BONUS EP* Conversations About Cultural Cache

Glasses Malone discusses the distinction between cultural cache and social currency, emphasizing the importance of reputation and authenticity in hip hop culture, the value of lived experiences and the impact of cultural contributions on one's standing in the community. They also touch on the concept of prestigious hip hop, advocating for a deeper appreciation of the cultural significance behind the art form and the essence of hip hop as a cultural movement that represents the community rather than individual experiences. Also they break down the issue of defamation in artistic expression, particularly in the context of hip hop lyrics and the legal implications surrounding them and more.

 

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Episode Transcript

Speaker 1 (00:01):
Watch up and welcome back to another episode of No
Sealer's podcast with your hosts Now fuck that with your
loaw glasses malone.

Speaker 2 (00:14):
My check.

Speaker 1 (00:18):
What's the deal done? What's the love of Santa Cruz?
I used to have a skateboard when I was younger.
There was a Santa Cruz skateboard.

Speaker 2 (00:32):
Aw.

Speaker 1 (00:35):
It's been a crazy twenty four hours, crazy twenty four hours.
Pete is on the plane, so we ain't popping out
on me today. It's just me and y'all. Today, it's
all me and y'all. It's me and y'all. And it's

(00:58):
been Like I said, it's been an event for roughly
forty eight hours since the last time I talked to y'all.
All kinds of stuff didn't happen. I had this interesting
conversation with academics courtesy of my homeboys, the community, the

(01:19):
community live stream. One petition gets poured back and a
lawsuit gets filed, phone calls being crazy.

Speaker 2 (01:30):
I've just been hearing all kinds of stuff.

Speaker 1 (01:33):
But instead of talking about all that gossip like everybody
else do. We'll see if I could work it into
the conversation. But again, the thing about this no siblings
live lunch Hour. It's not really like a gossip column.
Shout out to all of the other streams that kind
of used the opportunity like a gossip column. But I
don't really use my stream like that. My goal here

(01:58):
is to exchange ideas and hopefully light up some of
them dark hallways, and that's what we're gonna do.

Speaker 2 (02:07):
So it's just me and y'all.

Speaker 1 (02:09):
No Selings Live to Lunch Hour every Monday, Wednesday, and
Friday at noon specific standard time. Right here Digital soap Box.
Click that thumbs up button. Let everybody know you in
the house. I do this stream and support the No
Sellings podcast. That's my baby, just the fourth season. If
you look into the description below right there beneath me,
there's a link. If you're on YouTube the No Sellings Podcast.

(02:33):
You can listen to it on Apple Podcasts. iHeart podcasts
anywhere you get your podcasts. From the No Sellings Podcast,
executive produced by Charlomagne to God, the Black Effect Networking,
iHeart Shout out to everybody sitting at the lunch table whatever, Revenge, whatever, Virgo, Tony, Mike,
what up Fats, appreciate you moderating see deal. Jeremy mister

(02:57):
Green was happening. Cloak, what's the deal. So yeah, well
you gotta do that, revew Before we get into that.
The reason what what made me want to talk about
this idea of cultural cachet versus social currency is whatever, Squaz,

(03:21):
thank you for moderating my footheurt so I stayed at
the crib right now just to do the thing today.
The reason that the cultural cachet versus social currency is
important because Monday afternoon, a couple of my buddies, a

(03:42):
couple of people I've been doing since I first got
in this business, we do we do this group chat
thing once a month on the community podcast. That's problem
Jason Martin, you know what I'm saying. Jason Martin, the
homeboy manny a boy many who does the Age Boys
Community pun who fig Community World. You know, that's part

(04:04):
of his brainchild and ad same thing for him. I've
been knowing them dudes for twenty years, like we're friends.
So I said I would do the stream, would have
once a month, you know what I'm saying, just to
just to kind of you know, they wanted to make content,
you know what I mean. They want to do content
with me. I'm like, all right, I'm gonna do it

(04:25):
with the hummies. So I've been putting a lot of
pressure on ad you know what I'm saying, because I
feel like one thing people don't understand about being from
this West Coast, you gotta manage your relationships when it
comes to how people treat this culture out here, the
street urban culture that we call hip hop based on
the West. Everybody knows what it's about, you know what
I mean, They have a general consensus, but it's a

(04:49):
lot of people, to me that play with it. So
I always put pressure on the main stage of this
culture at that time to not let people or their
network play with it. Acting somebody who I've been you know,
supporting his content since he first came on the scene.
I mean, first person ever put me on the whole
Warren shot rack, you know, just a really that was

(05:11):
a really special time, and he did a really great
job with explaining to outsiders what was happening there, at
least from an outsider, and I had no idea, you
know what that what that movement was about, completely, like
I had even been there and I didn't quite know.
But I got a lot of more information because of academics,
and that's kind of how you established yourself. To make

(05:34):
a long story short, AD and Act are friends. So
I keep telling Ad. I'm like, hey, you need to
put pressure on academics. You know what I mean about
how you're talking about our culture out this motherfucker our
street urban coaching, like they can't play with it because
you know, if you don't know this, your reputation is
everything when it comes to coaching, your reputation is everything.
You know what I mean in this street urban lifestyle,

(05:55):
you know, living that life, yo, it's your credit, is
how you earned this respect.

Speaker 2 (06:00):
Everything about it is what it is.

Speaker 1 (06:02):
So I'm putting pressure on AD like AD cause you
need to make sure you check this food. Don't let
him be talking shit about the West like I don't
care about the battle between Dot and Drake. I don't
care about that, all that talking about the West Coast
and all yeah dah da dah and this that and
the third A.

Speaker 2 (06:21):
He gotta stop that, cuse you need to get on cuz. Right.
So he used to always.

Speaker 1 (06:28):
Say, well, I ain't tripping, it's just content. It's just content.
It's just content. I'm like, all that's cool, cud. But
like this hurts your brand, and people see they could
play with your street rm and culture this way, they
will tarnish it. I say, y'all keep letting it go
cuz he gonna go too far. Well, this was the
time you went to fur. We have all these you

(06:49):
know what I mean, crazy fires, you know what I
mean out here tons of people lost their house, were
talking about over five thousand homes lost.

Speaker 2 (06:56):
You know what I'm saying. It was bad.

Speaker 1 (06:59):
And he does a stream and they ask him about it,
and he says, he don't really give a fuck about la.
Fuck that ship hole. Everybody shit could burn up. Everybody
hit me, Everybody telling me that. So I'm like, I
ain't got nothing to say. So Ad in the group chat,
obviously we chopping it up. They said make glasses was right,

(07:20):
he told you so fast forward. Here we are with
the community, you know, our monthly group chat that we
do on the community. I'm telling Ady, you know, everybody's
telling him, like, man, you got to check your homeboy.
So he calls ACT. He calls academics on the phone.
Act picks up the phone. He calls ACT. ACT picks

(07:44):
up the phone. He says, uh, he's.

Speaker 2 (07:47):
Asking him about it.

Speaker 1 (07:49):
Act starts to explain to him his position on what
he was saying. Right, He started to explain that he
has a problem with the politics of the government so forth,
So you know so forth or so on. That don't
got nothing to do with what you said. You just
say you hope Gavin Newsoon house burn up. You just
say you hope Karen Bass house burning up. You just

(08:09):
talking about people in LA Right, So the homies talking
to him. I'm watching him kind of position the homies
into saying shit disrespectful about other people in street urban culture,
as if ACT was a representative of East Coach Street
urban culture. And that's not true. So I'm trying my
best not to stay in the middle of it. You

(08:31):
know what I'm saying. I'm like, I'm not because I don't.
I always said if I talk to ACT, I would
talk to Acting person because I don't want him to
say some stuff, you know what I mean, that I
don't like, and then I got to go through all
of the shit to get to him. I don't want
you know, if we got a problem, I don't want
you to know I'm coming for you, you know. I mean,
that's just how I see things. So I would rather
talk to that man in person, because I feel like

(08:53):
when people put these podcast mics in front of them
or they get on them streams, a lot of times
they just lose track of they and start talking crazy
because they just get out of hand. So I always said,
if I ever talked to Act, you know what I mean,
Like I would talk to cousin person, like either on
the phone, like it could be a cous could talk.
But I really wasn't trying to make no confident act

(09:14):
because it was like what he does is different than
what I do. That's the same thing with like making
the record with Drake. It didn't ever really make sense
to me because in real time, it's like it never
made sense to me because the kind of person I
am and the kind of person he is so so

(09:40):
important to be. Like, even before I understood it, I
was very careful with what I did with my reputation
and my brand on the street.

Speaker 2 (09:47):
Shit. I wouldn't let people claim the set that wasn't
from the set.

Speaker 1 (09:50):
I wouldn't let people do things like you kind of
have to like I needed to be authentic. I don't
care what it is as long as it's authentic, right,
same thing with Act, like again, like it's obviously I've
respected a ton of stuff Act is done in his
business and the stuff he covered when it came to culture,
but also in a conversation with me, I'm not trying

(10:13):
to make content even sitting right here talking to y'all,
because I'm not trying to make content. When I had
a homy trap which just popped in, I'm all my
comed fake in the faith, like I'm really trying to build,
like I always tell him about his community ADHD shout
out to the homeboys and homegirls over there. I'm like, man,
we could use this space to really rewrite the independent
record business. That's why I'm here to build, You feel

(10:36):
me with this shit, That's the only reason I'm here.
So I always said if I talked to Act, right,
I would talk to cousin person, Like, let me talk
to cousin person. Fuck the content, because I need to
really size up who am I dealing with? Like he
we got a couple mutual friends to Hommie Charlotte Mane
and Hommy Van So I'm not tripping cause it's like whatever.

(10:58):
But he talking to the home homies right, He talking
to the homies because he popping it with the hommies.
So I'm watching him kind of position himself in the conversation,
like trying to get them to talk about other people
regions and the homies is making their conscious so they

(11:20):
not taking it serious, so they just popping it with him.

Speaker 2 (11:23):
I'm not with that. That ain't my thing, that's the
homies thing.

Speaker 1 (11:27):
So finally, when I had enough, I say, hold up,
cause now I'm talking to him. Hey, bro, listen, fuck
all that. Like what you said about these people Raggedy Cut.
Don't talk about people around here like that, because you
really owe these people apology now cause these people He's like, well,
you know, if they feel offended, you know, my bad?

Speaker 2 (11:43):
Cool? All right, Cool. So now he's talking to me
about other stuff.

Speaker 1 (11:48):
So we have a really really good conversation outside of
you know, different parts of people trying to be clickbaities,
I mean whatever, but we have an an interesting dialogue
positioning about what's hip hop, about what I don't like,
what he doesn't like. It became a real conversation to
me that it wasn't good faith. I do think there

(12:10):
were times he was trying to rewrop the conversation, but
it was in good faith, and the conversation made me
kind of say, Okay, you know, I wouldn't mind talking
to him if he wanted to make content with me.
That got him into a space to where it's like
he was worthy of the dialogue for me. You know
what I'm saying As a person, long story, short conversation
wrapped up two three hours whatever. Everybody hit me, different,

(12:34):
people hit me to come on streams, radio shows, whatever.

Speaker 2 (12:37):
Whatever.

Speaker 1 (12:38):
The next day, somebody shaid, who the fuck is Glasses Malone?
And what gives him the right or what makes academic
think that he is worthy? Like why would academics talk
to him? And that became what I thought about between
yesterday and today. Now ever, since I did the work right,

(13:00):
I culturally I'm over the top because I lived all
the shit we talking about.

Speaker 2 (13:05):
I got raised in it. I got raised from zero
to one hundred.

Speaker 1 (13:08):
Like that means when I first started gang banging, I
wasn't the toughest person in the world. People could do
all kind of tricky stuff. By the time I came
out of gang banging, you couldn't even play with me.
So I kind of had the hard struggles. Culturally, I
lived the whole culture you know my mom died in prison.

Speaker 2 (13:24):
You know what I'm saying. I lost everything in the fairs.

Speaker 1 (13:26):
I used to say it like, I've lived the cultural experience, right,
I've been through it at the worst levels and I
survived it.

Speaker 2 (13:33):
All that's of value.

Speaker 1 (13:36):
So to this person, they were saying to me, why
would I even talk to him? And it hit me
to explain something, the difference between social currency and cultural
cachet shut out to Themie Sean Harris, thank you for
the fifty dollars. Jim Dandy, I'm gonna go get some

(13:56):
with that fifty dollars and I'm an eat it on
this stream, my boy.

Speaker 2 (14:00):
Appreciate you for that, Sean much love. I'm glad you
at the lunch table. Uh.

Speaker 1 (14:04):
Shout out to Mark Gears, big supporter of no selling,
somebody who's always encouraged me and Potton from the first
time I start potting.

Speaker 2 (14:13):
I really appreciate you, Mark.

Speaker 1 (14:14):
I know you know we don't talk about it, but
I've always saw your tweets.

Speaker 2 (14:17):
We always dialogue on social media.

Speaker 1 (14:20):
You know what I'm saying, I appreciate that five dollars
and all the supports through these four seasons and whatever else.
You supported in my career that I don't know. Shout
out to everybody who has supported everything you know what
I mean in my career and more gear five dollars.
I'm glad you was snoop sat dude down about what
he said about the fire.

Speaker 2 (14:37):
Yeah that was just yeah, that was crazy. He just
wasn't thinking at all.

Speaker 3 (14:44):
At all.

Speaker 2 (14:44):
Man.

Speaker 3 (14:46):
So let's get to it man.

Speaker 1 (14:48):
So yeah, great point. So I always see your tweets, Squishy,
I was crazy. This is always see your tweets, squishy
Squishy said.

Speaker 2 (15:03):
I don't see her tweets. You see minds. I don't
know how I miss your tweets, but I bet you
I won't miss him. Now.

Speaker 1 (15:08):
I followed you and I have you on Selectors, so
whenever you tweet, I see it.

Speaker 3 (15:11):
So don't do that.

Speaker 1 (15:13):
But the point I'm saying, somebody like Act could be
really popular. Act is really popular. You know, we're talking
about tens of thousands of followers, if not hundreds of
thousands of followers. Yes, I mean for sure tens of
thousands of followers, people that follow all this content, that
follow his streams, that follow all of these things, like

(15:35):
he is extremely rich when it comes to social currency.
Like that means people talking about Act demand's polarity. It
demands attention, right, it demands you know, whether you like
it or not. He's a very polarizing person in today's space,
you know what I mean when it comes to social
media and different people talking about hip hop.

Speaker 2 (15:58):
He is so.

Speaker 1 (16:01):
Rich when it comes to currency, his name will generate
a level of polarity, like you're gonna get polar opposite opinions,
you know what I'm saying. And that is great. And
I mean again, it's somewhere. If it's not tens of thousands,
it's hundreds of thousands of people. I mean his streams
could do one hundred thousand, two hundred thousand, right, that's

(16:23):
how popular. That's how rich he is in social currency.
The difference with glasses alone, while I'm not as famous
or as popular as Act when it comes to this
thing called cultural cachet, like right, the ability and shout
out to the hommy that's from Twitter.

Speaker 2 (16:39):
I don't his name ain't popping up. It's just a period.
For some reason.

Speaker 1 (16:44):
For this year, the word culture is offensive. Even last year,
culture is offensive. And I get wide because the person
you enjoy the most in rap you know what I'm saying.

Speaker 2 (16:54):
You're being told this person is not of said culture.

Speaker 1 (16:58):
So I know that's an offensive thing, and I know
that bothers you, but he's not, And I get why,
you know what I'm saying. So this is why somebody
like Glasses Malone, right, who has one hundred thousand followers,
you know, and a couple hundred thousand dollars, can talk
to a person like Drake that has a couple million dollars.

Speaker 2 (17:16):
Tens twenties, maybe one hundred million dollars.

Speaker 1 (17:18):
But when I say something, it's just as effective and
it's just as powerful because what I have is dense
and potent is different. It's one thing when you're talking
about a thin level, a thin level of broth versus
somebody that's like the chicken itself. It's just a level.

(17:38):
And I think that's why y'all don't understand why certain
words and certain people can go further, like they may
not be that popular, like a Lord Jamar right, he
has cultural cachet.

Speaker 2 (17:49):
He is wealthy in culture.

Speaker 1 (17:52):
And because this whole hip hop premise is built off culture,
you feel me, the things that we say mean the most,
the more things we reveal.

Speaker 2 (18:02):
Become even just as big.

Speaker 1 (18:05):
So that's why somebody like act would have to talk
or he finds a reverence to even speak on me
or speak my name because it's like glasses while he's
not as popular as academics.

Speaker 2 (18:16):
You know what I mean.

Speaker 1 (18:16):
On the social media front is dense and cultural cachet.
When when it comes to this thing, it's just different.
You're gonna talk to me, I'm gonna know a lot more,
you know what I mean, People gonna respect my name.

Speaker 2 (18:33):
It's just gonna be different.

Speaker 1 (18:35):
That's just how it is because I have done what
I needed to do to experience this existence and live
my life, and that's everything in hip hop. A lot
of people, there are some people in hip hop who
really feel like money is what makes somebody.

Speaker 2 (18:51):
You know all that person is rich. It don't.

Speaker 4 (18:55):
It don't never did, never did. Man never asked you
can you can? You could be the popular you could be.

Speaker 3 (19:04):
You know what I'm saying. You can drink yourself with
popularity right there.

Speaker 4 (19:06):
But when it comes to when it comes to being
authentic and and being about you know what I'm saying,
what hip hop is? You know what I'm saying, That
isn't you ain't got to be the most popular person
or nothing like that. You know what I'm saying, You
ain't got to carry that right there. So but but
you have to. But in order to be that, you
have to carry the culture though. Man. You have to
know what it is though, too. And that ship is

(19:30):
similar to like a to like a I think like
a ball player, you know what I'm saying. Like when
you you got inside the NBA and you got skipping
them niggas that do they ship? And you got that,
you know what I'm saying inside of the bas when
you got you got Shock and Barkley sitting there talking
the ship. You're you're gonna look at them them expert
opinions right there a little bit more than you're gonna

(19:52):
look at you know what I'm saying. The way skipping
I'm gonna talk about the ship though, you know what I'm saying,
that's just because the way that should go though or.

Speaker 1 (19:59):
Google Google defines cultural Cashet is a term that describes
the prestige or.

Speaker 2 (20:06):
Quality of something cultural.

Speaker 1 (20:10):
It can also refer to the approval or admiration that
people have for something or someone, but really the prestige
or quality of something cultural like I've been making these
new forms of records I've been telling trap about now
how I'm gonna start releasing them really soon, probably in
the next twenty one days.

Speaker 2 (20:33):
I call it prestigious hip hop.

Speaker 1 (20:36):
Like the thought of expensive came to my mind, the
thought of high brow came to my mind. But honestly,
I don't think hip hop can be low brow or
high brow. I always tell y'all, don't think hip hop
could be low vibrational or high vibrational because you cover
all parts of I know, I know, but I think
it shouldn't because cultural That's like imagine calling soul food,

(20:57):
you know, low vibrational food.

Speaker 4 (21:03):
I get what you're saying, but you can you can
say some soul fool is gonna it's gonna it's good
for you, know what I'm saying, And some soul food
is gonna be what you mean also probably good for you. No,
soul fool's good for you.

Speaker 1 (21:19):
Because remember, yeah, remember if you think about it, right,
it's it's it's food that's kind of making. Do you
know what I mean saying about believe in Like he
was giving the scraps and signed out of the scraps.

Speaker 2 (21:32):
Like yeah, that's why.

Speaker 1 (21:34):
That's why I always say, I don't say soul fool
is Black culture as much as it's American slave culture.

Speaker 2 (21:39):
And it just happened to be ninety nine point nine
percent of American slaves with black people. But again, every
black person wasn't eating that.

Speaker 1 (21:48):
But you know, I read this book by the Honorable
Elijah Muhammad, How They Need to Live, and he pretty.

Speaker 2 (21:54):
Much trashes all soul food.

Speaker 1 (21:57):
I mean, greens, how raggedy they are, and if you
think about it, it's true. I mean, like, why would
you have to cook a vegetable for hours to make
it tender?

Speaker 2 (22:05):
That's just crazy. I mean, if you tried to cook
spinach for hours, it'd be mush. I mean, if you
try to cook any of that stuff for hours, it'd
be much so. Again, I don't like the term low
brown or high brown hip hop, and I think it
does a disservice to somebody that is not necessarily prolific

(22:26):
in English, the English language or English tricks you know
from dialogue, speaking like with or not with, but similes
and metaphors. It's like how we always talk about with Tupac,
where people don't understand what make tupac a great writers
because he understood the cultural cachet of the things he
was talking about, you know what I mean, And that's
what it is.

Speaker 4 (22:46):
You know.

Speaker 1 (22:47):
It's like people thinking hip hop is just rap lyrics,
like oh he raps good, and it's like, yeah, that
don't matter. Like I'm sure if Donald Trump sat down,
Donald Trump could probably strike a decent sixteen. But I
just don't know if if I would jump off the cliff
and make him hip hop.

Speaker 4 (23:04):
What I'm saying, Yeah, I'm gonna say. I'm gonna say
Pop came with what you know. You know, I believe
in the low viborational, high viborational when it comes to music, though,
and I'm gonna say, like Pop did he doubled that
one in both? I feel like, but I hear what
you're saying though within it though, you know what I'm saying.

Speaker 1 (23:21):
I mean, as far as far as when we start
talking about how other artists really play into the English language,
you know, the technique of punchlines, similes, metaphors. There are
some hip hop artists that really root themselves in that
part of it, right, I mean, that is there.

Speaker 4 (23:39):
That's what my appreciation, that's what my appreciationers do.

Speaker 1 (23:44):
That like that, Yeah, I stayed pride and enjoy cannabis.
That's cannabis, pride and joy.

Speaker 2 (23:50):
You know what I mean.

Speaker 1 (23:51):
Like, but then a year you take somebody like Tupac
who understands the earth, the street urban cultural experience that
most of the youth was going through, right, and then
they actually say it in the words, using the correct
dialogue to get the message across, and it's just as powerful,
if not more powerful than things that cannabis is saying,
you know what I'm saying. So it's like, that's why

(24:13):
when I was working on this style of records, I
wouldn't call it low brow or high brow, because it's
doing a disservice to what street urban culture is all about.

Speaker 2 (24:21):
You know what I'm saying.

Speaker 1 (24:22):
It's like, if you long as you convey this level
of street urban culture, you know what I mean? Because
even how we talk to each other trap sometimes we
don't got to be. We ain't in the fift We
ain't in the sixteen pages of the dictionary.

Speaker 2 (24:34):
It could be.

Speaker 1 (24:35):
You know, we get to have a conversation using about
twelve words, and the conversation is valuable.

Speaker 2 (24:42):
Now it is unique.

Speaker 1 (24:43):
If I start using a lot more colors to paint
the picture. But you gotta also appreciate the painting. They
got three colors. It might be rich, it might be dense.
It's the difference between like, like we was talking about
it the other day, Gucci Man and Killer Mike. Both
of them convey Southern street urban culture. One does it
with a different level of dialogue, you know, English dialect

(25:05):
and technical tricks. The other one do it with a
lot more feel, you know what I mean, feel extra annunciation,
you know, shout out.

Speaker 2 (25:13):
To squishy Like Lucris is.

Speaker 1 (25:16):
A really underrated master you know, of words when it
comes to the English language, including the cultural feel of
it all versus somebody like Tip. That is the feel
like he is nice, you know, it's with his nice.
His punchlines is decent. He's a more than proficient them, see.
But his feel as a Southern street urban act is unrivaled.

(25:39):
And that's why at one time we were all comfortable
with referencing him as the King of the South when
Lil Wayne is in the space, you know what I'm saying.
So I didn't like the term low brow high brow
because we reference in street urban culture artistically. I mean
do we say rap is low brow out and graffiti

(26:01):
is high brown, you know, like you know what I'm saying,
Like I didn't like that art? Yeah is that? And
that's the thing. No, such art like Doctor Seuss is
not low brow art. Like there's a genius in what
Doctor Seuss does. You know he made on right, you

(26:21):
know it's not the Bible.

Speaker 4 (26:24):
But so you you play, you play Doctor stets up,
there's close up there with Shakespeare or anything like that.

Speaker 1 (26:30):
Saying yeah, Doctor Seuss is as nice as Shakespeare to me,
and they do something completely different.

Speaker 4 (26:37):
But see, but see I think I think that. But
then like that that goes into that the personal digesting
the art that you know what I'm saying, it's taking
it in, you know what I'm saying. You gotta meet
like you say you say had times, you gotta meet that.
You got to meet the listener where they at, you
know what I'm saying. Then, So, now, if if it's

(26:58):
gonna be trying people that ain't gonna want to head cannabis, rap,
rap with metaphors and symbolies.

Speaker 1 (27:03):
And and there's certain people who are not going to
want to hear that version of that New York who
is a who was a who is a person that
just conveyed New York just a main MAINO got nice.
Let's say already, Oh no, Cat Cat cast is like energy,
he's New York energy.

Speaker 2 (27:23):
You know what I mean?

Speaker 1 (27:24):
And you can't tell me now you could say one
person is more proficient when using the English language, like
like a fabulous But both of them dudes feel like
Brooklyn to me, and they both accomplished the same goal
of making me feel the Brooklyn experience or the Brooklyn

(27:44):
relationship between people.

Speaker 3 (27:47):
I think I'll be thinking like this.

Speaker 4 (27:49):
It's always it's always separated the artists like that, like
you got you got all this, such as like Damn,
I put dmn X Tupac, I even put like a
person like gold in the box of a passionate rapper.
You know what I'm saying. They speak, they speak very
passionately with their music. Right then you're gonna feel, You're
gonna feel what they're saying, you know what I'm saying,
And they ain't gotta say too much, but you're gonna

(28:09):
feel it is that you wanna feel that ship. And
then you got the ones that you know what I'm saying,
like like you deliricism. I mean not to say they're
not lyrics though, but it's just the one that just
rely on a lot more, do a lot more with
the words and ship like that. You know what I'm saying.
It's a separation of it.

Speaker 2 (28:26):
So I didn't like. I didn't like calling it low brown,
high brow.

Speaker 1 (28:33):
So I used the term prestige, where it's a widespread
respect and admiration felt for something based off the perception
of quality.

Speaker 2 (28:43):
That that's the term.

Speaker 1 (28:44):
I think I've settled with prestigious hip hop, where it's like, yeah,
I'm not playing by the rules of all.

Speaker 2 (28:50):
These old records, right.

Speaker 1 (28:51):
And I was telling my homeboy shout out to Will Bronson,
who manages Kept in Chagron, Killer Mike's party. Getting Will
is from the Bay Area, used to an SMC the
independent label, brilliant mind. One of the sharpest motherfucker people
I know when it comes to this thing. And I
listen to everything he said. Seriously, Him and Stretch are
like probably like my muse when it comes to business

(29:12):
and how I see this game. You know that we
call monetizing hip hop all good. And to make a
long story short, he was asking me, how did I feel,
you know, He's like, you don't think you can make
this a little bit better of a record. And I'm like,

(29:33):
when we're saying that, we perceiving and chasing something that's
a little bit more what we would call digestible, or
some people say dumbing it down. I told him I
carry enough cultural cache right that I'm not trying to
dumb it down. I carry enough cultural cachet to where

(29:55):
somebody who don't have to, you know, someone who he
doesn't listen to this level of or this style of
hip hop right could still appreciate it just based off
of my cultural cachet, just based off of that. And
I genuinely believe even the person who prefers their culture,

(30:18):
they receive their culture a little simpler than what I'm
doing with words, will still receiving from me. And that's
what I'm able to bank home because I've just been stockpiling,
you know, culture like I've been, I've just been building
the cachet of how people see me culturally. Shout out
to somebody, make sure you put your name, bro, because
I don't know your name. How do we know if

(30:40):
it's a story, if story to person telling, we not
around twenty four to seven. We don't know what these
people did and didn't do.

Speaker 2 (30:47):
I think that's in relative to something else.

Speaker 1 (30:51):
A lot of creative expressions make believe, but it's different
if you start believing the story you're really telling.

Speaker 2 (30:56):
It's true, that's true.

Speaker 1 (31:00):
Shout out to Don much love, Don, Welcome to the
lunch table. People should only speak on things they actually live.
Experience is good, bad Land does valuable wisdom. If you
haven't lived it, then you shouldn't speak on it, because
then it's just a bunch of accusations.

Speaker 2 (31:17):
You don't have to be famous to be a relevant,
talented artist. That's true.

Speaker 1 (31:22):
That's true, And that is the difference between social currency
and cultural cachet. As far as how I see hip
hop like that, it's different, right, It's like, so every
artist to me doesn't have to have the experience of
what's happening in their community.

Speaker 4 (31:43):
Right.

Speaker 1 (31:46):
Like ice Cube wasn't going out of selling dope obviously
when he made My Summer Vacation. He was already a
more time platinum rapper that was probably a millionaire at
this point in its life. But long as he got
the experience right from people that's from out that section
or in that area right long as he got the

(32:09):
expression right in my summer vacation.

Speaker 2 (32:12):
That's what hip hop should be. They should be.

Speaker 1 (32:16):
Relaying the wisdom of the community, not just their own.
I always say this and shout out to Still because
Still used to give me shit about it. But hip
hop is the movement of we, not the movement of me.
We don't, you know, we've never cared about what's crazy
is when I was growing up listening to hip hop

(32:37):
or you know, any rap songs, I don't think I
ever cared if the people lived the story, you know.
I mean, I think that's a different, you know struggle,
Like I don't quite know if sugar Hill went to
their friend house and the food just wasn't no good,
the macaroni in a melow taste, like, well, I don't care.

(32:58):
Like that happens culture. That's what mattered to me. I
don't know if Mellie Meo walked out of his house
and it was broken glass everywhere and the stairways smelled
like piss, even though I'd imagine you it's true, but
it don't matter because I know that there's a place
in the Bronx that's just like that there's a place
in Wats like that. So hip hop is about speaking

(33:21):
for the culture, you know what I mean that you
grew up in. I don't know if Nas was out
all of this stuff he saw, you know what I'm saying, Like,
I don't. I don't think I really get into that.
I think your job as a hip hop artist like right,
as a like just like a being. I always say this, like,
as a hip hop artist, you're an elected delegate, like

(33:42):
you speak for your constituents. You speak for you know,
the public you represent. The lights might be on at
your house. You might got the best deal, but you
don't speak for that. The people who represent and maybe
you know, y'all might.

Speaker 2 (33:56):
Be on the something. A shout out to the homegirl.
What was your name?

Speaker 1 (34:00):
We go back and get her name, Shout out to
don because we might be on the something. Maybe if
some of these representatives and politics had to live in
the neighborhood, maybe they would represent it different. I'm not
mad at that. I'm not mad at the thought of
that because it is some you know, some white man
that lives in you know, Calabasas representing this district of Watts.

Speaker 4 (34:26):
You know what I'm saying, like they come and visit there,
or they come and see what I'm saying, touch the pavement.
Though you know what I'm saying, they come and touch
the pavement, see whatever what I'm saying, see see what
the people is living like I think.

Speaker 1 (34:40):
But then again we're saying the same thing. Shout out
to homie from Twitter again which I don't know his name.

Speaker 2 (34:47):
He just won't give his name. It's just weird.

Speaker 1 (34:50):
For example, Drake said Kendrick beats his wife. Where's the proof,
God said, Drake's a pedophile? Where's the proof? Pdf fil
where's the proof? People ran one, I'm assuming because it
sounds good of just using this as an example.

Speaker 2 (35:02):
Nobody ran with neither one of those, like, that's just
a weird thing.

Speaker 1 (35:07):
Like nobody do you think this would be the energy
if people thought that that man was like that? Do
you think we would exist in a space where he
could walk about the world anywhere in the world if
people genuinely thought this man was like in which world?
Nobody is gonna let nobody believes either thing. Nobody thinks

(35:31):
that Doc beats his wife. Nobody truly thinks or not
enough people think Drake would be a PDF foul. Bro,
that's just ridiculous, and that's what makes this lawsuit ridiculous.
Nobody thinks he's a You think you could just be followed.
You thought the court would hear you if they knew
that you was a PDF foul. You thought you could
put out one song? How many people? Okay, here's a question, Trap,

(35:55):
I'm not seeing biased, my boy. You being ridiculous. Don't
be silly. People don't like people, don't like people that
play with kids like they will kill you.

Speaker 2 (36:06):
They beat them up on Twitter every day.

Speaker 1 (36:10):
You gotta stop being silly, Like it's okay to be
a fan, but you don't gotta be a stand.

Speaker 2 (36:16):
Bro.

Speaker 1 (36:17):
If people said man was a PDF, there's not one person.

Speaker 2 (36:21):
That would be okay with him walking around life. Trap.
Let me ask you a question.

Speaker 1 (36:27):
If his fans saw a video with him and a
twelve year old girl, do you think he would have fans?

Speaker 2 (36:34):
I don't care.

Speaker 1 (36:34):
We have saw some despicable we have. We have saw some,
we have heard some. We've seen some crazy things culturally right,
some crazy things. No, I'm not accusing you of being
a stand I'm saying, don't be a stand. I've seen
some despicable things happening, right, and it is. He does
have a group of people that feel like his interests

(36:57):
are their interests. But do you think if he saw
a video with him with an eleven year old girl,
do you think he would still be okay with him?

Speaker 4 (37:07):
He asked me to scrept the hell No, it's a
pack him up. But my thing with my thing with
the whole situation is the fact of these things wouldn't
be able to be said if it didn't seem like
that's what the fuck it was.

Speaker 3 (37:22):
I'm gonna say this, ship, though, when you want to stay,
you want to stay.

Speaker 4 (37:25):
You know what I'm saying telling the seventeen year old
girl that you're gonna get yourself locked up? Nigga, you
put yourself that situation right there, you know what I'm saying, situation.

Speaker 1 (37:34):
Which makes to me, to me, which just does nothing
but make the punch line hit. It makes the punchline hit,
It makes the thing, It makes the scheme work. It
don't mean that we thinking that this dude is no
pdf file.

Speaker 2 (37:50):
Ship Ship though, Ship, I'm not disagreeing.

Speaker 1 (37:54):
But we don't think he's a pdf file, bro. This
wouldn't be a conversation. If we thought straight out think
about a trap like this would be discussion is again
it's like and that was another thing about that battle

(38:16):
that's pretty much been over for a year. Everything, Yeah,
everything about that battle was important because one god does
have more social currency in that battle. Flake is more popular,
Jake is more worldly known, but Dot is the face

(38:38):
of cultural cachet. He is the token centerpiece of everything
you could be by being genuinely and authentically street urban culture.
That's the difference. And again in in a in a
in an in an art space that this thing we

(38:58):
call hip hop is in an arts where it's built
on street urban culture. It doesn't matter who's the most
popular person shout out to push your t that's somebody
else who carries a ton of cultural cachet.

Speaker 3 (39:16):
That's the fact.

Speaker 2 (39:18):
Shout out to David Jones.

Speaker 1 (39:20):
David Jones said the claim has more legs than any
of the stuff he said about Dot. That's why it hurts.
I don't even think it hurts him. I don't think
he lost his deal with Nike. Do you think Nike
would be in business with the PDF fil Do you
think any of these venues you think Australia would be
bullying like this is not about that.

Speaker 4 (39:45):
But it was the artist job. It was his job
the paint a picture and make people believe that it
is about it.

Speaker 2 (39:51):
Though, But he didn't have to. But he didn't know what.

Speaker 4 (39:55):
When the battle started, right when we said, we said, Joe, listen,
the thing about a good battle with when the battle's over,
motherfucker's gonna walk away. Look at that looking at the
louser different. You know what I'm saying like that, And
that's what then happened right there. You know what I'm saying,
like like like the loser is gonna be looked that different.
And that's that happens in every battle, be that, every
hip hop, that's that happening. Like that happens, And that's

(40:16):
what happening right.

Speaker 3 (40:16):
Now, you know what I'm saying.

Speaker 4 (40:18):
So yeah, that's what's going on. I mean, it's just
I mean, listen, man, No, we didn't think. No, we
don't think that Drake got a dungeon full of full
of you know what I'm saying, little girl, now, we
don't think that right there. We don't think the embassy
the embassy, Yeah, you know what I'm saying, it's looking
kind of weird though.

Speaker 1 (40:38):
But that's because a great artist can paint something and
enhance the vision, like enhance the look of it. Because
these things are happening in this space because he's on
stage saying this, or he got certain lyrics where he's
saying things.

Speaker 2 (40:53):
That are a little bit more casual.

Speaker 1 (40:56):
You can channel that if you're a you're talented artists,
you can challenge it, right, you can challenge it and
then put it into spaces that make your style and
your approach better.

Speaker 2 (41:11):
Mm hm, you know what I'm saying.

Speaker 1 (41:13):
And and and name honestly shout out to me and
west Cool. Drake is unreal when m this is black girls,
they saved him. Now Drake wanted to get saved because
he's not fully black. It's sad that this is in
disrespect only is okay for that he's fully black? You know, dude,

(41:36):
He's fully black. It's just crazy. Jahru was never the same.
But you know what I always say this in that
battle Ja Ru Okay again, Now I am not the
lesson in hip hop that Ja Ru is.

Speaker 2 (41:53):
Let's start right here.

Speaker 1 (41:55):
So then this is just my thought, right ju situation
shout out to shout out the South Side Queens and
that's no sign.

Speaker 3 (42:05):
Forget.

Speaker 2 (42:06):
That was the Batle North.

Speaker 1 (42:09):
If I'm Joe right, you have to dish now because
if you ignore a wave, it may crush you by
the time the dish records come out. Right, by the
time the dish records come out, you know what I'm saying.
And back then it was different. It did take more time.

Speaker 2 (42:28):
To get a dish record out, you.

Speaker 1 (42:30):
Know what I mean, because you wanted to market it
as a part of your product. Remember, like, uhh, Jay
dropped Takeover. He previewed Takeover, but you.

Speaker 4 (42:39):
Didn't hear I was I was there. I was there. Yeah,
tell me all that looks like?

Speaker 2 (42:44):
What that looked like?

Speaker 4 (42:46):
That ship was crazy, man, like that whole moment. That's
what Michael Jackson came out to and waved that the
crowd and all that ship.

Speaker 1 (42:53):
Tell me how that moment was. Tell me how that
moment was.

Speaker 4 (42:57):
What Michael Jackson when he gave you take So so
he debuted to takeover Ship. So he did the So
you remember he came out on the stage talking and
ship right there. So when he started performing, he only
did the Remember he only did product. He only did
the Prodigy versus at first. No, we don't know. Never,
we never heard. We never, we didn't know. We didn't

(43:19):
hear the Nines versus we heard the product. You heard
the Prodigy versus. So he wrapped, wrapped it, wrapped it
on the beat and everything. It was the first time
you heard takeover. First time you heard Takeover first that summer,
that summer jam. You know what I'm saying. He goes,
he goes, he does the whole. There's the whole. It
was a ballerina. I got the pictures. I see it,

(43:40):
and it's a whole. Rockefellow on the stage with him,
and they all pointed the screen. I got the pictures.
I've seen you putting the screen right. Put it the
summer you see produce on the Summer Jams screen with
the with with the fucking with the fucking dance outfit
on and all that ship doing the split biggas like
two different pictures of the ship.

Speaker 2 (43:57):
Right.

Speaker 4 (43:58):
So he goes back on the ship, though gets back
at him again that it is with the He goes
on to the rest of the person that goes ax
nons he don't want it with hole.

Speaker 3 (44:07):
No, the whole crowd of ups, the whole crowd of
ups ax, nos.

Speaker 4 (44:11):
He don't want it will hold now it stops whole
crowd of ups, crowd of screaming for about five minutes
off ship is many holes went crazy. Then they then
they exit the stage and mic come out. Then they
exit the stage. They exit the stage with the playing

(44:32):
we are the champions, We are the champ remember the
dame dash they have with everybody wanted to do it.
That's what they played the beat up and they exited
the stage with that ship right there though. Beat but
the ship was crazy, you know, so it was it
was it was. It was a moment that when we
was in the moment, you ain't you ain't really realized
that this ship it was just now yeah yeah yeah yeah,

(44:56):
I ain't even like like so so we ended up
hearing the we because we hit him going that. Nots
really heard him going that prodigy, you know what I'm saying.
But he heard him going that prodigy though like that.
But he ended it off with like axe nins, he don't.

Speaker 2 (45:09):
Want it with whole no.

Speaker 3 (45:13):
Crazy, it was crazy, that's what crazy.

Speaker 1 (45:16):
So so long story short, he drops so he previews
it on Summer Damn stage. I understand nas drops the
song after that because he hears that he uses his
name like a freestyt yep and it doesn't quite hit hard,
but people heard it. And then Takeover drops obviously nine
to eleven, two thousand and one, which is this crazy

(45:36):
day in American history for me. Blueprint one, then the
Twin Towers, which I'm sorry, I'm so raggedy, but I'm
just a hip hop dude like that because that's like
my favorite jay Z album, one of my favorite top
three hip hop albums ever.

Speaker 2 (45:51):
And then I hear Takeover, and remember Ether comes out
three months after.

Speaker 4 (46:00):
Remembers actually came out, you know, actually came out on
jay z birthday. Yeah, three months.

Speaker 1 (46:10):
Yeah, because he's he's finishing the album and preparing to
release the album. So I say that to same, right,
because remember Steve Madick came out that same time.

Speaker 2 (46:20):
Mm hmm.

Speaker 1 (46:22):
Yeah, yeah right, what I'm saying, Remember that's what I'm saying.
He had to back then, you just didn't throw away singles. Yeah,
how we do it now? How we got that battle
where you know they were you know, they were marketed
singles the highest level back and forth, you know, six
to seven songs.

Speaker 2 (46:40):
Where the whole world.

Speaker 1 (46:41):
It wasn't that easy to get a song into everybody's
hand at that point, you know what I'm saying. So
fast forward with Jah ruin fifty. When when fifty took
off on Jah remember Whangster kind of was like it
was kind of people felt it was about job, but
it wasn't quite Joe until back Down, you know what

(47:01):
I'm saying. Like, when back Down happened, everybody got their hands.
So however long it took Joah Rud to make the
album and then finished, would end up becoming not New York,
but the first clap Back. Remember, because they were still
trying to sell records with it. They wouldn't just they
wouldn't just drop.

Speaker 2 (47:20):
Rightbody around so coming around that town too.

Speaker 1 (47:23):
Know, that was that was the second album, the second album,
next one, first album at the battle was the one
with Clapback. Yeah, right, But it took time to make
the album and then the song and he dropped it
and it didn't clap Back didn't quite hit. And then
it took another year and then they made New York
and then the r Kelly song and New York actually hit,

(47:44):
but he missed with clap Back. If New York would
if it had been New York, right, you know what
I mean, If New York right.

Speaker 2 (47:51):
Where clad Back was at, we might be talking about
this battle different.

Speaker 4 (47:57):
We all know why that battle happened. Battle that like
that though, And know what I'm saying. I mean, I mean,
we know that fifty was doing. Fifty was on his ass.
Fifty was on it. Sure, mix Tate mix tape, Mix
tape mentioned his name. I'm saying like that. But then
them boys got them, them Alphabet boys came through those too,
And that's what I was.

Speaker 1 (48:14):
Finna Sayah, that's to the point I was getting to
to the person that said Jahru's career was ended. Oh
the honey name brand name. The Feds came and screwed up.
They deal with death jam. When the fans came and
took Irving him to jail, it screwed up. They deal
with death jam. So they wasn't able to keep releasing music.
So it looks like his career was over. But after,

(48:36):
you know, fifty drop back down and get rich. Remember,
jah Ru has a couple of other platinum albums and
hit singles as long as he could put him out.
And then the last, the third project they put out
after that battle was the greatest hits that had no
marketing because Depth Jam had pulled the plug on the
program based around the FEDS. So even in this battle,
it wasn't like like all Drake had to do is

(48:59):
get back to the music. But again, this is where
social currency doesn't help you. Being popular doesn't help you.
It just means there's a million more people to make
jokes about you if you don't know how to lean
back into the culture that this thing is. And you
have a problem though, you have a problem with when
Dre and them dropped Dreda, you feel me, Easy was

(49:21):
on his heels. Easy got it back together, he had
his deal in place. He came right back with real
competen City Jeeves.

Speaker 3 (49:27):
What was the time between that right there?

Speaker 2 (49:30):
I think like four months? Yeah, because Dreda came out.

Speaker 1 (49:37):
Dred came out in ninety two, like December, and Real
motherfucking Gee's came out ninety three.

Speaker 2 (49:49):
August.

Speaker 3 (49:52):
Yeah feel me? Yeah?

Speaker 1 (49:56):
Yeah, So again we again we're looking at a battle
different today, it's different back then. Back then you you
really was trying to sell some records to go with.

Speaker 2 (50:08):
The damn you know you.

Speaker 4 (50:10):
Was Now that it was at your promo and promo
to like like definitely within still Madic. That was That's
that's why we ran and got steal Madic like that.
We wanted to hear that eighth thing. Yeah, we can't
wait that eighth.

Speaker 2 (50:20):
Now, that was the first n CD. That was the
first Nazi ever bought.

Speaker 1 (50:24):
Now that's not the first NAS song I ever liked,
but that was the first na CD I ever bought
because of the Battle.

Speaker 2 (50:32):
Yeah, I remember. That's so impressed.

Speaker 1 (50:35):
Was still madic, right, just like I've been sleeping on
this dude, like this is toute is tough. And then
I had to go back and I had to go
back and get obviously I went and bought what was
the three records before that?

Speaker 2 (50:47):
Three albums before that, four albums. It was written Nazi.

Speaker 4 (50:51):
It was written yeah, all Matic, all mad it was
three Battle, it was all Madic. It was written National Diamonds.
I am forelbum, I am, I Am, I Am.

Speaker 2 (51:02):
So it's like I remember because I remember the National dominics.
The genuine song term y'all I ain't to me is
hard though, uci Wanley to me is hard though that
could be finest, but that's hard to me.

Speaker 4 (51:18):
But I didn't like the the uh the timing man
that was timbling man, Timular did that, ship TONI did that,
did that same bullshit, the fucking l L with the
something like a phenomenon. He just trying to get him
something different, and he's trying to get into his record.
He wanted some big record. You can't get this business
and don't want no big records. Shout out to them
and Revince, thank you for being at the lunch table.

(51:39):
My boy always supported me. It's somebody we met having
age about hip hop.

Speaker 1 (51:44):
And again, like most people that know me, I'll really
be trying to building a genuine space. Everything I speak
on I'm being genuine about it. It's never like there's
no malice. I don't have a disdain. Even in this
particular battle that we're talking about. That is my man,
but we call it. We still won't call us to spade.
It don't matter. I mean, we don't need to cheat.
He was built for the moment. Shout out to the homies, uh,

(52:08):
but shout out to revenge. Laughing my ass off man.
We talking about a guy we already knew wasn't built
like that, though, Bro, we knew Drake wasn't like that
from the jump. Now he in the courts and you're
looking at it through a non judicial lens. Of course,
don't necessarily always side with culture. More time than not
its anti culture. Yes, but I don't think we're talking

(52:29):
about that. I think I told y'all he wasn't like that,
but y'all thought he was like that, definitely. I told
y'all he wasn't like that. Y'all told me he was
like that, and I kept telling you, but I knew
he wasn't like that, And I told y'all he wasn't
like that. You feel me like y'all didn't know he

(52:49):
wasn't like that. I'm like, this guy is a you know,
as a regular guy, but it's not about that. And
even as from a lawsuit standpoint, I'm not a lawyer, bro.
So I just don't think it's gonna work out for him.
I think when you read through the lyrics, When you
read through the lyrics, you're not really gonna be able

(53:10):
to prove he said anything. The faming or defamat or
what's the word deflammatory about you, inflammatory about you, you're
not There's nothing he said specifically. If we read through
the lyrics of that song. Right now, right, let's let's
read through the lyrics.

Speaker 3 (53:26):
Of not like us, We got some Time, We got got.

Speaker 1 (53:35):
I want you to tell me, where is the actual
line that a judge is gonna say, Hey, he said
this about you.

Speaker 2 (53:45):
This is so crazy.

Speaker 1 (53:47):
I see dead people. Mustard on the beat, hole a
mustard on the beat. Ho de bot any rap nigga?
He a free throw man down, Call an ambulance, let
him breathe, bromella nigga to the cross. He walking around
like TEASO. What's up with these your bronie ass trying
to see Compton? The industry can hate me, fuck them
all and they Mama, how many ops you really got?

(54:09):
I mean, it's too many options. I'm finna pass on
his body. I'm John Stockings. Beat your ass and the
Bible of God watching that is such an ill line.
I know you're watching my string dot that's ill. Beat
your ass, the Bible of God watch it. Sometimes you

(54:30):
gotta pop out and show niggas certify boogey man. I'm
the one that have to skull with him, walk walking
down whole time. I know he got some hole on him,
got some hole in him. Hold on him X door
shit bully to flow on him. Say Drake, I hear
you like I'm young, You better not ever go to
sell block one to any bitch that talk to him
and there in love. Just make sure you had your

(54:52):
little sister from him. That's not gonna that's not gonna
be defamation in court. It's not a intent revenge. Intent
don't matter in this kind of suit. Yeah, like it's
it's that's not going to be enough revenge. You know
what I'm saying that that's not that's not going to work.

(55:16):
That's not going to work. Uh, that specific line, say Drake,
I hear you like I'm young, You better not ever
go to sell block one to any bitch that talk
to him and they in love. Just make sure you
had your little sister from him. That in no way
says he's a PDF foul. That's not going to work
as a defamation of character. They tell me, Chub's the

(55:38):
only one that gets your hand me downs and party
at the party, playing with his nose now and BAKA
got a weird case. Why is he around? Certify lover
boy certified pedophiles. Still, that's the closest you can do.
But again, he named three other people. That is how
court works. That's exactly how court works. That's it exactly

(56:00):
how court works. They're gonna look at the lyrics and say,
where is the where is the inflammatory lyrics about you?
That's how defamation work. That's how defamation work. It don't
work no any other way.

Speaker 2 (56:15):
Wop wop wop wop wopp. Fuck him up, wop wop
wop wop wop.

Speaker 1 (56:20):
I'm gonna do my stuff. Why are you trolling like
a bitch? Ain't you tired? Trying to strike a chord?
And it's probably a mining.

Speaker 3 (56:31):
That was hard too.

Speaker 2 (56:34):
Again, if Baka, even Baka Baka's got a why is
he around?

Speaker 1 (56:42):
That's not saying he was convicted. That's not saying he's guilty.
It's saying he had a weird case. Why is he around? So, now,
if those guys were saying that, it'd be a different conversation.

Speaker 3 (56:54):
That they used to that they'll use the do I
work for the for the single no said the artwork.

Speaker 4 (57:01):
Sposta have been like as been like predident.

Speaker 1 (57:06):
This is where this is where art and this is
where art can't impede on free speech. You think the
bag gonna let you disrespect pop nigga. I think that
Oakland Show gonna be your last stop.

Speaker 3 (57:16):
Nigga.

Speaker 1 (57:18):
The call foul. I don't know why you're still pretending.
What is the our bird niggas and bird bitches go
the audience not dumb. Shape the stories how you want, Hey, Drake,
They're not slow. Rabbit hole is still deep.

Speaker 2 (57:31):
I can go further. Our promise.

Speaker 1 (57:32):
Ain't that something? B rad stands for bitch and you malibus.
Ain't no law boy, you bad boy. Fetch gatorade or something.
It's two thousand and nine. I had this bitch jumping you.
Niggas can get a wedgie, be flipped over your boxers
with over your the other vaginal option.

Speaker 2 (57:50):
Pussy. Niggas better straighten their posture, get famous.

Speaker 1 (57:54):
All In Compton might write this for the doctor to
the popstar quick hiding fucking caption won't action, no accident.

Speaker 2 (58:01):
I'm hands on. He fucked around, get polished, fucked on
Wayne girl while he was in jail.

Speaker 1 (58:05):
That's conniven. Then get his face tatted like a bitch apologizing.
I'm glad he rose came home. Y'all didn't deserve him neither.
From a longer down the central nigga better not speak
on some ENAs and your homeboys need subpoenas.

Speaker 2 (58:18):
Then predators moving flocks. Your homeboys need subpoenas. The predators
moving flocks. That name gotta be registered and placed on
neighborhood watch. I lean on you, niggas like another line
of rocks. All eyes on ge and I'm gonna send
it up to up top. Put the wrong label on me.
I'm gonna get him drop sweet chin music and I

(58:40):
won't pass the ox. How many stocks do I really have?
A stock? One? Two, three, four, five plus five? Devil
is a lie, He's a sixty nine god. Freaky ass.

Speaker 1 (58:52):
Niggas need to stay they ass inside role ass something
like a fresh pack of Zy City is back up.

Speaker 2 (58:58):
It's a musk we out. So he actually never in
the song couts him that, And what's crazy is he
only uses it twice in a song, zero chance.

Speaker 4 (59:16):
Yea.

Speaker 2 (59:16):
The fact that y'all keeps saying this is where to me,
because like, what are you talking about? What the fuck
is we talking about?

Speaker 4 (59:26):
It?

Speaker 1 (59:26):
Do come across Hella Biblical demo shout out to demo Radio.
He said, nigga reading scripture facts.

Speaker 2 (59:32):
That's a fact. Helibiblical. I'm really proud to forgive me.

Speaker 3 (59:40):
He went crazy.

Speaker 2 (59:43):
I'm so proud.

Speaker 1 (59:45):
I'm so proud of the impressed because this, this level
of craftsmanship, and this assault is dope. I am impressed,
Like he got me. All the other stuff is fired.
I shout out to X, shout out to excuse me.
What's your name, bro, I'm not know what if you'll

(01:00:06):
put your name dot. If Drake was fought, he would
have shoot over meet the Grahams. Kendrick lied about a lot.
Now we would have something to think about that. I
could take the case serious. I could be like, oh, yeah, well,
you know, he gonna have to prove it. I get
that his name's Todd. Shout out to Todd. Much left,
Welcome to the lunch table, Todd.

Speaker 2 (01:00:26):
I agree.

Speaker 1 (01:00:27):
Then I would be like, yes, yes, now that's the case.
This Let me finish. Once a kind of time, all
of us was in chains. Homie still doubled down, calling
us some slaves. Atlanta was the mecca building railroads and trains.
Been with me for a second. Let me put y'all

(01:00:48):
on game. The settlers through the town folk to make
the town, to make them richer. Fast forward twenty twenty four,
you got the same agendas. You run to Atlanta when
you need a check balance. Let me break it down
for you. This is the real nigga chi call future.
When you didn't see the club, little baby, help get
your lingo up. Twenty one, Yeah you fall street crib

(01:01:10):
thug made you feel like you a slime in your head.
Quable said you could be from north Side two chain.
Say you good, budd Eli. You run to Atlanta when
you need a full dot, when you need a few dollars.
Know you're not a colleague. You're a fucking colonizer. The
family matter and the truth of the matter, it was
God plans to show y'all the liar. Damn so again

(01:01:35):
the thought of your case that somebody that you would
have to say somebody defined you again that that's not
going to work. It's a form of advertisement. It's not
going to work. That's going to go on an advertisement.
Trust me, there is no proof of bots that's going

(01:01:56):
to go on advertisement. And the label won't have nothing
to do with that, y'all. Don't y'all not listening to
what I'm saying to you about these labels. They don't
have those type of services in house. They your job
is to go out and promote and market someone, right.
They hire different independent record promoters to actually go out

(01:02:19):
and attain play for artists.

Speaker 2 (01:02:21):
So it still wouldn't be a case that they could
put on him. If that were the case, they won't
make the purchase that. It's never happened that way, Todd's
I'm telling you the truth. Todd.

Speaker 1 (01:02:32):
Listen to me as somebody who's been in that system
for ten years of my life. Todd, for ten years
of my life, I've been in that system. I have
twelve records that came out in that system, twelve records.
Trust me when I tell you.

Speaker 2 (01:02:49):
They do not have proof of that.

Speaker 1 (01:02:51):
They will never be able to prove that in nowhere possible,
especially not with that company. I know that company, Todd,
I've I've been in that company years. I'll watch how
they do it. I got my budgets. So anything they do,
they outsource it. If they did something wrong, they would
out source it, and that means you would have to
sue that company. So even on this part right here,

(01:03:16):
there are two lines say Drake, I hear you like
I'm young. That is not going to win a defamation
of character.

Speaker 2 (01:03:26):
Lawsuit. I'm really proud of how clean he did this too.
Trip Did you really trip off? How clean this is?

Speaker 3 (01:03:32):
Yeah? That was that was crazy.

Speaker 1 (01:03:35):
But it's not the case to revenge. To be fair, Glasses,
this has never happened before. We never had a case
like this.

Speaker 2 (01:03:41):
This is different. It's not.

Speaker 1 (01:03:44):
It's not because for somebody to say defamation of character,
like like Cardi b Swing people they said something about.

Speaker 2 (01:03:51):
Her that that was supposedly facts like that, they said
something about her. They just say, hey, Cardi b A
she robbed like they said something specifically. Shout out to Todd.
He said, yeah, but we talking about a whole different
caliber artists. Bro no off, it's you, Glasses, because I

(01:04:13):
fuck with you super heavy. I've seen they budgets, both guys, Todd,
both guys one guy.

Speaker 1 (01:04:22):
I know the person that ran THEY system. I actually
been a part of THEY system the whole time. Top
is really one of my closest friends and confidence in
his music business since I first started.

Speaker 2 (01:04:33):
So I watched him develop his business model. He'll tell
you the same. I pretty much learned a million things
from him. We was learning at the same time. So
I saw his budgets and I saw Drake's budget because
I'm signing cash money records.

Speaker 1 (01:04:45):
There's no different caliber artists. It's just bigger. It's just
bigger budgets. So again, he never called him that even
to say he insinuated. He's insinuating.

Speaker 2 (01:04:57):
He's hanging with guys. So even those guys would have
to follow clean in the street guys, so they're not
This is crazy man. Again, say Drake, I hear you
like I'm young. That's not going to win in court.
I hear you like him like a bitch. Ain't you

(01:05:18):
tired trying to strike a chord? And it's probably a
minor that's actually a chord.

Speaker 4 (01:05:25):
You know what I'm saying. That's a double mean But
he's actually talking about the court that he gets away
with that that.

Speaker 2 (01:05:34):
I'm so impressed. I didn't it was dope, and I
knew it was dope, and I'm telling I'm telling him
it was dope. But this is slick slip.

Speaker 3 (01:05:44):
He did it. He did it the first one more verse.

Speaker 4 (01:05:51):
No, that was it.

Speaker 2 (01:05:51):
Everything else is a bridge. No, all four versions. So again,
let me look, because.

Speaker 1 (01:06:09):
Shoves the only one that gets your hand me down
and party at the party, playing with his nose now
and BAKA got a weird case. Why is he around
certify love a boy certified pedophiles. That is not going
to work for him. He is not going to win
this case. It's not about trying to get somebody to

(01:06:33):
understand rap bet. That's actually the point revenge shout out
to revenge. He brings up a good point. That's a
good argument. They still got to make the argument. So
trying to convince someone who doesn't understand rap Bee, that's
the point. You don't have to convince somebody. They're gonna
say what was said about you that defamed your character?
What was said about you? Everything was in your window, revenge.

(01:06:58):
Everything about what he's saying is in you window. Hey Drake,
I hear you like I'm young, does not say that
you are a PDF.

Speaker 3 (01:07:07):
All they gotta do with that one, right there is
pull that motherfucking video up.

Speaker 2 (01:07:10):
Though, where he's kissing a girl that's seventeen years old
to sixteen years said so again he and he even
said to her, hey, yes you can get me in trouble.
I like you, but you can get me in trouble.
So again, like this is not biased. I'm just thinking

(01:07:31):
because at first I was thinking to myself, like, man,
he worded this song well, shout out to Nick. He man,
he got me beat. This is hella good.

Speaker 3 (01:07:41):
Fuck.

Speaker 2 (01:07:42):
This is like good as some of the dudes I
grew up listening to. And I told him, I'm like, hey, bro,
this is really good. Like it's one thing to be
good for this era. It's another thing to be all
time great again. That would be another case, Todd. He said,
what happened if Meet the Grahams comes up in court,

(01:08:02):
that would be a different thing. Todd.

Speaker 1 (01:08:04):
He would have to sue in for that song. But
he specifically referenced the song in the defamation lawsuit. So
then they have to work with these three lines. These
are the three lines, say Drake, I hear you like
I'm young, or they would have to work with him
talking about Chubb's party and Bakker saying he's a lover

(01:08:25):
boy and their pedophiles, or trying to strike a chord.

Speaker 2 (01:08:30):
And it's probably a minor again, that is slim Pickens
to get a jury or a judge to convict on
defamation of character. Minus the rat battle. He really didn't
disimin a damn song like there is now. He didn't
say a lot of disrespectful things about him. In this song,

(01:08:54):
he just makes He's just he did this good.

Speaker 4 (01:09:00):
He makes Drake walk away being looked that different after
the song is done, though, but hey, shout out to
Richard P.

Speaker 2 (01:09:08):
Thomas, Hey, welcome to the Lush Table, Brothers, my first
time seeing you. Great point. I forgot about this.

Speaker 1 (01:09:15):
There was a defamation case filed against Tupac in nineteen
ninety eight by Haitian Jack because against all Liddes, and
it was dismissed because Haitian Jack could not prove there
was injury to his ability to make money. So that
means this song would have had to interrupt it his
ability to make money. He would have to show deals
he lost. And I don't think that would be wise

(01:09:38):
for him to start presenting himself as a loser, because
whatever he's saying in court is gonna come out.

Speaker 2 (01:09:47):
What did he lose?

Speaker 1 (01:09:48):
Nothing has been advertised about him losing anything. He is
not going to win this case. Shout out to Todd again.
He got approved party getting high too. That's if party
was suing him, If party next door was suing him, yes,
he would have to prove that that could be a
defamation to character. But party wouldn't do that. Party is
from the streets to some degree, so he can't do that.

(01:10:09):
He's not Shout out to Roughie and TV. This is
why defamation case is so hard to prove. Drake has
to proved undeniable evidence for defamation and that is one
thing that that dude stuck without doing. Shout out to
Kevin who makes a very great point. Oop that's thrown

(01:10:30):
out too. He dropped eighteen songs last year, so that's
dead on a rival. He just went on Twitter Australia.

Speaker 2 (01:10:39):
Again.

Speaker 1 (01:10:40):
This is a tough case to prove. Again, I'm not
a lawyer. I'll try to get a lawyer on Friday's
stream to talk about it more. You know what, I'll
try to get that lawyer that uh that does that
stuff all the time, because I would like to see
the line. Shout out to Jeremy cole man, big supporter
on Twitter. Man, I appreciate all the support. Jeremy cole
You've been at the lunch table a couple of times.

(01:11:01):
I ain't got to welko, you eat what you want
at the table, bro. Drake is trying to say the
colonizer bars Anti Semitic.

Speaker 3 (01:11:08):
I told you about that, about that. I heard about that,
and that's not gonna work.

Speaker 1 (01:11:13):
Because Jewish people historically are not considered colonizers. That's a
line about white English people the Bible, I thought, in
the Bible line the Bible with God watching, I ain't even.

Speaker 2 (01:11:26):
This is.

Speaker 1 (01:11:31):
Look not the intern the lawyer he wrong too often
then in the lawyer funny, I like you though, Yeah,
all right, shout out the name brand who brings up
a good point. Drake sold out the tour right, that's
what they said, squishy crutch Field.

Speaker 2 (01:11:51):
I told you it's Jewish shy coming out crying. It
never went in.

Speaker 1 (01:12:00):
Shout out to the homie Nick, Thank you g from
all of us C West Coast. Yeah, man, that that
that academic thing was funny many Yeah, yeah.

Speaker 4 (01:12:12):
I mean, like I told you, man, I had the
first the first clip I've seen with you, But that
was you told me to go to the community and
left the stream. We left the live last time. You
told me it was going over there. So the first
one somebody sent it to me.

Speaker 3 (01:12:25):
He just sent it to me.

Speaker 4 (01:12:26):
When you're talking about the culture, I don't even know
about the about getting the apology first I like and
I like the way you did that before we go
into this culture ship.

Speaker 3 (01:12:35):
You better not apologize, bro.

Speaker 2 (01:12:37):
Yeah, I mean.

Speaker 3 (01:12:40):
The people that was insensitive and very insentive. Man that
was sucked up.

Speaker 2 (01:12:44):
I was just raggedy and you my thing, my thing
with act is whatever.

Speaker 1 (01:12:49):
Bro, But you still a brother, like you still gotta
have some kind of integrity when you carry yourself.

Speaker 3 (01:12:53):
Bro.

Speaker 1 (01:12:54):
I don't care about if you don't like no white politicians. Bro,
there's people that lost their career.

Speaker 4 (01:12:58):
Bro.

Speaker 2 (01:12:59):
Yeah, like very crazy man.

Speaker 3 (01:13:02):
You don't just say that.

Speaker 2 (01:13:05):
I really look at hip hop really honestly.

Speaker 4 (01:13:08):
Bro.

Speaker 1 (01:13:08):
If you participate or if you and this, you really
my little homie. Like I don't care what you think.
You really my little homie. And I ain't gonna let
you go out like no sucker and be doing no
sucker stuff. I tell Flock all the time that when
I talk to him, like they don't do no sucker stuff,
like make your content, make your money, but don't be
a sucker.

Speaker 4 (01:13:24):
Man.

Speaker 2 (01:13:25):
That ain't player, you feel me like, just be player?

Speaker 4 (01:13:27):
Bro.

Speaker 1 (01:13:28):
These dudes be having talent. They already really have talent,
you know what I'm saying. Everybody really have talent you
don't got to just be a jacket.

Speaker 4 (01:13:43):
That was crazy when he said though he said that, man,
then he dry justify the ship though, So I ain't
like that.

Speaker 1 (01:13:50):
You're talking about Gavin Newsome in California. You are a
brother talking to brothers. Don't start talking to us. And
then I realized people thought it was ignorant. I'm like, no,
we we're black in America, so we're not having that conversation.
This is a specific conversation. It's the way you treat people.
Like again, but they'd be that uncultured thing like that's
why we talking. Always say, experience is how people treat you.

(01:14:14):
Culture is how you treat each other. I mean, how
you treat people. But that's all I give.

Speaker 4 (01:14:23):
Wait wait that no, no, no, no about the best
batch the song though in the long case, and let's
just get to it. Man, y'all know why the fuck
he doing this shit? Man, I'm gonna tell you right now.
After February ninth, he dropping his case last case.

Speaker 2 (01:14:42):
That's all it is. That's all it is. He mentioned
it to you in the little case because the nigga
mentioned it in the case. The nigga said, let me
tell you what the Nigga said. He said, well, this
is in the TMZ article.

Speaker 1 (01:14:53):
It's also Claire Drake's very mindful of what's going down
in New Orleans next month.

Speaker 2 (01:14:56):
In the suit, he claims UMG was in on getting Kendrick.

Speaker 1 (01:15:00):
Super Bowl halftime gig so the song could be performed
at the massive stage, which he calls one of the
most significant and view cultural events of the year.

Speaker 2 (01:15:09):
But that's it, you know. I was talking to John.

Speaker 1 (01:15:13):
Shout out to only John John from ADHD, the community,
the ADHD. Make sure y'all go download clubhouse, go jump
on on ADHD community. We sometimes do it on Twitter,
but great hip hop community to be a part of.

Speaker 2 (01:15:25):
You learn a million things. We were talking about some
specific and he was saying something. I just lost my
train of thought.

Speaker 3 (01:15:35):
Super Bowl.

Speaker 4 (01:15:39):
Said, the super Bowl is gonna be at the super Bowl.
You read on the whistling, you read on what they
said about the about the culture, biggest culture.

Speaker 1 (01:15:47):
Event, cultural event. Hommy just tagged me in something. Let
me see what happened, said UMG responded, let me see
what UMG said. Crime Universal Music was sponsor Drake's defamation
federal lawsuit. Not only are these claims untrue, but the
notion that we would seek to harm the reputation of

(01:16:08):
any artists, let alone Drake, is illogical.

Speaker 2 (01:16:11):
We have invested massively in.

Speaker 1 (01:16:13):
His music, and our employees around the world have worked
tirelessly for many years to help him achieve historic commercial
and personal financial success. Throughout his career, Drake has intentionally
and successfully used UMG to distribute his music and poetry,
to engage in conventionally outrageous back and forth rap battles

(01:16:33):
to express his feelings about other artists. He now seeks
to weaponize the legal process the silence and artists creative expression,
and to seek damages from U and G for distributing
that artist music. We have not and do not, engage
in defamation against any individual, the statement concludes. At the
same time, we will vigorously defend this litigation to protect

(01:16:56):
our people and our reputation, as well as any artists
who might directly or directly become a frivolous litigation target
for having done more than write a song.

Speaker 2 (01:17:05):
Oh shit, oh shit, Oh yes serious.

Speaker 4 (01:17:19):
Yeah, my lawyer is better than yours. Yeah, I was right,
My law than crazy, Like come on, bro, yeah, he
just down. He wants to battle people what the funk
we suposed to do? Bro One wants to battle people
say things about people.

Speaker 2 (01:17:35):
Mother and then again if maybe if he does other
things like like shout out to Todd and he said
this record but not that record, that record is not
going to work like that.

Speaker 1 (01:17:47):
Idea is ah Man shut out to the Skinny Day.
Thank you for ten dollars. Brother, that's my first time
seeing at the lunch table. For your first time, welcome man,
I appreciate you being here. Bro Glasses. Outside of his
great rap skin, I really believe Kendrick would be a
harder poumber for anybody because what can you say about him?

Speaker 2 (01:18:04):
There isn't much up there about him, which is a plus.

Speaker 3 (01:18:08):
But you was talking about how shoe size he could
say shit.

Speaker 2 (01:18:14):
Battle rappen like.

Speaker 1 (01:18:15):
I get it over the last couple of years or
few years, like if you think that's what battle rapping
is about. NAS didn't say anything special about jay Z
that we didn't know.

Speaker 3 (01:18:28):
Look the jay Z a little bit different when it
was over, though.

Speaker 1 (01:18:31):
Because a rap battle is a rap battle. It doesn't
matter if you have information that's not how Dot won
that battle. It's not he didn't have extra that album
don't have that song, don't have no extra information that
we didn't think about already. That song has no new information.
Did he mention one thing that nobody ever said before? No,

(01:18:54):
So it's not nothing a battle. You can win a battle.

Speaker 2 (01:18:58):
It's not that.

Speaker 1 (01:18:59):
Forgive me, I'm not saying. I'm saying that's not what
you need to win or lose A battle like battle
is all about approach. You know, if you listen to
the bridge is over, you know what I'm saying, Shout
out to Uh, Chris, shout out to the oghummy.

Speaker 2 (01:19:15):
I don't know why I slip on my damn mine.

Speaker 1 (01:19:17):
What's his name? Queens from the bridge is always about
Shan shout out to Ogmi, Shan to shann and Chris.
It wasn't about that when it's about Dre. When it
was LLL and Kumo D it wasn't about leaking information

(01:19:37):
uh snoop and easy, I mean Dre and easy. It
wasn't about that. Q versus n w A is not
about that, right, that's not like you like that's a.

Speaker 2 (01:19:49):
Or where you do something.

Speaker 1 (01:19:50):
But now you could win a battle just by being
better than somebody else. And what's better. It's just depending
on how you work the theme, the scheme of what
you doing.

Speaker 4 (01:20:01):
Listen, man, I told you man, the loser always walks
away from the battle being looked a little looked at,
a little bit different.

Speaker 3 (01:20:09):
You know what I'm saying.

Speaker 4 (01:20:11):
It doesn't matter even if even if it's just because
you know what, the different because you ain't show up
to the battle. You know what I'm saying, Like that,
it's gonna happen though.

Speaker 1 (01:20:17):
You know what I'm saying, shout out to Avenge man,
like it's hard because we're not supposed to be trusting
UMG Glasses.

Speaker 2 (01:20:24):
That's not hip hop.

Speaker 3 (01:20:25):
We're not.

Speaker 1 (01:20:26):
If he was, if he was suing UMG because they
did something, if he said, hey, you guys didn't.

Speaker 2 (01:20:32):
Promote my record, I wouldn't have nothing to say.

Speaker 1 (01:20:35):
I'd be like, that's a bit weird for this time
and space to say all of a sudden, they not
prom on your record. But I wouldn't have any cultural
take about it. It'll be more like, well, that's what
you want to do with his business. But because that
song is at the center of it, that's why it's
not about UMG. It's about the song that UMG released,

(01:20:56):
which still makes it inherently about dot.

Speaker 2 (01:21:01):
You like, you can't separate those two. He won't separate
those two. He won't separate him. He not saying, hey, umg,
you marketed music that defames me. He's saying, hey, this song, specifically,
this song, specifically, you are defaming me in.

Speaker 1 (01:21:23):
So that's why it's a problem revenge. It's not about him,
just swing MG. If he said, hey, you know what,
I don't want to be with you guys, no more.

Speaker 2 (01:21:31):
I had enough.

Speaker 1 (01:21:31):
I don't like how you've been marketing my records. Cool man,
I'll be out of his business. I'll be like whatever, man,
I wouldn't even care that man. That's him and his
people if he don't like what.

Speaker 2 (01:21:42):
They did for him. You can't say that, nah shout
out to revenge. Nah. Thatd just happens to be the
sore um gus and it's the best sort out there.

Speaker 4 (01:21:52):
No no.

Speaker 2 (01:21:55):
No no no no no no no no no no
no no stop would John say no no no no
no no no no no stop stop shop stop stop
stop stop stop No. It's the song. It's the song.
You can't deny. You can't say they use that song

(01:22:17):
as a sword, because it's a sword that was supposed
to be a sword.

Speaker 1 (01:22:23):
You came bad that they marketed a song where you're
in a battle with somebody they are signed to the
same neighbor. If you was worried about them marketing a
song insulting you, why the hell would you battle somebody
under UMG? You you know how to anybody? How good
they are at marketing a song? Should they marketing all
your songs? So why the fuck would you? Why the

(01:22:48):
fuck would you think that they can't market songs? Lord
knows a good song. So again, if it if it
was UMG, bro, if it was in U, if it
was UMG. You know what I'm saying. He was showing
UMG about how they market his record, I wouldn't even
have much to say. I think it would be weird
that he was doing it right now after the battle,
But at least I really wouldn't have no say because

(01:23:10):
he's mentioning this song.

Speaker 2 (01:23:13):
Like this is another weird thing. This is another weird thing.
This is the weirdest thing. As for how Not Like
Us put Drake in danger? Listen, listen, listen, listen, ask
for how not Like Us put.

Speaker 1 (01:23:30):
Drake in danger? So he's saying this one song put
him in danger. He points out that since Kendrick dropped
the Megga hit, there have been multiple shootings at his
or near his Toronto mansion, one which ended with one
of his security guards getting shot. Revens, come on, man,

(01:23:56):
this is crazy.

Speaker 2 (01:24:03):
This is crazy. This is crazy. You gotta at least
be like, oh, that's crazy, not like us put him
in danger. Geez, that's for sure. I've never heard a
dish record put another rapper.

Speaker 4 (01:24:23):
In danger.

Speaker 3 (01:24:26):
Shout out to Richard K.

Speaker 2 (01:24:27):
Thomas.

Speaker 1 (01:24:28):
Wasn't the Able shooting June fifth and Drake shooting July fifth?
We're not gonna talk about that that we're be incriminated.

Speaker 2 (01:24:34):
We know why.

Speaker 1 (01:24:35):
Everybody coachurally knows why the shooting happened. We know what's
going on in that shooting.

Speaker 2 (01:24:39):
The court don't.

Speaker 1 (01:24:40):
It's not our business to talk about it. But it
ain't no coincidence. It has nothing to do with the song.
We all know what happened. But yo, since he want
to play like that, Yo whatever. Shout out to Mumu.
I don't think people take enough account into the fact
that Kendrick is a better musician songmaker than Drake.

Speaker 2 (01:24:56):
I'm not sure that's true. I don't know if that's true.

Speaker 1 (01:25:02):
I think Drake is as great of a record maker
as anybody in the history of hip hop could be.

Speaker 2 (01:25:09):
I think Drake is really a fantastic record maker. I
can't stress appreciate that. You appreciate that too, for he
is especially me because I had to really learn how
to make records. Shout out to Dot, who kind of
was early on making records. I wasn't early on making records.
I was just too busy out here fucking up.

Speaker 1 (01:25:28):
While DoD was talking about Gloria and shit, fucking with Gloria,
I was fucking with Sherman.

Speaker 2 (01:25:36):
He wrote that song about.

Speaker 1 (01:25:38):
Gloria his pen growing up, and that I would have
to make minds about that bottle they used to hold
that Sherman, that PCP and new So he was way
ahead of me. Even Dot was way ahead of me
when it come to making records. He understood what records
were way before I did, and he got way better
at it to He's like God, right now, just hit
his peak. People don't believe this, but this is his peak. Now,

(01:26:01):
this is his peak. That shit he was doing before
is not his peak. He's spent his whole life to
make those out as a record maker.

Speaker 2 (01:26:07):
This is his peak. He's gonna have four songs on here,
four songs.

Speaker 1 (01:26:15):
On this projects that are top ten songs on Billboard
High one hundred, Like they're gonna keep circling back, like
they just getting work to radio now, like they streamed
top ten.

Speaker 2 (01:26:27):
This four or five has streamed top ten. When they
get to work at the radio and they hit mainstream,
people don't realize his music has.

Speaker 1 (01:26:34):
To hit mainstream, Like there's a group of people that's
aware of it in mainstream that just follow streaming. But
when them songs get to plan on radio, like how
they playing now, and they picking up on radio and
they go back to being in at top ten, number
one and two and three and five, and then he
do the super Bowl, this record is really gonna take off.

(01:26:55):
And it's because the records are amazing. This is the
pinnacle of him as a record maker. This is him
at his peak as a record maker, and.

Speaker 2 (01:27:07):
He needs huh.

Speaker 3 (01:27:11):
I think he I think he kind of reached that
that that level with damn though man was I think is.

Speaker 1 (01:27:18):
When he first realized how to make records and keep
the message, I mean, how to how to get the
music to do the same thing the lyrics were because
I feel like on g I think I've talked about
this on Good Kid and to Pemple Butterfly.

Speaker 2 (01:27:33):
It's way too much theme and not enough great records.
Mm hmm. Ton of thing, ton of thing done with dialogue,
A ton of thing done with dialogue. He did a
better job with to Pepper.

Speaker 1 (01:27:44):
Butterfly, but then again, the records aren't as good as
Damn Damn is to me when he started like getting
the understanding of like, oh, this is how you make
records and still be able to keep his message alive.
Right you could take you know, somebody like Mike Will
and make humble like that's special, you know what I mean,
to pass a dop message.

Speaker 2 (01:28:04):
On a record, on big record number one record.

Speaker 1 (01:28:07):
But this right here, when I listen to it, every
hook is in place, every hook is in place, every
bridge is in place, music is in place everything, and
it's just jamming and it's culturally revealed.

Speaker 3 (01:28:23):
Definitely, Definitely.

Speaker 4 (01:28:29):
I mean I can see that because the because the
dude to prodlue slider ship though too. You know what
I'm saying, I think.

Speaker 2 (01:28:37):
It's funny is what's funny is I think Jack, so somebody.

Speaker 1 (01:28:41):
So when I looked at the number of producers, there's
somebody who's producing. Somebody's playing the bass, because I could
tell how the bass is. That's a really special base.
You know, the sounds that they're using, how they tune
that stuff on the base. Shout out to revenge, how
how the endgame might be the Super Bowl. And that's

(01:29:02):
it if he's just being petty. But it don't make
Drake really self destructed on purpose. I tweeted the lyric
that he said, shout out to Domie Kel. I took
it from Kelvin. I tagged him in the page because
I thought it was funny. But he said that he
said that in the lyric and the song do not disturb.
He said, I'd probably self destruct if I ever lose,

(01:29:23):
but I never do.

Speaker 3 (01:29:25):
Mm hmm.

Speaker 1 (01:29:27):
He said that, so he probably is self destructing. I
always thought shout out to mister w I always thought.

Speaker 3 (01:29:43):
He said that.

Speaker 1 (01:29:44):
I don't think he underestimated God as much as he
overestimated himself. You know what I'm saying. I think he's
more than capable of understanding what DOC can do. But
I think there I think there was confusion on his
behalf about the brand of who Kendrick really is versus
the brand that Kendrick is presenting and how much allows

(01:30:06):
him to be everything he wants to be at any time.
I think he thought he had him in a corner
where he had to be this person that was rapping
about revolutionary raps, when his audience they know more than
him than that.

Speaker 2 (01:30:17):
They don't think what you know.

Speaker 1 (01:30:19):
They don't think the surface level of his brand that
you think, so they can accept him making a party
song like not like Us, Like every real Kendrick fan
is going to like not Like Us because they understand
that that's in his wheelhouse now. His first level branding
makes him like he's you know, what's the Lady had.

Speaker 2 (01:30:38):
The Underground Railroad Harry Tullman.

Speaker 1 (01:30:42):
His branding comes across like Harriet Tubman. But the marketing
of who he is to his audience, they understand he's
a much more well rounded person.

Speaker 2 (01:30:50):
From Compton. Shout out to mister W. Glasses. I disagree
with you because you can't fake real talent.

Speaker 1 (01:30:56):
Drake can't touch on subjects that Doc can and the
way he delivers it, that's because their experiences are two
different things.

Speaker 3 (01:31:04):
He's paying a different picture picture.

Speaker 2 (01:31:06):
That's all that is nice, bro Uh, I mean even
Drake is nice. Drake is a really great record maker.

Speaker 1 (01:31:13):
Like I'm telling you, trust me, Like I've been in
this business long enough and I know how tough it
is to make records.

Speaker 2 (01:31:19):
He is very he's a great, fantastic and he's a
he's a more.

Speaker 1 (01:31:27):
Shy that when you water him down, you walk down
the victory. Yeah, when you water when you water Drake down,
you water down the victory. And why it was so impressive,
so you shouldn't do that. Like he is that great
as an MC, he is that great as a record maker.
That's why this win is so monumental. It really showed

(01:31:49):
you how great that was as a record maker. Look,
he delivered on two number one records in the same battle.
That has never been done. So I think everybody realized
how And then he really doubled down on it with
GNX to show you how special of a record maker
he was.

Speaker 2 (01:32:07):
You know what's so crazy about the dash?

Speaker 4 (01:32:09):
I just realized this now, all he did all this
ship and I even mentioned him having ghostwriters. Yeah, he
didn't mentioned ghost writers at all.

Speaker 1 (01:32:16):
No song he only mentioned he said, you said twenty
V one is one v twenty If I gotta, if
I gotta smoke niggas at right with you?

Speaker 2 (01:32:22):
Yeah, that's it only time. Shout out to oldest. Thank
you for the ten dollars.

Speaker 1 (01:32:29):
My only question is if Drake was so sensitive, why
would he get on the song or tell doctor talk
about him liking young girls and.

Speaker 2 (01:32:34):
See about it. This case has no legs. Thank you
for the first time at the lunch table. But you
already hit hall of fame with that information that you
wanted him to say about that. I thought you gave
him the information. Shout out to kill that one. By
the way, I don't quite know, but man, thank you.

(01:32:55):
I enjoyed being authentic and I try to be as
honest as I can with y'all. But we finna get
out of here. We finished go y'all should go down
load Clubhouse right now, right now, once we hop off
the stream, download Clubhouse, subscribe to.

Speaker 1 (01:33:08):
Eighty HD right now, join the house. Really great hip
hop conversations over there.

Speaker 2 (01:33:14):
You feeling.

Speaker 1 (01:33:14):
We had three thousand people come through here today, so
we cooking up. Shout out to everybody who popped in.
I will see you Friday at noon. Pacific Standard time
right here on Digital So I clicked that thumbs up
button for you to get up out of here and
after this, not only should you down to the Clubhouse
and join the eighty h D community for the best
hip hop discussions on the internet, period and social media.

(01:33:38):
The No Sellans podcast is right there below Apple podcasts
or Ieart podcasts, anyway you get your podcasts. The No
Sellings Podcast executive produced by the Charlotte Magne of God
Black Effect Now White Heart. My boy Crab said, you
want to be on your Friday craze. As long as
you got a mic in the interface, we'll get you
on your Friday and.

Speaker 2 (01:33:55):
We'll do it like we do it on Clubhouse. We'll
bring Clubhouse to YouTube. Baby must love everybody. I see
y'all soon.

Speaker 1 (01:34:05):
Good looking out for tuning in to the No 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.

Speaker 3 (01:34:18):
Yeah