What happens when the worlds of music and politics collide? That's what we explore in our latest "Slap to Power" episode as we welcome Tyrone Taylor and UK parliamentary candidate Charlie Clinton. We kick off with a lively discussion about Taylor Swift's newest album, packed with songs about her ex-boyfriends and the public's endless fascination with her love life. We also ponder Diddy's current relevance and share some laughs over our own less-than-perfect moments in relationships. Spoiler alert: there’s some fun speculation about Taylor Swift’s rumored romance with Travis!
SLAP the Power is written and produced by Rick Barrio Dill (@rickbarriodill) and Maiya Sykes (@maiyasykes). Associate Producer Bri Coorey (@bri_beats), with assistance from Larissa Donahue. Audio and Video engineering and studio facilities provided by SLAP Studios LA (@SLAPStudiosLA) with distribution through our collective home for social progress in art and media, SLAP the Network (@SLAPtheNetwork).
If you have ideas for a show you want to hear or see, or you would like to be a guest artist on our show, please email us at info@slapthepower.com
What happens when the worlds of music and politics collide? That's what we explore in our latest "Slap to Power" episode as we welcome Tyrone Taylor and UK parliamentary candidate Charlie Clinton. We kick off with a lively discussion about Taylor Swift's newest album, packed with songs about her ex-boyfriends and the public's endless fascination with her love life. We also ponder Diddy's current relevance and share some laughs over our own less-than-perfect moments in relationships. Spoiler alert: there’s some fun speculation about Taylor Swift’s rumored romance with Travis!
SLAP the Power is written and produced by Rick Barrio Dill (@rickbarriodill) and Maiya Sykes (@maiyasykes). Associate Producer Bri Coorey (@bri_beats), with assistance from Larissa Donahue. Audio and Video engineering and studio facilities provided by SLAP Studios LA (@SLAPStudiosLA) with distribution through our collective home for social progress in art and media, SLAP the Network (@SLAPtheNetwork).
If you have ideas for a show you want to hear or see, or you would like to be a guest artist on our show, please email us at info@slapthepower.com
All right, all right, all right. The world may not need another podcast, but it can definitely, definitely use a Slap in its face. Hey, welcome to Slap to Power. We're back for season three, maya hi.
Speaker 2:And also, I don't know if you noticed, but we got that new, new, it's got that new studio smell.
Speaker 3:That's right, smells new in here. They still got the plastic on the couches.
Speaker 2:It still smells like money up in here. That's right.
Speaker 1:In studio today with us. We are blessed with the man, the myth, the legend, mr Tyrone.
Speaker 3:Taylor, that's right, give me a slap and I'll slap you back, hey.
Speaker 1:Hey, on the show today we're coming together to actually interview Charlie Clinton. He's running for parliament in the UK. He's a musician. He's big, uh fan of really, really good music and we're going to talk to him a little bit later. Yeah, we're going to talk to him a little bit later. Um, we're going to talk a little bit about uh t swift and a record that she just dropped that is nothing but this on old boyfriends and, if that's an acceptable way to communicate, uh, we're going to rap about diddy real quick because I think it's pertinent. But before we start any of any of that, it's supposed to be like a bunch of you know there's going to be a lot of you know that's her, that's her, that's her.
Speaker 2:But also, isn't that every woman's album?
Speaker 1:It should be Like every woman's album is like this. Man did me wrong this other man did me wrong this man is awful, but also when she's singing tortured.
Speaker 3:What I like about it is she's saying tortured poets, whatever for her, yeah, yeah For someone. Like all those feelings are justified for someone. I would hate it if she tried to do a tortured poetry album that sounded like a hip hop person.
Speaker 1:Oh right.
Speaker 3:Different stories that to them are tortured.
Speaker 1:Yeah, yeah, yeah.
Speaker 3:Her version of tortured is her torture.
Speaker 1:It's going to be something entitled Because I it's going to be. Stop being an entitled, because I think it's going to be about the stack of ex-boyfriends.
Speaker 2:But the only reason why we're looking at stack of ex-boyfriends.
Speaker 3:Now, that's a black album, that's a very black album.
Speaker 2:It's a stack. I lined them up. But here's the thing. The thing that we take for granted is that she's been famous since she was like what? 16 or something. So the only issue is all her ex-boyfriends are famous because we know them.
Speaker 4:If this had been any other woman who was talking about?
Speaker 1:you know John Mayer or the dude from 1976.
Speaker 2:Exactly Like any of these people. But if it was any other woman who just put out a record about these are all my shitty ex-boyfriends, we wouldn't know exactly who they were talking about.
Speaker 3:It kind of makes it more interesting for us to know who she's talking about in the song. Yeah, as opposed to just being someone talking about an ex-boyfriend. You're like all right, right, you can see that person. Yeah, we know their history. We know their sports records. We know their album titles.
Speaker 2:Yeah, yeah and it's also looking at a person's crappy behavior in real time, right, so nobody wants to be in, but we've all done crappy things to a person at some point, like what you know. Whether we cop to it or not, we have all made somebody feel alienated at some period of time. Yeah, so if somebody all of a sudden put a microscope to every time, you were kind of a dick. Do you know what I I mean? Or made a song about it.
Speaker 3:Hey, I'm not plugging an album today, but I tell you, if I was plugging one, my album is all about being the distraught girlfriend. If you heard my album and didn't hear me singing it, you'd be like who the fuck is this bitch? Who are?
Speaker 1:you, why is?
Speaker 3:she so mad.
Speaker 1:Who are you Ty?
Speaker 3:Taylor, If you didn't have a lens on who I was and what it sounded like, you'd be like shit, that girl been hurt.
Speaker 2:Okay, it's definitely giving. Can I always do it? And up to your ex-girlfriend, I mean All of it, all of it, it's giving all of it.
Speaker 3:It's giving Jewel. It's giving Alanis.
Speaker 2:Yes, it's real.
Speaker 1:It is a happy ending. I am rooting for Travis. I actually like it.
Speaker 2:I think it's adorable. I saw them at Coachella and they were adorable. They're adorbs.
Speaker 1:I think it's cool. I'm rooting for it. I'm rooting for it, all right. Well, after the UK, and he's going to get a big face full of vintage trouble, and Maya Sykes Also.
Speaker 3:You got to think about it with this whole Taylor thing, travis, that's a new level for her to tackle. I'll be here all week. Ha, ha, ha, ha, ha, ha. Yo, hey, won't we go slap today, yo hey, won't we go slap today?
Speaker 1:Yo, hey, won't we go slap today? All right, joining us in the studio today. He's running for UK Parliament. He is a fan of great, great, great music and he is a friend of ours. His name is Charlie Clinton and he represents an area in the UK that's near and dear to our heart. Ladies and gentlemen, welcome to Slap the Power. Charlie Clinton, how do you do?
Speaker 4:Hello, thank you for having me.
Speaker 1:Yeah, yeah. So first question, that's the most important who's your favorite band?
Speaker 4:I think it might be a band called vintage trouble. I'm not not entirely sure. Um, you know, there's a lot to choose from, but shameless self-plugging.
Speaker 1:That's because we have in studio, as with us today for the interview as well, mr ty taylor hello, hello, hello, yeah, uh, one of the reasons why I wanted to have you on the show is is number one you're, you're, actually you're. You're doing good, my man, or you're picking up, right, you're picking up, and I love where you come from, an artist's first standpoint in your campaign. As far as trying to make everything easier for gig workers of kind of all kinds, tell us everything about your campaign and where you're coming from on it for the people that don't know.
Speaker 4:Cool. So I think the first thing to say is, as you alluded to, I'm running in an area of London which is really the heart of music in London and the UK, which is Camden. My reason for running, I will confess, was not originally about music. Actually, climate change is the thing that got me really interested and decided I couldn't sit on the sidelines anymore. And then I'm sure you will have heard about this small thing we had called Brexit, which pushed me towards a particular political party because obviously I fundamentally disagreed with it.
Speaker 4:But as I got involved in politics, I saw the opportunity to champion causes I care about as well, and the number one on my list was music. You know, that's very personal to me and I think the awakening I had was during COVID, the day that the lockdowns came in and all of the pubs were told to shut. All of the gigs that we had for the year just went overnight, right. And I was looking at that and thinking, well, I'm going to be okay because I have a full time job as well and I could work from home through COVID. But a lot of the musicians I work with didn't have that luxury and we're just immediately facing no income with no guarantees of any support, and a lot of them struggled to get support from the government because the government wasn't.
Speaker 4:It just wasn't thinking about the people who were falling through the cracks, and musicians were right up there with people who fell through the cracks, um, and that that was the the starting point for me when I started to really realize that the, that our country and the way we run our country isn't, isn't working well for musicians and since then it's been. You know, it's been a never-ending battle. Covid obviously took away a lot of their income. Brexit has made things worse. It's made it harder to tour. There was a and I think this is a very british thing but basically during covid, noise complaints increased dramatically across the country and, I think, especially when venues started to reopen again that happened here.
Speaker 4:Musicians are playing are working at home.
Speaker 4:Then there are musicians and venues who are suffering as a result of that change in behavior. And then you think about things like AI that are coming along, and the explosion in generative AI over the last year in particular, which is fantastic and could be really really valuable for creatives, but also poses yet another risk. And so it's's just as you're starting to look at these things, you see all these different problems and they're all coming to a point and what I actually had a letter in our local press just this week which kind of highlights this point, which is what happens in 10 or 20 years if we don't fix this now, if we don't start supporting the music industry, because right now we have people, really successful musicians who've come through the grassroots, who came through the education system in the uk. But you know what happens if we don't support that now and that all breaks down. We will not have the next amy winehouse or the next ed sheeran, and that would be a tragedy. So that's, that's a kind of blurb about the musicians campaign in particular.
Speaker 1:I love that. What is the situation like in the schooling right now with regards to music and where it's at?
Speaker 4:Well, the one of it's not good engagement with GCSE music and a level music which are kind of not sure if your listeners will be familiar with the british school system, but that's sort of the exams you do at 16 and 18. The participation in those has absolutely dropped over the last 10 years. And the other problem is that access to sustained music education is is unequal. So the the state school system basically has, I think it's it's um, something like 25 I can't remember the numbers off my. I think it's something like 25%. I can't remember the numbers off my head, but it's very low levels of state schools that actually offer sustained music tuition. It's higher for independent schools. It's 50% for independent schools. That's still not very high. That tells you both that there's not as many children as should be getting the opportunity to learn instruments and the ones who are are generally the richer, more wealthy ones.
Speaker 2:Well, it sounds like what happened in the United States, because they took out all of the music programs about 23 years ago at the state level and then they would have privatized groups come in to some of those schools, but not all of those schools. So I'm wondering if you guys have the same system where some of the state schools are getting the benefit of privatized groups coming in and saying we're here to teach you music, even though what should have been in place has now been removed. It seems like there's been a privatized government kickback to some of these privatized groups to get grants or for, in our case, like one of the ones that we have is called Music Cares, and they get grants and funding to go into schools that don't have any music programs and set them up, but they're not in every school. So you're still having the same quagmire of not having the same access of education.
Speaker 2:And we're the society that's you 20 years ago, so I can tell you what it looks like. We're now in a situation where a lot of people are learning at home through music programs like GarageBand, for example, but they don't really know how to do it. So there's still a limited access of just the basic knowledge of certain parts of music that you should know. So I'm wondering what do we think are the fundamentals? Because that's where I feel like we're breaking down and that's where I feel like there's a huge gap in the people who just get basics, like just basic piano and basic music theory and basic things like this. So are you having that same fallout now?
Speaker 4:Yeah, yeah, I think that there's a system in the UK called the arts hubs, which are kind of regional hubs which are supposed to provide that music education for schools, right, but basically their funding's been frozen, which means in real terms they've had a massive cut over the last seven of the last 10 years or so.
Speaker 1:Is that? Is that Brexit? It's very similar. That freeze. Is that Brexit or is that because of the pandemic?
Speaker 4:No, it predates both.
Speaker 1:I think it was a conservative backlash. Yeah.
Speaker 4:Well, I say without getting political, obviously I am political. The conservative government has chronically underinvested in arts.
Speaker 4:And I think there is another linked problem, which is that local council, so local government, in the UK is able, because they actually look after the local education in their area, so they are able, to put money into the arts, into music education, but they're also struggling, I mean financially. They are really struggling to maintain even their levels of investment. And then there's just an element of, I don't know, a lack of interest, which sounds ridiculous. But in Camden which is well in Camden, which, as you alluded to, is an area that is proud of its music heritage we submitted a budget amendment in March I say not me personally, but the local councillors that the Lib Dems have in Camden as part of our efforts to drive the music agenda forward. We submitted a budget amendment that found new money in the Camden area that the local government weren't using effectively sell a building and rent floors on a building that weren't being used and then use some of that money not a lot of it, a couple of hundred grand to launch a pilot scheme offering free musical instruments to all the children at certain schools. And we've seen that pilot scheme run well in other councils and boroughs. It's worked really well.
Speaker 4:But the Camden Labour government just voted it down for no apparent reason. They weren't going to have to compromise on any of their policies, and it's just kind of shocking, and I feel like a lot of the problem is, um, that politics in this country has become so divided and so polarized that, instead of looking at that as a really good, just practical suggestion, they just voted it down because you know it wasn't their idea but I'm sure there's a whole mix of things that are causing problems, I'm sure I will just say in defense of everyone and probably in the whole world.
Speaker 4:Yes, covid has made it worse. Yes, obviously, inflation, increased costs, has made it worse, and we're seeing that now with more and more local councils cutting arts funding for orchestras and so on, but it is. You know, there's still more that could be being done. That's not and that's not good enough, which is what the campaigns hope for, hoping to highlight.
Speaker 3:that's not um, and that's not good enough, which is what the campaign's hope for hoping to highlight. I'm sure I will have not been the first person to say this, but, uh, what I don't hear a lot of people talking when they come to this subject is it's not only about music. You know, a lot of times there are elements that will be released through um being educated through an art that will allow a person to first of all be heard, be understood. It will allow a person to first of all be heard, be understood. It will allow a person to maybe not get into certain situations that could be criminal, could be other things that they get to release through the arts.
Speaker 3:So, when you're taking it, this is not just a subject about music. It's about also what music education can do to someone's life in their future. And so I think a lot of times a conservative versus liberal people are thinking you know why? Instruments. It's not only about the instruments. It's about what that focus, what that spark will do to someone that might otherwise not have a chance to have it released, not to mention the mathematics involved in music and all these other things that are the benefit. But that's been proven.
Speaker 2:There's been enough research that shows that music education improves cognitive reasoning skills, motor function, brain functionality. But I think that the main, I think part of the disconnect is that over the last 25 years people have started to see musicians as a disposable hobby rather than a career. So people have seen musicianship as a disposable hobby Because look at all the millionaires who worked in a different field and then decided that they wanted to take up guitar. And now they're hiring some of the best musicians around right and they have all the gear and the da-da-da, but they didn't have to do any of the wherewithal, the work and the toil to get there. So they don't appreciate the chain of events that happens in the lives of most musicians.
Speaker 2:And post-COVID, the thing that I've seen I don't know if this is true in the UK, but post-COVID a lot of these venues are underpaying musicians because they have this rationale of you should just be happy to be here, you should just be, this is your talent and you should just be happy to do it anywhere.
Speaker 2:And it took the impetus of what it meant to earn a living and it's now not seen as a factor, it's seen as a hobby. It's seen as the same way that we play PlayStation or do other gaming events. It hasn't been seen as a livelihood, as a career. So I think part of the disconnect and part of the way you fight back is show how this is a livelihood singer, and most people think that if you're not Beyonce, you're waiting tables and you're singing at the same time. So nobody understands that there is a whole career that you can make from just being a musician, because that's slowly being eradicated and I think that if we're going to fight the mindset of this conservative policy, the first thing that we have to do is interrupt the consciousness of this no longer being a viable career.
Speaker 4:No, I just I'd say, ty, you're all completely right. I mean that program I mentioned, the pilot scheme, was called Every Child a Musician and it proved exactly what you were saying, even on a small scale. And there's been other research released recently in the UK which showed the same thing. And that was all in the kind of the spiel about the budget amendment that we were submitting. So it's absolutely true.
Speaker 3:One thing we learned as musicians and it took us a while to get there during the pandemic is that we did find ourselves being essential workers. Yes, you know, like when we would hear from the amount of fans and just see the way the cities that had music, that had the music taken away from them, the anger that would rise in the city.
Speaker 3:You started to understand, just like a person that was a cashier or a bus driver, musicians and musicianship and songs and music and melody and words and rhyme. It's important to a person's well-being. This is why a lot of people don't understand why so many people I don't even get it as a fan, yeah why people are so addicted to going to live music it does something different.
Speaker 3:It does something different and it really releases them in a way that obviously a television show won't do or something that's only two dimensional. It's actually five dimensional. Six dimensional is going to a live show and community is another thing.
Speaker 2:And the other thing that people didn't realize, in my opinion, was not only were musicians essential workers, was not only were musicians essential workers. We were essential workers that were called upon during the pandemic. But to do that essential work, we had to invest $2,000 to $5,000 to make our homes ready to record. I worked the entire time during the pandemic. I didn't get any of them. More, more yeah.
Speaker 2:More. I didn't get any of those grants and I was just shelling out my life savings to make myself viable and I was lucky that at least I had people that would help me, people that helped me find the right equipment set it up. I had no idea what I was doing, so all of a sudden I went from being a really great singer, if I don't say so myself, to having to also be a studio engineer, a lighting designer a technical director.
Speaker 3:Without your early education, you might not have been able to do some of that I couldn't have even fathomed it.
Speaker 2:But then what about this part?
Speaker 3:Because we're talking about the importance of it in our society. Let's go back to USO. You know if you're going to send musicians in to make sure that our soldiers are okay to fight a war. Music is important.
Speaker 2:It's essential, it is an essential.
Speaker 1:The only thing is don't send Kid Rock, though. That's the problem. We keep sending Kid Rock. We fuck it up.
Speaker 4:Well, I was just going to say again I agree with you guys. It's a point that I made when we passed the motion at the London Regional Conference. Effectively, the opening of that speech was effectively the same thing you said, which is music surrounds us every day. We use it to celebrate all the highs and lows in life weddings, funerals. We use it to pump us up in the gym or if we need to calm down and relax. It surrounds us all the time and then to kind of say, well, hang on a minute. The people producing all this music that's not a viable career, that's just a hobby when we we literally all indulge in it day in, day out, is astonishing to me and just, I think you made a point, my yeah, no, but look at all the look at all the conservatives that use music to um, launch their campaigns and then get sent these cease and desist letters because these people are like hang on a minute.
Speaker 2:You've cut all the funding and you said that I don't matter, but you still want to use my music to come out to Pick a struggle.
Speaker 4:Yeah, no, it's not good enough, and it's not just them, it's, you know, as you said, some of the pubs that we play in. There's a couple of different pub chains in particular that we work with, and one of them we've managed to push the fees up year on year. One of them we haven't. We're still paying the same amount. We paid the same amount as we were before.
Speaker 2:COVID, that's here. And people got mad at me because there are certain places that wanted me to play for $200 for five hours and I was like, let me tell you something, my father got paid $200 in 1974 to play for five hours. And I was like, let me tell you something my father got paid $200 in 1974 to play for five hours. So if you ain't come up with inflation in over 45 years, we have a problem. Kimo Sabe.
Speaker 3:Like, come on what's good. No, this is not going to work. I'm curious what did other people that are running with you, against you, for you, about you? What did they have to say when you went from climate control to then preaching about music and art? What was that transition like from them looking at it toward you?
Speaker 4:To be honest, it's an interesting one because I obviously still do talk about climate change, I talk about the housing crisis in the UK, I talk about all these other issues as well, but for me the music is the really specific local issue that's really relevant to Camden, the area that I'm running in, and so really people see it as a great extra thing to be talking about and I'm more of my probably a disproportionate amount of my time is going on that, because it's close to my heart, because it's locally relevant, is I, I'm planning on music or entertainment uh, it's music specifically, but, honestly, the as I think one of you alluded to earlier, it's it's the gig economy generally, it's creatives generally, right, um, so, in a way, by by focusing in on musicians, you make it more real to people.
Speaker 4:But I think there's a spillover effect in terms of awareness and understanding of what other people are are struggling with as well. Um, and I, like one of our mps who's currently in parliament, is it was already looking at the ai regulation issue because of sort of photography and and how that was. Um, you know, the challenge is there. So there's there's a lot of overlap, um, but I'm just I'm focusing on musicians because that's where I'm the most credible to talk about. I know the people, the stories, the, the background. Um, we have more detail we have.
Speaker 1:as you know, we have such a connection to camden too because, um, uh, you know so many reasons but, um, you know the stables, the roundhouse, the night amy winehouse passed away. We were, we were in camden and um, and then we had to go, we'd play secret garden that night and um, it was pretty emotional and everything, and but I, the thing I love about it is that that is at the center of your passion and you're letting that kind of you know lead all saints, so that's right.
Speaker 1:We had all saints in Camden. We made the show, is trying to make some of these. We're all walking into so many new things. That is kind of in front of, I think, humanity right In a lot of ways. There's so many things that are just new to us. We have a president on trial right now, you know sitting, you know an ex-president with 91 felony counts. We're going to have to deal with that AI just in the way of the internet, and yeah, there's so many things that are kind of we need each other to get through it and we're going to need a village. And what I love about this show is kind of trying to bring in some of these important issues to people that just you know. Maybe, like you know, if it doesn't have to be politics, it doesn't have to be anything. It's just it's us trying to figure a way through together in life but it's.
Speaker 3:It's really great though this, this combination of thought with politics and music. I'm I'm anxious to find out from you, because, musicians, we can talk a lot and then sometimes be a little lazy. So I'm curious how have the musicians been showing up for you to help your campaign?
Speaker 4:well. So it's been not like hugely yet because I should to be clear on the timing the actual general election campaign hasn't started officially, um, we don't exactly know when that will be, um, but so far I think the musicians that I know, in particular, like my group, have been really supportive and you know they volunteered, although I mean I basically I said to them look, do you want to come and play at my launch event? Uh, my sort of campaign launch event is a pr stunt really, um, and they you know, one of them did it for free. A couple of them volunteered to do it for for less. I mean, I offered to pay them, um, but they, because they care about the issue and obviously they know me, they did it for vastly discounted rates and they really I think they found it really engaging and really enjoyable and rewarding.
Speaker 4:And one of them is actually is obviously volunteering his time on top of that to help me with the sort of the mixing and the recording work that we're trying to do. And I think that's where you guys very generously said I could potentially cover your song, and there's a conversation there to pick up, but it's you know. So they're volunteering their time to help me and they, I'm sure. As we start putting the word out more and more widely through podcasts like this, the press that I did this week and last week in an industry mag, I'm sure that there will be more who will rally around and help in all sorts of different ways, and that's that's the hope, obviously it feels like a dream for most musicians and I think big optics.
Speaker 3:I can just see you in camden, I can see you on some bridge, I can see thousands of musicians around you getting that kind of attention toward you, and then it's a no brainer. I mean, if everyone knows, I can't imagine one musician and this is me calling them out I can't imagine one musician that wouldn't be there for you.
Speaker 4:Yeah, I mean, that's the hope. And also you sound a lot like one of our campaign managers who when I first said I was running for parliament, he was like we need to get you on a roof with your trumpet um.
Speaker 3:But but like literally I'm saying a thousand trumpets.
Speaker 2:I'm saying a thousand trumpets yeah, I'm saying a thousand trumpets too with you at the helm. I need yeah, I need trombone thugs in harmony I need the whole.
Speaker 4:Yeah, yeah, yeah I mean I'm definitely going to take advantage of trumpet related humor. We did manage. One of the bits we got in the press a couple of weeks ago was off the back of the launch event which I promoted by telling people it might be the first time in history a parliamentary candidate has literally blown their own trumpet at a launch event, and that line made it into the press with a picture of me playing the trumpet.
Speaker 4:So you know. But yeah, there's definitely room to do what you're talking about, and I think it's just a question of trying to build that grassroots support and then seeing what we can do and how we can do it, because I'm keen to do something, some sort of stunt, along the lines of what you're talking about.
Speaker 1:Let me ask you the truth Before we let you go. Let me ask you this what organization do you work with on the climate change side? Are you already aligned with a group on the ground, or what are you doing to sort of combine that with a broader campaign?
Speaker 4:So actually I was working in a sustainability focused role, and that was because I cared about climate change. So, within the company that I used to work for, I moved teams into an experimental team, a project set up by the old CEO. Unfortunately, there were significant structural changes in the company and the team ended up getting cut. So now I have more time spent on politics, but, um, I do need to find a job. But no, I mean honestly, when it comes to climate, I think we all need to work together, and I will.
Speaker 4:I'll work with any um, any uh organization or group or campaigning organization that wants to, wants to work with us, and there's one in particular that's already reaching out to candidates in the UK. It's Zero Hour, and they're basically looking for candidates to endorse a piece of legislation that certain MPs are trying to get the government to look at, and I was one of the first. Well, I mean, I endorsed it basically straight away. I mean, it's a credible piece of legislation and it will help force some accountability on our government going forward, whoever that is, which we desperately need.
Speaker 4:that's exactly the plan is basically to make a nuisance of myself and make keir starmer pay attention to these issues. Yeah, and I'm privileged to be running against the man who may well be our prime minister in a few months. Yeah, because, if I can make him pay attention to these issues and make his voters care about them, then actually that that may well have a bigger I'm telling you, homelessness was not on the consciousness of any mayor or candidate until Karen Bass was like, no, this is an issue.
Speaker 2:And then her biggest opponent was like, oh no, I have a plan for the homeless. And she was like for real, because you kind of helping with the homelessness.
Speaker 3:So your plan is to multiply it.
Speaker 1:Yeah yeah.
Speaker 4:One of the ways we make a difference is by coming out with good ideas, shouting about them and letting other people steal them, and that's okay, because we still get the same results.
Speaker 2:Because we need to get it done.
Speaker 4:This is not a party political issue, right. This is about raising awareness.
Speaker 2:This is a human issue.
Speaker 3:And if it means the Tories or Labour, run with it. This is a human issue. Not to mention, I can't wait to see your Hulu special about how you won and you thought it was never going to happen.
Speaker 2:Yes.
Speaker 1:Is there anything else you want to say before we let you go?
Speaker 4:No, just thank you very much. I appreciate the support you guys are showing. Yeah, I think I'll try not to. I'll try to make as much noise as possible.
Speaker 1:Hey, let us know about it Joyful noise, joyful noise. We'll try and help with the festival, if any way we can too. Let us know. Absolutely. Yeah, we know people, so, all right, we're back. That was really really great having a politician that was so frank about how important music is.
Speaker 3:Frank, I thought his name was Charlie.
Speaker 1:His name's Charlie.
Speaker 2:He'll be here all week. Yeah, that's right, he's still here.
Speaker 3:Second show's different than the first.
Speaker 1:That's right. Well, we're going to be checking in with Charlie through the campaign and stuff, but figuring out ways that we can kind of help. But he was lovely, he's lovely, he's super awesome.
Speaker 1:Frankly, I need the roundtable. We were talking about this yesterday. I don't have a read on and I know you're saying on good things, but on the Diddy thing, I wasn't saying that. No, no, no, but on the Diddy thing it's interesting to me. You're going to take his kids out of the house like they took his kids out of the house. I'm one of the guys that I'm wondering is this going to wind up being a nothing burger? Is this like a? Did they? Or you think they do? You think it's a?
Speaker 2:lot. I don't think that many people show up to your location. Yeah right With helicopters, with helicopters, and you know and be pulling people out with the zip ties and shit.
Speaker 3:No, oh, they took these actual kids out of the house.
Speaker 1:I thought it was a racial slur about shit. No, no, no.
Speaker 2:You see the fucking. You're so stupid, yo, but the helicopters were over. He's so ticklish. Yeah, did he take the?
Speaker 3:kids out the house.
Speaker 2:I thought it was a joke. Wait, the funny part was everybody going on. Okay, there's this comedian I follow named Josh Johnson and he had a routine about him. That was hilarious because he said, okay, everybody was saying maybe he flew to Miami so that he could get to a country where he could not be extradited or whatever.
Speaker 1:Because he was in the Bahamas at the time is what I heard. No, he was not.
Speaker 2:His plane was, but he was in Miami the whole time. They literally could have rolled up to Miami and been like come with us?
Speaker 3:sir, Was he up in Miami for a whole room shit?
Speaker 2:For a whole room shit. No, I think he was trying to holler at young Miami and she was like, nah, the block is too hot. Ah, we dropping them off All week, all week, all week. But what is hilarious.
Speaker 3:Josh Johnson, but also Miami is his vice. Hey, hey.
Speaker 2:The thing, too is that, okay, everybody was thinking he was this, like you know, gonna flee and da-da-da-da-da-da. Who knew that this mediocre rapper was a criminal mastermind? Yeah right right, mediocre rapper.
Speaker 1:Well, he's. Yeah, that's a fair statement In the rap game.
Speaker 3:it's mediocre, Right, but we just talked about how important marketing was. It's giving mediocre flow.
Speaker 2:Yeah, yeah yeah, it's giving mediocre flow. I'm sorry Like I'm not trying to.
Speaker 3:And what's hilarious is I know the listen.
Speaker 2:He is a producing genius.
Speaker 3:Go ahead, I'll clean it up. The flow is mediocre.
Speaker 4:No, I stand ten toes down.
Speaker 1:The funny thing is yeah, he would even probably, if you got in his therapy session, probably say, yeah, I'm not one of the best.
Speaker 3:What about the thing, though? Did you think that he was trying to feel up Mike Tyson's butt in that video?
Speaker 2:Oh yeah, All right, but it's okay.
Speaker 3:Someone said he was just showing him his watch. Okay, he was showing him watch. All week he was watching, watching. I know the producer that brought the all week.
Speaker 2:Yeah, he was ordering.
Speaker 1:He was watching, but okay, I know the.
Speaker 2:I know the producer that brought the latest lawsuit.
Speaker 1:Yeah, yeah, yeah.
Speaker 2:And I'm just surprised, I'm scared for that boy's life.
Speaker 1:Yeah To be honest with you. It's either going to work one or two ways. It's going really really bad.
Speaker 3:The guy should be smarter. The guy should be smarter. The guy can't say like after the fifth time, yeah, because what happened the first one. And then you can't say, once it was bad, and then I went on a yacht with him and radio. I know for a fact that he's done some nefarious things.
Speaker 1:Yeah.
Speaker 2:So I'm just wondering how long it is until the nefarious things that he's done come to light, because half of them are a public record at this juncture.
Speaker 1:This may not be, this might get me in trouble, but I don't want to do it. I have issue with we were talking about this yesterday Even the scene in Straight Outta Compton at that point in time, that party out by the pool and stuff like that. It's a dramatization and everything like that. But that's kind of the way the real life was and people were sneaking in, you were 16-year-old girls trying at a different time.
Speaker 1:I'm not trying to excuse anything, aj, not, but a number, no, no, no. But I can. You know that's one thing If you're actively trafficking in human beings and making money off of them, right, you know, I'm not allegedly, I don't. That's what I'm saying. I think it could be a big nothing burger, and what I'm concerned about is we live in this time of misinformation, disinformation. All this stuff starts going on and you're like is something about trafficking with him?
Speaker 2:now. Oh yeah, that's a huge thing. That's the thing they're trying to get him on a Rico honey.
Speaker 1:Yeah, it's oh, wait a minute, so now, so, now so now.
Speaker 3:so now it's old news about him, with the guy that was working for him that's old news, that's just one of like a handful of things.
Speaker 2:That's one of a handful of things, but what they're trying to get him on is sex trafficking and distribution of.
Speaker 3:You're not allowed to have sex in traffic. Now when? Did that rule come about.
Speaker 2:It's frowned upon.
Speaker 1:We can't have sex in traffic anymore. Shit, this is new, this is new news we're breaking new news here on Slap the Power.
Speaker 2:We're trying to keep you informed, that's right. Keep you informed, you cannot have sex in traffic anymore.
Speaker 3:Bye, bye, bye.
Speaker 2:Because now I have nothing to do. Yeah, yeah, yeah.
Speaker 1:Well, Ty Taylor, thank you for coming down and rolling in as a guest host today. We super, super appreciate it. It's always great to see your face and, maya, I'm looking forward to hearing more about your second weekend of Coachella and everything you got going up. Congratulations on all that stuff that's going on and we appreciate you checking in. We're going to see you guys next week.
Speaker 2:Slap the power, y'all. Yeah, slap the power Slap the Power is written and produced by Rick Bariodil and Maya Sykes. Associate producer Brie Corey, audio and visual engineering and studio facilities provided by Slap Studios LA with distribution through our collective home for social progress in art, slap the Network. If you have any ideas for a show you want to hear or see, or if you would like to be a guest artist on our show, please email us at info at slapthepowercom. Yo hey, won't we go slap today?