BONUS* Conversations On R&B

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Keeps to the planet. I go by the name of
Charlamagne Tha God.

Speaker 2 (00:02):
And guess what, I can't wait to see y'all at
the third annual Black Effect Podcast Festival. That's right, We're
coming back to Atlanta, Georgia, Saturday, April twenty six at
Poeman Yards and it's hosted by none other than Decisions,
Decisions Man, DyB and Weezy. Okay, we got the R
and B Money podcast were taking Jay Valentine. You got
the Women of All podcasts with Saray Jake Roberts, we

(00:22):
got Good Mom's Bad Choices. Carrie Champion will be there
with her next sports podcast, and the Trap Nerds podcast
with more to be announced. And of course it's bigger
than podcasts. We're bringing the Black Effect marketplace with black
owned businesses plus the food truck court to keep you
fed while you visit us.

Speaker 1 (00:38):
All right, listen, you don't want to miss this.

Speaker 2 (00:40):
Tap in and grab your tickets now at Black Effect
dot Com Flash Podcast Festival.

Speaker 3 (00:47):
Watch up and welcome back to another episode of No
Senners Podcast with your hosts Now fuck that with your
load glasses Malone.

Speaker 1 (01:00):
So many people that in the sports world that come
from there tell us about the people from the sports
world that come there.

Speaker 4 (01:09):
Okay, man, Doors just talk about the boys. Sneal from
the Los Angeles Dodgers. That's heard a picture Tony Sneill.

Speaker 5 (01:17):
Uh yeah, you're talking about uh yeah, Brett he's playing
for Atlanta.

Speaker 1 (01:25):
Okay, but he's from Seattle and we were just talking
about that.

Speaker 4 (01:27):
He sponsors a love Seattle Select team up there right now.
That that's where the bats came up at because this
team gets all the special equipment up there.

Speaker 5 (01:37):
I know it's some dudes from Seattle for sure. You
know that because I know, uh, Jamal Carver from Seattle.

Speaker 1 (01:42):
Yeah. Who else from Seattle?

Speaker 5 (01:45):
Uh, it's it's it's it's some guards that came from
Seattle for sure.

Speaker 1 (01:49):
From the NBA, Bradley Beal from Tacoma.

Speaker 5 (01:52):
Oh, Brady to come yeah, okay.

Speaker 1 (01:55):
You know, but Isaiah Thomas from Yeah, he's from Seattle.
T I t Yeah, from Seattle, Washington.

Speaker 6 (02:04):
What saying? How many sports players come from up there?

Speaker 1 (02:08):
Man, they got mc breed, I mean know, they got
to mix a lot. Well, yeah, it's about sports. He
was talking about sports people. King is from Brandon Roy,
He from Washington. Brandon Roy Brennon Roy from Seattle.

Speaker 6 (02:22):
Seattle, Yeah, from Seattle.

Speaker 5 (02:24):
Brandon Roy might have been the might have been the
best hooper from Seattle. Nah, who better than Brandon Roy?

Speaker 6 (02:29):
Nate Robinson Robinson saying better than I'm not saying better
than Brandon Roy though, Nate Robinson Trump, Nate Robinson isn't
he from up there?

Speaker 5 (02:39):
He's not better than Brandon Roy.

Speaker 1 (02:42):
I don't know.

Speaker 6 (02:43):
I don't know.

Speaker 1 (02:44):
From Seattle, like Brandon Roy and his prime before he
got in jured? Nice?

Speaker 6 (02:52):
Crazy? What's good? Joah?

Speaker 1 (02:55):
What's happening?

Speaker 6 (02:57):
I'm not trying cooling man and ready for the Ready
for the ready?

Speaker 1 (03:01):
You know, I think it's time we doubled back. You
feel me?

Speaker 3 (03:05):
And this conversation became bigger than we wanted it to be,
so I figured like you might as well expound on
it because we wasn't even really tripping off of the
conversation of R and B, but it spawned a whole
other conversation where somebody did the Mount Rushmore. I was like, damn,
didn't really work.

Speaker 6 (03:27):
Great.

Speaker 1 (03:27):
What's the crack hea for Mount Rushmore? That's a great question. Well,
I don't want to do the Mount Rushmore. How'll we
double him back.

Speaker 3 (03:35):
Well, I just want to expand further on the conversation
because I wouldn't have Mike in R and B, okay.

Speaker 5 (03:42):
Because I want to ask you about that, because when
people ask me about this shit, they was like, so,
what what's the crack here for R and B? And
what's so is Mike R and B? Because I know
you say he's pop, but he.

Speaker 1 (03:53):
Makes pop music a lot, but he does have R
and B songs in the earlier stages of his career.
I don't even know if I would say that because
Jackson five is pop? How do we categorize pop though?

Speaker 6 (04:03):
That's not what we do.

Speaker 3 (04:04):
You're making popular when the goal is to make popular, Okay.
So R and B initially was considered race music, right,
That's what they called it race music because at one
time black people were considered people of race, right, and
white people con themselves of race just them and it
is everybody else but in us, right, So that like

(04:25):
when Wexler made the term R and B, you feel me,
that was a term coin So it was considered black
music R and B. So anybody black making music, I
guess some degree you could say that that's some level
of R and B, like funk would have to be
a descendant of R and B.

Speaker 1 (04:43):
I don't think people understand what R and B means,
So can you explain that rhythm and blues? Okay?

Speaker 3 (04:48):
Right, So it's like but Lewis Jordan right as being
one of the early founders of it, right, this is
in the forties, but it went through different stages right
in sub genres. Right, so is a derivative of R
and B. So I guess it all is. But pop
music probably could be a derivative of soul, right. Ray

(05:11):
Charles is probably the father of modern modern pop music.
But I just I wouldn't have thought that deep, So
I'm not mad at it. I do think pop music
is black music that white people make.

Speaker 7 (05:23):
Almost wow search stature popularity, no, no, no, And I
think that's just so so when you don't make music,
that's how it feels.

Speaker 3 (05:37):
It's like whatever goes popular becomes pop music. But some
music was actually created to be popular for the mast
from the beginning, like.

Speaker 4 (05:46):
For everybody, like not just one sector of people, for everybody.

Speaker 3 (05:50):
Yeah, it's like like like like Kentucky Fried Chicken was
like soul food for everybody. But I do think Michael
Jackson has R and B songs, but I wouldn't consider
that part of his catalog to be like one of
the greatest R and B catalogs of all time.

Speaker 1 (06:09):
Let me ask you a question, what at.

Speaker 5 (06:12):
A certain point in his career, what was what could
be considered R and B after because everything he's don't
put out was popular music everything.

Speaker 1 (06:20):
No, it's different, like because remember the time, right, that's
R and B. That's a new.

Speaker 6 (06:26):
RBN.

Speaker 1 (06:27):
But songs like Thriller that's kind of pop, right, it's
a it's a play.

Speaker 6 (06:32):
Beat it so is Lady of My Life? What is
what is Lady of my Life?

Speaker 1 (06:38):
Lady my Life?

Speaker 5 (06:39):
Is r B?

Speaker 1 (06:39):
For sure?

Speaker 3 (06:41):
Yeah, lady, that's who you used that? Yeah, yeah, that's
r B like he does have. I mean, it's it's
just so, it's just so weird. Thing is pop derived
from funk? Is that the closest connection you could because you.

Speaker 1 (06:56):
Said, no, I think pop the rash from soul?

Speaker 3 (06:58):
Okay, so so music, Ray Charles wouldn't be R and
B the rib from So No, R and B is
the father of soul. R and B is before, So
R and B is before R and B is the
father of So what.

Speaker 5 (07:16):
Would you consider uh uh.

Speaker 1 (07:20):
Little Richard. See, I would have thought he was rock
and roll, rock, rock rock.

Speaker 6 (07:26):
Little Richard is rock because rock rock was rock was
like like we we think of rock as being the
rock wasn't to do it. It was a groove was growing.

Speaker 3 (07:43):
All of these things are really small, nuanced things that
make it different. But I just wouldn't have thought of
Mike as a as a great art like, well, forgive me,
that's not the right time, because he's a great R
B when he has R and B songs. But it's
so many dope ass people that have a bigger and
better R and B catalog of music than Michael Jackson.

Speaker 1 (08:04):
It's not not so many neither that was off the
wall was off the wall R and B album Now
it's post disco like disco.

Speaker 3 (08:14):
It did R and B songs, So but there are talents, right,
and that's why we gotta really look at the eighties
and the nineties. I respect why even that Dude's list
had that era, because really R and B didn't become
R and B the way we know it as far
as really pure R and B until the late eighties.

Speaker 1 (08:34):
I wonder who they say put out the first R
and B album, It's gonna be somebody in the forties,
like Louis Jordan is talking about, Like, Okay, I'm talking
about the eighties.

Speaker 5 (08:42):
Though.

Speaker 1 (08:42):
In the eighties when you think it was really blossoming
to the R and B we think of.

Speaker 3 (08:45):
Now they consider the first R and B superstar, Bobby Brown,
don't be cruel.

Speaker 1 (08:51):
That's the kind of widely considered thought, at least amongst people.
I talked to that fuck with R and B and
he still had rhythm and blues feel to it.

Speaker 3 (08:58):
Yeah, which is shout out to New York Hallum. You
know what I'm saying, Teddy Riley mm hmm. That's why
I put so much emphasis probably on That's why I
put so much emphasis probably on like, uh, the Key
Sweat Record, the Key Sweat Album.

Speaker 1 (09:18):
Uh, what's the time I'm thinking about the traps?

Speaker 6 (09:23):
Damn.

Speaker 3 (09:27):
It's like see, So while my favorite R and B
album is probably like like, uh, Unpredictable by Jamie Fox,
I think the greatest.

Speaker 6 (09:39):
That is so crazy.

Speaker 5 (09:42):
Crazy trap that was crazy when he told me that,
when he told me that too.

Speaker 3 (09:49):
And don't get wrong, because it's not because you don't
have to be the artist like it's not. Jamie Fox
is more than a qualified artist and sing really well,
he can execute well. He's not bad. He's like a
top tier talent. But that album just is my favorite,
and I wouldn't argue it for being the greatest. I'm
not saying it's one of the GUFA. I'm telling you
what y'all think. This is objective, right, and it's my

(10:13):
favorite in the jam that's not that's a great album.

Speaker 1 (10:18):
This is.

Speaker 3 (10:19):
It goes to that conversation where like when we say,
what's the better album bad or Bad or make it
last favor? And I can tell y'all bet Bad is
a better album than Make It Last fact it is.
Right now, that sounds crazy because Bad is obviously Michael Jackson.
It don't mean Keith Sweat is a more successful artist
than Michael Jackson or a greater artist or a better artist.

Speaker 5 (10:38):
But it just means, like how you put it up
for TC, put a number on Bad as a as
a as a record as.

Speaker 3 (10:46):
The bad single is whack. Okay, so the single bad
is whack or it's not bad bad, it is horrible,
But I cannot.

Speaker 6 (10:57):
They shot that video inside of a New York City train.
My mother work that my mother worked the train clerk that.

Speaker 1 (11:06):
You know what I'm saying that.

Speaker 5 (11:09):
I can't believe I'm saying this, But I grew with
glasses man. But that was not good.

Speaker 1 (11:13):
That is whack.

Speaker 3 (11:14):
The single was whack speed I agree to. I don't
like that song like that Demon is whack.

Speaker 1 (11:19):
I disagree, you know, I just so it was great
when I was a little kid.

Speaker 3 (11:22):
When I was a little kid and and that movie
came out and he was racing against that little animated rabbit.
That was like the greatest thing in the world to me.
But as I get older and I'm listening, what what
the fuck is this?

Speaker 6 (11:35):
Tripping boss?

Speaker 1 (11:36):
Boss?

Speaker 6 (11:36):
They tripping boss? I knew.

Speaker 1 (11:42):
I knew that video was like as a kid, like
the video.

Speaker 5 (11:50):
Was amazing, them getting together and circling each other and
snapping their fingers.

Speaker 6 (11:58):
No, no, I got New York City train shut the
train station down. Had had had some of the best
dances in the video, like got Crazy Dan was an
amazing video.

Speaker 5 (12:15):
Growing up in Inglewood, I'm watching this video and I'm like,
you understand that, Yeah, I say, maybe, what is it
to understand?

Speaker 1 (12:23):
I didn't get it. I didn't get it.

Speaker 6 (12:24):
Hold on when you you telling me when you came
to New York, you're on the train. Didn't think first
thing he thought it was the.

Speaker 3 (12:28):
Bad Hell No, I had to think about before I thought.
I never until you just said that, I was like,
oh man, I never even thought that.

Speaker 6 (12:40):
That was That was J Street bro or train station
in New York.

Speaker 3 (12:44):
No bad ship I saw on train stations from hip hop.
I would have never in my life thought of Bad.

Speaker 6 (12:52):
That was an amazing video. That was an amazing video.

Speaker 1 (12:56):
Look, I'm not mad, I think look I think Bad.

Speaker 3 (13:00):
I think Make It Last for Ever is a better
album and a more important album than Bad. For a
better album period, just music, sheer music. I agree with you,
but again, I mean that ain't to say, but Make
It Last Ever is probably one of the greatest R
and B albums ever, right, I mean it launched the
genre and launched the movement.

Speaker 1 (13:22):
It launched a lot of stuff.

Speaker 3 (13:24):
I mean Michael Jackson thought Bad was so good he
went and got the producer of Maga Last Ever to do.

Speaker 1 (13:29):
His next album. So Michael Jackson agreed with me.

Speaker 3 (13:33):
Shout out to the lunch table that think I'm not
being fair, But Michael Jackson agreed he was like, I'm
not messing with Quincy no more.

Speaker 1 (13:38):
I'm going to Teddy Riley. That's a fact. He was
good for that. That's not a glasses fact. That's a fact.

Speaker 3 (13:48):
He did that so that he saw that Keith Sweat,
he saw that Bobby Brown. He was like, I'm going
to get one of them. What we was doing is
a thing of the past.

Speaker 1 (13:58):
Let's go do this.

Speaker 3 (14:01):
That's how much he thought Bad and Make It Last
Ever came out close to each other. He saw Bad
whooping his ass. Black people wasn't fucking with Bad. He
saw make It Last Forever whooping his ass. Because Megan
Last Forever is better than Bad. I've been saying this
for years people. The fact that people even marking Crazy.
I don't think you as a song the album.

Speaker 6 (14:24):
It's an album.

Speaker 1 (14:25):
Oh no, I'm not rolling. He check out. Now you're
saying the song for.

Speaker 6 (14:31):
Two years about this man and girl, it's better than
any song gonna make It Last Forever.

Speaker 5 (14:38):
I'm not rolling.

Speaker 6 (14:39):
Not Bery and Girl. Nigga's volunten song of the album,
I want Her.

Speaker 1 (14:46):
It's better than every song on Bad. Yeah, man, I
have to agree that I want Her. It's better than
every last song.

Speaker 6 (14:54):
On Bad Bad.

Speaker 1 (14:57):
That's overrated guys very much.

Speaker 6 (14:59):
So are you saying you're saying Bad is the best
R and B album of all time?

Speaker 1 (15:04):
No, not Bad Bad.

Speaker 6 (15:07):
Bad, I mean I mean make a last feather. No,
that's that's his Confession A better Confessions. I forgot? Is
it better Confessions?

Speaker 5 (15:23):
No?

Speaker 1 (15:23):
No, no, no, no it's not better. No it's not.

Speaker 3 (15:26):
But I prefer Unpredictable over Confessions. Even though Confessions is
a greater album. Does that make sense? Yeah, like it's
obvious that.

Speaker 1 (15:39):
Album. But you know again we're talking about.

Speaker 5 (15:44):
Yeah, no, because I feel like, uh, off the Wall
a better album than Thriller, But I think Thriller is
the greater album.

Speaker 1 (15:53):
Yeah, that's and that's what we talk about. The quant
to find greatness. I ain't mad at that.

Speaker 3 (15:59):
No Live lunch hour every Monday, Wednesday and Friday right
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Speaker 1 (16:06):
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Speaker 3 (16:11):
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Speaker 8 (16:25):
Uh.

Speaker 3 (16:26):
The No Sentners podcast available on Apple Podcasts, iHeart Podcasts,
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and iHeart Look as far as that Man's mind rushmore.
I think R Kelly and Us should really have a
claim to be on there.

Speaker 1 (16:48):
They really do.

Speaker 3 (16:49):
Like R Kelly easily could be there all time, Like
that wouldn't even be crazy, Like I wouldn't even debate
someone saying that.

Speaker 1 (16:59):
R Kelly is the Grads R and B actor. It's
R Kelly like he's a monster. Can I ask you
a question, though?

Speaker 5 (17:04):
Do we sleep on babyface when we start talking about
this R and B?

Speaker 1 (17:08):
My first one because we talk about artists are the
only artist his pets and he's a nice R and
B artist talking about artist, and yeah, I get him.

Speaker 3 (17:20):
R Kelly and Usher really has a claim to probably
be the greatest R and B act. But my issue
is Michael Jackson's claim is not stronger than Stevie Wonder's claim.

Speaker 5 (17:31):
If we talking about artists, if we just straight up artistry, Yeah,
then Michael Jackson's claim is stronger than Stevie.

Speaker 9 (17:37):
I don't know, man, because I think how Stevie Wonder
wrote and produced for Michael Jackson too. But we said
what we're talking, we saying this artist though, I'm saying
that Michael Jackson's artistry baby Face back in the conversation.

Speaker 3 (17:50):
Yeah, yeah, Chris Brown on that list, Michael Jackson. I'm
not quite sure as far as just pure R and B.
I'm just saying not pure R and B like you know,
and again like we can kind of say pop is
a is a subgenre of R and B because it's
a sub genre of soul. But I probably would like

(18:10):
it's hard for me not to imagine the world without
songs in the Key of Life.

Speaker 6 (18:15):
That's my favorite album of all time right there.

Speaker 3 (18:17):
That's really tough, Like that's the that's kind of the
jit Like that's R and B and soul like kind
of the pinnacle, you know what I mean, somebody really
using black music.

Speaker 1 (18:28):
So when does R and B change? I think R
and B the way we see it is really in
the eighties. Okay, that's what you were saying, coach.

Speaker 3 (18:37):
Because I think we look at a lot of other
stuff before as all of the the originals were kind
of fixing every like they were kind of starting to
experiment with everything.

Speaker 1 (18:47):
So what changed in R and B in the eighties?
It just got pure.

Speaker 3 (18:51):
I think they changed it to contemporary army where it
started kind of being obviously just that.

Speaker 6 (18:59):
They say.

Speaker 5 (19:01):
Ratchet this to R and B two though, Like I
think it kind of made R and B a little
more edgy in the eighties.

Speaker 1 (19:06):
Yeah, I got a little more edgy.

Speaker 3 (19:08):
So I'm not upset at that, but I just couldn't
imagine the world without Stevie Wonders songs in the kid life.

Speaker 1 (19:16):
I think that's one of the most important.

Speaker 3 (19:18):
And if that's the case, then we are we If
we putting Michael Jackson in there, then we have to
put prints in it. So we're gonna put them all
in there. It's gonna be really tough for.

Speaker 1 (19:29):
Chris Brown.

Speaker 3 (19:30):
Excuse me, it's really tough for Chris Brown, and it's
really gonna start being tough for us. You're and R Kelly,
because now if you're just gonna take all of this
black music, you know that came from R and B,
and you gotta put Prince now do R Kelly got
an album as great as let's say, Purple Rain, Probably not.

Speaker 1 (19:52):
That's who R Kelly.

Speaker 6 (19:55):
Probably that Double.

Speaker 5 (20:00):
Purple, that Double us City called the game Trap was
all right, it was called all he thought he got
another one. I thought it was.

Speaker 6 (20:09):
All one that was rending black, the one that was
read in black, the double CD joint. Everything about twelve
play two.

Speaker 5 (20:17):
Because I know he got one with like thirty thirty
songs on it, and the only problem a bunch of
great songs on there. Well, in thirty songs, you're going
to have about six or seven of them that we're
just and I think that Purple Rain, Man the Rain
was a great album.

Speaker 3 (20:34):
So what I'm saying, so this becomes my problem, right, It's like, Okay,
if we're not gonna try to do pure R and
B and it just becomes R and B and all
sub genres, you're gonna have a fight. It's gonna be
some records in there that probably ain't even just black
artists exactly.

Speaker 1 (20:55):
Oh that's crazy. I was gonna ask that question.

Speaker 5 (20:59):
Was known as race at first, that take white people
out of the conversation altogether.

Speaker 1 (21:04):
I think it brought race. I think it brought white
people into the conversation when they changed it to R
and B so you could throw. Have you ever heard
of an artist named John Billion? Of course, that's one
of my favorite artists.

Speaker 5 (21:16):
Bro Okay, I love John Billions.

Speaker 3 (21:18):
I really don't like the only white singers I like.
I can't say that. I don't really consider most white
people really good singers. I think people sing really good
for white people. I think if you listen to have
like like Tina Marie Sings is Cold, Hall of Notes,

(21:40):
Darryl Hall, some of these dudes, like, it's some that
really get cracking. But I just saint Finnish, like Mariah Carey.
That's out forgive me, Bobby can't. I've got a couple
of songs Bob in there. Bob got that tone. But
like that's my point. So Michael McDonald, yep, yep, Michael,

(22:00):
see like you have to start putting Michael McDonald, dude, brother, you.

Speaker 1 (22:04):
Start talking some shit gonna get crazy.

Speaker 5 (22:08):
I don't think we go all the way back, like
you said, you might have to start with in the eighties.

Speaker 1 (22:13):
Start at the eighties.

Speaker 3 (22:16):
Shout out to Mark Gear, Shout out to everybody at
the lunch table, everybody cooking early, because is like, oh,
were on this conversation.

Speaker 1 (22:22):
I knew this conversation is gonna be crazy. Softie, what's up?

Speaker 6 (22:24):
Eight?

Speaker 1 (22:25):
And age fast? Boss? What's up? Rough Squish? Thank you
for being here? V what's the deal? Bro?

Speaker 3 (22:29):
Joey Westside, thank you for moderating, Santy Squisch Lext what's
ut up next?

Speaker 1 (22:33):
I expect you to call in on this conversation. Boss.

Speaker 3 (22:36):
I know I'm gonna piss you off a little bit,
but just work with me. Yato name, what's happening? Cool,
what's the deal? We're gonna get to it. Let me
get going because there's a lot of people cooking at
the table, so I can't go through all the names.
Thank y'all for being here because we're trying to work
it out. Trying to work it out. No, I think
Mariah is a great singer for like a white person.

Speaker 6 (22:58):
Shit ladies, man, come on.

Speaker 1 (23:01):
You no, like you know what I mean? No, she's
the no So I see what you are.

Speaker 6 (23:13):
Ryan can't saying I never see highlight that comment.

Speaker 1 (23:17):
Ro can't. Nobody here said I did not.

Speaker 6 (23:20):
See you said Brandy can't tell? You said Brandy can't
The other day I did not say Brandy the minus
well the might as well said that. You might as
well said that.

Speaker 3 (23:30):
No, I did not say. Brandy said she was a seventh.
You said she was assessing and she was an eight.

Speaker 6 (23:37):
Same thing, it's the same thing.

Speaker 1 (23:43):
It's Wheeney Houston and Many Rippleton is tens.

Speaker 5 (23:46):
Okay, so that's cap So when Winnie Howston is a ten,
what's cap Miny Rippleton is like a seven?

Speaker 6 (23:54):
No no, no, no, no no, no, coach, coach, coach.

Speaker 1 (23:58):
I know you don't know that, but I had to
go back. I had to go back and listen to
many like you talking about a ten. She's not what
is wrong with your ears?

Speaker 5 (24:09):
I'm talking about vocally, she's not a ten like she
had a great song.

Speaker 6 (24:15):
Let let's let him cook for let him cook for
a while.

Speaker 5 (24:22):
Women, six six mini Rippleton vocally is a ten ripper ripper.

Speaker 1 (24:28):
Ten is attend to you?

Speaker 5 (24:29):
What vocally?

Speaker 1 (24:32):
Finish your thought? And then I'll expound.

Speaker 9 (24:34):
No, I'm I'm asking, yeah, yeah, yeah, anywhere it's crazy.

Speaker 1 (24:40):
So, women, what song?

Speaker 6 (24:42):
What song? Was she?

Speaker 1 (24:42):
Vocally? So great on.

Speaker 5 (24:45):
That last He Got He Got Touched the memory? Just
play loving You, I do play. It's one of her
best songs. And what are ya getting from that? To
where she's a ten vocally she.

Speaker 1 (24:56):
Had a whistlebody else and music that she had a whistle. Nothing, nobody,
nobody else in music can do it. I knew it.
I knew that what y'all thinking all the way Mariah
carry and in that case the Malaya's for sure.

Speaker 3 (25:13):
But Maria is not Many. That's the problem with your
This is like me watching basketball. You're watching basket. I
look at somebody cross over and notice it's just across over.
You see the nuances is a ten? Many carry cannot
hold nothing is Diana Russell?

Speaker 9 (25:28):
Then also here we got this how I got out
of the pocket last.

Speaker 1 (25:34):
Week because you just out of control and so and
so I said, it's only crazy and not many, not
one of them.

Speaker 3 (25:46):
Many, for sure. Every single will tell you Mini's a ten.
Every single breathing air will tell you.

Speaker 1 (25:51):
Every single will tell you Brandy is a ten too.

Speaker 5 (25:53):
Yeah, okay, so okay, so exactly so, And I gotta
go with six on that if many rippertains attend.

Speaker 1 (26:01):
Brandy can't do what many does. She can't whistle, Okay, cool,
it's not she's singing all right, that she can't whistle.

Speaker 9 (26:10):
We can't we can't say like just because this person
can't do like they don't have the exact they don't
have to have the exact same skill set to be
a ten.

Speaker 6 (26:18):
I agree.

Speaker 1 (26:19):
I agree all the time, Like what is happening?

Speaker 3 (26:22):
I know, I'll tell you all the time because you
pay all the diversity and I'm telling you it's not
You could do one thing and be the best at
it and be a team I'm not Like Anita Baker
is probably the closest to a tend but it's all low.

Speaker 1 (26:33):
Octive and I do I agree with that.

Speaker 3 (26:35):
Or you could have a top octave right like like
Bobby de Barge right and switch.

Speaker 5 (26:40):
I agree with that, But I'm just saying if, but
if you're going to call many Ripperton attend and there's
some other people that you left out, then.

Speaker 1 (26:48):
That no, you just have bad ears.

Speaker 3 (26:51):
I'm saying you don't know way you can listen to
many Ripperton and don't think to yourself that realized this
is kind of like a one.

Speaker 5 (26:56):
I think that she's a great I think she has
great songs and she don't really.

Speaker 1 (27:00):
Have she don't really have a lot of great songs
are great? A great song?

Speaker 3 (27:05):
You talk about her vote vocally as a monster. She's
like a real deal vocalist.

Speaker 5 (27:13):
Okay, cool, cool cool. I think she does that one thing.
I think she's in her lane. She got her lane
and she does that very well.

Speaker 1 (27:20):
That's the thing. She don't have a lane. Hers is variety.
Mm hmm. She she covered the spectrum. She like yo,
Lebron James. What anyway, she's like a spectrum. My ears
are bad, man, Let's move it on there. That's cool.

Speaker 5 (27:35):
Apparently all y'all think she's a ten, so I'm out.

Speaker 1 (27:39):
That's that's a cracking pa Bell is probably a ten.
Pal Belt is a ten.

Speaker 5 (27:50):
Team for sure.

Speaker 3 (27:51):
But but the point I was making was, this is
a real weird conversation because we're trying to decide.

Speaker 1 (27:59):
Are we calling everything in R and B?

Speaker 3 (28:02):
Since since all of the sub genres right, which could
be sold, which could be pop, which could be funk,
which could be all of these things kind of come
from the original rhythm and blues.

Speaker 1 (28:12):
Once you got past gospel.

Speaker 3 (28:14):
So it's like, even when I look at a Michael Jackson, right,
it's like, Michael Jackson made more pop songs and R
and B something me wrong. His R and B songs
is fire, right, But I'm just saying, it's people that
have really dope pop some and he's one of them.

(28:38):
Who's your top five white soul singers?

Speaker 6 (28:42):
You know, he don't toe into that. He don't toe
into that too much as that one. You know, I'm
toning to that too much. They don't carry souls, so
he ain't gonna listen to that, right am? I? Right?
Am I? Right?

Speaker 1 (28:53):
Glasses? My favorite five soul singers white one.

Speaker 3 (29:00):
Only so many white people were sold it is it
favorite five white songs? Okay, so personally my favorite five,
right is is Daryl Hall. Daryl Hall got the best
voice of any white person ever. I fucking love Darryl Hall. Boys, Daryl,
I wish I actually sang like Daryl Hall. Darryl Hall

(29:23):
is the ship. Number two, remember Daryl Hall?

Speaker 6 (29:28):
Clip this please?

Speaker 3 (29:30):
I think you did, because it's gonna be really tough
like number two. The Little Lady out of It that
Rick James put on Tina right, tanum reed, for sure,
that's that's.

Speaker 1 (29:46):
The real deal. Okay, Now just voice.

Speaker 3 (29:53):
Bobby called, well, he ain't got that many songs that
I really jam, but Bobby called withell voice is fire.

Speaker 1 (29:59):
M right.

Speaker 3 (30:00):
Number four is Michael McDonald mm hmm. Best voice and soul,
put some soul in there. And number five Elton John
m hmm.

Speaker 6 (30:12):
Okay, Phil Collins or nothing. I think. I think I say,
George Michaels some ship like.

Speaker 1 (30:20):
George on that man, No Elton, John, el Jonathan.

Speaker 6 (30:26):
Go out and go.

Speaker 3 (30:28):
I don't really think that's how I like. Like listening
to Brian Carey is like listening to like a diet
version of Minnie Riperton. They always called it a little
that's missing when she goes up there, it's like a
soul that's missing.

Speaker 1 (30:45):
Yeah, I agree with that. That's my five favorite white
soul sing They got sould so no female white females.
You just didn't okay, you don't.

Speaker 6 (30:57):
Mess with that. He don't mess with that.

Speaker 3 (30:59):
He don't mess no, no, no, no no no. Adale
is cool for like a white singer.

Speaker 6 (31:05):
Mm hmman song.

Speaker 3 (31:07):
If her sisters sang like Adele, I wouldn't even listen
to her.

Speaker 1 (31:11):
Hey, let me ask you, where were you? Where's like
every sister walking down? Where'd y'all put Celine Dion vocally?
You can sing for a white lady?

Speaker 6 (31:20):
Yeah, I'm a glass on that one.

Speaker 1 (31:22):
What was the Mexican girl. Back in the days he
used to sing.

Speaker 6 (31:25):
Selena, talking about what's Selena? No no no coming, no
no no, no no no. He's talking about talking about
Lera who to be cracking for white man. I was
talking about the incredible.

Speaker 1 (31:42):
Some of it. Look some of them white ladies, white lady.

Speaker 5 (31:44):
But all these all those white ladies you just named
are are what you're talking about as far as know.
So they don't they got so they got sol for
like white people. Yeah, white people. So white people they
don't sound.

Speaker 1 (31:54):
Like got sold.

Speaker 5 (31:57):
Tina Tina, Tina, Tina got it is bad.

Speaker 3 (32:02):
That's a bad motherfucker. That's that's tinam Ree is a
real deal. Yeah, ain't nobody gonna play with Teena Marie.

Speaker 1 (32:12):
That's real. I like wine House voice shout out to
the lunch tape. I like Amy, that was cool. I
feel like.

Speaker 3 (32:21):
Listening to Amy wine House like like a very diet
light minute made version of like.

Speaker 1 (32:30):
Nina Simone.

Speaker 6 (32:32):
I was thinking the same thing. That's a second jazz
like I think the thing that's that's what it feels like.

Speaker 1 (32:39):
When I listened to uh, Amy Winehouse, It's like, yeah,
what about Robin Think?

Speaker 3 (32:45):
I like Rob Robin think is a dope white singer.
You can sing, period, but that's for white people. He's
gonna be like a nine now on just black singers,
he like a six.

Speaker 1 (32:59):
I know you gonna kill me for this.

Speaker 5 (33:00):
But j T, that's like j was a better singer
until he got on the stage with Brian mcnott.

Speaker 1 (33:13):
Yeah you realize it. Yeah, it was different, Like j
T was a good singer than Brian.

Speaker 6 (33:19):
He they did.

Speaker 5 (33:19):
You know, they got a song together, they got the
stage of performing. I was there alive, and it was different.
It was idam. He can't even say that.

Speaker 3 (33:25):
Yeah, you don't want to see That's what I'm saying
with like John, Beyonce is probably like a seven or eight.

Speaker 1 (33:36):
If Brian you're gonna get drugged for that. I know
from about I think she's an We just said vocally
no six. Do you have inside information on Beyonce? Like
is she what is she?

Speaker 5 (33:49):
Vocally? Beyonce?

Speaker 9 (33:51):
I don't really listen to Beyonce to be honest, I
never heard the album or anything.

Speaker 1 (33:55):
I've only heard singing. Yeah, I never listened. I never
was drawn to her musical that.

Speaker 6 (34:00):
So you heard one plus one though.

Speaker 3 (34:02):
I'm thinking Beyonce is somewhere, Like I said, think, I
think she a lot stronger than everybody.

Speaker 1 (34:06):
To get me credit for I think Beyonce is underrated
as a singer though yeah I agree.

Speaker 6 (34:12):
I agree.

Speaker 5 (34:14):
It might be closer to her nine and you think.

Speaker 3 (34:16):
That could be true, but she don't do the songs
to exercise where she could go.

Speaker 1 (34:20):
She also kind of stay controlled.

Speaker 3 (34:23):
So after walk, Rihanna is not an eight bro, that's.

Speaker 1 (34:32):
The bos nigga. Rihanna is a little bit. Rihanna is
a little better than Cassie. You said that. In fact,
she was a little better than Cassie. Yeah. Yeah, see
that's a hot take.

Speaker 3 (34:48):
And I get wide, bro because as a fan, y'all
feel like y'all listen like we kind of really listened
to it. Like if you thought Rihanna was an eight bro,
your fucking taste is horrible.

Speaker 6 (35:00):
That's crazy.

Speaker 1 (35:01):
Mm hmm.

Speaker 3 (35:02):
Like now, Rihanna as an as a female vocalist as
excuse me, as a female actor, great act, She's an
amazing act, but not vocally, bro, No before, it's not diabolical.
T bods is a four? No six is you can
sing at a six like you get cracking at a.

Speaker 5 (35:22):
Six cracking out of six is crazy heard boy singing.

Speaker 1 (35:26):
I'm about to put her up.

Speaker 6 (35:28):
I think a unique voice though.

Speaker 1 (35:32):
I think that's her selling point, her unique voice.

Speaker 6 (35:34):
Yeah, that's what it was. Eight and nine. She get
up there, so yeah, I have to listen a little
bit more. She gets listen.

Speaker 3 (35:48):
Whitney Houston and many Riperton are teens, right, that's that's great,
Like you know, I mean, it's people up there too.
So if you're Whitney Houston, you're t bos. That's what
you have to compare. H.

Speaker 1 (36:05):
But you don't need agree with Whitney. Uh, you don't
need to be like like.

Speaker 3 (36:13):
See, when I think of R and B, I think
of people like Luther Vandraws, people that really just sing, hm.
They don't really like Luther Vandross is a ten vocally
like Luther Van Draws is a ten. Everybody know Luther
Van not argument between no human beings that no. Luther

(36:33):
Vandross vocally is a te Luther Luther. Everybody know Luther
Vandras Tu. You ain't got to look at nobody. Marvin
Gay is a ten.

Speaker 9 (36:41):
I just listened to T boys. Yes, how fast I
clicked back to the to the part, right.

Speaker 5 (36:48):
You just listen to t balls.

Speaker 1 (36:49):
What would you give from me? Like five? Six? Thank you?
That's what it ain't I said, it's four.

Speaker 5 (36:58):
I said like five six?

Speaker 1 (37:02):
Or is I think? Okay, I mean, but that's your
that's your opinion. Yeah, because because.

Speaker 3 (37:08):
You gotta have space in the middle, Like, right, where's
Tina Marie?

Speaker 1 (37:14):
Teana Marie is seen them? Damn near might be a
nine bro.

Speaker 3 (37:18):
Right, So then think about how good Tina Marie is
compared to teapots.

Speaker 1 (37:22):
I mean, yeah, that's what's the five point? That's what
five like. It's not about three points, about bout five
points like them big three points though. Okay, let's go seven.

Speaker 3 (37:30):
Eight, let me think, let me think I got you.
Who's that uh Tony Braxton? Okay, see where'd you put Tony?

Speaker 5 (37:41):
Tony might be like a you might be like eight
and a half Tony Braxton eight and a half nine.

Speaker 1 (37:49):
You know what, I'm not mad at that?

Speaker 6 (37:51):
Locally eight.

Speaker 1 (37:56):
You can track. Yeah, I gotta go out to VLAs is.
Where would you put Alicia Keys?

Speaker 6 (38:03):
Six?

Speaker 5 (38:03):
That's a good question, seven, seven, eight, seven because she
can even relate them goddamn piano course mm hmm.

Speaker 3 (38:16):
She kind of just she like really sneaky good too,
like Alicia Keys vocally is sneaky good?

Speaker 1 (38:24):
Do you think only a seven or eight I got?
I have to really listen to a seven or eight.

Speaker 5 (38:31):
Let me ask you a question because I thought about
something that we talked about yesterday. Do some people, because
they're such good performers, get that taken away from their
their their performance vocally?

Speaker 1 (38:42):
I think Michael Jackson is one of those people.

Speaker 5 (38:44):
Because, like I said, Mike, what about Prince vocally than
we think he is?

Speaker 6 (38:49):
Prince is great vocally, though, Prince s different actors like
Prince is crazy just live.

Speaker 1 (38:54):
Like twice Prince Prince is different. You see, he's Prince.

Speaker 3 (39:00):
And Alicia Keys are kind of like close. I don't
know that might be pushing I need to.

Speaker 1 (39:08):
A Prince live.

Speaker 5 (39:09):
Prince vocally was flawless, old flaws bro it was crazy.

Speaker 6 (39:15):
Change is active. The way he's singing, you're saying, he's
saying many different ways though the Princess crazy professional one
of the team.

Speaker 1 (39:24):
You get Prince seven seven, You got Prince in the
same realm as Alicia Keys. Yeah, they do the same thing. Actually,
what you think about that trapping six? Wow? That I
don't agree with Prince.

Speaker 6 (39:44):
Nine eight and a half.

Speaker 1 (39:45):
You know, no, he's not a nine. Wait so six?
You say no to a nine or eight or a
seven or eight prince vocally? No, I'm saying no to seven.
Oh okay, seven or eight? That's what I said.

Speaker 5 (39:58):
What you what you gotta uh king.

Speaker 1 (40:02):
By the eight.

Speaker 6 (40:03):
And a half. Hmm, came my man, let's don't sing da.

Speaker 1 (40:13):
He's different. His different vocally. He is nice, but he's not.

Speaker 5 (40:20):
I think he's one of those guys who performed so
well that where you you forget how.

Speaker 1 (40:24):
Good you know?

Speaker 3 (40:26):
It's not Michael Jackson is. That's my problem. And Michael
Jackson I think better, a better vocalist, and I feel.

Speaker 1 (40:33):
Like losing your fucking mind.

Speaker 6 (40:35):
Man.

Speaker 1 (40:36):
It's cool.

Speaker 6 (40:37):
You got you got Stevie.

Speaker 1 (40:39):
It's close.

Speaker 6 (40:41):
You got Stevie.

Speaker 3 (40:44):
Vocally, the same place, the same place with Prince and
Lisa Key.

Speaker 6 (40:53):
Is not with them being come on stop that.

Speaker 3 (40:56):
Sneaky, really really good, bro. She has a good control,
she has good range. She's not I'm telling you she
a lot sneakier good than you could imagine that.

Speaker 9 (41:16):
I gotta come through soon, and we got to spend
like an hour or two and I got I have to.
I gotta train your ear to show you what you
need to be listening to.

Speaker 1 (41:27):
Got you that's fair. You know you do it. You're here.
I know, no, you got to do it. But but
I think it's fair for me.

Speaker 6 (41:37):
No music.

Speaker 1 (41:39):
I don't think it's music vocally. I agree with that.

Speaker 3 (41:45):
I don't think it's a disservice to say Stevie Wonder
is an eight vocally. That's not I'm not disserve it's
not a disservice to him or because really, their calling
card is not necessarily the.

Speaker 1 (41:55):
Performance I say. I think they're calling card.

Speaker 3 (41:58):
Is the fact that these are some of the ad
as musicians ever ever that could actually sing me as.

Speaker 1 (42:04):
I think, Prince, I mean, I think you.

Speaker 9 (42:07):
You have to go listen to my bad coach. You
gotta go listen to Stevie Wonders vocally on the live
version of Ribbon in the Sky where he's emulating the
instruments that are playing at the end in the band
Nigga that vocal performances out of it.

Speaker 3 (42:25):
Again again, I'm not I'm not again, I'm not stuck here.
I'm just saying, if you're asking me, this is my thought,
now again I could go do this, do a deep
dive and realize I was tripping this.

Speaker 1 (42:36):
Niggas as good as you gets? What about Smokey Robinson?
Seven eight.

Speaker 6 (42:47):
You got?

Speaker 1 (42:48):
You got?

Speaker 6 (42:48):
Donny Hathaway.

Speaker 10 (42:50):
Yes, a tough crowd, everybody. When I listened to you
sing bro like I want to him, you got eight
eight nine is nice.

Speaker 6 (43:05):
I ain't mad at that.

Speaker 3 (43:06):
See like I like Bobby. The bars is a ten
one gear. Right, here's a question. Six I got you?
Where's Berry White vocally?

Speaker 1 (43:20):
Oh that's a good one vocal I don't even know.
I probably they can play with these. I respect.

Speaker 9 (43:31):
From your neighborhood. I'm not doing the twins from the
Whispers coach.

Speaker 1 (43:37):
No, no, no, I'm going back to burrial fast.

Speaker 6 (43:39):
Look at Joey Webside, said Joey Westie with a ten
from Bothy.

Speaker 1 (43:54):
That's not bad. Seven and a half at bad. I'm
not mad at that. Okay, when from the Whispers day
that's some bad one.

Speaker 3 (44:02):
They get cracky, they solid what's funny is Rothel is
my favorite vocalist as far as male vocalist, Well, obviously
there's a couple, but ro is my I've listened to
more Rothel Music than any other male vocals.

Speaker 5 (44:16):
This is where you get people fucked up, though, because
you give all these other singers seven's and six and
ship and then you be like.

Speaker 1 (44:25):
Jamie Fox unpredictable. That's crazy, crazy.

Speaker 3 (44:31):
Because you don't need to have a ten for you
to be my What really they are? How they make me?

Speaker 6 (44:38):
Number?

Speaker 1 (44:38):
Does it get? Ro Probably a seven?

Speaker 6 (44:43):
Eight?

Speaker 1 (44:44):
And then I'm like, go ahead, go sx.

Speaker 9 (44:47):
My Nigga Gavin from Third Story, who don't get no
claim to fame as a ten vocally and nobody probably.

Speaker 1 (44:54):
Even heard of them. But I put that with anybody, hm, anybody? Yeah,
I have to think about it.

Speaker 3 (45:02):
I think it like I think my my rating system
makes sense because I'm judging just singing, Like you don't
have to be the greatest singer to be my favorite. Again,
Like I'm like, Michael Jackson is a way greater vocalist
than Keith Sweat, but Make It Last Ever is a
better album than Bad.

Speaker 5 (45:20):
But I think a lot more goes than making a
great album than just vocals exactly.

Speaker 1 (45:24):
So that's why I don't think what I'm saying it's crazy,
you know what I'm saying. Whitney Houston is one of
the greatest.

Speaker 3 (45:32):
It's probably the greatest female vocalists ever. And I don't
play none of her songs. I wouldn't be caught dead
playing with me. Why not weekly, I just.

Speaker 6 (45:42):
Don't care about the records they come on. I want
to dance with somebody.

Speaker 1 (45:49):
Never traver right one too. I want to have about
that ship is the ship? Yeah, I would never remember
that line of Richie. They don't play all night long.

Speaker 3 (46:06):
A lot of ches with the commodoors and maybe hello
hey all night long?

Speaker 6 (46:11):
Only I got one for you, bro, what's Teddy Pendergras.

Speaker 1 (46:18):
Line?

Speaker 3 (46:18):
Just could start making pop music? He started competing and
and I respected that.

Speaker 1 (46:23):
I just I don't thriller, Bro. I just saw something
this morning, Bro, I gotta send it to y'all. It
was one I don't know. I don't play thriller either. Yeah,
I don't play thriller like I sometimes when I do either,
I don't play bad or thriller.

Speaker 5 (46:39):
Off the wall, off the wall that that get played.

Speaker 1 (46:47):
Yeah, tankers are ten. Tankers are ten vocally for sure.

Speaker 5 (46:51):
And you know what that was new when you said that.
That was news to me. But but if you you know,
if you heard I'm saying, you heard it. He might
know like that that is news to me.

Speaker 1 (47:02):
You say, the expert.

Speaker 9 (47:03):
That's why these all these plaquis R and B.

Speaker 5 (47:08):
Nigga, I'm a rapper locally. Tank is ten a ten Yeah,
because when I started atas, I was like, okay, but
he got inside information.

Speaker 1 (47:24):
I think I think he's.

Speaker 3 (47:25):
Talking about his professional skill set as a singer. It's
still like an execution, like Tank ain't no.

Speaker 9 (47:31):
Goddamn professional skill set because I always look at it.

Speaker 1 (47:36):
I always look at it this way right.

Speaker 9 (47:37):
I've had people over the years call me and say, Yo,
I'm with so and so with this girl. Whatever she
could sing, you want to hear a sing And I'm
like no, because you being able to sing in front
of me or sing on the phone don't mean you
can go in there and make a record.

Speaker 1 (47:52):
Yeah, but that's singing. We're not talking about to make
a record.

Speaker 9 (47:56):
But I'm saying, like, I don't look at Tank's ability
to go in and uh to make a record professionally
based on that that nigga can stand on the corner
just like she stand in the corner. Okay, I don't know,
g man. I heard somebody talk to me about it
yesterday too. I sing it like really singing. She stood,

(48:17):
don't think like She started, bringing me through the history
of he was a backup singer.

Speaker 1 (48:21):
Started, She started, I'm gonna show you. I'm gonna show
you when I pull up on you show me.

Speaker 3 (48:27):
Yep, I got to pull up on Tank and just
make him just go, get cracking, nigga.

Speaker 1 (48:30):
So get cracking.

Speaker 3 (48:35):
Real nigga real. Like a lot of my stuff is
not considered the greatest thing. No no, he's not. No, no,
And this is my problem. And this is why I
won't let you say that ship six see the type
of ship that's happened. But that's what is different than yours.

Speaker 1 (48:55):
Though you need to say somebody's a ten. You gotta
sing as good as Luther. Luther is his standard. I mean,
if you're gonna say it.

Speaker 3 (49:06):
Like, I'm like, you gotta sing as good as these people.
You don't have to sing just like them, but it
has to be as good as him. So like Tank,
I thought Tank is more than a qualified sacre. I
think Tank get cracking. I would have thought Tank is
an eight or something seven eight. He understands music, he
understands equipment, instruments, he know how to do all of
that shit.

Speaker 1 (49:24):
He tough.

Speaker 3 (49:25):
But I wouldn't have thought the niggas saying him and
Luther on the corner, it wouldn't be no motherfucking battle.

Speaker 1 (49:29):
I don't know what the hell six talking about Luther
would blow.

Speaker 9 (49:31):
I didn't say nothing about Luther, Nigga, you just made
him he is six. But that's your criteria you. Luther
is your standard, not mine.

Speaker 1 (49:40):
Is Luther not a team? Oh that's a good one.
Can I Can I say this though? Can I say
now that six six is saying this shit? A classes
in this Luther talk? Is just want you to say Luther.

Speaker 5 (49:56):
I'm just gonna say this, man.

Speaker 1 (49:57):
That's why I looked at him early.

Speaker 5 (49:58):
Luther is cool, is tight, Luther's don't average no disrespect
from about Luther. But I don't know if if Luther
Tank staying on the corner, I don't know if Luther
just killed Tank. I'm gonna be honest with you, man.
After listening to Tank, listen to Luther. Luther is done.

Speaker 9 (50:14):
Just go listen, bro, you gotta understand nothing you could
listen to that's gonna be close.

Speaker 5 (50:19):
Because Glass has got those he got some old people
in his head that he just he just they on
that that pantheon for him.

Speaker 1 (50:24):
But so you're saying, Luther van Dross don't deserve what
I'm saying.

Speaker 5 (50:28):
See, he gonna try to get me saying that's what
you want.

Speaker 1 (50:31):
To say, though you're saying.

Speaker 3 (50:35):
Much every other sake, Luther van Dross is one of
the greatest vocalists to ever exist.

Speaker 1 (50:41):
Luther is there true Luther?

Speaker 5 (50:44):
Okay, I don't want to say nothing too bad, but.

Speaker 1 (50:49):
That's all you did last week.

Speaker 5 (50:52):
And I just asked questions about that. People probably talking
bad about him all the time.

Speaker 1 (50:58):
Is Luther operted? No, this is your fault six I know, No,
you did know, so you know you did Bush. I'm
a seven year old. This is why. This is why
I staying on it. So I don't have this.

Speaker 5 (51:14):
I'm a seven year old. I don't I'm asking a
question somebody. I'm just is Luther overrated?

Speaker 1 (51:21):
No, not that, not even close to overrated?

Speaker 5 (51:24):
Okay, So so is he rated properly then? Or is
he he's right where he needs to be at Luther
that's one of the greatest This is Luther is a.

Speaker 1 (51:35):
It's for me.

Speaker 9 (51:38):
Ago because my thing is this like even Luther could
be a twelve, like Whitney could be a twelve.

Speaker 1 (51:46):
Those type of things. Is that measurement. But some of
these players are in their own realm, bro.

Speaker 3 (51:53):
Like, But they have to be able to sing as
these people in these realms to be a ting.

Speaker 9 (51:58):
That's why men, let me ask you this. Are you
saying that the people that you have as eights male
singers don't have the ability to do what the tens
do vocally?

Speaker 1 (52:11):
They can have the moment.

Speaker 3 (52:14):
What you mean, they got him, so they deliver sometimes,
but a ten is a ten every time, Like Luther
is Luther Van Draws no matter how you slice it.

Speaker 1 (52:28):
Somebody said, what would you rate James Brown?

Speaker 9 (52:29):
Come on, Oh no, James Brown good singer.

Speaker 3 (52:39):
He was on his Godfather soul Ship. He kind of
got a unique tone. He's an underrated singer to me,
he could sing. But you can't go funk James Brown
because obviously he wasn't singing at that point that nigga
was just shouting her.

Speaker 5 (52:54):
But Josh, this is what you do to you though,
Like g y'all be saying, I'm baiting you know what?

Speaker 1 (53:01):
What you start calling me? Coach? This is dark? Hey,
this is dark.

Speaker 6 (53:07):
This is dark.

Speaker 1 (53:08):
Beata right here?

Speaker 5 (53:09):
Does he do his baiting really fly? And I just
come out and ask my question. GV wanted you to
lead yourself into some bullshit little sneaky ship.

Speaker 3 (53:19):
I have a constant, so like I'm okay with saying
him because I have to stand on him. So then
I don't want to wake up one day and find
somebody else. So we're talking about R and B. I
don't want to say somebody's a tin and they can't
sing with somebody that's a tin.

Speaker 1 (53:34):
Billy Holliday. I love Billy Holliday. I take a little
bit more time.

Speaker 9 (53:41):
Just so I'm trying to gain a better understanding. So
Luther is a ten yep, what's the equivalent on the
hip hop side as Luther.

Speaker 1 (53:57):
That's a good question.

Speaker 3 (54:04):
I just listen to hip hop ain't just about talent
like that. Hip hop is still like a street urban
cultural movement, so like it's not just it's not just
dependent on talent per se, Like like it's just not
the same.

Speaker 1 (54:21):
Hip hop is different. So you don't got no ten
on hip hip hop music is actually not good.

Speaker 6 (54:34):
I don't say that brow but just like you know,
I stand on it.

Speaker 9 (54:40):
You need me to in the realm of like how
we're judging singers on.

Speaker 1 (54:47):
Their ability to sing.

Speaker 3 (54:48):
I mean, if you heard me, Hey what I want
to do something freaking to you and then go listen
to than you don't notice the difference musically, like think
is bad?

Speaker 5 (54:56):
What well?

Speaker 1 (54:57):
I think on a pantheon of music right now, just
straight music. Doctor Dre wouldn't tell you G Thing is
on the same level as Leon Haywood. I want to
do something for you said.

Speaker 5 (55:07):
It's not on the same level.

Speaker 1 (55:08):
It's not even in the same arena.

Speaker 5 (55:10):
G Thing is not good.

Speaker 1 (55:12):
I think hip hop at the whole the music is
just all of it is. Maybe the best is like
a six. All hip just the music. It's a D.
I mean an instrumentation of the music.

Speaker 6 (55:26):
Okay, okay, all right, all right, you know you're talking
about because the message.

Speaker 3 (55:31):
Hip hop, the whole, the whole package is what makes
it like a thirty.

Speaker 1 (55:36):
But the music part of it is just a D.
It's under there.

Speaker 3 (55:39):
Yeah, hell yeah, Okay, Like the best is like a C.

Speaker 5 (55:46):
So it's a seven.

Speaker 1 (55:47):
Yeah, like a seven?

Speaker 6 (55:49):
Yeah.

Speaker 5 (55:50):
Do you have any acts that you think are higher
than the seed that kind of hold up the you know,
get it up to the scene.

Speaker 1 (55:56):
So here to just mute, Like, is there somebody hip
hop that make music good?

Speaker 5 (56:00):
White?

Speaker 4 (56:00):
Fuck?

Speaker 6 (56:00):
No, let me tell you why hip hop is not
that right there, because the creation, the creation method of
hip hop has to has to be put up there
more more than what you're saying. It is though, because
the fact that you can take anything making it hip.

Speaker 3 (56:16):
Hop the creation method. Forgive me trap, I don't mean
to cut you off. Thereat don't matter when it comes
to hip hop. Like the music were talking about, that's
what makes hip hop special. That's like asking it's soul
food healthy.

Speaker 6 (56:29):
Like what makes hip hop special is the fantas you
can You could take anything and make it into hip hop. Cherry.

Speaker 1 (56:36):
You could take the only black music.

Speaker 3 (56:40):
Like we're we're comparing to other really talented black me
I've never heard of hip hop song the music and thought, man,
this is like Arry White.

Speaker 5 (56:48):
So hip hop music is not good for you artist.

Speaker 3 (56:51):
No, No, soul food don't have to clog the arteries.
I just think you're comparing musicians.

Speaker 6 (56:58):
I get you you can do. I give it. You're
saying no because it is better than all music.

Speaker 5 (57:04):
Okay, tramp so let me get this from you, too, pop,
is that you also think hip hop a musically is.

Speaker 6 (57:10):
A DP No. The reason why the reason why understand,
the reason why Undertarily's saying though, is because like I said,
you could take anything make it's a hip hop, but
it doesn't become hip hop to the lyrics can put
on it, though, So you know what I'm saying, So
it doesn't become so you could take like you said,
I want to do something freaky to you doesn't become
hip hop until Drey and Snook it's on the beat. Yeah,
you know what I'm saying like that, So that's what

(57:32):
So it's like it's almost.

Speaker 1 (57:34):
Like I'm not I'm not saying the presentation of a
hip hop.

Speaker 3 (57:37):
Hip Hop records can have records from people with any
record in any genre music, but it's the complete presentation
because the music is make do right. It's like making
the best out of some ship you really don't know
how to do. When you put your ship on that ship,
you present it. How much power is anything I've ever

(57:58):
seen in music? Anyking about like g thing is is powerful?
Us very white, very white first last.

Speaker 1 (58:07):
And only so hip hop music is the most powerful
music it is.

Speaker 3 (58:12):
It's probably so, but it's because it's it's more things
that connect to poor people, like making do always work
better with humanity and things of like overspent and producer.
I mean because I think humans can connect to trying
to make the best side of circumstance.

Speaker 1 (58:29):
But hip hop, the music itself, like if you play.

Speaker 3 (58:33):
G thinking next to leon Man a change and I
want to do something freaky is so motherfucking cold bro
before going to what dre sample to be the wash,
That shit is incredible, like music like I listen to
very White almost every day.

Speaker 1 (58:47):
Dog you hear that shit?

Speaker 6 (58:50):
Oh you like?

Speaker 1 (58:50):
Oh? This ain't necessarily music.

Speaker 5 (58:53):
So so when hip hop artists take okay, so I'm saying,
like the stuff that they use musically is better, or
when hip hop artists get on it, it makes it
more powerful.

Speaker 3 (59:03):
Because because hip hop is really about the cultural approach,
like it's a get out and in the present. Now Again,
I don't know a hip hop instrumental that's even in
the same vein as some of the best songs and
other genres of music music right, like like Biggie Hypnotized

(59:24):
cannot fuck with herb Albert's Rise, the song that they
interpolated to make the song. Man, you hear Rise, but
you hear the whole hypnotized song. That motherfucker just as powerful, if.

Speaker 1 (59:36):
Not more powerful. Once you on that motherfucker talking crazy,
the niggas finish that shit off. It's short to you.
It's like some shit you never saw before. It's like,
that's the power of this shit.

Speaker 3 (59:47):
That's why nigga's so protective of it because I get
what makes it special. Like when we're arguing. When I'm
arguing with Trapping, I'm like, the music don't have a sound.
It's really just black music to a degree, right, you
get black, But once you put the person on it
and some shit happened, that shit just be different.

Speaker 1 (01:00:08):
But I mean, man, if you hear.

Speaker 3 (01:00:09):
Barry White like like like I lay my Lowrider, that
the love unlimited. Bro, you hear some of this shit,
this ship is out of here. Like the music, Bro,
that shit is just crazy. I ain't never heard no
hip hop shit like that.

Speaker 1 (01:00:23):
Never. I get it. As far as just the music,
I get it.

Speaker 3 (01:00:29):
Even when I hear cream right, which is one of
my favorite beats of hip hop. I think of the lyrics,
you know what I mean, and that's one of my
favorite beats. But man, you play that ship and you
play some of that Verry White shit, you be like
it's different that shit start changing and doing shit and
you be like, holy shit.

Speaker 5 (01:00:51):
I wonder if that why culture culturally we look at
hip hop artists more in the leadership bro then we
look at other.

Speaker 1 (01:01:00):
That could be true.

Speaker 6 (01:01:03):
M hmm.

Speaker 9 (01:01:04):
What's what's your what's your favorite? What's your favorite R
and B hip hop collab? Eat your collab?

Speaker 1 (01:01:11):
Yeah, h.

Speaker 6 (01:01:15):
Can knock the hustle jay Z and Mary J.

Speaker 1 (01:01:19):
Blige boom boom boo boom.

Speaker 6 (01:01:22):
Yeah.

Speaker 1 (01:01:23):
Yeah, that's that is a do that's a fire. That's
an abstract choice too. Okay, all this.

Speaker 3 (01:01:32):
So the first my favorite, the first song that come
to mind, the greatest to me is probably that song
Ghost and Mary.

Speaker 1 (01:01:39):
Did that song come right to mind?

Speaker 3 (01:01:41):
I always think of that song first for some reason,
that that song All I Need song, the Marvin Gaye song.

Speaker 1 (01:01:49):
But for me, probably favorite is Balling with the dramatics.
It's you're talking about method man and Mary. Yeah, excuse
me that you all? I mean all I mean, I'm.

Speaker 3 (01:02:01):
Gonna say that six when you said that ship come
on my mind and it sucks me up. But for me,
my favorite is Balling with the dramatics and Snoop.

Speaker 5 (01:02:11):
That's always gonna go West Coast.

Speaker 1 (01:02:14):
Let's do a lot of on the West Coast.

Speaker 3 (01:02:18):
But the first one that comes to mind the greatest
is probably that method and Mary J song.

Speaker 1 (01:02:23):
I remember hearing that song being like, damn crazy if
I the world too, I think, but that is hip hop.
No man, that might be the one, bro Becauselauren Hill
is hip hop.

Speaker 9 (01:02:35):
I mean there's something that we haven't talked about either
that even vocalists is we haven't really brought up Jo
tosy know, because.

Speaker 1 (01:02:46):
We didn't talk about them.

Speaker 3 (01:02:47):
I mean, when they killing, you ain't hurting, nothing like that,
when they all live, when they when anybody is office specifically,
i've heard them all.

Speaker 1 (01:03:02):
No I saw they got one of the.

Speaker 3 (01:03:06):
I don't really hear a lot of singers, you know who.
It's crazy we that all this R and B conversation.
You know, we haven't talked about Mary J.

Speaker 1 (01:03:12):
Blige.

Speaker 3 (01:03:13):
Okay, it's Mary R and B female act of all time,
but it's Mary J.

Speaker 5 (01:03:18):
Like how you said that other song was hip hop
all the way hip hop? Because Mary J.

Speaker 1 (01:03:24):
Hip hop She's the queen of hip hop. Saw because
Mary J. Just Mary J.

Speaker 3 (01:03:31):
Blige could easily be the greatest R and B act Ever,
I don't think I've ever saw anybody any reaction to
music as much as I saw, like you gotta go
pop music, Michael Jackson, Mary J. Blige, The thing Mary
J Blige do. The black women I have never saw
no ship I'm talking about. Ain't another black woman breathing air,

(01:03:51):
not beyond that's a good one. Not none of them.
You see them motherfuckers?

Speaker 1 (01:03:57):
Will Mary J?

Speaker 6 (01:03:57):
Come on?

Speaker 5 (01:03:58):
It is different ja so powerful that I used to
listen to her and be like, I get what I
get it girls.

Speaker 1 (01:04:05):
The time I listened to Mary J. Blige, the main
question come to my mind is what did you do?

Speaker 6 (01:04:10):
Yes?

Speaker 1 (01:04:10):
Man, I agree, that's how good.

Speaker 6 (01:04:11):
Mary J.

Speaker 1 (01:04:13):
Make you think some of your ship? No, no, no,
Mary J. Blige makes me think, what are you doing
to make all these people do this to you? I
ain't never late go to your married for it got
to be married for bro.

Speaker 5 (01:04:26):
That's that's a real nigga. Got to be it's married for.

Speaker 6 (01:04:31):
Man.

Speaker 1 (01:04:31):
You see black women with Mary J. Blige, Come on, man,
they can't be everybody else is this is you, This
is you, gotta be you.

Speaker 5 (01:04:40):
You remember when when Mary was happy for a minute,
she dropped that album and all the women was mad
and we need that this ain't the marry we like
doing on her relationship and ship.

Speaker 3 (01:04:55):
Going to Mary J. Blige R and B. I think
I'm going Mary J. Blige over be nor Kelly. Oh
hell now as an act as far as what great
as the greatest R and B act of all time.

Speaker 1 (01:05:07):
It's crazy.

Speaker 6 (01:05:08):
Sometimes Mary J. Blige built everything crazy, marriage crazy. Marriag's
crazy as far as I act, She's really up there,
changed the whole.

Speaker 1 (01:05:17):
Energy Arena's pure R and B. She she don't even
have no possible You know she up there, but don't singer.

Speaker 6 (01:05:27):
She ain't whole like no Lie kick and all that ship.

Speaker 1 (01:05:34):
Under blues. It's just so much rhythm and blues. Bro.
Women got mad when she didn't have the blues.

Speaker 5 (01:05:41):
Let me ask you this though, imagine if R Kelly
just liked them two years older and he was still he.

Speaker 1 (01:05:47):
Still probably wouldn't be change.

Speaker 6 (01:05:49):
Yeah, two years old, but I think.

Speaker 1 (01:05:54):
Like them two years older too. I like them all
you're still marry. I'm not saying she's not married. She
is dope. She but r Kelly dope. He's dope. She's
that dope Kelly dope.

Speaker 6 (01:06:07):
But but I think you're talking more so now now
when it comes to her, I'm talking about marry. As
far as performing, I'm saying the way Shell songs, records, records,
she got records, record.

Speaker 1 (01:06:22):
She don't have no I believe I can fly. She
don't have no cross.

Speaker 3 (01:06:27):
She's just a black lady singing about niggas role. I
get that we're idiots. She's a black lady from the
ghetto of New York talking about black men fucking her over.

Speaker 1 (01:06:40):
It is the most polarizing thing you've ever saw in
your life.

Speaker 6 (01:06:43):
It was allowed to do with production.

Speaker 5 (01:06:46):
Black women might think are Kelly better than her?

Speaker 1 (01:06:49):
I don't know.

Speaker 3 (01:06:50):
I think they can like them better, but I think
Mary does. I'm just being honest, like every does something
different to people. Honestly, the more I think about it,
I ever saw no.

Speaker 1 (01:07:01):
Ship like that.

Speaker 6 (01:07:02):
When a woman's fed up, somebody said, what you're responding with,
what you're responding with from that, what you're responding with
from that right there, nigga.

Speaker 5 (01:07:18):
When when I heard when a woman's fed up, it
made me want to be nicer to women.

Speaker 1 (01:07:24):
Your men, women, dog man.

Speaker 5 (01:07:29):
I personal Mary Shait and it was it was dope,
it was you have a penis? But damn right, but
I would make you. I'm telling you I watched Mary Bro.

Speaker 1 (01:07:40):
I'm not lying.

Speaker 3 (01:07:40):
Like the more I even think about it, Bro, She's
probably clearly the greatest R.

Speaker 6 (01:07:45):
And B A.

Speaker 5 (01:07:45):
I would like to know what do black women think
about I would like to know do black women.

Speaker 1 (01:07:49):
Like Mary or are Robert R.

Speaker 6 (01:07:52):
Kelly?

Speaker 5 (01:07:52):
I mean, Robert Kelly better than I just think I
think black women will probably shout out to Fatima. She said, Nah,
Mary J. Blige is way better than R Kelly.

Speaker 1 (01:08:02):
Mm hmm. That's one.

Speaker 3 (01:08:04):
I mean, it's not that because I think we're talking
about who are the greatest, But I think R Kelly.

Speaker 1 (01:08:09):
I don't think.

Speaker 3 (01:08:09):
People live the R Kelly music as much as they
live Mary's experience all the R Kelly.

Speaker 1 (01:08:15):
I'm not talking about No that I don't care about understanding.
People are going to talk about that, but I'm not.

Speaker 3 (01:08:21):
I'm not gonna get into that. What I'm saying is
just him as R and B acts Mary J. Blige Bro,
like I seen women be in the streets, drinking, singing
that ship with their eyes closed.

Speaker 1 (01:08:32):
I never saw that for R. Kelly.

Speaker 3 (01:08:35):
I never saw them living the music like I see
them living the music to Marry J.

Speaker 1 (01:08:40):
Blige. Now again, is Robert Kelly more more like of
a talent? Yes, I'm talking about just pure R and
B act and Mary J. Blige is not a great singer.
That's the crazy part is R. Kelly and great singers.
He's a little bit.

Speaker 6 (01:08:59):
Better than everybody getting crazy about seven seven?

Speaker 5 (01:09:04):
Yeah, okay, so Mary? Not a seven is more Mary's
afford with TC.

Speaker 6 (01:09:08):
No, Mary, I might give a five.

Speaker 5 (01:09:11):
Five, I say five.

Speaker 3 (01:09:13):
I'll say marybody damn trap. That's that's I say Mary
about the six or seven.

Speaker 6 (01:09:19):
I think there's a lot to do with her production
with songs.

Speaker 3 (01:09:23):
Like the blues that come off, the pain that come
off for her is like some ship.

Speaker 1 (01:09:29):
I never saw that's you. That comment I was talking
about you get mad at no, you ain't. Nobody did
all this to you? What you do? That's what I
be thinking. You have now mad?

Speaker 5 (01:09:40):
I beat you have a tendency decide to somebody who's
who got a lot of pain in they and they
ship like you.

Speaker 1 (01:09:45):
But but you love more damn about the commiss like.

Speaker 3 (01:09:49):
I like more R Kelly songs than I like. I mean,
I like more R Kelly song I like Mary Ja.
But I've never saw music affect anyone like I see
like no ghetto, all the ghettos I've been to around America,
no matter if I was hustling or if I was
doing music, whatever I'm doing, I've never in my life
saw music affect people like Mary J. Blige, unless we

(01:10:12):
talk about Michael Jackson, but Mary J. Blige music. I've
been to different ghettos, Vegas, here, New York, and when
that shit come on them, women go somewhere else.

Speaker 1 (01:10:23):
I get it.

Speaker 5 (01:10:24):
I'm with you.

Speaker 1 (01:10:24):
I agree with that.

Speaker 5 (01:10:25):
All I'm saying is Art Kelly's shit affected people so
much that it's started affecting white people. I think he.

Speaker 1 (01:10:31):
Makes really good music. That shit was costing all the
way over.

Speaker 3 (01:10:34):
I think he makes really good it was a pop
song at the beginning. I think he makes really great music.
I'm not disagreeing. Like I'm telling you, I think R Kelly.
I think I think Mary J. Blige they really live
that like. It's different. It's the level of blues is different.
It's just the connection they have to her is different,

(01:10:55):
and her shit is just really for her. She's not
even a an incredible talent, that's the crazy part. But
they feel it because that's just I don't know why
that that's a and that's a prime example DT.

Speaker 1 (01:11:16):
White people not on Mary like that because she really
is a true rhythm and blues act.

Speaker 5 (01:11:23):
And I think that's what does it for you because
white people don't fuck with it, you love it.

Speaker 3 (01:11:28):
I just feel like white people don't fuck with the
most black things exactly.

Speaker 5 (01:11:32):
It gotta be ser bad for you, Like you if
that ship I mean of R and B initially was
race music, it was really black music.

Speaker 3 (01:11:39):
It was people of race race music. So it makes
I'm okay with knowing that they not. But she's still
doing arenas and that's scary.

Speaker 1 (01:11:49):
NAS was opening up for her.

Speaker 6 (01:11:52):
M h.

Speaker 1 (01:11:53):
She don't make crossover music. It's true. I mean, I'm
not I'm not thinking nothing away from Mary great.

Speaker 3 (01:12:00):
I mean I mean again, it's just Rob got as
many records, if not Bore records and Mary, but I
think what Mary records do that was.

Speaker 1 (01:12:07):
Just something crazy. What he got way more records. Mary,
Mary got a lot of records. She got some records,
but she got a lot of record close in records.

Speaker 3 (01:12:17):
Yeah, they might be close. I'm telling you she her
ship is sneaky.

Speaker 1 (01:12:22):
She didn't.

Speaker 3 (01:12:23):
But but when you see how her music affects people,
that's the one thing I can't shake.

Speaker 1 (01:12:28):
I can think of.

Speaker 3 (01:12:29):
Great Robert Kelly records. I know a lot of them.
He's one of the best to ever make music. Man,
when I see her music on, it ain't a song
no more.

Speaker 5 (01:12:41):
But see you only thinking about from motherfuckers from the carter,
like you got it. You only want to see if
that music affect niggas in the carter and like, because
that's what that's what's called. It's called race music. Then
after that, but tell me was affecting those people and
then that ship was traveling over to white people.

Speaker 1 (01:12:58):
I don't care. I don't care.

Speaker 3 (01:12:59):
I white people prove that don't make it. It's called
race music. Yeah, but it's called race music.

Speaker 1 (01:13:06):
So I'm okay. White people don't get it. That's okay, okay.
Let me ask you a question.

Speaker 5 (01:13:09):
Then, when you when people are doing their uh mount rushmore,
are they only doing it based off of.

Speaker 1 (01:13:17):
Acts they don't know? They just be doing their top four.
Me and Trapp had a.

Speaker 6 (01:13:22):
Great yeah, exactly exactly about this.

Speaker 1 (01:13:24):
Really clearing that thought up.

Speaker 3 (01:13:26):
And because the Mount Rushmore is not the fourth greatest president,
it's the fourth.

Speaker 1 (01:13:30):
I say that marked different things in American history.

Speaker 3 (01:13:32):
One mark the beginning of the nation, one mark the
progress of the nation.

Speaker 1 (01:13:38):
One mark.

Speaker 3 (01:13:39):
There's one mark one, you know what I mean bringing
it back together in Abraham Lincoln.

Speaker 1 (01:13:44):
We had this with death Jam.

Speaker 3 (01:13:45):
I think we said the Mount Rushmore, the true Mount
Rushmore of death Jam would be l L Right, as
as your George Washington, I think you said public enemy.

Speaker 1 (01:13:55):
As the.

Speaker 6 (01:13:58):
Yep.

Speaker 1 (01:13:59):
No, we put uh Beastie Boys as.

Speaker 3 (01:14:02):
The one that takes to improve outside of the country,
and we put DMX as the Lincoln to bring the
sound back.

Speaker 5 (01:14:09):
But you know, l did his Mount Rushmore of of
uh def Jam also, and his my words were similar
to yours. People got mad at him because they the
most popular acts.

Speaker 3 (01:14:22):
Because I don't know what and this Mount Rushmore has
been kind of colonized by people thinking it's the best
for it.

Speaker 5 (01:14:27):
But this is what I'm asking. That's why I say,
if we really did the Mount Rushmore of R and
B real got to be on it. Baby Face got
to be on the Mount Ushmore?

Speaker 6 (01:14:36):
Probably not? So why not?

Speaker 1 (01:14:39):
So who who who you put over baby Face? I mean,
who would be who would be the who would be
the George Washington of Mount Rushmore for R and B?
That against you? You're saying, probably uh, Bobby Brown.

Speaker 3 (01:14:51):
I mean they say's hip hop's first superstar. But then
we have to pretty much disclude a lot of people.
And I don't know if I'm comfortable with this clue
with Stevie Wonder, that's my Margaret. Stevie Wonder would be
really hard. I can probably not hold on to Michael
Jackson and as R and B, not as black music.
I could probably not hold on the Prince as R
and B just black music. I'm okay with that even

(01:15:13):
kind of you know, I can miss them in R
and B because I got them everywhere else. And pop
music day is powerful as any pop artists in the
history of pop music, so they're still there. But I
couldn't really imagine the world on that list without Stevie
Wonder and Marvin Gaye. That would be really hard for me,
you know what I'm saying, Like I listened to too
much of that shit. I study too much of their ship.

(01:15:33):
It would be really really hard for me to do that.
But theoretically they are considered soul and and different things.

Speaker 1 (01:15:43):
You know what I'm saying. You know, they do make
R and B, but a lot of people really feel
like contemporary R and B is like more of an
eighty sting.

Speaker 5 (01:15:51):
So does Keith wet get a.

Speaker 6 (01:15:55):
Ke not?

Speaker 3 (01:15:57):
I don't think on red board. Don't think he's got
his album his album. I'm not bad that being in
the conversation, but not Keith Sweat as a talent.

Speaker 1 (01:16:07):
Not Keith Sweating. But at the time I'm saying, but
are we just doing as the talent though.

Speaker 3 (01:16:12):
I'm saying he has one making Last Forever, he needs three.
He would need five with his.

Speaker 1 (01:16:20):
Why I Bring Back go over five hundred million albums.

Speaker 3 (01:16:24):
Yeah, but he's also so now we're talking about people
that are influential and matter in R and B, then
baby faces probably paramount.

Speaker 5 (01:16:31):
But You's what I'm saying, when you making a while
other than that have to what happened? What's the criteria
is when I'm asking.

Speaker 1 (01:16:37):
Well, if we're saying R and B, we're talking about
R and B singers, R and B acts, So just
R and B singers and if we're just doing as
sure because because yeah, but it would be hard. Who
would be the George Washington of temperar. I guess if
we did in temporary art.

Speaker 6 (01:16:58):
Yeah, Steve gotta be the George Walsh him.

Speaker 1 (01:17:01):
I feel and and hip hop R and B started
with Lewis Jordan's so it's like he's not going to
be He's like that first president America became America black
man that was pregnant before before, before George Washington.

Speaker 3 (01:17:17):
That, Yeah, it could be Stevie Wonder. Stevie Wonder could
be on the Mount Rushmore.

Speaker 6 (01:17:27):
So you've got Stevie Wonder down there. Now, you got
George Washington down as the birth and the foundational leader.
You've got Teddy, you got Thomas Jefferson expansion the visionary ideas.

Speaker 3 (01:17:38):
Shout out to Joke Smoke and I thought the same thing.
I feel like it probably would have to be this
is the problem with it had to be Ray Charles,
because Stevie Wonder is Ray Charles Jr.

Speaker 1 (01:17:50):
Ray on the on the Mount. Worst one nothing I'd
have to Charles.

Speaker 6 (01:17:55):
Was making was making arm Vito.

Speaker 3 (01:17:59):
Because he made he made so he kind of created soul,
you know what I mean, he kind of created so
and then pop is white people soul.

Speaker 6 (01:18:11):
But it was also like a like a rendition of
like gospel music though, but that's all.

Speaker 3 (01:18:18):
But but it all comes from there. Lose comes from gospel,
Everything comes from gospel. Yeah, it's just it's just tough,
you know what I mean. That's the problem.

Speaker 1 (01:18:26):
Like it's it's hard because it's possible to narrow it
down to four. Yeah, I think that. I think it's hard,
and well, you know what, let's try anyway, let's consider fucking.

Speaker 5 (01:18:36):
But my thing is, I think when people do these
amount of Rushmore's, they they kind of set their own criteria.

Speaker 1 (01:18:42):
Like y'allferent. But I like when mere trap do it
because it makes us think harder and it makes us
credit to get quick question, you know what. Not saying
the white boy makes it the right mont worst mo
or anything anybody can if you're white and give me
R and B Are you popp?

Speaker 6 (01:18:59):
Now? Yes?

Speaker 1 (01:19:01):
So six and six know who John Bellyon is? Is
John Billyon pop? Or is you R and B D?

Speaker 9 (01:19:09):
I don't think he's really pop because but I don't
think he's quite R and B he kind of like
I think like his song like crop Circles could it's
like more like alternative R and B.

Speaker 1 (01:19:19):
But then when you think about what was the first
single that Sam Smith is just pop pop last is
just black and white. He's just white black because.

Speaker 3 (01:19:27):
If you white, you automatically anything you make is going
to go into a pop space.

Speaker 1 (01:19:34):
Because the audience of people that's gonna.

Speaker 5 (01:19:37):
Take John is popular.

Speaker 6 (01:19:39):
No, he's not.

Speaker 1 (01:19:39):
Yeah, he's not. It's not about being popular, right, That's
really what it's about. What was his first thing?

Speaker 6 (01:19:46):
The popular one? Uh?

Speaker 5 (01:19:49):
Some low shade down down.

Speaker 1 (01:19:51):
With long Okay, okay, I'm with that. I'm with that.

Speaker 3 (01:19:56):
Let's go Ray Charles as George Washington of the R
and B my Rishmore's he is he is the.

Speaker 1 (01:20:03):
True founder for the most part of soul music.

Speaker 6 (01:20:08):
Who's the expansion and the visionary ideas.

Speaker 3 (01:20:11):
That's Thomas Jefferson R and B, who is a Thomas
Jefferson who expanded R and B.

Speaker 1 (01:20:19):
Ray Charles did a good job of making it. So
when you say expanded, you mean to the masses or so.

Speaker 3 (01:20:26):
Jefferson represents the Louisiana purchase at the time.

Speaker 1 (01:20:34):
The West.

Speaker 6 (01:20:35):
Yeah, he made because.

Speaker 1 (01:20:36):
When it was the first It was just the thirteen,
the colonies and all that, and it was just on
the east coast. He pushed it out west. He recognized the.

Speaker 6 (01:20:42):
Expansion Louisiana purchase, the Louisiana Purchase.

Speaker 1 (01:20:46):
Are moving it west. So who was that person that
took R and B from Ray Charles?

Speaker 6 (01:20:52):
Right?

Speaker 1 (01:20:52):
And then they went to another le. They don't have
to be a direct correlation, they just need to take
it to the next level.

Speaker 3 (01:20:59):
Is it the eighty Did everybody else follow his direction
for that point after? Because I think Stevie wonder if
t is kind of like, I mean, that was the
same marketing.

Speaker 1 (01:21:08):
Well, my thing is, what do you think Michael Jackson
is though? Do you consider him? He would have to
be in this conversation too, because if you but I
think Michael Jackson is that third president? What's the third guy?

Speaker 6 (01:21:20):
It's Abraham Lincoln. No, No, that's the fourth direction. No,
all right, So Theodore Roosevelt the development on an evolution
Teddy Roosevelt.

Speaker 3 (01:21:28):
So I think Michael Jackson took it internationally because that's
what Teddy Roosevelt. So it's somebody between Ray Charles and
Teddy Roosevelt.

Speaker 1 (01:21:42):
Between so they got to be between Ray Charles and Mikey. Yeah,
that was the person that made it.

Speaker 3 (01:21:48):
A much more popular thing than Ray because Ray Charles
kind of ushered in soul music and really pop records.
To be honest, nobody would really see it that way.
But the more I studied he ushered in Ray true
was ushered in pop records. Like he like what we're talking.

Speaker 1 (01:22:03):
About, taking gospel and making it worldly.

Speaker 3 (01:22:05):
It's kind of the genesis of pop music, like taking
a little of the ethnic, cleansing it up a little
bit and making it digestible for everybody.

Speaker 1 (01:22:13):
So instead of Southern tones, it must be Jesus.

Speaker 3 (01:22:15):
It became I got a woman, must be Jesus, go
in and around, well Jesus taking that that's.

Speaker 1 (01:22:23):
Kind of the the the epicenter of pop music.

Speaker 6 (01:22:32):
Mm hmm.

Speaker 1 (01:22:34):
So then then he would he would.

Speaker 3 (01:22:36):
He would recognize the expansion internationally, Michael Jackson, so he
would be there.

Speaker 1 (01:22:40):
Gay, it's Marvin Gay. I would think of Marvin. I
think Marvel many Yeah, it's Marvin Gay.

Speaker 3 (01:22:51):
So is Marvin Gay probably the token the greatest artist
out of the Motown solo act because I know Smoke
is probably the most influential but I think Marvin is
probably the greatest Motown X solo.

Speaker 1 (01:23:03):
I don't know. It's a lot of it's a lot
of acts on Moretown.

Speaker 6 (01:23:05):
I don't know. I don't know why. You gotta kind
of go through it.

Speaker 1 (01:23:10):
Through like he came and never it's Marvin all right.

Speaker 4 (01:23:14):
So if you go he had commercial success to you
remember he had commercial successful.

Speaker 6 (01:23:19):
I like, I like Diana Rose.

Speaker 1 (01:23:23):
Yeah, you're gonna restake the mic. Rachel's Marvin Mike yep.
And then and then now you have the person that
brought R and B back?

Speaker 3 (01:23:30):
Who that's what you say, Bobby Brown. Now that's where
we had a conversation. Whoever, we're okay, we're focused on male,
so we're not even gonna bring you females. So that
way we're not even.

Speaker 1 (01:23:43):
Separate Rushmore's. We'll do a self a separate Rushmore. So
who is the person that brought R and B back
to prominence?

Speaker 3 (01:23:51):
That's who it is. And it probably could be like see,
that's where it could get funny, right because you could
take R. Kelly is close to Bobby.

Speaker 1 (01:24:00):
Kelly Brown and so on. Yeah, that's because that's right there, yeah,
public yeah, Kelly there it is so Ray, Charles H, Marvin,
Arvin Gay, Michael, Michael Jackson, R.

Speaker 6 (01:24:15):
Kelly.

Speaker 9 (01:24:16):
I'm not mad at that, not bad, very respectable. I'm
not I'm surprised Luther wasn't in there for you G.

Speaker 3 (01:24:28):
Not mad because I think jay Z is also the
greatest death Jam recording artist, but he wasn't on the
Death Jam Mount I'll get you. So it's okay that
the greatest R and B singer of all time, or
the greatest male vocalists of all time, I should say,
may not make the list of the Mount Rushmore.

Speaker 1 (01:24:46):
But I'm okay with that. Ray Charles, H, Marvin Gay,
Michael Jackson, R. Kelly, That's not bad.

Speaker 5 (01:24:56):
That's not bad, that's not bad.

Speaker 3 (01:24:59):
If burst me to leave STEVIEE. But I know Stevie
is Ray Charles, that's his, that's his, that's his baby. Yeah,
shout out to Stevie Man, shout out for.

Speaker 1 (01:25:08):
Big shots to Stevie.

Speaker 3 (01:25:09):
But that's the point, Like because even when we did
even Trap, when we did the Death Jam Mount Rushmore,
it be different, like it kind of we knew death
Jam was loud and op notching, so even the skip
jay Z was almost blasphemous. Bro or Warren who who
brought who saved death Jam? Or but it's depth Jam
wasn't fuck the business. We talk about the thing that

(01:25:31):
it represented, this loud out, nachous energy that was like
street urban on the prow DMX when when when hip
hop was trying to go clean, you know, puffin and
was taking it shiny and clean, this motherfucker came out
with some tims with no socks on and an overall
short set and an overall short set screaming, barking, and growley.

(01:25:55):
That is death Jam energy summing. That's like watching LLL
Rebirth in the grimiest setting.

Speaker 6 (01:26:02):
I like that.

Speaker 8 (01:26:03):
I like that.

Speaker 6 (01:26:05):
Yeah, I'm a man.

Speaker 1 (01:26:07):
I was just asking. I thought it was gonna be ridiculous.
But I'm not mad at Charles. Ray Charles. Could he
be the John Hanson and Stevie Wonder be the no either,
George Washington. I'm not mad at that either.

Speaker 3 (01:26:22):
But no, Ray Charles is like a really really big deal,
like he wasn't like they made the pop charts.

Speaker 1 (01:26:28):
But just feel weird not having Stevie on you.

Speaker 3 (01:26:31):
But you also have to realize Ray Charles was a
successful act and that's why Stevie got.

Speaker 1 (01:26:35):
A shot in the first place. So he was the
first person to say blinds can't do this, and I
mean not just do it like Ray Charles is not
Lewis Johnson. Ray Charles is like your subtle trolling this
crazy coach. I don't.

Speaker 6 (01:26:52):
Know what.

Speaker 1 (01:26:53):
It's crazy. Yeah, you see what he be doing. Coach Chaos.
So let me get this right. One or two a
day every time he won.

Speaker 6 (01:27:04):
That know the other the craziest one was two years older.
Ship though. That was crazy. That was crazy.

Speaker 5 (01:27:13):
Ask questions.

Speaker 1 (01:27:16):
You amazing t shirts Coach Chaos. Faiths I've been listening
to ain't a lot this this week. Somebody in the
chat said, what would you rate Faith Evans?

Speaker 3 (01:27:27):
Yeah, faith is that's the real mount war Ray Charles,
Marvin Gay, Michael Jackson, and R Kelly.

Speaker 1 (01:27:36):
I'm okay with that. I'm okay.

Speaker 6 (01:27:42):
Right, yeah, not at all. Now.

Speaker 1 (01:27:50):
Females is gonna be really hard men and who any
rippretending who else? Well, you can't do that because he
didn't go Look the first one, it's probably hard.

Speaker 6 (01:28:03):
To be that.

Speaker 1 (01:28:04):
She might not get on. She might not know I'm
putting Diana Ross on there, like not gonna get on
that at all. The only person. I know for sure
it's gonna be Mary J Blige. I know for sure
it's gonna be Mary J Blige, Mary J BLI gonna
be at the end of it.

Speaker 3 (01:28:18):
Yeah, she's She definitely re established if it ever kind
of went away, because female R and B never went away.

Speaker 5 (01:28:26):
So does Beyonce not get it?

Speaker 1 (01:28:27):
I don't know. She's not on this.

Speaker 6 (01:28:30):
Diana Ross is on there right attack like you.

Speaker 1 (01:28:33):
That's okay, that that will change. Beyonce is the one.
She's still the one that don't gotta be on every list.
She wouldn't. But if we talk about Nigga wing for seventy,
she couldn't be on the list, So she can missed
a list. Uh first, is is it a reason or
is it Billy Holliday? Billy is jazz still, but we're

(01:28:53):
talking about okay, because you gotta go post forty Ross,
it's gonna be fifties sixties you said on that far
who you said fifties and sixties? I'm saying who first?

Speaker 6 (01:29:07):
You said?

Speaker 1 (01:29:07):
Probably Aretha hold On. People love to Reatha. I don't
know why they loved it, I mean, but they loved.

Speaker 3 (01:29:15):
Her like they were dear to her. Differently like I
would love to ask my my mask my mom one time.

Speaker 5 (01:29:22):
You ain't like Aretha that much?

Speaker 1 (01:29:23):
Yeah, she's dope. I like Patler Bill more than Rita though,
I mean yeah, I mean it's Patty like she making
pies and everything.

Speaker 6 (01:29:31):
Patty Piles were playing things on Walker.

Speaker 1 (01:29:34):
She's not on here.

Speaker 6 (01:29:35):
Dianna is a real pop act and the coldest riding
I keep saying Dianea Ross, which she's on this list right.

Speaker 1 (01:29:41):
Let's figure out who is the first James James Bell
She's dope and she from La Is that? Is that
a James from LA I didn't know that about Leila
half the way. No, no, no way back then.

Speaker 3 (01:29:59):
Yah, I was about we might have to come what
is your George Washington? Who is a George Washington? A female?

Speaker 1 (01:30:08):
R and B You might have to come back to
this one. I don't know that one because Billy Holliday
was jazz. She was before that, I remember correctly.

Speaker 6 (01:30:15):
No, let me ask, let me ask. Definitely jazz. She
was scatting and everything like that.

Speaker 1 (01:30:23):
It was the first female. Might have to be on there. Yeah,
how about Gladys Knight.

Speaker 6 (01:30:36):
Gladys what it came up? What came up?

Speaker 1 (01:30:42):
Mary?

Speaker 6 (01:30:43):
Welles, that's.

Speaker 3 (01:30:47):
First female R and B superstar, is often associated with
Mary Welles. She is considered a pioneer of motown music
and the first successful female R and B star that
the first female artist to achieve ainstream pop success with
hits like the one You Really Loved You and My
Guy Damn.

Speaker 1 (01:31:06):
Yeah, I forgot about that one My guy.

Speaker 6 (01:31:09):
Damn.

Speaker 1 (01:31:10):
Let me see something very well.

Speaker 6 (01:31:13):
I remember not putting on the list because if you
do the same thing with the R and B that,
it's not gonna come up with Ray, It's gonna have somebody.

Speaker 1 (01:31:22):
Else had Bobby Brown. H is gonna be hard to
beat that. Get some mention on here, it's gonna be
hard to be very well.

Speaker 6 (01:31:35):
Shock should go up there.

Speaker 1 (01:31:40):
Yeah, I think it was. I wonder what kind of
icon Mary Wells was.

Speaker 6 (01:31:46):
That's what I'm saying. You can't put up there. She
ain't like if it adn't come to your mind like that,
then you can't put on this list.

Speaker 1 (01:31:51):
Then is this she in the group too?

Speaker 6 (01:31:53):
Though?

Speaker 1 (01:31:54):
Very well, here's one in Americas. He was in a
group too? Was My Guy a group song?

Speaker 6 (01:32:02):
Now?

Speaker 1 (01:32:02):
Without a group song? I think it was a group song.

Speaker 5 (01:32:09):
Yeah, I think that might have been a group.

Speaker 6 (01:32:11):
That was a group song.

Speaker 1 (01:32:14):
Yeah, no it's not. That's oh no, it's not what
group was she in though they was wasn't in no group?

Speaker 6 (01:32:22):
That was a solo song that my guy.

Speaker 1 (01:32:24):
Yeah, that's interesting. You know they had vocalists, so I
could be leave that also somebody else Mary Wells was
part of the Supremes.

Speaker 6 (01:32:36):
Was she?

Speaker 1 (01:32:37):
I thought she was, but I don't. I can't verify it.
AI be boys shit in half the time.

Speaker 6 (01:32:43):
I'm under said, because you know them songs like she
might have seen that song and somebody else might have
sing it too, though that wasn't the group. I think
the Supremes did sing it right. Then the Supreme sing
that song too.

Speaker 1 (01:32:55):
I gotta die back. That's way before my.

Speaker 6 (01:32:56):
Time now, then the Supreme sing that song too.

Speaker 1 (01:32:59):
Yeah, she was in the Prince for sure. I think
I'm okay with saying Mary Wells. I feel like I
don't know enough about Mary Wellster. That's what I'm saying.
Maybe not, maybe not. It said her career, Yeah, ignorant,
don't mean that.

Speaker 6 (01:33:19):
It's right.

Speaker 1 (01:33:19):
I'm sure she had. She was a big deal because
he was a big record.

Speaker 5 (01:33:22):
I'm good with Mary Wells.

Speaker 1 (01:33:25):
I don't know putting that on the yah when you
read up on Mary Wells right now, like she seemed
like a big deal.

Speaker 5 (01:33:34):
She seemed like she did her thing and could be
I said Dana Ross ma first maybe.

Speaker 1 (01:33:48):
Yeah, bro, I'm with Donad What the chat saying, George Washington, Yeah,
I'm with Dina. I'm with Donad Ross.

Speaker 6 (01:33:57):
George. They said, that's what Jennifer Hudson wasn't that's what
character was based off for Oh wow, based up in
manyell mm hmm, oh wow.

Speaker 1 (01:34:06):
I don't know, man, Mary Mary. I like the choice
right now.

Speaker 6 (01:34:10):
Well Wells and Diana Ross was competition.

Speaker 1 (01:34:13):
I think I'm gonna go downa Ross.

Speaker 6 (01:34:18):
That's what I said from the jump. Yeah, I think
that's a push, but no, I think it gotta be her.
You got the supremes, all the supremes. And he moved
on to you know what I'm saying, like she could
even she gonna fall in one of these spots though.
She could fall into the expansion the expansion spot though too,

(01:34:40):
because she took that. She took the game out there though, too,
So you could if you wanna through many Wells, you
can put her in the Theodore Roosevelt. Te Roosevelt spot too.

Speaker 1 (01:34:48):
She ain't getting that.

Speaker 6 (01:34:54):
She went so black, King Patrick Man, come on, man, that's.

Speaker 3 (01:34:59):
What I thought, darry Donna Ross should probably be George Washington.
I think she was the first female R and B
icon that we can remember.

Speaker 6 (01:35:06):
Now.

Speaker 3 (01:35:06):
I don't know if that's wrong or not, but I'm
thinking that's what's important, right, is we're remembering like George.
We all know George Washington is that's not none of
us go trip. Even if we don't know much about
George Washington, we know that's George Washington.

Speaker 1 (01:35:22):
The same thing it's Whitney. And hold on, let's can
we agree with donnad Ross and Georgian put Mike?

Speaker 6 (01:35:31):
Did we put Mike in the in the men joint? Yeah?

Speaker 1 (01:35:34):
And he introduced her?

Speaker 6 (01:35:36):
All right, all right, all right. I'm just saying because
if you want, you gonna put Mike in there, because
Mike was a pop and you can't put Whitney up
in there, even that Whitney super pop.

Speaker 1 (01:35:47):
I don't know if I don't know if Whitney gonna
make a period.

Speaker 6 (01:35:50):
Whitney was pop.

Speaker 1 (01:35:52):
So what's the second criteria forgot?

Speaker 3 (01:35:54):
So it's Jefferson. If they expanded it. Okay, they took
it from Donna Ross and wentn't even further. That might
be it shouldn't it should have been Mary Wells and
Dona Roll.

Speaker 1 (01:36:06):
That might be Aretha That could I roll with that too?
Mary Wells first, Diana Ross? Yeah, but it probably should
be Dona Ross. Have we all heard of Mary Wells?
I have obvious when you were younger. Yeah, Motown was
a big deal when I was younger. Dina Ross was
the queen of Motown. I know that for sure.

Speaker 3 (01:36:25):
Okay, let's go Mary Diana. I still think we're kind
of cheating, But Diana is way before Diana Ross, so
just go down.

Speaker 1 (01:36:36):
She's way before donas time for years, ten years. I
don't think that much, is it is?

Speaker 3 (01:36:43):
I think Mary Wells's first song when I looked, was
like sixty two, and Dona ross first album is in seventy.

Speaker 1 (01:36:48):
I mean we go married then Diana?

Speaker 6 (01:36:51):
Though? What about the Supremes?

Speaker 3 (01:36:52):
Though, yeah, you know what, I'm with revenge. I'm with revenge,
he said. I don't know Mary Wells.

Speaker 1 (01:36:57):
That's important. He knows who George wah Inton gout.

Speaker 6 (01:37:02):
That makes She's probably from Canada too.

Speaker 3 (01:37:05):
I think I was the President of America before everything.
That's who she represents. I think you I think you
gotta go one or the other, though, I don't think
you can go both. Yeah, not both, okay. Dona Ross
is George Washing. So then who took it where I
said I would read.

Speaker 1 (01:37:18):
The Franklin Yeah from Donnah Ross. Yeah she did. I
don't know if I took it away out there. Aretha
Franklin was Aretha Franklin was after Dona rossad frank She
had her long career all the way through, even after
Dona Ross. I'm saying, but she older than Dona Ross.

Speaker 6 (01:37:42):
Yeah, Diana Ross had a solo career. You got to
go back to the to the sopruns and all that. Though.
You know what, what.

Speaker 3 (01:37:52):
Aretha Franklin is. Aretha Franklin is the George and Donna
Russell is Jefferson.

Speaker 1 (01:37:59):
That makes sense because that's what I was expansion, That's
what I'm saying.

Speaker 4 (01:38:03):
Experion Franklin was like the first Yeah, her longevity was unbelievable.

Speaker 1 (01:38:09):
Yeah Franklin. Okay, all right, so Aretha then Diana Ross.

Speaker 3 (01:38:17):
Franklin is George Washington and then Diana Ross. Okay, I'm
okay with that, that makes sense.

Speaker 1 (01:38:25):
So now the third one, and what this third one represent.

Speaker 3 (01:38:31):
Aretha Franklin is she was born in forty two. Donald
Ross was born in forty four, but their career started
ten years apart.

Speaker 1 (01:38:39):
Yeah, that could be the same age Maria first read it.
So what's the third one, third crut? What's the third one?
Third one?

Speaker 3 (01:38:48):
Is Teddy Roosevelt? Right, and he represented the expansion out
of the country. I think what was the Panama Canal was.

Speaker 1 (01:38:54):
The big thing, and that would be Whitney.

Speaker 3 (01:38:58):
Whitney was international act like that, Are you serious? She
was the female Michael got no coming on that.

Speaker 6 (01:39:06):
That's what I was saying.

Speaker 5 (01:39:07):
I was thinking, I'm thinking, I'm trying to think, because
I'm trying to think.

Speaker 1 (01:39:10):
But she's that big.

Speaker 5 (01:39:12):
I think she think she was big.

Speaker 6 (01:39:14):
She was.

Speaker 4 (01:39:16):
To have a super Bowl, big glass movie, super Bowl Bodyguard,
all that stuff.

Speaker 6 (01:39:21):
And the super National anthem, the super Bowl the national
Wasn't that the super Bowl at the super Bowl National anthem? Different?

Speaker 1 (01:39:31):
Okaycuse not say halftime show.

Speaker 6 (01:39:35):
Yeah that's the fact, you're right, My bad, But no,
she was big.

Speaker 5 (01:39:42):
So who we say was bigger than Whitney, Well, it's
not bigger than I mean, I'm from international, expanding the past.
If we if we were going to if we're not
putting her there, who do we say was expect you know,
look at the women that came out. You're right, it
has to be Whitney. It has to be with me
then married Almos for getting me roughly. And it's not

(01:40:02):
like I don't have respect for Whitney. He like puts
in respect. It's not that it's just try to get
it right. But it probably the best vocalists to.

Speaker 1 (01:40:10):
Me in my mind too. Need to read the Franklin too. Yeah,
I said she was like a niece or or something
like a god daughter or some ship that makes sense
with Mary.

Speaker 6 (01:40:21):
Yeah, I just I just.

Speaker 1 (01:40:24):
Conover Whitney as an international star.

Speaker 6 (01:40:27):
You want to hear who Jack who chat GPT said?
They said, they said to read the Franklin, Georgia Washington.
They said, Thomas Jefferson is Beyonce, Abraham Lincoln is married
J Blige, and then and Teddy Roosevelt shot there.

Speaker 3 (01:40:45):
Oh yeah, I'm not mad at that. I'm gonna tell
you why I didn't disagree, because I knew Mary J.
Blige is the return of R and B.

Speaker 1 (01:40:55):
And we all agree.

Speaker 3 (01:40:57):
Read the Franklin with George Washington. The only difference is
what we're saying about Donna Ross. They said, who was it?

Speaker 6 (01:41:02):
Beyonce said, Beyonce with Teddy Roosevelt. I mean, I mean,
I'm time with Jefferson.

Speaker 5 (01:41:07):
Excuse me, Okay, So I kind of jumped to, uh
my only disagreement with that that with that rigo party shot,
I said Beyonce too.

Speaker 6 (01:41:20):
They put they put shot there. They said, because the
timeless innovation and drama elevation.

Speaker 1 (01:41:27):
This is a bad motherfucker. Yeah, we don't know, Beyonce.

Speaker 6 (01:41:31):
I mean know, we're gonna go, uh, they're gonna go
Whitney with Whitney for West spot for for Teddy Jefferson.
I'm not, man, Yeah, I'm not.

Speaker 1 (01:41:43):
I'm not.

Speaker 6 (01:41:44):
She was so popped though, she was just so popped though.
That's the only thing. Like she wasn't really like R
and B songs for Whinney Houston like that. Man, that's
the same what you say about Michael Jackson.

Speaker 1 (01:41:55):
I know he was hello pop. Yeah, black people looked
at her as R and B they did. We're looking
at hindsight now, No, they didn't look.

Speaker 6 (01:42:05):
At No, they didn't know they did.

Speaker 1 (01:42:07):
It was the white people can talk ship about what
I mean, they knew, they all knew she could sing
her ass off. But that's like, yeah, people didn't talk
about Whitney. He was there, he was there, he can
hear this sing. She was pretty. That's true. I didn't know.
That's not what she's saying.

Speaker 6 (01:42:29):
You didn't know.

Speaker 3 (01:42:30):
That's how you can see Luther was gay as the motherfucker.
I had never had no idea like Luther was gay.
That's how good that nigga saying that. I didn't even
when I saw never too much. And I'm like, oh,
this nigga obviously was gay, but he's saying so fucking good.

Speaker 1 (01:42:42):
I was like, this nigga is the best.

Speaker 11 (01:42:44):
That's how George Michaels was like, yeah, yeah, white people
get that off coat.

Speaker 1 (01:42:57):
So what's the four for the women?

Speaker 3 (01:43:00):
Because reading Franklin Dona Ross, we're saying we the Houston
instead of yeah, Beyonce is not on there.

Speaker 1 (01:43:08):
No, it's gonna be Mary J. The gotta be Beyonce,
guys to break the bad news to you, Mary J.

Speaker 6 (01:43:15):
B back.

Speaker 1 (01:43:18):
Conversation, Mary J. Blige broke that real R and B.

Speaker 6 (01:43:21):
You know what, somebody just said about us rocked though
she was hold on that again. Somebody mentioned Tina Turner though,
but I don't I don't really.

Speaker 1 (01:43:36):
Turner actually actually know Tina Turner's career.

Speaker 3 (01:43:38):
No, wow, what's hold Ontina? Contina was rocked, got into
R and B and she when she went, she went.

Speaker 5 (01:43:44):
Okay, so you're talking about Okay, she wasn't even the
genre of music. She don't fit the giant.

Speaker 1 (01:43:49):
She don't really have. What's not got to do with?
It's not an R and B song, that's not that's
a rock song too. Okay, all right, okay, so I'd
like to list you did.

Speaker 3 (01:43:59):
Yeah, behind the Ross Whitney Houston and Mary J. Block
brought back Real Lauren B.

Speaker 1 (01:44:08):
Yeah, is not mad. I'm not mad? Wait what was it?
What did it say? What did that gv T say?

Speaker 6 (01:44:19):
They said it said that said all right, held on?
All right? So it said George Washington is Aretha Franklin.
They said they gave her a birth. The expansion they
gave that was that was Thomas Jefferson and gave that
to Beyonce. The preservation they gave it that Abraham Lincoln.

(01:44:40):
They gave it to Mary J. And the development Theodore
Roosevelt gave the shot the I'm not mad.

Speaker 1 (01:44:47):
At that though. Who they could hear Beyonce too. They're
saying she was like the uh, they're saying she was.

Speaker 6 (01:44:53):
Jefferson, Abraham Lincoln, Abraham Lincoln. You said you said no, no, no, no,
you said beyond. I'm sorry, you said said that.

Speaker 1 (01:45:02):
Was taking Tina Turner to me.

Speaker 8 (01:45:05):
It said global, it said global reach, drama been there
her dad over Tina Turner. She's like, well there, so no,
she didn't that bring nothing new?

Speaker 6 (01:45:18):
Who be Yeah, she didn't bring nothing new rolls on it.

Speaker 1 (01:45:25):
Huh.

Speaker 6 (01:45:26):
They didn't put Diana Ross on it.

Speaker 1 (01:45:29):
Understand why you don't put Dona ross Sony. I understand
why not. But I'm but I mean, I would put
Diana Ross I take on list because I agree with trap.
She expanded.

Speaker 3 (01:45:40):
She took what Areka Franklin was doing and a national thing.
She became like a national superstar.

Speaker 6 (01:45:47):
Yeah, she was crazy.

Speaker 1 (01:45:49):
She was really some ship like that's why we know
I'm about to say.

Speaker 6 (01:45:54):
And she was the one that was bringing out she
put out like the Jackson five. She brought out.

Speaker 1 (01:45:58):
She brought out math. You didn't do math to the
world I'm saying, she was expanding. People don't forget the movies,
but it's scary. What's her greatest R and B song?
That's my thing?

Speaker 6 (01:46:14):
What's the name? Feel Me? Killing Me? Infens for this.

Speaker 1 (01:46:24):
And she got that.

Speaker 6 (01:46:26):
Yeah, she got she got some ship. She got some ship.

Speaker 5 (01:46:30):
It's funny because I got introduced to Diana Rouss through
acting for music.

Speaker 1 (01:46:34):
You know, she's like, yeah, actress first, and then I
heard on the soundtrack and I was like, I always
knew she was sick. I did not know I've seen her,
and I was like, oh, then I heard the soundtrack,
I was like who.

Speaker 3 (01:46:48):
One of the things I was screaming about when Dot
won that final award for that Grammy was Diana.

Speaker 1 (01:46:54):
Ross gave him.

Speaker 6 (01:46:55):
He did say that. He did say that to this
whole hell.

Speaker 1 (01:46:59):
Yeah, that's man. I checked that nigga.

Speaker 3 (01:47:01):
I said, Dina Ross nigga that nigga hit me back
like damn, I'm like, nigga, he killed that. He was
like yo, he came up like what Dinah Ross, bro, Wow,
that was like a big deal the awards Donald and
gave it to you.

Speaker 1 (01:47:19):
Then I said that what made it so crazy was
that then she gave Mike his fipp.

Speaker 6 (01:47:22):
One that time.

Speaker 1 (01:47:23):
No, some like that, they said, but that was in
the I wasn't for one sothing.

Speaker 6 (01:47:27):
Yeah, I'm just saying, though it was.

Speaker 1 (01:47:29):
It was like that the same amount. Yeah, for sure
it could be. Besides Dona ross I don't Frankling within
the Houston so that looked like what the seventies. I'm
rolling Diana me too. What I'm saying is anybody we're
not thinking about. I can't think anybody the chest seventies

(01:47:52):
R and B singers. Yeah, yeah, they had.

Speaker 6 (01:48:01):
To be a big deal to somebody. You saying. Tammy Terrell, Oh.

Speaker 1 (01:48:06):
It was more like her and Marvin Gay the duets
about Temmy burning Flat, Dona Russell Summers after flat Fire.
I thought she would this guy, you know, I mean,
but about the same.

Speaker 3 (01:48:24):
Gwyn Dicky is another dope singer that we didn't talk about.
Vocal lead singer from Rose Royce.

Speaker 6 (01:48:29):
Oh yeah, yeah, yeah, yeah, yeah. Hopefully she's crazy vocally
she might be a nine. I think, bro, are we
tripping on Shoka like that? Shock? You could do that?

Speaker 1 (01:48:48):
It could be Shocked or Gladys Night.

Speaker 6 (01:48:51):
Lad As Night.

Speaker 1 (01:48:52):
We have not talked about glad I mentioned Glad It's night. Yeah, yeah,
you know why she wasn't a solo act even turning.
Come on, man, I think you said the Pimps. I
used to I used to think that's what we all thought.

Speaker 9 (01:49:12):
It was Glad at Night in the Pimps, that that
had me messed up when I was a kid, and
that that Uh go see cal commercial they used to
play all the time.

Speaker 1 (01:49:24):
Yeah, go see caw see caw That's what it sounded like, bro,
when I was a little kid. I don't know how
we've seen that ship way up in Washington. Yeah, it
was definitely a regional commercial for sure, But I definitely
did not think you.

Speaker 4 (01:49:40):
Put one up there in Frederick Way, Kyle Worthington, Uh,
franchise up there in Washington. I was.

Speaker 1 (01:49:49):
Animals and ships.

Speaker 3 (01:49:55):
Probably hold on, I'm looking right now, man, it's gonna
be tough to be Dona Ross man.

Speaker 5 (01:50:02):
I think they got staples on here, rolling Chaka Khan,
Donna Summers.

Speaker 1 (01:50:09):
That's a good list right here. That's down the Summers
one given a rough for money. That's how good the
music was when it's.

Speaker 3 (01:50:18):
Yeah, yeah, yeah, Aretha Franklin is the George Washington Dinah
Ross is Tom Jefferson.

Speaker 1 (01:50:26):
Whitney Houston is the Teddy Roosevelt.

Speaker 11 (01:50:28):
Mary J.

Speaker 1 (01:50:28):
Blige is the leacuoln.

Speaker 3 (01:50:30):
I'm gonna say with that, Eddie Ray, I'm okay, I
could breathe with that. I'm locking that in a lock
it ro.

Speaker 1 (01:50:43):
Ween mm hmm. Yeah, I'm with that.

Speaker 6 (01:50:49):
Call a call so so.

Speaker 1 (01:50:56):
Laugh when the.

Speaker 6 (01:50:59):
Yeah up?

Speaker 2 (01:51:03):
Hm.

Speaker 1 (01:51:04):
Mary J. Blige is really the one, bro. You you
fuck what you think of Mary?

Speaker 6 (01:51:08):
So?

Speaker 4 (01:51:08):
What's what's unanimous? Which one of those is unanimous on
both lists? What's unanimous? Like greath is unanimous?

Speaker 1 (01:51:16):
Areatha was unanimous, Diana Diana Ross is not shaky, Whitney
Houston was shaky, okay, and Mary J Is is unanimous? No, No,
I don't know who could you replace Mary J. Blige with?
As Franklin is the only unanimous one? Yeah for sure, Nah,
I gotta go married. It's hard, man. I understand what

(01:51:37):
the on there though, you can't Beyonce didn't bring That's.

Speaker 5 (01:51:41):
What I'm saying.

Speaker 1 (01:51:42):
We can't flip Beyonce on there. Bring R and B
back with the Desney.

Speaker 5 (01:51:47):
Not bring like I'm like it was dead to be
win solo.

Speaker 1 (01:51:52):
No beyond started making up stopped that and then males.
It was Ray Charles. That is a unanimous ones.

Speaker 3 (01:52:01):
We all agreed that Ray Charles probably was the first. Okay,
you kind of want to say sty wanted, but we
said Ray Charles. He went on his as though he
Steve Wonder sure Ray Charles. Number two was Marvin Gay.

Speaker 1 (01:52:12):
That was a tough one.

Speaker 3 (01:52:13):
So that wasn't unanimous, but I think we kind of
realized it needed to be. Okay, is that fair? Six
that again Marvin Gay really united, he needed to be.

Speaker 4 (01:52:23):
Uh, we got the unanimous on just trying to figure
out that us needed okay, so that's too unanimous.

Speaker 3 (01:52:31):
Michael Jackson was kind of the shaky one that we
all just had to accept, okay, and we all agreed.

Speaker 1 (01:52:36):
It had to be r Kelly three unanimous is on
that one? Okay? I think the male one it was
definitely have chat GBT make us a drawing.

Speaker 6 (01:52:51):
Of that. Yeah. I don't think we're gonna do it.

Speaker 1 (01:52:53):
I can do it. Do it.

Speaker 3 (01:52:57):
No is Live to lunch hour every Monday, Wednesday and
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Just drop the fire episode. The No Sellers Podcast is

(01:53:18):
available on Apple Podcasts, iHeart Podcasts.

Speaker 1 (01:53:21):
Or anywhere you get your podcasts.

Speaker 3 (01:53:23):
The No Sellings Podcast executive produced by Charlemagne to God,
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(01:53:50):
you elaborate later on your statement? Gn next equal Striller.
I like that shout out to No Selings. I just
knew it was going to have a about five or
six records that were gonna be big records, big singers.

Speaker 1 (01:54:05):
The way it's composed, the success, it's like him.

Speaker 3 (01:54:12):
It's like the culmination of all his powers coming into
one in him understanding exactly how much of himself he
needed to present yet how much he needed to align
himself culturally, Like I think that was important for Michael
Jackson with Thriller. Like I think that's where he went
wrong on Bad. Bad didn't have a real black music feel,
Like I think he wasn't really digging black music at

(01:54:36):
the time.

Speaker 1 (01:54:37):
Like at that time, probably the.

Speaker 3 (01:54:38):
Biggest Black act in the eighty seven would have probably
been Cameo, right it Candies around that time, Like I
think he didn't really I think Michael Jackson see before
that when he did Thriller, he was able to look
at Hall of Notes, who had a different pipeline of
black people.

Speaker 1 (01:54:55):
Right, So when you hear Billy Jean, you could hear
I can't go that. Rick James was destroying at that time, right,
you know further problem, I was just thinking about what
you just said.

Speaker 4 (01:55:07):
A lot of them older groups like Commodorees and all
them started going solo in the eighties and stuff, Well
they started going sold them groups started going solo, But
it wasn't the eighties.

Speaker 3 (01:55:19):
But it wasn't just that, right, like they Cameo was
doing damage to black music at that time. The Cameo
was for sure the blackest thing I heard at that
time in the midti Yeah, but.

Speaker 1 (01:55:30):
That's like the last group everybody started going solo and stuff.
And I think what he was saying wasn't Teddy. Wasn't
Teddy rockling around that time too?

Speaker 3 (01:55:40):
Yep, Teddy Teddy is a little earlier earlier. It was
earlier eighties than the mid to late eighties. He was
solo like in the late seventies, right was he? I
thought it was what was it was the early eighties
about Teddy pinograms vocally, that's another one of your favorite votes.

Speaker 1 (01:55:57):
That's about right.

Speaker 6 (01:55:59):
Trapping.

Speaker 3 (01:56:01):
And I think and I think Michael Jackson ignored Cameo
mm hmm. I think he saw that as I wonder
what was the conversation about musicianship around Cameo, like how
it was around James Brown.

Speaker 1 (01:56:13):
The New York Players New York City players was different.

Speaker 3 (01:56:16):
I mean they didn't really the New York players like
Cameo didn't really Cameo was out there though.

Speaker 6 (01:56:21):
They was mexing with Cameo over here.

Speaker 1 (01:56:24):
Pop. No, that was that was to me the biggest thing.
Again I was a kid. The biggest thing on the
black scene to me at that time was Cameo.

Speaker 3 (01:56:35):
Bro Cameo was like, because hip hop was coming to
run everything down at this point, this is mid to
late eighties hip hop running everything down LLL and them
starting to run sh it down.

Speaker 1 (01:56:44):
Here come in w A, here come all this rap.

Speaker 4 (01:56:47):
Cameo couldn't been a welcome map for hip hops. Well,
it kind of was hip hop, you know what I'm saying,
right hip He had a soft call word up that
was hip hop right now. But my Michael Jackson I
think ignored that.

Speaker 3 (01:57:02):
So when he looked for his urban influence of musicianship
at that time, him and him and Quincy, I think
they looked to Ray Parker when they should have looked
at Cameo and Ray Parker. At that time, Kinna already
had a pop sound like Bad is like Ghostbusters Ghostbusters.
This the same song, but Ghostbusters is corny as fuck.
It's already not tight, Like none of us really fucked

(01:57:24):
with Ghostbusters unless we was little kids like.

Speaker 1 (01:57:25):
We were, and we just jammed it. But that wasn't
like a song we fucked with.

Speaker 3 (01:57:29):
So I think he didn't look at Cameo the way
he looked at Rick James to make Thriller, or the
way he looked at different black acts to kind of
put black music into bad So then you just end
up with kind of this really pop offering of a
bunch of records that really kind of don't have no
like no real blackness to him outside of Michael Jackson

(01:57:50):
applying whatever that looks like.

Speaker 1 (01:57:52):
After selling thirty million, then he grew up in Motown,
so he had that was in them, but he was.

Speaker 3 (01:57:58):
But he already depended on it. But by that time,
I remember he's on He's he's fresh off Thriller. Thriller
is ten twenty thirty million. Yeah, like it's killing. So
he's not touching the third.

Speaker 1 (01:58:09):
Like that no more. He not on the scene no more.

Speaker 3 (01:58:11):
This nigga for me is the man. So it's like,
I think he looked at Ray Parker, you know what
I mean? And there I'm not just saying he had
He definitely ate his before Ghostbusters, But I don't think
when it came to black music, Ray Parker was as
as dense culturally as.

Speaker 1 (01:58:31):
Let's say, Cameo Cameo's connection to blackness.

Speaker 3 (01:58:35):
Darryl, you know better than me because you from that
time period, it was deep, like niggas love Cameo, like
my mom loved fucking Cameo like it was black as fuck.
And I don't know why Michael Jackson didn't pull from
Cameo for some records on Bad I don't know why
he didn't. So but so back to the point with
gn X, I think the point with gn X is

(01:58:57):
dot realized, like the culmination of what's happening in the space,
how to make it his and then represent it at
the perfect time. So it equated to him having more
successful singles than any other album songs. That's probably It's
gonna probably be multiple songs on this album that go diamond.
The album is probably gonna end up somewhere near five
or six million sol. I mean it's a different type

(01:59:20):
of thing. I mean where he's where he culminated that
as an artist. So shout out to quin t to
Quinnity cooling the gang. That's another one, yep.

Speaker 4 (01:59:29):
So do you think Prince was able to pull from
somebody like, like you said, Cameo and stuff like that
better than Mike did since Mike didn't pull it because.

Speaker 3 (01:59:37):
Michael Prince was Prince was. Prince took from white people
like because you know, he had the time.

Speaker 1 (01:59:43):
Prince put out the time.

Speaker 6 (01:59:47):
Prince James.

Speaker 3 (01:59:49):
Okay, Prince Prince, but by that time it was over
to like by the late eighties, they wasn't quite they
had already kind of hit.

Speaker 4 (01:59:57):
Their peak because uh cameo Me was a slow version
of Rick James when I was growing up.

Speaker 1 (02:00:07):
Mm hmm. I'm not mad at that. I'm not mad
that you would know better than us, But yeah, I'm
saying just.

Speaker 4 (02:00:14):
Look at the stage performance, the clothing, the way that
they all did things that don't even looked like Rick,
you know what I'm saying.

Speaker 1 (02:00:20):
But they was all off that funk. You know what
I'm saying. It was a slower version to me. That's
what Bad didn't have. He didn't have the funk.

Speaker 6 (02:00:27):
Funk.

Speaker 3 (02:00:27):
Yeah, Bad was just hella poppy like Dirty Diner. These
records are really great pop records. Anchor of talking about
the Lady in My Life thriller, the way he make
Billy Jem like those thriller that were like black songs.

Speaker 1 (02:00:51):
It wasn't bad. And that's what I think with that ship.
That ship had a lot more pop records early on,
but GM next is like hella, hella, hella lost as
this black.

Speaker 5 (02:01:01):
Let me ask you a question, do you think because
of how a lot of people felt about Big Steppers
made him go g next, made him come out.

Speaker 1 (02:01:09):
No, I just think he made him. This guy made
him do it. It was on It was on glasses.
It was on glasses right there, like sounds catch the
black boy.

Speaker 6 (02:01:24):
I hate the way that.

Speaker 1 (02:01:27):
That's what it did sound like to me too. I
told you big steppers are like a cast scratch of
the bulls.

Speaker 5 (02:01:33):
I felt the same way a lot of people felt
about Big Steppers, a lot of people from you know.

Speaker 3 (02:01:38):
I think that real and I think, but that's also
why God is a better artist than I am. Like
he covers more ground, Like I wouldn't cover that fucking ground,
you know what I mean. I keep that between me
and my own ship. But doc, will you know what
I feel like he didn't. Do you think he regret
covering that ground on that?

Speaker 1 (02:01:56):
No? No, I don't think he really give a think
he was when you did covering that?

Speaker 6 (02:02:04):
Yeah.

Speaker 1 (02:02:04):
Yeah, he's like a real artist, bro.

Speaker 3 (02:02:07):
That is like a much more I'm like a real
street urban culturist that became an artist.

Speaker 1 (02:02:10):
That is an artist. He always he was a little nigga,
but he always was an artist. So it's not about
the end results. It's about him just putting his music. Yeah,
that's how it is for him, you know what I mean.

Speaker 3 (02:02:19):
It's not really about where everybody else like it or
not that Nigga really be making this ship and figuring
it out.

Speaker 1 (02:02:26):
Do you think that was more like a like a
like a self defining album, which one remember it's like
Marvin mixed up. Yeah, it's like it's like Marvin Gate
here my Dear or that or that or that Usher album?
What's that Usher album? It was a really good album.

Speaker 6 (02:02:42):
It's Divorced about seventeen Confessions seventeen not confessions.

Speaker 3 (02:02:50):
Oh no, no, no, no, the one later it was
it was it was when he got when he broke
up with the old lady was deep as it was dope.

Speaker 6 (02:02:57):
But yeah, I forgot the name.

Speaker 3 (02:03:05):
To me, It's like Big Steppers is like here, my Dear,
Like you have to be into the artists to really
care about the records.

Speaker 1 (02:03:11):
Like that was something for him and his fans.

Speaker 3 (02:03:14):
I'm not truly a fanatic Kendrick, like I'm a I'm
a friend, I'm a fanatic gn X. I'm not a
fanatic of Kendrick as like he wouldn't be in my
favorite artist.

Speaker 1 (02:03:24):
He's just my nigga. That's dope.

Speaker 3 (02:03:28):
Was a nigga that I think is all time great,
but he not in my list of niggas that I'm
listening to, you know what I mean. Kendrick is all
time great, but that's not my ship.

Speaker 6 (02:03:36):
Now.

Speaker 3 (02:03:36):
Gn X is the first dot album that here I
stand shut out to BV exactly.

Speaker 1 (02:03:41):
That was another one. Life is Good by nas.

Speaker 3 (02:03:44):
It's the ones where if you're into the artist, you know,
I mean, that's your album that connects with them.

Speaker 6 (02:03:50):
I feel like as if as if that that Big
Stepper was an album where where he gave a voice
to the voiceless, you know what I'm saying. So it
was like so the people that that cut and basically
speak with the city he was saying, like the father
Time song, the song with the you know what I'm
saying about his auntie. It was it was given a

(02:04:12):
voice right there, but that they didn't have.

Speaker 3 (02:04:15):
That's not true. That was the biggest conversation in mainstream media.
That's what I didn't like. It felt too pop.

Speaker 6 (02:04:20):
So now you felt as if I'm going that way
right there and made people like it's not more light
on that ship right there, Like it was a given
the light was.

Speaker 3 (02:04:29):
Already shining on it. So he kind of brought his
positioning into it based off what he was going through.
So it was all these mainstream topics and things like
at that time, that was a big thing to talk
about people being you know, what do you call those?

Speaker 1 (02:04:43):
What pronouns? That's fucked up?

Speaker 6 (02:04:44):
It's like.

Speaker 1 (02:04:46):
Pronouns was big at that time. So I felt like it.
I felt like that album is his most pop album.
I know that sounds crazy.

Speaker 5 (02:04:54):
Do you feel like that album was most pop album?

Speaker 4 (02:04:57):
Yeah?

Speaker 5 (02:04:58):
Four fans like that album, yes, So you think they
came from his previous album? Was like, man, we really
want to hear him talk about.

Speaker 1 (02:05:05):
Yes, I think Dot's core fans is like a very
mainstream person.

Speaker 3 (02:05:11):
Do you think that is relevant what's going on? Yeah,
he know everything. That motherfucker be watching everything.

Speaker 1 (02:05:17):
Nigga. You said something about Nigga in the third grade.
He know what you said. So he knows like he
knows the mood of the people. It's not the mood
like he's a really autist. Share that is, he's a
really great artist, bro, Because.

Speaker 3 (02:05:32):
It's not just the mood of people with him, like
he finds himself where people are something I'm just really
figuring out right now. I just figured out how to
do it right this prime example, this motherfucker knew how
to do it pretty much since damn he figured out
like two things.

Speaker 1 (02:05:48):
I just figured it out right now. I had a
recordd way before this motherfucker.

Speaker 3 (02:05:52):
But he studied and pay attention way more so, like
he found how to align himself at the time where
it sat and present a perspective. I didn't figure it
out till Tupac must dieing Really now, I'm like, okay,
I see.

Speaker 1 (02:06:05):
Like I'm working on this idea. Were working on this idea.

Speaker 3 (02:06:07):
You and Trap were working on this idea, and it's like,
oh yeah, we're gonna take all this shit happening and
put it into the idea. That never used to happen
to me before, Like it was always my personal journey
as an artist, as an artist to reflect what was happening.
So I think God like, like specifically with you know,
big steppers, it is like, here, my dear, it shout

(02:06:28):
out to hymphisms.

Speaker 1 (02:06:32):
It is kind of depressing to me when I listened
to it, you know what I mean?

Speaker 3 (02:06:35):
It's very rooted in him. But also remember it's during
the pandemic. Yes, when this is a big conversation, people
hurting themselves, Like he knew how to align it. I
think most of DOTS fans are very like a mainstream
type of audience versus.

Speaker 1 (02:06:51):
Like gn X. Even though it's successful, it's not as mainstream.
The language ain't his mainstream.

Speaker 3 (02:06:57):
The attitude and his mainstream, but the rec are so
contagious that they're digestible in a different way.

Speaker 1 (02:07:03):
That's what I saying.

Speaker 4 (02:07:04):
It seemed like every time he does this, it's like
it fits the public, with the public scoring three.

Speaker 1 (02:07:07):
You know, this is the first time that it didn't
the hell No, I think this was the public need.
It's like the public needed this to happen. But this
is the difference.

Speaker 3 (02:07:18):
See, he was always framing for what they wanted. This
is the first time it wasn't about them, and I
could tell it was about where he was at.

Speaker 1 (02:07:25):
But he was already prepared for this.

Speaker 6 (02:07:26):
I was about to say that right there, about to
say a lot of times he means to he means
the fans and nothing. I'm saying the listeners where they're at.
And then you'll come here, yeah yeah, come here, yeah yeah.

Speaker 5 (02:07:38):
I felt like he dropped this album because he felt
like he needed to drop this album like.

Speaker 3 (02:07:45):
He was pumped up. He wasn't even pumped up, like
he got pumped up like a victory lap.

Speaker 1 (02:07:52):
It wasn't because that's not that. That ain't his temperament.
Like you're not like that. You won't talk about the battle,
we just laugh at it.

Speaker 5 (02:08:01):
Do you think he cares about the streets think about
his work? And I kind of felt like the streets
didn't love big Steppers. It almost like he heard that,
like I need to put this ship out there.

Speaker 6 (02:08:12):
I agree with your.

Speaker 3 (02:08:13):
Coach necessarily ever been his thing. I don't think not
one of them records that was his thing. I don't
think he really gave a fuck what none of us
like the streets think. I mean when you start talking
about streets no, now street urban culture, yes, but not
the streets.

Speaker 1 (02:08:28):
This album is.

Speaker 5 (02:08:29):
But that's what I mean when I say street, streets
urban culture, but it's different, like this album is really
for the streets, street urban culture.

Speaker 1 (02:08:37):
This is the streets.

Speaker 6 (02:08:40):
This is Yeah. A lot a lot of this album
came up after that pop out.

Speaker 1 (02:08:46):
This this is like from my home, just from my home,
this is where I came from it, but not just that.

Speaker 3 (02:08:52):
This for every ghetto, Like this is a record where
he's not trying to tell the ghetto. He's He's like
this what our mom get down? Versus at first he
would be trying to be a great example you feel
me of what it should be. This is like, nigga,
this is why I'm back, I'm on y'all last.

Speaker 4 (02:09:08):
Whatever do you think In the beginning he was trying
to explain itself more than now to other people.

Speaker 1 (02:09:12):
That was the first thing I told him. When I
was talking to him, I was like, bro like like
he was like, man, I had to grow up.

Speaker 5 (02:09:19):
But this album almost came across like niggas like you were,
you know, a little disappointed with this album. Was almost
like niggas like g niggas like that they wasn't really
feeling that big step of ship.

Speaker 6 (02:09:32):
Let me.

Speaker 1 (02:09:33):
But I really like this. I don't think he was
worried about me the motherfucker doing national tours. But but
I don't think.

Speaker 3 (02:09:41):
I don't think my thoughts followed pears. You hear me,
But big comes always matter.

Speaker 6 (02:09:47):
But check the credits. Coach e X the album. Check
the credits telling.

Speaker 1 (02:09:54):
This part is like this is him. I'm glad y'all
got him.

Speaker 3 (02:10:01):
The other ship is him trying to be a better
version of himself. You're getting him now, this is the
nigga that I know. See all that other ship is
him discovering shit about hisself, trying to be a better person,
that role model.

Speaker 1 (02:10:13):
Hey hey, hey, fuck that.

Speaker 5 (02:10:18):
Cut up.

Speaker 1 (02:10:19):
I'm telling you, I think he dropped up.

Speaker 9 (02:10:21):
And he was like, I think as an artist, yeah,
get cracking nigga. As an artist, there's always.

Speaker 5 (02:10:30):
Like you thought, like, man, I gotta be more me.
Maybe he was like, this is the record I gotta
be more me.

Speaker 3 (02:10:38):
But this is something I used to always say, Like
I felt like y'all needed to meet him, Like, I'm
so glad Drake did that ship he got, Like the
world got to meet him. Not the version of him
that he wants you to meet, that's cool, and you
got to meet who he is. Fucking with him and see,
this ship can't be cut. This is uncut, like when

(02:11:00):
you make it records, you could cut it down and
digestible this hands off squabble you mean. And then so
then the attitude came from that into just him making
records that fit who he is at this time. Like,
this is by far to me, this is his most
authentic album.

Speaker 5 (02:11:17):
I would just about that, ask you that before you
feel like this and it's you know what the crazy
thing is? That's really crazy to have your most authentic
album come this late.

Speaker 3 (02:11:26):
Yeah, but the good Man City way more authentic than
Good king Man City, way more good kid Mass City
was more thematic and and.

Speaker 1 (02:11:36):
Like like I'm going to.

Speaker 3 (02:11:37):
Present the sophisticated taken to street, urban culture, lifestyle and
counter like I'm gonna make it artsy. This is like, yeah,
nigg here we go yesterday something, give you a bunch
of give you a bunch of music. It hold on yesterday.
He got songs that this was all his records. Gonna
have a message.

Speaker 5 (02:11:56):
That album huh on.

Speaker 1 (02:12:00):
The g next from the as a main message, sucking.

Speaker 6 (02:12:06):
With cool cool.

Speaker 1 (02:12:12):
It's the first.

Speaker 3 (02:12:13):
Record saying listen, bro, this is by far his greatest
opening of all. Tell me what's more important. The nigga
started the song saying this how you started the album yesterday?
Somebody whacked out my mirror.

Speaker 1 (02:12:27):
When I heard that first line, I knew he was
in hours. Turned the radio ship. Okay, yeah, yesterday somebody
whacked out my mirror. Nigga.

Speaker 5 (02:12:41):
I was like, oh so even though big Steppers had
me a little concerned when he said that, I was like,
are you about to be sad about this?

Speaker 1 (02:12:48):
Or so? When he did continue, I was like, all right,
this is Kenna that ship.

Speaker 3 (02:12:53):
I need him to be strong, Like it's okay to
project masculine energy, not just in a digestible manner, but
it's okay to be the unpologetic for sure. And they
gonna love you your most when you were unapologetic, Nigga,
they gonna love you. Oh you thought they loved that

(02:13:13):
version in you that they thought you was cool and
a nice guy. And you, oh, they don't know you
a little confident animal. Show them because if everybody see that,
you're gonna have your greatest shit now, people gonna be
looking at you crazy because they they ain't gonna quite know.

Speaker 1 (02:13:27):
But Nigga, show them, Nigga, be like you he really
that nigga? Like, Nigga, you really a nigga fool like
you get cracking?

Speaker 3 (02:13:34):
Show them, show them that's what I'm screaming at by
show them stop playing fuck all that nigga, get to it,
make this shit happen.

Speaker 1 (02:13:43):
So this album right here, he was the most comfortable
with being himself. And that's what he said.

Speaker 5 (02:13:47):
He tried to grow up, mature, He had the maturity,
tried to grow up because that's all.

Speaker 3 (02:13:52):
I'm like, that's the best thing, bro, Like, that's the
best thing, like him being unapologetically him. It's nothing wrong
with the lead with inspiration and ideas and being greater,
but it's okay also to just beat us.

Speaker 5 (02:14:10):
Let me ask your question. You as an artist when
you heard that out gn X, did you did you say, Okay,
hold him now?

Speaker 1 (02:14:16):
First listen. I told Trump, I said this is the
best album before. But did you did it inspire you
as artists?

Speaker 4 (02:14:22):
Like?

Speaker 3 (02:14:23):
Okay, I inspired that as an artist, But it's hard
for somebody in hip hop that inspire me, even adopte
niggas like Kendrick or jay Z at this point that
none of them niggas can really inspire me at this point.

Speaker 1 (02:14:33):
So where do you get inspiration from? Arry White? That's it.

Speaker 3 (02:14:37):
I've been listening to very White war Ain't no ain't
in there. Hip hop can inspire me no more. I
feel that this is past that like I'm I'm I'm
at the core black music, like now I'm at the
hardest shoal of it, Like I'm playing all kinds of
fly shit. I'm playing nigga, I'm playing Stevie Wonder nigga,
like for real. And I'm like, and I don't make

(02:14:58):
a rap song that's like this, That's like I came
up with idea for a song that was like, uh,
I was made to love you.

Speaker 1 (02:15:04):
It's nothing, nothing like that, but it's like that.

Speaker 5 (02:15:07):
So do you feel like your next album you drop
is gonna be soft food?

Speaker 1 (02:15:13):
I don't know.

Speaker 3 (02:15:13):
I don't even know if I'm gonna do an album.
I don't even know if I question something. I don't know,
But I tell you one thing. The next song I'm
about to drop, I just got it mixed. That motherfucker
or you feel me?

Speaker 6 (02:15:26):
And it ain't.

Speaker 3 (02:15:26):
I don't can't nobody tell me nothing about hip hop
no more like you know what I mean? Like I
love it too much. I'm realizing most people don't love
it enough to be talking to me about it, And
I have no idea. They don't have no business talking
to me about this. They don't love this shit like me.
Don't talk to me about it. If you it's like
a nigga that don't really love it. Like nigga, you

(02:15:48):
can't talk to me because you want you don't. You
ain't finna go through what I'm finna go through to
do it. Nigga, I'm making signs for videos, pickets, signs
like I love it. It ain't about no money, it
ain't about none of that.

Speaker 5 (02:15:58):
But this will love.

Speaker 3 (02:15:58):
You have to develop though, right, Yeah, I didn't love
it at first. I didn't know nothing about it, but
now that I do, like, I'm gonna keep looking. So
all you can do is tell me where to go.
But really there's no more space for hip hop to
truly inspire me.

Speaker 5 (02:16:12):
So so so what you're saying all this your best
music is to come.

Speaker 1 (02:16:15):
You think your music is in front of you.

Speaker 5 (02:16:17):
Yeah, because even the shit that you I've heard from
you that's coming out and all the other ship, this
shit is like by yo and yo shit is dope
to me. Look all your ship, but this shit is on.

Speaker 3 (02:16:26):
Some now because now it's like if you listening to
very white bro, if you listening to real like black
music at this court, Marvin Gay, I'm I'm just off
of like some shit for me.

Speaker 1 (02:16:38):
So it's like like it's the only greatness that could
fuck with it, you know what I mean.

Speaker 6 (02:16:44):
Like it's.

Speaker 3 (02:16:46):
I'm past rappers, not like better or worse than I mean,
I'm past rappers being inspiration. Like I don't even see
them as something to emulate anymore. I'm emulating Marvin Gay
as a rapper, like just like my predecessors, Just like
the original guys when they didn't have rap to look to,
they had to be you know what I mean, Like
they had a limited amount of rap, like I would

(02:17:06):
imagine Scarface, you know, could see a lot more Gil Scott,
Jill Scott hearing than run dmc.

Speaker 1 (02:17:14):
So.

Speaker 5 (02:17:14):
Earlier on in the conversation, somebody asked, who would this
guy be in hip hop? Like we were doing R
and B and they were like, who this gotta be
in hip hop? Forgot the name they were using. Do
you feel like at this point in time, you you
the burier right of hip because it's.

Speaker 3 (02:17:27):
The only thing that makes sense. Nothing else great enough,
even the niggas that's great, like dog in Them and
Whole and Face, the guys I love Kanye, that's not
great enough. Like this is not no more where you
put Ken Kendrick. If he was, he's probably in them conversations.
For sure, he's in the conversations.

Speaker 1 (02:17:45):
Who would he be that that name? Oh, he'd be
the the al Green with Who would he be right now?
If I had to pick an act.

Speaker 3 (02:17:55):
In comedy, he'd be Daz Japel mhmm, right to me,
Like he just got it pegged down and in R
and B music or music outside of hip hop.

Speaker 1 (02:18:14):
Probably Marvin Gay.

Speaker 5 (02:18:16):
You think, so, Yeah, Yeah, it's funny because that's who
I envisioned him.

Speaker 3 (02:18:20):
When I hear him, it is probably like Marvin Gay,
like you know what I mean, Like I think early
Marvin Gay sacrifice a lot of stuff to make sure
people understood what he was doing. But I think when
he caught his stride, it was like and he was
always successful. You know, he was making hit records. He

(02:18:41):
hadn't hit records.

Speaker 1 (02:18:41):
He was popping.

Speaker 3 (02:18:42):
But he reminds me of Marvin Gay, you know what
I mean. Like he's like he like he found this
level of soul at a time when it was really needed.
It wasn't manufactured like like this like this is legit,
like this ain't even like other like people saying he
just went West Coast. Like even the musicianship of adding

(02:19:04):
basis like a lot of music is just you know,
not muster muster, get busy, but a lot of other
West Coast music it's kind of eight a ways and melodies.
They don't really use the base or that frequency anymore.
Like and for him to kind of go put that
frequency in all that music, like it's like Marvin Gay
to me, you know what I mean, Like like he
like he been successful the whole time, Like Marvin Gay

(02:19:25):
was successful, we had records. But man, towards the end
of his career, you really could see this China wind
of unapologetic nigga that was like hell of dope. And
I think with Dot, you know, even if this is
the last album, I think we got like the most
unapologetic nigga in the world, and we got a nigga
when the world needed a nigga too.

Speaker 1 (02:19:43):
But why are you okay last album? You think it's
gonna be his last album? I don't know, shit, it depends.
I think he needs to be motivated to create.

Speaker 3 (02:19:51):
I don't think he like this ain't the business, Like
he makes business out of music, but that ain't his business,
Like I think his business is raising his kids and
living his life.

Speaker 1 (02:19:58):
He made enough money to be fund you know what
I'm saying.

Speaker 3 (02:20:01):
He's straight, so it'll be hard for him to motivate
himself for money, you know what I mean, or just
to put out another album, like he would have to
have like a story that he wants to tell. And
you know, I don't know, you know, I don't know
what motivated him at this point. How do you get
motivated after this? Usually people get motivated after this because
of money, But like now, you you already made money.

Speaker 1 (02:20:23):
You already had a national tour for me this.

Speaker 3 (02:20:25):
You have multiple national arena tours, You have multiple number
ones before this, and now you finally just hit the pinnacle. Like, right,
you just super Bowl five games for one song, give
me arena tour? Like what motivates you after this to
kind of really make music? Like you you're finna spend
a lot of time away from your family, right, You're
finna be on this role. He already spent a lot

(02:20:46):
of time away from his family now, so it's like,
you know, they don't want to raise his kids and
all of that that shit mattered to him.

Speaker 5 (02:20:53):
Yeah, I do want to say this about uh our
Mount rush Moore, the no feelings around Mount Rushmore. I think,
I honestly think it might be the best route Mount
worsh Moore that could be put put together. They think
it's gonna be the best. I'm interested to see other
people my mind worsh More, but I don't think it's.

Speaker 1 (02:21:14):
Gonna be better than ours. I think that what you say,
we got the best one, I think we got the
best one.

Speaker 5 (02:21:18):
I'm really I want to see others, but I think
that I think those are the two best Mount rush.

Speaker 1 (02:21:22):
More for the male female for sure, male female male.
I feel yeah, I feel like it's like both of
the other best.

Speaker 5 (02:21:31):
Those are the best Mounts Rushmore.

Speaker 3 (02:21:34):
Shout out to the diamond Back Photography to Homy, what's up, Brodie,
thank you for the two dollars. What's your rating for
Maya vocally? I have already heard enough of mine singing.
Immediately the six come to mind, but she's probably better.

Speaker 1 (02:21:46):
What do you think you're six? Maya vocally? Yeah, I
haven't heard enough of her singing, but because of y'all,
like I heard, it makes me think of a six seven? Yeah,
six seven is fair?

Speaker 3 (02:21:59):
Theyself love thank you for the two dollars. Play take
him on the deep dive of Brandy.

Speaker 1 (02:22:03):
I got you all a copella too. I don't want
no fucking music. I'm gonna shave you. Yeah, I'm gonna
shave the ropes. Bro.

Speaker 3 (02:22:11):
Thank you Diamond Back Photograpy for that five dollars. The
instrumental that John Mure is a masterpiece. Sound Way made
that beat with Cocoa Leve's I'm Crying They'll Find example
was beautifully crafty.

Speaker 1 (02:22:20):
Nigga.

Speaker 3 (02:22:21):
I remember sound Wave was whack, so I hit South
Wave on the DM. I was like, man, I'm so
proud of you.

Speaker 6 (02:22:27):
Bro.

Speaker 3 (02:22:28):
He got so dope, man, Him and Ali, them niggas
got hello dope. That's young and devoted. They've been devoted,
so all the best things should happen to them. Man,
they hello dope. Shout out to Nick, thank you for
that five dollars. Shout out to g and the lunch
table east side that port yep wes. Shout out to
Mow they self love for the two dollars. No, mister

(02:22:50):
Morale slander I just slander it. I just said it
sounded like cash scratching paper.

Speaker 6 (02:22:55):
That what's that? What's that?

Speaker 5 (02:22:59):
He's saying that he don't get I don't think it's
that bad. He thinks if he's telling the truth to himself,
if it's a glasses fact, it means.

Speaker 1 (02:23:07):
Is it really slander, super stretching. It wasn't like a
pain when y'all listen to the album, Like we argue
with the lady on that solid.

Speaker 3 (02:23:16):
Yeah, not my favorite, the cards trap off that you
dirty ass bitch, you punk ass, that's your I.

Speaker 6 (02:23:26):
Said, only had to hear it one time and recognize
how great it was. Trap.

Speaker 5 (02:23:33):
You listened to it one time because there was nothing
else play backable, Like you didn't want to listen.

Speaker 1 (02:23:39):
That ship hurt that ship like I listen to it.

Speaker 3 (02:23:43):
That's the thing about Doc, Like I listened to all
the albums at least a couple of times straight through,
right because he that type of artist. Damn was my
Damn was my Probably the it was the second or
third best one section eighty was up there see your
next by far as just the ship.

Speaker 1 (02:24:03):
Yeah, I knew I wasn't gonna like big steppers when.

Speaker 3 (02:24:06):
See and that's weird to me. Shout out to Moses.
He said, we cried together. It's fire, just fire, wouldn't
be the thing I would describe to speak on that song.
I know, like fire Bro, I didnt know.

Speaker 1 (02:24:16):
I wasn't gonna like the big Steppers when too many
young kids like that, like I'm more depressed, motherfucker. Yes,
too many Step and six on me.

Speaker 6 (02:24:26):
You heard father niggas.

Speaker 3 (02:24:31):
You gotta appreciate his range as an artist. I do
appreciate as an artistry as an artist. I'm a huge
Kanye West fan.

Speaker 5 (02:24:43):
Let me ask you six six and Trap yeap, what's
better Big Steppers or g next to y'all.

Speaker 1 (02:24:48):
They're completely different albums for different albums, but one is
better than others to y'all.

Speaker 9 (02:24:58):
It's literally just completely It's like comparing the Power Forward
to a point Guard shout.

Speaker 3 (02:25:03):
Out to and I'm listening to that motherfucker. Now, gee,
you listen to this nigga argue with this lady on
this song in the middle of this. You a sick nigga, Bro.

Speaker 6 (02:25:11):
You just like you.

Speaker 9 (02:25:13):
I'll admit the argument part is a little much, but
that that I can't pick that one moment and judged
the whole album for that.

Speaker 1 (02:25:21):
But the whole album is sad. Yeah, But I mean
some people are said I understand.

Speaker 3 (02:25:26):
That's that's why I said it sound like the pain
of cat scratching papers like shout out to thank You
for Do Dollars, my favorite album still in rotation all day.

Speaker 6 (02:25:37):
Man.

Speaker 1 (02:25:37):
I played that ship two or three times. That was it, Jack,
he said, I hate to say it being from Watts,
but I like J Cole over K DO. That's not crazy,
Actually not crazy. That's not crazy.

Speaker 6 (02:25:52):
Go ahead and they I think that.

Speaker 1 (02:26:00):
Out there. I see y'all Friday, man.

Speaker 3 (02:26:10):
But looking out for tuning into the Note Sellers podcast.
Please do us a favorite, subscribe, rate, comment, and share.
This episode was recorded right here on the West coast
of the USA. It produced about the Black Effect podcast
network and not heard radio year

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