Episode Transcript
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Speaker 1 (00:02):
This is the Black Information Network Daily podcast, and I'm
your host Rams's jaw. And sometimes the amount of stories
that make their way to us means that we simply
can't cover.
Speaker 2 (00:11):
Everything that comes our way.
Speaker 1 (00:13):
But from time to time a story just stays with me,
and Bill compelled to share it with you and give
you my thoughts. And now one more thing, all right,
another fun fact, another evolution, another page in the story
of Drake versus Kendrick Lamar I Mischer quite a bit
(00:35):
from Billboard Magazine. Drake withdraws legal action accusing UMG and
Spotify of boosting Kendricks Not Like Us two months after
he shocked.
Speaker 2 (00:45):
The music world.
Speaker 1 (00:45):
The Star has withdrawn accusations of an illegal scheme using
bots and pale at a pump up Lamar's disc track
without explanation, but an update says hours after withdrawing the
earlier petition, Drake's attorneys have now filed a full fledged
defamation lawsuit against his longtime label, claiming Universal Music Group
knew Kendrick Lamar's inflammatory and shocking allegations were false, but
(01:09):
chose to place corporate greed over the safety and well
being of its artists. This, according to the full story
which follows. Drake has dropped his legal action accusing Universal
Music Group and Spotify artificially inflating the popularity of Kendrick
Lamar's this track Not Like Us, less than two months
after he first filed it. The action, filed in November,
accused UMG and Spotify of an illegal scheme involving bots,
(01:31):
Palala and other methods to pump up Lamar's song, a
track that savagely attract Drake amid an ongoing feud between
the two stars. But in a filing on January fourteenth
in Manhattan Court, Drake's company Frozen moments loc said it
would voluntarily withdraw the action without cost any party. Another
similar petition filed in Texas against UMG and iHeart Radio
(01:51):
alleging Lamar's song was defamatory or remains pending. An attorney
for Drake did not immediately return a request for comment.
Spokesman for UMG declined to comment. Representative for Spotify did
not immediately respond to a request for comment. Drake shock
the music industry in November when he went to court,
a remarkable twist and high profile beef that saw Drake
and Lamar exchange stinging dis tracks over a period of
months earlier in the year. That a rapper would take
(02:14):
such a dispute to court seemed almost unthinkable at the time,
and Drake has been ridiculed in some corners of the
hip hop world for doing so. The actions also represented
a stunning rift between Drake and U and G, where
the star has spent his entire career, first through signing
a deal with Lilwn's Young Money imprint, which was distributed
by Republic Records, then by signing directly to Republic. The
(02:36):
New York petition accused UMG of violating the Racketeer, Influence
and Corrupt Organizations Act, the federal RICO statute often used
against organized crime. He accused Spotify participating in the scheme
by charging reduced licensing fees in exchange for recommending.
Speaker 2 (02:50):
The song to users.
Speaker 1 (02:51):
A day later, he filed a similar action in Texas,
suggesting that UMG had legally defamed him by releasing a
song that falsely accused him of being a sex Ofphi.
The filings were not full fledged lawsuits, but rather pre
action petitions amid petitions seeking to secure the secure information
so their full lawsuit could be filed. UMG had not
yet responded to either action, but in a stinging response
(03:14):
last month, Spotify called the allegation's false and flatly denied
that it struck any deal with the UMG to support
Lamar's song, and the company took aim at the unusual
way he filed the allegations, saying that he had done
so because his allegations were too flimsy to pass muster
in an actual lawsuit and would have been quickly dismissed.
Speaker 2 (03:33):
Quote.
Speaker 1 (03:34):
This subversion of the normal judicial process should be rejected unquote. Finally,
here in tuesdays filing, attorneys for Drake said they had
met with both UMG and Spotify ahead of the withdrawal.
Spotify had no objection to the dismissal, according to the filing,
but the record reserved its position about whether it would
challenge the move in some way. So that is the
(03:57):
state of things.
Speaker 2 (04:02):
With Drake.
Speaker 1 (04:02):
He's uh, he's he's got to split all the way
down to the floor.
Speaker 2 (04:07):
He's ready to sue.
Speaker 1 (04:09):
And you know, my early thoughts here are that they're
really similar to my initial thoughts, which is okay. So
these same labels benefited from both of these artists dissing
each other. Historically, Drake had been the bigger artist in
(04:30):
terms of sales, and if they were going to put
their support behind an artist, it would make more sense
to put more support behind this record breaking, record setting
artists that they've had this long standing relationship, rather than
to put the support behind Kendrick Lamar, someone who has
(04:52):
tremendous success, but relative to Drake, nobody has that level
of success.
Speaker 2 (04:56):
Drake has records.
Speaker 1 (04:57):
That you know, most artists couldn't even touch, they couldn't
even think about touching. So if there is some machinery
that exists, if there is some system, it stands to
reason that it benefited both artists equally. Drake being up
in arms about him being called, you know, a sex
(05:23):
offender or whatever, I think that flies in the face
of his own record, literally his track record and his
actual record where he was accusing Kendrick Lamar of all
kind of wild stuff, beating his wife, his kids, weren't
his all that sort of stuff too, And it's just
as defamatory, And they both use the same exact system.
And for him to try to cry foul, to try
(05:47):
to get information, to you know, put together a lawsuit,
and then ultimately to file.
Speaker 2 (05:54):
A full fledged lawsuit.
Speaker 1 (05:56):
It continues to wreak of sore loser and it he's
like digging himself into a corny hole, if that makes sense. Like,
you know, it's one thing to get played out, It's
one thing to get distant. People ain't really rocking with you.
But you know, you come through with a hit or
a feature on someone else's song. After a few you know,
(06:17):
months or a year or two, you know, you get
back to it. You know, people be like, oh, yeah,
you know, I like Drake, this song is dope. You
know what I'm saying. We've seen a lot of people
come back from the quote unquote you know, the dead,
the abyss that people get confined to. You know, for
a long time, people was talking about Gunna like he
was a snitch. Gunna came back with a couple of
his people. Forgot all about that for a long time.
(06:38):
You know, uh Nas played jay Z out.
Speaker 2 (06:40):
You know jay Z.
Speaker 1 (06:41):
You know, he took that on the chin and he
kept it pushing. You know, it's a lot of like
even to this day, if you get dis bad enough,
you get caught. It's called ethered, right, And jay Z
came back from that, you know, and you know, this
story happens quite a bit.
Speaker 2 (06:55):
Now. There's some people that it's harder to come back from.
Speaker 1 (06:57):
But Drake would have been the last person that would
have thought couldn't have came back from a battle, except
the fact that he's digging himself so far deep that
it's harder to Like. Now, you're corny, you're doing it
to yourself and nobody is helping you. You're doing this
to yourself.
Speaker 3 (07:13):
And what you just said is what stands out to
me the most. Drake is making it so supporting him
looks corny.
Speaker 2 (07:21):
Yeah, and.
Speaker 3 (07:23):
Right after this beef that wasn't the case, and he
lost as bad as you can lose.
Speaker 1 (07:29):
Right.
Speaker 3 (07:29):
The only person that we know who never really recovered
from a battle beef loss was Ja Rule, and that's
only because Ja Rule stopped doing what he was doing.
Yeah right. Jarul was, if not the biggest artist in
hip hop at the time. One of every other song
on the radio was Joy Rule and his mastering of
the R and B collaboration was what shot him into
(07:51):
the solar system. Fifty Cent made fun of him for
making those kind of records, got him to stop making them,
and then started making them himself. It was masterful. Jarrul
tried to double down on his streets and fifty cent
put out candy shop. You know what I mean. Like
it's like it was the masterful thing to watch happen.
So outside of that, everybody comes back. Meek Millan, Drake
(08:14):
had a beef word Drake drug Meek Meal. Then they
did a song together and Meek was right back outside.
So very interesting. But I want to read this also
from Billboard. This is a statement from UMG that had
not been made yet when we read the earlier published story.
(08:34):
Not only are these claims untrue, but the notion that
we would seek to harm the reputation of any artist,
let alone Drake, is illogical. The company wrote, we have
invested massively in his music, and our employees around the
world have worked tirelessly for many years to help him
(08:54):
achieve historic commercial and personal financial success. Very important data here.
This lawsuit claims that UMG knew that the inflammatory and
shocking allegations and not like us were false, but chose
to place corporate greed and the money that they could
make from it ahead of the well being of one
(09:16):
of its artists. UMG goes on to say in their response.
Throughout his career, Drake has intentionally and successfully used UMG
to distribute his music, his music and poetry, to engage
and conventionally outrageous back and forth rap battles to express
(09:38):
his feelings about other artists. He now seeks to weaponize
the legal process to silence and artists creative expression and
to seek damages from UMG for distributing that artist music.
The same thing that you said, and the same thing
that people have said about this issue before it was
before it was lawsuit, when he was just seeking information.
(10:00):
You have used this system that you claim to be
fighting against now for your own benefit, for your entire career,
and you came out on the losing side of a battle,
and now all of a sudden you need to call
the law. It should be embarrassing, bro, Like we all know,
(10:22):
we don't need him to say it. If he won
this battle. There's nothing to see here. And like you said,
he's the bigger artist as far as UMG is concerned.
They've invested over a billion dollars in him. I think
over his career, and he said in a statement or
(10:45):
I think on a stream after all of this happened,
that he was doing this for the little man. I
was fighting against the system so that all smaller and
independent artists would have a better shot moving forward. He
was placing himself as the martyr who was going to
take down the building on behalf.
Speaker 2 (11:06):
Of all artists.
Speaker 3 (11:08):
All right, then he withdraws that and just goes defamation.
My feelings are hurt. He said mean things about me,
and you guys knew it and you put it out anyway.
That's the part ignoring that. Not only did he call
Kendrick an abus her, but think about the allegation of
(11:29):
Kendrick's woman bearing the child of his best friend and manager.
She's not a rapper, She's not in this battle. If
anyone has grounds to sue for defamation, it's the woman
who's the mother of his kids, who you accused of
sleeping with and bearing the child of his best friend
on the same songs that you put out in the
(11:50):
same battle, distributed by the same company that you're suing.
So it's I'm from Detroit, rams is from competent. Let
me code switch if you will. This is insane, dog like,
Come on, Drake, listen, how about lawsuit in the rat battle?
Is crazy? By itself lawsuit for defamation in the rat
(12:12):
battle where it's never been about the fact checking part.
It's always been about who could say the meanest, most
scathing thing about the other person. And you participated. You
didn't just sit home and take this on the chin
and get your feelings hurt.
Speaker 2 (12:26):
No, you did it.
Speaker 3 (12:26):
You claimed your things as fact, your words. You said
what he was saying was some nonsense. But what you
were saying was one hundred percent fact. So which of
you should have grounds for defamation here? I'm just asking
so check this.
Speaker 1 (12:44):
Out for Drake to have any grounds to to sue, which,
to be.
Speaker 2 (13:02):
Fair, he doesn't.
Speaker 1 (13:04):
This is I mean, culturally speaking, he doesn't like based
on the culture. Don't know, fam, You jumped in the ring.
You did what you did. You started it there, you go,
thank you, thank you. You set it off right.
Speaker 3 (13:17):
You start, and then you begged that man to respond.
You egged that man on drop drop, drop drop, and
then when he dropped, you got the equivalent to knocked
out in a fight.
Speaker 2 (13:35):
Yeah, and now you want to press charges for us. Remember,
Drake got the last word.
Speaker 3 (13:40):
You punched him, begged him to punch you back, got
punched back, got knocked out.
Speaker 2 (13:46):
And when you woke up, you sued.
Speaker 3 (13:49):
For assault and battery, even though you hit him back
again after that.
Speaker 1 (13:56):
Yeah, you got the last word. Now what what we're
what What you have to ignore, as Drake, is that
the culture has taken this song and try as a
as a label might, the label is not going to
ultimately dictate what the culture wants. That at the end
(14:18):
of the day, the culture has the finals and.
Speaker 3 (14:20):
They're absolutely not going to suppress a smash.
Speaker 2 (14:24):
Never never right.
Speaker 1 (14:29):
But the part that the part that just kills me
about this whole thing is the fact that it's giving
me this kind of sensation of like it's almost arrogant,
like that in Drake's mind, there's no way he could
lose to Kendrick unless there was this whole machine working
(14:53):
against him. Drake's like, well, I got the best writers,
I make the best songs, I'm the biggest artist, I'm tall,
I'm Canadian, I'm light skin. Whatever he's thinking in his mind,
it gives him some sort of advantage. And when I
look at Kendrick and I look at just in seeing
(15:13):
hip hop music right. Hip hop is a uniquely American
Black American art form. It has of course, naturally been
exported all over the world, and we share this. Black
people historically have shared this art form with any who
wants to participate. It doesn't matter what color your skin is, right,
(15:35):
But make no mistake, this is decidedly black, right and
from New York City.
Speaker 2 (15:41):
Right. I'll make sure that I say that the right way.
Speaker 1 (15:45):
Bronx to be specific, all right, but Kendrick Lamar is
from the I will call it the primordial ooze that
makes in my opinion, the critically acclaimed, timeless, most celebrated
(16:07):
hip hop artists what they are. You can you can
subtract commercial success from this conversation. We're talking about the
grios who speak to our hearts. Now, you do need
some success in order for you to exist in the
cultural zeitgeist and in public consciousness. But this that's not
(16:28):
the only metric. This is why a person like me
will always be able to make an argument that Tupac
is a better MC, better rapper, better I guess rappers
the way I want to go with here, then pick
a name. In this case, I'll pick Eminem. Tupac is
(16:48):
a better rapper than Eminem because Tupac can tell a
story that he lived through that actually happened, and he
can imbue his story with a passion that resonates with
a person like me, because I understand the feelings behind
the intonations. You Knowac Tupac is really right up on
(17:11):
top of the beat kind.
Speaker 2 (17:14):
Of his style.
Speaker 1 (17:15):
And but when he lets it go, when he moans
into a syllable or into a word or into a phrase,
and you feel it, there is the artistry, There is
the conveying of emotion for me to you. Now, with Eminem,
I'm not going to take anything away from him, because
Eminem has imbued his artistry with frustration and all that
sort of things, things that are very common in terms
(17:37):
of the human experience, and he's very good at that.
But if I make my parameters that hip hop exists
to tell black stories as a celebration of inner city
youth in the Bronx and in like communities around this country,
people have had a similar experience. And then I walk
(17:59):
Kendrick into the ring with Drake. Who has the better
chance to influence the culture. It's Kendrick Lamar, no label.
You don't have to present that as a hypothetical anymore,
just because it happened exactly exactly, and so Drake ignoring
these parts of it. Maybe he's not ignoring, maybe he
(18:21):
cannot conceive of it because his brain doesn't go there.
His brain simply goes to, well, I've sold more records,
and I collaborated with this.
Speaker 2 (18:28):
Person, and I'm tall, and I'm light skinned, and whatever.
Speaker 1 (18:31):
The other superficial elements are there. But Drake has not
made a song that says, if God got us, then
we gonna be all right. That song will echo throughout
eternity like a Negro spiritual because it is.
Speaker 3 (18:53):
I'm almost speechless after that, because that I can't even
try to articulate that better. I just for the listener,
want to paint a different picture, just as a mental exercise.
The National Basketball Association, the NBA, Lebron James, the king,
probably the of our generation, probably the biggest star in
(19:18):
the not probably the biggest star in the NBA of
the last twenty years. Lebron James.
Speaker 1 (19:23):
It's only really him and Michael Jordan are the biggest
two stars right ever.
Speaker 3 (19:27):
But I'm talking about playing right now. Steele is Lebron.
Lebron and Kevin Durant both play in the NBA. Lebron
and Kevin Durant are both signed to Nike, so both
of the corporations that cut them the biggest checks are
the same. Every now and then they have to hoop
(19:47):
against each other, and the day after that championship is
won and one of them has lost, the commercial that
comes on is going to be for the player that won.
The other player cannot sue the NBA and Nike after
that for not having promoted them enough. No, no, no, we're
gonna promote both of y'all. We're gonna put both y'all
(20:08):
shoes out. We're gonna market the heck out of both
of them. Were gonna run all y'all commercials, But in
this case there was a winner, and to the winner
goes the celebratory commercial. To the winner goes the little
boost of marketing. To the winner goes the spoils. Nike
and the NBA are not gonna work against the success
of either of those guys. They profit enormously from both
(20:30):
of them. And let's say they've both made a couple
billion dollars a piece over their career. Nike and the
NBA has made way more than there, right, so it
is not in their best interest to suppress or defame
or downplay either of them, but they don't both win
the championship every year. And to whoever is winning right
(20:51):
now is gonna seem like they're getting a little bit
more push because they are. The people are gonna buy
more shoes, more jerseys, more tickets. That's just how the
consumer infrastructure works.
Speaker 1 (21:02):
And you have to supply that, hence the push. I
understand that, UMG.
Speaker 3 (21:08):
In their statement, you can almost hear their like, this
is corny, what are you talking about? We benefit greatly
from your success. We don't love listen. Universal Music Group
is an entity. It's not a person. That company doesn't
love either of them enough to not profit from the
(21:29):
other one. There's no such corporation in these United States,
even those that seem benevolent, there is a profitable piece
to that.
Speaker 2 (21:36):
There's a reason they're doing that right.
Speaker 3 (21:39):
So again, man with us, he's going to put his
fans in a tough spot because now when you pull
up to somebody at a traffic light and the windows
down and you hear Drake coming out of their car,
you're going to look at them different, man, And you shouldn't.
Speaker 2 (21:56):
The music is still great, you know what. I mean,
but he's doing it.
Speaker 3 (22:00):
If he just sit down.
Speaker 2 (22:03):
Why don't you just sit down?
Speaker 3 (22:05):
If he would have just fell back after this and
just came back out with a smash, he was a
one care He was on the right drake. Well, that
sexy red song was awful though.
Speaker 2 (22:18):
But he was on the right track. He was just
doing music and that was it. It wasn't about nothing.
Speaker 3 (22:23):
But I need to say that, Yeah, I don't think
that's how you feel.
Speaker 2 (22:28):
He wasn't on the right track. He had the right idea,
That's what I'm trying to say, is not.
Speaker 3 (22:31):
On the right track. That song was awful, well, I guess,
and the timing of dropping that song even worse. And
shout out to him for making fun of himself a
little bit and getting on the BBO drizzy beat. That
was kind of the right idea. Leaning to the loss,
admit the loss and make music. And you've made great
music your whole career. What you're doing is Karen behavior
(22:53):
and a grown black man.
Speaker 1 (22:58):
Is giving more Canada than black man.
Speaker 3 (23:01):
Because I don't want to dunk on Canada. Canada is
dope American caring and that's it's It's an unnecessary and
unusual position to take. Man, you never had to do this.
You never had to take this position. You never had
(23:23):
to play yourself. You already lost. You don't have to
play yoursel.
Speaker 2 (23:29):
You're the only one with the shovel dig in your
own hole. Now. Kendrick ain't saying nothing about.
Speaker 3 (23:33):
You, and there's no win here right like you, you don't.
You have enough money to worry that nothing about your
life will change. Even if there was some fiscal success
in court from this suit. Nothing about your life will
change nothing.
Speaker 2 (23:49):
So all you've.
Speaker 3 (23:50):
Done is doubled down on the worst, the worst possible
way you could look from a from a rap beef.
You've taking that and put like a hundred X on it,
and you never had to talk. No matter what anybody says,
Drake was Drake. I was about to say, Drake is
(24:10):
Drake because a couple of months ago, Drake is Drake.
Speaker 1 (24:13):
I feel bad playing Drake in the club. I'm like,
I hope nobody get mad at me right.
Speaker 3 (24:17):
After this beef, Drake is still Drake.
Speaker 2 (24:20):
You lost.
Speaker 3 (24:20):
Okay, you did it, but you Drake, You'll be fine.
But now it's like, because because future Thug and little
Baby just put a joint out together. If that's future.
Speaker 2 (24:31):
Thug little baby and Drake, everything's fine.
Speaker 3 (24:34):
All is fine in the world, except now they look
crazy next to you, like you're you're starting to alienate
even your fans and allies.
Speaker 2 (24:44):
You're gonna make.
Speaker 3 (24:44):
It where it looks corny to defend you, to support
you and stand next to you, and that's bad, man.
Speaker 1 (24:55):
The thing is, you know when when you look at Drake,
like you know, there's rumors that swirl around, you know, people, celebrities,
things like this. I don't know Drake. I never met
Drake before I met Kendrick a few times.
Speaker 2 (25:10):
But and a lot of these guys interview Kendrick two, Yeah,
a couple of times.
Speaker 1 (25:15):
Yeah, But when you hear when you know, we're insiders,
you know what I'm saying, So we hear rumors, and
we know people that have been privy to information and
behind certain doors and whatever.
Speaker 2 (25:29):
And they can speak on whatever.
Speaker 1 (25:31):
You know, Drake has not had the best reputation when
it came to.
Speaker 2 (25:39):
Dealing with.
Speaker 1 (25:43):
Certain things, women in particular. That's just what comes to mind.
He just kind of the way people describe him. Again,
this isn't firsthand, but you kind of got to know
your own reputation, Like, I know I have reputation in
my city of being the person that doesn't really engage
and talk with everybody's because I can't remember everybody, but
you know, I know that that reputation follows me, right,
(26:05):
So Drake's got to be aware of this. His reputation
has always historically been like he's like kind of a
corny dude that's like really thirsty for attention from women,
Like he's afraid that women won't like him, or now
that he's up, women will only like him because he's
uppers something like that.
Speaker 3 (26:24):
Let me tell you something that changed, because it kind
of became that. Okay, he got into like this hyper
masculinity manscape space.
Speaker 2 (26:34):
Now are you saying Manscape or Manisphere?
Speaker 3 (26:36):
Manisphere is what I mean, Manisphere is what I mean.
Speaker 2 (26:39):
I just I'm listening, right.
Speaker 3 (26:42):
So, one thing that stood out about me, and I've
said to you and you know on multiple platforms, that
the only thing that ever disappointed me about Drake is
that he took low hanging fruit. I thought he was
more talented than what he shared with us. I thought
Drake could have literally created his own of music when
I first heard him, and instead he just did the
(27:04):
easiest version of hip hop. He could have done elevated music,
and he just say, Okay, what's the what do people want? Okay,
that's what they want. Okay, I'll just do that. I'll
do that better than everybody else. I'll do the most
popcorn popular, you know, radio friendly version of whatever is
(27:25):
already happening.
Speaker 2 (27:26):
I'll do my version. I want it.
Speaker 3 (27:31):
And I'm like, oh, it's not that it wasn't good.
It was great, but it's like, oh, I know you
can do way better than that, and you did that instead.
Speaker 1 (27:39):
Man, dang.
Speaker 3 (27:40):
So it was like it wasn't like mean spirited, was
just like, man, I know he can do better. And
then I met him, and corny isn't the right word.
The right word is nice. He was a nice person, straightforwardly,
and he started making vulnerable hip hop, similar to what
(28:04):
LLKHOJ used to make, like flagrantly self conscious, overtly self conscious.
I remember sensitive vulnerable music. I thought that was dope
because you to get that off as hard. You're a
hip hop artist. You ain't supposed to be vulnerable. You're
supposed to be a man. He pay said, I'm in
love with a stripper. Once upon a time people be
(28:26):
like what, But if you do that well enough, you
can get it off. So Drake was able to get
off vulnerable, sensitive, genuinely seeming nice person music. But then
at some point, I gotta stand next to twenty one.
I gotta stand next to Pluto future, I gotta stand
(28:48):
next to thug and baby. I gotta I can't be
soft and vulnerable. I gotta be I gotta go with.
I gotta go with game to Compton. I got to
show y'all that I'm really what I'm absolutely not. And
I think from the moment he started doing that, Kendrick
Lamar Duckworth start looking at him like, well, I like
(29:11):
Drake with the melodies. I don't like Drake when he
I don't like Drake when he acts.
Speaker 2 (29:15):
So watch this.
Speaker 1 (29:17):
The thing that, the thing that I encountered, perhaps on
more than one occasion, is Drake being the type of corny.
And that's why I use that word where I know
that this has had to have happened to you. You
know what I mean. I know your resume, okay, and
(29:38):
I've known you for decades.
Speaker 3 (29:39):
If you can see me on camera, my face got nervous.
You should be because I know your resume.
Speaker 1 (29:44):
Man, face you you have had a history of associating with.
Speaker 2 (29:53):
Beautiful women.
Speaker 1 (29:55):
You know, you know, once upon a time when that
was your life, you were dating, and I would I
was able to witness, bear witness to this and these.
Speaker 3 (30:04):
The mother of my children is quite attractive too.
Speaker 2 (30:06):
But yeah, yeah, yah, But I'm talking about once upon
a time.
Speaker 1 (30:08):
Make this seem like the past. I'm talking about once
upon a time. There was a way, way long, long
long time.
Speaker 3 (30:13):
To make this seem like the past. What Bernie said,
let me bring you back current because I don't want
the people to think I fell off.
Speaker 1 (30:20):
Now you're trying to say like that, I'm just trying
to say, once upon a time.
Speaker 3 (30:23):
When I got it. Honest to all, I'm saying what
I'm saying, rams just making it seem like in the
eighties I had and then now I'm no son.
Speaker 2 (30:30):
He's still on it. I know, I just know.
Speaker 1 (30:31):
But when you were actively in pursuit of what would
ultimately be your reality, you know, the candidates I'll say,
were uh, you know, you were kind of known for,
you know, dating people that were very attractive. I'm just
that's all I'm trying to say. All right. So I
like to think, without tooting a horn or anything like that,
(30:52):
that I have a kind of a somewhat similar story
myself that I've kind of been associated with people that
have been desirable I guess women where I live, you
know what I mean, and they have seen something in
me and God bless them. So what often happens when
you're in that predicament And this is why I feel like,
you know what I'm talking about when I'm talking about Drake's.
Speaker 2 (31:13):
Level of corny.
Speaker 1 (31:15):
I will be somewhere, say with a woman that I
was dating, and I'll be around guys that I kind
of know, you know, just through association. They might you know,
play football for the Cardinals or they might do something something.
These guys are you know, these guys are on the.
Speaker 2 (31:33):
Level, right.
Speaker 1 (31:35):
But you know, I'm a different type of person, you
know at the time, especially you know, I'm on the
radio every day, so everybody knows my name, and my
name is Ramses, that's my actual name. So you all
you have to do is say it. Everybody in the
whole city knows who you're talking about, the guy with
the afro. That's It's very simple. So I didn't have
to like meet people and introduce myself and everybody k
who I was just like that, and it just makes
(31:58):
it makes things.
Speaker 2 (31:59):
A little bit more approachable accessible.
Speaker 1 (32:01):
Whatever. I'll be at a place, a function wherever, and
I'll take a date with me, and I'll have to
go on stage, or I'll have to go backstage, or
I have to talk with some people afterwards, or I
have to whatever. And then at the end of it,
I'll be leaving with the lady friend that I'd be
(32:21):
there with, and she would tell me about all the
guys that kind of casually knew me, that gave me dap,
gave me pound, you know, wanted me to play their
music on the radio, wanted me to shout them out.
Speaker 2 (32:32):
Whatever.
Speaker 1 (32:34):
They weren't like my best friends, but they were people
that kind of knew me. This woman or these women
over the years would tell me like, hey, man, you
know such and such made a pass at me. You
know your guy that you said hi to when you
first got there, he made a comment. He's trying to
follow me on social media. Hey, you know the guy
that you know, he just sent me a DM Do
you you want to see what he said? You know,
(32:54):
this sort of stuff right, and that's corny behavior. Now
I've never done that because I I don't know, I
just not made that way. I just I can't do it.
But I know that you've had a similar life in
that way, where guys will just do some corny stuff
and it's like, bro, you don't have to do First off,
she's not going anywhere.
Speaker 2 (33:14):
Not that. First off, you already look corny.
Speaker 1 (33:16):
But and I'm him. Okay, I'm gonna say that because
I know, I know, I know who I'm talking to,
and I know who I am, so I always been him.
Speaker 2 (33:25):
That's that's fact.
Speaker 1 (33:26):
But those people that do that corny type of behavior
helps me to know that that's a character type, right,
that's a personality type, that's a that's an insecurity, that's
a some somehow it ends up being present and people
who are, like I said, some of these people playing
(33:46):
in the NFL, you don't have to worry about what
you make a ton of money family like you don't
have to worry about me. Drake has has a reputation
of being that type of corny. So the reason I'm
saying this and the reason I'm making this connection is
because when I see his behavior right now, with you
and g and I'm looking at that like that's corny.
I'm like that kind of jives with the reputation I've
(34:08):
known him have. Obviously, Kendrick made it very public that
Drake slept with Lil Wayne's girl when Lil Wayne was
locked up. That's corny guy behavior. So it is kind
of like jibes with Drake, and that part feels whack
because I would rather learn a part of Drake that
made all that stuff feel like it wasn't true, instead
(34:30):
of seeing Drake behave like this, and that makes all
those rumors feel like they've been true the whole time.
Speaker 3 (34:34):
I'll say it better. I'll say everything that you just
said more concise.
Speaker 2 (34:39):
Do you help me out?
Speaker 3 (34:40):
You're watching this on YouTube, I think go to the
search bar and type in Marvin's room and then press play,
and everything that Ramsey's just tried to express will wash
over you as you listen to Drake sing to this woman.
I think that the narrative of the song is this
(35:03):
is a voicemail being left for her. I'm just saying,
you can do better than the man that you're with
right now, and we let that ride. Because Drake got
so popular and so successful that sucker stuff. He just
got it off left and right, stuff that we would
(35:23):
never accept in real life from friends of ours like
daw You having a sucker attack. There's no way you
just said that to that woman. But what good old
capitalism has shown us is if you get rich and
successful enough, people will.
Speaker 2 (35:37):
Forgive all about anything. Yeah, this is a bad look, man.
Speaker 3 (35:42):
I don't want us to talk about this for twenty days.
It's a bad look, bro, And it gets worse, sir,
because it was already bad. So this is worser. It
gets worser by the day it gets. So listen, we
were we got on camera to respond to the news
that broke last night that he withdrew the petition yea,
(36:05):
before we could press record, he filed We can't make
this up.
Speaker 2 (36:12):
It's happening.
Speaker 3 (36:13):
This is not just for content. This is happening to
us in real time, and as hip hop heads, it's
impossible to not respond to it.
Speaker 1 (36:22):
But maybe you have something that you want to add
to the conversation or a response that you know is
worthy of us contemplating at least maybe even formulating our
response to your response, And of course you can do
that using the red microphone talk back feature on the
iHeart Radio app, or you can hit me on all
social media at rams' Jah.
Speaker 3 (36:43):
I am q Ward on all social media as well.
Speaker 2 (36:46):
And until we hear from you peace.
Speaker 1 (36:49):
This has been a production of the Black Information Network.
Today's show is produced by Chris Thompson. Have some thoughts
you'd like to share? Use the red microphone talkback feature
on the iHeartRadio app. While you're there, be sure to
hit subscribing down.
Speaker 2 (37:01):
With all of our.
Speaker 1 (37:01):
Episodes, I'm your host, ramses Jah on all social media.
Join us tomorrow as we share our news with our
voice from our perspective right here on the Black Information
Network Daily Podcast