This conversation delves into the cultural impact of two prominent artists: Childish Gambino and Drake. It explores their music, their approach to blackness, and their respective legacies within hip-hop. The speakers, engaging in a casual yet thoughtful conversation, analyze the different ways each artist has navigated their careers and the complex social landscapes surrounding them. They discuss their artistic styles, their levels of mainstream success, and their roles in shaping contemporary black representation in media. While one speaker acknowledges Drake's broader cultural impact, they argue that Gambino's work is more nuanced and thought-provoking, often engaging with complex themes of race and identity in a manner that Drake does not.
They ultimately question the authenticity of Drake's persona and whether he has truly embraced the social responsibility that comes with being a prominent black figure in the music industry, daring even to question the fact Drake thinks of himself as black a at all.
The conversation concludes by speculating on how a potential conversation between Drake, Gambino, Kendrick Lamar, and Dr. Umar would unfold, showcasing the diverse perspectives and tensions surrounding race, authenticity, and representation within hip-hop & black culture.
A Conversation on Modern Blackness in Hip-hop and Media - Table of Contents
Source 1: Whiz Pill Podcast
I. The Rise of "Nerd Rap" and Childish Gambino's Early Career (0:02 - 2:07)
This section sets the stage with a discussion about the evolution of hip-hop, particularly the emergence of "nerd rap" in the 2010s.
Childish Gambino's early music is characterized as "abrasive," "white rap," and compared to Drake's style.
II. Drake vs. Childish Gambino: Career Trajectories and Cultural Impact (2:07 - 5:28)
This part delves into a comparative analysis of Drake and Childish Gambino's careers, highlighting their distinct approaches and impact on hip-hop and broader culture.
Drake's rapid rise to fame and dominance in mainstream pop-rap is contrasted with Gambino's more nuanced, artistic direction.
III. "This Is America" and the Nuance of Black Storytelling (5:28 - 10:27)
The conversation shifts to Childish Gambino's "This Is America" and its cultural impact as a powerful commentary on being Black in America.
This segues into a discussion about Gambino's broader contributions, including his work on the show "Atlanta," and his overall cultural influence compared to Drake.
IV. Black Media Beyond Trauma: A New Wave of Representation (10:27 - 15:56)
This section explores the emergence of a new wave of Black creators like Donald Glover (Childish Gambino), Issa Rae, and Jordan Peele who address Black experiences without solely focusing on trauma.
The speakers discuss how these figures have paved the way for other Black artists like Quinta Brunson and the creators of films like "They Cloned Tyrone" and "Supercell."
V. Childish Gambino's Influence on Hip-Hop and Beyond (15:56 - 23:20)
The focus returns to Childish Gambino, examining his influence on contemporary hip-hop and his unique approach to artistry.
The speakers draw parallels between Gambino and MF DOOM, recognizing them as "rapper's rappers" due to their intricate storytelling and artistic depth.
VI. Navigating Blackness: Authenticity and "White People Shit" (23:20 - 26:02)
This part delves into Childish Gambino's navigation of Blackness within the music industry.
The speakers discuss whether his artistic choices are perceived as authentic or pandering to white audiences, questioning if he benefits from a "pass" due to his background and artistry.
VII. A Hypothetical Roundtable: Kendrick Lamar, Drake, Dr. Umar, and Childish Gambino (26:02 - 28:33)
This segment imagines a hypothetical conversation between Kendrick Lamar, Drake, Dr. Umar, and Childish Gambino about Drake's alleged exploitation of hip-hop and his relationship with Blackness.
This thought experiment aims to dissect the complexities of authenticity, cultural appropriation, and success within the hip-hop landscape.
Source 2: "Pasted Text" - Excerpts from a conversation between an unnamed interviewer and a 3D artist named Daisy
I. Introductions and Career Aspirations (0:04 - 2:43)
This section introduces Daisy, a 3D artist aiming to re-enter the gaming industry, and the interviewer, a fellow creative with a background in filmmaking.
They discuss their shared passion for games and storytelling, with the interviewer revealing a newfound interest in applying their narrative skills to the gaming world.
II. Navigating the Realities of Creative Industries (2:43 - 11:44)
This part delves into the challenges of the restaurant and entertainment industries, drawing parallels between the two.
They discuss the financial realities of creative work, emphasizing the pressure to please shareholders and the competitive nature of these fields.
III. Microtransactions and the Price of Access (11:44 - 26:34)
This section explores the ethics of microtransactions in mobile gaming, questioning how much is too much to charge players for access to content.
The conversation highlights the tension between artistic vision and financial viability in the gaming industry, acknowledging the influence of shareholders on creative decisions.
IV. Evolving Masculinity and the Success of "God of War" (26:34 - 37:43)
This segment examines the evolution of masculinity in video games through the lens of the "God of War" franchise.
They discuss how the newer games resonate with an older, more mature audience by exploring themes of fatherhood and personal growth, contrasting with the earlier games' focus on power fantasy.
V. The Depiction of Women in Games and Media (37:43 - 48:32)
This part tackles the portrayal of women in video games, particularly the oversaturation of sexualized female characters and the impact of such representations.
They debate the line between harmless depictions of sex appeal and harmful tropes, questioning the frequency and intent behind such portrayals.
VI. The Power of Cycles and Long-Term Creative Vision (48:32 - 01:12:31)
This section introduces the concept of "cycles" in creative work, emphasizing the importance of considering projects in terms of the time they require, whether it's minutes, hours, days, or even years.
They encourage planning for both short-term and long-term goals, urging Daisy to adopt this philosophy for greater success in the demanding creative landscape.
VII. Finding Your Voice and Embracing Originality (01:12:31 - 01:23:01)
This segment focuses on the power of individuality and finding your unique voice as a storyteller.
They assure Daisy that her experiences and perspective will inevitably lead to original stories, emphasizing the inherent value of her unique point of view.
VIII. The Importance of Mentorship and Peer Support (01:23:01 - 01:37:09)
This part highlights the benefits of mentorship and connecting with like-minded individuals in creative fields.
They discuss the importance of seeking guidance, sharing experiences, and finding support within a community of creators.
IX. Building a Creative Toolkit and Embracing Discomfort (01:37:09 - 02:08:42)
This section encourages Daisy to diversify her creative toolkit by exploring different mediums and techniques, urging her to step outside of her comfort zone.
They emphasize the importance of continuous learning and pushing boundaries to unlock new skills and perspectives.
X. The Value of Note-Taking and Reflection (02:08:42 - 02:16:46)
This segment highlights the practical tip of note-taking during conversations, especially those rich in insights and information.
They advocate for actively capturing thoughts and ideas to aid in reflection, learning, and future creative endeavors.
TRANSCRIPT
00:02
Don't mind me, I'm just archiving. Oh, you're good.
00:09
Uh, yeah, I think, uh, you know, hip hop was way more abrasive in the 2010s. And like, that's when the whole shift started of like the blog air and Charles Gambino came on a scene of like, they called it like nerd rap. They called it like white rap in his early mix tape days, which was like, yeah, obviously, right. Can you come to a specific song that reflects that vibe? Um, maybe like freaking geek. Um,
00:37
Uh, maybe if I can go to Southwell. I feel like a fake fan. Oh my God. And because I really used to look at Charter's Gambino. Do you see any connection between- Anything, any mixtape that Charter's Gambino put out can be solidified as that. I think when he made, because the internet- No, I think when he made, uh, what is it called? Ju-Kai or something. Hold on, let me just go to his catalog. Give me one second. I don't just know what else to back of my head.
01:05
Yeah, I'll predominantly use my special seat.
01:14
Oh, Ka- uh, Kawai, that's what it's called. I think when he made Kawai, and because of the internet, that's when things started to shift. Um, but before that, he was lined up to be like a version of Drake, and Drake was just- He just played his part a bit better. Um, hold on a second, hold on a second though, because like, when I think of Gambino, I think Omidy, I think-
01:38
silly when I think of Drake that's not what comes to mind, not like when it comes to his music at least. So I'm still not seeing how your statement being like he was the first Drake or like what Drake was supposed to be. I don't see how that's coming from. When I say that I'm talking about in 2010 because yeah he started with comedy, started writing but when he was doing his for
02:07
um taken as nerdy, white, emotional, like what the fuck is this, get out of here, pip squeak type of music like Oreo music essentially basically and like black on the outside, white on the inside type of thing yes exactly and it was just like just softer right and while drake wasn't exactly his style of like
02:37
It definitely was. He had his own flavor of that soft, vulnerable rap. It wasn't quite as nerdy. It was more of, as Drake says, fake tough guy kind of thing going on. It's the same lean, if that makes sense. But Drake got way bigger, faster. And I think Chávez Gambino maybe envied him or maybe he was jealous.
03:05
personally, you know, family from the outside. How do you get to that conclusion? Like, why in evidence do you have to back that up? Oh, because he hates Drake. He said that? Um, maybe not verbatim, but I'm I'm certain if you would go to a Breakfast Club episode like, if you were to like type in Chowder's Gambino on Drake and like insert interview here, like Breakfast Club for example, he would probably be hating on Drake. Like around that 2010 era.
03:35
Yeah. It was definitely like, yeah, he doesn't really fuck with Drake.
03:41
Now I think the thing that's what happened though is Drake went more pop mainstream but Chaz Gambino kind of went like more uh nuanced and like artsy and that's where the divide kind of happened.
03:58
It's okay. Which of the two would you say in terms of fame level has more cultural impact? Drake or Chávez Gambino? Yep. Definitely, definitely Drake. Because of his commercial numbers, I would assume? Yeah, I feel like he just for a long time, he impacted the culture way more. I think Chávez Gambino had a pocket of the culture.
04:28
specific type of nigga that was lists like watching his stuff consuming his stuff, but I think broadly speaking Drake definitely influenced the state of hip-hop more. I don't think a lot of people When you say culture you mean hip-hop I mean just like it just culture in general outside of hip-hop Outside of hip-hop I would say still still yeah, I would say still Drake. I guess I think
04:58
I think Gambino was just like really niche. And I'm not like taking anything away from him because I'm one of like his biggest. I love everything he does. I think everything he does like I don't think he has any misses to be honest. But I don't think he just didn't have that. And he's had his moments but it wasn't like Drake had like a wind streak for a long time. You know, like globally. Yeah, but to be honest,
05:28
I disagree with that statement because I feel like when I think of the cultural impact, I'm more to think of like how far reaching and how easy to reference you are in terms of like outside of circles that typically you don't belong in. And so far to my knowledge, both of them have entered cinema. Drake with Agbograssi and Gambina with like his show Community. But even beyond that.
05:55
the
06:24
the mounds we know would not be a thing. So, do you wish to kind of revise your stance after hearing that or no? Like I said, I'm not taken away from, like, challenge computer has accomplished really big things. And maybe if I was to look at it bar for bar, but just like when I think about who was running things for a long time, like Hotline, because hip hop.
06:53
is like only just hip hop, but hip hop has really evolved to become pop. You know what I mean? Yeah, hip hop is doing your mainstream essentially. Yeah, so like when I think of songs like Hotline Blank or whatever that song was from views like when he was doing like the patois, I just remember and just from my experience, right, like people were talking about Drake growing up way more.
07:23
and I had like a friend, maybe two friends that, oh, Charles Gambino, let's talk about like Act Two because the internet, you know, like, people don't even know that he has like a script that goes with his album and, you know, it just was like very, he was just very like low key and just like elusive about a lot of his stuff, whereas Drake was just like, look at- Was more in your face? Yeah, it was more in your face, so I think just by that-
07:52
Here's my question to you though. Like, do you think just because there's a conversation occurring around a piece of art or a particular artist or even a person slash topic, do you think just having that conversation means that they're actually engaging with that topic? Because I feel like there's a case study to kind of analyze here because on one hand, there's Drake who, to my knowledge, he's never really engaged with the blackness that hip hop represents.
08:22
And on the opposite side of the spectrum, here's Gambino who literally made a song titled This is America. I mean, the title alone kind of implies something. Right. And definitely like that episode of like the white... Would you not say that that was like culturally impactful? Because that came out in the 2010s, no? That was hugely impactful. Are you kidding me? I remember like, yeah, that was hugely impactful. Everybody was talking about it and like...
08:51
It was kind of like, um, how it is now where you have to know about it. They were engaging with it too. Yeah. Like the entire internet was analyzing it, you know, like how the internet like analyzes Kendrick's lyrics these days. They were, I remember people were like, Oh, look at this in the music video. I'm like, Oh, the Jim Crow references and things like that. And it made it even more fun to analyze and get into because, you know, he didn't put out, he didn't explain himself, you know, he didn't explain himself, which was, I think that.
09:21
Yeah, there's definitely a statement for that. Like when Chad is going to be, you know, does do something because he knows he can, it's big. Um, even swarm, like talking about, uh, like the beehive, like Beyonce, Stan Koucher, right? Yeah. He produced that show, didn't he? Yeah. Yes. Um, I feel like it didn't get as much attention, attention as it deserves, but Mr. and Mrs. Smith was a great take on the story. And like,
09:50
kind of sets it up to be like a franchise in a way, if he wants to take that route.
10:00
Even like this concert that or his tour that I don't know if he's finished or he's still going but like everybody's saying it's the best concert they've ever been to. Because he's like performing you know. So I will you know he's definitely doing his thing. He's definitely doing his thing and I don't know maybe I'll revisit that one day and see like if you really light it up who was more impactful. That's definitely a conversation that I never thought about.
10:27
Knowing what I know, especially in the context of what I'm producing, which is intended to examine the not only the impact but also the some ways in which people export cheap clothes to make themselves big or gain access to power or wealth. I do think that like, I don't know, call me crazy, but I feel like Gambino made the smarter play here because at least it may not be commercially
10:57
that I am like Drake is but I don't think it really matters given that like now he has the keys to the music industry. He has the keys to the movie industry copper. Not like some old ass show that came out 30 fucking years ago. Right. Like The Grassy was. Like I promise you if Drake was to announce a show right now, people would clown him. I'm pretty sure. Yeah, yeah, without a doubt. Be for real. Without a doubt.
11:29
I would actually love for him to do that just so I could see comments. I know it would be hilarious, but in terms of his blackness though, in the context of him being the first of, when you think of the first black people to do something, what is his achievement here? We can be no, that is. The first of, hmm.
12:03
I loved how Atlanta was a show about black people. And yes, it had like its whole, it had like moments, but it wasn't like a traumatic black media. You know what I mean? Like usually like when there's a black show, like back, not now, but like back then, like not even back then, like five, six, seven years ago. Like if.
12:31
Black film a movie came out. It was gonna be like low-key traumatic in one way or another somebody had to get shot Yeah, man, I think like a views a slave Django and that type of stuff. Oh, yeah, exactly and Atlanta like Low-key set the stage for like insecure and like Abbott Elementary Where it's just like black people just living a life and just going through regular shit. It doesn't necessarily have to be black shit It's just regular shit
13:00
And that I always appreciated. So the first to engage the theme, not so much without the trauma, but acknowledging the trauma, but not making a spectacle of it. Yeah. Just being a, uh, just a normal ass person, you know, without having to be like center. And like, I get it. Like Atlanta definitely has a lot of underscore and like this really look into it. It's very blackity black, but it's not like traumatic type of like, um,
13:29
Central Park 5 type of vibe. You know what I mean? Can you make the case that Jordan Peele actually got there first though? Or is Jordan Peele like in a different kind of lane with the get-appentize and all that other stuff he's been doing? I say he's another person who kind of underscores blackness in a way. It's more in your face. No, I don't even want to say that because they're both in your face. I will say this. I don't know who to accredit it to first because I don't got the dates in front of me.
13:59
But Issa Rae, Charles Gambino, and Jordan Peele definitely pushed that forward for other black directors. And I think if he's not the one to do it, he's definitely one of the three who pushed that narrative of, oh, we can just have black media without it being traumatic. The big three of- Jordan Peele was a little bit traumatic, but- The big three of conscious black.
14:29
media. Yeah, yeah, sure. And I hope I'm not missing somebody. But like when it comes to my mind, and I think like people like Quinta is probably the next generation of that who was able to like fly after they kind of did their thing with Abbott Elementary. And I'm just curious, like even like black, I think
14:57
you could say ether ray kind of like helped quinta you could say jordan pill kind of helped uh what's the director's name who made they call him tyrone right and i don't know oh even the most recent one that came out supercell that's another one that's to tell engaging with black topics but like not so much like making a spectacle of the trauma that comes with it
15:27
the
15:56
So like, it's like- That's kinda weird, I'm not gonna lie to you. There's conspiracies and things like that. Like my dad has sickle cell. The sickle cell trait rather. It's like you have to have the trait or if like both of your parents have it then you have sickle cell or something like that. But I know my dad has the trait or it. But yeah, it's meaning like a black thing. So like the fact that they used it and it was like black people getting it from their parents, like they had the trait and it got passed out as a-
16:24
as a power or whatever, was like an underscore of the blackness. Kind of like if you know, you know, you know what I mean? And I think it's done really well because, like I said, like Jordan Peele and Chavs Gambino, it's a bit more in your face, but it's like a step. And people were able to like take that and run with it. Like even they cloned Tyrone using the black hood stereotypes. It's like, yeah, it's black, but it's more of like an underscore. Like some jokes that the pimp says and the stripper says
16:54
The weed man says it's like, if you know, you know. But it's like anybody- It's only like with the right audience essentially. Right. Where do you see Black Panther fit in that broader kind of conversation of like black drama slash black representation? Or in some instances, even you could say black exploitation. Like where do you fall on that as a piece of media? I love, I love Black Panther. I love how
17:24
I just love how it gave us a superhero. For real. I love how it gave us a really dope superhero that is on the main stage and who was a vital part to the larger story. And you made the billion dollars too. Yeah. That's a lot of money, damn. Oh yeah, I don't know if I have necessarily a hard take on it. I just like it. I like Black Panther a lot. I'm glad it happened.
17:52
even knowing that like a white man made it, following basically the stereotype of like everything that comes with like the black pepper party.
18:03
Um, yeah, that's really like what they kind of was going for. Apparently according to the archives, like they were trying to design a character that quote unquote and for black liberation. So what's the best thing? Black, the black panthers. So let's place the character on that topic or that theme. Yeah, and you know, you'll talk to some people and like there's definitely something there maybe about the original like black panther comics being used as a way to cover up
18:32
the Black Panthers party. Because now if you would type in Black Panther on Google, you're not gonna get the Black Panther party, you're gonna get Chadwick Boseman. So there's definitely something about that. But I don't know, I still like it. And I do understand that I don't put nothing past white people.
18:58
you know so it could have happened but I think it did some good so to be fair that movie not the comics that movie specifically what it was produced by a black man Brown Fogler if you ever heard of the name before you know what
19:13
the
19:41
But on the Gambino topic specifically, last question for you though, like if you were to play out how things are from since you've known of hip hop culture and engaging with it, without Gambino, how do you see things play out in modern times, like without his impact? Like why do you see things, or thoughts, or improve even?
20:09
Hmm.
20:16
I think a lot of artists are inspired by Chattin Gambino. In a way he's kind of like MF Doom, where he's like a rapper's rapper. Just because of the way that he, like, dude, because the internet is a storytelling masterpiece, like it's like a master class on like, just like, the whole like analyzing thing that people love.
20:45
to do, like that's like, child's gonna be in like very much.
20:53
Push that forward with that album because it's like different websites you got to go to. It's like he's like doing interviews in character. The album before, because of the internet, like the last song is lowkey a prelude to because of the internet. So it was like very thought out and like he really built an entire world and he's helped so many artists. Like, um, uh, um, um.
21:23
Chance the Rapper is like the first person that comes to mind, but a lot of artists in LA like when he did the house thing in Buddha um, or like the he called the house of the Buddha or something like that He did like a house thing in LA where it's like no phones. No There's no that also he had like a very large impact on black boys getting into tech and like coding And like he pushed that so heavy like his interviews from long like decades ago where he's like you know
21:52
I encourage black boys not to be a rapper. Don't be like me, like be a world builder, like be a coder. If you're a coder, you'll be the one that builds the future of the world. I guess I would explain why he has a company now that literally does, well, not AI per se, but they definitely have like an AI component on GILDA, remember that one? Hello? Yeah, do you remember GILDA? Yeah. Yeah, like apparently like it's a company that he started that
22:22
um he literally put out a call to action for people who have like an AI expertise oh let me try now am i good yeah yeah like he put out a call to action for GILGA for people who have like an AI expertise um which obviously is like a pretty controversial thing right now and still to this day so it's interesting to see like uh someone like him engaging with it uh in a more conscious way i guess you could say
22:53
Yeah, I'm not surprised that I didn't know he was doing that, but I'm not surprised. Um, and like, he's really a, like a scholar. Um, like he really, I can, you can tell he's just studies, like he does his homework before he puts something out. Um, like even like the title Gilga, like from Gilgamesh, like the first story allegedly that he must have ever created.
23:20
I think that just says something to like what he's trying to do with it. But only he knows for real. Only he knows. Do you think Gambino is like the kind of personality that white people take credit for?
23:39
He's a personality that white people take credit for? Yeah, do you think so? What do you mean by that? Because earlier you were saying that like, if you were, if you kind of cannot as like, again, being open, people will ground on you because it's corny, because of its adjacence to whiteness, right? So, so in that sense, would you say that white people take claims of that cornyness?
24:05
Yeah, I would say like just looking at it through my lens and just my perspective, like why it's kind of like a synonym to corny for sure. Like, yeah, I don't know if I'm, I don't know if they necessarily, and I don't even know if, cause the whole thing with Gambino was like, he was trying to, he was just being himself and he, I don't think he was trying to be black or white.
24:34
but I think the masses just associated him being himself with things that white people- Adjacent to whiteness. Got it, got it. He's essentially, he's doing white people shit. Yeah, I guess, but like, but what is white people shit? You know, I think that was the whole thing. Like he was just being himself, you know? Well, I can tell you right now, Dr. Umar would not like this guy. That's funny.
25:03
and
25:33
Now that's a nightmare rotation. Bro, I'm not smoking with them. What do you think? Okay, I know I said last question earlier, but I'm actually generally curious about why do you think would go down in a conversation like between these four people? Because recently Kendrick came out after Drake pretty vocally about this idea that he's not just white adjacent, he's exploiting hip-hop's blackness for his own gain, right? That's what I mean by that.
26:02
How do you think that comfort would go down between the four of them, like in the block-requesting kind of scenario? What would Dr. Omar say to Drake and so on and so forth?
26:13
Um, what do I think they would say to each other? Yep. Um, I don't know. I think Kendrick would probably be real hostile. Um, towards all of them or just Drake? I think just towards Drake. Because the thing with Charles Gambino and Drake, but the thing I was saying earlier is like, like Charles Gambino was being himself, but Drake found a lane that wasn't necessarily authentic to him. Maybe he didn't know it at the time.
26:42
but it just wasn't him. And he just kind of like went in it. Whereas to Charles Gambino was always just like authentically him. He just kept doing his own thing. And maybe if he decided, like he could have decided to like be pop and like do all these things, and he would have had a more commercially successful career. So I think, I don't think they would have a lot of respect towards him. I don't know how vocal he'll be. Like I don't know the personalities, but based off of like what I see through my phone, I think Kendrick would be a bit hostile.
27:12
and maybe like, Taz Gambino would like, do ad-libs, like joke on him or something, but like really mean it, but joke, and I don't know what the fuck Drake would do, I don't really know much about his personality, but I think he would, I don't know, probably just like fight back or like say some shit back. It would just be, that's assuming like it's an argument, but.
27:38
I feel like in that conversation, Drake would basically repeat over and over again, so y'all know that girl from Strangers Things, I did not offer. Oh shit. Like, okay buddy. Alright. Whatever you say. Yeah, that's wild. And you know what's crazy too? Like, Niggas like, Ben knew that he was on some weird shit. And it took- And they gave it a pass. Yeah, I guess so.
28:08
Would you say in a way they give Gambino a pass? Because like, this is the idea of like... Sounds like an example here. This is concept of like the N word pass, right? This idea that like you get the card or you get the invite to the cookout. In a way, would you say that Gambino was allowed into the court here or was he just already part of it from the get go? No. I mean like...
28:33
Chad is gonna be though, if I'm not mistaken, I'm pretty sure he was born in the hood, like in Georgia. He was always- I would argue just because you're born in it doesn't mean you belong in it, to be honest with you. No, I don't think he did belong in it, but he still grew up that way. And he's also black. So yeah, I think he definitely, undeniably, he's like, yeah, he's black. So he's got the past, he's gonna cook out all that. He's got the past. Oh.
29:03
Thanks for your testimonial, man. Yeah. And also thanks for the feedback, too, I guess, which is, I don't know, like I'm not sure exactly how this whole thing is going on. But what I do know for sure is that, as usual, you're a first step in a long line of an important series of things I've been doing that kind of keeps
29:29
the engine going because whenever I see you do your stuff I'm like oh cool I need to make a response quick because this boy is on a roll right now. I'm sorry man I appreciate that. I can't wait to see what you do with this man. I'm yeah I'm excited for this. Technically you can't see it it's just and it's really raw unrefined state on substep which is kind of what I intended to begin with you know like I feel like going back to what you were saying earlier in terms of level place.
29:57
away from the noise of the grind that's required to be a creator in this day and age. The reason why I picked Substack was A, because I can own my shit in there, but B, because I can just put stuff on there without pressure to perform, you know what I mean? I don't need to think about how to optimize it, how to title it, how to thumbnail it. I just put it out and keep it pushing, which is why already as we speak out, I have...
30:25
nearly a thousand hours of stuff sitting there. Well, I'll tell you one thing, you're doing it right, because these thumbnail changes are a pain in the ass. So, I know. Like, looking at you and what you're doing, like, it's pretty obvious to me that, like, there's a there's a game that needs to be played, but that's a topic for another day. But I do appreciate your feedback nonetheless, though. Yeah, man, for sure. Anytime. Cool. Um, to be honest, like, that's
30:55
Basically, it as far as like feedback wise and catch up wise and other things.
[Whiz Pill Audio Podcast 78] Documentary Filmmaker & YouTuber Discussing Donald Glover AKA Childish Gambino