NUFACE | ENGLISH MAJORS | SEASON 3 | EPISODE 19
YouTube · RtguVT11mgg
Quick Read
Summary
Takeaways
- ❖New Face's moniker originated from a house fire, leading him to a new hustle selling vintage Fubu and Coogi, positioning him as a 'new face' in Atlanta from New York.
- ❖The Trap Music Museum began as a pop-up for TI's 'Dime Trap' album, evolving into a permanent fixture after its initial success and New Face's contribution of historical artifacts.
- ❖New Face earned his 'face card' status by consistently supporting artists and events from their early stages, leading to free access and recognition from industry figures like Killer Mike.
- ❖The shift from physical media to streaming has eroded the sense of ownership and the unique, often explicit, content found in older movies and music releases.
- ❖Movie soundtracks, once a significant cultural product featuring major artists and unique tracks, have largely disappeared in the streaming era, with recent exceptions like 'Black Panther' and 'Spider-Verse'.
- ❖New Face's personal history includes seeing Eminem freestyle in Detroit before his fame and knowing Aaliyah and Meech (BMF) from their early days.
- ❖The current state of live concerts is criticized for having too many non-performers on stage, diminishing the audience's experience and creating logistical issues.
- ❖Old-school video games like Super Mario and Tetris fostered different cognitive skills due to limited lives and no save features, requiring players to memorize levels and patterns.
Insights
1The Genesis of 'New Face' and Entrepreneurial Hustle
New Face's distinctive name and early career were forged out of adversity. After losing everything in an Atlanta house fire, he traveled to New York to buy vintage Fubu and Coogi sweaters, selling them out of his car trunk at movie theaters in Atlanta. This 'new hustle' combined with his appreciation for Black and ethnic brands like Brand Nubian led him to adopt the 'New Face' moniker, which he further leveraged by interning for Block Entertainment with the hashtag 'recognize the new face on the block'.
New Face explains, 'Honestly where like New Face came from cuz I I was, you know, I had a house fire. So like I went to New York to buy clothes... I was new in Atlanta from New York and I'm a fan of like Fubu and Brand Nubian. So I wanted to make it like black and ethnic. So that's really right where New Face came from.' He also mentions the hashtag 'recognize the new face on the block' to get Block Entertainment's attention.
2Curating History for the Trap Music Museum
New Face played a crucial role in the development of the Trap Music Museum. What started as a temporary pop-up for TI's 'Dime Trap' album release gained permanence due to its success. New Face was called upon to contribute his extensive collection, which included rare items like baby pictures and early career photos of artists, deeply impressing TI and securing New Face a dedicated back room for his archives.
New Face states, 'It started with Trap Music Museum... It was a popup for the Dime Trap. TI had a Dime Trap album... It was so successful they was like we need to kind of probably keep this open.' He adds, 'They was basically like put together anybody in, you know, in your collection... I loaded up my bag and went to the museum, me and my daughter, and we just laid everything out on the floor. And Tip was like checking out the place. And then he just kind of seen like, 'Oh no, you really would like he seen baby pictures and early pictures when he was new in the game.''
3The Power of 'Face Card' in Entertainment Access
New Face has achieved a unique status in the entertainment industry, earning 'face card' access to events without needing to purchase tickets. This privilege stems from years of consistent, genuine support for artists from their early careers, documenting their journeys, and adding value to their experiences. This dedication has led to industry figures like Killer Mike publicly stating that New Face should never pay for an event.
New Face recounts, 'I ain't bought a ticket for a show and [__] probably about six, seven years.' He quotes Killer Mike: 'New Face should never have to pay for a ticket to any event ever.' He explains that artists often 'repost my video and they be like, 'Oh shit.' Oh. And I be thinking like, 'Damn, all them great photography. I ain't but it's it's just kind of the stamp I guess you know and I I stand I I walk in my purpose with that whatever I can do cuz I save some money.'
4The Irreplaceable Value of Physical Media
The hosts and New Face lament the decline of physical media (DVDs, VHS tapes, CDs) in favor of streaming services. They argue that physical copies offer a sense of ownership, access to unique content (like comic books within OutKast CDs or explicit scenes in older movies), and a tangible connection to cultural artifacts that streaming cannot replicate. The ephemeral nature of streaming means content can be removed or inaccessible without an internet connection.
The host states, 'That's why it's important to hold on to physical media.' New Face shows an OutKast 'ATLiens' CD with a comic book inside, noting, 'You ain't getting nothing on no streaming site.' They discuss how movies and music can be 'pulled' from streaming platforms, making purchased content disappear if not physically owned.
5Evolution of Fandom and Live Show Etiquette
The nature of fandom has shifted from pure appreciation to a more competitive and speculative environment, where people are less inclined to be 'just a fan.' This change is evident at live shows, where stages are often overcrowded with non-performing individuals, detracting from the artist's performance and the audience's experience. This trend wastes time and diminishes the professional presentation of concerts.
New Face observes, 'We in an era where is [__] ain't fans no more... nobody want to be a fan [__] want to want want to compete compare you know what I'm saying speculate.' He criticizes live shows: 'Why y'all on the stage? I show the [__] shows... most of your friends and family is on the stage. Put these [__] in the audience so it look like you so we even know who the artist is.' He adds, 'And that's 10 minutes of wasted time.'
Bottom Line
The 'one degree of separation' phenomenon in Atlanta means nearly everyone is connected, creating a unique social dynamic where personal networks are highly valued but also lead to an 'I know' mentality that can be frustrating.
This dense networking can be a powerful tool for collaboration and access within the city's cultural and business scenes. However, it also fosters a culture where people assume connections rather than building them, and can lead to a lack of genuine engagement or an expectation of unearned favors.
For newcomers or those looking to expand, understanding and navigating Atlanta's interconnected social fabric by genuinely contributing and building relationships, rather than just name-dropping, can unlock significant opportunities. For existing networks, fostering genuine value exchange can combat the 'I know' fatigue.
The decline of movie soundtracks as a significant cultural product, once featuring major artists and unique songs, reflects a broader shift in music consumption and industry collaboration.
This loss means fewer opportunities for artists to reach broader audiences through film and for films to enhance their cultural impact through iconic musical scores. It also signifies a fragmentation of media, where music and film are less integrated than in previous decades.
There's an untapped market for revitalizing the movie soundtrack model, potentially through innovative collaborations between streaming platforms, film studios, and music labels, or by independent creators producing integrated multimedia experiences that harken back to the golden age of soundtracks.
Lessons
- Cultivate genuine, long-term relationships and provide consistent value within your community or industry; this builds 'social currency' that can open doors and provide access beyond monetary transactions.
- Prioritize collecting and preserving physical media for cultural artifacts you value. Streaming services are ephemeral, and content can disappear, making physical ownership the only true guarantee of access and preservation.
- If you're an artist or event organizer, actively manage stage presence at live shows to ensure only performers are on stage. This enhances the audience experience and maintains a professional presentation, preventing wasted time and distractions.
Notable Moments
New Face reveals he snuck out of a sleepover at age 10 to attend an NWA concert in Detroit, a secret he kept until the 'Straight Outta Compton' movie came out.
This anecdote highlights New Face's lifelong dedication to hip-hop culture and his early, audacious pursuit of live music experiences, foreshadowing his future role as a cultural archivist.
The hosts and New Face discuss the 'tasteful titties' in 'Purple Rain' and 'Coming to America', contrasting them with the explicit content readily available on modern streaming platforms.
This moment humorously illustrates the significant shift in media censorship and accessibility of adult content over generations, impacting how families consume entertainment.
New Face recounts seeing Eminem freestyle in Detroit pizza shops with Proof before his fame, and knowing Aaliyah and Meech (BMF) personally from their early days.
These personal connections underscore New Face's deep roots in hip-hop history and his unique perspective on the early careers and 'overnight' success of legendary figures.
New Face describes receiving an invitation to Ludacris's 'Red Light District' party, which was a unique DTP-branded 3D viewer showing tasteful photos of women.
This showcases the creativity and unique marketing strategies employed in the music industry during the early 2000s, contrasting with today's digital invitations.
Quotes
"You don't realize how long this man been showing up for people. You don't know how long this man been showing up for the city. So if you feel like he get special treatment, it's cuz he do at this point, right? He earned it."
"Once we can see titties on the phone, once you can see some [__] on the phone, man. Hey, hey, hey, hey. Let's widen the window a little bit. Make the window wider, man. [__] the buttons. Move the buttons. Ain't the whole phone cuz I got to touch it. Make it so you can touch it."
"Ain't nobody watching the whole thing. I'm going to my scene, bro."
"That Biggie crown auctioned off for like some millions. Remember the Biggie crown in the auction, the SSby auction that Biggie wore. So, we need to find that one."
Q&A
Recent Questions
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