The Lunch Hour: What’s The Difference Between Hip Hop & Rap

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Speaks to the planet Charlamagne of God.

Speaker 2 (00:01):
Here before we get into today's episode, we've got to
celebrate the Black Effect Podcast Network. It's turning five years old, man,
five years of powerful voices, unforgettable moments in the community
that keeps growing.

Speaker 3 (00:12):
This is the power of the platform. Now let's get
into it. Watch up and welcome back to another episode
of No Sealers Podcast with your host. Now fuck that
with your loaw glasses, Malon.

Speaker 4 (00:30):
This is like I was telling the track the other day.
A lie is real, you know. So when you say
I'm lying, no, it's real to me.

Speaker 1 (00:38):
You attacking me.

Speaker 3 (00:39):
To you it may be a lie. To me, it's real.

Speaker 1 (00:43):
This turn to therapy.

Speaker 3 (00:44):
Yes, he's over here on the couch. What you think
it is?

Speaker 4 (00:48):
Two niggas on the couch. It better be therapy. So so,
why do you feel like why do you feel like
lessons attack you?

Speaker 1 (00:57):
The doctors in the house, why attack you? What do
you do He's gonna tell you the story?

Speaker 4 (01:02):
Is he gonna tell me the story? No, he wants
you to tell the story.

Speaker 3 (01:06):
Damn.

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

Speaker 3 (01:07):
Don't clamb up, man, I just want to see now, Like,
come on.

Speaker 1 (01:11):
You don't just go see now now, all right, give
us the story. Come on, whatever, why do you hear that?
Why do you feel attacked?

Speaker 3 (01:17):
Can we just move on?

Speaker 1 (01:18):
We passed that nigga. The nigga's on the couch that
you're not talking about. His problem is just take off.
We're worried about yours. We're worried about yours right now?

Speaker 3 (01:25):
What's the topic today?

Speaker 1 (01:26):
Coach? All right? Can you finally got your chance to
get your grievances off? And you clam up?

Speaker 3 (01:32):
Because I will give my griefings off one on one.

Speaker 1 (01:37):
I need to know what happened now, Derry, go chatty, chatty,
there we go. He's like, mess, don't you coach?

Speaker 3 (01:45):
It ain't no mess, Coach. It's a good day to
start this Friday off.

Speaker 1 (01:49):
So you're gonna tell us why why you feel this? Actor?

Speaker 3 (01:51):
No, No, I'm not.

Speaker 4 (01:55):
Okay anyway, last you're gonna start us off? Man, you
don't get us going, I.

Speaker 3 (02:03):
Guess have a moment of silence until trap comes and
starting off?

Speaker 1 (02:07):
What did I miss? What is going on right now?
What's happening? Guys? Somebody need to talk blastes stuff, get
us going, say something he mind in today?

Speaker 5 (02:20):
Glasses is mine in today you run in the show.
He said, if we could pick up the slack, can
you pick up the slow? Okay, so this is this
what it stems from. Did you say something like that?

Speaker 3 (02:32):
No?

Speaker 1 (02:32):
Is that why you did you say something about it?

Speaker 3 (02:34):
You really? You? Really?

Speaker 1 (02:36):
Yeah?

Speaker 4 (02:36):
I really just roll the show, talk about no ceilings,
lunch hour support.

Speaker 1 (02:43):
Okay, so podcast show.

Speaker 4 (02:45):
You want the person who is the last person to
know what the topics are to roll the show, Like,
I'm sure.

Speaker 3 (02:49):
I don't know what the topics are either.

Speaker 1 (02:51):
You know what topic is? Now? Why you got g
up in here? Quiet?

Speaker 3 (02:55):
I know.

Speaker 1 (02:58):
I've never heard it. I never I never seen him
bet this crack in my life. So what'd you do?
You must have did something.

Speaker 3 (03:06):
Hey, that's why I'm just high. Okay, I'm just high.

Speaker 1 (03:12):
That's all I was.

Speaker 4 (03:13):
What did I just walk into? Why are you guys
acting like this right now? Like it's showtime?

Speaker 1 (03:18):
Now? Like now, y'a need to shake hands, make up
and listen.

Speaker 3 (03:21):
Ship, we're not mad at each other.

Speaker 1 (03:25):
Okay, it seems like you're okay is but.

Speaker 3 (03:31):
Man, don't do culture like that.

Speaker 1 (03:32):
Man, come on, man, coach going this is this all?
Is this what y'all said? Y'all gonna do some weird
ship today. Is this it?

Speaker 6 (03:39):
Oh?

Speaker 3 (03:39):
My god?

Speaker 1 (03:41):
Is this the weird ship y'all got playing? Y'all going
to sit here and watch me? This is okay. I
see what's happening.

Speaker 7 (03:49):
Now, don't do like I see don't do like that. No,
don't no, I'm not no. He said we're gonna do anything.

Speaker 1 (04:04):
I'll see.

Speaker 3 (04:04):
What's so nigga lie, So he's going back to the lock.
Is the problem. This is the nigga problem.

Speaker 1 (04:11):
Here, get the mic.

Speaker 3 (04:13):
It's the mic man, Thank you, thank you. So King
was late, No, I wasn't late. King got here at
eleven fifty seven, right, Joker was here. King reorganizes the studio, right,
this is he fixes the studio. He's been doing it
the whole time. So now every time I look for something,

(04:33):
I can't find what I'm looking for. So jokers here,
shout out the joker. Right, Jokers here, right, And I
can't find the extra mic in the extra mic cables
because where I left him, they're not here, but I'm
looking for him. So now we're running behind the show
supposed to start at twelve. King gets here about eleven

(04:53):
fifty six. Eleven fifty seven right now, I'm like, hey, King,
where's the extra cables and the mic? Like you know
what I mean? We missing a fourth cable and mic.
We had six or seven of them, but we for
short shit at four and so now he's starting to
look around. It's twelve. We don't have jokers that ain't
hooked up. So I'm like, damn man. I'm like, I

(05:15):
didn't really say too much. I'm like, man, where's their mike? Shit?
Can you just be moving the stuff around? Now? I
can't find it. I don't know what's at. So it's
worse when you're not here. So now I really don't
know where it's at. So he tell so we finally
Jimmy rigged, right, I'll get a short cable that comes
over here. So it's kind of hanging out. We don't
have the long cables that we need. So with Jimmy

(05:36):
rigg it, I'm like, damn King, may we need to know.
We finally get a Jimmy rigg and he mad. He
frustrated because he can't find the cables and mics that
he put up. And he's like, see now we got
to fix and you and you are attacking me that's
what he said in front the joker.

Speaker 1 (05:51):
You didn't want to say that earlier, exactly in.

Speaker 3 (05:53):
Front of the jokers. Why how's it? This is all the facts,
it's I try. I try to give you the floor.

Speaker 1 (06:01):
You don't want it.

Speaker 3 (06:02):
Now you want to exactly exactly, which is the problem, right,
Instead of him saying, hey, gee, my bad, fool, my bad, right,
which is cool because King ain't got it. That's my partner,
my nigga. But he did say my bad. He's like
your glasses attacking me. I'm like, that's what he said.
So I said, I said, I said, how am I

(06:23):
attacking you? I said, how am I attacking you? Like?
I don't have the cable? You moved the stuff around,
so when you late showing up, I wasn't late. I'm like, King,
if I need what if we needed ten minutes to
set it up and you're not here, but you the
ones that know all the mic and the cables? Is that?
Oh well? You know well, I'm just saying you. You
don't got to talk about me like that in front
of everybody. You just wait till it just me and you.

(06:45):
Oh my bad. I'm sorry. I thought this was an
amicable conversation that we were trying to solve in front
exact like, in front of the company, like and he
just get at me. So instead of him saying, my bad, gee,
it's done. You no accountability the storage, that it's not

(07:05):
about the storage, he could have just said, you know what,
that's true gee. But he said in the President. So
I'm like, my bad, I didn't know you run, instead
of you said, but but you don't think it's important
for me to say what should happen?

Speaker 1 (07:18):
But king, what's you saying?

Speaker 3 (07:19):
What happened? It's time to go? Dog, you say it,
I'm making let's go. You aren't for me to say.
I'm that. I'm not waiting for you to say my bad.
I'm saying if you was gonna say anything, I would
imagine that would be the thing to say. Versus you
worried about them. You got me looking crazy. I'm the
one that's lazy.

Speaker 4 (07:35):
Looking crazy because you already said he.

Speaker 3 (07:38):
Then you said, I'm attacking you crazy because you already
said so. Because he's setting the presidents. So he said
in the President. So I'm like, well, you know what,
you sit up in the front. If you said the
presidents of the show because I said, this is about
the show.

Speaker 1 (07:55):
Okay, So King, So first off, you said.

Speaker 3 (07:58):
It was late. I said, how do you want to
do all this talk when you don't have the mic?

Speaker 1 (08:02):
King? But I'm just wondering why you why you don't
look at this like a bad johnnor though? King?

Speaker 3 (08:06):
Yes, when I said, don't mean exactly what.

Speaker 4 (08:09):
I'm saying, But why do you look at this like
a bad n This is how important you are to
the show, exactly like to.

Speaker 3 (08:13):
Where I swear to God, soul on Olivia soul, on
Olivia's soul, on my mother's soul, rest peace on my
mother soul, rest in peace on my light? Or what
did you?

Speaker 1 (08:28):
You are super important to the show.

Speaker 3 (08:30):
How are you mad that you? You are the life?

Speaker 1 (08:32):
You were the life blood.

Speaker 3 (08:33):
You're the life blood of the show. You are you
why because you're the light? Because you are important to
the show? Man weird?

Speaker 1 (08:42):
What I made was weird? All right, Kink, So lack
of account killing.

Speaker 4 (08:48):
You know how much I can't King, You know how
much I don't be one to side with.

Speaker 3 (08:52):
But got on, Jim, you are the one nigga in
the whole show's time that I've been on. Here said
I said with you one, nigga, you.

Speaker 4 (09:01):
And you've seen the whole for example, historically of people
knowing us, yes, know that, historically of people knowing us.

Speaker 3 (09:11):
That's the first time in life somebody them said you
sided with me?

Speaker 4 (09:14):
And then King, King, you are really so like the
calm video right now and you can you know, I'm
I'm dead shir I'm dead serious about this.

Speaker 3 (09:22):
Is the same reason you ain't want to be called important.

Speaker 4 (09:25):
He was like, no, I'm not important that important.

Speaker 3 (09:29):
Goddamn cable.

Speaker 1 (09:31):
You are me.

Speaker 4 (09:32):
You need me, nigga, you need me, You're important, No,
I said you.

Speaker 3 (09:38):
Man, he mad, we need you. Can't tell you how
could you need me in this light, see this ship?
How could you need you don't go through you mean
tell me glasses. You didn't know everybody was to be
here with the job when you come here, so we
know we could go.

Speaker 4 (09:59):
Back to your I walk up here ten twelve minutes,
twenty minutes, like y'all go with your should running.

Speaker 1 (10:04):
It's gonna y'all just walk up in here and just
get it while I fitted. But we need you before
the shold dart.

Speaker 3 (10:08):
We need you.

Speaker 4 (10:09):
We need you to get the ship going on somebody guests, come,
we need you hit to.

Speaker 1 (10:12):
Be said at all.

Speaker 3 (10:12):
I saw how the nigga said, sitting in his seat
and run the show, because that's exactly. But I could though,
I know how to put the bad tea.

Speaker 1 (10:19):
That's another thing.

Speaker 3 (10:19):
Was the problem. You could have got up here and
I could have I could have started it and everything.

Speaker 1 (10:23):
Can you tell me how to do that? You're a dope.
You're dope.

Speaker 4 (10:25):
You mad, You mad because you dope, and you've got
responsibilities and you and you slack thing responsibilities.

Speaker 1 (10:30):
One time, man, somebody talked.

Speaker 3 (10:32):
To you about one time exactly. All you gotta say
is like, all right, my bad exact like coach, my name,
my man, I've been missing boxing. No excuse me, I'm
not blaming.

Speaker 4 (10:41):
Oh, here we go.

Speaker 3 (10:42):
You know what, coach, You've been doing all You've been
coaching your kids and doing a good job. So it's
your fault. No, my bad, coach, it is your fault.
Coach whole lot. Know on his ass accountability, Stay on
his ass accountability. See I just took accountability, accountability. Let
me get all that, Let me get the shoulder of you.
No go back so people can see you. It can't

(11:04):
it came with the thing he's swinging because you said
the chord is short.

Speaker 4 (11:07):
Dang, you're dope, bro. We need you back, We need
you to be on your shit.

Speaker 3 (11:12):
I hate to see Joker would know why this thing
is out of It's like it's doing this weird focused.

Speaker 1 (11:16):
Thing in and out.

Speaker 3 (11:17):
Yeah, Joker, this is right up his expertise. Joker, that
was your hint. It wasn't. It wasn't a hint why
it goes in and out. It wasn't a hit.

Speaker 6 (11:27):
I don't know anything. I have no idea what kind
of camera that is. I don't even know where this
footage is coming.

Speaker 3 (11:32):
Is it?

Speaker 6 (11:33):
But that camera right there with the bass guitar?

Speaker 3 (11:34):
Ye?

Speaker 1 (11:34):
Yeah, what is it?

Speaker 6 (11:35):
What kind of cameras?

Speaker 1 (11:36):
This is?

Speaker 3 (11:36):
Sony A fifty one hundred.

Speaker 6 (11:38):
Yeah, I don't have anything.

Speaker 3 (11:39):
He still would know, he still would he still would know.
If he looked at it, he'd be like, oh, I
know what, you just hit this this It goes in and
out of focus. It's kind of weird. But I think
it also.

Speaker 6 (11:53):
Could be the lens look pale back here you do.

Speaker 3 (11:55):
It's like yeah, you know.

Speaker 4 (11:58):
I know, it's like it's like makes you look like man, you.

Speaker 3 (12:03):
Always look like like that.

Speaker 1 (12:04):
Now stop. Yeah, I'm a shark skin gentleman. You're how
the darts kid.

Speaker 3 (12:11):
No Silings Live lunch hour every Monday, Wednesday and Friday
right here now Pacific Standard time on No Siblings by
Glasses Along YouTube page. If you're on Twitter, retweet this link.
If you're on Facebook, share this post if you're on
If you're on YouTube, like this, go on to like this.

(12:33):
It's the all the folkus. Okay, we can turn it out. Okay, cool,
I'm gonna turn it off or somebody inside my boy
swaps while who do all the thumbnail one of the
most important and underrated parts of the show. You can't
do it now, though, I can't do it now late now,
I can't do it now because we already started.

Speaker 1 (12:50):
O can't start.

Speaker 3 (12:50):
We already started. So we do this stream and support
the No Silings podcast, fresh episode dropping on a Friday
conversation about uh, a certain type of terrorism. I forgot
the word forgive me.

Speaker 1 (13:05):
A certain type of terrorism?

Speaker 3 (13:07):
Yeah, yeah, hold up, I wrote it down.

Speaker 8 (13:08):
Hold up, I got you like homegrown terrorism like no, no,
he's called uh huh it was a let me tell you.

Speaker 1 (13:18):
It's called.

Speaker 3 (13:20):
Starcastic terrorism, stochastic stochastic stocast sarcastic terrorism. What the stochastic
means chaotic? Well, it's different. Stochastic is like when something
stocastic terrorism. Let me read, let me read the definition again.

Speaker 1 (13:35):
Hold on, stove.

Speaker 3 (13:38):
Castic terrorism is stochastic terrorism is the public demonization of
a group or person that includes that incites long with
violence with statistically probable and unpredictable individual acts of violence.

(13:58):
That's heavy, that's the case.

Speaker 6 (13:59):
That's the chaos part of it.

Speaker 3 (14:01):
Yeah, the whole description. That's crazy. Now, it's not that
crazy though, if you think about it. And it's a
really good podcast. I did it with Trap because Peter
is moving. Peter is looking at some property and Memphis
and some property and somewhere else. He's about to buy
a like a multi unit property. So he's been out
of the mix and I don't like doing the podcast

(14:22):
with bad audio. Yeah, so you know, he don't have
his interface, so you know, being track did it and
it was good. It was really good. We talked about
Charlie Kirk a little bit. We talked about different things
that were revolving around the idea and it's a really
interesting podcast. You can listen to it on Apple Podcasts.

(14:44):
iHeart podcasts anywhere you get your podcasts from. Uh subscribe
to the Notes of this podcast executive produced by charlottmgne
to God the Black Effect Podcast Network and iheard we
don't get this thing cracking. Busy B did a dj
vladd interview up with it. Watchboy g Yes, sir, before
you go on, is my mic life?

Speaker 6 (15:05):
Can people hear me?

Speaker 1 (15:06):
Yes? They can?

Speaker 6 (15:06):
They can?

Speaker 3 (15:07):
They can't.

Speaker 6 (15:08):
A shout out to Jacob the Sinner. Now you say it,
he said, tell the joker please that I love Welcome
to the show, and all the orphans shout out. I
appreciate you man, thank you for acknowledging me. I wanted
to just say that real quick before you get started,
so we don't lose him in the chat once people
start talking.

Speaker 3 (15:22):
Amen.

Speaker 6 (15:22):
Hell yeah.

Speaker 3 (15:26):
Busy B, hip hop pioneer original MC went on DJ
Vlad's television show Flat TV and he was saying that Drake,
that Drake was I know it threw everything off with
King in this scenani here we go again. He was
saying that Kendrick Lamar is hip hop and Drake wasn't

(15:48):
hip hop. He was saying that Drake was just rap,
which is crazy because I thought about this title. I
think I thought about the title before that thing happened.
But it was something specific he said, and he was saying,
he doesn't speak culture. He doesn't speak for the culture.
He doesn't speak for the culture. And really, really, and

(16:15):
in trying to tell people the difference between hip hop
and rap for a long time, for yeah, we at
this point once I finally got a real grasp and
I ranted by some of the legends in New York
and the legends, and I've got something that everybody felt

(16:35):
was close enough. I have took it and made it
my business to implement the concept to everybody. Rap is
the depression of hip hop music that was popularized by
hip hop music. Rap existed before hip hop. Hip Hop

(16:55):
is this cultural, it's this culture. It's the way you live.

Speaker 6 (17:00):
To attitude, identity.

Speaker 3 (17:02):
You know what it was we talked about out It
was a trill.

Speaker 9 (17:08):
It might have been too and they was talking about
Rastafarian versus gay. Oh yeah, I forgot something that was
said that I said that take. That was a great take, though,
tell them what it was that that was dope. That
was a fine one.

Speaker 3 (17:24):
He explained that Rastafarian is the lifestyle that produced reggae music.
But everybody who makes reggae, know, who does reggae music
or dancehall music isn't Rastafarian. That's where we at in
hip hop. Hip hop has been alone so long now,
it's been a while. Excuse me, it's been it's been
around so long now that everybody who raps is not

(17:47):
hip hop. Everybody does not represent the culture, as they say,
and that culture specifically is street urban coaching. It don't
sound I know, it sounds crazy when you hear the
brothers from New York, all the legends. They are so
filthy with culture that they don't have to express that,
you know, they don't have to keep saying, oh, you

(18:07):
know what, you know, because it's natural to them. Like
people in New York are on top of each other.
Like it's like if you stack a bunch of meat
in a pen, like you if you ever season the
barbecue right and then you put all the meat in
a in a in a plastic tupperware set, it don't
have to be perfect, you know what I mean. It

(18:28):
could be on top of each other a little bit.
That's New York they just season that whole plastic tub, right,
and then they just mixed up. That's how New York.
Now it's gonna be some people that ain't got as
much seasoning, but they seasoned. They seasoned. It touched them
a little bit, and it touched them a lot a

(18:50):
bit because you mixed it up. And that's New York.
They the train mix it up like hands. The the
transportation that the wealthiest person the New York takes and
the poorest person in New York takes is the pand
that's the plastic. That's the plastic tupwear. And it just
be mixed up. And they just mix it up on
the sea train. It just be mixed up. They be
hearing everybody talking. They get the attitude. The school. That's

(19:13):
how it is in New York. You can go to
whatever school you want to. It's not like La where
you gotta go to where you permit it. Like here
is your district and you got to go to school
in this district. In New York, you could just go
to what school. So all kinds of people went to
different schools. So people in New York. The reason street

(19:33):
urban culture, the term was never defined. It was natural
for them. You got seasoned with the street urban people
in New York everywhere, and that's what makes it so special.
That's why only a place like New York could have
created hip hop. It's that type of unique place. It's

(19:53):
just this plastic tuugh ofware and they season everybody. Everybody sees.
And it'd be a regular white man and he start talking, Yeah,
the rock campaign full you know where they're again. He'll
just start breaking down the whole album this lyric. You'll
be like, bro, me and joking went the last time.
Joker just talking to this man. He's like, man, gee,
this ship is crazy. I'm like, I'm telling you, this

(20:14):
is what.

Speaker 6 (20:15):
Happened New York Blast, New York City.

Speaker 3 (20:19):
Bro, this is what happens to everybody when you go
to New York. What the fuck is I'm talking about
the train of everybody. You be like a random nigga BDP,
you know, uh uh. They'll just start talking about the
Boogey Down Productions album. He'll just start breaking it down.
He's like, no, no chr rest his verse on this.

(20:40):
You'll be like, what is this white man talking about?
And he'll just be breaking that ship down, you know
what I mean? And that's why New York is special.
So it's hard for New York people to understand the
rest of the world is not like that. It's hard
even the East Coast like, and not just New York City.
But if you go to Boston, like, look at Mark Wahlberg.

(21:03):
Bro Mark Wahburg is a little more seasoned than the
average white person in Los Angeles. But look at this mannerism,
look at this swife, look at his style, look at
how he carries himself.

Speaker 1 (21:17):
You think the rest of the white Bostonians are like that?

Speaker 3 (21:19):
Also, man, a lot of them motherfuckers is like that dog.

Speaker 1 (21:22):
It's weird.

Speaker 3 (21:23):
Why you think the Mafia act like that? Think about
how the Mafia act. Think about all the Mafia movies.
You said, ain't it a little swag versus the average
white person we running to coach maybe like the fucking
movie and we just shoulders and shit, you know what
I mean? They just kind of it's like a style
about him, and they just carry themselves, you know, like

(21:48):
they think they niggas. I'm telling you, even if they
don't like niggas, they think they niggas. They moody, ain't
got no like it's just an attitude. Bro. That's because
the East Coast everything, especially New York City, everything is
on top of each other. Like I need.

Speaker 9 (22:10):
I like to say all the time, like New York,
we don't we don't build out, we build up, you know.

Speaker 1 (22:14):
What I'm saying. So it's like it's like that. So
that that.

Speaker 3 (22:17):
Goes along with then anybody be on top of each
other too, because New York ain't buch so big. Remember
it's an island, Coach, It's an island for the island.
So it's like this really so you so when they
see it when God seasoned, you know what I mean,

(22:38):
everybody and then the train and then people walking next
to each other, it just they seizon each other, you
know what I mean, And it be happening when they're young.
They just it's just a different place, bro. Like I'll
give credit to New York City. That is really unique,
you know what I mean. You can only because there's
white people that do not mix with us out here, Coach,
they never see us a day in they life. They

(23:00):
see a black baby, like somebody from our walker lights,
you know what I mean, Like it clutched they person
New York ain't nobody clutching their motherfucker pop.

Speaker 4 (23:09):
About that that I'm saying you didn't had a couple
of girl women.

Speaker 1 (23:17):
I mean, it depends on It depends on when you
though maybe not man.

Speaker 3 (23:22):
Ain't no white person clutch they person. Queens might clutch
their person.

Speaker 9 (23:26):
Benson, you might go to, might go to White Stone
U Bate Side or something like that. They're gonna look
at you kind of crazy. It's like, I'm broken.

Speaker 3 (23:33):
That's because they gonna be looking at what your broke
as doing over here.

Speaker 9 (23:40):
A place some there called Malley Boy or something like
that. That's what That's what the spar shoots used to shoot
their own and then movies at fick ass House is
crazy right by the white Stone Bridge and look crazy.

Speaker 3 (23:51):
What do you think makes it so hard for people
to take hip hop the culture seriously? That's a better question.

Speaker 9 (24:00):
When they understand what it is, they can never take
it seriously, so they understand really what, really, what what
we mean when we say hip hop? You know what
I'm saying, hip hop culture and shit like that. As
long as people keep on looking at it as being
just music, then it ain't gonna it ain't gonna be taken.
I don't know what it's gonna take people understand it's

(24:21):
just a little bit more than music.

Speaker 1 (24:22):
You know what I'm saying.

Speaker 9 (24:24):
It was a it was a culture created ybe, you
know what I'm saying, powerty, strictening, you know what I'm saying,
Black and the spinning communities, you know what I'm saying.

Speaker 1 (24:33):
And like they.

Speaker 9 (24:33):
They they lived a certain way, they dressed a certain way,
they talked the certain way.

Speaker 1 (24:37):
Everything everything was just done within a certain that they created.
You know what I'm saying. Was nothing done like that
before that? Hey?

Speaker 4 (24:45):
And do you think that they don't take hip hop
serious all the time because they only think it's rapped
and when they see goofball rap, all right, yeah, I think.

Speaker 3 (24:56):
But so you think it's ignorant driving kind of the
challenge of people understanding what it is like they just
don't know. So they're like, no, because my whole life
I thought hip hop was these songs.

Speaker 9 (25:09):
Yeah, they realize not to, they realize that. It's just
like that's why I kind of don't. I kind of
I gotta push back and like I'm like on it
for for it to be taught and people gonna understand
that it's more than just music. You know what I'm saying,
and it could be taught to people as like as

(25:29):
a saying where they teach like, you know what I'm saying,
Muslim studies, you know what I'm saying, or like or
like different type of you know what I'm saying culture
that they they teaching school and stuff. I'm like, I'm
like on the border line of like really like agree
with it and not agreeing with it. But but I
think that would that would come along with people understanding
what it is, that it's just a little bit more
than music though, you know what I mean, that's what

(25:53):
people gotta understand.

Speaker 1 (25:54):
But as hard as basically.

Speaker 3 (25:56):
I don't know, maybe was saying but imagine here, I
think it was saying beings Farian, that's what hip hop is.
It's Rostafarian. It's that somebody it's a religion. I'm like,
that's just a way of life. That's just a discipline.
It's a practice, just like hip hop. It's how you
did right. And rap is the music that hip hop

(26:19):
can produce. Rap is the genre that people talk about.
Rap is the genre.

Speaker 4 (26:25):
So when people say, like a religion, so with would
hip hop be like what Christianity and and and rap
would be like gospel.

Speaker 3 (26:34):
Music mmm.

Speaker 1 (26:39):
Kind of yeah, yeah in a way.

Speaker 3 (26:41):
No, why not because Christianity is a little bit more.

Speaker 6 (26:45):
Vague because it's a category error. I think rap is
a skill. It's like you guys know what rap stands for, right,
originally rhythm and poetry. All right, Yeah, so it's a skill.
It's a skill, like you could take that skill and
do like you can do carpentry in a public bathroom
or at the Sistine Chapel. You could do you know
what I mean. It's a skill. Rap is something you do.
Hip Hop, I think, is like an immersive lifestyle, like

(27:06):
with the talking culture, something that you live. It's an attitude.
It has core tenants, it has like axiomatic principles like yo,
you know, authenticity above everything, Like you could be you
could be hip hop and be from Beverly Hills. You
could be hip hop and be from Texas. You could
be hip hop and be from Queens. But it's an
attitude and it's it's a principle. Whereas rap is a skill.
And then that skill got propagated with the commercialization of

(27:30):
hip hop, you know, in the nineties and two thousands,
and of course it got commercialized. And then they took
that skill and they commercialized it more and more and
more and lowered the bars so that all you had
to do was rap. Then they conflated it. Then they said,
now rap is hip hop, and it's like, nah, see
what I mean. There's a little bit of a difference
of a category errator. So like Christianity talking about gospel music,
it's like, no, that's a direct and media outflow of it.

(27:51):
And it'd be more like hip hop is the lifestyle,
and then what produces, what we produce is authentic music.
That would be like Christianity to gospel music wouldn't be
like rap because you could do rap anywhere in any genre.
It's just like what people what's being commercialized? And then
I feel like they just corporately conflated all that ship
They want people thinking that Waterdale bullship rap is its

(28:11):
hip hop and it's not very distinct.

Speaker 3 (28:14):
Okay boy, okay, cook like you like you? That was
fresh air? King? What's up?

Speaker 6 (28:25):
Man? Can you go?

Speaker 7 (28:27):
King?

Speaker 9 (28:28):
I caught your phone. I caught your phone, took you
ain't answer the phone? I was running late?

Speaker 1 (28:32):
What with that? Man?

Speaker 3 (28:33):
If I talked to King? If I ever try the
whole kiing accountable. I just never here we go.

Speaker 1 (28:38):
I try to.

Speaker 3 (28:38):
I'm trying to let you know, running late though, King answer,
here's a why are you telling?

Speaker 1 (28:46):
King? Because Kingdom who called me every day before?

Speaker 3 (28:55):
Yeah, we can't know you run the show, run the show, motherfuckers?
You need me?

Speaker 1 (29:03):
How dare you? I appreciate you, bro? That's why I
hit you around. I side. I can't go right now
for you hitting me up right now, because can't hit
me up like where you at, Trap.

Speaker 3 (29:14):
I was getting ready to hit you up, but coach
ten minutes I was on the train. Well you come here,
turn my phone off.

Speaker 4 (29:21):
You know, I gotta turned my volume down and everything
when I come in here, so you know, if I'm
not looking at it, hey.

Speaker 1 (29:30):
Trap and get back into these deep waters. But uh, hey,
what's up? What is this a blaze? What is this
you got on? Right now?

Speaker 6 (29:39):
I was thinking that same shirt?

Speaker 1 (29:41):
This a shirt? This is shirt? That's a shirt?

Speaker 6 (29:43):
Boy?

Speaker 1 (29:44):
Sure I didn't get the memo. Trap. I didn't know
he was doing that today.

Speaker 3 (29:47):
I didn't know.

Speaker 1 (29:48):
I was outside running around. So the haircut man.

Speaker 3 (29:56):
That ships yo looking because I'm because what it is?

Speaker 9 (30:00):
I had to go get ready to go. I'm going
to DC tomorrow for you know what I'm saying, Digging
in the Great Event. You're gonna be broadcasting live on
the eighty ah D Joint. So I got I had
to go get make sure I get shape up, you
know what I'm saying. I had to pay up a
little out for the sun, so I was out in
the box. It's like nine this morning. I had to rush.
I rushing the crab. I'm gonna go after I finished it,
I'm gonna go back out and go do a couple

(30:21):
more things and get right.

Speaker 1 (30:22):
But yeah, again, no real quick.

Speaker 9 (30:24):
If you're in the DC area, you know what I'm saying,
Pull up to the seeing lot uptown.

Speaker 1 (30:28):
You know what I mean. Digging in the Crates crew.
You know what I'm saying. They're gonna be doing their
event that they do though.

Speaker 9 (30:33):
You know what I'm saying, it's a it's a bino
event where it's curated by the people who attend the event.
So I'm gonna be doing a broadcast from their live
it's from six to U two, So you in if
you're in the area. It's the it's it's the after
party to the the Hampton versus highwar classic game.

Speaker 1 (30:50):
So if you're in DC, pull up, Yeah, that's it to.

Speaker 3 (30:53):
So back to to Joker's point, it's closer to like
Rastafarian reggae reggae is. Even then they start to even
take reggae back, they're like, nah, they make dance hall.
They starting to really different different ncate exactly what's happening.
So hip hop is how you live. It's every day
like the artistic expression of that street urban culture is

(31:16):
what it's what hip hop is. It's the expression of
it that people can see, you know what I'm saying.
And to Joker's point, there are a lot of people
who grew up listening to rap music. They grew up
listening to rap music. They grew up loving it, fucking
with it. It's one of their favorite genres of music.

(31:37):
It may not versus me where that was my everything.
I didn't have any Like I'm for sure it wasn't
playing on cameo. I wasn't playing none of that other shit.
But there's a lot of people who grew up and
they enjoy rap songs. They really enjoy rap songs, and
you have a lot of people taking the craft of
rapping serious. There taking the Craft series. They are dynastic.

(32:02):
Post Malone's are the prime example of a dynamic rap
record making person using the melodic style that hip hop popularized,
the melodic rap style, and he's making fantastic records. You
could tell he liked rap music growing up, but it
doesn't mean that he's hip hop because he makes the
same music that hip hop can make. Hip hop also

(32:25):
can make.

Speaker 1 (32:25):
R and B.

Speaker 3 (32:26):
Mary J. Blige is a prime example. There's some really
dope s. Nate Dog's a prime example. Yeah, you know
what I'm saying. So it's just weird. And so when
Busy being saying that again, because shout out to the
homie he always at the lunch table, he just said something.

(32:47):
He's saying that the ogs don't do a great job
of explaining what's happening. And the truth is is because
they never had to fully define it. It's so innate
to somebody from New York City. I mean, it is
like natural, like them, Nick, It's just like trap. You know,
it's just natural. They just it's there every day existence,

(33:10):
you know what I mean, It's there. They just live
it every day second nature. It's like how people judge
us for being crips. You know what I mean. It's
like you don't it don't mean it don't mean king
got a snatch of purse or or like or a
coach or anybody you have to do something wrong. It's
just how you live. Being It's just how you live.
Being a part of the community. Being a cripple of

(33:31):
blood is just how you live.

Speaker 9 (33:33):
But you know what I you know what I come
to realize though, like that I got older and ship
because I was I was one point.

Speaker 1 (33:40):
I was at one point and I was like.

Speaker 9 (33:42):
An ignorant state where where I would feel like as
if hip hop only had to look and if it
ain't look like us, it ain't hip hop and shit
like that, you know what I'm saying. You don't know
if you really agreement like that, though, but but I
feel like hip hop looked different depending on what area
you come fun as far as street urban culture from

(34:02):
your area like that.

Speaker 3 (34:04):
Yeah, but the seed only grows in those places and
then the culture sprouts out.

Speaker 1 (34:09):
Yeah, I mean, but it.

Speaker 3 (34:10):
Only It's like it's like oranges don't grow the same
way everywhere, you know, I mean, it's only a seed
that could be grown, you know what I mean? In
its exception in these really dense urban populated communities. That's
why New York is it's the most disney populated place,
an urban disney populated place in America. And that's why

(34:33):
it only grows there. Like we watch other people kind
of try, but it never really works out. If you
think about hip hop, that's why most of the time
you start to like you see somebody like j Cole,
they'll start to look for their success. Forgive me Ja Cole,
because I'm not shitting on you. It looks like New
York City. Fact, you saw how if it looked like

(34:56):
straight up, you might not see the movement of people.
I always tell trap this. This time I realized too,
through my through my studies and all of my jerneys.
Is it's the movement of we, and you have to
have enough we people shout out to Steve. He said,
the most Disney populated is actually Jersey ge my bed.

Speaker 9 (35:15):
I'm sorry with that, damn Shiit same thing all thet
all the little as towns, but between fucking training Newark, man.

Speaker 3 (35:27):
So it's like a seed. So you plant the seed
and then the movement of people, you know, it's we.
So you can see a movement. That's why n w
A works. So that's why Wu Tang works. So that's
why it works, l Ao. It works so well because
it's the movement of a bunch of people. It's not
this kind of sparsely populated place that one person is
just rapping their story. Usually that person is rapping a

(35:48):
movement of people. He's representing, he's giving a voice to
a bunch of voiceless people. It's it's really simple. I
don't know how people can't get this. Hip Hop is
street urban culture artistically expressed through the elements, as people say,

(36:10):
through the arts and elements. Whether you see graffiti as
that as just an element, it's an art. Whether you
see how people move you know we're dancing, whether you
see how people DJing, whether you see rap. If anybody
can rap, the Pope can make a rap album right now,
ours it just wouldn't be hip hop, but it might
be the hardest cathnic rap album of all time probably.

Speaker 6 (36:31):
And I would add authentic to that defin that definition
to not just street urban culture, but authentic because authenticity
is the key. Because people can can emulate street or
urban culture, they can like masquerade as such. I mean
but like, if it's authentic, it can't be emulated because
it comes from an authentic place. Like hip hop was
born out of an authentic, oppressed, marginalized gutter situation and

(36:54):
people that were stuck there, but ultimately by the fuckery
of people in power as the That's what it all
led down to. Keep doing fun shit and then you
wind up with these super oppressed, marginalized communities, the natural
outwork and the authentic artistic expression. From there, it's hip hop,
and then rap became one of the main tenets of
that because why think about why is soccer the most

(37:16):
popular sport on the planet. It's not because people like it,
it's because of the simplicity. All you need is a
ball in a field. You don't need a giant goal
or a bunch of pads and all this other shit
like we got in America. You could play soccer. In Africa,
you could play soccer and Australia in the jungle. Doesn'
matters longly. You have a flat space and the ball
you got it. So therefore it's immediately relatable to everybody. Now,
what does hip hop have and rap have, or I

(37:38):
mean rap more specifically have that all the other instruments.
I mean, all the other genres don't have You don't
need instruments. You got rhythm and poetry, which is just
your work. Everyone has access to the English language, everybody.
It's the lingua franca of the world. So RAP naturally
blew up because of its simplicity, and the entertainment value

(37:59):
is super high in comparison to the output, the necessary output,
so you could you could spend a million dollars a
minute on a Pixar animation and it won't have the
same cultural impact as the illness punchline you've ever fucking heard,
you know what I mean. Yeah, that's the difference. The
simplicity is the language. The logos in the beginning was
the word you know what I mean. It's primary, and

(38:19):
this is being amplified by the pain and the struggle
of the marginalized, see what I mean. But it's simple,
so it's relatable and accessible to everyone. And then when
it comes out of America, when it comes out the
Big Apple, that's the pop culture definer, you know, America
in the big cities in America is the pop culture
definer for the globe. So naturally it just kind of
trickled down out of there and people connected with it

(38:41):
because it's real, so authentic.

Speaker 3 (38:42):
People love it, but you know it's dope. And this
is to Trapp's point. If you try to emulate it
from somewhere else, it gets questioned, like if you just
start emulating what me is doing, like they'll try, Like
you can have a record, but he won't truly blossom
into this huge and great things unless it becomes authentic

(39:04):
to the soil is grown out of the difference between
like an orange in Florida and the orange in California.
They're both oranges, but they are different in texture. I
mean how they peel was because of the input sweetness exactly,
the soil itself, and then the climate that grows right
the soils then and then the environment that is growing it.

(39:27):
It's like, right now, we can all grow a coca plant, right,
does that make sense? Like we could, we could create
the we could mask the uh, but we don't have
the natural element to grow enough you know, cocoa plants
or excuse me, uh, the plants needed to make cocaine.
We wouldn't. We couldn't grow enough of them because their
natural environment, their natural shit cultivates that and that's kind

(39:52):
of what it is. And with New York and everybody
else like New York first are like, it needs to
look like us, but it would never quite become special
anywhere else in less than for you and the actual
environment that is growing. So that to me, became the

(40:13):
seed planet only in these places like we We've even
seen it in a couple other places, you know what
I mean, where it's just Chicago, Memphis, you can see
that seed growing and it's just a little different.

Speaker 9 (40:26):
I like to say, I feel like it's some it's everywhere.
You know what I'm saying. It's everywhere in the world.
You know what I'm saying, But it just has to
resemble about where you're from, though, you know what I'm saying,
Like you got to resemble subject. One day I said,
I said, Yo, Montana got an urban you know what
I'm saying. Somebody said, no, I don't.

Speaker 3 (40:46):
No, No, Mantinna got streets. They don't really have an
urban population. Ain't enough people. They don't have enough people.

Speaker 1 (40:52):
That's the thing.

Speaker 3 (40:55):
The hardest part is when you just represent yourself. And
I think that's what's wrong with hip hop right now.
There's a lot of people doing it just to represent themselves.
They're not taking into account a moving of people that
they're speaking for. They're not giving a voice to the voiceless.
They're the only person that's like, people need to hear
me versus hip hop. Initially, you know, it was about

(41:16):
a bunch of people living this same life and not
with the connection. I mean, it was still a niche
group of people, but it was people that the world
never heard from. So that's why I don't think it
can I don't think the seed can grow anywhere. I
don't think the seed can grow anywhere correctly, you know
what I'm saying. I don't believe that, but I think
it could grow more. Like we see stuff. I see
stuff out of Paris, France that I'll be like, Damn,

(41:37):
that looks crazy. I see stuff in Russias crazy. I
see stuff and opptunity in the United Kingdom, you know
what I mean, and I'll be like, wow, because they
have street urban communities where if you plant that seed,
it's just a little different. But see, the only thing
I think about when it comes to of course seas

(42:00):
being at this is our this is this is an
American culture.

Speaker 9 (42:04):
Like you know what I'm saying, like like hip hopping
is like that. They they tend to do it, just
they don't do it on their own way. It might
be their own language. But like you were going to
Japan and end up hearing japan clunk music. You know
what I'm saying.

Speaker 3 (42:19):
But I think, I think, but I think I think
the times that it has, like right with grime in
in England is dope. But I get what you're saying,
Like when you say, like the UK drill, which is
very odd, because wow, you don't get me wrong. England
is a very they have crime written areas. You'll get
your I mean, y'all saw what happen to the little
pirate that'd be with Drake little pirate dude, I stabbed

(42:42):
in the neck. They get cracking. But I'm saying when
you make real and not understanding the pistol is the drill,
you just think it's just music and somebody is taking
something that really it doesn't fit and that's why it
won't kind of blow up. It's almost like New York
when you York drill, like the music itself could have

(43:02):
stood alone, but a place that you know, like you
would get you know, heard in New York, but it's
not a place known for guns versus like Chicago, where
everybody got a gun. Like that was the kind of
the movement you could see. No little Jojo rest is soul,
you know. I mean this little dude fourteen years old
and they got all kind of pistols and rifles and
switches and shit, and you'd be like, what the fuck

(43:23):
is going on? You know what I mean? That's what gave
birth to drill. That's what gave birth to drill. So
it's like it had like to Joker and Trap because
Trap always said that too, the authenticity. So it's like
that is the point that made Chicago work. It was
the authenticity of what was happening there and then you
could see it and back it up. It's different, you know,

(43:44):
when you're looking like a level of a let's say,
like a like a drill in UK. You know, if
they got a gun, it's like a thirty eight. It's
not like like the assortment of drills you saw from
all of these kids coming up up in Chicago. And
I think you can kind of pass it off for
a little bit, but officially it'll just get caught. Where

(44:06):
did you think you're going from Where did drill come from?

Speaker 1 (44:09):
Term drill?

Speaker 6 (44:11):
But the term I know that, But I mean, like,
what's this? Who coined that? And what was the etymology
of that?

Speaker 1 (44:16):
Ship? I think I think I think it's just what drill.

Speaker 3 (44:19):
The term can Yeah, I think.

Speaker 6 (44:23):
I can get.

Speaker 9 (44:24):
I would think like thinking about drilling, like who drills.
Construction workers drill. They put in work, you know what
I'm saying. So I'm not to go in this drill.
I have to put in this work like that. I
think that's I mean, that's what I'm thinking it is,
though I'm not don't quote me on the throw. That's
what I thought it was, you know what I'm saying,
just putting the work.

Speaker 1 (44:43):
Yeah, so what.

Speaker 3 (44:44):
I'm saying that's a prime example of something that's a
prime exact. And that's the thing, Like I don't even
want to look at it. I want to ask somebody
from Chicago.

Speaker 1 (44:52):
Yeah, right, I Excela somebody.

Speaker 3 (44:55):
It's like, we didn't name the term. We just took
it and owned it after so it's just what we did.
But yeah, I think that's the part that everybody fights with.
Everybody fights with the fact that hip hop and rap
are not they're not mutually like need like they don't

(45:17):
have to be together. Like especially now rap is popular,
I mean, like all kind of people are using rap
and melodic rap to make their songs. The problem is
if we see somebody black using rap, Lord knows, if
they have anything that was popularizing hip hop, we automatically
gonna make that hip hop. And I think part of

(45:41):
the problem is not just them, it's us conflating it
for some false sense of attachment when you know, all
kinds of music been birthed out of these same environments.
You know what I'm saying, all kind of music, blues
has been birthed out of urban communic Well, I don't.

Speaker 1 (45:59):
Know, yeah, yeah, I don't know.

Speaker 3 (46:01):
Loser was birthed out of an urban community.

Speaker 1 (46:05):
Was a country there was a country community, a little.

Speaker 3 (46:07):
Bit more rural. Rural community for sure, losing.

Speaker 4 (46:12):
Birthed out of the migration from the rural to the
city because they was missing out on being in that
actually in the rural.

Speaker 3 (46:19):
So that's what blusers was birthed from having to.

Speaker 1 (46:22):
Move to the city.

Speaker 3 (46:24):
Mm.

Speaker 1 (46:25):
Yeah, that actually makes a lot of sense thinking about it.

Speaker 3 (46:29):
So again, it's one of those things where people can
grow up in these same environments and create all kind
of music. Like always say with Uzie, like that's a
guy from Philadelphia that grew up and created rock and
roll and shaped it in his own image. But people
just fight it for some reason. I don't know why.
It's like, oh, that got to be hip hop because look,
he's a black kid and he's using eight O eights
and like, bro like that do not feel anything like

(46:52):
street urban culture. And it's not that they don't feel
like my type of street urban culture because.

Speaker 1 (46:58):
Trap, go ahead, Chap, I'm grandmothers.

Speaker 3 (47:00):
I want the creator. Tyler, the creator don't feel like
my type of street urban coach. But I know that
street urn coaching. You know that movement of kids like Tyler.

Speaker 1 (47:10):
I was waiting for it.

Speaker 4 (47:11):
Trap, like everything going on. Tried to sneak in this
ship real fast, right, he tried to real fast.

Speaker 1 (47:21):
Yo yo yo, Little.

Speaker 6 (47:23):
Not pop said this ship not pop play boy Cannie,
not hippop.

Speaker 1 (47:31):
Don't who else we got the trippy rad now Hippop.

Speaker 3 (47:37):
I don't. I don't. I haven't listened to all these
people's stuff. But I'm telling you, but you.

Speaker 1 (47:40):
Said, you said R and B could be hip hop? Why? Why? Why?

Speaker 3 (47:43):
What they doing singing can be hip hop?

Speaker 1 (47:47):
I don't know, man, I think it's huge, Thank you, coach.

Speaker 3 (47:54):
What I mean, I'll give me dad in the room.
They marry J Blige is the queen of hip hop?

Speaker 1 (48:00):
Something? You got no argument with me there?

Speaker 3 (48:03):
Why do y'all feel?

Speaker 7 (48:04):
So?

Speaker 3 (48:05):
I don't get it. They pretty much say they're not
hip hop, and y'all just argue with them.

Speaker 1 (48:09):
So so be confused.

Speaker 3 (48:12):
No, they're not. I think I'm confusingly being black with
being hip hop.

Speaker 6 (48:15):
No hip hop?

Speaker 1 (48:18):
Their upbringing, where they are?

Speaker 3 (48:21):
What's happening? What's happening black people who love hip hop
like UZI versus music hip hop?

Speaker 1 (48:28):
I don't.

Speaker 3 (48:28):
It's I don't like this, but it's obvious, right, it's obvious.

Speaker 1 (48:34):
But why they not hip hop?

Speaker 6 (48:38):
Is bullshit? No?

Speaker 1 (48:39):
See, I don't like that ship. I don't like what
you're saying. I don't like it. It's bullshit. So now
it was that hip hop one hundred?

Speaker 6 (48:47):
No, it's not authentic?

Speaker 1 (48:50):
How is that?

Speaker 3 (48:50):
Why?

Speaker 1 (48:50):
Why not authentic?

Speaker 3 (48:52):
It's literally bullshit?

Speaker 1 (48:53):
All right? So you know these are not a couple.

Speaker 3 (48:59):
Okay.

Speaker 6 (49:00):
When the when the entertainment industry moved from physical to digital, right,
everybody freaked out. All the people in power are the
niggas with All the people in powers are the niggas
with the money. They're the left bringing with business niggas. Right,
So the people running the industry, the record companies, they're
freaking out because they got shareholders and ship They got
to keep their their books in the black high law,

(49:22):
which is fucked up. So why we got run. We
got money running music and culture, which is fucked up.
But either way, now that they're panicing losing all this money,
they decide they can't take risks on art anymore. So
what do they do. They look for people to start
their own viral fan bases. They throw money at that.
With the Internet and the proliferation of all this digital technology,
with everybody has their own laptop and computer and recording USB,

(49:44):
MIC and shit, what pops is the lowest hanging fucking
candy store fruit that can be shared and favored by TikTok, Facebook,
YouTube algorithms. Right, So, now the people who have the
money at the top who are gonna invest an actual
aren't gonna invest in actual art. They're gonna invest in virality.
So you get the lowest common denominator popping on the

(50:07):
internet like just some ignorant, whack stupid, cheaply made shit.
Because it's popping in this one little area. The business
suits running the shit, who are beholding to their shareholders
go okay, let's throw all the money right there. Then
it's a runaway cultural cultural proliferation of low quality, low
bar ghetto gangster I mean, ghetto whack crappy music. And

(50:29):
then that gets more and more and more proliferated as
they as they become more and more safe, you know
what I mean. They're waiting for shit to pop and
then pour money there so that they can keep their books,
their books looking good. The artistic expression of the authenticity
is never even even consulted in the entire process. That's
why it's fake as fucked. These niggas just happen to
blow it doing some cheap, whack, little you know what
I'm saying, shit, and then they just got money throwed

(50:50):
at them. These niggas aren't like blowing up organically.

Speaker 3 (50:53):
Anytime you see somebody blowing up, I don't care how
small or big they are to get somebody stepped in
and paid that made that happen because of some small
virality wanted to play safe. So it's not real, it's
not authentic. Answer coach, talk about bullshit. He said, what
you say, what you want first the first coach. All right,
So first of all, uh, hey man. First of all,
hey man, you worded that.

Speaker 1 (51:15):
That was elegant. Man, I'm talking up with it. That
sh That was great. Yeah, that was great, emotional, that's
it sounds about this For twenty years, that was.

Speaker 3 (51:28):
The game with being the most authentic person ever.

Speaker 6 (51:32):
And I hit that fucking fence like the raptors in
more fucking Jurassic Park for twenty years, and I studied
the ship. Bro it's bullshit. It's all bullshit.

Speaker 3 (51:40):
It's all run by money. It's like boardrooms funding art.

Speaker 1 (51:43):
It's retarded.

Speaker 4 (51:45):
Go ahead, coach, I'm just saying, like I said, man,
he has the He definitely emotional and he definitely have
a feeling about Little Uzi and all that genre of music.
And like I said, everything you said, you put it,
you put it great. You worried it properly, I mean
the way you want the word and to use a
lot of big words.

Speaker 1 (52:02):
Man, that was awesome.

Speaker 4 (52:03):
But I do think that a lot of what you
said was based off of how you feel about that music,
like how you personally feel about that music.

Speaker 1 (52:10):
You saying this ship is bullshit, it's wack and all
that type of shit.

Speaker 4 (52:13):
But I still think Little Uzi Vert and some of
these other guys, you know, I don't really listen to
their music that much, but just because just how Mary
J could be the queen of soul, R and B
hip hop? H how I don't think we we can't
just look at rap as I mean hip hop, as
just what.

Speaker 1 (52:32):
We want to hear, what we like to hear, what
we think is good, what it sounds good to us.

Speaker 3 (52:36):
So let's so let's say this, because I think some
of those people are fantastic. Why are they hip hop?

Speaker 4 (52:42):
You said hip hop is based out of the street
urban culture, right, So ask a question first, So why
are we going to look at these guys and say
they're not based out of street urban areas.

Speaker 3 (52:49):
You've seen him and they based out of street urban areas.
So you don't think little Uzi Vert is Philadelphia? I
feel not where you're from. He looked like a movement
of people in West Philadelphia.

Speaker 1 (52:58):
I'm move and I'll say where's he from? Though? Is
he from a street urban area? Yeah? Okay, So why
so because he don't look exactly how you want him
to look. Now he's I don't care how he looks.

Speaker 3 (53:08):
I'm telling you he doesn't look like the way they look.

Speaker 1 (53:12):
I don't know, man, it's a lot of luck young
cats dressing like that.

Speaker 3 (53:16):
So I didn't see that. So listen, I think it's
what it is.

Speaker 6 (53:27):
Young.

Speaker 3 (53:28):
Before you do that, Before you do that, look look
like you could be from a street urban area and
make rock and roll?

Speaker 1 (53:35):
Is young? Dug answered my question.

Speaker 3 (53:37):
Well, there you go.

Speaker 9 (53:38):
Yeah, I was gonna ask everybody where you're from. Either
you could be, you could be you can you make
rock and roll and still be hip hop? That's the
question I was gonna ask trap, not the G.

Speaker 4 (53:48):
Well, if you grew up there living the light, Joker
and G don't like your music, you make the music
that you choose to make.

Speaker 3 (53:57):
Trap, I think that's how you feel like I don't
like music. That's just ridiculous. Listen, I listened. You like lists.
There's a future like on Fire brom Yeah, but I
think but I think that's what you think. And I
think that's what everybody's issue is with me with Drake.

(54:18):
They think I don't like it. I think that's a
cheap one. Actually think you do like I think you do.
But I'm telling you because you tell you who I
like and don't like, so you don't that I don't
need kind of the cheap like, oh you must don't
like them. No, I'm telling you that is not a
representation the street. That being culture in Philadelphia. I've been
to Philadelphia. There's no movement of little Oozzi's. Little Uzi

(54:40):
is a rock star. He makes a modern take on
rock music using elements that hip hop popularized. He grew
up in West Philly. He grew up listening to rap
me you think where? Do you think you got these
elements from?

Speaker 1 (54:52):
From where? From where he was born and raised?

Speaker 3 (54:53):
Right? Yes, But you can a rock enrolled person doing that?

Speaker 6 (54:58):
Why y'all track?

Speaker 1 (54:59):
What's the He can be an R n B person
in B hip hop? He could be a rock roll person.

Speaker 3 (55:04):
Hold on, no, you can't. That's the point. It's a
commitment to both. If you can't commit to both, there's
people that sing but they're hip hop. Se y'all give
credit to that. That's like Drake Whell. Y'all think that
he makes R and B and hip hop which is
ridiculous because he don't make either, or he makes pop music.
He will sing to make pop music, or he will
rap to make pop music.

Speaker 1 (55:24):
So it's little so little Uzi is Drake d.

Speaker 3 (55:26):
You know, Little Uzi is a rock and roll star.
He makes a modern take on rock music.

Speaker 1 (55:31):
I'm not saying he's got rock and roll.

Speaker 3 (55:33):
I'm telling you so. Then at that point, no, he's
not hip hop. That's he's not a representation in street
urban culture. That's not what he is. That's not what
he does. He does.

Speaker 1 (55:42):
His is Christy Brown hip hop.

Speaker 3 (55:43):
D No, Chris Chris Brown's an R and B singer,
uh huh manic hip hop and Chris Brown not hip hop.

Speaker 1 (55:51):
Mary J hip hop, Chris Brown not hip hop.

Speaker 3 (55:53):
Verry J. Blige is deemed the queen of hip hop
soul And why would she that?

Speaker 1 (55:58):
Why wout you think that?

Speaker 9 (55:59):
For?

Speaker 3 (56:00):
You have to ask puff.

Speaker 9 (56:01):
I'm saying that because you did that because of the
first album she was rapping up. She was singing over
a lot of a lot of hip hop break beats
and ship but Chris and she was dressed, and she
was dressed like hip hop video videos was dumb with
hip hop form all.

Speaker 1 (56:16):
The hes not he's not hip hop.

Speaker 3 (56:19):
I'm telling you more people in those communities do the
same thing. That don't mean they're hip hop. That's not
They may not.

Speaker 1 (56:27):
Mean definitely hip hop.

Speaker 3 (56:30):
I'm not gonna.

Speaker 1 (56:33):
No for the term for the terms of them.

Speaker 3 (56:35):
We s saying, hold on, trap, stop doing that. We're
talking about one person. Stop bringing somebody else into the
I didn't bring them up. I didn't bring them up.
You stop doing that. Focused we're talking about little you know.

Speaker 4 (56:49):
You know when you said that's it that if we
start bringing we start bringing up some other people that
help our argument. We can do that, not help you.
I don't like when you do that. She stopped saying that.
Of the Chris, I'm just saying there there, let me
let up like they are two different artists from from

(57:09):
Because for some strange reason, we're gonna tell people that
how rap is this? Because you rap, you're not hip hop.
That's what we're telling people. We're trying to tell you
that the genre of music that you're doing doesn't make
you hip hop. Being hip hop make you hip hop.
So I'm bringing up another person who's not not We
don't care about the genre of music. We care about
their lifestyle, they where they uh, where they up, their

(57:31):
upbringing and all that kind of shit that makes them
hip hop. Makes what they're doing hip hop, It doesn't
not their genre of music. So that's why I brought
up Chris Brown. That's why Virginia, Virginia what city?

Speaker 1 (57:43):
I don't know what the city?

Speaker 4 (57:47):
So okay, so you think Chris Brown did not So
he come across as a person who did not grow
He not drake.

Speaker 1 (57:54):
He drake, Chris Brown drake. So you're saying, no, no, no,
I want you to get on right now Chris Brown. No,
I'm not gonnaow him do that. I'm not gonnaw him
do that. No, but no, you'll went to no.

Speaker 9 (58:05):
No.

Speaker 4 (58:05):
I know cause you cause you're about to walking through
this whole that Chris Brown a phony. That's what you
want to say. You knew what doing he did?

Speaker 1 (58:12):
See that what you about to say about Chris Brown?

Speaker 3 (58:14):
Christ turning around, look at me with this look Chris Brown.

Speaker 1 (58:17):
My badd He's blood exactly. So what this means.

Speaker 3 (58:23):
Authenticity? Hey, I didn't put them on somebody else put them.

Speaker 1 (58:26):
They put him on your blood.

Speaker 3 (58:28):
You know your blood?

Speaker 1 (58:30):
Hey, you know your blood? Authenticity you know your blood.

Speaker 3 (58:32):
Representation of all your movie the people you grew up with.

Speaker 1 (58:34):
Hey, you know your blood, Nigga, make the.

Speaker 6 (58:39):
Look at your fact.

Speaker 3 (58:40):
You know.

Speaker 1 (58:42):
I didn't what you're saying about. What you're saying about
Breezy right now.

Speaker 3 (58:47):
I'm not saying nothing about I like Chris Brown. I'm
like this music, like this music. Yeah, but what are
you saying?

Speaker 1 (58:54):
Okay?

Speaker 3 (58:55):
I like Chris Brown? So now I was an amazing person.
I have a lot of respect. I think he's one
of the most talent people I know, and I think
he's of street army culture to some degree.

Speaker 1 (59:06):
He's hip hop.

Speaker 3 (59:07):
Jumping off to say hip hop, that's not I haven't did.

Speaker 1 (59:10):
Make him not be hip hop?

Speaker 3 (59:12):
The fact that he's an R and B artist, Bro,
that's that was the question that came about to just ask,
though you can actually do a drama of music that
is not rapped and still live a hip hop lifestyle. Bro,
I'm not saying it, but what makes you think Chris
Brown lives a hip hop lifestyle? Because you can see
it what you say he was. He was tagging on

(59:44):
the wall.

Speaker 7 (59:45):
He was.

Speaker 3 (59:47):
Sure if you got cool, big old yet just made
a map blood and he up blood he blooded on it. Listen,
So I'm telling you trap, what is specific? I hate
this now we're talking about Christmas.

Speaker 1 (01:00:07):
I just named it for you.

Speaker 3 (01:00:08):
Just now back up to UZI. This is what y'all
do every time, and then y'all gonna make two back
and piercing. UZI are completely different. So let me know,
let me talk about about about about the thing he
grew up.

Speaker 9 (01:00:22):
Let me no, no, no, no no, I'm gonna tell
you about ozzy hip hop trap.

Speaker 1 (01:00:26):
I'm gonna tell you right now. So I don't.

Speaker 9 (01:00:29):
I don't had conversations with with with with Lake and
Lake and all that sha like that right what it was.
Yet he didn't resemble what West philad w looked like.

Speaker 1 (01:00:38):
You know what I'm saying.

Speaker 9 (01:00:39):
What And that's why Uzzi more or less got on
by going down south to the Acuse that's what the
A was looking like.

Speaker 1 (01:00:45):
You know what I'm saying. They got that whole he was.

Speaker 9 (01:00:47):
He was probably a whole futuristic shit that was going
on out there, all them younger la niggas and all
that shake that they not hip hop.

Speaker 1 (01:00:53):
That was that was his own way right there.

Speaker 9 (01:00:55):
The way he looked the way he resembled now as
far when the come of the music, though, Bro, you're
gonna sit here telling memos.

Speaker 1 (01:01:04):
Walked this way, was walked this way?

Speaker 3 (01:01:08):
Why you're gonna make a pop song?

Speaker 1 (01:01:11):
A pop song?

Speaker 3 (01:01:12):
Walk this way is a pop song.

Speaker 9 (01:01:14):
By one of the maybe by one of the best,
one of the best hip hop dudes of all time.

Speaker 3 (01:01:18):
Facts.

Speaker 1 (01:01:19):
So that so when they when they went into the
and did it, they do it in terms of we're
gonna make this the pops on it.

Speaker 3 (01:01:25):
In turns that we're making a rap You converting this
rock and roll over to rap right now, every one
of their stories, that's exactly what they did.

Speaker 1 (01:01:32):
It's flow right, it's flow right of hip hop or pop.

Speaker 3 (01:01:34):
For Wright to make pop music.

Speaker 1 (01:01:36):
So he's got hip hop.

Speaker 3 (01:01:38):
I'm not.

Speaker 1 (01:01:40):
Because exactly just saying this, I don't know about the
lifestyle though.

Speaker 3 (01:01:45):
Remember when I just said this in the circle, y'all
do a thousand things to get away from the different people.
You stop making bad comparison. Oozy makes rock music. It's
not about not about the music he making. OZI carries
himself as a hip my person. He looks like he
lives the coaching. You seeing me like, man, that's a.

Speaker 4 (01:02:03):
Hip hop nigga right there is young Doug hip hop focus.
I'm just saying, because you keep it, I got a
better question. Better question though, right to me, I got him.

Speaker 1 (01:02:13):
You know, but we can sit the hip hop party
is focus?

Speaker 4 (01:02:16):
When you looking when I'm sinking hip hop, I don't
think about the lettos when I say that nigga got
him on.

Speaker 3 (01:02:21):
You said when I said focus, you get him because
I don't get us heard about everybody.

Speaker 1 (01:02:26):
That's a big difference.

Speaker 3 (01:02:29):
Get mad, you know, different mad. I'm saying focus real fast.
I'm actually that's that's why I turn laughing to see
when you say focused. Actually, I'm actually not going to
say it anything because I realized you don't. I will,
but you don't like that when you do that, I'm
not gonna say now I realize you don't like it,

(01:02:52):
mur I don't want to like it. My point is, coach,
can you see what you be like? That's a hip
hop nigga. No, So what about Ouzi makes you.

Speaker 1 (01:03:02):
Hiss a little young nigga? You young nigga right here?

Speaker 3 (01:03:05):
What you think right there? Because he's black?

Speaker 6 (01:03:08):
Okay?

Speaker 3 (01:03:09):
So you make you know definition? Right? You can? What's
our definition of culture expressed through the arts and elements.
So when you see and you hear him his expression,
what's his expression rock music?

Speaker 1 (01:03:21):
It's authenticity hip hop through rock?

Speaker 3 (01:03:24):
Oh wow, because rock that's crazy. You work right there,
that's crazy. So you're gonna tell Peo why they can
it's pressed the hip hop. You can't express hip hop
through rock. When we're saying it's not hip hop and
the genre of music is it? You're not talking about
the genre, talking about the energy.

Speaker 6 (01:03:39):
Everything can't be a rage it's rock and roll, yes,
the energy. Now what music?

Speaker 4 (01:03:43):
Oh wait, hold on, guys, So y'all telling me right
now that there could never be anybody you know in
in rock is in rock history that could have the
energy of a hip hop artist or hip hop?

Speaker 1 (01:03:54):
There's I know who, no great George Frand Dirs What do.

Speaker 3 (01:04:01):
You mean Fred Dirsch is a rock artist that makes
pop y'all as bad as the people who think.

Speaker 1 (01:04:06):
That motherfucker tinking like he was hip hop?

Speaker 3 (01:04:09):
Oh crazy, Yeah, man, I think it's again as a coach,
it's the worship in the world.

Speaker 6 (01:04:13):
TIR's a category, you know.

Speaker 3 (01:04:16):
Goddamn well, Fred Dirt don't consider himself hiph You don't
live a hip hop lifestyle. Okay, he was fucking superhead, Chap.
I'm trying to be with you, but no, send these
lines and lunch out Friday. Oh we ain't stop too early.

(01:04:37):
Too early, we just stopped. Keep it going, man, come
on the super chest, Superhead.

Speaker 1 (01:04:42):
You gotta do super I ain't knowing if you stay.
I don't know what to say.

Speaker 3 (01:04:46):
He want hats backwards, He want to finit hats.

Speaker 1 (01:04:51):
Wore backwards too.

Speaker 9 (01:04:53):
Yeah, this is what's wrong with people. Listen, listen, I
just mentioned that right there. Let me start trying right
that but but but but we can't do it's just
right here right. So I think that I think that
when I don't know, I think that you you went joker,
feel like hip hop should only saynd one way.

Speaker 3 (01:05:12):
No, that's what I wanted to say. Actually, I gotta
say something earlier. I got it's not yo.

Speaker 6 (01:05:19):
I just got to say something though, because it's like
you can't reduce this opinion on this ship just a
musical preference. Because even when it comes to preferences, there's
all sorts like I literally went to school for this ship, bro,
like studying like what psychological elements of art make people
react why they reacted. And every single piece of art,
whether it's a painting, a film, a rap verse or

(01:05:40):
rap song, has all these like core elements of every
piece of art that makes people like them. You got
things like balance, contrast, harmony, rhythm, emphasis, All these things
are like artistic tenants, right, and you can use those
as objective measures to look at a piece of art
and music or losing Uzi Vert song or fred drst song, whoever,
and apply to sit and see see if it cashes out.

(01:06:02):
These motherfuckers do not care about any of that. They
don't care about making shit that actually resonates with people.
They're just making shit to make people happy and to
make their their their fan base consume their candy store
bullshit more. They don't. I mean, it's it's really like,
the reason why I'm so dismissive about it and it's
so frustrating is because I've seen behind the curtain, me
and Glasses both for twenty years, behind the curtain of

(01:06:23):
this whole industry here, the whole Wizard of Oz industry,
and there's just so much sucker and there's so much
inauthentic sucker shit between the creation of the art and
its dissemination to refflict. That is very, very hard to
even give the like to even ascribe the title of
hip hop to that shit when we know that hip
hop is so fundamentally authentic. A question out the fact

(01:06:47):
that we don't like the music it's about. No, you're
not even respecting like the tenets of actual art creation,
not even respecting hip hop as a cult. You're not
respecting any of that shit. And you got millions of
dollars behind you, shoving garbage candy store like full with
all these poisonous dyes, and ship music to the young,
impressionable kids.

Speaker 3 (01:07:06):
That's why I don't like this nigga, all right, I.

Speaker 9 (01:07:08):
Menage your question. Imagine question real quick. Joking it's like
hold on real quick, imagine joker hard.

Speaker 6 (01:07:15):
Kind of started and it peaked in the nineties and
it went down from there as a function of the
technology and ship, so you know what I mean.

Speaker 3 (01:07:21):
So it's more, it's more deeper than just like I
don't like their music.

Speaker 6 (01:07:24):
Like I've been thinking about why I don't like this music,
why I don't like that type of ship, you know
what I mean, and differentiating that from the authentic shit
I was listening to Bone Thugs East nineteen ninety nine,
Turner Last Night, and and a Doggy Style and Murder
was the case and Ship. Every song sounded different, every
beat had different drums, had different artistic ideas, different melodies.
Everything was cohesive. Now it's the same drum set on

(01:07:45):
every fucking song. It's some damn trap drums with the
motherfuckings pie hats on everything on, not not trapped like
I want to on a rock song. Then they put
that on a metal song, and then they put it's
just regurgitated. To me, hold on, let me fish part
no listen, I'm gonna wrap it up. Part of hip
hop to me is authenticity, period, and none of that

(01:08:08):
music is authentic.

Speaker 3 (01:08:10):
Like that alone makes me.

Speaker 9 (01:08:11):
Not like it.

Speaker 6 (01:08:11):
It's not about just preference, it's about it's not authentic.

Speaker 4 (01:08:14):
Okay, My question is this right here, because we getting
away from the whole point of everything to personal genres
of music. Now, if hip hop is like you're saying,
it's hip hop is the way you live and grow up,
what about the people in the neighborhood that grows up
in a family where one dude is a gang member
listening to hip hop and the brother is listening to
rock music. But he's living the same way, going out

(01:08:35):
in the same streets, hanging out with the same friends.

Speaker 3 (01:08:37):
But he just likes to listen to rock music because
I've seen that growing up, where you.

Speaker 4 (01:08:41):
Have a family in the hood and they all do
the same, grimy everything, but he just likes to listen
to rock music.

Speaker 3 (01:08:46):
I think we need to make still hip hop.

Speaker 1 (01:08:48):
I think we need to still what.

Speaker 6 (01:08:51):
I think we need to make a distinction between like
an art or a genre or.

Speaker 4 (01:08:57):
Member of music is an expression. He could talk about
the heart ship of living in the hood through rock music. Remember,
it's just words in real and therefore it could be
rock music.

Speaker 3 (01:09:05):
Yeah, it could be.

Speaker 1 (01:09:06):
But is he still hip hop? That's the problem we
have here.

Speaker 3 (01:09:12):
It's not just lifestyle.

Speaker 4 (01:09:14):
It could be rap. It's not hip hop. No, but
I was him, But he grew up hip hop. He
grew up in the hood, he grew up in.

Speaker 3 (01:09:21):
This hip Hop is the expressed and culturally of that. Authentically,
that's what they're talking about. Okay, So it's only so then,
it's only it's the artistic expression of that. Yes, authentically,
you can only express hip hop through rap and R
and B.

Speaker 1 (01:09:40):
Is what you're saying.

Speaker 3 (01:09:40):
No, I'm so listen, I'm not. You can't express it
through R and B. You can express it through singing.
These are specific genres. Rap is. That's why I sat
genre rock is a genre here like their genres, But
there's only specific genres you can express hip hop through.

Speaker 1 (01:09:58):
No, it's not expressed and pop.

Speaker 3 (01:10:00):
I'm saying rap listen, but rap is the chosen is
the chosen vocal delivery. So when you make rock, rock
is like a complete genre, and they do complain about
the same things. They do the same thing in R
and B, like inner city blues, like like street urban culture.
Lifestyle is not exclusive to hip hop like like so yeah,

(01:10:24):
you can have it in Beverty Hills and places like that.
That's trap said that. I don't agree that.

Speaker 6 (01:10:33):
No, I was saying, but we have to find categories.
That's the problem. Is it an expression or is it
a lifestyle?

Speaker 1 (01:10:45):
You know what I mean?

Speaker 6 (01:10:45):
Like we have to We're doing a lot of conflating here.
At the time, I was talking about something slightly different,
a little bit more nuanced, but lifestyle.

Speaker 3 (01:10:52):
Hold on, Kelvin, we agree, Kelvin, you can express street
urban culture. Well, you can't do it in country. They're
not gonna let you to. Yeah you and they're like no,
that's that's they demand country.

Speaker 1 (01:11:07):
Expression.

Speaker 3 (01:11:08):
They demand that rural expression. So it's like, okay, so
here's what's happening. There's a desire for everything to be
accessible to every human. M hmm. There's a desire of
humans to have things, everything accessible to every human. It
don't have to be like none of it. Like me
saying little Uzzy. Me saying little Uzy is not hip

(01:11:30):
hop is not me slandering him. It's me saying he
doesn't make hip hop. That's not what He's not a
hip hop artist. That's not saying he didn't grow up
in the street urban environment. People that grew up in
the street urban environment also created jazz.

Speaker 1 (01:11:42):
Oh got there.

Speaker 3 (01:11:43):
I get your point.

Speaker 4 (01:11:44):
Now you're saying he creates this kind of music, doesn't.
Doesn't say that he didn't live hip hop. He just
don't create hip hop music. Okay, So what you're saying
the artistic is what makes it hip hop? When okay,
me being a crip or a stick up kid. Being
a stick up kid is just being a stick up kid.
Yeah right, that's just all it is.

Speaker 3 (01:12:02):
Until you artistically express the struggle that came around, that
becomes hip hop. You get get what I'm saying.

Speaker 4 (01:12:10):
I'm starting to try to understand what you I'm trying
to understand what you said tremendously.

Speaker 3 (01:12:15):
So a stick up kid is a stick up kid, right,
and then how their life is how they do, and
when they start to express it, they become pop. It
fit a certain criteria, not a certain criteria because then
that same person that's a stick up kid could become
a rock star, because that same person that was a
stick up kid could become a jazz musician. But they
should a stick up kid. Yeah, so it's a common

(01:12:36):
thing like how you live. Don't mean you have to
create hip hop. Like Ouzi grew up in the street
and he created rock. He creates rock music. I agree,
creates rock music, but he has.

Speaker 1 (01:12:45):
To create Yeah, let me ask you this, right all right, sir?
The first question is that right there? Right? Agree with that?
All right?

Speaker 9 (01:12:56):
So when when when we were determined they say your
you hear the term when they say it's nothing new
under the sun. Yes, so you agree with them that
when it comes to music, yes, okay, So then so
then once it once it becomes to the term of
nothing and it's not in new one of the sun.
And like you want to bring something new, the next

(01:13:16):
thing you could change is the sound. You know what
I'm saying, Nike, be a change of wordscause everything that
I've been said and all that like that though, so
now we're gonna do now is it's changed the sound
and evolved the sound into another sound that could still
be looked upon as being hip hop.

Speaker 3 (01:13:31):
Though the delivery we changed the delivery trap right, okay,
trap to your point, just because it's not familiar and
hip hop doesn't mean it's not familiar, right, Like it's
familiar in rock and roll Little Uzy, Travis Scott, their
energy is familiar. I just heard it in different genres
of music.

Speaker 1 (01:13:51):
That's it.

Speaker 3 (01:13:52):
Like the Little Uzy shit is not completely It's not
like little Uzi is creating something I never heard before.
He's just making something that doesn't exist and rap me
because that ain't what he's not a product of. That's
not what he's doing. He's not creating that thing. He's
taking what he grew up in and then creating rock music. Corre,
He's creating rock music. It's not not a diss to him.

(01:14:16):
And right now with pop music, they're using eight O waights.
Right now in pop music, they're rapping. Right now in
pop music, they're using so many elements. They're using so
many elements that hip hop popularized through the rap genre.
That's what happens to popular the things that become popular.

(01:14:36):
It's not an oozy, dirty shout out to the aircraft carrier.
It's not not disrespecting. Joker doesn't like him as an artist.
He said he doesn't put enough into his music.

Speaker 6 (01:14:46):
It's direct disrespect for.

Speaker 3 (01:14:48):
That's what I'm saying. He said, that's because that's because Joke.
But that's because Joker is a real music It's different,
like you're talking to somebody who prized himself the nigga
could play the drums and rap coach like he's a

(01:15:08):
real artist. And he's looking at people that don't really
you could hear in their work. They don't take the
art series exactly. They're like brands, they're products. Uzzi is
a product of what how he looks everything like that.
Joker is a fucking phenom with making music. So he's
like bro And even though he knows Doctor Dre can't

(01:15:29):
play the drums as good as him. He can hear
his desire to innovate. He can hear when he's listening
to murderers a case or doggy style, him trying to
change things.

Speaker 9 (01:15:38):
So as a physician, hold on Bro, hold on Bro.
As a musician, you can't hear. You can't hear the
creativity that that that Ozi's presenting with them being not none,
not sound like nothing else stuff.

Speaker 3 (01:15:49):
Okay, it does sound like something else, Trapp, it don't
sound at all. It just don't sound like everything in
hip hop. That's like a mid of other ship. Hold on, Joker.
You keep saying it sound different. It don't. It sounds
different if you compare it to hip hop. That's your problem.
I keep telling you I can recognize what Travis doing.
I've seen that energy a million times, not in hip hop.

Speaker 4 (01:16:12):
Okay, I think he's travels right, Travis, Yeah, ok yeah, Okay,
I see where I see where, I see where you
Joker coming from.

Speaker 1 (01:16:20):
Now I get it.

Speaker 3 (01:16:21):
I said, jokers thing is jokers thing. Coach is more
about what he's doing creatively as an artist. Okay, I
got that, and is because it ain't like I don't
even dislike his music, the songs I like.

Speaker 1 (01:16:32):
The songs I like.

Speaker 3 (01:16:33):
I've never even consumed, you know, a body of it
to be worried about if I like it or not.
Like I've heard enough of it to where I'm like, Okay,
I can see what's good and what's bad. Joker is
judging from a different level. He's like, bro, I can
see they're not pursuing the greatest version of their art.

Speaker 6 (01:16:51):
And to me, I'm like, what's the why are we?
All of this is about recorded music, the art of
recording music. This entire conversation, hip hop, rock, all this
shit is it boils down to recorded fucking music.

Speaker 1 (01:17:01):
And if that is the.

Speaker 6 (01:17:01):
Primary commodity and they ain't taking that seriously, how to
fuck am I supposed to respect them in any other capacity?
And to be fair, Lil Wayne was like the guy
who started that shit, you know what I mean, he
was one of the first people this that's fifteen twenty
years ago, and then there's ninety other niggas who come
out with little this, little that. It's just the again,
it's the inauthenticity, Like you can't make your own name,
do your own thing, find your own sound. Work for
adding something to the general conversation of humanity creatively.

Speaker 3 (01:17:24):
You know, now he's talking about the complete brand of
an artist right where it's like they're doing certain things
that he can think is generic. So it's like they're
building off these generic like Lil nas X. It's a
generic idea. He can see it, and that he's being
critical of their art and he's saying it lacks authenticity,
let alone. Authenticity is a big part of hip hop

(01:17:45):
to him, So he's saying, fuck what I'm saying just
the cultures, Like even what they doing is not a
real pursuit of it. It's built on business, it's built
on their brand and everything like that. I don't have
that much of a thought of Oozy the songs. I
like the song as I don't, But I'm saying he
doesn't represent street urban culture in his art, UZI represents.

(01:18:06):
He's he's pursuing a rock type of style. And I
think a big part of why, like the Joker's problem
is is he's kind of in this weird place where
he doesn't quite get it. He knows it because he
knows his influences, he knows what he's emulating, he knows
where he's getting his energy. From, but he's not really
doing a great job at conveying it through his art.

Speaker 4 (01:18:26):
All right, let me ask you as a question, what
if Louuzi came came out and said he said pop,
would you guys just think he was confused or.

Speaker 6 (01:18:33):
I won't hear it because I'll never pay attention to
Now he got a battle joker, Yeah, battle mean, let's go.

Speaker 1 (01:18:39):
He got a battle joker to prove.

Speaker 6 (01:18:41):
Let's go.

Speaker 3 (01:18:43):
This is where we're at, right, any one of these niggas,
let's go. You want to prove you hip hop? If
you cardy, if you like, you got a card, get
a better, Yes, all of them.

Speaker 6 (01:18:53):
I'm the of this month.

Speaker 3 (01:18:55):
My man is the final boss.

Speaker 1 (01:18:56):
Uh.

Speaker 3 (01:18:57):
If you want to be hip hop and you've been,
you've been, You've been the nine. Hip hop is rifle
credit in your business, like in your movie.

Speaker 9 (01:19:06):
Right.

Speaker 3 (01:19:06):
I remember, UZI went to the radio station that ninety
seven they put on either I want to wrap to
that old bullshit talk. It was like, what was it?
A woo time beat?

Speaker 1 (01:19:14):
Nah? I forgot what beat it was, but but what
the name gave me an explanation of light that that far.
I don't want to hear that generation generational thing.

Speaker 3 (01:19:23):
No pr from the homie, go ahead from the homie.
No published questions from the homeless straight up, No, no, no,
I don't know.

Speaker 1 (01:19:32):
No that was a generation no no, no, no, no,
it's not is no because you know what to say.

Speaker 9 (01:19:43):
At the same time you put on the homie, at
the same time you put you put like a hip
hop do it up in there. You know what I'm saying,
of degeneration and they and you put one of them
beats like that on there, they gonna so they don't
want to wrap on them ships though. All right, yeah, bro,
that man break dance, that man freestyle. That man does

(01:20:04):
everything that.

Speaker 3 (01:20:06):
You can't do.

Speaker 1 (01:20:07):
All that.

Speaker 3 (01:20:08):
I think there's a ton of white men that could
do the same, and the hip hop Asian people that
can do the same.

Speaker 1 (01:20:15):
And the hip hop no trap.

Speaker 4 (01:20:16):
We got these two gargo, he was telling at the
Gateway hip Hop. Not let you got jug and glass
like jugger goldgoy.

Speaker 3 (01:20:25):
That's funny. You know, BE like to consider myself, hold on,
say he's ahead, whatever, I meet you right back when
I can finish this dream.

Speaker 1 (01:20:36):
Act him. Ask him.

Speaker 3 (01:20:39):
It was like that, I like to consider myself. What's
the guy that stands at the gate of heaven.

Speaker 6 (01:20:46):
Is it the archangel Angel Michael or Peter, Saint Peter,
Saint Peter, Saint Peter.

Speaker 3 (01:20:50):
I'm like the Saint Peter hip hop. I like to
consider myself the same. And that right there and that
right there is my boy. That's gonna make sure if
you really want to get in, If you want to
get in hip hop heaven, you got to see John
point Man.

Speaker 1 (01:21:04):
Yeah. I want hip hop to saund one way.

Speaker 3 (01:21:06):
We don't try to do. The fact that you get
one way is just ridiculous. About saying one way like
they sound full of ship. That's a fact.

Speaker 1 (01:21:16):
I carry it town.

Speaker 3 (01:21:18):
I can tell you one way we wanted to sound
wrapping and type of break turn breaks. Her breaks really
glasses glasses really ain't rapping. It ain't rappity, pappily, ain't
certain breaks.

Speaker 1 (01:21:37):
They want certain breaks.

Speaker 9 (01:21:39):
They want certain tempos they wanted to the BPM got
to be between ninety.

Speaker 3 (01:21:44):
And one ten. About him about not having fun, I'm
just saying I can tell her we're live though we
should have done that ship.

Speaker 1 (01:21:52):
That you're lie.

Speaker 3 (01:21:55):
Crazy. I want hip hop to sound one way, you know,
hip hop I this too all the way from both.

Speaker 9 (01:22:01):
No, you don't listen, bro, you listen to no hip
hop that doesn't sound one all hip hop. You listen
to sounds one way. Bro, it's one temple, one break beat.
You don't if it all right trap?

Speaker 3 (01:22:13):
No?

Speaker 4 (01:22:13):
Look, Hey, so you know I'm team trapping this in
this debate right here, I'm gonna say, I'm gonna say
this one that.

Speaker 1 (01:22:20):
Track you trap coming from you and do sound crazy
after listen to your twenty No.

Speaker 9 (01:22:24):
That's but that's my production though, that's my production for
my heir. When it comes listening to music all different
type of sound of hip hop. You know what I'm saying,
I'm not in one box. Listen, it's just one one
sound of hip hop. This is hip hop right there.
I understand that hip hop is sound any different ways. Joker,
so like they all militant, straight.

Speaker 1 (01:22:45):
Whatever, have a connection. Hey't send me a beat trap,
I got you, I got you Junker.

Speaker 3 (01:22:53):
I think you said I think that I got you
Dunker on hip hop trap. I don't want hip hop
to sound one way. I just understand when I'm listening
to hip hop and when I'm listening to the rock,
and I don't think you're innovating because you go knock
off somebody else ship and you do a bad impression
of it bringing it here. I'm not impressed by that.
You know what it is? You you you faking impressed, like, oh,

(01:23:13):
they're just being different.

Speaker 1 (01:23:14):
No they not.

Speaker 3 (01:23:15):
They're not being different. They're emulating something that they don't
quite get with it.

Speaker 6 (01:23:18):
Like calling Hamilton hip hop Exactly, it's like calling Hamilton,
you guys know what Hamilton is, super famous Broadway show
that this dude wrote that blew up and it's like, yeah,

(01:23:40):
but made it is hip hop of the country, like
the Constitutional background, Franklin rapping and ship, which is like
the novelty of it made it blow up in the
in the Broadway world. But it blew up because of
the novelty, not because it's actually hip hop. They took
elements from hip hop. The guy's a fan of hip hop,
and they just transfigure the into this, so do man,

(01:24:01):
it is not hip hop, joker, not hip hop at all.
It's garbage. It's the most corny shit. No no, no, no,
created it is he hip But they took it from
one genre, combined it with some other ship and put
it out. So that's what UZI vert did. It's not
authentic hip hop or authentic rock or hip hop. It's
like a where Frank Frankenstein. It's like a mid tier
version of both of those combined being sold by the
novelty alone.

Speaker 3 (01:24:22):
But what I do like about Jack Riz.

Speaker 4 (01:24:25):
Anybody listening to what Joker gotta say and feel disrespected
by it. I think Joker school with it. I think
he's I think he's finding hip hop not to hear
this and be disrespected by what he's saying about it.
I didn't say nothing about it, Okay, I'm just like,
what they gonna do.

Speaker 3 (01:24:44):
They want to if they want to battle, my boys,
my boy is here for the battle.

Speaker 6 (01:24:48):
Let's go.

Speaker 3 (01:24:51):
Happy. Thank you for the two dollars, Nita King Day
front seat, just saying next you up here, here we
go after falls starting that book out after the Baseline,
thank you for the two dollars, Arizona and this smatherfucker
to day. You damn right it is baby, You was right. Baseline.
Shout out to the TASA, Thank you for the nineteen

(01:25:12):
check dollars. I hope you enjoyed that supersticker. Shout out
to Baseline Baseline, thank you for the five dollars. Did
Hard Target ever change his name to Casper's Pen. For
those who don't know, Jay is a classically trained musician
who tormented rappers Arizona. It's true, he really did, and
he torement in them, so that's I think it's fair.

(01:25:33):
I don't think they really consider themselves hip hop. I
think trap is fighting more for them. They're saying their
rock and rage and all of the different genres of
music tracking like, no, that's hip hop, because I need
to act like I'm listening to something different, even though
I can go listen to different genres of music.

Speaker 1 (01:25:46):
Jackass, you're not a jackass Trap, Yes he is, because
he's like.

Speaker 3 (01:25:50):
Hip hop needs to be. Glasses only want to listen
to one tempo, even though I listened to Bone which
is fucking sixty two bpm all the way to Luke,
which is one hundred and twenty eight. But thats Bro.
Stopped naming these, Bro, you gotta stop naming these like that.
I like, I like all kind of ship, but me
a move. Apple.

Speaker 1 (01:26:10):
You're right that we're not about to let Peter and
Paul over here.

Speaker 3 (01:26:14):
Or herap because what happened is left y'all the same assholes.
When Elvis did the same thing, y'all was the same
ass He's doing something different. Office is bringing something new.

(01:26:37):
You look like look at Elvis like that don't mean McDonald.
That don't make it real food. It's fantastic. I get
the French floating Chris and you perfect salt, the coach,
the orange machine, got more caf I don't know it's fantastic,

(01:27:00):
but that don't mean it's real. It's fantastic. You ever
got a big Mac that day you hung you that
fish fla in this freshure. This motherfucker is great and
it ain't real and.

Speaker 1 (01:27:13):
Exactly and you know, g passing it when the big
Mac talk come out.

Speaker 3 (01:27:16):
Feel me. I'm a big Mac kid.

Speaker 6 (01:27:19):
You know we're all Americans.

Speaker 3 (01:27:21):
I'm a big Mac. Shout out to Tasha, thank you
for the fifty check dollars. I was so happy to
see Ray Vaughn and his freestyle on COSO and on
the radar kysh not my fiet three. Oh yeah, I
didn't see that. I didn't really see it.

Speaker 1 (01:27:36):
You'd be looking.

Speaker 3 (01:27:39):
DoD to camp. Thank you for the five dollars. I
hope everyone has a great weekend and me too, Me too.
I gotta get back to the box. I ain't been
throwing no hands or nothing you did this morning. No,
I didn't choke me out, puts me in my face.

Speaker 1 (01:27:52):
That's all over here, acting like he didn't better.

Speaker 3 (01:27:54):
He want in the corner and ship still hold on
to the mic, won't let go of the bike. Yeah,
I would never put the accountability the kid again or somebody.

Speaker 1 (01:28:10):
You mean something to the show. He needs something specially.

Speaker 3 (01:28:13):
Shout out to k Wait, thank you for the two dollars.
Salute the stretching Barbido n y C Hip Hop eighty
nine point one shout out to k Wait, thank you
for the five dollars. Wrap is something you do in
exchange for commerce and clout, while hip hop is something
you're born bread and live unconditionally without explanation, Like Uzzie,

(01:28:33):
what did you do good? With some examples, what you
coach of? How he was born bread and live unconditionally. Hey,
I'm about to do my hard zi Monday. I'm coming
back with all topics for you.

Speaker 9 (01:28:43):
I'm gonna send out playlists, lists, crazy watch Oozzi plays
you want to rite.

Speaker 3 (01:28:50):
And that's the problem.

Speaker 4 (01:28:51):
He's liking that you gotta be don't even like UZI,
I'm gonna be honest with you, like music, figure out loud,
just take it.

Speaker 6 (01:29:03):
The people for people who have popped right now, and Yo,
the people we're talking about who have popped to second
went over hip hop about right, they are the people
who worked with the current system. They are just the
ones who made it work. It's an accident of history.
My contention is, Yo, let's figure this out, and let's
let's define terms, and let's redo the system to where

(01:29:23):
we can actually tap into the creative potential of it. Like,
think about for every oozy word that's on, there's there's
thirty other crazy talented psycho people who are like amazing musicians,
amazing who are authentic hip hop artists who just didn't
ever make it because they wouldn't play the game.

Speaker 3 (01:29:37):
They wouldn't do the ship that you gotta get, you
know what I'm saying to do to get.

Speaker 6 (01:29:41):
To that level.

Speaker 3 (01:29:42):
And they have that kind of money behind you in
this they didn't make. They all sound the same world.

Speaker 6 (01:29:47):
I want to see how real motherfuckers out there, not
these motherfuckers.

Speaker 1 (01:29:50):
A week.

Speaker 6 (01:29:50):
We shouldn't be talking about these fake ass niggas. Bro,
Like you shouldn't even be a conversation. I want to
hear some real music, some real innovation, some hip hop returns.
So that's what the people want to They want to
hear some real ship now some force fed candy store bullshit.

Speaker 3 (01:30:01):
You want to hear the same music by everybody, and
you want to hear that same song from everybody.

Speaker 1 (01:30:07):
That's what you want to hear.

Speaker 4 (01:30:09):
Uncle Max of hip hop hip hop command and then
he sounded like hip hop hitler.

Speaker 1 (01:30:14):
Something a little bit too. I'm a little confused.

Speaker 3 (01:30:18):
Hip hop nazi, hip hop nazi. I don't come out
a little bit. Don't hip hop for you? Be involved though,
That's like I don't hip hop for you.

Speaker 6 (01:30:26):
But you know what I'm saying, that's the closest he's
murdered Jewish.

Speaker 3 (01:30:30):
I can't really oh hip hop for you? One hundred
check dollars glasses. Did you see the baby making the
video about the death of the Ukin'ian girl that got
stabbed by black Mo making the video about reenacting the
whole story?

Speaker 1 (01:30:43):
Discreat said it was too early for that.

Speaker 3 (01:30:46):
For that mean he would have to been to Carlos Brown.
I's the only I would have watched it. Who who
was he in that video to you, Like, I didn't
see the video because they said he was just bringing
the person who staved or something like that, right or
some ship like that.

Speaker 1 (01:30:58):
I don't know what it was their passengip Listen.

Speaker 3 (01:31:04):
I've been seeing people like I saw I ran into
this this conservative rapper. I don't know what you would
call him, trapa call him hip hop because he's like whatever.

Speaker 1 (01:31:12):
But it was like a.

Speaker 3 (01:31:13):
Conservative Trump rapper. He was a bag of rapper and
he was he was saying, he was talking about that
girl and he was saying, and they was talking about
Charlie Kirk and it was like, yo, not one thing
has happened since then. I'm like, because both people that
did it to them got arrested. That's what I be

(01:31:35):
aout talking about, right, like people rioted because nobody get
arrested when somebody killed somebody black, Cause it take a
riot to make somebody just get arrested and then they
get off. It's a bad comparison, Like you don't have
to ride for what happened to that Ukrainian woman. That
man is going to prison for the rest of his life,

(01:31:55):
no question. There ain't no police he can hide behind.
They can't say well, he could have did nothing. He's
going to prison for the rest of his life. What
happened to Charlie Kirk? They arrested that man. That man
is going to they're trying to give him the death penalty.
So what would you be rioting about. The riot that

(01:32:17):
we have is because you can kill a black person
and don't go to jail for it.

Speaker 1 (01:32:23):
We wouldn't. There would be no riot.

Speaker 3 (01:32:24):
If you just arrested the person, there wouldn't be no riot.
It's simple. That's the riot. The riot is because that person.
Even when Rodney King got wooked thirty years ago, it
took them time to arrest. They went through ship. The
riot happened after they got off. So I keep seeing

(01:32:47):
these sentiments and it just be bad comparison, like coach
comparing Chris Brown and UZI or trapped comparing Chris Brown
the baseline Thank you for the two dollars. I told
y'all joker cooking like an as summer day boy, and
it be cooking.

Speaker 6 (01:33:07):
Who is the MAGA Rappers?

Speaker 3 (01:33:09):
I forgot his name playing Tom McDonald, Thom McDonald, Tom
Thomas Tom is just Tom is just a business man.
I like Adam Calhoun that's probably my favorite Maga rapper.

Speaker 9 (01:33:21):
But the other song hold on. But about the other song,
they talk about lynching the people and all that.

Speaker 6 (01:33:31):
Ship, Like tell somebody in two thousand and seven with
a Maga rapper isness but what well?

Speaker 3 (01:33:37):
I mean it is kind of like a cool like
a voice to hear. It's not as public as it
used to be, so corny you hear from Yeah, it
do have a little too much business. It do have
a business deal to it, like the matter order, and
he had all these make America great again, had something
like like damn, you couldn't figure out anything more. But

(01:33:58):
he knew what he's see. He didn't got the business
of selling rap music. I mean, of what rap music is?
Being biracial man, so I gotta deal with bullshit from
both sides. Bro shout out, shout off boy dre Beach,
thank you for the five dollars term. The term drill
comes from the military, so Chicago will say they running

(01:34:20):
drill as far as missions. My boy Beach boy Drake
in here instrument, just telling the story, so it's running
drills like military like that's going to use the term
op to I would imagine that makes sense. Drake shout
out to Beach boy Dre Beach, thank you for the
five dollars. Artists like Uzi, Cardi Juice World will tell
you they are not hip hop. They will say they
are rock stars. But of course trap stupid ass keep

(01:34:42):
backing like they is because he just they're making something
different to their Listen to their music. Listen to the music,
and it's different. They're bringing something different. No, they fucking
not there.

Speaker 9 (01:34:53):
It was a whole generation of rappers that was calling
them some rock stars, the rock stars, right, all them rockstar.

Speaker 1 (01:35:00):
Was then, right?

Speaker 3 (01:35:01):
What you telling men? He got a saxophone and he's
playing music and Ship trying like he bringing something different.
I bet you thought the Flute album was something different.
He was like he was a hip hop. That wasn't
hip hop. That wasn't hip hop. That wasn't nothing about
that about that hip hop. We ain't about to do
that about that hip hop. It sounds you could slip
it adn't even.

Speaker 1 (01:35:21):
Go under the genre of hip hop. Bro, I'm talking
about it. I listened to it here. Ship That ship
was terrible?

Speaker 6 (01:35:28):
Was it bad?

Speaker 1 (01:35:28):
I didn't see it?

Speaker 3 (01:35:29):
No bad because I never listened to another food album
to compare it.

Speaker 1 (01:35:33):
To I didn't like the references.

Speaker 3 (01:35:35):
Yeah, you know what I mean.

Speaker 1 (01:35:36):
I think I think that ship was straight free style
one music.

Speaker 3 (01:35:43):
You know, I went in thinking Ron Burd and I
didn't get that. But if he doubles back with another
flute album and he's starting getting loose on solos, I
don't know. I might be fucking with that. Andre Brown,
you gotta get nice at it. But a lot of
music it's like on rainy night and probably sleep twelve hours.

Speaker 6 (01:36:03):
Next I don't want to hear.

Speaker 1 (01:36:03):
Best was Joga Music.

Speaker 3 (01:36:06):
Shout out to Control Art, Control Out Delusions, thank you
for the few dollars. Cardi B and her album are
not hip hop either. Yeah, yeah, we're about today about
we ain't about to do that. We ain't about to
do that. We ain't about to do that. Cardi Out
on Fire, thank you. That Shout out to Meeka Red,
thank you for the ten dollars for Meta Musu to
help stay normal from from Wednesday.

Speaker 1 (01:36:33):
Back. That's funny.

Speaker 3 (01:36:33):
I like that's funny. Shout out to j Wade, Thank
you for the two dollars. Trop Brothers just one of
the best episodes you would think, of course, trapped you
to do some dead friend, you put some white behind
my head or something.

Speaker 6 (01:36:45):
White man, I look white as ship, but like to
drink out.

Speaker 3 (01:36:50):
They just got to live with him and shout out
the baseline, thank you for two dollars. Jay back there
right the disc for Coach King and Trap right now.
I made the beef for it. I make the beat
for it. We are defending Heaven from all foreign invaders.
Some of y'all gotta go to hip hop. Hell man,
y'all not with it with it? We have hip hop
for your Trap is gonna let anybody in.

Speaker 1 (01:37:15):
Hey, I can see glasses with a little Hitler mustache too.

Speaker 3 (01:37:20):
Can I be the hip hop Hitler? No, I don't think. No, no, no,
you can't know.

Speaker 1 (01:37:24):
You can't.

Speaker 3 (01:37:24):
Bro.

Speaker 1 (01:37:25):
No, I'm gonna walk him into the gas doing that.
We're not doing that.

Speaker 3 (01:37:28):
No, No, I don't think.

Speaker 1 (01:37:33):
Welcome that lead that ship to Kanye. Kanye, don't don't,
don't don't touch that.

Speaker 3 (01:37:40):
It was okay to think about it. I said, thought,
could I do that? I don't know. PG Trapp, Yeah,
I don't think I could walk other rappers acting like
the hip hop into that.

Speaker 1 (01:37:49):
I'm trying to make it to the next bro I
could do it.

Speaker 3 (01:38:00):
Just want to keep you at the gate and I
got you just shield. That's how I would like to do.

Speaker 1 (01:38:07):
If trap can't get into hip hop, heave and then
nobody can get in there. Come on.

Speaker 3 (01:38:11):
He keeps trying to bring people in. No yeah, yelling
stops that honey, yo black honey right there, that's where
it stops, saying, let me everybody else, get sybody, get
me that black holture top, that pink holster, that guy,
that pink holster top. He with me no track, dealing
with the blonde to dealing with the blonde dreads and

(01:38:32):
stop right there and after that right there and let
them all in all the best room. Come on, be
into the craft yep, DP, Come on right now, he
right there, be there right now. You know, right now
he slapped me glass. He tipping me one hundred dollars
for keeping niggas out there looking out glasses. Tipped me

(01:38:54):
right now, hey, Pete coming over my shoulder, putting one
hundred dollars in my good jobs.

Speaker 1 (01:38:58):
He keep the most sucker hass niggas about you go
to the R and B show.

Speaker 3 (01:39:02):
What y'all not listen. Chris Brown is a different conversation altogether.
I would have to really take time to think about
that because Chris Brown definitely is one of the most
talented people I know, so I don't quite know what's authentic.

Speaker 1 (01:39:14):
He's gonna have oozzi with born and sh.

Speaker 3 (01:39:16):
Chris Brown is like dope enough he could do a
rock song right now and it'll be a big rock song.
Chris Brown dope enough to do a country song. And
he is one of those people that's like he like
like he can morph into anything, like all the way.
Chris Brown is talking to me about Gang Bangy, and
he sounded like a nigga I grew up with and
compting my whole life. He was like on fruit thighs food,

(01:39:37):
I'm fool fruth thighs. That's you know, say on fruth thighs.
He's like on fruit thohs, Gee, I don't funk that
old bitch, that nigga Pa blood bompa. First off, he
was saying bompted, but he wasn't saying bompting, you know,
like the average person be like on Pyru like they
pronounced the eye. He knew not to even pronounce the iye.
He was like on Pa blood what the fuck is

(01:40:00):
going on? So Chris Brown might be like one of
them niggas has everything.

Speaker 6 (01:40:04):
He's a day walker.

Speaker 3 (01:40:06):
Yeah, he like everything at once.

Speaker 1 (01:40:09):
I don't know.

Speaker 3 (01:40:10):
I can't really, I'm just being honest, Like.

Speaker 1 (01:40:13):
Chris is, are y'all gonna let him in the hip
hop gates.

Speaker 6 (01:40:18):
Chris showed up here, I probably would.

Speaker 3 (01:40:21):
They kind of smell thank you many kind of smell
kind him is Chris Brown is all this ship authentically
weirdly thank you. I really think he's a real power rule.
He squabbowed you down.

Speaker 4 (01:40:32):
I'm like, you know, to say to Chris, like whatever, bro,
you want to come here on all the clubs and
all the club welcome Chris, give.

Speaker 3 (01:40:43):
Me a drink.

Speaker 1 (01:40:44):
I see uh G and Jokers because it's hard.

Speaker 3 (01:40:47):
How do we say about somebody me and Joker. One
thing we're gonna agree with is somebody ridiculously talented and dope,
he know Chris, Like we gonna look at Chris like this,
my fucking just this motherfucker be flipping and it's like, you.

Speaker 4 (01:41:00):
Know, Chris Brown is the most talented man in the world.
That he didn't melt to they arts, he didn't let it,
and I got into Gate.

Speaker 3 (01:41:05):
He was like fifteen, bro. It's like he had me
at He had me at Heyo, like the third single,
you had me at Heyo. Like. I was like, this
guy right here, I'll be stuck with him for a
long time, you know. He he got into Arihn. I
didn't care.

Speaker 1 (01:41:21):
I was like whatever.

Speaker 3 (01:41:22):
Like however, all y'all jumped up, I was still like, well.

Speaker 1 (01:41:24):
You know whatever, that's my last thing. I got to know.
You're gonna let Kanye.

Speaker 3 (01:41:32):
Yeah, yeah, I'm gonna talk ship to him though, I'm like,
just s see what was gonna go with that? I'm
gonna talk ship to him, Like, man, why are you
saying all this dumb ass ship?

Speaker 1 (01:41:41):
Bro?

Speaker 3 (01:41:42):
I'm just trying to now how many we need to
talk before you go up in here? Me and him
have to talk, but he it's Kanye, Bro, Like you
stuck with that.

Speaker 4 (01:41:49):
What if when y'all talked this nigga was just going
on with Kanye ship though, you'd be like, no.

Speaker 3 (01:41:54):
I'm gonna fight.

Speaker 1 (01:41:58):
Black guy.

Speaker 3 (01:41:59):
I'll be working front door, fucked up. Probably, I still
want to fight Kanye.

Speaker 4 (01:42:04):
Man.

Speaker 3 (01:42:04):
I hate niggas. That's that that high up there.

Speaker 1 (01:42:07):
We got to get that happening. Somebody got to get that.

Speaker 3 (01:42:09):
Shout out to Miss Hummus, thank you for the five dollars.
Miss Hummys all dead here. I was always thought that
hip hop has four elements m seeing, DJing, breaking and
graffiti thoughts it does and knowledge trap two days ago.

Speaker 1 (01:42:27):
He's gotta remember the gods. Remember the gods is the
ones who was there?

Speaker 3 (01:42:29):
Now us come from the guards. Yeah, yeah, but it's
the elements of street expressed, street agricultures. It's those things expressed.
You express them through those things. So it's not just
those things, it's those things with the way the behavior
is that the cultural I'm trying to give it to
you the best way I can. You have to You

(01:42:51):
can't just be m seeing about tray. I think you
could be a doctor and you rapping about having surgeries
on the pace you like, that's hip hop.

Speaker 1 (01:42:59):
Rather again, trap, do not think that.

Speaker 3 (01:43:01):
And then when you leave it, and then when you
leave the doctor's offense, you're throwing your sneakers untied.

Speaker 1 (01:43:06):
On raising it.

Speaker 3 (01:43:13):
Don't matter where he's wanting. You know, people, everybody in
the ghetto ain't the same. Everybody in Inglewood did not
wear Chucks or courtels.

Speaker 1 (01:43:21):
We wouldn't wear chucks in egingorhood man. What you talking about?

Speaker 3 (01:43:23):
I know you had too much money. That's why we
make for y'all rich ass nigg checks cheek, twelve dollars
shoot shout out to Nick, Thank you for the five dollars.
Salute gin the lust table, whiz Yes, sir, control out
the losers. Two dollars gone the back and glasses. Thank
you my man joker joke for two wards. Make sure

(01:43:45):
y'all look him up. Fearless Kevin Ali, thank you for
the five dollars. Just because you rapping, don't make it
hip hop. All rapping sonically hip hop. A boundary needs
to be established, me and my boy doing it. Trap
is slipping, trap letting every body. What is I don't
think trap letting everybody everybody in. All they gotta do
is be black and rap. Don't even nobody, not true,

(01:44:07):
nobody with little in their name get up. It's different
because he was one of the original little Yes, what
I'm saying like we can't he can't throw him in
the count like he's talking about all the little sense
little I'm talking about. You know exactly what everybody, It's
just it's everybody's trying to be people that are even little,

(01:44:28):
well they are people, even little calling himself little. The
town is average size. Mss hummus. Thank you for the
five dollars. I feel like if you don't have bars,
punchline storytelling, they can't freest down site. You ain't hip hop.
In my opinion, that's stringy.

Speaker 1 (01:44:42):
A lot of people.

Speaker 3 (01:44:44):
Shout out to Jeremy Money, Thank you for the two dollars.
Shout out to g Mama, Thank you for the twenty
dollars sticker. I hope you really like it. I enjoyed
the lunch table today. Have a blessed weekend, you too,
enjoy true shout out to Kevin, thank you, hey, thanks
keV Man, I really appreciate today. Thank you man for
all of the super chests. Thank y'all all the people
that do the super chests that make this thing go

(01:45:06):
further and further and further. We're finn to invest way
more money into it to really take it to another
level and bring y'all some really great conversations with great people.
I'm not even about to be doing like interview. We
really we don't have an interview portion on this thing,
but we really are about to start having people come
in and have some great conversations. I got a question
for you, glasses, sure.

Speaker 4 (01:45:26):
Because I don't you know rap or play music, DJ
or do any of those things.

Speaker 1 (01:45:31):
I'm not hip hop.

Speaker 3 (01:45:32):
You're a funk kid?

Speaker 1 (01:45:34):
What the fuck?

Speaker 7 (01:45:35):
Like?

Speaker 3 (01:45:35):
No? How did I call him?

Speaker 1 (01:45:38):
Called him a funk kid?

Speaker 3 (01:45:40):
Yeah, he grew up on funk, funk and all that.
Old flysh was right before the hip hop. So it
was his choice to be hip hop. He chose if
he is like me, like our age. We didn't have
a choice. It was trapped like your age.

Speaker 4 (01:45:58):
Express it though, to be here pop do that, to
express it through music and all that, to be hip hop.

Speaker 3 (01:46:03):
Since I come from a.

Speaker 4 (01:46:04):
Street urban a hip hop artist, to be a hip
hop artist, okay, but you know, if you can still
be hip hop and not express it, okay, just not
a hip hop artist.

Speaker 3 (01:46:15):
Okay, that's what the hip hop artist is what we're
talking about. Okay, Kevin I Y, thank you for the
five dollars. If you're not standing for nothing in your wraps,
giving a real authentic perspective, or if you're not a lyricist,
then you're not hip hop. Ooh now I don't want
Kevin at the frogate it's gonna get bad. Yeah me
ya ain't. None of y'all get me. Soud to Kevin Iley,
thank you for the twenty dollars man, Thank you, Cad

(01:46:36):
for real, bro, I appreciate that. I just want to
support when I'm rich and famous and I'll send more.
Cav thank you for everything. Natasha who always doing it,
anybody who always do it. We really appreciate that. Sith
to k Wait, thank you for five hours man k
Wait every show too, Thank you, Hammy straight appreciate. To

(01:46:57):
Trap's point, the ATL group Shop Boys made a song
called Already Like a rock Star, and they were called
hip hop during the Snap era. Not even disagreeing, but
they didn't call themselves rockstar. That's why they used the word.

Speaker 9 (01:47:07):
Like that whole futuristic the whole futuristic way was like that.
Though I'm not I agree like a rock star.

Speaker 1 (01:47:17):
Damn.

Speaker 3 (01:47:18):
That has made a good point. Track a rock star, Yes,
because I'm a rock you know rock slapped him back down,
know you with the niggas, you with them black folks
over there, they.

Speaker 4 (01:47:31):
Walked out a little Wayne show, try to like he
tried to. If you don't pick up a microphan out
of there.

Speaker 3 (01:47:41):
Black rock stars, about the job man, about Travis and Uzi,
because they really have been fighting. The industry has been
fighting us gaining control of rock music. They will not
finance black rock like that. So I respect people like Uzzi,
people like Travis who figured out ways to become rock

(01:48:02):
stars without it being so obvious, so they can avoid
people pushing back on what they doing. That's what I
think now, how smart they were, it's different, but that's
what I do appreciate about what they're doing. Shut out
to Fats, thank you for the two dollars. Fats going
to hip Hop Heaven. Love to the panel that part, Fats,
I'll make sure you're in there and you get grill.

(01:48:22):
You got a section. Fats set out to Miss Hummis,
thank you again for the U for the super chat,
Miss Hummerys five dollars. We need a differentiation. We need
a differentiation between hip hop music and hip hop culture,
two different things. We call it rap music in hip
hop and culture. So yeah, it's it's look exactly y'a too.

(01:48:50):
When when Lil Wayne tried to make a rock album Joker,
you know what they said, get your ass out of here. Boy,
get your ass out of here. Get your ass out
of here. That's what they said, ye get your ass
out of here, coach. But you know what they didn't do.
They'd be like, well, you know what he I mean,
he do like play the guitar. I mean he did
grow up listening. Yet they didn't do what y'all did

(01:49:12):
with none of that stuff. They understood. You know what
happened with Beyonce tried to make a countryb you know
what country did.

Speaker 1 (01:49:17):
Yeah, they were talking reckless. No, they didn't care. She
grew up in a rural Harry in text Wars.

Speaker 3 (01:49:24):
They did not care she was country who he grew
up in Philly? You know, so yeah, they she grew
up in country. You know what they said, have y'all
get your ass out of here. That is not no
motherfuck country album. That's what they told her. They didn't care.
She grew up country as fuck and Beyonce country.

Speaker 4 (01:49:41):
So as a person who listened to the country and
semi I like it, h y'all say, album was not
When you listened to that shit though, it did not
feel country and also like.

Speaker 6 (01:49:52):
That yeah, and then also like so you hear Oozi
you that feel. He'll the culture of some of these
who that's the same things, like the culture of country.
Every body knows she didn't come up doing doing a
million little gigs and ship a little bars in Nashville,
trying to earn away for ten years, like most country stars.
So they just they don't respect it. I think they're
just kind of stepping in there and using the you
know what I mean, using using the cloud to try
to make some money in a different genre. That's a

(01:50:12):
little I get it. I see why it'd be like.
That'd be like if somebody just with the underground rap shit.
Somebody comes into underground rap. They've been mainstream their whole
life and they come down to underground and just try
to do the ship that we all been through and
act like they've been through. It's not you know what
I mean, it's not the same thing. It's like, you
have to earn your respecting in the respective and the
respective feels and cultures or genres, just like anybody else.

(01:50:34):
So whenever you jump genres without bringing that respect and
that reverence, you're always gonna get a pushback.

Speaker 1 (01:50:41):
And let me recant to my statement.

Speaker 4 (01:50:43):
I love I love Beyonce too, totally what I want
to say, that's country, that's country, Beyonce.

Speaker 3 (01:50:50):
I'm sorry, but but do you do you respect them
country boy? No, sir, no, I don't respect them. You
can about respect me and Joker exactly because I respect
them country boy be like noo, countries like them, like No,
you got to at least do three or forties. You
need to come through some of these clubs. These we
need to see it.

Speaker 6 (01:51:08):
Yep, that's what they totally live live it, like Nigga.
If I ever did a country album, which I probably
will do at some point, I would literally go to
Nashville and start from the you know what I mean.
I play guitar and thing to handle it. It'd be great.

Speaker 1 (01:51:20):
Yeah, I say, the greatest country album of all time?

Speaker 7 (01:51:23):
No?

Speaker 3 (01:51:23):
Hell, what was the second greatest country album?

Speaker 1 (01:51:27):
Second came out? When that comes.

Speaker 3 (01:51:35):
Look, I'm telling y'all the thing is, I don't I
don't want to have to be the gatekeeper for the
hip hop. I just realized I don't have a choice
because nobody else is gonna gate keeper pop.

Speaker 6 (01:51:46):
What are you gonna goddamn do it?

Speaker 3 (01:51:48):
Nobody love it enough.

Speaker 1 (01:51:49):
That's the thing.

Speaker 6 (01:51:50):
They don't care enough. They're distracted by the bullshit, focused
on the wrong They want to be friends they like.
But it's logically inflatious though, because the authenticity is what
made it big enough to be able to get on
everybody's radar and become people's favorite ships. So they're they're
like taking the things that made them love it and
then going against them. But they're still trying to write
for the culture. That's the problems.

Speaker 3 (01:52:11):
Like King, can you from a place that made grunge
rap grunge rock? What if somebody else tried to come
up with grunge rock and he was like, Nah, this
is we do grunge rock here.

Speaker 1 (01:52:25):
King cares really don't give a fuck.

Speaker 3 (01:52:29):
You're not gonna fiell if somebody's like, I'm better than Nirvana.

Speaker 6 (01:52:32):
Well yeah, but King don't do it himself even if
he came up on it.

Speaker 3 (01:52:35):
You don't have a connection to that that that culture.

Speaker 1 (01:52:40):
Who my favorite group of all time? I love Fights.

Speaker 6 (01:52:44):
That's grows Drummer too from the Bruce Lee.

Speaker 3 (01:52:51):
Bruce Lens from Washington. Yeah, man Seattle up in there
doing this thing.

Speaker 1 (01:52:55):
Yeah he buried up.

Speaker 3 (01:52:57):
Wow, Bruce Lee's.

Speaker 1 (01:52:59):
Yeah that's new And I did not know you know, no,
I get more.

Speaker 3 (01:53:03):
I would probably give more if they downed, you know,
just say there's this better. What if they said yeah
like UZI did where like they played in Nirvana track,
they like, man took that ship off. Well he can't
be playing somebody else's playing, said up. He was supposed
to freestyle. He was at the radio station Classic hip

(01:53:26):
Hop and he was like they was like, man, I
don't want to wrap to this old bulls ship.

Speaker 1 (01:53:29):
I don't care.

Speaker 3 (01:53:31):
He did, and it's not a shot Like I'm not
as hard as Joker. Joker is way more musically, not more,
and he's more musically talented. He's a real musician. I'm
a record guy. I'm not a musician guy like Joker,
where he could hear the hats if they just signed
to kick, if they the same, I can barely hear that.

(01:53:52):
But when it comes to a record, that's all I
really care about. So somebody like Uzzie really all I
really know. I mean, I've I've went through is cattle
off to check it and I was like, oh, I
get this rock, like I knew the energy. It's just
not good rock the time it is good rock. It's crazy.
I've seen that down to earth, Bro, I seen that
they hate when brothers connect. They don't get that hip

(01:54:13):
hop bring brothers together, you know what I mean, Like,
they don't get it, so they're gonna hate that it
connects and ship. But also it's a lot of people
that's upset because they feel like us saying somebody's not
hip hop is a slight to them.

Speaker 4 (01:54:28):
You know what I mean about In Living Color, when
they that rock group, black white group back in the day.

Speaker 3 (01:54:33):
I didn't listen to rock like that.

Speaker 1 (01:54:35):
They was old.

Speaker 3 (01:54:35):
I didn't listen to no rock. Bro. Yeah, all the
personality with the song they have. I have never really
listened to rock till I was an adult into the
music business. Oh do you dove back in the history
and that's how you got into it. That's how I
started understanding how important LA was in the rock and
roll saying groups like Metallicauns and Roses, Oh, that's Queen

(01:54:56):
probably would be my favorite at this.

Speaker 4 (01:54:58):
Once you did that, did you did you have a
different respect for music once you did that?

Speaker 3 (01:55:04):
Did you have different respect for LA music once you
did that? Well, all of this stuff gave me more
of a respect for everything. Like a person like Joker
like Joker. I just thought he was dope. Then the
more I got into music, I was like, oh damn,
this dude is really though. He could do this and that,
or like anybody like a Doctor Dre, like Doctor Dre
and Snoop or just niggas around the way that made
songs didn't matter how famous. I didn't see him like

(01:55:25):
that until I start learning what it is they representing
what they have to do. But going into rock music
and stuff made you feel that way about hip hop. Yeah,
it definitely makes me respect musicians more. It also made
me realize how bad hip hop was as music. Okay,
man of what the lack of musicians maybe yeah, because
it's not it is a kind of a thrown together thing,

(01:55:48):
Like it's supposed to be people fighting, you know what
I'm saying, Like it's supposed to be the have not
figuring out how to still make a record. Like the
more studying I've been doing, like I always give Trap
and everybody from New York, shit, no we can't hear
you Trap. If you're talking, where is Trapped? In the

(01:56:09):
check you vanished?

Speaker 1 (01:56:10):
And it's like, where the fuck is Trap?

Speaker 3 (01:56:14):
Like like I always give Trapping and Ship about They
don't really appreciate Sylvia Robinson, you know what I mean.
They don't really appreciate Larry Smith, they don't really appreciate
the era. To me, pre mally mal but pre but
Molly Maul was special because he's kind of the first

(01:56:36):
producer that start making something out of nothing. The sample game,
you know what I mean, And that became a big deal,
you know what I'm saying, And I get it, and
I realized the same thing happened on the West. Like
I've been writing this idea out for like a dot
on on on West Coast hip hop pre n w

(01:56:56):
A and you can hear the fucking disco and how
morphed into this electro sound. But man, when Doctor Drake
came with n w A and they started figuring out
how to make nothing out of something with those break beats,
it shaped everything. And then that person became this token centerpiece.
So we did the same thing, I guess to the point.
But now then listen to no rock music growing up.

(01:57:17):
I don't listen to pop music. Growing up, I don't
listen to nothing else but hip hop.

Speaker 8 (01:57:21):
See, growing up, we didn't have hip when the first
you know, it wasn't no, hip hop was no rap
When I was young, you was blessed enough to see
all that musician just real musicians, black news period, you know,
real music. Well, but I watched the hip hop era
come in and like you say, it came in, you
know with the least and stealing because they were stealing

(01:57:43):
people's beats and rapping on them.

Speaker 4 (01:57:45):
What I mean, oh what sappling. One thing is all
music does that, you know what I'm saying. That's why
I never fits though it fits the narrative. You know,
the big music does that.

Speaker 3 (01:57:56):
So that's why I'm not hard on hip hop. That's
the thing studying music taught me is all music does that.
Ray charles first hit record, he stole something from niggas
making songs about God and made some old nasty shit
about some ladies. Ray Charles's first hit record is like that,
you know what I mean. So I'm not hard on
hip hop for that.

Speaker 4 (01:58:14):
Yeah, but that's hip hop though, But that's the real
hip hop. Back in the days when it started, niggas
was rapping over other people.

Speaker 3 (01:58:21):
Thank you, thank you for reminding me. Shout out to
Miss Hummys, thank you for the fire dollars. Miss hummys,
why do you think old heads with a platform or
not defending hip hop is still scared to speak out
against Drake and others? Who'll finish with this? I think
people are afraid to be canceled. Yeah, I think they're.

Speaker 4 (01:58:44):
Old heads are afraid that they still trying to hold on,
and they're scared that if they say the wrong thing,
they're going to get canceled by this young group.

Speaker 1 (01:58:51):
Yeah. I think so too.

Speaker 3 (01:58:52):
I just think it's fear. Shout out to Chris Mullin.
Hip hop be taking old songs and not giving credit,
though so do so do pop music. So you think
Ray Charles gave credit to uh to that song? Must
be Jesus when he didn't when he made I Got
a Woman, he didn't give credit. Musicians been doing that
for a long time, for a long time. All Right,

(01:59:13):
we're gonna get up out of here. I think they
just scared, Queen, That's what I think. I think they scared.
I think they trying to preserve a relationship and possibilities,
so they don't want to do that. And I think
it's a little disdain for the West Coast. I think
that's what it is too. I ain't gonna even lie.
No sellers lie to lunch hour every Monday, Wednesday and
Friday right here. No sellers by glasses alone YouTube page.

(01:59:34):
Thank y'all for being here. Thank you, my man joker.
We need to get the likes up a little bit.
Can't give us a counter ten right now. If you're
on YouTube ten second count, get that like button one
thousand and one, one thousand and two, like button one
thousand and.

Speaker 8 (01:59:50):
Three, like but one thousand and four, the like button please,
one thousand and five, the like button place in one
thousand and six, like one thousand and seven, like buddon
one thousand and eight, like one thousand the like but
bingo that part.

Speaker 3 (02:00:03):
So yeah, yeah, they just scared. But it's all good
because I'm not scared. So you got one o G
that's popping it and I'm on everything. But you're not
considered the old head, are you? Hell? Yeah, I'm the
best old nigga.

Speaker 1 (02:00:15):
Is okay, niggas, He's not the old headuntil you start talking.

Speaker 3 (02:00:19):
Start talking. I'm not one of these niggas that's trying
to be young with these young punks. I'm old head.

Speaker 1 (02:00:24):
Young fus young street punks.

Speaker 3 (02:00:27):
Slap on these young street punks upside the head. I'm
not trying to be young. I'm not trying to hang
on to none of that ship. I'm the ol G
that you need. I'm like Rodney kicking over them looke,
I'm all these fake hip hop dudes. I'm kicking over
the forts. They little forts in the living room.

Speaker 4 (02:00:44):
This man sounds like showing up in head make kissed
the way.

Speaker 3 (02:00:50):
Chucks don't do so nothing like that. You know me
all right in here and so for for hip hop,
Saint Peter, for the archangel, Michael, here pop my man coach.

Speaker 1 (02:01:02):
Trap.

Speaker 3 (02:01:02):
We out here, man, We'll see y'all Monday.

Speaker 1 (02:01:04):
The trap before weace.

Speaker 3 (02:01:07):
I don't know what's wrong with Trapp, right. I become
trapped when you pointed at me and called me trap. Trap.
You there was in the chat finished trap. Your mic
is muted if you're not there, yo, yo, yo. The
oh you're just a voice in the cloud. That's kind
of yeah, that's kind of just like a voice in
the cloud. Yeah, well the clouds in the clouds. Anything

(02:01:28):
right there, cloud, well the cloud right there, put the
right by, put the right by, joker back there.

Speaker 1 (02:01:34):
Put it right over joker head right there.

Speaker 3 (02:01:38):
I mean this right here is hip hop.

Speaker 6 (02:01:40):
Heaven's whole concept is dope.

Speaker 1 (02:01:45):
That's fine. I like that.

Speaker 3 (02:01:47):
So again, one more time for the lunch. I'll we'll
see y'all Monday. No, same place, same time. Much love y'all,
have a good weekends and looking out for tuning into
the note this podcast. Please do us a favorite, subscribe, rate, comment,
and share. This episode was recorded right here on the
West coast of the USA and produced by the Black

(02:02:08):
Effect Podcast Network and not heard radio year.

Speaker 2 (02:02:12):
Thanks for listening and celebrating five years of the Black
Effect Podcast Network with us. Keep following because the next
five years are about to be even bigger.

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