December 21, 2025 • 46 mins
This week on New Rory & Mal, Ebro In The Morning gets cut from Hot 97, Rory and Mal speculate who will take over the morning drive for New York's most storied hip-hop radio station, Nas and DJ Premiere drop a project that was worth the wait, and the guys kick it with Ghostface Killah at Mass Appeal #volume
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
The volume.
Speaker 2 (00:05):
If Drake dm me die slowly, I mean I wouldn't
get depressed.
Speaker 3 (00:09):
But you know I locked my doors.
Speaker 4 (00:12):
You would lock your doors. You would go down stairs
and check to see if the door was locked. Why
Drake see Iceman was outside? What's up with your man off?
Speaker 1 (00:22):
I like it? Dying slower pussy Yeah.
Speaker 4 (00:25):
Yeah, yeah, yeah, all you niggas that was talking ship
all year, clapping for that bullshit rhetoric that they was
pushing about me.
Speaker 1 (00:33):
Yeah, die slow. We got to see all your niggas fail.
But what is that? What does that mean? It means slow.
Speaker 4 (00:38):
I hope your next show don't work out either, That's
what you don't. Drake is not hoping that Ebro is
putting to the ground next. You know that he's not.
He's not that type of person. But he's saying do slow,
like yo, yeah, your ca career wise, but we got
some ship for you. One could take as a threat
and maybe yeah, rose Berg, I didn't like that, and
(01:00):
then like Roseberry pumping out, I would take that as
a threat. You should toe like, come on, man with
the bullshit he was. I didn't like that. I didn't
like that, and I fuck with people.
Speaker 2 (01:08):
I didn't like that he was making a joke based
off the lawsuit that Drake, I get it.
Speaker 3 (01:12):
He's saying he bring I mean swings.
Speaker 4 (01:14):
Okay, so yeah, but just it was it was that
coming out next see.
Speaker 1 (01:17):
Someone saying we got some ship for you, Well, you.
Speaker 4 (01:20):
Can probably get like like, yo, it's a threat.
Speaker 3 (01:24):
Oh someone could if you wanted.
Speaker 4 (01:26):
If you like that doing that, I was like, come on, man,
you know that's not Drake is not going to do
anything to eat bro.
Speaker 3 (01:32):
No, of course not.
Speaker 2 (01:33):
But that's why you shouldn't say we got some ship
for you unless you can do it.
Speaker 4 (01:36):
Yeah, but we got some shift for you can be
a bunch of things. It could be I got you,
I got to I got you on a song. I
got some balls about you on the song. I got
some you know, some some info that I heard about
you from some women that you may have dated before.
Speaker 1 (01:48):
It could be a lot of things.
Speaker 4 (01:49):
It don't mean that I'm going to show up to
your house with the with the owls and fucking and
bring a harm, bodily harm to you.
Speaker 3 (01:55):
Like they don't mean that, bring the potters.
Speaker 1 (01:57):
It don't mean that. It just means we got some
ship for you.
Speaker 2 (02:00):
Do you think this is a bit hypocritical of what
you just said about Wile. Why should Drake give so
much power to these people on the internet discussing him. No,
he's just he's not to the point that you say,
die slower, pussy, we got something for you in the DMS,
and you're worth a billion dollars in the biggest artists,
second biggest artist in the world. To me, that's he's
(02:22):
letting people on the internet get get to him. If
he didn't care, he wouldn't.
Speaker 1 (02:26):
No, no, no, this is somebody.
Speaker 4 (02:27):
Somebody died, somebody that was the program director of a
radio station in New York City.
Speaker 1 (02:34):
I was pushing over a decade.
Speaker 4 (02:37):
Yeah, but they've been pushing a rhetoric about him based
on a song that came out last year. Hebro has
been very vocal about that. He said a lot of
things about Drake over the past year. I mean, we
can go down a clip of things that Nebro said
about Drake.
Speaker 2 (02:49):
Listen, I don't watch every single Ebro show to know
every bad thing he said about Drake. But I also
think the level that Drake is at can go to
your point of what you made with Walle.
Speaker 3 (02:59):
It's people on the end, and that there's no power.
Speaker 2 (03:01):
Even when Flex was trying to beef with Drake and
Drake was on stage of the Garden saying Hot ninety sen,
they were playing Drake, you know, fifty times a day.
It didn't affect his It's not like he got blackballed
from Hot ninety seven. It's not like they stopped playing
his music, which affects your livelihood. You know what they
were beefing with with Drake. Flex is beefing with Drake
and had to play ten Drake songs in a sect like.
Speaker 4 (03:22):
Yeah, but you But here's the thing where because you're
asking for Drake to, you know, be the bigger person,
you're asking him to I'm just making a point off
the way. So he wanted he actually laugh at this. Yeah,
sometimes he wanted to play petty. Sometimes he goes he
gonna be petty. Sometimes yeah, career exactly. So sometimes I'm
gonna say die slow a pussy. Sometimes I'm gonna say that,
(03:43):
I'm gonna be in the studio. I'm gonna here that
you just lost your show got canceled, and I'm gonna
be like, oh shit, he was talking so much about
me this ship.
Speaker 1 (03:51):
Let me send him a nice little message.
Speaker 2 (03:53):
I just and I'm not saying this about Drake. I
think it's the overall internet now. When drill music and
streamers all like connected and they started using drill slang
and metaphors in real life is when things got weird,
like smoking on packs and like all it's like, you know,
(04:14):
it's actually like really about like murder, right, Like yeah,
they're saying that on Twitter.
Speaker 3 (04:20):
Those guys are actually doing it.
Speaker 2 (04:23):
That's when things when anyone felt like they could say
anything on the Internet, like die slower pussy.
Speaker 3 (04:28):
I just I think that's a wild thing to DM somebody.
Speaker 1 (04:31):
I just do. I just do.
Speaker 2 (04:33):
And I think everyone is speaking like they're all drill
rappers no matter who you are. People feel like that's
just acceptable of vernacular now to say certain threats that
have a meaning of actual violence, like we smell around
that pack tonight, Like wait, you know that derived from
someone that was murdered, right.
Speaker 3 (04:50):
I just think it's people.
Speaker 2 (04:51):
Talk crazy and dms on streams on Twitter like it's nuts,
the things that people are saying to each other with ease,
and they're not even I'm not saying this about drink
and not even like that mm hmm, Like, listen, do
we joke around this and that. I don't use certain
words because I'm not prepared to. I'm thirty five years old.
Speaker 3 (05:08):
I don't want any violence.
Speaker 1 (05:09):
Even when I was cut Homie off in traffic, I
just with stair straight.
Speaker 3 (05:13):
I want to fight.
Speaker 2 (05:14):
I'm past that point in my life, so I don't
speak that way. I'm not going to threaten someone that
way unless we're going that way. So I don't know.
I just think everyone on the in and out easily
just says shit that has power behind it if you
think about what you're saying.
Speaker 1 (05:26):
But do you do you understand why Drake said that?
I don't know.
Speaker 2 (05:29):
I mean, did Ebro call him put a fhile? I
don't know if someone called me a pedophile?
Speaker 1 (05:33):
Yeah?
Speaker 3 (05:33):
Probably in my head, I probably. I probably hope that their.
Speaker 1 (05:36):
Career he called them a sickness.
Speaker 2 (05:40):
Oh yeah, I did see the sickness part, and I
did see Ebro try to clean clean that up, saying
that his fans were the sickness or whatever. Drake has
every right to feel that way. I just think everyone
is just talking too crazy. In the last two or
three years, you talking.
Speaker 1 (05:53):
Way, I get crazy, too crazy?
Speaker 5 (05:57):
I feel like I'm not mad at Drake for being petty,
because whenever shit happened to somebody at him, did me wrong,
I'm always the first to say, ooh, God, don't play
about me, So I know how it is to feel
that way. But words do mean things, so you can
say he didn't mean it like that.
Speaker 1 (06:11):
He just meant his career should die. But die slower.
Speaker 5 (06:14):
Pussies like words have meaning and words have power, so
they do.
Speaker 4 (06:20):
He sat back and listened to a lot of words
about him over the last Yes, that's fine.
Speaker 1 (06:24):
Is That's what I'm saying. That slow.
Speaker 2 (06:26):
I've never been in that situation, so I'm really honestly
not here to judge how he reacted to it because
I've never been in a position Drake has been in
and been called a pedophile. Yeah maybe I would react worse.
I don't know, but a lot just a wild thing
to say to somebody. Yeah it is, You're right, I'm
not saying it's not.
Speaker 1 (06:42):
I like it though. That's what I'm saying. I like it.
Speaker 4 (06:46):
God saw you niggas my faux fold. Make sure all
your kids don't.
Speaker 2 (06:49):
Grow you didn't tell your lady uber driver.
Speaker 3 (06:55):
You'll throw on that funk flex this morning.
Speaker 1 (06:57):
No, I did not.
Speaker 4 (06:59):
But for all of those who I've not heard, Ebro
in the morning show has come to an end.
Speaker 2 (07:04):
Yes, Ebro show consists of him, Peter Rosenberg, and Laura Styles,
all friends of the show. I mean, congrats on a
crazy run. Ebro was what program director for twenty years
and then on air for ten.
Speaker 1 (07:18):
I always loved their show.
Speaker 2 (07:20):
I think Rosenberg is one of the few people that
actually gave a fuck about hip hop.
Speaker 1 (07:25):
At a radio station.
Speaker 2 (07:26):
And Laura always an amazing personality and was the best
feeling because and it's gonna samosogynistic, but.
Speaker 3 (07:32):
I'm just being truthful.
Speaker 2 (07:34):
Sometimes they just throw a woman into a radio show
because they need a woman. Laura Styles has been a
part of this culture and loves hip hop and is
knowledgeable about hip hop. That's what made her role so
much better. That they weren't like, yeah, let's just get
a chick that's attractive and you know she can be
like haha, Like Laura was like really really contributed all
the time, and it was amazing.
Speaker 1 (07:51):
I always loved their show.
Speaker 2 (07:52):
I know they got a lot of shit because they
made a lot of enemies, but their numbers were always.
Speaker 1 (07:56):
Really good with the enemies that they make.
Speaker 2 (07:58):
I mean they're back and forth with which has always
been in radio, but they're back and forth with power
when power was capitalized radio beef.
Speaker 1 (08:07):
Oh yeah.
Speaker 2 (08:09):
And you know, hebro sometimes rubbed certain like when he
had I think it was Kodak Black when you tried
to get in the rap. Like there's there's been moments
where they've rubbed people the wrong way. But I think
that's what radio is supposed to do to some degree,
as long as you're being somewhat respectable. But congrats on
a crazy run, Like I think that's amazing. But I
(08:31):
also feel like it was good for them, Like I
even hit Pete, you know, just send sent them a text,
thank god this is over. Like radio needs to adjust
and pivot to the times, and of course they were
trying to do it with you know, YouTube and Breakfast
Club is a perfect example of how you do pivot
and that's why they're in the Radio Hall of Fame.
Speaker 3 (08:52):
But it was, come on, man, you have to revamp.
Speaker 2 (08:56):
Like as much as I thought Charla Mane and Heavy
should have stayed because of what they built there, I
also think new Blood is important and pivoting is important
because radio, for the most part, if you think about it,
when we were growing up, they treated radio like clubs,
like we're changing the name every year. Yeah, like people
talk about stars generational run, which it was that was
one year. Like usually, unless it's an Angie Flex big
(09:23):
boy radio, people leave like this.
Speaker 3 (09:26):
This changes.
Speaker 2 (09:27):
DJ's change, everything changes, and New York radio has been
not stagnant by any means, but it's been the same
fucking people forever. So I think it's beautiful that Flex
took over the split.
Speaker 1 (09:39):
New Blood. Flex is just cleaning house so he could
take every fucking slot.
Speaker 4 (09:45):
No, no, no, To be fair, Flex said he's only only
taken over today, just feeling it, just feeling in today.
We don't know what tomorrow looks like for the radio station.
But I mean Flex did take over today, another familiar
voice and familiar you know personality.
Speaker 2 (10:01):
I did not listen, but I just don't know what
Flex's morning swag would be. Flex is amazing for evenings.
I love a bomb on my way over to the GW. Yeah, Like,
I think that's great. Screaming is great at that time.
What is Flex morning swag? Like?
Speaker 4 (10:16):
I don't know, man, maybe he got into you know
R and B bag I didn't. I didn't listen to it,
but maybe he got into a little more R and
B heavy for the morning commute. But either way, I
do think that you know, we spoke to Pete a
few months ago, he came by. He gave us a
little insight on things.
Speaker 2 (10:30):
Yeah, it's shifting, only a shock to them the way
it was a shock to all of us.
Speaker 1 (10:35):
Yeah.
Speaker 2 (10:36):
And I also don't think it really has anything to
do with numbers because the end of the day, yeah,
YouTube numbers are super important, but the real radio charts
are what radio advertisers are looking for, what program directors
are looking at, and hot and breakfast club like month
to month it switched.
Speaker 1 (10:55):
It's not like.
Speaker 2 (10:56):
It the way we see breakfast club dominating in the digitals,
it's not that way on the radio. So it's not
like they were failures by any mean. I just think
this new company that bought it from MS doesn't give
a fuck about hip hop. I think they're just trying
to shap like the way Elon when he bought Twitter,
turns and X fired everyone on fucking staff and like,
you know what a I is gonna run this year?
(11:18):
I see what our overhead is I see what we're making. Sorry, guys, Ibro,
you've been here for twenty years, so your salary is
a certain thing.
Speaker 1 (11:24):
We're not paying that anymore. Like, That's what I think.
Speaker 2 (11:27):
And MS I think was more of a still a corporation,
but more of a niche corporation than I forgot this
one that bought it.
Speaker 3 (11:35):
Man, they don't give a fuck about hip hop.
Speaker 1 (11:36):
So you don't think this has anything to do with
the radio RICO.
Speaker 3 (11:40):
I don't know.
Speaker 2 (11:40):
I don't think Ebro, Rosenberg and Laura specifically, I know,
I don't think any of them are involved in any
RICO activity whatsoever. Do I think even though people have
been giving me shit of like I'm on my canvas
own shit, Like, where's the evidence that shit is still coming?
Speaker 1 (11:58):
Pause?
Speaker 2 (11:59):
And I think a lot of the shifts we've been
seeing across the board, not just with Hot ninety seven
but other radio stations, I think there's a trickle down
connection to some of it, where budgeting may may land
when things start to go to shit. So I don't
think directly, but I think their overall bottom line no
longer is caring about growing the Hot ninety seven brand.
Speaker 4 (12:20):
What is going on in the hot ninety seven because
we've seen Summer Jam significantly downsize and it hasn't been
as you know, let's say star studied, as it's usually
been throughout the years.
Speaker 1 (12:32):
Well, I mean I think that has that's is it music.
Speaker 2 (12:35):
That's fastoral culture, where you know, Summer Jam is a staple.
And I think didn't we talk about this with with
Pete when he was here. They're competing with people that
have fuck you money, whereas you know, Summer Jam isn't
backed by Verizon, where Verizon can just start a fucking
festival tomorrow and get Bad Bunny as a headliner.
Speaker 3 (12:58):
Like they're they're a small fish in a big pond.
Speaker 2 (13:01):
Now that festival culture is a thing and fans only
have so much money per month, and what I'm what
do you think I'm gonna go to Rolling Loud or
summers yea, if I have fifty five dollars this month,
where do you think I'm gonna go?
Speaker 1 (13:15):
Yeah?
Speaker 2 (13:15):
I think I'm gonna go to fucking City Field and
see all the Rolling Loud acts, or I'm going to drive.
Speaker 3 (13:21):
To Long Island to see the Summer Jail.
Speaker 1 (13:24):
They can't compete.
Speaker 4 (13:25):
Well, I do think that things do need to change.
Change is good obviously, you know, even even with radio,
it comes a time where you have to shift things
and change with the times and the culture. I don't
know what this looks like for how nineties haven't moving forward,
but it is a real thing now. I mean, not
as many people listen to radio as before.
Speaker 1 (13:45):
We all are our own DJs.
Speaker 4 (13:47):
To a certain extent. Now music comes out, we create
our own playlist. So I mean, maybe maybe you listen
to radio for you know, some of the commentary and
some of the you know, the personalities that there, but
as far as the music and this is what you know,
radio is all about the programming.
Speaker 1 (14:06):
I think.
Speaker 4 (14:07):
I just think people just are tired of hearing the
same old shit over and over when it comes to radio.
Speaker 1 (14:12):
I think people want to hear most of the things
that they like.
Speaker 4 (14:15):
Uh. They don't want things to be programmed and fed
to them. I think people want real good music. They
don't want to They don't want the radio to tell
us or the ky to or curate a playlist and say, hey,
this is what we want you to listen to all
day on loop. I just think people moved away from
radio and started listening to their own music and their phones.
Speaker 1 (14:32):
I mean radio is still super super important.
Speaker 2 (14:34):
Of course, there's been a decline and you know people
talk radio our age have you know, typically go more
to Bluetooth and their iPhone and want to play the
stuff that they want to play without commercials, this and that.
But radio is still very much a thing of Middle America.
And again when I say Middle America, I don't actually
mean Middle America. Middle America can be in North Jersey,
(14:54):
it can be in Long Island. Middle America still does
get in their car and just they're not as invested
as we are. Where it's like I want to hear
this song, that I want to hear this song, that
I want to hear this song. Some people just get
in their car and want to hit a button and
fucking drive. That's still a huge part of the consumer.
I just don't know what's going to happen in the
next forty years when all the kids younger than me
(15:15):
are now the adults driving their kids to school. I
don't know if they're gonna be the people they just
want to hit one button in drive. Oh no, So
they need to make shifts for what's going to happen
in the next forty fifty years now with radio. In
my opinion, and again, I'm not even gonna speak as
an expert because I don't know what that shift is ever,
really don't. I don't know enough about the radio business
to know how they should pivot. But it is clear
(15:36):
that change is coming. As important as they still are
and will remain to be important, they got to change something.
And I guess I view this more as a media
personality than I do a fan. If I'm ero Laura
and Pete, what else is there for me to do here?
What's left here? If this company has no interest in
growing this brand or letting us do anything, why am
(15:59):
I here?
Speaker 1 (15:59):
Yeah? So, I'm sure.
Speaker 2 (16:01):
Yeah, it's probably sad that, you know, they've been there
for so long and that's been such a big part of.
Speaker 1 (16:05):
Their long How long were they on the radio?
Speaker 3 (16:07):
He got there when I was a senior, he was
seven eight.
Speaker 2 (16:12):
Ebro's been there since I was born. Laura got there
after Kate Fox left. I'm not sure which year that
that was, maybe like twenty twelve, thirteen, fourteen some over there,
But Laura's been there for a minute.
Speaker 1 (16:29):
But what more is there to do?
Speaker 6 (16:31):
Here.
Speaker 2 (16:31):
Yeah, like, of course we all have bills, so yeah,
I'll keep it. D what am I doing? Nothing's going
to change here if if the people that bought it
are not interested in that. So if I'm then your
good rinning. It's been a good run. Let's keep our
brand going. Like they still have their own show like
Ebra in the Morning, they can take and do. They
could still stay as a crew, like their numbers even
(16:55):
on the audio podcast side are good. Like I would
just move on and keep the show. I mean, if
that's what the three of them want to do. Laura
may want to do her own thing, Ebro may want
to just focus on Apple, Pete may just want to
go wrestling. I don't know what I'm saying. The three
of them still have a show that they can continue on.
They don't have to stop just because Hot doesn't want to.
Speaker 4 (17:14):
Well, thank you to Ebro, Lauren and Pete for you know,
the years of radio and entertainment, great interviews, and we
just have to wait and see they where they end up.
Speaker 1 (17:25):
But I'm sure we'll see Laura, Ebro and Pete again.
Speaker 3 (17:29):
Yeah.
Speaker 2 (17:30):
I mean they all alluded to that in there, like yeah,
tweets and everything, just a change. Change is good, change
is inevitable.
Speaker 1 (17:38):
What do we think?
Speaker 2 (17:41):
And this isn't even local because I still feel like
Hot ninety seven is still a nationwide brand even though
it's not like a breakfast club that's syndicated in Iowa
like it is. But Hot ninety seven is still a
national brand because it's hip hop. What is the next
move because none of the streamers, the streamers of the
streamers like that's where radio and they're always like, let's
(18:01):
get new blood in there. Like all the new blood
that would be good may not want to go at radio,
like they have their own thing, whether it be podcasts
and streaming like Twitch. I don't know if those people
that would revamp it would have any interest in going
to do that, but they need somebody.
Speaker 1 (18:16):
Yeah, it can't be flex. It can't be flexed.
Speaker 4 (18:20):
No, and it won't be flex. I mean, this is
how the flex is. He's saying that, you know, he's
not going to be the permanent replacement. He was just
taking over today. But yeah, I don't know, man, I
don't know. I do I do. I think that this
is the sign of things to come. I think there's
more changes that will happen I think that you know,
there's changes that have already happened before. This's is just
(18:41):
another one on the list, and I just think that's
the time we in man. I think things are changing,
things are shifting.
Speaker 1 (18:47):
I heard I heard a rumor.
Speaker 2 (18:50):
Because of their their privacy, I will not say what
it is, and I hate being this person, but I
heard a rumor of who they chose for that morning slot,
and it's the best move they could have ever made.
When I was told who they picked, I was like, Oh, yeah,
this is going to keep Hot ninety It's the perfect person.
Speaker 3 (19:07):
To keep that ship moving. Good morning, speedy, No, not sunny.
Speaker 2 (19:12):
But I know a lot of people have complained over
the years that there's not a lot of New Yorkers
left at Hot or at Power. And when you have
a New Yorker that's relevant, that's funny, that can revamp
something and as a creative fucking mind and has a
cult following, yeah, that's going to keep the Hot ninety
seven ship moving if he takes that offer. It was
(19:33):
when I heard that because I was I wasn't thinking
too much of it, Like I didn't spend my weekend
wondering who what ninety seven was going to replace with
but when I heard it on Sunday, I said, oh, genius, can.
Speaker 5 (19:42):
You cover your mouth?
Speaker 1 (19:42):
Fucking genius? Leap it ah.
Speaker 2 (19:49):
I thought it was perfect. I thought it was a
home run, local innovative. Yeah, grew up on radio, but
has clearly isn't a completely different worlds Like I thought
that was, Oh, yeah, you guys may have a fighting
chance now, yeah, I'm interested. You just had that reaction though.
Speaker 5 (20:08):
That no, it's no, it wasn't a barterer. I said, interesting,
It was just more me processing it and thinking about it,
and you've had time to think about it.
Speaker 1 (20:14):
I haven't.
Speaker 2 (20:15):
So yeah, those Speedy would be great, But I think
that was just a joke. I think Speedy enjoys his
his life of one interview on his time, because that's
what I think people don't understand. Like, yes, everyone has
full time jobs. I'm not saying a cushy radio gig
when you're on the air for just four hours is
(20:36):
not the life. But you take a morning gig on
a radio station, that's your life though, Like you can't travel,
you can't like even like when when Dame was you know,
jokingly giving Charlotte and all them shit, I felt attacked too.
When Dane was saying it. Dane was like, y'all live
in this fucking box. Y'all even have a window. Like
when Dane was attacking them, I was like, God, damn it,
(20:58):
this has hurting me too. He's like, y'all don't even
y'a don't even get to go out and live. But
like you've been in the same place. So like that's
when in my nature for the first time, I wanted
to defend Charlotte, like, fuck you, dame.
Speaker 3 (21:10):
We have a life. You don't have dreams.
Speaker 1 (21:13):
I go outside perspective, you know, saying I don't even
got a window.
Speaker 2 (21:18):
Like damn, but I feel them and like, granted, it's
still a dream to have this kid, because you could
say that about shit sound engineers, Like I'm sure there's
been times like I've watched Guru pivot to do stuff
that he wants to do, But there was a time
when I've heard him and just Blaze talk about like
we were working on beans Freeway, Jay Cam. We literally
(21:40):
lived in baseline. I used to go street to change clothes.
They used to get a hotel across the street just
to shower. He's like, we had no life like we
literally lived in a dark room.
Speaker 1 (21:50):
People don't talk about that part of it.
Speaker 4 (21:52):
Like when you so baked into the culture in a
position like radio or something like that, or podcasting, you know,
it becomes a thing where it has to weekly yally,
you know what I'm saying. You have to do this
thing and you have to be on air. It's a
blessing and it's a privilege to have, you know, that
position and to you know, kind of be in a
(22:12):
spot where people look to you on their morning communites
and things like that. But there's a thing of you know,
it can box you in and keep you from growing,
and other opportunities that may come your way you have
to turn down because it just you know, it doesn't
coincide with your schedule for radio and things like that.
Speaker 1 (22:29):
So it's not an easy thing.
Speaker 2 (22:31):
Man.
Speaker 4 (22:31):
We take for granted, you know, like you said, how
people have to put their lives kind of on the
back burner a little bit, their personal lives on the
back burner when they have these you know, these positions
in our culture. So to have something like you know,
Ebro in the morning for so many years and that
team to be dedicated to doing that for so many years.
It's not a small thing, man, that's like a really
(22:52):
big deal. And you know, they should be proud of
what they did, what they accomplished, what they've given us.
And I'm sure again that there'll be a part of
whatever change is coming, whatever change is happening. I'm sure
that all three of those individuals will land on their feet.
Speaker 2 (23:06):
Yeah, No, absolutely, though I am jealous of radio people.
They get commercial breaks, music breaks. Yeah, we gotta fuck that.
Speaker 3 (23:13):
Yeah, but we're just talking fucking yeah.
Speaker 1 (23:15):
But it's four hours.
Speaker 3 (23:17):
I know.
Speaker 2 (23:17):
And they've all moved to long form interviews as well,
so they are podcasters. Yeah, Breakfast Club has one podcast
of the year for the last thirty years, I believe.
Speaker 3 (23:24):
Yeah, so like you know, they're a podcast the.
Speaker 1 (23:26):
Last how many years? Thirty? Yeah, Charlemagne's contract is ending. Yeah,
which is a good segue.
Speaker 2 (23:35):
Well, not Charlemagne's per se if it's the Black Effect
Network signed with iHeart for five years. I think that's
separate of Charlemagne's contract with Breakfast Club. But I could
be wrong or they run coincide either way. But he
was up there with with Dolly. I forgot what platform
they were on.
Speaker 3 (23:51):
Shout to Dolly.
Speaker 2 (23:53):
And they asked December twenty twenty five, the contracts up,
which you're about to do? And Charlemagne did a great
job of just dancing around the questioning shit I would do.
Not judging him for it, but I think with the
news on Friday of the iHeart and Netflix deal, I
don't think Black Effect is going anywhere. I think Black
Effects will be staying with with iHeart. I think that's
(24:13):
Charlemagne's home base. That's Black Effects home base. New partnership
with Netflix. Why would you leave? Where would you go
with all those shows when you have something like a
Netflix partnership coming up with iHeart? And Yeah, I mean,
I know, last time I said Darling, I got killed
because I didn't know Darling was like an insult. But
Charlemagne is also Iheart's Darling. I mean that as a compliment, Like,
(24:37):
I think Charlamagne can go up to iHeart and get
whatever the fuck he wants, like they love him because
he's always delivered for the last however many years. So
I think whatever Charlemagne wants with this new Netflix deal,
he'll get.
Speaker 3 (24:50):
So I don't think he'll leave it all.
Speaker 4 (24:52):
Well, you're thinking about upgrading your phone? Rory because I
saw your phone and I was gonna ask. I know
you feel like you want the new iPhone seventeen. I
never told a soul about that. Yeah, but listen, did
you know that it's designed to be the most powerful
iPhone ever?
Speaker 1 (25:07):
I didn't.
Speaker 4 (25:08):
And did you know that if it's traffic, they'll come
to you?
Speaker 1 (25:11):
No? See, did what you do is? I got good news.
Speaker 4 (25:13):
When you order a new phone on Labe with Bootsmobile,
they'll send an expert to your home or right here
to the studio.
Speaker 1 (25:17):
Rory got new.
Speaker 3 (25:18):
Boost was like that.
Speaker 1 (25:19):
Yeah, they'll give you.
Speaker 4 (25:19):
A new iPhone seventeen Pro and they get you set
up on a boost Mobile plan within minutes.
Speaker 3 (25:23):
No hassle, no hassle.
Speaker 4 (25:24):
Vis bootmobile dot com to get started. Delivery available for
select devices purchased at boostmobile dot Com.
Speaker 1 (25:30):
Terms apply.
Speaker 2 (25:33):
No.
Speaker 4 (25:35):
All right, Well we got some new music over the weekend, Rory. Yes,
it was good good music Friday, Good good music Friday.
Remember good music Fridays.
Speaker 3 (25:44):
I was at that jam.
Speaker 1 (25:44):
Yeah, great Fridays.
Speaker 4 (25:46):
We got a NAS and DJ premiere album. Yes, after
years of you know, the culture kind of talking about
it and wanting it, we obviously knew that it was
happening this year and we finally got it over this weekend.
Speaker 1 (26:01):
Rory called me, well, you text me.
Speaker 3 (26:03):
I text you yesterday, I text me Sunday Sunday night.
Speaker 2 (26:05):
I asked for a specific person's opinion on it, because
that person is who I look to.
Speaker 1 (26:11):
I'm not going to say because some people a gonna
ask like, well, what was his opinion?
Speaker 3 (26:13):
And we're not doing that.
Speaker 2 (26:16):
Yeah, I was curious what someone we were veer in
the hip hop world what they thought of it, and
their review was very similar to what I saw on
the timeline and what I was texted a bit that
some people were underwhelmed by some of the production. And
(26:37):
this is why I'm glad I don't really look at
the timeline before listening to a project.
Speaker 1 (26:42):
Did I feel like every beat.
Speaker 2 (26:44):
Was nas is like or Second Childhood or Devil's Pie
And no, But clearly Nas had a lot of shit
to get off his chest. Because I need one of
those like Twitter pages that has the stats of rapping
and how many words that's like the most rap I
think I've ever heard, Like the most words I've ever
heard on a Na's album.
Speaker 3 (27:03):
I mean that in a good way.
Speaker 2 (27:04):
NAS had a lot of shit to say and get
off his chest. I don't know if the Premiere beats
that you guys were looking for are set up for
an artist that has a vision like that at that
current moment. I just don't know if you're going to
get in New York state of mind when Nas is
in a different mind. Like if NAS was on there
kind of given regular NAS flow sixteen hook whatever, I
(27:28):
could be like, yeah, I would like a NAS's like
in this mix. But he just had so much to
say that was so important that Premiere could have played
him fifteen NAS type beats and he could have went, nah,
I want this one with a wider landscape where I
can talk more. And that's what I took from it.
As I can totally understand somebody that just wants to
(27:49):
bang some Premiere and Nas in their car. I'm with you,
I get it. I don't think if there's anything wrong
with judging this album on the production side. Music is
to be judged.
Speaker 3 (27:58):
It's your opinion. I just don't think that was NAS's vision.
Speaker 2 (28:01):
I don't know if Pream should get that flack because
you don't know what was happening in that studio.
Speaker 3 (28:05):
Pream could have played one hundred bangers for him.
Speaker 2 (28:07):
He was like, Nah, I think I want these more
simplistic pullback beats so I could talk the shit I'm talking.
That's that's what I thought of the criticism. I personally
really like every time I listen to what I catch
more it's a very very intricate NAS album.
Speaker 3 (28:22):
The shit was like a book, the.
Speaker 2 (28:24):
Shit that they give NAS like koofy Nas that this
is that to me, like he was, it was a dissertation.
Speaker 1 (28:31):
Was a fucking ted talk, And I mean that in
a good way.
Speaker 2 (28:35):
Like even when people gave four forty four some shit,
even though I think those no id beats are fucking crazy,
when they gave four forty four shit On the production side,
it was like, well, Jay had a lot to say,
so clearly no idea.
Speaker 3 (28:46):
Is pulling back on some of these.
Speaker 2 (28:48):
Yeah, he's me mixed on top of the shit for
a reason because what he's saying is more important than
what you're listening to production wise. But again, I'm also
one of those people that pick production over lyrics anything. Yeah,
I've heard shitty rap songs with good production. I'm sorry,
rap songs with shitty lyrics and good production that I've liked.
Speaker 1 (29:07):
I don't know.
Speaker 2 (29:07):
If I've heard production I hate in good lyrics and
then like, I'm gonna listen to that aguin. Yeah, production
is always number one for me, even though words are
so important. But yeah, if NAS had all this to say,
then you're gonna get like a clean canvas, not a
Nass like.
Speaker 3 (29:22):
Type of canvas.
Speaker 1 (29:23):
You're not gonna get a New York state of mind canvas.
I'm on the other side.
Speaker 4 (29:28):
I was a little underwhelmed by the album only because
I think after getting six Nas hit boy albums and
the music finally get into a space where because for
years people have given Nas slack, like, you know, his.
Speaker 1 (29:41):
Production is lack less. I always disagree with while they
put that on Nas, I don't know, but whatever.
Speaker 4 (29:47):
So this album, I was expecting the music to kind
of come again, coming off of all of the hit
boy stuff. I was expecting the music to be a
little different than what they gave us. I wasn't expecting
it to me exactly what hip Boy and NAS did,
because this is obviously prem and Nas. But it wasn't
to me. The music wasn't you know, lyrically, Nas is
(30:11):
going to be Nas on every track. He's gonna do
what NAS does, so I'm not never worried about that,
but I think the music on a lot of the
tracks didn't carry NAS's lyrics as much as they could. Up.
Speaker 2 (30:21):
Were you expecting more of the Ransom premiere album that
came out in October at the reinvention? We're expecting more
of that type of prem.
Speaker 1 (30:32):
I'm not saying.
Speaker 4 (30:33):
I'm not saying I expected that type of prem again
because the artist is different. So you know, the producer
has to kind of cater to whatever artists they're working with.
But you know, this album, the music, to me, is
not as strong as I would have hoped it to be. Again,
Nas lyrically is always in shape. He's always talking, you know.
(30:53):
Now he got real slick shit to talk about, you know,
opening casinos and things like that.
Speaker 1 (30:57):
This whole language is different now.
Speaker 4 (30:59):
Just the music didn't really keep me in and grab
me the way I thought it would.
Speaker 1 (31:05):
Have been, you know what I mean.
Speaker 4 (31:06):
Like, this is something that people have been asking for
for years between Nas and Premiere, so when we heard
that they were finally doing it, we was all excited.
I just think that it didn't live up to now.
If we got this album before we got all of
the hit Boy albums.
Speaker 1 (31:23):
Maybe I feel a little different.
Speaker 4 (31:24):
But coming off of all of those hit Boy records
and that music being what it was and as strong
as it was, to this was kind of underwhelming because again,
well I'm only judging you off of your last.
Speaker 2 (31:36):
And obviously with the hip boy when you get records
like The Cure where Nas is just saying crap. I
think it was on King Disease three, like he was
rapping rapping on hit Boy shit, for sure, but I
think it was more of a balance of production and
pulling back a bit on the rapping because of the production.
I think he enters this one with the opposite thought
of just getting everything he had to say, which I'm
(31:56):
fine with because we have those six hit Boy albums
that are kind of in the other vein. But I
feel like on Pause tapes you get the no supreme feeling.
I think people wanted mad Man. I think you get
it like it's a balance. I just don't know if
I don't know if people should judge this album this
(32:17):
quickly based off who these two people are.
Speaker 1 (32:20):
A slow burn for you.
Speaker 2 (32:22):
I think people should give it another chance because I
don't think it was designed to be the blow your
ears into another stratosphere on the first listening, while we
all waited at Thursday at midnight to just get in
the car and play it.
Speaker 3 (32:36):
I don't think that was what they were going for.
Speaker 1 (32:39):
I think it's more.
Speaker 2 (32:40):
I think this is something you need to listen to
more and like appreciate more.
Speaker 1 (32:45):
I appreciate it. I just can't.
Speaker 2 (32:46):
The music to me is just not what they don't think.
I don't have my critiques, like you know shit. I
started at My Life is Real obviously at midnight, but
I wanted to skip to number three in New York
State of Mind Part three. Do I think that holds
up against New York State to Mind Part one and two?
Speaker 3 (33:00):
Absolutely not. I don't.
Speaker 1 (33:02):
I don't.
Speaker 2 (33:03):
That's I don't think you should. I don't dislike the song.
I just like the title. Okay, I can't understand that.
I don't dis like the song at all. It's not
a skip for me. I just disliked the title. I
think scratching in all that stuff, you could have just
scratched something else in and it still would have been
an amazing song.
Speaker 4 (33:19):
Like I just need we need more drums, We need
more drums again, That's why I think nows one like
a clean slate.
Speaker 2 (33:27):
I have drums, though, Listen, I'm always Ava as much
as I love Griselda and a lot of that sound,
and they still have drums. But I was still one
of those like, Yo, I love that hip hop is
still happening, but can we get drums back?
Speaker 3 (33:38):
I like drums, Yeah, I hate that drums.
Speaker 2 (33:41):
Has become extinct in the quote unquote underground hip hop shit,
like everybody just wants to wrap over a fucking sample
and some keys somebody at a fucking snare. So I
feel you, especially Preme drums, because Preme drums are shit,
probably the most iconic drums in hip hop history. Like,
of course you want Preme drums. So I hear you
not mad at that. Yeah, I just don't. I just
(34:02):
don't know if that's what no.
Speaker 1 (34:04):
I get it.
Speaker 4 (34:04):
We wasn't in the studio when they created it, but
you know, this is what they gave us, so we
can only go for what the final product sounds like.
But for me it was a little a little underwhelming.
But again, you know, I'm this is like childhood shit
for me to finally get a nodge and DJ from
my album so I'm happy that we got it, but
it just didn't live up to my expectations of what
(34:24):
I thought it would sound like. But not saying it's
a bad album, it just didn't live up to the
expectations that I had for No.
Speaker 2 (34:31):
And again, I want to make clear when I saw
everyone critiquing it, it wasn't a bunch of people hating
like it was. It was music people really telling their
opinion on it. Wasn't one of those like just hate
trained things. So I can appreciate people disliking the project
and give their reasons. I saw a lot of like
song breakdowns per rating each one, I was like, well,
how could you be mad at that person?
Speaker 3 (34:50):
That's not hate, Yeah, that's just their opinion.
Speaker 2 (34:52):
Yeah, So that I was at least happy to see
that any critiques and negative comments about it came from
a place of somebody that was actually trying to listen.
Speaker 3 (35:00):
Now, somebody was just like that, oh shit, though, you.
Speaker 1 (35:02):
Know what, you can't you can't talk to those people.
Speaker 4 (35:04):
Those people are gonna they're gonna trash anything that didn't
come out when they were born.
Speaker 3 (35:07):
So yeah, they trashed it.
Speaker 2 (35:08):
At eleven fifty nine, he refreshed ain't it out yet,
But also on Friday, congrats again to our brother Conway.
You can't kill God with Bullets out now eighteen records
right an hour exactly. I mean, I like, I don't
know at this point, Conways the same shit we say
(35:30):
about Gibbs, Like just the gsography at this point is
kind of untouchable.
Speaker 1 (35:34):
For me.
Speaker 4 (35:35):
This is one of Conway's best at I'm top to
bottom on the same side, still rapping at a very
high level. Not many people can rap better than Conway.
But what I told him last week listening to it,
the music on this album, he stepped it up, you know,
on the production side, the music side, getting more into
(35:56):
like you know, he's not not too many features. A
lot of the songs is just him by myself doing
the hooks everything. Uh So to see Conway evolve in
that aspect of his of his craft is dope.
Speaker 1 (36:08):
But yeah, I love this album. This is one of
my favorite favorite Conway albums for sure. It's up there
with my personal Fit.
Speaker 2 (36:15):
It's up there with Lulu, with Me the Alchemist One
God Don't make Mistakes, It's up there yeah as well. Yeah,
I think him and West have have a really good
quality of topping their previous work constantly, Like every time
I think this is my favorite West Side Gun album,
he puts out Prey for Paris, Like yeah, it's just
(36:36):
every time they find new ways to make straight wrapping
interesting again and again. I think production wise to this,
these are some of my favorite beats that that that
compa absolutely so I can't say it helps to have
a few Justice League records on it too.
Speaker 4 (36:51):
Yeah, you know what I'm saying, Kim be mat that'll help.
That will help any artists, any project. I love that
you put on this ship though. Yeah, yeah, absolutely, I
thought that was great.
Speaker 2 (37:02):
What was the the slick Rick? We actually we're just
talking about this week, the Fates Black movie. When you
perform with Beyonce at the garden. Yeahbody click, Rick came
with all came George, How long has your relationship been
so close that way? Because Yeah, when he pulled up
and just was taking all the jewels, I was gonna
come like he was gonna come with.
Speaker 1 (37:25):
All his didn't say nothing. I didn't say yeah. I
tried to say I know.
Speaker 4 (37:33):
What he was doing.
Speaker 1 (37:34):
That's something like I'm not.
Speaker 6 (37:37):
You know what I mean, But I didn't know he
was gonna slide through, you know what I mean. I
don't know if that's you know what I mean, because
I reached out to him and I was like, yo,
because I had a bag for him to be like, Yo, listen,
I'm going on this stage with Beyonce. Yeah, you know
what I mean the garden, Yo, Rick, let me just
hold something whatever, whatever the case may be, this and
(37:58):
that the third, but you know that's his surprize possession.
So yeah, at first, I don't know. I don't know
if I didn't think he was gonna come, you know
what I mean. So I didn't know he was gonna
slide through whatever the case may be at the venue. Yeah,
So I'm like, I'm like, I'm like, I'm like, you know,
(38:20):
so I wasn't even thinking about it, Like we didn't
even talk about it no more, because I think he
might have told me, like y'all said something in whatever
case may Anyway, he was like, I didn't think what's happening.
So when I'm near, you know, be back there, you
know me Beyonce, this and that the third and then
all of a sudden, like you know, he came out
of nowhere.
Speaker 1 (38:41):
She on stage doing her ship. Yeah, you know, he
came out.
Speaker 6 (38:44):
He came to me at the at I think while
that ship was on, while.
Speaker 1 (38:48):
She was doing that, the record was clean.
Speaker 6 (38:51):
Yeah, it was like he just he was like he
had he had his little bag and he just started
throwing ships on me.
Speaker 1 (39:01):
Like I just got heavier and heavy and heavier.
Speaker 6 (39:04):
It was like it was like it was like the
power of bridge, Like, oh ship.
Speaker 1 (39:12):
So I walk out.
Speaker 6 (39:15):
I'm walking out and and all of a sudden, the
verse just left me and left. I'm like, but my
part is getting ready to come, and I'm getting ready,
you know, I'm getting ready to get ready to go.
So I'm like, I'm like, oh ship, I asked my manager.
Speaker 1 (39:32):
I say, yo, what's what's what's what's the fun? What's
the ship? What's what's the first ball? I just need
the first ball. That's all I need.
Speaker 6 (39:39):
The first ball. I couldn't get it. I couldn't get it.
So I'm like, oh Ship, see you on fucking stage.
I'm like, oh I can't go over for the thirty
O my god, and just either get boot or or
just like don't go. I'm like, oh ship. So I'm
(40:02):
like it's coming, Like she's getting closer, getting closer, getting closer,
so I start walking up, walking up.
Speaker 1 (40:09):
Shits gone, so all I can see is like it's
slow motion.
Speaker 6 (40:14):
I saw just Dame Dash's face when he looked at
me from the side, because niggas ain't seen me with
all that ship on. He just looked at me and said, oh,
I ain't even hear him. I just read his mouth
like oh shit boom like and I'm like, the steps
is right there, nigga, just go.
Speaker 1 (40:36):
I sit on and got it and I'm like, oh ship.
But when it came, it was god.
Speaker 6 (40:42):
He just it was just like I think he just
like kicked me or slapped me foul. I just sit
back in there and it just came.
Speaker 1 (40:53):
I said, Joe, and I just flowed that ship.
Speaker 6 (40:55):
When she seen me with all that shut up, she
was like, yeah because we dv herschel you know it
was regular ship.
Speaker 2 (41:03):
Yeah, she's seen that, like he can performed. I was
the craziest.
Speaker 1 (41:07):
He was like, oh ship this nigga one of the niggas. Yeah, yeah,
that jewelry was. I was great.
Speaker 4 (41:13):
I was at the show that night and when you
came out, we didn't know that that was slick Rick jewelry.
Speaker 1 (41:17):
We just thought that was ghost on his bullshit.
Speaker 4 (41:20):
I'm throwing everything on the night when Fade the Black
came out, we just saw Rick putting it. I was like,
oh that that was crazy. Yeah, because when you came
out with the role, but that was Tony Stars. We
don't know w ghosts got all this.
Speaker 1 (41:33):
Ship from the garden.
Speaker 6 (41:35):
That might have been one of the best times, probably
the best time without the clan that that I ever had,
like on stage, like like as Father was like hearing
the raw from the crowd that summertime that we couldn't
believe y'all that because I was cool. I'm like, yo,
because Jay didn't even let Sean Paul do his ship.
Speaker 1 (41:53):
Nah, I'm like, man, niggas you're calling me.
Speaker 6 (41:56):
Yeah, it's like yo, So just me up there just
to get ahead.
Speaker 1 (42:01):
And but that was so beat with his girl.
Speaker 4 (42:03):
That was so crazy because that when that record came out,
everybody loved that record.
Speaker 1 (42:08):
That was like a case that I gave it to slave.
Speaker 6 (42:12):
I remember what the slave because I was in Miami
doing pretty Tony and my man down there, uh uh
Tom of Rock he got the DJ TOIM of Rock.
Speaker 1 (42:24):
Yeah he got.
Speaker 6 (42:25):
He he said, Yo, I got this joint for you, Beyonce,
joint anything, Beyonce, give it to me, you know what
I mean? Boom, and I heard that it was over?
That was that was it. I'm like, oh, I'm demo
when this ship wait just tomorrow boo? Did that ship
when laid it down came out?
Speaker 1 (42:43):
What? Yo? I sent it straight to Slave and Slave
was the one that did it.
Speaker 6 (42:47):
I remember, Yeah, you know what I mean, But I
didn't know he had because he wasn't doing it. Yeah,
and then he tried to play his ship afterwards and ship,
I guess that might have been his ship.
Speaker 1 (42:57):
It would I don't know whatever whatever he could be lying.
I don't know. Anyway, it ain't work video any word.
Speaker 2 (43:07):
Even if that was never the official remix, that's that
was the official remix for sure. So how quick like
how quickly did Slick Rick ask for his jelry back?
Because I would have exited like right Nigga had left
and I would have heard.
Speaker 1 (43:19):
On for a little bit.
Speaker 6 (43:20):
Man, listen, man, I was grateful he came to do
what he what he He just did what he did,
and I got that stage. I went back to the room. Yeah,
that was it, yo, looking ship that nigga back.
Speaker 1 (43:35):
That was it? That moment was like that was it?
Speaker 4 (43:37):
Because I mean, I'm guessing that's the only time y'all
ever performed that record together. Yes, like to be in
the garden that night and see that because nobody was
expecting that ship was in.
Speaker 1 (43:50):
And I forgot my ship. It felt magical. It was
like you knowing.
Speaker 4 (43:53):
That that was even crazy because looking back you came
out and it was like.
Speaker 6 (43:57):
That's that's that's God, yo, bro. I was scared, you
know what I mean? I was tremendously scared just to
go up on that stage and just be like, uh,
y'all and just be stuck.
Speaker 1 (44:09):
It would have been time for a snick of something.
Now you want to get away?
Speaker 2 (44:15):
Yeah, speaking of snickers and kick Cass who was talking
off Mike so Malt told the story when he met
Styles people the first time and when he met somebody
that he idolized legend that they was exactly who they
thought they were. Right during COVID, DJ Premier put you
and I on text message to do an emotional Oranges
record where you had done two verses and I was
(44:37):
going to bring a certain amount of money cash to you.
This is at the height of the fucking pandemic. You
text me back and said, nah, god, I got diabetes.
You're not getting near medure?
Speaker 1 (44:53):
Was me said, you said, I still speak to you
this day. Oh okay, giving.
Speaker 2 (45:01):
Him the cash And eventually when I get that record
back from Universal, we putting that ship out that remixedge
Oh so I.
Speaker 1 (45:06):
Did the record. Yeah, you did two verses on it.
Speaker 5 (45:08):
Oh.
Speaker 2 (45:08):
You actually asked Premier about it at Barclay's like a
few weeks ago. He had called me. He was like,
ghast wants to put that ship out. I'm like, so
do I We got to vers hold on you when
we get off mic, remember you.
Speaker 6 (45:18):
So that was also because I remember Premiere did have
me yes something like that, and that was with my group.
Speaker 1 (45:24):
Yeah, oh my god.
Speaker 2 (45:25):
Yeah, put us on a text and I'm going to
give you the bread and she was like, nah, god,
you're not getting here.
Speaker 4 (45:29):
I probably probably this was like the height of the pandemic, right,
nobody was no, exactly.
Speaker 1 (45:39):
A man, I ain't wanna go nowhere.
Speaker 6 (45:41):
Hell yeah, I'm I was holding my Breath'd be like, yo,
if you're showing it to breath every five minutes.
Speaker 1 (45:47):
I was like trying to.
Speaker 6 (45:48):
See if I hold my ship thirty seconds, then if
I if I hold it for thirty something like that,
I'm good.
Speaker 1 (45:55):
I'm good. I'm good.
Speaker 6 (45:58):
I'm doing that on the time. I want you the
bathroom mid three o'clock in the morning to you pay
some life yea, all that ship. Yeah, alright, I'm good.
Y'all go back to sleep, nigga.
Speaker 1 (46:13):
Hell then
The volume.
Speaker 2 (00:05):
If Drake dm me die slowly, I mean I wouldn't
get depressed.
Speaker 3 (00:09):
But you know I locked my doors.
Speaker 4 (00:12):
You would lock your doors. You would go down stairs
and check to see if the door was locked. Why
Drake see Iceman was outside? What's up with your man off?
Speaker 1 (00:22):
I like it? Dying slower pussy Yeah.
Speaker 4 (00:25):
Yeah, yeah, yeah, all you niggas that was talking ship
all year, clapping for that bullshit rhetoric that they was
pushing about me.
Speaker 1 (00:33):
Yeah, die slow. We got to see all your niggas fail.
But what is that? What does that mean? It means slow.
Speaker 4 (00:38):
I hope your next show don't work out either, That's
what you don't. Drake is not hoping that Ebro is
putting to the ground next. You know that he's not.
He's not that type of person. But he's saying do slow,
like yo, yeah, your ca career wise, but we got
some ship for you. One could take as a threat
and maybe yeah, rose Berg, I didn't like that, and
(01:00):
then like Roseberry pumping out, I would take that as
a threat. You should toe like, come on, man with
the bullshit he was. I didn't like that. I didn't
like that, and I fuck with people.
Speaker 2 (01:08):
I didn't like that he was making a joke based
off the lawsuit that Drake, I get it.
Speaker 3 (01:12):
He's saying he bring I mean swings.
Speaker 4 (01:14):
Okay, so yeah, but just it was it was that
coming out next see.
Speaker 1 (01:17):
Someone saying we got some ship for you, Well, you.
Speaker 4 (01:20):
Can probably get like like, yo, it's a threat.
Speaker 3 (01:24):
Oh someone could if you wanted.
Speaker 4 (01:26):
If you like that doing that, I was like, come on, man,
you know that's not Drake is not going to do
anything to eat bro.
Speaker 3 (01:32):
No, of course not.
Speaker 2 (01:33):
But that's why you shouldn't say we got some ship
for you unless you can do it.
Speaker 4 (01:36):
Yeah, but we got some shift for you can be
a bunch of things. It could be I got you,
I got to I got you on a song. I
got some balls about you on the song. I got
some you know, some some info that I heard about
you from some women that you may have dated before.
Speaker 1 (01:48):
It could be a lot of things.
Speaker 4 (01:49):
It don't mean that I'm going to show up to
your house with the with the owls and fucking and
bring a harm, bodily harm to you.
Speaker 3 (01:55):
Like they don't mean that, bring the potters.
Speaker 1 (01:57):
It don't mean that. It just means we got some
ship for you.
Speaker 2 (02:00):
Do you think this is a bit hypocritical of what
you just said about Wile. Why should Drake give so
much power to these people on the internet discussing him. No,
he's just he's not to the point that you say,
die slower, pussy, we got something for you in the DMS,
and you're worth a billion dollars in the biggest artists,
second biggest artist in the world. To me, that's he's
(02:22):
letting people on the internet get get to him. If
he didn't care, he wouldn't.
Speaker 1 (02:26):
No, no, no, this is somebody.
Speaker 4 (02:27):
Somebody died, somebody that was the program director of a
radio station in New York City.
Speaker 1 (02:34):
I was pushing over a decade.
Speaker 4 (02:37):
Yeah, but they've been pushing a rhetoric about him based
on a song that came out last year. Hebro has
been very vocal about that. He said a lot of
things about Drake over the past year. I mean, we
can go down a clip of things that Nebro said
about Drake.
Speaker 2 (02:49):
Listen, I don't watch every single Ebro show to know
every bad thing he said about Drake. But I also
think the level that Drake is at can go to
your point of what you made with Walle.
Speaker 3 (02:59):
It's people on the end, and that there's no power.
Speaker 2 (03:01):
Even when Flex was trying to beef with Drake and
Drake was on stage of the Garden saying Hot ninety sen,
they were playing Drake, you know, fifty times a day.
It didn't affect his It's not like he got blackballed
from Hot ninety seven. It's not like they stopped playing
his music, which affects your livelihood. You know what they
were beefing with with Drake. Flex is beefing with Drake
and had to play ten Drake songs in a sect like.
Speaker 4 (03:22):
Yeah, but you But here's the thing where because you're
asking for Drake to, you know, be the bigger person,
you're asking him to I'm just making a point off
the way. So he wanted he actually laugh at this. Yeah,
sometimes he wanted to play petty. Sometimes he goes he
gonna be petty. Sometimes yeah, career exactly. So sometimes I'm
gonna say die slow a pussy. Sometimes I'm gonna say that,
(03:43):
I'm gonna be in the studio. I'm gonna here that
you just lost your show got canceled, and I'm gonna
be like, oh shit, he was talking so much about
me this ship.
Speaker 1 (03:51):
Let me send him a nice little message.
Speaker 2 (03:53):
I just and I'm not saying this about Drake. I
think it's the overall internet now. When drill music and
streamers all like connected and they started using drill slang
and metaphors in real life is when things got weird,
like smoking on packs and like all it's like, you know,
(04:14):
it's actually like really about like murder, right, Like yeah,
they're saying that on Twitter.
Speaker 3 (04:20):
Those guys are actually doing it.
Speaker 2 (04:23):
That's when things when anyone felt like they could say
anything on the Internet, like die slower pussy.
Speaker 3 (04:28):
I just I think that's a wild thing to DM somebody.
Speaker 1 (04:31):
I just do. I just do.
Speaker 2 (04:33):
And I think everyone is speaking like they're all drill
rappers no matter who you are. People feel like that's
just acceptable of vernacular now to say certain threats that
have a meaning of actual violence, like we smell around
that pack tonight, Like wait, you know that derived from
someone that was murdered, right.
Speaker 3 (04:50):
I just think it's people.
Speaker 2 (04:51):
Talk crazy and dms on streams on Twitter like it's nuts,
the things that people are saying to each other with ease,
and they're not even I'm not saying this about drink
and not even like that mm hmm, Like, listen, do
we joke around this and that. I don't use certain
words because I'm not prepared to. I'm thirty five years old.
Speaker 3 (05:08):
I don't want any violence.
Speaker 1 (05:09):
Even when I was cut Homie off in traffic, I
just with stair straight.
Speaker 3 (05:13):
I want to fight.
Speaker 2 (05:14):
I'm past that point in my life, so I don't
speak that way. I'm not going to threaten someone that
way unless we're going that way. So I don't know.
I just think everyone on the in and out easily
just says shit that has power behind it if you
think about what you're saying.
Speaker 1 (05:26):
But do you do you understand why Drake said that?
I don't know.
Speaker 2 (05:29):
I mean, did Ebro call him put a fhile? I
don't know if someone called me a pedophile?
Speaker 1 (05:33):
Yeah?
Speaker 3 (05:33):
Probably in my head, I probably. I probably hope that their.
Speaker 1 (05:36):
Career he called them a sickness.
Speaker 2 (05:40):
Oh yeah, I did see the sickness part, and I
did see Ebro try to clean clean that up, saying
that his fans were the sickness or whatever. Drake has
every right to feel that way. I just think everyone
is just talking too crazy. In the last two or
three years, you talking.
Speaker 1 (05:53):
Way, I get crazy, too crazy?
Speaker 5 (05:57):
I feel like I'm not mad at Drake for being petty,
because whenever shit happened to somebody at him, did me wrong,
I'm always the first to say, ooh, God, don't play
about me, So I know how it is to feel
that way. But words do mean things, so you can
say he didn't mean it like that.
Speaker 1 (06:11):
He just meant his career should die. But die slower.
Speaker 5 (06:14):
Pussies like words have meaning and words have power, so
they do.
Speaker 4 (06:20):
He sat back and listened to a lot of words
about him over the last Yes, that's fine.
Speaker 1 (06:24):
Is That's what I'm saying. That slow.
Speaker 2 (06:26):
I've never been in that situation, so I'm really honestly
not here to judge how he reacted to it because
I've never been in a position Drake has been in
and been called a pedophile. Yeah maybe I would react worse.
I don't know, but a lot just a wild thing
to say to somebody. Yeah it is, You're right, I'm
not saying it's not.
Speaker 1 (06:42):
I like it though. That's what I'm saying. I like it.
Speaker 4 (06:46):
God saw you niggas my faux fold. Make sure all
your kids don't.
Speaker 2 (06:49):
Grow you didn't tell your lady uber driver.
Speaker 3 (06:55):
You'll throw on that funk flex this morning.
Speaker 1 (06:57):
No, I did not.
Speaker 4 (06:59):
But for all of those who I've not heard, Ebro
in the morning show has come to an end.
Speaker 2 (07:04):
Yes, Ebro show consists of him, Peter Rosenberg, and Laura Styles,
all friends of the show. I mean, congrats on a
crazy run. Ebro was what program director for twenty years
and then on air for ten.
Speaker 1 (07:18):
I always loved their show.
Speaker 2 (07:20):
I think Rosenberg is one of the few people that
actually gave a fuck about hip hop.
Speaker 1 (07:25):
At a radio station.
Speaker 2 (07:26):
And Laura always an amazing personality and was the best
feeling because and it's gonna samosogynistic, but.
Speaker 3 (07:32):
I'm just being truthful.
Speaker 2 (07:34):
Sometimes they just throw a woman into a radio show
because they need a woman. Laura Styles has been a
part of this culture and loves hip hop and is
knowledgeable about hip hop. That's what made her role so
much better. That they weren't like, yeah, let's just get
a chick that's attractive and you know she can be
like haha, Like Laura was like really really contributed all
the time, and it was amazing.
Speaker 1 (07:51):
I always loved their show.
Speaker 2 (07:52):
I know they got a lot of shit because they
made a lot of enemies, but their numbers were always.
Speaker 1 (07:56):
Really good with the enemies that they make.
Speaker 2 (07:58):
I mean they're back and forth with which has always
been in radio, but they're back and forth with power
when power was capitalized radio beef.
Speaker 1 (08:07):
Oh yeah.
Speaker 2 (08:09):
And you know, hebro sometimes rubbed certain like when he
had I think it was Kodak Black when you tried
to get in the rap. Like there's there's been moments
where they've rubbed people the wrong way. But I think
that's what radio is supposed to do to some degree,
as long as you're being somewhat respectable. But congrats on
a crazy run, Like I think that's amazing. But I
(08:31):
also feel like it was good for them, Like I
even hit Pete, you know, just send sent them a text,
thank god this is over. Like radio needs to adjust
and pivot to the times, and of course they were
trying to do it with you know, YouTube and Breakfast
Club is a perfect example of how you do pivot
and that's why they're in the Radio Hall of Fame.
Speaker 3 (08:52):
But it was, come on, man, you have to revamp.
Speaker 2 (08:56):
Like as much as I thought Charla Mane and Heavy
should have stayed because of what they built there, I
also think new Blood is important and pivoting is important
because radio, for the most part, if you think about it,
when we were growing up, they treated radio like clubs,
like we're changing the name every year. Yeah, like people
talk about stars generational run, which it was that was
one year. Like usually, unless it's an Angie Flex big
(09:23):
boy radio, people leave like this.
Speaker 3 (09:26):
This changes.
Speaker 2 (09:27):
DJ's change, everything changes, and New York radio has been
not stagnant by any means, but it's been the same
fucking people forever. So I think it's beautiful that Flex
took over the split.
Speaker 1 (09:39):
New Blood. Flex is just cleaning house so he could
take every fucking slot.
Speaker 4 (09:45):
No, no, no, To be fair, Flex said he's only only
taken over today, just feeling it, just feeling in today.
We don't know what tomorrow looks like for the radio station.
But I mean Flex did take over today, another familiar
voice and familiar you know personality.
Speaker 2 (10:01):
I did not listen, but I just don't know what
Flex's morning swag would be. Flex is amazing for evenings.
I love a bomb on my way over to the GW. Yeah, Like,
I think that's great. Screaming is great at that time.
What is Flex morning swag? Like?
Speaker 4 (10:16):
I don't know, man, maybe he got into you know
R and B bag I didn't. I didn't listen to it,
but maybe he got into a little more R and
B heavy for the morning commute. But either way, I
do think that you know, we spoke to Pete a
few months ago, he came by. He gave us a
little insight on things.
Speaker 2 (10:30):
Yeah, it's shifting, only a shock to them the way
it was a shock to all of us.
Speaker 1 (10:35):
Yeah.
Speaker 2 (10:36):
And I also don't think it really has anything to
do with numbers because the end of the day, yeah,
YouTube numbers are super important, but the real radio charts
are what radio advertisers are looking for, what program directors
are looking at, and hot and breakfast club like month
to month it switched.
Speaker 1 (10:55):
It's not like.
Speaker 2 (10:56):
It the way we see breakfast club dominating in the digitals,
it's not that way on the radio. So it's not
like they were failures by any mean. I just think
this new company that bought it from MS doesn't give
a fuck about hip hop. I think they're just trying
to shap like the way Elon when he bought Twitter,
turns and X fired everyone on fucking staff and like,
you know what a I is gonna run this year?
(11:18):
I see what our overhead is I see what we're making. Sorry, guys, Ibro,
you've been here for twenty years, so your salary is
a certain thing.
Speaker 1 (11:24):
We're not paying that anymore. Like, That's what I think.
Speaker 2 (11:27):
And MS I think was more of a still a corporation,
but more of a niche corporation than I forgot this
one that bought it.
Speaker 3 (11:35):
Man, they don't give a fuck about hip hop.
Speaker 1 (11:36):
So you don't think this has anything to do with
the radio RICO.
Speaker 3 (11:40):
I don't know.
Speaker 2 (11:40):
I don't think Ebro, Rosenberg and Laura specifically, I know,
I don't think any of them are involved in any
RICO activity whatsoever. Do I think even though people have
been giving me shit of like I'm on my canvas
own shit, Like, where's the evidence that shit is still coming?
Speaker 1 (11:58):
Pause?
Speaker 2 (11:59):
And I think a lot of the shifts we've been
seeing across the board, not just with Hot ninety seven
but other radio stations, I think there's a trickle down
connection to some of it, where budgeting may may land
when things start to go to shit. So I don't
think directly, but I think their overall bottom line no
longer is caring about growing the Hot ninety seven brand.
Speaker 4 (12:20):
What is going on in the hot ninety seven because
we've seen Summer Jam significantly downsize and it hasn't been
as you know, let's say star studied, as it's usually
been throughout the years.
Speaker 1 (12:32):
Well, I mean I think that has that's is it music.
Speaker 2 (12:35):
That's fastoral culture, where you know, Summer Jam is a staple.
And I think didn't we talk about this with with
Pete when he was here. They're competing with people that
have fuck you money, whereas you know, Summer Jam isn't
backed by Verizon, where Verizon can just start a fucking
festival tomorrow and get Bad Bunny as a headliner.
Speaker 3 (12:58):
Like they're they're a small fish in a big pond.
Speaker 2 (13:01):
Now that festival culture is a thing and fans only
have so much money per month, and what I'm what
do you think I'm gonna go to Rolling Loud or
summers yea, if I have fifty five dollars this month,
where do you think I'm gonna go?
Speaker 1 (13:15):
Yeah?
Speaker 2 (13:15):
I think I'm gonna go to fucking City Field and
see all the Rolling Loud acts, or I'm going to drive.
Speaker 3 (13:21):
To Long Island to see the Summer Jail.
Speaker 1 (13:24):
They can't compete.
Speaker 4 (13:25):
Well, I do think that things do need to change.
Change is good obviously, you know, even even with radio,
it comes a time where you have to shift things
and change with the times and the culture. I don't
know what this looks like for how nineties haven't moving forward,
but it is a real thing now. I mean, not
as many people listen to radio as before.
Speaker 1 (13:45):
We all are our own DJs.
Speaker 4 (13:47):
To a certain extent. Now music comes out, we create
our own playlist. So I mean, maybe maybe you listen
to radio for you know, some of the commentary and
some of the you know, the personalities that there, but
as far as the music and this is what you know,
radio is all about the programming.
Speaker 1 (14:06):
I think.
Speaker 4 (14:07):
I just think people just are tired of hearing the
same old shit over and over when it comes to radio.
Speaker 1 (14:12):
I think people want to hear most of the things
that they like.
Speaker 4 (14:15):
Uh. They don't want things to be programmed and fed
to them. I think people want real good music. They
don't want to They don't want the radio to tell
us or the ky to or curate a playlist and say, hey,
this is what we want you to listen to all
day on loop. I just think people moved away from
radio and started listening to their own music and their phones.
Speaker 1 (14:32):
I mean radio is still super super important.
Speaker 2 (14:34):
Of course, there's been a decline and you know people
talk radio our age have you know, typically go more
to Bluetooth and their iPhone and want to play the
stuff that they want to play without commercials, this and that.
But radio is still very much a thing of Middle America.
And again when I say Middle America, I don't actually
mean Middle America. Middle America can be in North Jersey,
(14:54):
it can be in Long Island. Middle America still does
get in their car and just they're not as invested
as we are. Where it's like I want to hear
this song, that I want to hear this song, that
I want to hear this song. Some people just get
in their car and want to hit a button and
fucking drive. That's still a huge part of the consumer.
I just don't know what's going to happen in the
next forty years when all the kids younger than me
(15:15):
are now the adults driving their kids to school. I
don't know if they're gonna be the people they just
want to hit one button in drive. Oh no, So
they need to make shifts for what's going to happen
in the next forty fifty years now with radio. In
my opinion, and again, I'm not even gonna speak as
an expert because I don't know what that shift is ever,
really don't. I don't know enough about the radio business
to know how they should pivot. But it is clear
(15:36):
that change is coming. As important as they still are
and will remain to be important, they got to change something.
And I guess I view this more as a media
personality than I do a fan. If I'm ero Laura
and Pete, what else is there for me to do here?
What's left here? If this company has no interest in
growing this brand or letting us do anything, why am
(15:59):
I here?
Speaker 1 (15:59):
Yeah? So, I'm sure.
Speaker 2 (16:01):
Yeah, it's probably sad that, you know, they've been there
for so long and that's been such a big part of.
Speaker 1 (16:05):
Their long How long were they on the radio?
Speaker 3 (16:07):
He got there when I was a senior, he was
seven eight.
Speaker 2 (16:12):
Ebro's been there since I was born. Laura got there
after Kate Fox left. I'm not sure which year that
that was, maybe like twenty twelve, thirteen, fourteen some over there,
But Laura's been there for a minute.
Speaker 1 (16:29):
But what more is there to do?
Speaker 6 (16:31):
Here.
Speaker 2 (16:31):
Yeah, like, of course we all have bills, so yeah,
I'll keep it. D what am I doing? Nothing's going
to change here if if the people that bought it
are not interested in that. So if I'm then your
good rinning. It's been a good run. Let's keep our
brand going. Like they still have their own show like
Ebra in the Morning, they can take and do. They
could still stay as a crew, like their numbers even
(16:55):
on the audio podcast side are good. Like I would
just move on and keep the show. I mean, if
that's what the three of them want to do. Laura
may want to do her own thing, Ebro may want
to just focus on Apple, Pete may just want to
go wrestling. I don't know what I'm saying. The three
of them still have a show that they can continue on.
They don't have to stop just because Hot doesn't want to.
Speaker 4 (17:14):
Well, thank you to Ebro, Lauren and Pete for you know,
the years of radio and entertainment, great interviews, and we
just have to wait and see they where they end up.
Speaker 1 (17:25):
But I'm sure we'll see Laura, Ebro and Pete again.
Speaker 3 (17:29):
Yeah.
Speaker 2 (17:30):
I mean they all alluded to that in there, like yeah,
tweets and everything, just a change. Change is good, change
is inevitable.
Speaker 1 (17:38):
What do we think?
Speaker 2 (17:41):
And this isn't even local because I still feel like
Hot ninety seven is still a nationwide brand even though
it's not like a breakfast club that's syndicated in Iowa
like it is. But Hot ninety seven is still a
national brand because it's hip hop. What is the next
move because none of the streamers, the streamers of the
streamers like that's where radio and they're always like, let's
(18:01):
get new blood in there. Like all the new blood
that would be good may not want to go at radio,
like they have their own thing, whether it be podcasts
and streaming like Twitch. I don't know if those people
that would revamp it would have any interest in going
to do that, but they need somebody.
Speaker 1 (18:16):
Yeah, it can't be flex. It can't be flexed.
Speaker 4 (18:20):
No, and it won't be flex. I mean, this is
how the flex is. He's saying that, you know, he's
not going to be the permanent replacement. He was just
taking over today. But yeah, I don't know, man, I
don't know. I do I do. I think that this
is the sign of things to come. I think there's
more changes that will happen I think that you know,
there's changes that have already happened before. This's is just
(18:41):
another one on the list, and I just think that's
the time we in man. I think things are changing,
things are shifting.
Speaker 1 (18:47):
I heard I heard a rumor.
Speaker 2 (18:50):
Because of their their privacy, I will not say what
it is, and I hate being this person, but I
heard a rumor of who they chose for that morning slot,
and it's the best move they could have ever made.
When I was told who they picked, I was like, Oh, yeah,
this is going to keep Hot ninety It's the perfect person.
Speaker 3 (19:07):
To keep that ship moving. Good morning, speedy, No, not sunny.
Speaker 2 (19:12):
But I know a lot of people have complained over
the years that there's not a lot of New Yorkers
left at Hot or at Power. And when you have
a New Yorker that's relevant, that's funny, that can revamp
something and as a creative fucking mind and has a
cult following, yeah, that's going to keep the Hot ninety
seven ship moving if he takes that offer. It was
(19:33):
when I heard that because I was I wasn't thinking
too much of it, Like I didn't spend my weekend
wondering who what ninety seven was going to replace with
but when I heard it on Sunday, I said, oh, genius, can.
Speaker 5 (19:42):
You cover your mouth?
Speaker 1 (19:42):
Fucking genius? Leap it ah.
Speaker 2 (19:49):
I thought it was perfect. I thought it was a
home run, local innovative. Yeah, grew up on radio, but
has clearly isn't a completely different worlds Like I thought
that was, Oh, yeah, you guys may have a fighting
chance now, yeah, I'm interested. You just had that reaction though.
Speaker 5 (20:08):
That no, it's no, it wasn't a barterer. I said, interesting,
It was just more me processing it and thinking about it,
and you've had time to think about it.
Speaker 1 (20:14):
I haven't.
Speaker 2 (20:15):
So yeah, those Speedy would be great, But I think
that was just a joke. I think Speedy enjoys his
his life of one interview on his time, because that's
what I think people don't understand. Like, yes, everyone has
full time jobs. I'm not saying a cushy radio gig
when you're on the air for just four hours is
(20:36):
not the life. But you take a morning gig on
a radio station, that's your life though, Like you can't travel,
you can't like even like when when Dame was you know,
jokingly giving Charlotte and all them shit, I felt attacked too.
When Dane was saying it. Dane was like, y'all live
in this fucking box. Y'all even have a window. Like
when Dane was attacking them, I was like, God, damn it,
(20:58):
this has hurting me too. He's like, y'all don't even
y'a don't even get to go out and live. But
like you've been in the same place. So like that's
when in my nature for the first time, I wanted
to defend Charlotte, like, fuck you, dame.
Speaker 3 (21:10):
We have a life. You don't have dreams.
Speaker 1 (21:13):
I go outside perspective, you know, saying I don't even
got a window.
Speaker 2 (21:18):
Like damn, but I feel them and like, granted, it's
still a dream to have this kid, because you could
say that about shit sound engineers, Like I'm sure there's
been times like I've watched Guru pivot to do stuff
that he wants to do, But there was a time
when I've heard him and just Blaze talk about like
we were working on beans Freeway, Jay Cam. We literally
(21:40):
lived in baseline. I used to go street to change clothes.
They used to get a hotel across the street just
to shower. He's like, we had no life like we
literally lived in a dark room.
Speaker 1 (21:50):
People don't talk about that part of it.
Speaker 4 (21:52):
Like when you so baked into the culture in a
position like radio or something like that, or podcasting, you know,
it becomes a thing where it has to weekly yally,
you know what I'm saying. You have to do this
thing and you have to be on air. It's a
blessing and it's a privilege to have, you know, that
position and to you know, kind of be in a
(22:12):
spot where people look to you on their morning communites
and things like that. But there's a thing of you know,
it can box you in and keep you from growing,
and other opportunities that may come your way you have
to turn down because it just you know, it doesn't
coincide with your schedule for radio and things like that.
Speaker 1 (22:29):
So it's not an easy thing.
Speaker 2 (22:31):
Man.
Speaker 4 (22:31):
We take for granted, you know, like you said, how
people have to put their lives kind of on the
back burner a little bit, their personal lives on the
back burner when they have these you know, these positions
in our culture. So to have something like you know,
Ebro in the morning for so many years and that
team to be dedicated to doing that for so many years.
It's not a small thing, man, that's like a really
(22:52):
big deal. And you know, they should be proud of
what they did, what they accomplished, what they've given us.
And I'm sure again that there'll be a part of
whatever change is coming, whatever change is happening. I'm sure
that all three of those individuals will land on their feet.
Speaker 2 (23:06):
Yeah, No, absolutely, though I am jealous of radio people.
They get commercial breaks, music breaks. Yeah, we gotta fuck that.
Speaker 3 (23:13):
Yeah, but we're just talking fucking yeah.
Speaker 1 (23:15):
But it's four hours.
Speaker 3 (23:17):
I know.
Speaker 2 (23:17):
And they've all moved to long form interviews as well,
so they are podcasters. Yeah, Breakfast Club has one podcast
of the year for the last thirty years, I believe.
Speaker 3 (23:24):
Yeah, so like you know, they're a podcast the.
Speaker 1 (23:26):
Last how many years? Thirty? Yeah, Charlemagne's contract is ending. Yeah,
which is a good segue.
Speaker 2 (23:35):
Well, not Charlemagne's per se if it's the Black Effect
Network signed with iHeart for five years. I think that's
separate of Charlemagne's contract with Breakfast Club. But I could
be wrong or they run coincide either way. But he
was up there with with Dolly. I forgot what platform
they were on.
Speaker 3 (23:51):
Shout to Dolly.
Speaker 2 (23:53):
And they asked December twenty twenty five, the contracts up,
which you're about to do? And Charlemagne did a great
job of just dancing around the questioning shit I would do.
Not judging him for it, but I think with the
news on Friday of the iHeart and Netflix deal, I
don't think Black Effect is going anywhere. I think Black
Effects will be staying with with iHeart. I think that's
(24:13):
Charlemagne's home base. That's Black Effects home base. New partnership
with Netflix. Why would you leave? Where would you go
with all those shows when you have something like a
Netflix partnership coming up with iHeart? And Yeah, I mean,
I know, last time I said Darling, I got killed
because I didn't know Darling was like an insult. But
Charlemagne is also Iheart's Darling. I mean that as a compliment, Like,
(24:37):
I think Charlamagne can go up to iHeart and get
whatever the fuck he wants, like they love him because
he's always delivered for the last however many years. So
I think whatever Charlemagne wants with this new Netflix deal,
he'll get.
Speaker 3 (24:50):
So I don't think he'll leave it all.
Speaker 4 (24:52):
Well, you're thinking about upgrading your phone? Rory because I
saw your phone and I was gonna ask. I know
you feel like you want the new iPhone seventeen. I
never told a soul about that. Yeah, but listen, did
you know that it's designed to be the most powerful
iPhone ever?
Speaker 1 (25:07):
I didn't.
Speaker 4 (25:08):
And did you know that if it's traffic, they'll come
to you?
Speaker 1 (25:11):
No? See, did what you do is? I got good news.
Speaker 4 (25:13):
When you order a new phone on Labe with Bootsmobile,
they'll send an expert to your home or right here
to the studio.
Speaker 1 (25:17):
Rory got new.
Speaker 3 (25:18):
Boost was like that.
Speaker 1 (25:19):
Yeah, they'll give you.
Speaker 4 (25:19):
A new iPhone seventeen Pro and they get you set
up on a boost Mobile plan within minutes.
Speaker 3 (25:23):
No hassle, no hassle.
Speaker 4 (25:24):
Vis bootmobile dot com to get started. Delivery available for
select devices purchased at boostmobile dot Com.
Speaker 1 (25:30):
Terms apply.
Speaker 2 (25:33):
No.
Speaker 4 (25:35):
All right, Well we got some new music over the weekend, Rory. Yes,
it was good good music Friday, Good good music Friday.
Remember good music Fridays.
Speaker 3 (25:44):
I was at that jam.
Speaker 1 (25:44):
Yeah, great Fridays.
Speaker 4 (25:46):
We got a NAS and DJ premiere album. Yes, after
years of you know, the culture kind of talking about
it and wanting it, we obviously knew that it was
happening this year and we finally got it over this weekend.
Speaker 1 (26:01):
Rory called me, well, you text me.
Speaker 3 (26:03):
I text you yesterday, I text me Sunday Sunday night.
Speaker 2 (26:05):
I asked for a specific person's opinion on it, because
that person is who I look to.
Speaker 1 (26:11):
I'm not going to say because some people a gonna
ask like, well, what was his opinion?
Speaker 3 (26:13):
And we're not doing that.
Speaker 2 (26:16):
Yeah, I was curious what someone we were veer in
the hip hop world what they thought of it, and
their review was very similar to what I saw on
the timeline and what I was texted a bit that
some people were underwhelmed by some of the production. And
(26:37):
this is why I'm glad I don't really look at
the timeline before listening to a project.
Speaker 1 (26:42):
Did I feel like every beat.
Speaker 2 (26:44):
Was nas is like or Second Childhood or Devil's Pie
And no, But clearly Nas had a lot of shit
to get off his chest. Because I need one of
those like Twitter pages that has the stats of rapping
and how many words that's like the most rap I
think I've ever heard, Like the most words I've ever
heard on a Na's album.
Speaker 3 (27:03):
I mean that in a good way.
Speaker 2 (27:04):
NAS had a lot of shit to say and get
off his chest. I don't know if the Premiere beats
that you guys were looking for are set up for
an artist that has a vision like that at that
current moment. I just don't know if you're going to
get in New York state of mind when Nas is
in a different mind. Like if NAS was on there
kind of given regular NAS flow sixteen hook whatever, I
(27:28):
could be like, yeah, I would like a NAS's like
in this mix. But he just had so much to
say that was so important that Premiere could have played
him fifteen NAS type beats and he could have went, nah,
I want this one with a wider landscape where I
can talk more. And that's what I took from it.
As I can totally understand somebody that just wants to
(27:49):
bang some Premiere and Nas in their car. I'm with you,
I get it. I don't think if there's anything wrong
with judging this album on the production side. Music is
to be judged.
Speaker 3 (27:58):
It's your opinion. I just don't think that was NAS's vision.
Speaker 2 (28:01):
I don't know if Pream should get that flack because
you don't know what was happening in that studio.
Speaker 3 (28:05):
Pream could have played one hundred bangers for him.
Speaker 2 (28:07):
He was like, Nah, I think I want these more
simplistic pullback beats so I could talk the shit I'm talking.
That's that's what I thought of the criticism. I personally
really like every time I listen to what I catch
more it's a very very intricate NAS album.
Speaker 3 (28:22):
The shit was like a book, the.
Speaker 2 (28:24):
Shit that they give NAS like koofy Nas that this
is that to me, like he was, it was a dissertation.
Speaker 1 (28:31):
Was a fucking ted talk, And I mean that in
a good way.
Speaker 2 (28:35):
Like even when people gave four forty four some shit,
even though I think those no id beats are fucking crazy,
when they gave four forty four shit On the production side,
it was like, well, Jay had a lot to say,
so clearly no idea.
Speaker 3 (28:46):
Is pulling back on some of these.
Speaker 2 (28:48):
Yeah, he's me mixed on top of the shit for
a reason because what he's saying is more important than
what you're listening to production wise. But again, I'm also
one of those people that pick production over lyrics anything. Yeah,
I've heard shitty rap songs with good production. I'm sorry,
rap songs with shitty lyrics and good production that I've liked.
Speaker 1 (29:07):
I don't know.
Speaker 2 (29:07):
If I've heard production I hate in good lyrics and
then like, I'm gonna listen to that aguin. Yeah, production
is always number one for me, even though words are
so important. But yeah, if NAS had all this to say,
then you're gonna get like a clean canvas, not a
Nass like.
Speaker 3 (29:22):
Type of canvas.
Speaker 1 (29:23):
You're not gonna get a New York state of mind canvas.
I'm on the other side.
Speaker 4 (29:28):
I was a little underwhelmed by the album only because
I think after getting six Nas hit boy albums and
the music finally get into a space where because for
years people have given Nas slack, like, you know, his.
Speaker 1 (29:41):
Production is lack less. I always disagree with while they
put that on Nas, I don't know, but whatever.
Speaker 4 (29:47):
So this album, I was expecting the music to kind
of come again, coming off of all of the hit
boy stuff. I was expecting the music to be a
little different than what they gave us. I wasn't expecting
it to me exactly what hip Boy and NAS did,
because this is obviously prem and Nas. But it wasn't
to me. The music wasn't you know, lyrically, Nas is
(30:11):
going to be Nas on every track. He's gonna do
what NAS does, so I'm not never worried about that,
but I think the music on a lot of the
tracks didn't carry NAS's lyrics as much as they could. Up.
Speaker 2 (30:21):
Were you expecting more of the Ransom premiere album that
came out in October at the reinvention? We're expecting more
of that type of prem.
Speaker 1 (30:32):
I'm not saying.
Speaker 4 (30:33):
I'm not saying I expected that type of prem again
because the artist is different. So you know, the producer
has to kind of cater to whatever artists they're working with.
But you know, this album, the music, to me, is
not as strong as I would have hoped it to be. Again,
Nas lyrically is always in shape. He's always talking, you know.
(30:53):
Now he got real slick shit to talk about, you know,
opening casinos and things like that.
Speaker 1 (30:57):
This whole language is different now.
Speaker 4 (30:59):
Just the music didn't really keep me in and grab
me the way I thought it would.
Speaker 1 (31:05):
Have been, you know what I mean.
Speaker 4 (31:06):
Like, this is something that people have been asking for
for years between Nas and Premiere, so when we heard
that they were finally doing it, we was all excited.
I just think that it didn't live up to now.
If we got this album before we got all of
the hit Boy albums.
Speaker 1 (31:23):
Maybe I feel a little different.
Speaker 4 (31:24):
But coming off of all of those hit Boy records
and that music being what it was and as strong
as it was, to this was kind of underwhelming because again,
well I'm only judging you off of your last.
Speaker 2 (31:36):
And obviously with the hip boy when you get records
like The Cure where Nas is just saying crap. I
think it was on King Disease three, like he was
rapping rapping on hit Boy shit, for sure, but I
think it was more of a balance of production and
pulling back a bit on the rapping because of the production.
I think he enters this one with the opposite thought
of just getting everything he had to say, which I'm
(31:56):
fine with because we have those six hit Boy albums
that are kind of in the other vein. But I
feel like on Pause tapes you get the no supreme feeling.
I think people wanted mad Man. I think you get
it like it's a balance. I just don't know if
I don't know if people should judge this album this
(32:17):
quickly based off who these two people are.
Speaker 1 (32:20):
A slow burn for you.
Speaker 2 (32:22):
I think people should give it another chance because I
don't think it was designed to be the blow your
ears into another stratosphere on the first listening, while we
all waited at Thursday at midnight to just get in
the car and play it.
Speaker 3 (32:36):
I don't think that was what they were going for.
Speaker 1 (32:39):
I think it's more.
Speaker 2 (32:40):
I think this is something you need to listen to
more and like appreciate more.
Speaker 1 (32:45):
I appreciate it. I just can't.
Speaker 2 (32:46):
The music to me is just not what they don't think.
I don't have my critiques, like you know shit. I
started at My Life is Real obviously at midnight, but
I wanted to skip to number three in New York
State of Mind Part three. Do I think that holds
up against New York State to Mind Part one and two?
Speaker 3 (33:00):
Absolutely not. I don't.
Speaker 1 (33:02):
I don't.
Speaker 2 (33:03):
That's I don't think you should. I don't dislike the song.
I just like the title. Okay, I can't understand that.
I don't dis like the song at all. It's not
a skip for me. I just disliked the title. I
think scratching in all that stuff, you could have just
scratched something else in and it still would have been
an amazing song.
Speaker 4 (33:19):
Like I just need we need more drums, We need
more drums again, That's why I think nows one like
a clean slate.
Speaker 2 (33:27):
I have drums, though, Listen, I'm always Ava as much
as I love Griselda and a lot of that sound,
and they still have drums. But I was still one
of those like, Yo, I love that hip hop is
still happening, but can we get drums back?
Speaker 3 (33:38):
I like drums, Yeah, I hate that drums.
Speaker 2 (33:41):
Has become extinct in the quote unquote underground hip hop shit,
like everybody just wants to wrap over a fucking sample
and some keys somebody at a fucking snare. So I
feel you, especially Preme drums, because Preme drums are shit,
probably the most iconic drums in hip hop history. Like,
of course you want Preme drums. So I hear you
not mad at that. Yeah, I just don't. I just
(34:02):
don't know if that's what no.
Speaker 1 (34:04):
I get it.
Speaker 4 (34:04):
We wasn't in the studio when they created it, but
you know, this is what they gave us, so we
can only go for what the final product sounds like.
But for me it was a little a little underwhelming.
But again, you know, I'm this is like childhood shit
for me to finally get a nodge and DJ from
my album so I'm happy that we got it, but
it just didn't live up to my expectations of what
(34:24):
I thought it would sound like. But not saying it's
a bad album, it just didn't live up to the
expectations that I had for No.
Speaker 2 (34:31):
And again, I want to make clear when I saw
everyone critiquing it, it wasn't a bunch of people hating
like it was. It was music people really telling their
opinion on it. Wasn't one of those like just hate
trained things. So I can appreciate people disliking the project
and give their reasons. I saw a lot of like
song breakdowns per rating each one, I was like, well,
how could you be mad at that person?
Speaker 3 (34:50):
That's not hate, Yeah, that's just their opinion.
Speaker 2 (34:52):
Yeah, So that I was at least happy to see
that any critiques and negative comments about it came from
a place of somebody that was actually trying to listen.
Speaker 3 (35:00):
Now, somebody was just like that, oh shit, though, you.
Speaker 1 (35:02):
Know what, you can't you can't talk to those people.
Speaker 4 (35:04):
Those people are gonna they're gonna trash anything that didn't
come out when they were born.
Speaker 3 (35:07):
So yeah, they trashed it.
Speaker 2 (35:08):
At eleven fifty nine, he refreshed ain't it out yet,
But also on Friday, congrats again to our brother Conway.
You can't kill God with Bullets out now eighteen records
right an hour exactly. I mean, I like, I don't
know at this point, Conways the same shit we say
(35:30):
about Gibbs, Like just the gsography at this point is
kind of untouchable.
Speaker 1 (35:34):
For me.
Speaker 4 (35:35):
This is one of Conway's best at I'm top to
bottom on the same side, still rapping at a very
high level. Not many people can rap better than Conway.
But what I told him last week listening to it,
the music on this album, he stepped it up, you know,
on the production side, the music side, getting more into
(35:56):
like you know, he's not not too many features. A
lot of the songs is just him by myself doing
the hooks everything. Uh So to see Conway evolve in
that aspect of his of his craft is dope.
Speaker 1 (36:08):
But yeah, I love this album. This is one of
my favorite favorite Conway albums for sure. It's up there
with my personal Fit.
Speaker 2 (36:15):
It's up there with Lulu, with Me the Alchemist One
God Don't make Mistakes, It's up there yeah as well. Yeah,
I think him and West have have a really good
quality of topping their previous work constantly, Like every time
I think this is my favorite West Side Gun album,
he puts out Prey for Paris, Like yeah, it's just
(36:36):
every time they find new ways to make straight wrapping
interesting again and again. I think production wise to this,
these are some of my favorite beats that that that
compa absolutely so I can't say it helps to have
a few Justice League records on it too.
Speaker 4 (36:51):
Yeah, you know what I'm saying, Kim be mat that'll help.
That will help any artists, any project. I love that
you put on this ship though. Yeah, yeah, absolutely, I
thought that was great.
Speaker 2 (37:02):
What was the the slick Rick? We actually we're just
talking about this week, the Fates Black movie. When you
perform with Beyonce at the garden. Yeahbody click, Rick came
with all came George, How long has your relationship been
so close that way? Because Yeah, when he pulled up
and just was taking all the jewels, I was gonna
come like he was gonna come with.
Speaker 1 (37:25):
All his didn't say nothing. I didn't say yeah. I
tried to say I know.
Speaker 4 (37:33):
What he was doing.
Speaker 1 (37:34):
That's something like I'm not.
Speaker 6 (37:37):
You know what I mean, But I didn't know he
was gonna slide through, you know what I mean. I
don't know if that's you know what I mean, because
I reached out to him and I was like, yo,
because I had a bag for him to be like, Yo, listen,
I'm going on this stage with Beyonce. Yeah, you know
what I mean the garden, Yo, Rick, let me just
hold something whatever, whatever the case may be, this and
(37:58):
that the third, but you know that's his surprize possession.
So yeah, at first, I don't know. I don't know
if I didn't think he was gonna come, you know
what I mean. So I didn't know he was gonna
slide through whatever the case may be at the venue. Yeah,
So I'm like, I'm like, I'm like, I'm like, you know,
(38:20):
so I wasn't even thinking about it, Like we didn't
even talk about it no more, because I think he
might have told me, like y'all said something in whatever
case may Anyway, he was like, I didn't think what's happening.
So when I'm near, you know, be back there, you
know me Beyonce, this and that the third and then
all of a sudden, like you know, he came out
of nowhere.
Speaker 1 (38:41):
She on stage doing her ship. Yeah, you know, he
came out.
Speaker 6 (38:44):
He came to me at the at I think while
that ship was on, while.
Speaker 1 (38:48):
She was doing that, the record was clean.
Speaker 6 (38:51):
Yeah, it was like he just he was like he
had he had his little bag and he just started
throwing ships on me.
Speaker 1 (39:01):
Like I just got heavier and heavy and heavier.
Speaker 6 (39:04):
It was like it was like it was like the
power of bridge, Like, oh ship.
Speaker 1 (39:12):
So I walk out.
Speaker 6 (39:15):
I'm walking out and and all of a sudden, the
verse just left me and left. I'm like, but my
part is getting ready to come, and I'm getting ready,
you know, I'm getting ready to get ready to go.
So I'm like, I'm like, oh ship, I asked my manager.
Speaker 1 (39:32):
I say, yo, what's what's what's what's the fun? What's
the ship? What's what's the first ball? I just need
the first ball. That's all I need.
Speaker 6 (39:39):
The first ball. I couldn't get it. I couldn't get it.
So I'm like, oh Ship, see you on fucking stage.
I'm like, oh I can't go over for the thirty
O my god, and just either get boot or or
just like don't go. I'm like, oh ship. So I'm
(40:02):
like it's coming, Like she's getting closer, getting closer, getting closer,
so I start walking up, walking up.
Speaker 1 (40:09):
Shits gone, so all I can see is like it's
slow motion.
Speaker 6 (40:14):
I saw just Dame Dash's face when he looked at
me from the side, because niggas ain't seen me with
all that ship on. He just looked at me and said, oh,
I ain't even hear him. I just read his mouth
like oh shit boom like and I'm like, the steps
is right there, nigga, just go.
Speaker 1 (40:36):
I sit on and got it and I'm like, oh ship.
But when it came, it was god.
Speaker 6 (40:42):
He just it was just like I think he just
like kicked me or slapped me foul. I just sit
back in there and it just came.
Speaker 1 (40:53):
I said, Joe, and I just flowed that ship.
Speaker 6 (40:55):
When she seen me with all that shut up, she
was like, yeah because we dv herschel you know it
was regular ship.
Speaker 2 (41:03):
Yeah, she's seen that, like he can performed. I was
the craziest.
Speaker 1 (41:07):
He was like, oh ship this nigga one of the niggas. Yeah, yeah,
that jewelry was. I was great.
Speaker 4 (41:13):
I was at the show that night and when you
came out, we didn't know that that was slick Rick jewelry.
Speaker 1 (41:17):
We just thought that was ghost on his bullshit.
Speaker 4 (41:20):
I'm throwing everything on the night when Fade the Black
came out, we just saw Rick putting it. I was like,
oh that that was crazy. Yeah, because when you came
out with the role, but that was Tony Stars. We
don't know w ghosts got all this.
Speaker 1 (41:33):
Ship from the garden.
Speaker 6 (41:35):
That might have been one of the best times, probably
the best time without the clan that that I ever had,
like on stage, like like as Father was like hearing
the raw from the crowd that summertime that we couldn't
believe y'all that because I was cool. I'm like, yo,
because Jay didn't even let Sean Paul do his ship.
Speaker 1 (41:53):
Nah, I'm like, man, niggas you're calling me.
Speaker 6 (41:56):
Yeah, it's like yo, So just me up there just
to get ahead.
Speaker 1 (42:01):
And but that was so beat with his girl.
Speaker 4 (42:03):
That was so crazy because that when that record came out,
everybody loved that record.
Speaker 1 (42:08):
That was like a case that I gave it to slave.
Speaker 6 (42:12):
I remember what the slave because I was in Miami
doing pretty Tony and my man down there, uh uh
Tom of Rock he got the DJ TOIM of Rock.
Speaker 1 (42:24):
Yeah he got.
Speaker 6 (42:25):
He he said, Yo, I got this joint for you, Beyonce,
joint anything, Beyonce, give it to me, you know what
I mean? Boom, and I heard that it was over?
That was that was it. I'm like, oh, I'm demo
when this ship wait just tomorrow boo? Did that ship
when laid it down came out?
Speaker 1 (42:43):
What? Yo? I sent it straight to Slave and Slave
was the one that did it.
Speaker 6 (42:47):
I remember, Yeah, you know what I mean, But I
didn't know he had because he wasn't doing it. Yeah,
and then he tried to play his ship afterwards and ship,
I guess that might have been his ship.
Speaker 1 (42:57):
It would I don't know whatever whatever he could be lying.
I don't know. Anyway, it ain't work video any word.
Speaker 2 (43:07):
Even if that was never the official remix, that's that
was the official remix for sure. So how quick like
how quickly did Slick Rick ask for his jelry back?
Because I would have exited like right Nigga had left
and I would have heard.
Speaker 1 (43:19):
On for a little bit.
Speaker 6 (43:20):
Man, listen, man, I was grateful he came to do
what he what he He just did what he did,
and I got that stage. I went back to the room. Yeah,
that was it, yo, looking ship that nigga back.
Speaker 1 (43:35):
That was it? That moment was like that was it?
Speaker 4 (43:37):
Because I mean, I'm guessing that's the only time y'all
ever performed that record together. Yes, like to be in
the garden that night and see that because nobody was
expecting that ship was in.
Speaker 1 (43:50):
And I forgot my ship. It felt magical. It was
like you knowing.
Speaker 4 (43:53):
That that was even crazy because looking back you came
out and it was like.
Speaker 6 (43:57):
That's that's that's God, yo, bro. I was scared, you
know what I mean? I was tremendously scared just to
go up on that stage and just be like, uh,
y'all and just be stuck.
Speaker 1 (44:09):
It would have been time for a snick of something.
Now you want to get away?
Speaker 2 (44:15):
Yeah, speaking of snickers and kick Cass who was talking
off Mike so Malt told the story when he met
Styles people the first time and when he met somebody
that he idolized legend that they was exactly who they
thought they were. Right during COVID, DJ Premier put you
and I on text message to do an emotional Oranges
record where you had done two verses and I was
(44:37):
going to bring a certain amount of money cash to you.
This is at the height of the fucking pandemic. You
text me back and said, nah, god, I got diabetes.
You're not getting near medure?
Speaker 1 (44:53):
Was me said, you said, I still speak to you
this day. Oh okay, giving.
Speaker 2 (45:01):
Him the cash And eventually when I get that record
back from Universal, we putting that ship out that remixedge
Oh so I.
Speaker 1 (45:06):
Did the record. Yeah, you did two verses on it.
Speaker 5 (45:08):
Oh.
Speaker 2 (45:08):
You actually asked Premier about it at Barclay's like a
few weeks ago. He had called me. He was like,
ghast wants to put that ship out. I'm like, so
do I We got to vers hold on you when
we get off mic, remember you.
Speaker 6 (45:18):
So that was also because I remember Premiere did have
me yes something like that, and that was with my group.
Speaker 1 (45:24):
Yeah, oh my god.
Speaker 2 (45:25):
Yeah, put us on a text and I'm going to
give you the bread and she was like, nah, god,
you're not getting here.
Speaker 4 (45:29):
I probably probably this was like the height of the pandemic, right,
nobody was no, exactly.
Speaker 1 (45:39):
A man, I ain't wanna go nowhere.
Speaker 6 (45:41):
Hell yeah, I'm I was holding my Breath'd be like, yo,
if you're showing it to breath every five minutes.
Speaker 1 (45:47):
I was like trying to.
Speaker 6 (45:48):
See if I hold my ship thirty seconds, then if
I if I hold it for thirty something like that,
I'm good.
Speaker 1 (45:55):
I'm good. I'm good.
Speaker 6 (45:58):
I'm doing that on the time. I want you the
bathroom mid three o'clock in the morning to you pay
some life yea, all that ship. Yeah, alright, I'm good.
Y'all go back to sleep, nigga.
Speaker 1 (46:13):
Hell then
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