94: Helping Our People

00:26 You've been ready for us and we deliver Adam Curry coming to you from the heart of the Texas Hill Country. Time once again to spin the wheel of topics from here to Northern Virginia. Please say hello to my friend on the other end, ladies and gentlemen, Mr. Mo Facts. How you doing, Adam? I am doing good, Mo. It's good to hear you, brother. It's good to be back on the on the well, I was gonna say wheels of steel, but I'm not on the sticks of steel. There you go. Sticks of steel. Yeah. What's happening in Virginia, Mo? Everything's going good. We had the storm this past weekend. Got a lot of rain. Needed rain. Oh, yeah. Everything's going good. Yeah, we finally got some rain here in Texas, too.

01:07 It was bad, man. It's been almost four months with almost no rain. Everything is brown and dead, and it's just, it's been bad. It's been bad. However, there's the light at the end of the tunnel. Mo Facts 94. I am ready. I'm ready to find out. Now, I'm not sure if we're doing a part two. You know what? I don't know. Let's just find out what we're doing. I'm going to roll that wheel of topics round and round it goes. Where it stops, nobody knows. But of course, Mo knows because he put everything together expertly today. The topic for Mo Facts with Adam Curry, episode number 94, is... The Holy Ghost meets commerce.

01:48 Puzzling. The Holy Ghost meets commerce. All right. As you tease, this is a follow-up from 93, Higher Infinite Power. Yes. And if you're not hip, pun intended, that was the hip part of hip-hop. Now we have to go to the hot hot part is an acronym for helping our people. And if you haven't caught on by now, you have, but if people, the listeners haven't caught on, this is not a historical in this borough, this guy used this turntable to make this. No, that's not what we're doing because we don't do stuff like that, right?

02:30 No. That's just a rehash. No, I mean, that you can go to the museum, the Jay-Z Museum about himself, to find out about that. Yes, or you can go to any 50-year anniversary celebration and get the watered down history. What I'm hoping to do here is present the bedrock that hip-hop was built on. And hopefully, if you haven't heard 93, maybe you should stop now. Go over to 93. But if you're not going to stop now, I actually put a mashup together of some important clips. So for the people that haven't heard 93, it can bring them into it. It's a rare recap.

03:13 It's a recap. I don't usually do those. This is new. Right. So this is a bridge. Hopefully, so if you're just tuning in for the first time, you're not completely lost. Or if you, you know, you want to hear this first out of order or whatever, how you want to do it. This mashup or recap is five minutes long. You can stop it whenever you want to stop it as far as to interject, but I'm just laid it out of some important clips from the last show. So I guess we can jump in. Yeah, here's what we'll do. We'll have Dreb Scott put a chapter marker in here so you can skip right ahead to after this if you don't want to hear it. How does that sound? It's modern podcasting technology. It's AI.

03:57 No, it's not AI. Trev Scott is AI. I'm telling you, he's AI. All right, here we go. A flashback, recap of Mo Fox with Adam Curry 93. There are, however, a number of inconsistencies we have to highlight. Firstly, restaurant staff and customers where the pair had eaten claimed Sam had a large quantity of money with him. Ostensibly, this was to buy Christmas gifts. That money was never recovered. Bertha Franklin had at one time been an operator of a brothel, and rumors persisted after the killing that she and Boyer, who had worked as a prostitute, were running a scam. Boyer would find victims and offer to sleep with them, but the two women would pickpocket them and then cry rape.

04:36 So yeah, this midnight climax program, basically, they'd kid out a safe house as a brothel, and they would have the hookers slip LSD or whatever substance to the Johns. And then behind a mirror, you'd have a supposed like a researcher, right? I mean, this is workout weird sitting there. you know, having a drink and watching these, you know, the hooker and the John have sex, and then they'd be analyzing the impact of the LSD on them in terms of their ability to talk. And would they was the hooker in on it? Yeah, the hooker was in on it. Was she an employee of the CIA? You know, you know, and it was, it wasn't just the agency, you know, like the Army was involved in these things as well.

05:20 But they would get, you know, cash payments and oftentimes the get out of jail alive, get out of jail free card. Franklin had shot a motel guest. Let's start with the circumstances. Just because I said it up poorly, what they're discussing is the death of Sam Cook, how he was murdered or murdered, for lack of a better word. And my theory that he may have walked into some kind of MK Ultra safe house or whorehouse and maybe got dosed or

06:04 slipped a Mickey LSD bugged out because it was never in his nature to be aggressive and violent as we heard in 93. I said it up poorly, so I just want to stop there. Did you want to interject anything? No, no, no. I remember this. I remember all this perfectly well. So we can go from here. Okay. They would get cash payments and oftentimes the get out of jail alive, get out of jail free card. Franklin had shot a motel guest in similar circumstances just six months earlier. It's argued that Franklin and Boyer were implicit in a deal that guaranteed them immunity from prosecution for other crimes.

06:43 This theory tries to explain the injuries Sam sustained by suggesting he was beaten up by government agents before being shot. Cook wasn't having it. It said that he rejected everything thrown at him and said he was going to do it anyway. And it got to the point that Sammy Davis Jr. was tapped by the shadowy figures of organized crime to reach out to Cook and tell him he better listen to the Italians. So during 1964, Cook's RCA contract was up for renegotiation. And Sam had his manager, Alan Klein, renegotiate the contract to include Sam's own record label. What do you hope to do in the future? You're doing different things now, aren't you? Yeah, well, now, Dick, I'm working mostly with other young singers, you know.

07:25 Poring through the contracts and papers, personally, Cook realized that his manager had sold him out. In actuality, Sam Cook would be an employee of Tracy Unlimited, which would be owned by Alan Klein. On a Thursday, he was going to fly to New York and make a lot of changes, including firing Alan Klein, but he never made it through that weekend. A lot of these things were funded through cutouts. So you'd set up, again, this is early 50s, mid-50s, early 60s, set up financing vehicles, through, say, what appear to be non-threatening grant programs from research institutes. So

08:10 you'd loop in academic institutions or researchers. And MKUltra had, at least acknowledged anyway, over 80 academic institutions and others that were either wittingly or unwittingly working on their behalf in various research programs. Most of my exposure has been on the business side, the marketing and the motionary bug of the sale. I have put out the copy of the Harmon Report, which has never been released. And I put it out in its raw form, just as it was presented to me from the students at Harvard.

08:48 So it can be very, very controversial. Some say that the Harmon report was the beginning of the demise of Black Record Compass. Well, I have released this book just as it was presented to me by you formed your own opinion. What did people think about it? Well, again, it's so easy for one to follow a myth. They're really saying is that Clive Davis and his big mining company decided to hire these students to do this report.

09:26 And when they did this report, they used this as a blueprint to follow this report to swallow up the Black Record Compass and put them out of business. That's what they're saying. That's not true. That's what they're saying. So tell us what the Harvard Report is and how it started. The Harvard Report was a study that was conducted in 1972. And it was commissioned by CBS under the auspices of. Clive Davis and Bruce Lundgaw. Bruce Lundgaul, who was the VEP of marketing, who I reported to, and he came up with the idea to conduct this study using some students there at Harvard, the V School students, as a project.

10:12 And they took it on. I was a liaison between CBS and Harvard. And I worked directly with those students in guiding them and conducting that study. And the results of that study was called the Harvard Report. Basically, it was a blueprint. It was a blueprint for penetrating the black music marketing and also with the intentions of dominating black music and black audience. That was the purpose. Yeah. Yes. I just love that MK Ultra was at the base of hip-hop. MK Ultra, Harvard, LSD.

10:52 Yeah, baby. CBS, which you put me on to this. CIA Broadcasting Systems. So you have all these entities floating around, figuring out how Dr. Logan Westbrook said penetrating the black music. And he helped with the blueprint. In the previous clip, he said it was a myth. Then later on download, because there's a good time gap in between those two clips and when they were recorded. Now he goes into, oh, I was the liaison. You know, I'm part of the reason why, you know, black music was penetrated and

11:38 taken over. So there we have it. So you got the CIA, CBS, Clive Davis, MK Ultra, all of this stuff. And we all know this report was done in 1972. Right. Hip-hop was created in 1973, which we're celebrating the 50-year anniversary now. That's a hell of a timing. What is Deemed the I don't know if we talked about this on 93? What is Deemed the first hip-hop song? Oh, it's well, as we listened in 93, hip-hop's been around way longer than that. With the 1973 milestone, it's

12:23 Rapper's Delight by Sugar Hill Gang. But some people argue that the message was really the first hip-hop song because Grandmaster Flash. Yeah, because that actually was talking about broken glass everywhere. It was a real CNN type, you know, urban message. And it didn't have the disco vibe that Sugar Hill Gang had. It actually became its own sound with that record. So, I mean, 1973 is the recognized date. As we've heard on 93, we had people rapping in the 1940s. So you can have that. But it's just interesting.

13:06 1972, this report is done. 1973, hip-hop comes along and we're off to the races. And as Dr. Logan Westbrook said, these big companies and as the CIA agent, former CIA agent, if there's a such thing, said that they work through these research institutions with MK Ultra. Yeah. Is hip-hop a mind control mechanism? Was it hijacked? This is what we're going to explore in the new thing, in the new episode. I love it.

13:45 I mean, you know, there's always been these conspiracy theories about, you know, men who controlled hip-hop, black music, and turned it into what it is today and have morphed that along with actually with designer drugs every single time. You know, there's a tight correlation between every music genre, every period, and the drug that's associated with it. I would say most notably now with the big DJs who fill up the big stadiums, you know, that's Molly, that's X, and it's all a part of the same thing. Correct. And you got to look at Woodstock and the psychedelics and this kind of thing.

14:24 And so we're not going to get too far ahead. So now we're going to pick up and begin this episode officially with Dr. Frances Chris Wilson. And she explains the role of the black role in society as an entertainer. In the last 500 years, black people in this area of the world, we can say that there's no no such thing as black culture. What there is is what the system of racism, white supremacy programs black people to do.

15:03 In other words, if the system of racism, white supremacy says, you are not going to be scientists. You are not going to be highly functioning doctors and lawyers and teachers. You are not going to have stable family life. You are not going to respect sex. Now, your role is to entertain me. So you can jump up and down and sing. You can dance. And yes, you're good at sports. You can do that in some venues.

15:46 That's what I'm going to allow you to do. And she's a psychiatrist. Yes, she was. She's passed away now, but we've looked at her work before on this show. But that's the thing. And hip-hop is known as more of a culture than a music. And I would even go to say that hip-hop could be considered more a competitive sport than a music. It can be music, but let me lay out why I make that statement. One, when you age in hip-hop, it's not seen as aging in rock and roll.

16:31 You know, you can age out of me out of being a hip-hop artist. Yeah, like you're seeing Run DMC at the Video Music Awards for the 10th time. It's like, they're all fat and they got the Adidas on. It's like, yeah, they can't really. It didn't feel right. And there's a competitive nature in hip-hop. As far as I want to be the best, I'm better than you. I don't know if I haven't seen that in other genres. I'm sure there is inside competition, but this is a built-in mechanism of hip-hop. Well, it's one of the pillars. Doesn't that go back to kind of

17:15 gangs? Yeah, but I would say that predates gangs. It's more of I'm doing this right now. And let me explain. Have you ever heard of the flow state? No, I don't think so. Okay. The flow state is like when you're in the zone. You hear it in sports. I'm in the zone. Yeah. You know, that's when you're in that creative state that you kind of lose consciousness and you're just in the moment. Hip-hop is big on that, especially when you're talking about rapping and freestyle or the competitive,

18:00 well, how battle rap. Yeah, because I was going to say battle rap. Exactly. That's something you don't hear. Very rarely will there be a reference in a non-hip-hop song to a different song or different artist. But of course, part of, well, part of, I mean, I was in, I've talked about this before, Los Angeles 1980, I think. And it was the, what was the big station in LA at the time? I can't remember. But they had, you know, they had battle raps. It was a street fair. And even then, it was, you know, two guys against each other and freestyling, you know, slamming each other.

18:44 And that was already in the that culture was already in the music. It was at the genesis of the music because DJs really created hip-hop with the break records and that kind of thing. And they had to have an MC or master of ceremonies to kind of control the crowd. Well, it became competitive who could control the crowd the best. And this is where you had your battle thing going on. It's like, I'm better than you. And it kind of comes out of the dozens, you know, like your mama jokes or snapping or ranking or whatever else.

19:21 But it became rhyme. So that's why I say it's can be considered a sport as well in the likes of competitive dance, gymnastics. You know, because you could say dancing is an art, right? But when you do gymnastics, it becomes level of degree of difficulty in that thing. And it becomes a competitive. competitive event, not just an artistic event. So, I don't want to belabor the point, but let's get back to Dr. Francis Chris Wilson. And she further goes in on the role of the black entertainer.

19:56 What we can say is that we have an imposed culture under the power dynamics of racism, white supremacy. See, I can see right now in my mind the picture of Beyonce with her legs wide open at the Super Bowl for last year. It was so appalling to me, I can't get it out of my mind in terms of what has been done to us. Do you understand what I'm saying? So, we would be wiser. No, we are trying to get ourselves to the point where we can establish what we would then call black culture, but we will no longer be victims of a system of racism, white supremacy.

20:42 Now, do you think she means white supremacy as in what we've learned on MoFax white supremacy, or is she talking about the modern-day version of white supremacy? She means it just like Neely Fuller means it. And this is the cool thing about her and Neely Fuller. They were collaborators. She actually helped him write his book. She inspired him to, because he just had a bunch of notes and manuscript, you know, like just tons and tons of ideas and analysis. And she's like, you know what? You need to put this thing in a book. And they met each other, which for the producers out there, I think that would be a hell of a movie.

21:23 But if I may, if I may, I take a little bit of not offense, but I take issue with, okay, so Beyonce is standing in the Super Bowl with her legs wide. It's no different from white female artists. They're doing the same thing. You know, it's not exclusive. It's not the only way. And by the way, you don't see Alicia Keys doing that, very successful. So I'm just saying. You don't see Alicia Keys much at all. Well, I disagree. Alicia Keys is very successful. They're very successful. Financially successful.

22:04 And that's the crossover. Once she became successful, like David Chappelle said, they'll come and buy you. Once they see, okay, you're artistic. Okay. And they've done this with the two sisters, Chloe and what's the other one's name? Chloe Bailey and the other one that played in the Little Mermaid. Her name escapes me. Oh, yeah, I know who you mean. Yeah. Right. They came in both from playing guitars and singing acoustic covers. But the one sister with the Little Mermaid, they were like, okay, we can actually see you being a big movie star. What do we do with the other sister? Okay, let's make her urban. And this is where the urban thing comes in.

22:46 You hear it, it's not say that black culture. They use this term urban culture. Yes. And urban culture is linked with whores and ratchet and bees and gangs and all this negative stuff. But what they really mean is when you say urban, it's black. Of course. And now when you transcend that, you're not black anymore. Like Alicia Keys, she doesn't make music for black people anymore. It's like Wayne Brady. You know what I'm saying? Wayne Brady's black, but he was never targeted to a black audience.

23:26 And I'll call it the Flow Rotter effect, right? I'm sure you heard of Flow Rotterdam. Of course, before, of course. Right. His music wasn't targeted towards black people. Even though he was a rapper and a black artist, it was targeted towards spring break college radio audience. And this is how they do it. This is how they divvy it up. And once you start transcending into artistic ability, they come and get you. Kendra Lamar, J. Cole, no name, all these different people. Once they try, oh, you got a brain? You can think, okay, we'll come and take you away. So does this mean that despite the allure of being completely financially, creatively, and independent, independent of the record business, that Beyonce and Jay-Z are controlled?

24:16 They are controlled from artists of their status shouldn't still be touring the way they tour. They are very controlled, and this is the way they do it. They give them big sums of money on the front end so we control you on the back end. And that was the thing with Beyonce. Someone of that. Now, let me ask you, since you brought it up. wouldn't you find it very jarring to see Taylor Swift and Lingerie with her crotch jammed into the camera? Well, Taylor Swift has been doing some pretty risque outfits, but yes, I understand your point.

24:57 That's my point. And what it did was Beyonce set the tone for everybody under her. Like, this is where we're going with it. If the biggest stars are doing it, everybody's going to copycat what's under that. And that's the same thing with drug rap, trap rap, drill rap, whatever it is. Whatever the top people are doing, it trickles down because it becomes this is what the industry wants. This is what they're promoting. Hold on a second. What? Oh, yeah. A little less on Beyonce, Mo. No, we're going. Boulevard, they're getting a little antsy about where we're going with this. I know the hot the hive is going to. We're on the run from the hive. Yeah, we are. We are for sure.

25:43 But so with that laid out, we can start looking at once. Can I just say something? I love this, these episodes. I love this so much. I just need to say, I love that you put this together. I'm enjoying every second of this. I appreciate that. And like I said, this is the bedrock. So when you, not you, but when the listener and the supporters and the producers and the facts families see hip-hop, they can understand what's going on. Last episode was the power, the energy is coming out. That's what people love, that energy. What's the purpose? The purpose is to help our people.

26:26 Why is Beyonce Jamie her crouching to that camera for financial gains to help her people? I don't fault her for that. I mean, what's better? A person rapping about selling drugs or actually selling drugs. So there's no fault there because the whole intent is to help our people. But the white supremacy says, no, you can't help your people. Only thing you can help them do is be dumber. That's it. That's your only job. Make them dumber. And rap has, I've lived rap. I've lived hip-hop. I mean, from I'm probably the first generation that was solely hip-hop, being born in 1980.

27:11 I mean, I was, I don't have any recollection of nothing but hip-hop. Right. And to see it go from where I was introduced to it to now, it's a mockery and it's a, what's the word I'm looking for? A farce. Minstrel. No, it's a minstrel. It's worse than a, it's worse than a minstrel. That's good. Minstrel. Okay. That's what it is. When you take, you know, the largest audience and put these big old slave chains on them, and they're dancing around at the Super Bowl doing the crip walk and talking about how many black people they're going to kill and they're going to kill on an international stage.

27:50 Are you kidding me? Yeah, I hear you. Brought to you by a black man, so-called black man named Jay-Z. Come on. Mo, you and I have been talking about this ever since we first met. I mean, we've always said this is, it's incredible what's happening. And the fact that white audiences just take it on face value. They don't, there's not even a thought about that anymore. If you know, if you say, hey, you know, that's actually kind of a modern-day minstrel, you know, that station you're listening to and the five songs they keep repeating about black guys killing other black guys. You know, people don't even think about that anymore. The mind mindlessly sing along, mindlessly rap along.

28:30 They don't, it's not even conscious anymore. To the point where they'll say, are you really black? Yeah. Like, that's actually blackness. Like, they'll question your blackness for saying, you know what, that's not a good look for black people to do that on the international stage. You'll have non-black people questioning your blackness. Where are we going? So I digress. Let's get back to clip number two. This is the story of black popular music. And this is post Sam Cook and the new figure that stepped into that void. It's 1967. And the mastermind behind the most successful black-owned business in history has achieved his dream.

29:18 With a unique vision, he had created a music that appealed equally to black and white. He had created the sound of young America. With a musical empire based in the industrial. city of Detroit, he employed a group of artists envied across the world. My world is empty without you. The Supremes, the Four Talks, the Temptations, the Miracles, Martha and the Vandelas, Mary Wells. Respected and admired, he was the puppet master. You know, he was the guy and he was pulling the string.

30:04 Loved and feared, he was a born leader, a man on a mission. It was king, rather. The Emperor King and His Majesty and all that role in one. Enigmatic and controlling, he shied away from publicity. He knows how to use people to get what to get the job done. This is the story of how one man in the early 1960s had a vision for soul music. How he set up a small independent label called Motown, which would beat the majors at their own game. Right. Barry Gordy Jr. Barry Gordy Jr. Yep.

30:49 The original mogul. This is what P. Diddy, Jay-Z, all these, you know, so-called moguls, not to take anything away from. This was the guy. Oh, yeah. And what he did was he made a polished version of black music that was palatable to white society. Yes. And he's, I look up to him a lot, not his personality, but the way he took a manufacturing approach of quality control of, you know, developing the artist, the AR side of it,

31:36 the look. Very smart individual, very enterprising. But as we're doing this show, we have to look at the good and the bad. 360, 360 view. We have to because that's where the manipulation of the image of a person is used against to fulfill what Dr. Francis Chris Wilson was saying. Anything you would like to add before we get to number three? No, other than I am a big Motown fan. Always have been. I grew up listening to Motown. I grew up with the Jackson 5 when I was

32:18 on Sundays. When I was still in the States, I didn't move until I was seven. So always been a big fan, captured me from early on. And we love Mike. That's all I can say. But of course, you know, all these other, I mean, the Motown hits, I probably have somewhere in my collection, I probably have 20 different Motown biggest hits collections. I mean, just every single one of those songs, just all good, all hits to this day. You can still re-record them and make them hit. So just great, great songs. And the cool thing about Motown was all of this came from that neighborhood or that city of Detroit for the most part.

33:00 I mean, you had the Jacksons coming from Gary, but the earlier artists, the Smokies, the Temptations, he set up a shop in Detroit and just kind of set out and said, come here and record. And you could do this in any city, Chicago, what Stacks did down in, I think, Memphis, New York, all over the city. These hotbeds of talented people. So that just goes to show you the blueprint he set out could have been reproduced, but it wasn't. And we had to ask the question why. Yes. Why? Number three.

33:47 How even his strongest rivals in Chicago were left lagging behind. Chicago and Detroit were like gangsters. It was like we didn't want to have nothing to do with Motown. And they didn't want to have nothing to do with us. But by 1967, his empire was showing the strain of the times. With the Detroit riots came an end to an era of innocence. This is the story of Barry Gordy, Black Music's greatest Svengali, and his grief.

34:29 creation, Motown Records. All right. Pretty dramatic. Yeah, very dramatic. So that's the dramatic layout of Barry Gordy. Now we have the man in his own words. He's sitting down speaking with Oprah in Oprah's masterclass. And he kind of tells you how it came about and his mindset of creating Motown. Jackie Wilson had another hit and another hit. And I became fairly well known as the writer for Jackie Wilson, but I was not making any money.

35:10 I had to go into business for myself, borrowed money from Family Savings, which we had, my sister Esther, had set up, and no one could get any money from there. But I really wanted to open up my own record company. I wanted to do something. I had all these hits on Jackie Wilson. And they said, yes, what do you got the show for? And I said, that's the point. That's the point. I asked for $1,000. They only gave me $800. And so I could start trying to go into business for myself. You know, I found a place on West Grand Boulevard that was a photo studio with some big windows in the front, which I loved. And the garage I made into a recording studio that we call Studio A.

35:51 Kittsville, USA was a place where hits were going to be made. Only hits, no flops. My job was to get the hits. And so we tried to create that assembly line approach. And then with them being a star in their music, had to go through this quality control the same as in the factories. You know, you check this, you check that, and so forth. And that seemed to work very well. All right, you rang your bell. Yeah. That hits, no flops, and the quality control. This is what got me because as people know, in my former life, I was a quality engineer.

36:29 And when you implement things that you learn at your company into your creative process, this is what comes. I think nobody really had thought about it in this way before of the analytics behind it, of not just leaving it up to artists to make their song or their look or whatever. You always had ARs, but he had an actual flowchart. You know, it goes here. I mean, okay, you wrote a great song. Now let this person sing it. And then they go and listen to it and they have sit at his table. And there's a great documentary that talks about this on Showtime. That they would sit around the table, including himself. And even if he wrote the song, they will critically,

37:17 you know, pick the song apart. I don't like this. The hook needs to change. The bridge is great, but the verse is weak. Or that artist is not great for that song. And they will send it back to the guy. Well, I would say that. So this is one thing that Barry Gordy had. He's still alive, I think. That he has Clive Davis, Ahmed Erdogung. Even in the Netherlands, Willem von Goethe. I mean, there are what we call music men, and they hear these things. They hear a hit, and they can, indeed, they will hear a hit and say, Yeah, but Barry Manilow needs to sing it because that would be good for him.

37:59 Or that's what Clive Davis would do. Clive Davis, you know, he orchestrated in the same manner, I would argue, as Barry Gordy Jr., Whitney Houston's career. But it always starts with the song. And in my opinion, once you have the song, all the rest is marketing, packaging, and repetition. Any song that is good, you can market, package, and with repetition, i.e., radio stations playing it over and over again, you'll turn it into a hit. I swear you're from the future. Oh, no. Goggles. Yeah, we're getting there. You're a long way off. I mean, you're right.

38:42 You're spot on, but we're going to get to, yeah, not another hour, maybe another 10 minutes. All right. But you're spot on. So let's go ahead and listen to. And one more thing I'm going to let y'all Barry Gordy came from a good, successful family. As you heard, he went to his family. They had basically a family bank, and he wanted to borrow $1,000 from his family. And his family was like, oh, we only believe in you 80%. Here's 800. Isn't he half white? I thought Barry Gordy had white ancestry in him. He does. I think him and Jimmy Carter are.

39:25 family members, if I'm not mistaken. And there's a good video on YouTube. It's more of a graphical thing. You can actually look up his lineage. But I think he's tied in with the Carter family genetically. Yeah, I see. From his great-grandfather, James Thomas Gordy, who owned a black female slave named Esther Johnson. According to Wikipedia, so take it for what it is. All right. Yeah. Interesting. There's a more elaborate one on YouTube if you want to look up his genealogy. But yeah, that's he went to, and his sisters were, and it's funny.

40:06 They always say, we need representation for women in the industry. He had his sisters working with him hand in hand. And another unsung mind, I mean, you can't say he's unsung as far as success, but the ear and the knowledge of what makes a hit was Smokey Robinson. That was his best friend. Everybody looks at Smokey like the pretty boy singer, but no, he knew what it took to make a hit. And he wrote a lot of the hits for Motown as well, even if he didn't sing it. So I want to give him credit where credit's due. But let's go ahead and listen more of the process as he lays out in the masterclass.

40:49 Then we had the artist development, which my sisters set up because they weren't models and they wanted the people to look good. And so they brought in this woman, Maxine Powell, and she set up this finishing school for them, which had been unheard of. We had a guy from the Paolo shot, Charlie Atkins, who came in to be the choreographer. And we had other people, Maurice King, that was at the Flame Show Bar when I saw Jackie Wilson. He came in to do the music harmony and stuff with the temptations and all these people. And we just had this family of people coming in, all purposeful and all a part of this.

41:29 So I had a relationship with every artist, every producer, every writer. You know, I knew them and I talked to them and I would critique their songs. True enough, you know, we made hits. I mean, they felt like they were coming into a magical place. And it did turn out to be magical. People would come to me to audition for me or to sing for me or something. Their voice was one factor, the quality of the voice, their showmanship and all that. But really who they were, his people, was much more important to me. And there were many people that had phenomenal voices and were great singers, but they weren't right for Motown.

42:12 They weren't right for our family, you know. And so those people that came in that were right for the family, you know, who maybe had great voices, but weren't polished or weren't this or weren't that, you know, we knew that we would win. We would win. And we did. And the key word there is polished. Yeah. That was his real superpower. The way he created this finished, polished package that, as you said yourself, became the sound of young America.

42:54 It looked good. It translated to television, which people have to understand. Television was a new, newer invention. It wasn't exactly new. But to know what looked good on television, to understand that we only have a certain amount of space in the stage. We had to have a lot of movement, but stay in frame. All of this took a lot of genius. And I don't think that Barry Gordy gets his flowers, but I think Barry Gordy was one of the first people to get with the hit with the cancel cannon, too. Let's be clear on that. Oh, really? Oh, yeah, we're going to get to that. But he didn't do it alone.

43:36 He had help. And in this next clip, we're going to figure out who helped him to get into doors he couldn't quite get into because he was black. In the 50s, an article broke in Billboard concerning a young man called Barry Gordy, who had created, on the strength of a private family loan, a tiny little label called Tamla. Oh, yeah. Tamla, in turn, rapidly became Motown. And then finally, Gordy. The three together became a powerhouse in American RB.

44:19 RB. And it was spearheaded by two people, Barry and a wonderful character called Barney Ailes, who must have been the only white employee in the entire organization. But they needed that because in the 50s, they couldn't sell their product simply because of their color. This was a different era. This was a different period. How are they going to crack a market, even with the best music in the biz, without having somebody guide them? Barney Ailes, who's still very much with us, as is Barry Gordy, has come up with a book recording the extraordinary history of this magical musical label.

45:05 And it is called simply Motown, the sound of young America. Yeah, it's coming back to me because I remember it used to be Tamil and Motown for just a little bit. People called it that Tamil and Motown. And the Ailes character, who I think he's dead now, he was the marketing guy. Wasn't he the marketing guy? Did he open the doors? Okay. I may be wrong. No, no, no, you're right. He had multiple roles. Let's just say that. He was an Italian appearing man. If you go look at his younger pictures,

45:45 and not to stereotype, but he looked like a mob boss. He had this. He was the son of Sicilian-born barber Silvestro Ailes. Okay. He's from Sicily. Of course, there's possible mob ties there. And he had this slick back hair with this one streak of gray hair. And in other documentaries I watched on the subject, they kind of leaned into the even if they say he wasn't a mob boss, right? Or a mob figure, which was highly likely at the time because mob and music went together hand in hand because of where the music was played, the nightclubs and this kind of thing.

46:29 You know, it kind of goes hand in hand. But they leaned into this imagery to put the pressure on DJs and radio stations. Yeah, yeah, yeah. He was the connect. He was the connect with the DJs. That's what it was. Yeah. So I have this. This is why I said you're from the future, not about the repetition and the machine that goes behind a hit record. This is a recording that Barney Ailes actually cut and sent out to distributors because of a hit record that he didn't feel like was being pushed appropriately.

47:08 And yeah, so this is an actual 45 that they received. And on the tie on the label, it said play immediate like it does in the title. Now, you tell me if he sounds, and like I said, I'm not being stereotypical, but we have to take things in context because these are doors that Barry Gordy himself couldn't open that were opened by Barney Ailes. There's two parts of the clip. Let's go ahead and get to the first part. And you can stop it whenever you want to because it's chock full. And this is him talking to his distributors and applying what could be seen as pressure. Hi, I just got back from a business trip to Europe. Hey, it's Vinnie.

47:49 I got it for my business trip. And as you can imagine, my desk is piled high with important items to be taken care of. However, something so important has come up that I stopped everything in order to personally discuss the situation with you. And instead of a phone call, I thought I'd cut my first record. There'll be no 200 on 1,000 or no guarantee whatsoever. The important subject I'm talking about. Wait a minute. No 200 and 1,000. That sounded weird. Let me listen to that again. And instead of a phone call, I thought I'd cut my first record. There'll be no 200 on 1,000 or no guarantee whatsoever. That's distributors speak for money. Yeah, I think that's 20% there. 20% title.

48:34 Yes, 20% of 1,000. Right. Yeah, no 200 on 1,000, no guarantee. The important subject I'm talking about is Diana Ross's first single release. Reach out and touch somebody's hand. We have a number one record with Diana. The facts say so. We're already over 600,000 records. The reorder pattern is healthy and the airplay is strong. Everything about the record is positive and gives off good vibrations. Everything that is except one area. That's your area. Chart positions with the trade papers. Billboard, Cash Box, and Record World. Once again, reach out. and touch somebody's hand is a number one record.

49:18 In talking with the people who make up the charts, they say they're aware of its potential, but they're not getting equally strong reports from the field. The problem is that you're all taking the record for granted. We've guaranteed this record to you, and we also know you're all pros. Otherwise, you wouldn't be our distributors. So I don't believe I have to tell you there's more at stake than just a hit record. Your career, your life is at stake. Well, this is interesting because, and it's actually very interesting by today's standards because the charts

49:55 were incredibly important. They're a little less important, and also there's been change of hands for Billboard, and there's a lot of shenanigans these days, very actual. But the charts were made up of radio airplay sales and something called calls from the field. Okay. And the call. Can I stop right quick? Yeah. This is what I was excited about to hear. I knew you knew the inside workers. Continue on. Continue, please. So calls from the field is literally, you know, I think they probably compiled the chart. It's that Tuesday for some reason has been the day when those charts are compiled.

50:35 And so the chart companies, let's just say Billboard to make it easy, but it's the same basic concept around the globe, any chart. The calls from the field is what the retailers are saying. So it's not just sales, but it's what the retailers are, what they're sensing. And these guys could be influenced. And that was always kind of the wink, wink, nudge, nudge. Hey, it's getting a lot of calls from the field. Okay, what does that mean? Well, it means you went in there, you held a gun to the guy's head and said, This is a call. This is a call from the field, son. Now, not in the field. Well, you've got a record. Yeah. So, so, yeah, that was, it was a very important signal for the chart makers.

51:18 What are the calls from the field? And that gave them the idea. But like boots on the ground. What boots on the ground say something's going on with this record? And whether it's sales or not, pure sales figures, it was the calls from the field. Maybe people coming in. And I kind of understand the premise because of the small mom and pop radio record shops. We used to have one called Willie's. And you would go in there, ask, Do you have this? Do you have that? Right. They would actually push records on you. Like, hey, you heard that news, so-and-so? Yep. So I have a vision of how it works from the distributor to the customer.

52:03 It was fascinating hearing the label to the distributor conversation that's being had on this record. It's like, and it's more at stake than just a hit record. Your life. Yeah. A kneecap, maybe, who knows? Maybe a couple of fingers. And I know I'm being hyper-stereotypical, but not really. Not really. The reason why I'm doing it is because Motow and Barry Gordy leaned into the imagery. Let's just say he wasn't mobbed up. Right. They leaned into the imagery of him being mobbed up. He sounds the part you hear on this record. But let's hear what's at stake here.

52:44 More than just a hit record. You want to hear it? Yeah, let me guess. That's the second part of this important message. Play immediately. There's more at stake than just a hit record. We're talking about establishing an artist of such stature that the sales on future singles and albums will surpass even the fantastic records set by Diana and the Supremes in the past. In fact, her new album, featuring Reach Out, is already set for release. I think you get the message. Anyway, I hope you do. But I'm concerned and want action. I want you to get with your sales manager, your salesman, and your record promotion man. Immediately develop a program to make sure that the trades get strong reports on Reach Out and Touch Somebody's Hand.

53:28 Then make sure that someone from your organization gets to Gordon Prince before the week is out with a report on what your staff did to ensure the number one position of this record. We're not going to let up on you, so Diane's record is number one on all the trade charts. I also would like to take this time to thank you for all our number one records in the past. This comes from all the Motown staff. When I see you later this year, I also would like to be able to reach out and shake your hand to thank you for making Reach Out and Touch Somebody's Hand number one.

54:11 Yeah. Yeah, that's good. That's promotion. That's record promotion, baby. A lot of innuendo in there, too. When I see you later this year, I would like to reach out and touch your hand, you know, not break your kneecaps, but you know, handshake. You know, we're doing a great job. No 20 on 1,000, though. So these are the figures. And this was necessary because Barry Gordy couldn't go into those rooms. And this is where the systemic racism played a part in shaping what, you know, because if you can pick what you play, what you don't play, you can easily set the imagery for a whole group of people.

55:00 Right? Yeah, absolutely. Okay. So I'm with you. I'm enthralled. I'm excited to move forward. Now we're fast forwarding to 1990 because you have to ask the question: where is Barry Gordy? He's still alive. Why is he not lauded as this godfather of black music as he should be for what he was able to accomplish? Some people said that he was seen as a sellout because he didn't want to put out the more controversial music like a Marvin Gaye, What's Going On? In the movie, talk to me about Pete Green. Pete Green has some choice words.

55:43 And honestly, just doing my research, there was this idea that he was presenting blackness that was white-friendly. So, you know, I mean, I think Barry Gordy, I mean, he has certainly been, he's gotten accolades, but, you know, rock and roll Hall of Fame. I mean, so maybe not from BET. Is that what you're saying? This is what we were talking about before. You can become so successful that you're successful in certain circles, but not amongst your people.

56:23 Right. How is, why don't we know? And I was thinking maybe he's old and maybe lost the step. That's why we don't hear from him. But when I saw the documentary on Showtime, I was like, he's sharp as a whip. Why are we not here for him? Well, enter this Geraldo show from 1990. It's called The Ladies of Motown. And forgive me, I didn't get the lady's name who's speaking. I feel bad. But she's going to make some allegations. And this is why I said that I think Barry Gordy got hit with the cancel cannon way early because one, we know the thing between him and Diana Ross, how that played out.

57:08 They kind of laid it out in Showgirls. Oh, yeah, yeah, yeah, yeah. Right. So this is, but this predates Showgirls. Listen to the allegations. Also, listen to Geraldo not wanting to seem messy, but he wants to be Messy. Number nine. So is it safe to say that now, these many years later, with Motown having become a multinational, multi-billion dollar corporation, that you are very comfortably well off? I have absolutely nothing. Which is just really sad. This is why one of the reasons that I wrote the book, because I wanted to historically document my contributions to Motown and also to give the world a real inside look at how Motown actually happened, you know.

57:56 And I'm so ecstatic to have some of the ladies here that were actually with me there in the very beginning of Motown. Unfortunately, when Barry sold the company for $61 million, he got the money and I got a plaque thanking me for my contribution. But is it a nice plaque, though? It's gorgeous. It's gorgeous. It's gorgeous. You know, I don't want to get too much into the gossip angle of it, but you do write something that was quite extraordinary to me when you claim that at one time, Barry, aside from all his other jobs, was a pimp there in the Detroit area. Is that factually correct? Or are you talking figuratively? No, it's true. You know,

58:35 when I met him, of course, he had been a boxer and he'd worked at the Ford Motor Company, but he did have his little side job. You know, he was a pimp. Wait, wasn't that his ex-wife? Didn't she write a book about it? It could be. Like I said, I'm terrible that I didn't get her name. I'm looking on YouTube now to see if I can get her name. Ramona. Ramona. Let me look that up. But had you. while we're looking it up, had you heard this before? I had heard rumblings of this about him being a pimp, about him being a pimp? Well, did she say that in the kind of like, it depends on how she means it.

59:20 Like literally a pimp? Literally a pimp. No. No, I had not heard this. Now, I've heard, like I said, just, and this is not something I heard in the wild, is that I heard it doing this, the research, that the Gordy family had some connections, you know, kind of thing going. And people from Detroit was like, oh, yeah, that I know that are from Detroit that I know personally. Oh, yeah, that's our well-known thing. I did not know this.

1:00:00 Yes. So what I'm saying is, I'm not doing this to drag Barry Gordy through the mud. I'm saying they use this show and showgirls to kind of cancel him, to marginalize him. Because you heard Geralda say, I don't really want to get into the mud, but tell me how Barry was a pimp. Here we go. It's Barry, Me, and Motown, The Untold Story, 1990. Ramona Singleton. Bitterly accused her. This is from the New York Times. Bitterly accused her former husband whom she called the thief of dreams of denying her credit for helping to found the label, persuading her to remove her name from company legal papers, leaving her with no financial stake after the Motown label was sold in 88 for $61 million.

1:00:50 She only received a plaque. There you go. So Ramona. That's her. That's her. Yes, sir. I think it's Raynoma. Raynoma, you're right. I'm sorry. Raynoma. Yeah. Yeah. Okay. But yeah, this was on television in the 90s. It's amazing what used to be on television. Yeah. Good times. Good stuff. But do you want to continue to hear Geraldo? Now, listen, I want people to hear. We're not muttraking or getting into what they call a T. I'm showing you how they discredit this person with all this success on national TV by using a disgruntled spouse and employee to kind of tear him down.

1:01:39 And Geraldo kind of plays. And I have a journalistic responsibility. Oh, yeah. Well, I mean, she had a book out. So when you have a book out, you know, you go and promote it. And so it's salacious. You know, I haven't read the book, but I guess she had some, you know, it was canceled canon. You know, it's exactly what you said. She was, hey, he screwed me. He divorced me. I signed Stevie Wonder. I helped build Motown. I got nothing. I mean, it's the typical scorned woman story. So, yeah, I mean, she wrote the book. It got published. That's always, you know, who published it. And which that's actually an interesting question because book publishers are often

1:02:23 connected to music publishers. So now he has all this money, but his reputation is getting torn to shreds. So let's continue on. Now, producers, Facts Family, Adam, listen to the slimy tactic that Geraldo does. I don't really want to do this, but I got to do this. Now, listen, please. But did you see it as your wifely duty to participate in that aspect of your husband's business? No, I didn't participate in that aspect, but on one occasion, I did try a little something to

1:03:03 see what it was all about, to check out where he was coming from, because I really love this man, and he was my all in all. And anything that he was involved in, I wanted to, you know, check it out to see what it was about. Well, you're going to have to give us at least two more sentences on that. Like what? Like, what do you mean, check it out? Well, on one occasion, we didn't have any money at all. Nothing. I mean, we didn't have money to, you know, we had children and so on and so forth. So there was this woman that lived across the hall from me that was a prostitute named Roberta. And she had this guy coming in and she had been trying to get me to come over there. And of course, I didn't want to. But on one occasion, I did. I went there and she had this guy and she kind of pushed me into the room.

1:03:46 I was totally nauseated and sick to do this. But anyway, after I went in the room, I did. Whoa. Hey. there's a footnote in the history of Motown you didn't know. Wow. Okay. But, but, but, but I got quite a bit of money for it. More than you got from Motown when he sold the company for $61 million. Exactly. I got $17. But did you get a plaque? Well, the things people do. So she deserved more than a plaque for that if that's how she helped finance the company.

1:04:27 And this is the short-sightedness of Barry Gordy and people like him. I want to, because this goes back to the Beyonce. And it's a thing what Millie Fuller says. And he said, in the system of white supremacy, black people only have three functions that are allowed: tacky, trashy, and terroristic. And they scale up from there. You know what I'm saying? It starts off tacky, like this conversation did between her and Geraldo. Then it just went straight into trashy. You know, of how much did you get? Did you get a plaque? That kind of thing. And this is the short-sightedness of a person like Barry Gordy.

1:05:11 I would say to him, have you ever heard Donald Trump's ex-wife say anything bad about him? Nope, nope, never. Only good things, actually. You know why? Because he probably hooked him up. He said he set him up for life. Yeah, of course. That's what you're supposed to do. You're not stupid. Exactly. But they are for these smart people that you know these women have damning information that can come out against you. And this is your former wife. So there's a, you know, there's a dual motive here. You know, a person I spent life with. I want to make sure you're set up because you being set up and properly looks good on me.

1:05:57 Yes. That you're not on television, you know, selling our secrets to book publishers. You know, to I believe for her to eat. I honestly believe that. You know, she had to write this book to eat. This is what I'm talking about. And this goes back to the Beyonce. I don't want to harp on Beyonce, but the things that we do for money, that's a problem. You shouldn't have a legend on television talking about she slept, did prostitution for $17. You have to keep up, you know, the thing called keeping up heirs. She's supposed to come on his show dignified and talk about how she helped Barry and how Barry helped her.

1:06:43 And, you know, you circle the wagons, but no, no, no, no, no. Not in this system. You got to be tacky, trashy, or terroristic. And that's it. And that pretty much wraps up hip-hop in a hole. End of show, everybody. Thank you for coming out. God bless you. Good night. Just to follow that up in 94, so four years later, she reconciled with Gordy in his 94 memoir, To Be Loved, The Music, The Magic, The Memories of Motown. He did dispute some of the claims in her book, but apparently they had reconciled. So he must have said, hey, I'm going to set some stuff straight.

1:07:24 Also, did you know that she was the producer of Rockwell? Somebody. Yeah, somebody's watching me. But I didn't know that was Barry's grandson. Yeah, it's it. Yes. Kennedy Gordy. Yeah. Was that his son? And then those guys that did that wild trap music with the wild hair? I think those are his grandsons. No, I don't know. I don't know. With Lil John. You remember the two biracial guys? They were with Lil John. They did that party song. I'm going off the path, but I'm just saying, yeah. I knew that Rockwell was tied with Motown in a familiar, you know, a familial

1:08:07 relationship. So, but yeah, this is a bad look. This is a bad look. Not a good look for sure. And this is how the system works. Like you said, let's leverage something against Barry to get him out the picture while we're well 1990. They had black music in a chokehold by then. But this is how they set it up. 1972, they come along. They say, okay, who do we got to buy off? Okay, Barry's the big player. Okay. Let's drop a bag on him. And you're seeing this now with the people selling their catalogs. Everybody's selling their catalogs. You know, this is how they corner the market.

1:08:47 And in good business, this is what you're supposed to do. I'm not a hater. You know, I'm a capitalist. If you could do this. in business, it's the point that you shouldn't allow people to do this to you. You shouldn't allow these loose ends to come out and haunt you. Now, Donald Ross is a whole nother story for another day. How you know, they the same thing they did with Tina Turner against Ike. Not saying that these men didn't do terrible things, but it was a motive there for giving them a platform to air their dirty laundry. Yes. All right. So now we got to go back to the Harvard report because this guy is dropping all the

1:09:34 inside secrets. Once he figured out it wasn't a myth, and that's why I always find funny that it was a myth. And then he goes on this podcast. And if we talk about Dr. Logan H. Westbrook, the liaison with CBS and Clive Davis, and he drops all the gems. Let's pick up where we left off. This is the interview that the podcast he had where he made the revelation that he was the liaison. This is him continuing on in clip number 12. And what did the study come to mean? And how from reading your book, you saw it? You just get into the facts, but it seems that the study has become controversial for reasons that Time presented.

1:10:20 Can you talk about that a little bit? It has been. Some say that it was going to be a blessing in disguise, and others take the opposite view. As a result of that study, it was determined that the black music, it was a viable market. It was something to pursue. And as a result, CBS expanded, expanded their black music marketing division. And as a result of that success, all of other major labels did exactly the same thing. They created black marketing divisions. And what that eventually led into the hiring of more than a thousand black male and female executives in the music industry.

1:11:06 Yeah, sure. Blueprint. They bought all the talent off. It's kind of like when Vegas goes and brings all the bookies in-house. Yeah, he brings the casino. Yeah, of course. It's where you want him. That's exactly what they did. And he helped with the blueprint. I can see why now he wouldn't have lay the story out that was a myth because I'm sure him being as intelligent as he is, he can see that he let down the drawbridge across the malt. Let's continue on with 13. Then it was the racialist nature of the country. That's just the way that things were set up. And things were completely separate.

1:11:49 That even led into radio stations where you had the pop radio station and you had the RB radio station. And the pop stations, known as top 40, only played white artists. And the RB stations only played black arches. And then from the standpoint of marketing and sales, it became a question of how can I, as a representative of a black record division, cross my records over to top 40. And of course, from a marketing standpoint and a sales standpoint, it behooved me to get my records crossed over.

1:12:33 Reason being, on the black radio station in every market throughout the entire country, the black station was on the far right-hand corner of the dial. Every last one throughout the entire country. And as a result of that, that signal on the far right-hand corner of the dial was the weakest on the dial. So consequently, that is so fascinating. Wow. It's like redlining of radio stations. It's true. Technically true. Do you want to explain the implications of what they're saying? Yes. As far as, I mean, some people might not know how the frequencies in radio and that kind of thing works.

1:13:14 Yeah, it has to do with wavelengths and the length of the antenna, which you want to be tuned to the same length as the transmitter antenna. And it's typically on car radios, car radios, and transistor radios at the time, would be more tuned for 90 through 100, I'd say. You have to tune it somewhere to kind of like the optimum length because it's, you know, it's a there's a lot of bandwidth there. I mean, this is all technical stuff. So that's why classic. classical stations usually very low on the band because they need a very clear reception.

1:13:58 Now, at a certain point, actually, you get below 90, you get to 89, 88, it goes out of tune again. That's why the college radio stations are shown at college. That's where the college stations go. Exactly. So it was just, it's just a technicality. And so really, the good useful band was between around 91 and I'd just say 101. And anything above and below that was just going to be less. So you either needed more power or a higher transmitter antenna location. But obviously,

1:14:37 now those frequencies are handed out. They're owned by the Commonwealth. So the FCC would be the one to assign that in each market. So is that a fair statement to say it was a version of redlining? I can see how they got there, but I just want to get your opinion on it. I mean, now, I mean, these days, of course, with bigger transmitters, it doesn't really make much difference. And now we're moving away from FM broadcasts altogether. I would say it was because there were stations that were established already. And then the quote-unquote black stations came in. Well, you need a place to go. You can't be sitting next to everyone else.

1:15:18 And because that could create interference. As you know, some markets, it's every two clicks of the dial, you got another station. So they, by default, had to go into the higher or lower, you know, higher regions. So maybe later to market. I don't think it was like, yeah, let's put those black stations up there. I don't, that doesn't sound like a true redlining to me. But it would depend on. I can buy it. You know what I mean? But, you know, BLS, 108 or 107.5, I think in New York, you know, way up there. That almost became, I would say, it worked to the black station advantage. It's like you come into it, you roll into a city. Well, where am I going to look on the dial? I'm going to look above 105.

1:16:00 105 probably was country. And then above that would be the black station. So it became almost like, hey, that's where you don't even want to bother with anything below that. So it was also a benefit. It's interesting that you say that because no matter where you went, you can kind of look at 107. Yeah. And that's look for 107. Foxy 107. Like in Durham, North Carolina, that was the one. Foxy 107. And then they end up getting 104 as well because I think they bought it out in a merger or whatever. But 107. Am I 7.9? My friend. 108. W-B-L-S.

1:16:42 Yeah. Frankie Crocker. Yep. Yeah. Yeah. Yeah. But I remember hearing what this brought back to me was the so-and-so, the center of your dial. You know, that was the call, the call line or whatever for the station when you hear this. And I'm sure people are like, what in the hell are they talking about? A dial, you know? But you had to, you know, we had to be in the old cars. We had to spin the wheel to get this to get it going up and down. Yeah. We're dating ourself. But I just found that as an interesting fact. And this is kind of where the crossover thing came. We're trying to get our songs on mainstream, which that's another interesting word now when you look at it

1:17:27 through this lens. But my issue is like you saw it the way I see it. If 107, we can brand that as our area, let's keep it our area. But I can't fault them because they're in the mindset of growth, scaling, the scale of scale, you know, like any business. Right. But you end up getting bought out and compromised with the ambition of scaling. I think that's the, you know, that's the, that's what happens. Yeah. You make concessions. Yeah, sure. So let's continue on with 14.

1:18:09 It's like redlining of radio stations. That was it exactly. Square hands, wherein in the center of the dial, the strongest signal, all your top 40 stations were located in the center of the dial. So consequently, I, as a record company executive, I want to get my records crossed over so they will be playing on the top 40 stations, reaching more and more potential buyers. That was my purpose to cross those records over to the top 40 stations. And you have a great anecdote in the the book about sometime having to use muscle to get black acts played on top 40 stations.

1:18:51 And that was the story of Motown. Barry Gordy had all these major hits on black radio stations, but top 40 stations, particularly in the South, would not add them. So Jerry Greenberg put the prayer, who was a media buyer, put the pressure on him and said, if you don't start adding these records to your playlist saying this to the top 40 stations, we're going to stop advertising on your station. And that sort of opened the floodgates where they started playing Motown Records. And then, you know, so they had to use a little muscle to get in there. Hmm. Okay. Muscle or just pure bribery or payola, as we used to call it. Yeah. So we got muscle from what's the other guy's name?

1:19:35 Barney Ailes. Right. He's muscling from one direction. And then you got the advertisers muscling from another direction all to help Barry Gordy. I find that interesting. Well, it's nothing nefarious. I'm just saying it's interesting that Motown was picked for these individuals to put their muscle behind. Well, Motown had the product. I mean, the pro, I mean, the key point there is they were selling 600,000 records of Diana Ross, and he wanted to sell 6 million. And he was even like, we even know how much the distributors made. 200 of 1,000.

1:20:16 So, you know, there's, yeah, it's money. It's money, money, money, money. And influence, which we always talk about. This is one of. Well, sure. I mean, so this is politics and all kinds of stuff gets involved with the music business. I mean, we see that. Am I ahead again? More gauge? 17. No, go ahead. See, go ahead. 16 or 7. We're at 16 or 17. 17. 16 is a straight. It goes somewhere else. The funny thing is that white kids were listening to the black music stations in that town. And so it was sort of crossing over against people's will. So they got to a point where they could not any longer ignore the white case and the purchase of black music.

1:21:02 Exactly. That was it, exactly. Crazy. Now, in your book, you talk about a meeting where you mention that CBS is not infusing any money into the black communities that were making it rich. And they thought you meant payola. You meant scholarships, training, business investments, etc. Is this emblematic of the disconnect between white folks and black folks, where white folks just don't get it? That was it, exactly. As a matter of fact, that scene that was planted then eventually led to CBS hiring a vice president to deal with nothing but giving monies to certain projects in the black community.

1:21:43 It was a guy named Baron Taylor. And eventually that was his 100% job is to pass on monies to different organizations in the black community. You know, this is funny. And not even in a ha-ha way, but when Spotify started doing podcasts, which I can argue they failed at, at least financially, they started handing out $100 million grants to so-called black podcasters. Now, I don't even think they actually handed out the money, but it was the same thing. It was grants. It was, you know, the music company. This is how this is how it's been operating forever.

1:22:25 Charlamagne was one of the big recipients of one of those deals. Figures. Makes total sense. And he's locked and loaded for the rest of his life. And he also created a team of podcasters, the pod bullet. Yeah, that he gave platforms to. Yeah. Yeah. So they can elevate and amplify the voices that they want to be heard. It's not like a natural in-the-wild kind of thing that, you know, the cream rises to the top kind of thing.

1:23:04 No, no, no. That's bullcrap. Now, we actually were having an argument before we even started the show, which we're not going to get into. It was about AI. No. It doesn't matter. But going back, as long as the product, and I've learned this all over again in the past two months, you know, with this value for value music stuff, I started a show, Boostagram Ball. And I re-realized that as long as the song is good, if you hear it three times, you're going to wake up in the morning, you're going to be singing that song. Imagine if you hear it three times. 300 times. As long as it's good, it can be a hit.

1:23:45 It's packaging, it's marketing, and repetition. And that's that's what's going on here throughout music history. And I would like to give a boots on the ground report that if you're a captive audience, they can make anything a hit. Correct. It has to be really bad for it not to become a hit. Absolutely. Because if you are solely reliant on the radio, which I think black radio was probably one of the biggest spreaders, it's a super spreader of propaganda

1:24:27 there is because one, it's free, two, where it's used, whether it's in the car or on when you work in warehouse jobs, easily available, easily available, barbershops, that kind of thing. You cut the radio on, and it's kind of with you all day. And now you understand why the music business has been captured. Because, how does that happen today? Because let's just say radio is less important than it was. It's becoming less important every minute. It's the algo, it's the YouTube algo, it's the Spotify algo. It's all about the algos. Who controls the algos? Well, go look at who owns Spotify.

1:25:10 Suggestions. That's where it's at now. Well, you like that song? You might like these other 10 songs. That's algos. It's all algos, which is why I like going back to the old school. The DJ. The DJ is the one that does the selection for you. And you'll tune into a DJ. He's your algo. He's your discovery algo. But it's transparent. You know, it's not like something behind the scenes because the cream never rises to the top. The cream sits like cement at the bottom. But even with payola, the DJ still had his reputation on the line. Correct. He couldn't play trash.

1:25:53 Now he might take the one with the $100 bill in the record sleeve and play it first or, you know, or when it first comes back from break, but he can't play complete trash. No. Because it's like you were picked as a DJ for your taste. You were the algo. You were the curator of a sound. Exactly. Now there's nobody to blame. You know, you can't say, oh, it's even worse. The music business these days, you've got to pay to be on playlists. There'sn't, you probably know this, but there's entire companies you, you know, you pay. Oh, it's like you want to be on this playlist.

1:26:36 Well, you got to pay me $1,000. Okay. Now you're in the playlist. That's how it works. And these are playlists that are popular playlists that by some magic get promoted by Spotify. Oh, popular. You know, the algo is not some magical thing that lives on its own. No way. No way. It's all controlled. And it was a little bit of consolidation that happened before the algo. I like to take this time since we're having a radio conversation that it was this thing called record pools. So, because when I was making music, you know what I'm saying, in my early to mid-20s, they had these record pools, and you had to pay your money to get your record in the record pool

1:27:20 to be heard by DJs. Now, they worked at radio, but they also, the bigger, bigger vehicle were mixtapes. Yep. So you would get your record in the pool, which you had to pay to get it in there. They would hear it and then put it on their mixtape if you know, if they felt it was good or if you had interactions with them, aka Payola, for lack of a better word. But Payola is not the exception. It's the rule. I agree. It's the rule. It's how it works. It's how it's always worked. When I was a DJ in Holland,

1:27:59 which was arguably very professional, even though it was government controlled, but every Monday morning, all the record label reps would come in, the pluggers, as they were known, the record pluggers, plugging their records. And they would, you know, say, hey, and it would be, you know, okay, CBS, your turn. You say, hey, guys, you know, they got this hot new thing. And he'd play a little bit and we'd be like, hmm, okay. And part of that meeting was also to choose the record of the week, you know, that would get play every other hour, which, of course, everybody wanted to get that record of the week status. And But it was actually quite sincere. Now, at that station,

1:28:41 if a record guy said, hey, I'll take you out to lunch, you had to pay, and my boss would reimburse me. That's how strict they were. It's like, no, you take nothing from these labels, nothing, not even a picture disc, not a t-shirt, nothing. You don't take anything from them. So there was really no payola, but you did develop a relationship. Hey, I can get Diana Ross to call into your show. Oh, cool. I want that. All right. You know, so you'll play the record, right? Of course. So that kind of stuff. That's how it was done. Not really payola per se. You know, I never got Coke or Hookers. Damn it. I missed out on all the good stuff.

1:29:22 But, you know, and these days, there's still a few independent record promoters, and they will have, quote unquote, have eight stations. So it's that guy's job. There's one who lives in Austin, a dear old friend of mine, Greg Lawley. And he will, here's how I met him. I had the top 30 hit lists, Adam Curry's top 30 hit list. And it was a syndicated radio show on stations all around the country. The stations got that show for free. And then they were able to play two minutes of commercials per half hour, their local commercials, which they could sell. It was like, hey, you can have an ad on Adam Curry's top 30 hit list. And I sold the rest nationally.

1:30:07 So I had Pepsi and Reebok and sponsored like that. But in order to clear my station, to clear my radio show on the station, they would always say, yeah, well, come down and do the morning show or do this or that, which is a huge pain in the ass. So then Greg Lawley, he would have all these acts, which he represented, Marky Mark, and the Funky Bunch, Sisters with Voices. Remember them? SWV. Oh, yeah. I mean, I can go on and on. I forget all of them, even UB40 at one time. And so he would organize and pay for these big summer jams. You know, B94, Summer Jam, Sisters with Voice. You beat me to it. And hosted by MTV's Adam Curry. And so then the station would clear my show for a year. And

1:30:51 of course, they would play the records of all the acts. And he usually had a new one in there, one or two new ones. So he'd have, you know, Marky Mark would be the big, you know, good vibrations. He'd be the headliner, all track acts, by the way. And, you know, we all sit in the motel room. It was, it was no different from the 1960s Motown. Exactly the same thing. I was the DJ. Everyone had a stake. Everyone had a reason to be in it. And that's how it works. That's how it's always worked. Now it's a little different because you have one music director who controls 20 or 30 stations across the nation. Well, that's you have the program director, the MD. So the PD, you know, the PD is above the MD.

1:31:34 So the PD usually gets all the money and he tells the MD what to do. The MD gets to hang out with the artists. So he'll program one song on 30 stations at one time. So it's kind of inverted a little bit. It used to be decentralized. Now, you know, you'd have to go out. Now it's just one guy and he controls it all. And, you know, with all the shenanigans you can imagine. But usually we got a call from the field. What's the call? Oh, man, it's hopping on YouTube. It's popping on Spotify because they control the algos. So it's all so bottom line: don't get into the music business unless you come to value for value music.

1:32:11 There is no music business to break into. And I would like to make one final point: it's amazing that I have been working on this show forever. And the fact that I didn't even know about, you know, what you, your, your music show that you were doing. Oh, he works in strange and mysterious ways, Moe. There's no rights, no coincidence in the kingdom, my brother. When I first heard, oh, that, whoa, hold on, like, what's going on here? You know, this is lining up. You know, the stars are aligning too well. I think we stopped at 17. Yes, we did. Let's go ahead and get into 18.

1:32:50 Again, it was community involved. And the way that that first came about was when I was the head of the division there at CBS. And I had a friend of mine that was a new colleague. He was in high school. And he was working for a national company. And this company he was working for, he came up with an idea to sponsor the Black Caucus show in Washington, D.C. And this is the very first time that it was done in a major way. And he and I produced a show as a fundraiser for the Black Conker.

1:33:29 Caucus in Washington, D.C. And his lighting that show was Isaac Hayes and you from the Stacks Acts. Don't Kane's friend of mine, he was the MC of that show. So it was a very, very successful show. And as a result of that, they started doing that show on a regular basis every year. And it became one of the major fundraisers for the Black Caucus there in Washington, D.C. Again, again, we were emphasizing community involvement. That's what we were emphasizing. And the same thing even extended into on a local level. Let's take Chicago, for instance.

1:34:05 If a black politician is running the office in Chicago, it was my responsibility to get my black artists to work along with that black politician so that when he or she would hold their rallies, that artist would be there to perform to attract additional people to hear what that politician had to say. And we duplicated that throughout the entire country. Still happening today. That's how you get Jay-Z and Beyonce to come out and support Hillary Clinton. I think they've gotten smarter since then.

1:34:48 Instead of supporting candidates, it's initiatives like LeBron in 2020. It was about the NBA and LeBron helping to get the vote out. He didn't go on stage with Body. So I think they're getting smarter now. They learn from the Puff Daddy, Voter Die, and those initiatives that people are getting a little, people are getting smarter. They're getting hip. So we need to mask it better. But this is your politicians right here. This is your politicians, the record labels, everything.

1:35:26 And wonder how this ties in to the theme of the episode is that they won't allow us to help our people. Everything from the money to the political influence to everything is hijacked. Yeah. It is. I mean, how is it you have a Barry Gordy in the 60s, but you don't have that now? Who's the Barry Gordy now? It sure hell ain't Jay-Z. No.

1:36:07 And I'm not beating up on Jay-Z, but he's the top of, you know, he's the biggest Boulet member, you know, that we see public-facing Boulev member. And what did he get to do? He got to be a basically event planner for the Super Bowl. And look at the type of show they put on. Yeah. Well, I mean, I think it's so consolidated at this point. You know, all the labels own Spotify. It's just a fact. Right, right. And that's the new radio. Basically, the tape apps are the apps are the new radio.

1:36:49 Yeah, but Spotify is the king. And Spotify is the king, but famously makes no money. You know, because it's almost like legal money laundering. It all goes through Spotify into the labels. They owned it. They owned all the stock when it went public. They probably own all those crappy little companies that you have to pay money to get on their playlist, et cetera. Fake streams, all this stuff. And it's one big giant. Actually, it should be investigated for anti-competitive behavior.

1:37:28 I don't know if you really have the Barry Gordys anymore, because we know as long as it's a good song and because of today's technology and tomorrow's AI, I'll throw that one your way, Mo. It'll be, there's a lot of product. There's a lot of product. There's so much product, but you can only promote so much. Because it still costs money. You still got to throw them on the road. You got to do all that stuff. So they pick the ones they like. Maybe the ones that are most malleable or most packageable for all the ancillary goodies like politics.

1:38:10 And you have to be smart, but not too smart. Oh, God, no. That's the thing. It's like the balance. It's like you have to appear to be smart, but not smart enough to read a record contract. Correct. understand what you're signing. Or now it's gotten to the point going back to my menstrual statement. I'm shocked, literally shocked when I saw it coming. The degrading intellectual content of hip-hop. And this is a little foreshadowing for where we're going because there's words I learned from rap.

1:38:55 The way they used it in the context, it increased my vocabulary. Everybody was all about being informed, dropping what they call dropping jewels, information. I learned about the Illuminati from rap. I learned about, you know, all these things. And then now we're in 2023. And it's the artists that they pick, handpick, rapping about their booty hole is brown. Well, I mean, you don't, if CNN is out there and available, you want to own it. You want CNN to push your message. But this is not even CNN.

1:39:36 This is the equivalent of, I'm glad you brought up CNN. My uncle used to watch CNN from wall to wall, you know, every day. Yeah. And there was interesting stuff on there that was happening in the world. If you turn on CNN now, the content is so stupid. It's like, how did you get from where it's there to down here that is so low level and low brow? And I'm not being an intellectual snob. I'm just saying, how do you digress? Is it the people are digressing and you're catering to the audience? Or is it this weaponization of

1:40:18 stupidity to bring people down? Well, there's two sides to it. One is Rupert Murdoch figured out that you could cater to one side and be very successful with half the country. If we just talk about cable news in this case, CNN feigned a little bit of, oh, we're in the middle, but they're not. In fact, being in the middle is not very profitable. News, this started when news was no longer a lost leader. CBS news used to be, you know, it would cost, you know, $12 million a year, which is a joke by today's standards, but to produce it.

1:40:59 And that was $12 million CBS threw out the window, but they wanted to be the station that people came to for news and stuck around for all of their entertainment. So in particular, political advertisements. The biggest money maker for cable news is political advertisements. Billions of dollars in a cycle, but even there's cycles all the time now. So, you know, it's money. It's just, it's just pure money. And so then you give people dumbed down content. People become idiocracy, you know, dumbed down. It just, it just starts. This is why podcasts are popular. People are getting something else. Oh, you know, in a way, podcasts are the new hip-hop.

1:41:43 There you go. And we're the hip-hop of the new hip-hop. Damn. Exactly. You can't get more hip-hop than this. Because hip-hop is a counterculture. Podcasting is a counter culture. The more things become polished and perfect and the big screens and the $5,000 suits. No, it's two microphones, two laptops, and a handful of clips and conversation. And it's not a script. We're not coming. Let me get my line in. I have a great joke written out.

1:42:24 We don't know where this show is going. It might go off the rail. Who knows? But it's authentic. That's what people want. People want authenticity. But this is what's. It's in our DNA. It's in our DNA that we want that. But this is what scares me because we're headed. I mentioned before that hip part of hip in hip hop is also hip. You know, being know what's going on, you know, what we call woke, you know, being in the know, knowing what the slang is. When it becomes so hip, they have to dumb it down with drugs.

1:43:08 And you mentioned this before. And in this time in the 60s that we're talking about, psychedelics came. Right. Woodstock came. And it kind of. ketamine. Ketamine is the new drug. Right. And DMT. And, you know, and they're bringing back mushrooms. And I'm waiting for LSD to make another circle. They did this because they said they're getting too smart. At the same time, I don't think the stupidity is natural. Let me just say it out there. I think these kids are smart.

1:43:51 These kids want to live in communes, I think it was called. They want to eat organic. We can't have this. We have TV dinners that we need to sell them and be with. No. Yeah, yeah, yeah. You're right. Yeah. Let's dumb them down. Let's drug them up so bad that they're dumbed down. And then we'll put a bad rap on them like with Manson. And that they'll go into, you know, like the hippies did. They'll go into the shadows. And I got a strange feeling that we're going to see a repeat of this. Oh, the more things change, the more they stay the same, Mo. Yeah. It's just another cycle. It's a cycle. Totally. Totally.

1:44:34 All right, 19. And talk about the Congressional Black Caucus because you continue to remain involved with politics, correct? Yes, I did. And so, what are some examples of maybe folks that you helped get elected or ways that policy policy? The founder of the major show that I was involved in was a fundraiser for Coretta Scott Queen in Atlanta, Georgia. Anironically, Governor Carter was the governor of Georgia at that particular time, which is the first time that I had to meet him. And that entailed sort of included, brought

1:45:18 Douglas McCartney in to what CBS was all about. And then seven years later, when he ran for president, he came to Los Angeles, California. And he was looking to get tied into the black community and the black power brokers. And of course, at that particular time, I did not have the account or the know-how to put that together. But I did have a very good friend, a guy named Clarence Avant, who's known as a black godfather. Yeah, I saw his documentary. And I put Clarence Avant with Jenny Carter. And then the rest was history. Because Clarence Avant had all of the keys to everybody. Now, there's something I have to bring up here.

1:46:05 Because today, obviously, even though hip-hop, all music forms are controlled by the algorithms, YouTube being, I think, one of the major places followed by, you know, YouTube can get stuff going. TikTok, actually, I should say, is probably even more important for the record industry to create hits. And then you want it on the playlists on Spotify to really cross it over, et cetera. Something happened. Well, so we still have lots of people, lots of artists. I'll just say hip-hop artists on YouTube, on TikTok, maybe even more on TikTok, creating their own stuff, which has, you know,

1:46:47 probably won't be picked up by a record label for a whole bunch of reasons. But with the mugshot photo of 45 Savage, I'm seeing such a huge influx of hip-hop, Latino music videos, all now all loving Trump. He's a brother. He's black now. He was in jail. He gets it. He's part of the family now. Do you think that that will really make a difference in the coming election?

1:47:30 This lends to the theory that Neely Fuller said about tacky, trashy, and terroristic. Soon as Trump became tacky and trashy, he starts winning to a certain segment. Now it's been black conservatives and even the anti-vote blue no matter who crowd that was like, you know, Trump has some points. But as soon as he became tacky and trashy, and you want to slump criminal in with terroristic, oh, that's my guy now. Oh, yeah. Yeah. Yeah, but will they vote? Well.

1:48:15 as we talked about in this show, it's not about voting, it's about not voting. Correct, not voting voting for the Democrat. Yeah, you're right. You're right. This is what has them scared silly because if it, and this is how fast things move on, I hate to say it like this, our side. Um, I'll take skinny jeans for instance. They're out wearing tight pants. They're out. I hear they're out. Well, their legacy is still here because I grew up, the bigger the better. The more fat, the bigger your jeans, the better. Yeah, you're from the crisscross generation. Yes, I'm going from cross color all the way up through Rockaware jeans.

1:49:00 And they were, you know, you could put two legs in one pant, you know, one leg. But all of a sudden, skinny jeans came out of nowhere. And you baggy jeans disappeared. Yeah. Or they became dad jeans just overnight. And when I'm not talking about the pants, I'm saying how fast the culture shifts to what's cool and what's not cool. It happens overnight. And this is the thing about being hip because what was hip yesterday is lame and square today. Right. So Trump could easily become, and I see it slowly happening,

1:49:46 so trashy and terroristic, which they thought the mug shot was going to be a negative. Yeah, it turned into a huge positive for him. Right. Because it's multiple levels to this. One is the people that are informed on politics and following what not just people that watch the headlines and watch clips of news. It's like, hold on, this is unfair. This is evident of the two, the multi-layer justice system. It's more than two layers. Right. This is evident of that. This is the educated.

1:50:26 This is the informed take. But the fact that Trump was locked up in Atlanta and he got out and like, yeah. Now, I'm the bad guy now. I'm the same way people gravitate to the Joker. It's like, hold on. I thought Batman was the good guy. But the Joker is just as popular, if not more popular. And, you know, the cool ram realm. So I'm seeing this, you know, just from what I'm seeing, what people send me. But is it really alive that way from your experience?

1:51:07 Yes. Okay. But for multiple reasons, because it's like, if you're a content creator, saying something controversial helps you stand out. Right. So if I want to, you know, get views, I'm going to do something or say something that's so controversial. And what's the most controversial thing you can say? A black person supporting Donald Trump. Right. While being cool, it's not Thomas Sowell, you know what I'm saying, supporting Donald Trump or Elders, Larry Elders. This is somebody that was cool or considered cool supporting Donald Trump.

1:51:48 And I'm sure the word has, if I'm a betting man, I'm putting my money on Vegas in Vegas that the word went out to artists. Don't you jump on this train? Oh, no doubt. No doubt. Yeah. But take that. So you saw how little Wayne and you saw how they were lambaxed for even taking getting him out of jail. No, you're supposed to stay in jail before you ask Donald Trump to get you out. ASAP Rocky, Lil Wayne, those kind of things. So I'm sure the word went out and just to tie that back into what we just heard of the politics and the record labels.

1:52:30 I'm sure there was a memo that went out to say, no, no, no, supporting Donald Trump. Now, who will be the first artist to do that? Just like the F Donald Trump song. You remember that? Yeah, of course. Yep. The guy that wrote it, one of the guys that wrote it, not Nipsey Hustle, but the other one. He came out and said, you know what? Trump ain't really that bad. So this is how this, and this is pre, this was pre-the mugshot. So Trump has went full circle that he was so hated that he's becoming loved.

1:53:09 But it's under the. Under the guise of being tacky, trashy, and terroristic. And he was loved by hip-hop in the late 80s and 90s. New York hip-hop guys, they were doing songs about or incorporating Trump all the time as, you know, as bling, as a measure of success, you know, like Trump Towers, you know, Be Like Trump. I mean, that was in all the songs. Because the lifestyles are rich and famous. Yes. Yes. Pull up in a town car. Right. With a driver's service. You pull up in the Lambo and he got the gold ceilings. It's like, yeah, but what is that considered to owe money? That's tacky and trashy. You don't do that.

1:53:52 No. And that's why Trump was not allowed in the NFL. That's why he was not accepted amongst his peers on his economic level because he's seen as tacky and trashy. My God, they must be so afraid of that guy. They must be so afraid of him. So afraid of him. Especially with the one term, too. That's the scary part. Yeah. I don't think we in recent history, I don't think we ever had a president that was going to get elected and only was going to serve one term. Well, Bush Sr. only served one term. But I mean, he didn't come in knowing he was only going to serve one term.

1:54:34 No, no, no, no. It's a very scary position. Mr. 45 Savage. And even the 45 Savage. Yeah. When I said that, people giggle and laugh. It's like, oh, that's funny. You know, it's because it's lending to the hip-hop, you know, the 21 Savage. Yes. So, yeah. So, oh, that's funny. And it kind of diffused the mind control that was around Donald Trump. All right. I think we stopped at 19. I guess we can thank some people. First, the white man and the black man have to be able to sit down at the same table.

1:58:56 We've talked about the crossing over of black music into white society. Now I would like to look at the inverse of corporations and their mindset at the time. And this comes from 1954. But there was this instructional video, I guess it was sold to department stores and things of that nature of how to sell to the Negro. We talked about this before, but I don't think we actually played the clips. Okay, here we go. Here is what sales psychologists have to say about selling to the Negro. The secret of selling to the Negro is expressed in one word. That word is recognition.

1:59:38 Now, there's nothing unusual about that. People want to be recognized. They need recognition. That's basic in all of us. But perhaps because he's had so little of it, the Negro needs even more. He needs to feel important and appreciated. This need is a very real and important one. It shows up even in many of the Negro's shopping habits. Anyone who sells or wants to sell to the Negro customer should know about some of these habits. Three habits in particular play a big part in every sales transaction. Oh, man. I'm just going to guess that these three habits are used to this day. Just guessing.

2:00:19 That would be a good guess. But I want he mentioned the word psychology. So they sit down and study, I'm sure they do most people. Of course. But specifically, the reason why I use this clip is to show you that they didn't want, and when I say they as the capital they didn't want our music venturing over into their children's ears is why they built this wall up. But at the same time, they want their products and everything to come into the blower community.

2:01:00 Yes, of course. To the point where they come up with these three strategies of how to sell to the Negro. And let's just see if they still hold true to in 2023. To begin with, most Negroes buy by brand. They ask for products by name. They're quick to turn down off-brands. Buying by brand. That's the first important Negro buying habit. Now for the second. The Negro buys good quality merchandise. Symbols of quality and prestige are very important to the Negro customer. This woman, for example, is buying fine crystalware, but she is also buying the admiration and approval of her friends and relatives.

2:01:41 Listen to her thoughts. Isn't it beautiful? I can hardly wait to show it to Allie and tell him. It's a well-known fact that many Negro customers are influenced by the opinions of others. What their friends may think of a certain item often decides whether or not the sale is made. So remember, the Negro buys quality merchandise. That's the second important point. And here's the third thing to remember when selling to a Negro customer. When he specifically asks for one thing, don't try to sell him something else. Don't try to switch him at the point of sale. If you do, he'll probably react something like this.

2:02:21 Doesn't he think I've got the money to pay for it? The Negro resents being offered a substitute. He wants to be sold on quality. Wow. Gucci. Right. And Kaye had a famous line to say, we buy stuff just to say, you ain't up on this. And that's almost ingrained in hip-hop. Like these J's or Jordans came out next week. Yeah. You ain't got them. It's like, how do you get them next week? You know. like, but that goes to show that these corporations understand

2:03:07 how to sell to us and how we will receive being sold to. So, this is why you have small artists sign with big record labels, even though that record label has a track, I'm saying, has a track record of, and I don't use this word lightly, but this is a term used in music, a raping artist. You know, yeah, he got that one broke now, broke now, broke now, but it's Atlantic. Yeah, but it's Interscope, yeah, yeah, but it's it's it's Death Jam. Yeah, I ain't signed the no limit.

2:03:49 What's a no limit? Yeah, even with no limit, they had to come in and they made cash money seem like a uh independent like no limit was, but there was big money behind them, yeah. So, this is why it just may seem crazy. Like, why do people keep falling for this same thing? And it's that insecurity and the need for recognition while artists sign with these record labels and while we buy their material. It's like, who? I never heard of him, I've never heard of that record label, I've never heard of whoever. I'm going to sign it, Def Jam. It's like, why would you do that? I mean, look at their track record.

2:04:33 They've they honestly, I wouldn't sign a major record deal. This is why I've never, ever planned to sign a record deal ever. I said it on the last show: one, I'm not signing something I don't understand, and I know it's way smarter people than me that's been gotten got by um by record deals. So, why would I put my name on something where they own my name, image, and likeness? No, that's not gonna happen. But the fact that the way they do it is, don't you want to sign, you know, with Def Jam, the Long Legacy, you know, the L L Cool J, sure, the run, you know, and that's the recognition part of it.

2:05:17 And they know in your mind how to play that game to get you to sign. And then they also use hip-hop with brand recognition to say, Oh, this is associated with so-and-so. This is Drake, you know, Drake where's Jordans or Nikes or whatever, you know, Kanye and Adidas. Now, Adidas needed Kanye more than Kanye needed Adidas. Did you see they had to come crawling back? Did you see the Nike movie? No, I didn't. Oh, you gotta watch it. I didn't know they had a movie. Well, it's a movie about Nike and how they signed Jordan. So it's really about Jordan and Nike and how they, you know, how they changed sportswear.

2:05:59 Because Jordan wanted to sign with Adidas because Adidas was cool. Everybody wanted to be with Adidas. Especially at the time with Run DMC. This is the association. I mean, I don't know. I haven't seen the movie. You need to see this movie. You need to see this movie. I'm putting it on the list. You would love it. But that's that name recognition. Run DMC was associated with my Adidas. So it would have been logical for Jordan to sign with Adidas. But it was Jordan's mom who convinced him differently, but only under the auspices that he got a piece of every shoe sold.

2:06:35 As you're supposed to. Yes, of course. Of course. But you know, the funny thing is now when they sign these artists, the art, and it's down to science. Oh, yeah. They'll have the artist there. They'll have the pen and the contract. And they'll have you with your lawyer that they paired you with. The label. Their lawyer. Here's your lawyer. And it's like they're sitting there. Am I going to sign or not? And then you sign your life away. And that's the, you know, I'm signed now. And I never understood like, what's the point of being signed? I don't, I don't get it. This is the revolution we're right at the forefront of value for value is happening.

2:07:18 Masterpiece said it best. He said two things. He said, one, if they offer you $2 million, you're worth four. Yeah. So that's always remember, you're always going to offer you less than you're actually worth. And two, he said, 15% can't pay my MF rent. So it mean, like, no, I'm not going to take a 15% deal. No, you take 15% and give me the 85%. You just do my if it's even 15, it's usually like 4% over retail. It's not even 15. It's much less. It's horrible. Right. So let's think we wrap. wrapped up with the how to sell, just so we can get the mindset of how corporations look at black people and how to sell to them.

2:08:03 But as always, there's somebody that doesn't go along with the program. And I'm doing, this is some of my favorite people. You know, Barry Guardy with the mindset of, you know, honestly, the way he ran Motown is kind of how I do my show. I put the clip list together and I'm very critical. You know, it's a process. You have flow charts. I don't do flow charts and everything. I know. I know. I know how you do it. I know how you do it. So that's the thing. And James Brown, just to let you know who the next clip is about, listen to how he was speaking and how he felt about independence.

2:08:45 Brown is one of the very few entertainers who personally controls his own fortune. His near-tyrannical approach to his business affairs has shown that a black entertainer's future need never be confined to singing and dancing for the white market. In 1969, the year the United States National Business League named him Businessman of the Year, he was quoted as earning $8 a minute. There's no check positive. He owns a fleet of 30 cars, private jets, real estate, and radio stations. Cash and money all. All cashier checks. Cash and money all the cashier checks. Such public acquisition of wealth in the United States has brought Brown inevitably into contact with politics.

2:09:29 It was in the late 60s that he encouraged black enterprises, entertained troops in Vietnam, dined with LBJ at the White House, urged the ghetto youths to distrust violence and campaigned for Hubert Humphrey. And that's $45,000. Okay? We'd like to know sometime what's going to be done for black people. First, I'd like to say, the black man wants ownership. He wants to be able to own his own things and make up his own mind. Go back and forth. Yeah, I've always felt that James Brown's legacy was kind of lost in translation somewhere.

2:10:09 People don't realize what he did and what he achieved on his own. Somehow that just got lost. I'm not sure if I'm saying that. I think it was intentional because listening to what he was saying, the black man was his own thing. It's like, no, no, no, no, no. We want you to build something and sell it to us. And they also ruined, he helped them ruin his image. Let's talk about it on the back side of this clip because I find it. Okay, let me say it like this. What is James Brown other than music? What is he known for? Hey!

2:10:48 That. But being a drug addict, right? Yeah, drug addict, and he died during plastic surgery. Right. But I'm going to say the person that detracted him, that brought him down the most, which I don't, I didn't know if it was intentional, was Eddie Murphy. I think when Eddie Murphy started doing James Brown, somehow that diminished his stature. You may disagree. I can see that. I can see that. Because it became a punchline to joke. Anytime you become a punchline, it's never good for your overall image. But listen to this next clip, and then we'll talk about it on the backside.

2:11:32 What is soul? For me, it's my life. It was my opportunity. It was my knock on the door. It was my only guarantee I had. And still my only guarantee. Soul is spiritual. Soul is true. Soul is realism. Soul is survival. I don't need a question on the stage. They've never seen a black man

2:12:13 do his act. So darn it. So precise. And instead of out class. When I say class, I mean understand the system. None of the things that take. I try to care of Mars with you. I don't have whiskey bottles and things on there in my dressing room. Like a lot of entertainers. I don't have a lot of drugs around my stable. I try to dress everybody by their last name. Use the words mister. And

2:12:53 I would project even on the stage. They knew that I was trying to come from a different type of thing. Now, out of his mouth, not a lot of alcohol around him, not a lot of drugs around him. But how did his image become synonymous with being a drug addict? Now, there's a CNN. I didn't, because I didn't add it in here because I mean, everybody's familiar with it. There's, I think, a CNN or headline news interview where he's gone. Have you seen that? Have you seen that interview before? I mean, it's pretty classic. Try to meet. I mean, it's meme level.

2:13:34 Yeah, probably. Yeah. So I just find that weird how his image is so tied to drugs, but in that, he's saying that he done everything with class and drugs is not a part of it. I have a James Brown story. Please share. 1982. I visited, so I was not on MTV. I was 82 or 83. I was visiting. So a friend of mine, I had a manager

2:14:18 and my manager as a disc jockey in Holland. And he had a band called Time Bandits, and they were being produced by Dan Hartman. Dan Hartman, I can dream about you. Do you know Dan Hartman at all? No. I can dream about you. You might have heard that. I've heard that song before. Wow. I really nailed it too. And he had a writing partner, Charlie Midnight, and they were writing for Nona Hendrix. And I think they might have written a song for Tina Turner. And so he was also producing the Time Bandits. And so I was invited to come along and hang out.

2:15:01 And he had a recording studio at his, Dan died. He died of AIDS maybe 10 years after that. And he had a recording studio in Connecticut at his house. And they wrote Living in America. And so I'm hanging out there. James Brown comes in. And let me tell you, so this is 1982 or 83. I can't remember exactly. He was together. And I'd been warned: no cussing, no cussing around James. No, no, no, no. And he, you know, because he's like super, super Christian, super religious, doesn't want any cussing.

2:15:42 He'll walk right out. And he knew exactly what he wanted to do. I saw nothing but a professional who was just there to work with other professionals and do a great recording. And he was one of the most, and it was literally like, nice to meet you, Mr. Brown. That's it, right? I had no interaction. But he was impressive. So nothing at all like the image of, you know, the drunk, the druggie, the whatever. I mean, and everyone was on their toes. Like, you know, this is James. We got to buckle up. We got to be really tight. No missing, no slip-ups, no mishaps. You may mention about Eddie Murphy and his

2:16:29 imitation of James Brown. I think James Brown hurt himself the most because he stayed around too long. Yeah, possible. And you know, not in a negative way, but sometimes, you know, it's kind of like an athlete. Right. Sometimes you can stay on the field too long. And you're, it's amazing that you still can compete at that level at that age, but it tarnishes your legacy. Because I think like about Jordan, you know, like if Jordan would have stopped at the second set of three rings,

2:17:11 his legacy would be way huger, if that's the word, than coming back with the wizards. Now, that was a business move. We understand it. But it's like, ah, you know, like, him in the wizards uniform and looking older and that kind of thing. Right. It hurt. Right. And really, he should have gone. I mean, that Living in America, that was in Rocky Four, I want to say. Four. Yeah. Oh, man. Like, that's where he should have stopped. That's where he should have bowed out because he hadn't had a hit for 10 years. at that point. So when he had living in America and it was, you know, everyone loved it. It was great. The movie was great. And that should have been it. Because, yeah, I mean, also, you know,

2:17:56 media change and it was just much easier to make, you know, he could have. There's a lot he could have done. Anyway, the legend, the legend. But his legacy will never ever be tarnished from the fact that he is the foundation of hip-hop. Maybe arguably the original hip-hop MC. When you listen to Big Payback, when you listen to these songs, when you listen to any of the songs that were sampled, the fact that the funky drummer was used an infinite amount of times in early hip-hop.

2:18:39 Yeah. You know, I could have gone down that road, but like I said, that's other people could tell that story. Yeah. That's not the story I want to tell. I want to tell James Brown was that man and to be labeled the hardest working man in show business. Anything is a black man where your identity is tied to laziness and slothfulness. You know what I'm saying? Yeah. To be the hardest worker and making a certain amount of money every minute. And he's the consummate professional. That's what I saw. I saw the consummate professional. So you can never take that away from, you know, I mean, LeBron's going through this thing too with he's staying around too long.

2:19:24 You know, sometimes you just have to go. I understand that you, if you got life in your body, you don't want to give it up. But sometimes the game passes you by. But his impacted hip-hop, undeniable. But the clout that he had in the 60s, this is a clip of him around the, hold on, no, let me slow that down. I want to get into setting up, set the stage for what was happening in the 60s at the time, all the assassinations. So this is Martin Luther King speaking on Malcolm X's assassination.

2:20:03 And the way these assassinations were done and the order they were done lends to the fact that it was one big, I want to say, plan, but the order and who was taken out and before who, because you can't take Martin out before you take Malcolm out. No. That's a recipe for disaster. Malcolm would have gotten pretty radical. And the people got radical, and he would have said they were justified. Now, I want you to hear, right? I want you to hear Martin Luther King's take on Malcolm X's assassination.

2:20:45 We're going somewhere with this, so I got to lay some stuff out. 25. Well, I think we have to agree that this appears to be the result of an internal conflict within the black nationalist movement. So I think the first thing. Let me translate. Yeah. This appears to be. CIA FBI didn't kill him. This appears to be black on black crime. Yeah, that's exactly what he's saying. Yes, continue. That needs to be done is for a conference of goodwill to take place between black nationalist leaders.

2:21:24 This was why I suggested a few days ago that the followers of the late Malcolm X and the followers of Elijah Muhammad should sit down at the peace table together, so to speak, and discuss this problem and try to reach some understanding. I don't think, and I'm sure, that nothing can be accomplished by violence. It only leads to new and more complex social problems. I think it is unfortunate for the black nationalist movement. I think it is unfortunate for the health of our nation. Now, who got blamed for this publicly? It was the Nation of Islam

2:22:10 members, the story, the narrative. And you see, now they're coming back and saying, oh, it didn't happen like that. And the guys that were convicted really didn't do it. But the narrative around it was Malcolm X disrespected Elijah Muhammad by outing him and going to the media, outing Elijah Muhammad for his dealing with young girls. And that was off code. Right. But when. when you speak against God in the flesh, and that's how most members at the time of the nation Islam looked at Elijah Muhammad, that was that was asking for death.

2:22:53 Now, I know I'm about to upset a lot of people, but I have to put things in proper context. When you take an oath, and at the time, not only was the nation of Islam, you know what I'm saying, religion at the upper realms, there was a fraternal orders. You know, when you're in a fraternity, there's certain codes of secrecy that you're held to. I think Malcolm understood this. Now, you can say that even says he's even more brave, you know, to know what he was facing. Because he even said himself: if somebody said what he said about Elijah Muhammad, he would take their life.

2:23:39 So, we had to put things in a proper context. But I'm going to let you know, we're going to cover this on another show. Oh, because there were bigger hands in play. Now, I'll just put a period there. But the point I played, the reason why I played this was the black youth would say, Okay, we understand Malcolm was killed by other black people, so we're not going to riot, we're not going to tear up cities. And he was not preaching nonviolence like Martin Luther King. Then, Mr. Nonviolence, and I don't say that disrespectfully, but that was his brand, ends up being shot and killed.

2:24:22 Right, and James Brown, this is James Brown's. Um, it's a uh, it was on his YouTube channel. This is uh, his reaction to the assassination of Martin Luther King and also the news report. This is a CBS News special report. Memphis is a confused and shocked city tonight. No one can believe what has happened. Yeah, she's alive. Sorry, yeah. Well, he was standing on the balcony of the motel and he came out of his room and came to the edge of the balcony.

2:25:03 And as he came out, he was shot. Please, I'll report. Report we just got is that it's fatal. I beg your pardon. We just got the report that it's fatal. That the shot was fatal. The wound was fatal. I have some very sad news for all of you and people who love peace all over the world. And that is that Martin Luther King was shot and was killed tonight. People died. America is shocked and saddened by the brutal slaying tonight of Dr.

2:25:53 Martin Luther King. When Martin died on April 4th, 1968, something died in black people, every soul of black people. We haven't got over it. It's 40 years. Okay. So that was Dr. Cornell West speaking at the end there. He said, Something died. I don't think something died, or you could look at it that way. What happened was, and I can, I'm just putting myself in those shoes at that time. And please, excuse me, cover your kids' ears. But that's when the fuck it mode came in it. It's like you killed Malcolm, right?

2:26:38 Then nonviolent Martin Luther King, and you and you say, okay, okay, black, that was black on black violence as they tried to paint it to be. But explain this to Martin Luther King. He was nonviolent. He wouldn't even fight back when you were attacking him and you killed him. Oh, it's on now. And what happened was a huge amount of rioting and burning of not very smart of burning your own stuff up, but what do I really own in this country? Right. That's the, I could put myself in their shoes and say, yeah, F it, burn it all up.

2:27:20 But just to show the clout that James Brown had. Was that Say It Loud? Was that the song he was singing there? No, that's another song. Okay. But my point is this: is that this youth. you know, you taking out their leaders. You know, like you can't, you killed Sam Cook, okay? Then you killed Malcolm. Then you killed Martin. You know, as a young person, you saw what George Floyd. Yeah, just one. Yeah. One person that we didn't even know and you saw that. Imagine somebody that you see on the television. The only thing I could equate that to is maybe Obama.

2:28:06 Yeah. You know, I mean, of stature and status. You know, just for comparison, just for comparison, exactly. Just for comparison of clout and notoriety and just of being recognized. And to be nonviolent and you're just killing them one after another after another. And the young people are like, F it. You know what? Burn it up. I don't care if it's mine. Burn it up. But I say this to say, like you were saying about James Brown and his clout. The fact that James Brown could save Boston is amazing. 27.

2:29:11 If you had tuned in to WGBH, expecting to catch Sir Lawrence Olivier's production of Chekhov's Uncle Vanya, you were probably more than a little surprised to see James Brown tearing up the stage of the Boston Garden. In Boston that night, it was like when the Beatles were on Ed Sullivan. I mean, it was a monumental event. During the first hour, it was so clear from the reports coming in from the police

2:29:49 that this concert was like magic. The city was quieter than it would have been on an ordinary Friday night. Never mind the big problems. There was nothing happening. Nobody was on the street. And this I know because this is broadcast history. This is because they televised it. They televised the concert. Yes. That's why everyone was at home watching it. To save the city. Yeah. And it worked. So is that all the clip? Yeah. Yeah. That ended there. Okay. So what we witnessed is the precursor to what we talked about in this show 17 of rioting in the theaters.

2:30:40 These films, they help quell those riots. Because remember, we had the Colonel Commission studying why we had all these riots. These films helped to calm that down. I called it rioting in the movie theaters because all of our anger and our angst, we were able to vent in seeing people who look like us kick the white man's behind. And what was the subtitle of Black Exploitation? Get Whitey. For every drop of black blood spilled, a white man pays. He had a plan to stick it to the man.

2:31:22 The man. See, we were beating the man. And so I call it rioting in the movie theater because this was rioting without destroying anything. It was a catharsis for us. I forgot all about that. Yes. Yeah. Oh, yeah. 17. Sure. Sure. And going to a black movie theater is always an experience. But the point is that they realize, oh, we put something on television or the movie screen that shows them

2:32:05 no matter what they're doing on that screen and no matter how it makes us look, we rather them do that because the rioting that they're talking about from show 17 was the Martin Luther King riots. So they realized, it's like, okay, we can, okay. All right. We can give them movies. We can give them rap music. We can let. let them show guns and talk about how bad they are, how tough they are. Get what he. Get white. Stick it to the man. One of the biggest hip-hop movies was Who's the Man? With Dr. Dre Ed Love. Yeah, yeah. So this is that, oh, okay, we can let them role play cosplay.

2:32:50 Oh, man. And it takes the sting out of it. And then we can select who we want to put on the screen. We can make their heroes for them. Not saying James Brown was that way, but they learned something from that. Like, whoa, hold on. There was less crime than it normally is. That's all it took was put something. But what we see now is rioting on your timeline. Yeah, controlled. This is what, oh, oh, I'm going to go the hate tweet. And it's on all sides, right? You're looking for a scout. You know, everybody's looking for a scout.

2:33:29 I think you mentioned something. There was a Twitter replacement. It's not Mastodon, but Sky Blue or something like that. Blue sky. Blue sky. Blue sky. And you said that it wasn't successful because you couldn't retweet. No, that was actually Mastodon. You couldn't quote tweet. Right. Which we call dunking. Dunking. Yeah. Which is rioting on the timeline. Let me find somebody and make a victim out of them. Yeah. So they have this whole thing wrapped up. It's okay. And sometimes you got to let them go out in the streets and give them bricks. You know, and let them let off a little steam.

2:34:09 No, completely, completely controlled. And like the Floyd stuff was, you know, it was during a pandemic. It's okay. Go ahead. It's fine. Go for it. Right. And then come on back in and find somebody that, oh, I hate this person on social media. And let's all find somebody and drag them. That's another word. Let's drag them. And this is the rioting on the timeline. But what happened out of this is the youth stopped looking for older people to be their leaders. It's because it's like all this peace talk, and I've said it on here. I'm sorry, but if you hurt one of my family members, I ain't trying to hear no peace and I forgive you.

2:34:53 We'll get to forgiveness later. Me and Jesus work that out. You know, I'm just telling you, I'm an Old Testament I for I kind of guy because that's justice to me. If you take something from me, something needs to be taken from you. But it's become socially expected to, oh, the family's supposed to say, oh, peace and oh, peace. Oh, we pay for, I'll forgive them already. The body's still warm. I forgive them already. No, that's not how this works. And what you have happen is you have somebody like Fred Hampton and the

2:35:35 Black Panther Party rise to the top. And this is Fred Hampton from October 9th, 1969. I think he was killed in December 4th, 1969. So it's a few months before his death. And the reason why I know that that's my birthday, you know what I'm saying? 11 years before my birthday was the diet that he died on. But I want you to hear the switch from the Malcolm X and the Martin Luther King to the Fred Hampton. And you're going to hear hip-hop coming out of his mouth. Not the beat, but you're going to hear that vibe, what we talked about on 93, that energy, that higher infinite power being, you know, flowing out of him.

2:36:14 28. Fred, where does the Black Panther Party stand concerning the Weatherman, the SDS? We stand way back from the SDS and the Weatherman because we believe that the Weatherman action is two actions. It's Rim 2, the Weatherman. We think they call them both national action. We think that Rim 2 is national action, Weatherman is national reaction. We think it is anarchistic, opportunistic, individualistic, it's chauvinistic. It's custeristic. And that's the bad part about it. It's custeristic in that it's leaders take people into situations where the people can be massacred. And they call it revolution. And it's nothing but child's play. It's folly. And it's criminal because people can be hurt. We say that they're doing exactly what the pigs want them to do. When they take people down and just do nothing, play around.

2:36:59 And the pigs are prepared for this. And they'll wipe all of those young people out. We think these people may be sincere, but they're misguided. They're muddleheads and they're scatterbrains. The only way we can show them is to criticize them like we're doing right now and then leave from here and go to the federal building and have a demonstration that's to educate, a demonstration that is disciplined and organized. And that's what we're going to have to do. Let them see the example. Early Chuck G. And. a biter of his was Jesse Jackson. Ah, yes, of course. Jesse kind of played that role between Malcolm, I mean, excuse me, between Martin and Hampton

2:37:37 with the, you know, with the rhyming. But then he also had, he came up through off of a piggybacking off of Martin. So you hear him. Now it's, it's the next clip. And this is the beautiful thing about with the internet, because they leave the outtakes in when they post this stuff online on YouTube and stuff. So now we get to hear how the media is. Can you do that one more time? I'm going to ask the question again. Can you answer one more time, but say this? 29. Tell me why you feel the approach of the SDS weatherman is wrong. I feel it is wrong. Just as I said before. Tell me, just you said before. That's why I asked you again. Just answer it straight.

2:38:21 It's in case we use this part. Let me ask you again. Why do you feel that the approach of the SDS weatherman is the wrong approach? I feel that it's wrong because it's pig action. They're doing exactly what the pigs want them to do. They're leading people into a situation where it's an astronomical situation too great for the people to deal with. It's a situation where you got a bunch of mechanical pigs with 357 Magnums and shotguns and mechanical mace and all that type of thing. And then they're talking about they're going to carry on a revolutionary struggle. That's not revolution. It's insanity. It's madness. It's nostalgia. And it's the massacre. That's potential massacre. That's what it is. And we don't support that because we've said all power to the people.

2:39:02 All the powers manifested in the people. We don't have any people whose lives we believe that should be thrown away. Yeah. And I think he was only like 21, I believe. No, really? Oh, that year. Oh, wow. Yeah, he was very young. Very young. No, they said, no, he can't. And he grabbed this was actual cream rising to the top. Out of the ashes comes a Fred Hampton of the Malcolm and Martin. They said, no, we can't have that. Uh-uh. No. Because it wasn't that. You know, I think, you know, the well-polished thing is he had that timing.

2:39:44 He had that, you know, what we talked about, the infinite power flowing through him. And it resonates. They say, oh, no. And this is the black Messiah, not him, no, specifically, but this is what Jay Edgar Hoover feared of having a black person get the ear of the street youth. Oh, no, that's a problem. Boulev Negroes, that's fine. You know what I'm saying? Like, they can sit in their panels and their conferences and discuss about, you know, theoretically what will work and all. When you have people actually causing change on the streets, that's a problem.

2:40:28 And it has to be dealt with immediately. Well, they sure did. So let's go ahead and wrap up with this final clip number 30. Why do you think the Weatherman SDS tried to link the Black Panther Party to its movement? I don't know if it was actually the Weatherman of SDS. I'd have to say that it was the establishment press that is nothing but a tool of Warden Nixon's machine. We call him Warden Nixon because the whole world is a penitentiary. He's just the warden of the whole world. And you see, these people are just an arm that he uses for fascist oppression, you know. And I think today, these fascist news media might have did that. We said that if you don't struggle correctly, you shouldn't struggle. But you should struggle. We said dad a struggle and you dare to win. Dare not to struggle and you don't deserve to win.

2:41:09 But we have to struggle properly. What about the special approach of Weatherman, which seems to be violence? Well, you see, it's, I don't think it's really violence. You know what I mean? I think it's just a lot of folly. It's a lot of child's play. I think that to have violence, you've got to be able to cope with violence. You know what I mean? And that's what the Black Panther. See, the Black Panther Party, a lot of people say we're violent. We're a self-defense organization that believes that the people should be educated to what's going on. We, yes, we do defend our offices and we do defend our homes. This is a constitutional right. Everybody has nothing funny about that. The only reason they get mad at the Black Panther Party when they do it is for the simple reason that we're political. And they don't want to admit this. There are a lot of young organizations around, but we're a political organization. We're an organization that understands that politics is nothing but war without bloodshed and war is nothing but politics with bloodshed.

2:41:52 That right there is what got him killed, right there at the end. Bars. Can we hear that again? That's bars. Yeah, hold on. Here we go. What's going on? We, yes, we do defend our offices and we do defend our homes. This is a constitutional right. Everybody has nothing funny about that. The only reason they get mad at the Black Panther Party when they do it is for the simple reason that we're political. And they don't want to admit this. There are a lot of young organizations around, but we're a political organization. We're an organization that understands that politics is nothing. nothing but war without bloodshed and war is nothing but politics with bloodshed. See? Yeah. That's the

2:42:32 early marks of hip-hop right there. When you can say something like that and it resonates and then it becomes a slogan or a catchphrase. That's dangerous right there. That's very dangerous. And you know what happens when you talk like that? 31. Good afternoon. The 20-year-old chairman of the Illinois Black Panther Party, Fred Hampton, was shot and killed in a pre-dawn shootout with state's attorneys police in his West Side apartment. Another party member, 22-year-old Mark Clark of Peoria, also died in the shootout, which left four Panthers and two police officers wounded.

2:43:08 State's attorney's police say they were fired upon when they tried to enter the apartment at 2337 West Monroe on a search warrant issued for possession of illegal weapons. Three more Panther Party members are in police custody in connection with the shooting. Mr. Carmody, when you knocked on the door, what happened? Well, I didn't actually knock. I heard our officers at the front announce their office and chats fired. So I kicked in the back door, and as soon as the door opened, I could see shots being fired at us at the back door. Was it lighted inside? Yes, the whole apartment, the kitchen was lit, and the front room was lit. The bedrooms were dark. Did you know at that time approximately how many people were inside? No, we had no idea.

2:43:51 Did you know that they were Black Panthers? No, we didn't. We just knew that we were informed that there were guns and contraband in the building. Do you have information that indicates that Fred Hampton might be there? Not to my knowledge. The raid on Hampton's apartment was conducted by the state's attorney's office, acting on a tip from an informant that there were illegal guns there. Yeah, it was like 100 shots. It's like, this sprayed the whole apartment. Legal. And just another death, which angered more youth, because now you took one of theirs. Like Malcolm Martin, they were one of theirs, but a young black person that they resonated with, and that was it.

2:44:35 That was it. Yeah. And that go to show you what we're talking about here. 19, just say 1970 to 30, 50, 53, 54 years. We running around killing people. Yeah, that'll set the stage. And then you have a bunch of angry black men. Black young men. Because it's okay, it's like that high, right? Of civil rights, and we're seeing some progress.

2:45:17 And then all of a sudden, you just, in a couple of years, you wipe out everybody. Yeah. And you wonder why they're so angry. And is it just to bring it in modern context? That same anger is brewing right now. That same anger is brewing right now. I kept telling everybody when they broke that glass in 2020. Yeah. Yeah. The umbrella, umbrella people. Yes. But the metaphor of civility, when that glass was broken, it hasn't been repaired. Now it's presenting itself as crime and

2:53:07 Thank you all. I'm sorry. I don't know why that is. Is that Beyonce people again? I'll tell him to go and go away. Let's do it the show. Thank you so much for supporting the work. It is highly appreciated. There are six more episodes to go until we close this roundout of this chapter, this season of Mofax. And we'd appreciate it if you continue to support at mofax.com. If you want to go directly to the donation page, value for value, everybody, you determine how much it's worth and you send it in, mofundme.com. And of course, you can always grab a modern podcast app at podcastops.com and boost to your heart's content. All right. So we spoke about the black messiah and J.

2:53:51 Edgar Hoover. And this goes all the way back to Marcus Garvey. Oh, goodness. He's had this fear. Yeah, he had. We talked about it on one of the episodes. He called him the Black Tiger, I think. Yeah, he had a him being a self-loathing black man himself. He understands the impact of the higher infinite power. And he's been very, well, he was very active in trying to stamp this thing out because he understood the implications.

2:54:28 So we have none other than Minister Louis Farrakhan, and he's going to speak on the concept of the black Messiah and the possible impact. 33. Does our community, and a lot of times on this program, we hear the cynicism of the people about leadership in that broad sense, black leadership. And it's almost like everybody's waiting for a shining black knight on a black stallion to come and rescue almost 40 million African Americans. Do we need to understand as a community that there will never be one leader anymore? I would not exactly agree with that. Okay. Because J.

2:55:12 Edgar Hoover was a wise man. And he, more than black people, understood that whenever you have a people suffering injustice, deprived of those natural rights that God has given to all of us, the longer the deprivation, the greater the need. And then God answers that need through the womb of a woman. And that person may be a Moses figure, a Jesus figure, a Messianic figure. So J. Edgar Hoover was watching the horizon of black America because he understood that principle, that law.

2:55:56 And so he was looking for the rise of a black Messiah. Wow. And Obama actually played into this and his team played into this. And there's an image with all the pastors and everybody laying hands on Obama. He's standing there and you have all these clergymen reaching and touching him. I would say that even Rush Limbaugh played into it by calling him the anointed one. I mean, it was from all sides. I forgot about that. So it's understood, and this is bigger than black at this point.

2:56:39 And oppressed people are looking for somebody that can, and it's not about action. It's about inspiration. Obama saying, change you can believe in. Hope and change. Hope and change. Just hope. A picture of him with the word hope. It's not who we are. Right. Inspired a bunch of young people to believe there is going to be something better. Now, that was a trick bag. bag. Yeah, I'll say. Right. But yet, and still, I mean, you had the same thing with Mandela, and you go all the way around the world. You know, it's always this figure that's going to come up and bring a word for it.

2:57:19 All the way to Corey Booker, bro. No. And did you see that pink outfit he wore? That's why it was top of mind. Yeah, tell me you're not interested in women without telling me you're not interested. Come on, Corey. Come on. You know what I'm saying? That's pretty bad. But it's all right, Corey. We love you. But it's not that we have disdain for these people. It's that how can you be wired like I'm wired and not understand how you're being used? Every word I say on this podcast, this is part of the quality control thing.

2:58:01 Is that I have to run it through the loop of how can it be misconstrued by my naysayers? How can it be used against me? How can you know, how can it be misunderstood by my supporters? Right. You know, you have to do, you have to do that. I mean, in this, it's not just with heavy topics. In rap, they have a thing called pause or no homo because you can say something and you mean it one way. This is that dupe, the double meaning, a double entendre thing. And it could be taken as, well, that sounded kind of

2:58:39 off-putting, you know. For example, for people that are no gender listeners, John's nut story. Yes. Right? You know what I'm saying? Like, we know he's actually talking about a guy eating peanuts on an airplane, but that's a major pause because it's like, whoa, you know, and somebody took it and put it to music. Well, that was actually me. That's an actory production. Because it's too good to pass up. That's the point. It's like, yeah. So that's my point. That's why we give these people a hard time because it's like, ain't that infinite power flowing through you? And we all have different types of infinite power. But

2:59:24 ours is just, I don't know. It's just something that's unique to us. And like I said, everybody has their superpower. I think every group of people have our superpowers. But that word and that feeling behind the word, like you said, that yell from James Brown. Oh, I'm glad I thought about that. The guy with the missing F-35. Yes. Wait, I have him. I have him. I have him. Do you mean the witness, the eyewitness? Yes. Yeah, here he is. I said, what in the world is this? That's James Brown. It is totally James Brown.

3:00:06 That's why it resonated with people, but they didn't know why it resonated with them. You know, it's that whatever that is, that energy behind that yell, like we felt it. You know what I'm saying? Like, yeah, he ain't lying. The whole clip of that guy is phenomenal. He's awesome. He's completely on point. And he's from South Carolina as well. You know, down in there. There you go. So there's something there. But let's get back to the Jaeger Hoover and FairCon. Once that individual comes up and is crowned by God with knowledge, then a whole host of leaders come up around messianic knowledge.

3:00:50 And so what I see today is no one leader can solve this problem. No one organization can solve the problem. But a great black man was among us in the person of the Honorable Elijah Mohammed. And that man left us with a body of knowledge and a programmatic thrust that is bigger than Louis Farrakhan or Jesse Jackson or Reverend Al Shopton. These are brilliant men, but the disconnect, Brother Amos, is that our learned people are disconnected from the suffering of the masses. We have knowledge, but how do we transmit that knowledge to the masses of our people?

3:01:35 It's like the talented 10 have just gone on and they're staying at the highest and they're living large and the rest of the 90 are suffering. I don't want to say it just like that, Brother Amos. I say the talented 10th have been pulled away from their community and taken into corporate America, but they too are suffering from the. the glass ceiling. They can only go as high as somebody else will determine for them. So they're dissatisfied, they're angry. Man, no wonder we had to make him go away too. Marginalize him. Correct.

3:02:18 And he even experienced a loss of the youth ear in the late 80s when it came to Khalil Muhammad. You know, he was more hip-hop than Farrakhan was. So these older art, these older figures, it's hard to stay current, but it's necessary to stay current because you have to speak the lingo. And if you don't, you don't even have to speak it, but you have to be able to hear it.

3:02:57 Because as we spoke before about this generation, they have a hard time articulating themselves because of the dumbed down nature of education, of entertainment, that oftentimes they become angry because they have the lack of words to express how they actually feel. Yeah. Good point. So you actually had to hear, like, I hear you, or you hear people say, I feel you. Because even though it might be a couple words, I understood the implied nature behind those couple words.

3:03:37 And Malcolm X spoke about this. And we talked about it on Show 55. This is a throwback clip about the ghetto hustler. I knew that the great lack of most of the big-named Negro leaders was their lack of any true rapport with the ghetto Negroes. How could they have rapport when they spend most of their time integrating with white people? I knew that the ghetto people knew that I never left the ghetto in spirit and I never left it physically any more than I had to. I had a ghetto instinct. And because I had been a hustler, I knew better than all whites knew and better than nearly all the black leaders knew that actually the most dangerous black man in America was the ghetto hustler.

3:04:20 Why do I say this? The hustler out there in the ghetto jungles has less respect for the white power structure than any other Negro in North America. The ghetto hustler is internally restrained by nothing. He has no religion, no concept of morality, no civic responsibility, no fear, nothing. To survive, he is out there constantly preying upon others, probing for any human weaknesses like a ferret. The ghetto hustler is forever frustrated, restless, and anxious for some action. Whatever he undertakes, he commits himself to it fully. Absolutely. What makes the ghetto hustler yet more dangerous is his glamour image to the school dropout youth in the ghetto.

3:05:03 All right. There it is. The image that goes back to how to sell to a Negro, the Gucci, the nice cars, and also the not being in you're a natural enemy of the power structure because of your criminality, but nonetheless, you're a natural enemy of the power structure. Right. And this is helping our people. I think people got it misconstrued that people just choose to have a life of crime. Some do. I'm not saying they don't. But oftentimes, you're thrusted into a life of crime.

3:05:43 Grow up in it. Grow up in it. That's what happens. And not even grow. Yeah, but you have some people, like the producer that wrote in and said with the credit card. And, you know, it's easy to get with your back against the wall. Like I tell everybody all the time, before my children go hungry, I'm sorry. Yeah. I got to get it. However, I got to get it. Now I have other ways of getting it because God has blessed me with multiple talents. But if I was not as blessed, I don't condemn people for doing what they have to do.

3:06:24 Now it comes to a point where you don't hurt other people, but it becomes kill or be killed, eat or be eaten. I think we're at that situation on quite a large scale right now in America. Right. The world, actually. And it was very crafty of Obama. I know I'm harping on Obama, but I want to point something out. It was very crafty of him to bring the rappers in. Right? He brought them in and gave them. them privilege, access to power. Come on, come to the Oval Office, and we'll have concerts at the White House because these are the natural enemies of the system of white supremacy.

3:07:08 Naturally, left unchecked. But no, we'll bring you in. Come on. Come on. Yeah. Come in. Now it's, oh man, Obama, cool. You know, that's how you get nobody questioning anything he did. And it's amazing how it's like, okay, like you were saying about Trump. How do you go from eight years of that? And then all of a sudden you're politically aware. You know, when the orange man show up, when you were cool with the orange man not 10 years, not five years ago.

3:07:44 Right. So that's the, that's, they, they were aware that we have to co-opt the rappers so they bring in the street youth and we can push them these the agenda that we want to push. Well, you know, one person even better than that is we we create them, we select them, we create them, we control them, we bring them in, make it look like it's organic. Right. And then we tie them like we heard with the politicians and the record labels. We tie them hip at the hip, all to do what? All to control that higher infinite power so they can't help our people.

3:08:29 Hip hop. I'm going to say it again. They control the higher infinite power so we can't help our people. That's the rub. And what it comes to me is I was taught to much is given, much is required. I have to use his talent. And I told you, they've been trying to get me since I've been in seventh grade. Yes. When I won the treasury election, they put me on the Freedom Rider bus. Yeah. You know, and rode me around town and made me feel special. And you're a talented 10th. Right. This is how you had. And I was like, nah, all because of what?

3:09:12 All because of hip-hop. I'm going to talk about another event in my life, but it's one figure on the back side of this clip because it's tied to the clip. But one person they never talked to you about and was so instrumental to hip-hop was Clarence Clarence X, Clarence 13X. And that's the person credited with creating the 5% or the 5% Nation. It ties into the 85% of dumb, deaf, and blind, the 10%, you know, the bloodsuckers of the poor, and then the vibes. And that's leftover. They get it. Right. They're the poor righteous teachers that post the enlightened

3:09:55 85. And so let's listen to his story 36, and I'm going to tell you how it impacted me on the backside. Black youth were flocking to Brother Clarence like the world was coming to an end. And this is the same guy the Nation of Islam fired and said he wasn't good enough for them. Now all of a sudden, they want to talk things over. Clarence knows that they don't mean him any good. Captain Joseph is still taking the back of the theater approach because he knows it will be a feather in his cap and he might get up if he can bring Brother Clarence back in.

3:10:38 Possibly to get him to rejoin the nation of Islam and make him a minister, bringing with him the thousands of youth he's influenced. Whether Captain Joseph is trying a gentle, soft-spoken approach or having a hissy fit, nothing is working and he's getting exhausted. He tells himself he might try it one more time. Meanwhile, Brother Clarence's popularity is still growing. Black and Puerto Rican youth are still being attracted to Clarence's 5% Nation. Now, I know about the 5%. I didn't know about Clarence 13X.

3:11:24 And I think that's the nation. I get it. Yeah. That's the marginalization, but his message is worldwide because Rock M, even Melie Mel on the message, when he says, a child is born with no state of mind, blind to the ways of mankind, he was down with the 5% nation. This is what they're this that that uh the message that was um tied in with um what Clarence was teaching. Also, when old or old dirty bastard get up there and say Wu-Tang is for the kids at the Grammys, this is what he's talking about because Clarence was targeting the youth.

3:12:13 And it's counter to what white supremacy teaches that whites are basically this the Nietzsche thing that we are God. So, this is why they walk around the earth like they do the Bill Gates of the world and make the decisions of eugenics and these things of this nature. Because they feel like they're God, Clarence said, Nah, you're God. Now, I don't subscribe to that in the literal sense, but we all got some God in us. We're all made in the image of God, and you can't, you can't go around teaching black kids that they, you know, they're gods. Yeah, no. And when I said that, made me think about what Kanye said, I am a god.

3:12:57 This is baked in the hip-hop. This message is baked in. Wu-Tang is the one. I could say Rock Emp introduced us. You saw in the early hip-hop, and this is what I fell in love with. We opened the clip up with Ja Ru the Damager. Same thing. He had a lot of imagery of the nation in his raps. Rock M, you know, that seven with the crescent. These are things I'm looking like, wow, like, man, like as a little kid, like, man, like, you had KRS1 with the black Moses and the tablets in his video. And it's like, it's blowing your mind. And the reason why this ties in that a life-changing trip I took on a Greyhound.

3:13:40 I was maybe eight, nine years old. And it was two gods on the Greyhound. And anybody knows if you ever rode a Greyhound, a three-hour car ride, it's going to be like nine hours on the Greyhound. I've done the Greyhound from Pennsylvania to Florida. I know. Jesus. So you wish you did that last week? I mean, like, it was bad. And when the bus breaks and the pee just rolls forward from the toilet in the back. Yeah. That's bad. So on that bus, me and my brother are coming from my grandma's house. And my parents' car broke down. So they had to put us on the bus. And I was nine. My brother was 13. You can't do that nowadays. You can't put a nine, a 13-year-old in the Greyhound.

3:14:18 No, sure. But, you know, they had this thing where they could tag you too, where the bus driver kind of like, you know, kept an eye on you. But it was two gods on there. They were coming. And I referred to them because that's how I refer to themselves. They were coming from, I think, Atlanta or somewhere, and they were going to New York. So they were on there for the whole trip. And they were just telling us, like, you know who you are? You know what I'm saying? You know where you come from. And like, my brother, he fell asleep. Now I'm eating it up. You know what I'm saying? Like, they say, oh, pork and jello. And don't drink orange soda because it lowers your sperm count. You know what I'm saying? Yeah, a great thing to tell a nine-year-old, but still, the knowledge was so

3:15:04 attractive. You know, because they didn't have, they were friendly and nice. And we're going to look out for you, little brother. You know what I'm saying? Y'all good? So when you start, when I put two and two together, like, oh, that's what they were saying. The same thing in the rap videos. You know, when they talk about the dumb, deaf, and blind. And then, like I said, with Wu-Tang, Wu-Tang just made it worldwide, which I think while Wu-Tang had to be marginalized, because it doesn't make any sense. A group that big disappears. Now they've been brought back in their later years,

3:15:45 but they were marginalized for a long period of time. And I think it was because of that message because their biggest album commercially, Wu-Tang Forever, opens up with a six-minute song from Papa Wu with nothing but science. He's not rapping. He's dropping nothing but science. And it's the fact, this is where the conspiratorial nature comes from. Oh, there's a bigger, you know, it's a bigger play going on. You know, it's a small group of people that's controlling the world and most people can't see it. And if you can't see it, you have a duty not to operate in it.

3:16:26 You have a duty to speak out against it. So I'm just, I mean, that's just an interesting story that I like to share because that shaped me, you know what I'm saying? As a nine-year-old kid, it gave me pride. And you can't have black children having pride in a system of white supremacy. You got to have them tacky, trashy, or terrible. terroristic. That's the only operating system we allow in this system that we live in. So, I say all that to say, I know that was a bit of a rant. No, thank you for sharing that. That's beautiful. I love it. Yeah, so that's what you know, that's my goal. And honestly, people, I don't do this for money. It's nice to get value back, but I was doing this before, you know what I'm saying?

3:17:10 Before I even could monetize it, because even with my music, that's why I wouldn't let it be, you know, pimped out. No, you're not going to take my beats and rap crazy stuff over it. No, uh-uh, I can't, I can't stand for it. I can't, I can't, can't do that. But 37, this is a young, uh, young brother speaking in 1967 exactly about what I'm saying about the youth and their importance, uh, and actually how they're going to lead their parents. Peace. And as you see, the children greet the world in peace, and they are the future generations saying peace.

3:17:48 This is the work of the sons of Allah. This is the work that comes out through the truth that add on life to generations head to come and head to be always in life. These are our foundation. We are here to save the children of the world. The parents in the very near future, when they see themselves not fit to educate and qualify their children, will come and recommend them to be a five percenter. And the children got to do their job to teach the parents to be civilized people because the world is uncivilized, and these are our works,

3:18:32 our children, and all come in the name of our love with the supreme being named that God bring about a different change that the world has been seeing misery of that living love, peace, and happiness. So, who's who's the five percenter in hip-hop today, Mo? I know Jay Electronica. Uh, he he he kind of strong line between the NOI and the five percent. I've seen Jay-Z, Jay-Z know what's up, and that's the that's the thing that irks me. I was a huge Jay-Z, don't get it twisted, huge Jay-Z fan when he was kind of like trying to be Barry Gordy.

3:19:16 It's like, okay, you're gonna build Rockefeller up. But to answer your question in a short way, it's it's rappers you probably wouldn't have heard of, probably nobody can talk like that. I mean, nobody can talk like it, but at the same time, it influenced everybody, you know. I mean, it's the influence is there, and it's not, like I said, it's not specific to what their beliefs are, it's the fact that there's a bigger play at hand. I said before, when I heard about the Illuminati, was through the rap rap songs, it was Prodigy, you know what I'm saying? Yeah, Illuminati want my mind, soul, and my body.

3:20:00 Yeah, you know, you feel like that resonates. It's like, oh, okay, what is the Illuminati? You got two packs, Tupac come back, the kiluminati. You know, so this is this is where hip-hop is very conspiratorial. Um, and this, I think, this is the core of it. Do you think guys like Jay-Z still slip stuff in that gets through that resonates? Oh, yeah, oh, especially at the album with him and Jay Electronica. I mean, I mean, they it I don't know, I don't know what the play is, but you can't not unsee what you see.

3:20:41 But I don't know how he can't not see himself as the 10% either. Um, but I'm not in his shoes, yeah. Um, but he always loses. I'm just I'm sneaking in so I can open the back door up. That kind of thing is like, uh, I don't think so. Because if you did, now going back to Beyonce and bring it full circle, the nation believe that a woman should cover, you know what I'm saying? Uh, I think it's like uh 85% of her body, 75% of her body with cloth. I think 75. Um, so you're not letting your woman run around here like you do.

3:21:21 Um, so that's that's the point of it. And I just wanted to give this is the latest iteration of that black messiah. Um, and they thought they could erase him, but you can't erase Wu-Tang, you can't erase Prodigy. You can't erase Nas. You can't erase Rockim. You can't erase Drag Electronica. And I can just keep going down the list. Brand Nubian. You can't erase them. You know, Laura Jamal is Laura Jamar is probably the biggest and most popular five percenter right now. I would say. I have some. I have some listening to do. Yeah.

3:22:07 Yeah. And it's, and it's the music is actually good. That's the point. It's not that, oh, I'm listening to this because, you know, kind of like when you listen to church music, it's like it's a substitute. No, the music was actually good and it was embedded with just a whole host. And me being a Christian, I'm not espousing their beliefs. What I'm espousing is we have to realize that it's only a few of us. If you do the math, out of every hundred people you meet, only five of them is known as going to know what's up and not weaponize against other people. And they all listen to Mo Facts. Every single one. I believe so. Every single one of them.

3:22:51 I think that's the common thread. It is, of course. But you know what, though? That's, I heard some of that in no agenda when you're talking about shut up, Slade. And you're saying you're human. You know, what's that? You're human. Human resource. No, but what's the girl saying when they're marching? You're human pigs or something. Pigs in human clothing. Yeah. That's how they look at us. And it's not on our, because like even Clarence 13, it's not, no, it's not about race as much as it is about, you know, because this is a flesh suit. It's about the spirit. Yeah. What time you're operating on. But not to belabor the point, let's go ahead and get into 30 38.

3:23:36 And this is more about Clarence. Two loyalists who were always near Brother Clarence was a brother named Yohuru, who was like a minister of information, who was hardly seen without his boom box, where he dialed in, alternating between news and black music stations. No one had a bigger record collection than Brother Yohuru. Soul RB jazz, you name it. He had it. But Brother Yohuru's collection was no match for what the FBI had.

3:24:12 They purchased everything Uhuru cocked and went over each song with a fine-tooth comb because they wanted to know what the five percenters were listening to. The agents could recite and sing the lyrics backwards. They could tell you what the latest dance crazes were in the black community and do the stuff the black leaders were putting out. Tell you where you could go to get the best soul food in town. Knew what you ate for breakfast, lunch, and dinner. What your favorite snacks were. The Bureau wasn't playing when it came to securing what they established.

3:24:54 Wow. Once again, these intelligence agencies keeping their ear to the ground, keeping their eye open for that next Messiah. And it's not going to stop. Makes you wonder about Ari Melbourne, doesn't it? I've always had. He's always reciting hip-hop lyrics. Like, you're sus, dude. You're very suspicious. And he's the last, he's the least hip person there is. Yeah. And the reason why I say that is like, it's not appropriate how he uses the bar.

3:25:33 Oh, no, not at all. Or the line. Not at all. Not at all. Just cause you know the line don't mean you know what I'm saying like you know how to use it. That's just like you can have the clothes, but you got to know how to wear it. Right, exactly. So I guess I would like to wrap up. And in all fairness, to let you know, I don't pick favorites. I don't have no faith. I think anybody should be critiqued. This is where I kind of look side out at Farrakhan because he spoke about the 10% that the who he say, the Al Sharptons and the Jesse Jacksons of the world.

3:26:12 And like, oh, he gave him a pass. Now, this is him explaining the duties of the five percenter in the next two clips. And then, like, when you listen to what he says, like, bruh, I understand like you don't want the kind of ruffle nobody's feathers, but yeah, they 10%. They bloodsuckers of the poor. 39. The Honorable Elijah Muhammad said to us. us that there is five percent who are the poor righteous teachers who don't believe the teaching of lies of the 10 percent. But this five percent are all wise and know who the true and living God is. And they teach that the true and living God is the son of man, the supreme being, the black man of Asia.

3:26:58 They're also known as civilized people, Muslims, and Muslim sons. Here is a small percentage of people who know God, and when they know God, they have a duty, and that duty is to teach what you know to those who do not know. That's the duty, yeah, well, fulfilled. You can't, you can't, you know, you can't keep your pearls to yourself. Now, you don't cast your pearls before a swine either, but no, definitely, yeah. But you, you, you have to offer them to be had, and you know, and if it's not accepted, you just keep moving.

3:27:40 But um, that's the purpose. Now, I guess we can wrap up with 40 where he goes further into his point. Those of us who are in pursuit of that duty have 10 percent, the rich, the bloodsuckers of the poor, the slave makers of the poor, they hate the five percent, they have control over 85 percent, so they turn the 85 percent against the righteous teacher. This is how they've been able to kill the prophets, kill their communities, because the leaders who are the bloodsuckers of the poor have control over the minds of the masses and they feed the masses more lies about a righteous teacher, so that the righteous teacher will

3:28:26 be persecuted by the 10, not helped by the 85, so that they can kill the righteous teacher. But a new thing is happening today, a new thing is happening today. The masses, white, brown, red, yellow, and black, are to be told the truth. And when the masses are told the truth, they will be free from the web of lies of the 10% who have made slaves of the poor and who are the bloodsuckers of the poor. And the number one bloodsucker of the poor today is the United States government of America.

3:29:07 Yeah, shut that man up. That'll make you very unpopular. Very unpopular. Oh, man. Mr. Curry, I'd like to ask you one question before we wrap this show. Sure. Do you not find it strange that the talented 10th is who they elevate is who's supposed to save black people? Isn't that a strange number? Isn't that? Do you find that strange? I want to leave the witness. Do you find that strange or well? Okay, hold on a second. Let me re ask the question. Because when you say talented 10th, I'm thinking immediately about you being selected as one of the talented 10th.

3:29:54 That's the bullet. That's the goal. That was W.E.B. Du Bois. Let me flesh y'all a little bit. W.E.B. Du Bois' plan was you elevate 10% of our race and they'll pull up the other 90%. These numbers, these numbers I find just strangely coincidental. I wish I could give you an answer, Mo. You mean the 10%, the 85%, the 5%? Yes. So let me, let me, I guess I'll just ask my own question. You're going to have to.

3:30:37 Okay. They tell us, count on your 10% to elevate the whole race. But what I know is the 10% is actually the bloodsuckers that keep the vibe down and the other 85 blind. So it's like you're leading me into that burning house. How can I trust them? They're the bloodsuckers. Well, you can't trust them. The bullet is the blood. Now you see why I'm so hard into the bullet. It's not personal. Y'all are the slave makers. And they know it. They know it. And that's what I was asked.

3:31:17 That was the you answer my question. You're saying perfectly. Do you think they know or not? You know what I mean? Of course, and that's why I have a heart. That's why I keep my foot on their neck. I mean, I can because. it's funny because whenever you say Boulet, whenever we talk about Boulet, I can't help but see Charlemagne the God. He seems like the perfect example of the boot. Now, he has Boulet above him, but that's what he does. It's so clear. And he's valuable because he's still hip. See, that's the most valuable Boule right there, where he has the vernacular of

3:31:59 the youth. Yeah. And he has the timing. But if you listen to him long enough, you can pick up the 10% vibes on them. The Boulet vibes on them. Oh, for sure. So now let me ask you a question. We've had the higher infinite power. This was Help Our People. I have a feeling we've got a third in the series coming, or am I mistaken? It's not a third in the series, but it's a continuation of this conversation. I'll say it like that. Because we haven't got to the bastardization of this higher infinite power.

3:32:39 I had to do it in this way of explaining what the power was and how it's meant to be used. But in a coming episode, we're going to talk about how it's been hijacked, manipulated, and leading people to death. And that will conclude episode 94 of Mo Facts with Adam Curry. And as I always say, pay attention to everything and the truth will reveal itself. Mo, I cannot tell you how much I enjoyed this episode, brother. This was quite the education for me. Always a great conversation with you, Adam. I look forward to the next time within the next few weeks.

3:33:23 Mo, take care of yourself, brother. Same to you, Adam. All right, everybody. We'll see you soon right here. I'm Mo Fax with Adam Curry. Joey Streets got me back down. How can I escape? How can I survive without bubbling weight? It's prepared for the standoff once you hand off. That white rocket didn't give birth to enough. Your biggest dream was to rock your 850 and beat. You and the guards pop crib in the white part of queens. But at the same time, niggas on the block is ill. Some will rock you to sleep, hop for selling crush bills. Being watched all day like enemies prey. Faces you never seen before is in your hallway. Brothers, you knew for years. Man, pussy and skin. Back in the days, you were foes. Couldn't walk up in here. It's time to motor. Travel like a foul odor. Clear my head, stay sober, just so controller.

3:34:08 I've been on the lawn. A long time for it. A change's gonna come for this day. But I'm afraid to die. Cause I don't know what's up. Big old sky. Sing deep until the fog, big buffalo laws. Charles Mohal just got bang shank for 80 guards. It's hard to keep up with these key on the smoke bus.

3:34:52 In the U.S. Myth, they want the rock to place and call the rush. All you see is niggas arbitrary. Red valleys on the 25th. Everybody rich is getting married. Killed for power beans. He brother owns schools in the day. Bastille lips is crackles. They all had dreams. They overgrew. These dogs own a minds of Peru. Tropical trees and weeds where they grew bamboo. Olympic minds quick clash like a negon. 100 shears saw the whole Nissan. Watch them get their fees on. Boy, your blue eyes inside the eyes of heaven. Curse bad. You speak foul and jinx number seven. Seven. Clear my head. Stay sober. So control. Stay sober.