my middle school of Nintendo characters. So I never realized the two would help each other. I never realized the two would help each other. But and it's integral, and here

we are today. You know what I'm saying. We are day late with the pod. We should have done it Sunday when I first got back. But again, man, when I got back, I was rapping, but I was still in this really funky mood.

Speaker 3

Sure, not to mention, probably just miserably tired.

Speaker 2

Yeah, but I wasn't tired enough to where I couldn't have did it. But I didn't. Actually, my big homie, Big Cool from Bebop.

Speaker 1

Came by and he brought a hommy Pedro and a couple homies and we end up talking possibly about doing something with the del Phonics, one of the least singers from the del Phonics, and that ended up taking about four or five hours. So by the time that was done, then I had to do some rapping, and so by that time then I probably got tired because I ended

up sleeping twice Sunday, gotcha. So the time that I would have came straight home, you know, from Denver and we would have just did the pod, I end up giving that time to Toronto to be cool and as part of being a decent friend and a decent young homie in his case, you know, being a decent young homie,

you know what I'm saying. Where As I've been doing Ronald since I was probably nine, okay, and you know, I'm I always had a lot of respect for him, and he's a really creative dude in his music industry. He's one of the guys that discovered you know, he was on the early train with Black Youngster.

Speaker 2

Oh.

Speaker 1

He has a knack for what's happening when it comes to street urban coaching. So you know, you make time and Pedro, you know, they were rapping before me, so you make time for people sometimes, you know, shout out to everybody that listens to No Seilings podcasts forgive me for this day late, but here it is, you know what I mean. It's a day late, but we're right.

Speaker 3

Here and I'm ad dollars short, so we're perfectly and sync.

Speaker 2

Yeah. Yeah, So.

Speaker 1

At that point today I've just been writing, flushing out the story a little bit more. You know this again, this is the first this is the first synopsis or or the treatment that I'm going to take the screenplay in the strip. There alone going to shoot it. So I'm excited about that and it is kind of it

is refreshing to kind of double down on stories. You know what I mean to double down, and we will use these new set of tools, use this new set of tools that I got from a couple of books in my approach, Like even writ in this film now right It's dope, because I was inspired by the location. Right Nebrasko and his partner bought the location in Memphis, this preestinct, and I had to write the idea based off location.

Speaker 2

I didn't want to move the camera lot.

Speaker 1

Shout out to Malcolm May's little bro he didn't, you know, taught me a lot about multiple location shit. So I was really careful with the first films that I wanted to shoot were always, for the most part, single location shots. I mean, they spent eighty five percent of the film in one location. And it was one thing to get the premise out, it was another thing to get the synopsis out. I still wrote the synopsis. He expanded it

on the premise and wrote a synopsis. But now like developing the story based off of my new attained knowledge and skill set, and man, it's.

Speaker 2

Night and day difference, Pete, it's night and day difference.

Speaker 3

What do you notice this from? Like what you the final product to be like, what like certain details that translate onto film or that you would anticipate would where do you see like those differences being like at their greatest.

Speaker 1

So like with Tupacmas Die Right, Obviously this is hard to compare because that's a five to six minute video and this is a ninety plus minute feature. One of the biggest things is so character development and relations, gotcha, Like, that's a big thing today, as I've been spilling out before I go to screenplay and script, character development and relations, the web of characters.

Speaker 2

And how they.

Speaker 1

How they carry a story, like not necessarily the plot carries the story. Like I was explaining to Chris today about I was telling her about Toby films and she felt she didn't like them because.

Speaker 2

They were.

Speaker 3

Filmed on cell phones.

Speaker 2

Yes, And.

Speaker 1

I explained to her it's more than that, and she thought that was crazy. And I'm like, you know, have you ever heard d Lo no Hoe? Right, there's a ton of songs that are mixed like shit, But if the song is compelling, it won't matter. It'll go into the story itself and make the story even that much more.

Speaker 2

Interesting, like shatas Sure.

Speaker 1

Sure, And I was telling her that the issue with most TOOB movies for people is the lack of story development. Like they'll have a decent premise and plot, but the web of characters is questionable. There's a lot of extra

characters that won't make sense. Even this like being inspired by Rio Bravo to write this idea, right Real Bravo is a movie that came out in the fifties and I liked it and use it as just as inspiration because it was all about a bunch of you know, outlaws coming to to one location for one purpose, you know, and like this again, that was my first John Wayne film, so and only so it was one thing to write a really good treatment, excuse me, a really good premise

and a really good synopsis that was simple, but to flush it out, to put it in position for screenplay and to put it in position for treatment. I could have seen how if I didn't read John Truby's book, it could have been a to B movie in a sense, not like oh, it's on TOOB and it's not successful, but in a sense that there could be way too much extra slack, like the suit is not Taylor fit for the featured time, Like every minute in a film is valuable. Sure, Every every word of a story is valuable.

Every relationship that your main character has is valuable. Yeah, so you have to truly use it, you know, correctly to keep people engaged, especially if you don't have an area many you know, especially if you don't have the benefit of millions of dollars in marketing, especially if you don't have the big screen.

Speaker 3

Yeah, yeah, no, to totally.

Speaker 2

I mean those.

Speaker 3

Types of and I think like the one relationship, I mean, obviously it's like that you're alluding to, but yeah, for the audience's sake, Like, the most important relationship that the main character can have is the one that the film

fosters between him and the audience. You know, asked, like you see like these patterns and movies where they'll go out of their way to give a little bit of background or a little bit of this or a little bit of that with certain characters certain moments, so that you can establish an empathy or a sympathy, some sort of relationship between the viewer and the character.

Speaker 2

Yeah.

Speaker 1

And it's funny because I think I did a podcast we talked about it before on this podcast where I felt like I understood when people said Kendrick's music was preachy at times. It was driven entirely too much by dialogue, like the messaging was driven by dialogue. And it's also why I said gn X was his best album. Not only is it the best combination of records and him in his most honorable and vulnerable space, right, it's also

the fact that everything is done in theme. Like people don't realize when you hear that singer singing how Los Angeles that is, People don't realize it's so many nuanced things, titles that create a theme that he gives you. Hey, this is la Unapologetically, I just smacked the shit out of one of the biggest artists in history that thought he could compete with me. And what I'm doing is

not to be questioned. I'm unapologetically that guy. And he never had to say it, but through theme that was present everything that he was brand wise and where he was at in his life without ever saying it, which kind of you know, it's lost to people. People a lot of people don't catch the theme, you know, they don't catch the messaging of the record because they're enjoying the records and it's such a process from sowing a song that again, he's not using narration or dialogue to

establish the theme at this point. The soundtrack of music is the theme, the interludes, everything about it screams exactly what he wanted to scream, and he just had his business. And I think that's kind of the thing, which, you know, storytelling at this level was like, I realize, if you don't want your idea to come off preachy or condescending, right, you have to kind of allow theme to guide the messaging,

not so much dialogue. Like if my story is based around the conservative black man, like he should never have to say I'm conservative. The theme of his existence, per relationship with individuals in the film should give off he's a conservative black man. You know, when you see him and compare him to the to the to the ally, it should say that. When you see him in compare to the opponent, it should say that true. The the the sheuer energy between them should say that without ever

having to say that. He shouldn't have to go on a runt about being conservative and blah blah blah, and it should never have it should it should.

Speaker 2

Be very minimal.

Speaker 1

Sure, no, definitely could be just something he's wearing on his uniform. So I've been just developing a lot, man, a lot. What else is going on? Everything going on with all the how is the trading going?

Speaker 2

Eating shit at that?

Speaker 3

But I'm overperforming and everything else, so keeping the ship afloat. So that's nice. But I continue to just get castrated on a weekly basis, and that's unfreaking believable. I don't even know how it's about bath we thought impossible. I'm baffled by the numeric probability of that shortcoming. Truthfully, it's

it's something else. I did get some good news though, because I was at a similar point a month ago, almost exactly where I have gotten to my absolute wits end with the people from Oklahoma with that oil deal. And they were in southern California and I knew it, and I was like, oh, man, I really want to burn down all my social credit lines right now and make sure that they feel me, because they got a lot of balls taking my money and showing up in

my backyard like that. That's you're almost telling me to do something to you, man. And they were in Palm Springs. I was like, I can come down to ten from the east or to west. He's sitting right right right, my sweet spot, buddy, you wanted he's here like pick one. It's like fucking pissed. But yesterday I did get good news. One of my wells is officially up and running and producing oil. So that is good.

Speaker 2

Amen.

Speaker 3

So the oh a couple pieces away.

Speaker 1

I remember you were telling me the story of how your family ended up in California, mom's side. Sure, I think it was right, how they ended up in Lynwood and then how they moved to where your family is at now.

Speaker 2

Yeah, look correct, Uh.

Speaker 3

They were in uh once, I was in Lynnwood, across the street from where Lynwood High School is now.

Speaker 2

And that's your that's your that's your mom's side.

Speaker 3

Yeah, it's both my mom's side and the other the other group over there was up in Hindton Park.

Speaker 1

And how did they end up near the beach. Initially when it was cheap.

Speaker 3

There was nobody down there. I don't know how cheap it was. It wasn't like it is now. They just kind of kept They originally moved to Downey because the houses were bigger. So there was a little neighborhood in Downy that had like four tedescos in it, like in twelve houses. They just dollars.

Speaker 2

And then.

Speaker 3

I think, honestly it had to do with I think my aunt had allergies or something like that. So they're like, you either go to the desert, you can go about the water or something where it's not in that area where it's like polony or something. Sure, So he was down there, thought it was super boring. Orange County at times is nineteen sixty one was still Orange County. A lot of citrus grows the middle part of the county. Old Santa Anna was there. Newport was tiny, a tiny

little working port. A couple thousand people live down there. He thought it was just terribly boring. Couldn't wait to get to work in the morning. That was it been there ever since.

Speaker 1

How important is migration in the pursuit of opportunity? Like I said, everything obviously, obviously I watch America move from place to place.

Speaker 3

It's the most important thing. It's the second most important thing behind pursuing knowledge. It's less important now because of the nature of certain virtual opportunities, let's say, like be it in certain software tech environments. You know, you can do things like that. But it's the most important thing. Even if you're in tech. I mean, it's not an accent.

It's not like there's it's not like the greater Silicon Valley area from was it San Ramon and Santa Clara to wherever happens to have something in the water and monopolize all the genius tech brains in the world there. No, I mean it started off with a little bit of an ecosystem there and then all the money went there. So that's where all the vcs are. So if you want to have access to capital and access to the relationships that will entrust you with capital, you might want

to go there. I mean, that's pretty true.

Speaker 1

And so that's what happened with Texas kind of over the last ten years for people in California, especially black people in California.

Speaker 3

Right, Yeah, I mean a lot of moos with Texas. They've kind of moved everywhere, it seems. There's a lot of Vegas, a lot of Arizona, a lot of Texas and Atlanta. But Texas has a lot of growth and it's also very balanced sheet friendly mean affordable, yeah, yeah, I'm yeah, affordable on both sides of the ledger. It's cheaper to live there and you can still get good wages. There are other places where it's cheaper to live, like Memphis, but you're gonna get paid pigeonshited money too.

Speaker 2

Mm.

Speaker 3

Like Oklahoma is a good place to probably look into a certain opportunities there too, as far as migration.

Speaker 1

Yeah, what if you're what if you're not looking Okay, what if the opportunity you can't see it yet? Like right, if there's a location that I'm looking at right and I'm like, the oportunity isn't there yet, but you know for sure because this place is the prime place where people with economics they have to go there. Like it's only so long this place could exist without you know, wealth showing up there to maximize you know again, to pursue more wealth.

Speaker 3

Yeah, I mean that's sort of the you know, American story in a nutshell. And depending on your time frame, there's like visionary early and then there's opportunistic early. I like, so if you're a visionary early, that means there's something unique about this and I can make something happen, but it doesn't exist yet, so you have the vision to

make it there. Opportunistic is holy crap, something's happening over there and it's not oversaturated yet, so there's opportunity on the back of somebody who had the vision that needs the human capital, and I can go fill that need right now at optimal value because you know, there's a there's a demand shortage or a supply shortage.

Speaker 1

Rather mmm, so visionary versus opportunistic. So if I'm a visionary yet, I know that because of the Internet right there is it's definitely changed the landscape. But let's say the vision is in real estate mhm. Location, Yeah, it seems like a longer gamble because you're still waiting on you would still be waiting on wealth to come fulfill the vision.

Speaker 2

But you know, is inevitable.

Speaker 3

Yeah, uh, time is a serious component. Like let's look at like for one, you know example, maybe some of the you know, you're a lot of the audiences may or might not have heard of I don't know. But obviously California's tax structure is pretty cumbersome on business. It's no secret.

Speaker 1

Moving a lot of films out of state, moving a lot of everything out of state.

Speaker 3

There was one project that got underway, but they kind of contracted their way into kaibashing it, so to speak, to have a new port of La right down in like Rosa Rito or something on the other side of the Mexican border, and offshore everything down there at way cheaper, put it on a train and send it out. Governor of California basically said, We're going to put a state tax on any product that comes in there that's so high that you won't be able to do it.

Speaker 2

He took Trump's idea for California along.

Speaker 3

Sure, and I think that was Brown, I believe at the time. Don't quote me, but anyway, the guy who started building it was the visionary. Now his vision didn't work, but had it worked and he put it together, and then you know, you move down there because you have a unique ability to launch some super automated arm in that port that doesn't have union labor restrictions. You would be the opportunistic party, as the other person was the visionary.

Speaker 2

MM So this idea, I'm pretty much a visionary at this point.

Speaker 3

Probably you're a visionary kind of guy.

Speaker 2

This is deep.

Speaker 1

I gotta figure it out, man, because I know it's there, Like I know when God is sending me the vision soul. Even if I can't see everything that I'm supposed to, I can receive the vision because I'm not drunk a high or delusional or yeah, you gotta be a little delusional to get the vision, for sure.

Speaker 3

A little bit, a little bit. But you anybody can have a vision. You know, you have to be rooted enough in reality to you know, work it through actually being a worthwhile vision. Otherwise it's just, you know, just something.

Speaker 2

Let me ask you a question. I wanted to ask you this. Well, it's not important.

Speaker 3

Shit, fire away. We've got sixteen minutes.

Speaker 1

You don't think you don't think capitalism right, You don't think capitalism would be better.

Speaker 2

Off if it had a cap.

Speaker 3

No, I don't think growth would have a I watched a great video. I should send it to you. This guy on that wealthy on show that I like talked about and there's a book by like my intellectual mentor of sorts though he's just an author and doesn't know that he's my mentor. Uh, wrote a book called Life

after Capitalism. This guy was talking about how we are like capitalism no longer exists essentially in the framework as how we understand it, you know, with productions, margins, reinvestment, growth, like that whole thing we're that's no longer a thing. Now now we're dealing with world banks, manipulated currency, quantitative easings, you know, interest rates to support debt and overspending, and artificial injections of capital to keep the whole thing from collapsing.

Speaker 2

Mm.

Speaker 3

So it's really not capitalists in any conventional real sense, like value as we know it has been distorted beyond the point of recognizability and we're just yeah, kind of kind of a long for a ride what we can.

Speaker 2

So you mm hmm.

Speaker 3

But like even in like in a normal sense capitalism had a cap then then you're cap and growth.

Speaker 2

And your cap growth.

Speaker 3

Yeah, everyone who's tried it, that's been the outcome. That's been the outcome because most of the margins don't change that much. The scale does.

Speaker 2

Mm hmm.

Speaker 3

And big visions cost big money.

Speaker 2

But do you think we lost something when McDonald's went like this big?

Speaker 1

Like as like I watched the film The Founder, and obviously it's a movie, so it don't have to be real. But even the concept of saying, hey, if we stop using real lifce cream and we use a powder mix, right, we maximize profit and make you know, you don't see the issue in that type of quality.

Speaker 3

I do but it's interesting. Like in the food world, the cancer I don't think is McDonald's. McDonald's offering it's pretty straightforward. You're getting something cheaper, and it's cheaper like literally and proverbially.

Speaker 2

You know.

Speaker 3

The companies that I don't like. You said, there's only like a couple of companies in all those chain restaurants like Chili's and Red Lobster, all those things that give you a sit down dining experience at a price that a mom and pop restaurant can match, you know, normally, like, but they've scaled out and their quality is shitty. So now you're paying thirty five dollars to have a sit

down dinner that absolutely sucks. But they've driven all all the small entrepreneurs out of the local marketplace.

Speaker 2

Kind of like what Best Buys did to the independent record stores.

Speaker 3

Yeah, yeah, like that Best Biden come out and offer a one penny CD that nobody could mash, but it was shitty quality. That's kind of what McDonald's did to me. It evolved in that.

Speaker 1

These others they changed their business right right then they changed their business eventually went from making money off burgers and fries to really having a different level of interest in real estate. Sure, sure, so, But you don't think that happens every time as you pursue profit, like you have to start to foresake quality first.

Speaker 2

Maybe like in and out is.

Speaker 1

The closest you can get to going too far to where you could keep some level of quality, you know, but still have growth.

Speaker 3

In certain areas. That's true, And it's not like it's there's not a whole lot of innovation in food, you know, Like it's pretty much just how can you make how can you produce a cheaper price per unit, or how can you convince people that they should be happier with this unit at this price? And I think they did a little bit of both. I think they re established consumer expectation. I just saw a picture. I don't know

if it's true or not. The internet's full of shit anyway, that showed a big mac in like nineteen eighty eight. It's like the size of my arm, and then this one's like this big. You know, now it could fit in the pall my hands tight. So they they've reduced so much sense. It's probably true. It is true, So there's that also, But at the same time, you look at innovation and the capabilities of the cell phone or technologies and computers or something, or production of cars or

production of houses. It's like not even that, Like I think that it's we've lost the you know, fifty thousand dollars home, but there's way more value in the two hundred thousand dollars home than there used to be. I mean, it's like packed with all sorts of energy. It's more flame retard and the amount of like house fires is down like a third percent generation over generations. So there's there's a lot more quality out there in certain areas.

There's a lot more efficiency in others. And then in things like hamburgers, is there just less meat?

Speaker 1

Is there really more efficiency in it? It just feels like there's more efficiency in things that are like what's the world I'm looking for? I always tell you it's the killer of quality.

Speaker 3

Yeah, he's a convenience convenience, Like, I don't.

Speaker 1

Know if it's efficiency as much as it's convenient in a lot of these in a lot of these departments.

Speaker 2

That's what it feels like.

Speaker 1

Yeah, like even a house now right, I agree with you, Like it definitely is made to handle fired a lot different, but it's also like a car. Like a car is more efficient with gas, right it is. That's fact. It's efficient with gas, but every other part of it is a piece of shit, Like you're not built to last like they like.

Speaker 3

Statistically, I don't think that's true. I think the miles driven per major like repair has gone up a ton, but the cost per repair has gone up a ton.

Speaker 2

But you know what I'm saying at that point.

Speaker 3

Yeah, there's certainly no style and appeal and the design of any of the cars anymore.

Speaker 2

But even the complexity of how it rides, you know what I mean, even the like like.

Speaker 1

I don't know, I don't know if I'm just being an old man complaining or like, it's a real valid point.

Speaker 2

Where we're talking about the pursuit of.

Speaker 1

Efficiency, but really behind it, you know, behind the curtains, Like it might look like a magic trick of efficiency to the fans, you know, in the audience, but behind the curtain, it's all the it's all convenience. It's all the convenience of how you know, they could keep you in bed with them, how they could keep you paying them, you know, all of the above.

Speaker 3

Yeah, I don't know enough about old cars or old cars when they were new, you know, to be able to compare it to anything, because it matters.

Speaker 2

Old cars when they were new is a lot different than old cars.

Speaker 3

Yeah, So like I don't really know. I mean, I've had bad luck with cars and good luck with cars. It's just then I imagine that's probably always been the case.

Speaker 1

So how do you how do you embrace how do you embrace the convenience of life knowing that it kind of knowing that it's kind of voided of quality. I think what most people do is they just look around, and that makes them feel okay, but they really only look and left to right. They're not looking at time and knows as another metric. You know what, I I don't know a perspective. I don't think it's void of quality. I think it's void of character.

Speaker 3

I think it's become so streamlined and efficient with mass production that there is no more uniqueness, or uniqueness is way watered down, you know, and and everything has become extremely like monochromatic rhetorically.

Speaker 1

Speaking, like the NBA. Everybody wants to be the Golden State Warriors. Everybody want to shoot threes.

Speaker 3

Everybody wants to run the same offense everybody wants to have the same exact lineup, everything is the same.

Speaker 2

That's really done.

Speaker 1

That's where capitalism is now, maybe not before we were born, when capitalism was all about creating something that didn't exist, versus now it's a thousand people doing the exact same thing in the pursuit and profit.

Speaker 3

That's another thing that this guy mentioned on this video, and I'll send it to you if you want to watch it. You can if you're not doing But he was talking about and there's something that Jamaican Andre and I get you about all the time is these private equity firms that find a company that's struggling, and they

have no innovative answers at all. They just buy the thing for X dollars, go through fire everybody that they could possibly survive firing, cut every cost possibly could survive cutting, and then, you know, tip the balance sheet briefly back into the positive and sell the company, you know, and then the company has to run in that really bare bones, shitty way forever unless some unless Albert Einstein walks in the door and splits the atom inside of that fucking company.

And that's a serious thing too. But I think also people don't like now people are obsessed with security now, like you look at every time there's an economic downturn, Now, what do we get. We got fifty thousand laws that day to make sure there's never an economic downturn again. You know, whereas before it would happen companies go out of business, new ones who coming people. Now it's like you can't let such and such quarter business becuse people

will lose their jobs. They'll lose their jobs seventy years ago for an hour and a half because somebody moved into the building and needed workers, you know. So so we've constrained things so much as we've turned into like a desperately low end society on so many levels. And that and people are leverage to the fucking gilts. So you can't afford to be unemployed for ninety days or you're totally fucked. So I get that too, because shit's a way overpriced.

Speaker 1

Then, looking out for tuning into the No Senters 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.

Speaker 2

And I heard radio Yeah,

Transcript source: Provided by creator in RSS feed: download file
For the best experience, listen in Metacast app for iOS or Android