The Lunch Table: Drake Still Dissing, Is Black Culture Really Toxic

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Whatsh up and welcome back to another episode of No
Sealer's Podcast with your host. Now fuck that with your
loaw glasses malon, trap, what's the deal?

Speaker 2 (00:17):
What's handling? What's handling? Man?

Speaker 3 (00:20):
Shut up?

Speaker 4 (00:22):
Got the burritos already.

Speaker 2 (00:23):
Out as there's a burrito.

Speaker 5 (00:28):
Don't do it, Trapped, don't encourage this.

Speaker 4 (00:33):
It's a burrito right here waiting on.

Speaker 2 (00:35):
They got a surfing turf, You got a surfing turf.

Speaker 1 (00:37):
I got king the seafood burrito because he's from Washington.
They like seafood. Okay, Yeah, I would like to have
asked for my burrito from where I want to get
it from, not from where he wants to bring it
to me when he wants to.

Speaker 2 (00:52):
That wasn't part of the bet, though, It's okay, why
would we I just said nothing about you being mad?

Speaker 3 (01:02):
Why would you be mad?

Speaker 2 (01:04):
I'm not mad. I'm not mad.

Speaker 3 (01:06):
Weird man.

Speaker 4 (01:08):
You could tell when people don't usually win bets.

Speaker 3 (01:10):
Oh, I don't trust me. I don't so.

Speaker 1 (01:14):
Yeah that when people don't win bets also trapped.

Speaker 3 (01:17):
I'm a bad I'm a poor sport too.

Speaker 2 (01:20):
So good even when you win, even when shout.

Speaker 1 (01:27):
Out to the shout out to the best seafood burrito
and taco man and all of California, The bomb Fish Taco.

Speaker 3 (01:35):
Check that out. We'll start right there.

Speaker 1 (01:38):
I got a coach around, coach, I got coach a
surfing turf. You all one, I got coach a surfing turf.

Speaker 3 (01:47):
Can't seafood, Yeah, yeah, I can't get one.

Speaker 2 (01:53):
On requests, Yeah, okay, follow him.

Speaker 1 (02:03):
You can follow him to do this bullshit. The Bombfish
Taco here, head over to the Bombfish Taco following him
on ig It's one of the best fish taco places.
Let me start this stream like this before we get
into all the BSS for oology to act from barackan

(02:24):
act the boxing show. I worry about act sometimes because
he speaks about boxing so much, and he'll say some
crazy stuff like I've only been interacting with him and
you know, for a couple of weeks, but he was
telling me that kel brooks a Hall of Famer. Told
me why there wasn't Hall of He just said some
absolutely ridiculous stuff, absolutely ridiculous shit.

Speaker 3 (02:48):
It made me almost question, like.

Speaker 1 (02:49):
What is his actual what's his actual pedigree in boxing?

Speaker 2 (02:55):
Too?

Speaker 1 (02:55):
Because how could you not know Kell brook is not
a Hall of Famer and then say Older is not
a like kel Brook is a Hall of Famer and
Wilder is not a Hall of Famer. And I just
thought it was asn But he told me, he said, glasses,
budd is gonna make this look easy.

Speaker 4 (03:13):
He said, buddy, don't make this look easy.

Speaker 3 (03:15):
Now it was.

Speaker 1 (03:16):
It didn't look quite as easy, but it was easy
enough to where I say, damn, Okay, he got it right.
So I'm proud of act coach King. They don't win
bets often.

Speaker 3 (03:30):
I think it's just crazy.

Speaker 1 (03:31):
They don't win paid up.

Speaker 3 (03:36):
Yeah, you are.

Speaker 1 (03:37):
Paid right here, feel me because that's what I do well.
And I'm proud of. But this is his second greatest
win in fifty fights. Second greatest.

Speaker 4 (03:45):
Yeah, I mean second, his second best win.

Speaker 1 (03:47):
It ain't like second, who's his first best win. Spence
was a certain time spencing Canelo.

Speaker 3 (03:54):
About you're talking about his This is second best, Okay.

Speaker 2 (03:57):
A moment somebody's opponents.

Speaker 1 (04:00):
At I mean, you know they said Floyd farting too young.
I'm sure they'll say Bud farting too old.

Speaker 4 (04:06):
You know how they do it.

Speaker 3 (04:07):
That is what you're gonna say.

Speaker 4 (04:08):
I'm not gonna say anything I'm gonna be proud.

Speaker 1 (04:10):
Listen, this is something I could finally hold on from
Bud his whole career. This is something I finally can
hold on to for his whole career because it's like Tank,
It's like for years they just never fought the best fighters.
Bud got your respect now, yes, right now, I can
put No.

Speaker 2 (04:27):
I think Bud been at your respect. We're not gonna
do that.

Speaker 3 (04:30):
No, respeaking with my head.

Speaker 2 (04:32):
You can I'm saying.

Speaker 3 (04:36):
Wait, wait, wait, wait, what's about Possibly?

Speaker 1 (04:39):
I got poppy and it's different back in hospital. Yeah,
at he said possibly. No, I'm saying I'm saying I'm
proud of Bud. He got his win that defined his career.
I'm proud it took him long enough. Now if we
can only get Tanked to do the same. No, the
best fight, I mean somebody decent. I mean another other fighter,

(05:02):
and this time Paul Jake, Paul.

Speaker 3 (05:05):
I don't know.

Speaker 1 (05:05):
If you're fighting a guy that's a YouTuber, it's like
a great fight. I just wouldn't say that big money fight.

Speaker 3 (05:12):
Make a lot of moneylas you can't shoot one hundred
and eighty pound. Yeah, that's just not right.

Speaker 1 (05:16):
Fast like he stole something like ninety ninety pounds four
hundred and seventy pounds.

Speaker 3 (05:23):
Yeah, he'll make your eye any stime, forget it. How
bad is the dou Asian dude that the next day?
How bad is he? I mean like, yeah, he un disputed.

Speaker 4 (05:35):
What's that in doing anyway?

Speaker 3 (05:37):
Anyway?

Speaker 4 (05:38):
Anyways?

Speaker 1 (05:39):
Dope anyway is kind of fighting a division where it's
a little lighter, but enough for that brito so people
know I pay let me let me see, let me
see a coach some of these fantastic breed up. That's
a Diesel show, the Chili show. The ship Chili bought

(06:00):
him so y'all can eat him during the show at the.

Speaker 2 (06:02):
Lynch table, at the Lynz table for real, for real, man,
I would have got I.

Speaker 1 (06:06):
Say, season really well, So shout out to my homeboy Al.
The bomb fish tacos d A b O m b
fish tacos right there right there?

Speaker 2 (06:17):
Is that? Is that a nigga? Is that a nigga burrito?

Speaker 1 (06:20):
You know what I'm saying, momb fish tacos? I don't
know if that's out of focus. Hey trap, I got it?

Speaker 3 (06:25):
What's up, bro' These are the burritos that you owe
me too.

Speaker 2 (06:29):
Yeah, are your burrito? Go pick it up our cashf
you know what I'm saying. I have to pay you though, too.
I got you basketball bring it.

Speaker 4 (06:37):
Here that special.

Speaker 1 (06:39):
I might not even show up Wednesday because I'm not
gonna bring it Windy, don't worry, Okay, So.

Speaker 2 (06:44):
Well go pick it up for meat.

Speaker 1 (06:46):
We got to go through the chat and figure out
who had that. Y'all didn't put all three scores, which
kind of bothered me because it's like, now I can't
really get it right, but all of y'all who had
it correctly close enough, We're gonna make sure we cash
up y'all something unless I had the exact three scores,
because that's what I would need to get it.

Speaker 4 (07:03):
Scores was off.

Speaker 2 (07:06):
What do you mean the judge scores? You mean the
judge scores.

Speaker 3 (07:08):
Ran weird stuff?

Speaker 4 (07:10):
Know it wasn't I told you what the score was.

Speaker 1 (07:12):
You just wasn't listening because I actually pay attention to
how they score boxing.

Speaker 4 (07:16):
See you actually a fighter. I actually understand how they.

Speaker 3 (07:18):
Score because glass is corrupt. You know how to judge
like a corrupt like a corrupt judge.

Speaker 2 (07:24):
Like a Russian judge.

Speaker 1 (07:26):
Enough enough of all this ridiculousness. Enough boxing. We talked
boxing last week.

Speaker 2 (07:31):
Oh man, you want to move past the box and
that this out? Check this out. He would have won.
He would have talked about the sweet science and everything
like that.

Speaker 3 (07:39):
I don't want to do talk.

Speaker 1 (07:41):
We could talk about that on the we I didn't
like that. We did that all last week. That ship
got carried away and shout out ran off. It was like,
these niggas talk about fighting something.

Speaker 2 (07:52):
Know what you want to talk about?

Speaker 1 (07:53):
Then No Sellers Lie the lunch hour every Monday, Wednesday
and Friday. Right here noon cific Standard time on No
Sellers by Glasses Malone YouTube page. We do this stream.
It's right here, just like you real quick, hit the like,
hit the like. If you on Twitter, retreat this link.
If you're on Facebook, share this post. We do this

(08:14):
stream and support the No Sellers podcast. That's why I
do this. Just dropped the great episode about hip hop.
I had some really great people on there. I had Justin.
I'm gonna have to bring Justin back Moore because our
conversations be dope. Indeed, I'm a big fan of Read
my Soul. Read this hell a Dope's one of my
favorite streamers. You know what I mean, really brilliant young dude.

(08:36):
But it's a great conversation. You can listen to the
No Sellers podcast on Apple Podcasts, iHeart Podcasts, or anywhere
you get your podcasts from.

Speaker 4 (08:43):
Subscribe over there.

Speaker 1 (08:45):
The No Sealers Podcast executive produced by the infamous presidentially
shun federally hated Charlemagne to God the Black Effect Podcast Network,
and I heard we're gonna get this thing cracking. Y'all
can eat jap Brito. You can take yall time. I
brought him, so y'all can finally you know.

Speaker 2 (09:00):
Sayble it's lunch at man slunch.

Speaker 5 (09:01):
As you know, since I'm a poor sport and I
only win now and then I'm putting mine.

Speaker 2 (09:05):
Up in glass.

Speaker 4 (09:06):
That's cool.

Speaker 3 (09:08):
Keep a favorite, you know, I mean my breacause I'm
a basketball season coming up. I'm gonna get like seven
mofing glasses.

Speaker 1 (09:16):
You both know that ain't go appen. You're gonna end
up paying like always at the end. So you've always
been to Lebron, I'm always get that money.

Speaker 2 (09:24):
Why that's I guarantee.

Speaker 3 (09:25):
Money with you is fucking crazy. I got put up
on that one. You gotta get.

Speaker 1 (09:28):
Camera, man, I showed y'all the song where now listen,
I try not to talk about Drake.

Speaker 4 (09:37):
I know that's talk about Drake. Talk about Drake.

Speaker 1 (09:42):
When Drake is doing something that's in his world of ship,
I don't got nothing to say when he's doing this thing.
I don't have nothing to say. When it's something to
do not with hip hop, I don't have nothing to say.
The issue becomes when it starts to involve things or
people that are hip hop.

Speaker 3 (09:58):
So a song of here is.

Speaker 1 (10:00):
Leaked the other day, Yeah, at least that's what they said,
those little weird kids.

Speaker 2 (10:06):
That was weird, weird. Just I don't know, like something
be going on with y'all where y'all not nothing in
real life, but you online.

Speaker 4 (10:18):
Y'all just be out of control.

Speaker 2 (10:19):
And they.

Speaker 1 (10:22):
No because something is wrong because they be just there's
no way they acting crazy like that. In real life
somebody would have been the crap. But long story short,
they leaked the song.

Speaker 2 (10:33):
I listen.

Speaker 1 (10:33):
I glanced because it was like, that's a good marketing front.
A good marketing front is to act like somebody leaked
your song. Sometimes it does happen, and then sometimes it
is marketing right. So I was in that I was.
I was kind of into how they leaked at these
weirdo kids. It's like, yeah, we got this new Drake
song we got to We're gonna play it. We're gonna
play it on our stream.

Speaker 3 (10:53):
You know what I mean.

Speaker 1 (10:54):
We're gonna play it on our stream. I'm okay, Well,
let me see the clip.

Speaker 4 (10:57):
I don't know who they are.

Speaker 1 (10:58):
I don't really look at too many streams, but I
saw the clip of the streams. So I'm listening to
the song and there was some really specific lyrics in there.
I sent the lyrics to Coach and Trap and King.

Speaker 2 (11:12):
Uh yeah about like about about like an hour ago.
About an hour ago I.

Speaker 1 (11:19):
Sent it that a ship.

Speaker 3 (11:21):
Nigga's lying, let me see this ship.

Speaker 2 (11:25):
Well, well, well well you do got a green bubble though,
so he might that thought is green.

Speaker 3 (11:34):
That ain't me.

Speaker 1 (11:34):
I never take that much of when you were It says,
when you were a part of the team. We used
to be planning our trip, our Mexico trip in the
spring spur of the moment.

Speaker 4 (11:43):
Why did you think you could get us eringe.

Speaker 2 (11:48):
That's not a breakdown on that right there, though?

Speaker 1 (11:50):
What's that everybody assumes he's talking about the mar DeRos
he is man, ain't assumption you did say the mar
and that was fire too that it's not fire that
the song the song was fine.

Speaker 3 (12:03):
You're saying that little part right there and it's not.

Speaker 2 (12:05):
I think it was a couple of balls after that
that was That was also like those those doubles that
you like, trapp.

Speaker 1 (12:11):
You know that's yeah, it's like okay, like what you're
talking about matters.

Speaker 2 (12:17):
Oh wow.

Speaker 1 (12:18):
So to be talking about how you used to plan
your trip with men to go somewhere at Mexico in
the spring, like the organization, the wit of it was cool,
but it's like, Bro, why are you talking about the
trips used to play with a nigga to Mexico in
a song? Like don't get me wrong, I'm off for
bro trips, you know what I mean? Bro trips is cool,
but I'm not gonna talk about it later. Like, Bro,
we used to go everywhere together. If we fall out, Bro,

(12:42):
I always think I'm giving it a hard time, but
it just be shipped like that that.

Speaker 3 (12:45):
I mean know, I be like, nobody around you said,
why are.

Speaker 1 (12:50):
You talking about playing a trip with this NBA nigga
somewhere in Mexico.

Speaker 3 (12:53):
We've already come to the conclusion Drake's support system is trash.

Speaker 2 (12:56):
Get that.

Speaker 1 (12:57):
But I think part of the problem is like you
just saying that's fire because they was in there, that's fire.

Speaker 3 (13:02):
That the words that he put on paper with fire
when you was al.

Speaker 1 (13:07):
We used to be planning our Mexico trip in the
spring spur of the moment. Why did we think you
could get a serene You sound like.

Speaker 3 (13:16):
A hurt woman.

Speaker 5 (13:17):
You get it, doesn't You sound like, come on, put
it on paper now.

Speaker 3 (13:25):
It sounds like all Drake music's on the same.

Speaker 1 (13:31):
If Nikki said that would be fired, that would be
hind the niggas so at this point, but it does matter, bro,
like as friends. We're friends, bro, but we can't just
talk to you just like that. Man, I used to
take you to Columbia. Bro, that's not cool to tell
a friend. You know what I'm saying that I ain't
player like you gotta keep it player, bro.

Speaker 3 (13:50):
You know what I mean?

Speaker 1 (13:51):
And and no there and and and this is the
thing that's bothering me the most right This is the
thing that Oh I got your beverages to please show
off your beverages, man, check out the player this, I'll pay.

Speaker 4 (14:02):
My I'm all the way out of Mexico.

Speaker 1 (14:04):
Feel me shout out to my man mom fish tacos player,
head over the inscram. I promise you the best seafood
burritos and tacos and all of California.

Speaker 2 (14:15):
You gotta say, glances Malone lunch I sent you there.

Speaker 1 (14:18):
Yeah, sure up, he'll look out for your special. I'm
gonna try to get him to come up with my
own combination burrito. But it's like, Okay, it's one thing
you're talking about your homie, and it's one thing you're
talking about the Homi Damar.

Speaker 3 (14:33):
Yeah, but you know, y'all me in. But it's just
that's weird. Part two, Why the fuck.

Speaker 1 (14:38):
Are you sewing the regulabel for promoting somebody dissing You said, oh,
this song defames me, and then you still talking like
how do you talk tough as a like that? Like
you ever saw somebody get punched in the face and
they still be talking tough after they got punched in
the face.

Speaker 2 (14:56):
Yeah, that's just me.

Speaker 3 (14:59):
Always it'd be weird. But but we already know Drake
is a walking feminine contradiction. I have to say this
is pretty good, Like, but come on the trump. But
when he but when he put pin the paper that
it was tight on paper, like what he what he
wrote was was witty. So here we go. I'm saying

(15:19):
it was feminine, but it was witty. It was snarky
like a girl. It was that's just snarky. Rapp is
what he does. I think that's his thing.

Speaker 1 (15:28):
Yeah, but it's like coming from a guy, it's just
I don't know if it's tight.

Speaker 3 (15:32):
Then no, it's not tight, Like I wouldn't say it
was fire. What I'm saying the words that he put.

Speaker 1 (15:39):
On paper, like if he wrote this for like Gloilla
or something. When you was a part of the team,
we used to be planning our Mexico trip in the
spring bars the moment, why did we think you can
get us o ring?

Speaker 3 (15:51):
No, it still wouldn't be okay for Glorilla.

Speaker 2 (15:54):
So let's let's I want to break that down. So,
so was the was the spur of them? Was the
spur of the moment part of it? Like they losing
to the Spurs and you're talking about Yeah, that's kind
of that was kind of.

Speaker 3 (16:09):
With it the Raptors to the Spurs in the finals
or something.

Speaker 2 (16:15):
No, No, I think the raptors that be. Who did
the Raptors be when they.

Speaker 3 (16:20):
Why play for the why play for the Spurs?

Speaker 2 (16:23):
And then he got traded to the Spurs too, that's
a fact.

Speaker 1 (16:25):
Yeah, But I don't think that y'all working together to
put together that on tandre like working hard to like
spur them ament like catch hard Drake did that?

Speaker 2 (16:37):
Man? I caught it.

Speaker 3 (16:38):
I caught it. I support Drake caught it. I caught it. Yeah,
trips in the spring, I don't think he should put
that in the sense.

Speaker 1 (16:46):
Why did we think you could get us a ringe?

Speaker 3 (16:48):
He should not put trips in the spring with fellas.

Speaker 1 (16:51):
And I get I get all of the connection points. Listen,
Homie is a high value here is nice, But it's
just this has always been my thing with Homie, right,
this is kind of why, Like I've always thought of
him as a phenomenal talent. I just don't fuck with

(17:14):
niggas that kind of be like soft, not like they
not salt.

Speaker 2 (17:21):
Like.

Speaker 1 (17:21):
You don't got to be the toughest nigga on a
block as a hommyes bro, but you gotta at least
stand up for yourself.

Speaker 3 (17:27):
Or stand up for something that's really.

Speaker 2 (17:30):
It now though he's kind of doing it now though, No, this.

Speaker 3 (17:33):
Is not stand up.

Speaker 1 (17:34):
You have a lawsuit going currently against a record label
because you lost a battle, right and you're like, Hey,
you guys promoted this song where this guy was insulting
me in a way that I didn't like. So I'm
showing you guys for promoting that song.

Speaker 5 (17:46):
Let me ask you a question, trap, Is it cool
promote stand behind the police and talk shit.

Speaker 3 (17:53):
After they called him? Yeah, stand behind the police and
talk shit? Is it cool? That's what's doing law.

Speaker 2 (18:00):
M that's what he's doing now.

Speaker 3 (18:03):
He got behind the police. Now now he's talking shit.
He'll let you know. I'll call the police. Okay. I
got a question though, like, what do y'all want Drek
to do? How does he rap now? Because he's known
for being snarky and a little feminine in his raps,
he's a petty betty, Like, how does he rap now?
How does he go back to rapping? Because this is
what this is how he wraps the actor. He raps
about soft situations and and love.

Speaker 1 (18:26):
It's cool when it's about a girl, like it's already
questionable when it's about a girl, it's like, okay, but
everybody interacts with women and you know kind of the
pain that women can cause your life, so you accept it.
Like even though his was to be a little bit
like it's hard when you grew up on too short
of Snoop or sugar free to kind of hear that level.

Speaker 3 (18:46):
But I get it.

Speaker 1 (18:46):
We need to balance. Everybody can't be hard on a woman.

Speaker 4 (18:50):
So you got to have.

Speaker 1 (18:51):
Drake who feels like he's a little softer on a woman.
So I agree that's a balance that that that rap
music that that we needed at that But it's you
can't rap about guys the same way you rap about girls.

Speaker 3 (19:05):
Y'all gonna make Drake make a song called Toxic MASc Illinity.

Speaker 1 (19:09):
It's just it's cool when it's about a girl, like
if he was rapping about Lotto or Nikki or Rihanna,
and yeah, you could be like yeah, but still it
makes when you rap about a man the way you
rap about a woman, like we used to plan our
trips together.

Speaker 3 (19:25):
I know, and I'm forgive me.

Speaker 1 (19:26):
It's the voice. Maybe it's the voice dog, but you
used to plan our trips together. I don't know if
you can make that sound like Stern parblem Is. Y'all
gave him a past when he was doing that ship
about the women. I've seen it as a gateway. I
knew what Drake was going.

Speaker 3 (19:40):
Drake talked, niggas don't even do that ship when they
talk about it was a gateway. When you started talking
about them Serenas and all them women and shit, I
peeped it out. Then niggas don't real niggas don't talk
their business out like that about women like this. It
was who already knew Lebron was coming up eventually and
all the rest of this ship just the guy, you know.

Speaker 2 (20:02):
So I feel like as if Drake always they always
seen to use his rhymes, that's his ways of expressing
his emotions, you know what I'm saying, And he couldn't.
He couldn't really necessarily do it within the way most
people do it, within being angry and coming across like that.

(20:23):
So he really That's what Like I asked people one time,
like what what did Drake, Like, what did Drake bring
into that pile? Like what is he bringing it? And
it was like it was like he brought vulnerability into it,
Like you know what I'm saying, because.

Speaker 4 (20:34):
You had TUPAC DMX, you had a bunch of people.

Speaker 2 (20:37):
Trap.

Speaker 3 (20:37):
Could I ask you a question? Mmm?

Speaker 5 (20:40):
Because you seem like you're defending this dude or something
that's your question. Maybe maybe let me ask you a question.
This dude is rich, could have a thousand friends, could
buy a thousand friends, and he crying over one nigga?

Speaker 3 (20:54):
Are you serious? Birth of all Kings? He's cried over
this is not his first nigga.

Speaker 5 (21:00):
He's string to me like nigga kicked rocks then, Like
what the fuck is wrong?

Speaker 4 (21:05):
Wood?

Speaker 3 (21:06):
Many tears drake us over dudes like these are your
best friends and they gone.

Speaker 5 (21:11):
Nigga got a thousands best friends you can pay for
you want to, like you, I'm.

Speaker 2 (21:18):
Not defending them. I don't see him defending them. You
canna stop that fending. No. I just some person that
looks I look at I look at it, and I'm
saying both sides know what I'm saying like that, though
it ain't like and I can always say there's nothing enough,
there's nothing that I would do, But I gotta look
at it so as soars understand why you know what
I'm saying and what's causing it?

Speaker 4 (21:38):
Like you want to do.

Speaker 5 (21:40):
Trap huh stop okay and stuff you won't do what
not okay?

Speaker 3 (21:45):
And I agree with that.

Speaker 6 (21:47):
You know, yeah, well you talk about used to walk
through the neighborhood.

Speaker 2 (21:58):
No, no ship like that. I can't not No, I'm
not condoning Sucker ship at ull spring.

Speaker 3 (22:05):
Why would you say that spring trip trip?

Speaker 2 (22:10):
I want to hear what the Drake with the Drake
fans really were, how they were explaining. But I'm not
even like I'm.

Speaker 3 (22:15):
Taking trips with dudes, man, you know, a spring call
up the Spring Fellas my spring partners for this trip,
like what the fu the summer Fellas like summer trips
with these guys either my summer they have this so
like my.

Speaker 2 (22:34):
Thing, My thing is more so this stuff like and
I've been wanting to do this. I wanted to just
leave all that ship alone and just make music. Bro,
Like stop stop feeling you know what I'm saying. But
I think he's doing this as like a marketing tool
or something like that, you know what I'm saying, and
like just keeping the that's what the people want to
hear him talk about it like that. But you're just
making then you're just making it seem more like just

(22:58):
standing all like like all the all the the stuff. Man,
I'm not really.

Speaker 3 (23:01):
Like, hey, G made the perfect alone. He made the
perfect point the last time. The problem with Drake is
he's making music, but now we're dissecting it a lot,
like he is making music now because of his action
that we're like, really, it's the same music, but when
now we're looking at it really tough, like, oh man,
you shouldn't be saying this. You can't say that. You
shouldn't be saying this. I don't even know where where

(23:24):
Drake goes from here, because this is the same music
he was making. Drake was always soft with his music,
but now we're just looking at it super tough now,
like yeah, this don't sound you know, you.

Speaker 2 (23:36):
Know further, you know further too it. I think he
had he had a part where he Bronway. It seemed
like it was like it's all subliminum stuff. So it's
like it couldn't necessarily say and I'm not talking about him,
I'm talking about this, that this, but it seemed like
it was a part of that. He was talking about
Braun on the tour.

Speaker 1 (23:51):
Shout out to mid West Coop Cash Money j Prince
and the Hood co signed Drake All for the money.
So much for keeping it real. He mocked us on
our culture. Now everybody Canadians see I didn't do that
cool and everybody used to be mad at me. I'm like, nah,
it's cool. I'm gonna let him do his thing. But
I don't believe in just standing with people just because

(24:12):
they're around. And don't get me wrong, like I remember
just how successful and it could have been easy to build.
But it was like, yeah, now that shit mattered to me.
Dog Like, like I think I'll do music with people, but.

Speaker 3 (24:28):
Man, I don't know. I just I don't know.

Speaker 1 (24:33):
I don't know. I can't just do certain things. It
fucks with me, and then I get it when it's happening,
Like I understand why he's doing what he's doing with
the raps. Shout out to the person at the table,
shout out to everybody the lunch table, cooking man, much
love of y'all.

Speaker 4 (24:48):
Somebody made a point.

Speaker 1 (24:49):
They said it could have been a reference of him
saying that they was never going to the finals, so
they was playing tricks to in the spring.

Speaker 4 (24:55):
But it's still like.

Speaker 3 (24:58):
The same thing.

Speaker 1 (25:01):
Just I don't know, man, It's just it always sounded
like this to me.

Speaker 3 (25:05):
The only time it didn't was when.

Speaker 1 (25:07):
Those songs were those songs like you know, but I
just feel like this is probably not the time to
be kind of trying to take people.

Speaker 5 (25:15):
But your character does you'll call somebody if you have
a problem or you know what I'm saying, Like this
dude is saying it on the record like he.

Speaker 1 (25:26):
Even somebody as successful as Drake, right, don't get me wrong,
Like I get it, but marketing still matters, like marketing
still matters, and he understands it, like he gets it,
and he's willing to take those steps, like he's willing
to kind of be out there.

Speaker 3 (25:46):
And corny and stuff to do this.

Speaker 1 (25:48):
Or be judged, you know, or be judged because some
of the stuff people might not feel as corny and
some people don't think it's corny. It's the same thing
with thugs, Like thugs just did the same thing where
it was like he knew those phone calls could make
him look crazy.

Speaker 3 (26:04):
And see that's what that was my point, and that's
my point with the even with the Drake situation, I
think him because whoever said that, maybe he was talking
about Spring Trips because of they wasn't gonna make the
finals or whatever. But the problem is it's the character
flawed in Drake to where we immediately went to Spring
Trips with Fellas. Yeah, because it's him, that's true.

Speaker 1 (26:25):
Like we used to be planning our shifts in Mexico.
When you said the dudes, I was like even talking
about with his friends. I don't know you.

Speaker 2 (26:33):
That's what I'm saying. It was the door open, So
you don't know what are you talking about?

Speaker 1 (26:38):
Listen, it's hard like right when you're see most pop
artists kind of see what's happening right, Like they understand
their marketing. Bravado is for you know, I mean, they
understand their marketing audience. Who they're marketing to is the
next generation of youth. And he's in a weird place

(26:58):
right where he's trying to kind of be what he
thinks hip hop is, but he's still such a pop
artist that it would be weird. It would be like
if Britney Spears started talking about some real shit, like
you know what I mean. Like historically you kind of
watch pop artists kind of get to a place to
where it's over. Not artists who grew into pop artists,
but artists who are pop artists, you know what I mean,

(27:20):
And then they kind of get into that place to
where it's like, you know, it's pretty much like done.
It doesn't matter your level of talent. Once you decide
to kind of make music for the next mainstream audience
every time and you don't drench it in flavor and culture,
you know what I mean, then immediately you start to
become something that's like out of touch.

Speaker 3 (27:43):
Does that make sense? Yeah, it makes a lot of sense.
And I wonder how the conversation about him not being
hip hop has been a big topic lately, and maybe
the way he's trying to give us the music, maybe
we just not perceptive to how his wording the wording
of shit right now, Like I don't know how to

(28:04):
understand that shit, how he's saying, hey, spring sprem trips
with I can't understand how to receive that meal. Maybe
it's me. Maybe I don't know you say it's fire.
I'm saying I understand the I get the little uh,
the little nuance as to how you put the pin
on paper, I get all that, But me hearing the

(28:26):
words and trying to understand trying to get the words
as a fella because people keep on talking about Tupac
and Biggie and all these guys talked about their emotions,
but it was the way they talked about their emotions,
like I can, I got it, you know, I understood
I think us as rap fans, understood it better we
They worded it in a way to where we can
get it. Drake uses words and put stuff, phrases, stuff

(28:46):
to where I'm just like, that might have been more
for a lady, like a woman can understand that a
lot better than us.

Speaker 5 (28:53):
Well, that wasn't good for Toronto either. If you take
it the other way, He's like Toronto's gonna never win.
So we planning trip. So either way, he's say, it's
not good.

Speaker 3 (29:02):
I don't think stuff, and I think is kind of
a it's not good trap emotional kind of a guy
who talks about well, yeah he does it well, but
I can kind of I can receive it from while
a better. But Drake is saying this stuff like like
you said, it's kind of like.

Speaker 1 (29:19):
And it's not just the lyrics, bro, it's just why
are you talking like that if you're suing this company
for what somebody was saying about you when you was
competing with them. I just feel like, like like King said,
that's standing behind the police talking shit, you know, standing
behind the police, like I beat your ass and the
police right there, but you keep talking and the police said,

(29:42):
I whoop your ass.

Speaker 2 (29:43):
And it's like.

Speaker 1 (29:45):
And I do think he understands it, Like he gets
that this is how people are going to listen to
the next record, maybe the whole record doesn't have a
bunch of stuff. So he understands it and he's willing
to sacrifice from the marketing perspective. But it's just odd
when it's coming from a pop artist, you know what
I mean, Like when it's coming from a pop artist,

(30:06):
that's not normally how pop artists do things. Now, artists
that have went pop is different versus a pop artist,
you know.

Speaker 3 (30:13):
What I mean.

Speaker 1 (30:14):
Usually they just kind of see like okay, like in
sync and then they just do their thing. But it's
like he's still kind of almost like I know, he
understands that he's not hip hop right now, Like I
know he gets that. I know he understands it, and
that's why he's doing everything outside of hip hop. He like,
you know what the jig is up on me. They
know I'm not hip hop. Fuck glasses and they just

(30:35):
telling everybody. You know, now they know you know what
I mean. So I'm gonna go sit down with this
guy like black people. I'm gonna go over here and
I'm gonna collab with these rappers in England and I'm
gonna say they're the best rappers ever, and I'm going
to do everything to not put myself in hip hop.

(30:58):
I'm gonna get on a platform with this little white
lady and laying in a bed and say they're all losers.
And it just starts to come across really, you know, like.

Speaker 3 (31:08):
He gets it.

Speaker 1 (31:09):
So it's weird that he's still trying to articulate himself
the way we do.

Speaker 4 (31:15):
That's my problem.

Speaker 1 (31:16):
So it's like us, he's conceded being hip hop at
this point. That's not he's not a rapper. He's conceited
being the culture at this point. He's like, Okay, the
jig is up. They blew my cover. But it's like
he's still trying to hold on to a level of
like culture, like a like a like a street urban
kind of culture where like you're gonna lay in a

(31:37):
bed and you're gonna be snarky. You know you're gonna
you know, you're gonna get on a song and talk
about basketball players, and you know you're gonna go sit
with Aiden Ross.

Speaker 4 (31:49):
You're gonna call him on the phone.

Speaker 1 (31:50):
Hey, you know Aiden, and he's gonna call you sassy
and you don't realize that's something you should punch him
in his fucking face over like sassy.

Speaker 3 (31:58):
Yeah, you know what I'm saying, and stuck to each other.

Speaker 1 (32:01):
Like you're so sassy, and so you just say that
you sassy and they start calling each other sassy.

Speaker 3 (32:06):
Bro. I'm like, it was cry it was you know
what I mean? And it's.

Speaker 1 (32:15):
Yeah, no, I'm not doing charisma. I just say charisma.
So it's like it's like, you know what I'm saying.
It's like just here, and it's like you're still a guy,
You're still a man, you know what I mean? And
and you're still Dennis's son. I was looking at this

(32:36):
thing the other day. They did an interview with kis
Sean and I talked I called trouble about this.

Speaker 4 (32:43):
I just did an interview with this dope podcast.

Speaker 2 (32:46):
I saw it.

Speaker 4 (32:46):
I never really followed him, but I saw this clip.

Speaker 1 (32:49):
Shout out to kis Sean and they were talking about
how he got writer's credit for Best I Ever Had?

Speaker 3 (32:55):
Right, They gave him twenty five ye I've seen that one.

Speaker 1 (32:57):
Right, and I was like, you know, I remember hearing
that story, but I remember hearing kis Shine's version of
that inspired.

Speaker 3 (33:04):
Best I Ever Had?

Speaker 1 (33:06):
It was a beat floating around at cash money, right,
And I remember hearing that and I was like, damn,
this is cool, but like I wasn't into it. And
I remember hearing Drake's Best. I've had to think of like, damn,
this is tough, like, you know, not even really understanding
music enough to where I could associate the two. And

(33:28):
so this is two parts of the reason I'm telling
the story. Fast forward. Kis Shine you know, takes his credit,
sends it over to the label. Hey, you know, this
is my song. This is an interpolated version of my song.
My music inspired the music. The words that I wrote
for Wayne you know on the hook inspired the actual
chorus of this song.

Speaker 4 (33:48):
Blah blah blah.

Speaker 1 (33:50):
Universal hears it. Tom Wally does the right thing. They
make sure they give kis Sean his twenty five percent
of the song. Right now, nobody knows because Sean doesn't
have a relationship with Drake. Kis Sean got a relationship
with Mac MacMan, a president of Young Money, Good Dude
in Tune and Waye. So the business happens. Kiss Shine

(34:11):
gets an award for the song, right, and he comes
out the award and he's showing off his award.

Speaker 3 (34:16):
It was like, oh damn, okay, what is this?

Speaker 1 (34:18):
Oh yeah, I co wrote best I Ever had? Right, Oh,
I co wrote best I Ever had. So the shit
goes viral and I remember it going viral at the time,
and uh no, P, I don't want to see him gone. P.

Speaker 4 (34:31):
That's just ridiculous.

Speaker 1 (34:32):
If I want to see him going to be like,
I want to see him gone. But he shows this
video camera the award. They talked to him and said, oh,
I co wrote this song. Now, this is the first
kind of inklings that Drake had a writer. Right, And
Drake gets mad, Right, he is from Memphis, any tough
and he really smart. Revenge, he says, he goes to

(34:55):
la he you know, he's at a party, right, and
he just happens to bump into Drake at the party
and Drake is mad dogging him at the party, like
he's walking he like, I noticed a dude he was like,
and he's mad dogging me. And so his buddies come down,
they set it up. They talk and Drake just gets like, oh,
you know, you tell everybody you wrote my song. He

(35:17):
was like, hold up, bro, and he was just I
guess he was at another level like when he was
kind of in his emotions about you know, people feeling
like kis Sean wrote his song. And kis Sean talks
to him like, hey, Homy, like, look I see you
got all these people with you, and I got my people,
but you got all these people with you. If something
happens to me, remember your family is from Memphis. You

(35:38):
know you may not be but your dad and he's like, Yo,
whatever happened here, you might get a win here, but
I'm gonna get my wins there.

Speaker 2 (35:45):
Yeah, he said that, right, And.

Speaker 4 (35:49):
I say that for that one reason.

Speaker 2 (35:51):
Right.

Speaker 1 (35:51):
That was the point I've been saying that if that
was Memphis, they would have connected, they would have had
that conversation boom right, Okay, that would have been nothing
to set up that conversation like this that like somebody
in watch that ain't gonna be no streaming on no internet.
That's gonna be two phone calls at best, If not
one phone call, it's gonna be two phone calls, and
me and that person gonna be face to face. Right,

(36:11):
We ain't got a popul liud way I do that,
and you're not gonna talk to me like you don't
know me. But that's further proof that I'm saying he
didn't grow up there because that could have been solved
way simpler.

Speaker 3 (36:20):
Right.

Speaker 1 (36:21):
Part two, Drake had to have had writers at the
beginning of his career, right, And that's not to say
somebody was m seeing for him. So in the record business,
shout out to everybody at the lunch table. I know
I'm going through some shit. Just let me work it
out for y'all. In a record business, when somebody says
somebody wrote a record they're talking about they have, They

(36:43):
picked the music, and then they put the beat with it.

Speaker 4 (36:48):
That's what when somebody say.

Speaker 2 (36:51):
Basically helped them construct the record, basically, not word for
word and anything like that though.

Speaker 1 (36:56):
But again, a record to the record business is a
hook in the beat.

Speaker 4 (37:00):
It's like when you right.

Speaker 3 (37:02):
So that's that's writer credits just for that.

Speaker 1 (37:05):
Somebody say you wrote the record completely, Wow, that's the
record itself, lydio No, And I always tell trap that
that part of the song is not the most impart
of the song.

Speaker 4 (37:16):
When people you pick the beat.

Speaker 1 (37:18):
So when you hear people say fifty wrote games record,
they're not saying fifty wrote the lyrics, wrote games rat lyrics.
They're saying he picked the music and he wrote the chorus. Okay, right,
so that actually makes a lot of sense.

Speaker 3 (37:32):
Yeah, like I said, yeah.

Speaker 2 (37:35):
It no, no, no, no.

Speaker 3 (37:38):
Now when I hear somebody say fifty wrote that song,
now I could be like, okay, they meant that they
closed and everything.

Speaker 2 (37:45):
You basically you're basically saying that's because that's the most
important part of the song would be the hook.

Speaker 1 (37:50):
And the record business is the most important part of song.
Not in the hip hop but in the record business.
When somebody say you wrote a record, they're referencing your
ability to make or pick the and put the chorus
on the beat.

Speaker 4 (38:01):
So they'll say you wrote the record.

Speaker 1 (38:03):
So right, which is I was saying this about Drake
having writers early again, people are gonna think that I'm
referencing him having MC's or somebody he couldn't MC. That's
not what I'm saying. That what they took from that
kid Shine song and may and to best I ever had,
that's not nobody first time writing a record. M that

(38:26):
is done really well. That's somebody who understands records. Now,
that's not to say Drake don't understand records at this
point in his career, he's a fucking monster.

Speaker 4 (38:34):
Of course he gets it.

Speaker 1 (38:35):
But that specific record at that time, somebody, that's somebody
coming up with that idea. And it made me realize, Yeah,
that's somebody who've been writing records.

Speaker 2 (38:46):
Because you know, what would be the difference between that
and saying somebody produced the record?

Speaker 1 (38:51):
Though the hook the hook okay, hook right, hook changes it.

Speaker 5 (38:57):
But if you say somebody could just put money into
a project and said they produced it, right, do nothing.

Speaker 4 (39:02):
Yeah, yeah, that's what happens.

Speaker 3 (39:04):
That's the difference. Trap. That's why he created.

Speaker 1 (39:07):
With Bobby Brown's first album, Geene Griffin, it was the
money Bobby Brown.

Speaker 2 (39:13):
But what I mean what I mean when I'm asking
because like like you know, how like when they say,
like you got beat makers and you got producers, so
the producer be the person that comes in there and basically, yeah,
they did the beat, but they're also telling you how
you how you approached the beat also too, you know
what I'm saying like that, like you should.

Speaker 3 (39:31):
Somebody makes it.

Speaker 1 (39:33):
Somebody makes a beat, a producer produces a record. Yeah,
so a beat maker is somebody who makes a beat.

Speaker 4 (39:42):
A producer is somebody who produces a record.

Speaker 1 (39:45):
So that's a completely finishing thing that's from here to
here to the finish line. A beat maker stops, you know,
fifty percent of the way through.

Speaker 2 (39:54):
Yeah, I got you.

Speaker 4 (39:56):
So, But I was saying like he had.

Speaker 1 (39:58):
I didn't think about it like that because when I
her best I ever had, I was like, damn, like
this is really good, Like you could just hear it,
like now this is dope. But now listening back to
it and hearing it. Whoever was involved with that, they
was an animal because they understood.

Speaker 3 (40:14):
Even at that time the song.

Speaker 1 (40:15):
Was called do It for the Boy. Yeah, which is
weird because Drake ended up taking that as his mind. Yeah,
I mean, it's just weird, but he understood how everything
was in a business, you know what I mean, Look
shout out to CALLI to God. Glass is always trying
to say Drake makes good music when he's been cast
stilling so many times song lyrics he had to pay

(40:36):
Rapper for ten hundred thousand for still in his lyrics. Look,
you are taking what I'm saying out of context. Drake
is one of the best record makers in the business.
That don't mean he actually had to write none of
the shit down. It don't mean he had to pick nothing.
That means his execution of what it sounds like when
it goes to radio is fantastic. A lot of the

(40:57):
best record makers in the business will tell you not
trying unless you steal it. And that's the thing, you
know what I'm saying, Like, that's the tricky part, you
know what I mean? A lot of things that you
might reward artists for, a lot of things that you
might reward artists for, you don't really want to know
what your favorite artist was doing. You don't really want

(41:17):
to know, like if you really knew how this shit worked,
you look at a lot of people crazy.

Speaker 3 (41:24):
I'm not lying, dog, it's crazy.

Speaker 1 (41:26):
So I'm not saying even the fort tape thing like
that's a publishing thing, like to know to even take
that and then put that into that song is different,
But the best I've had has to turn that into
that record from that mixtape song Blue Magic. No I
want to know, No, you don't. You don't want to

(41:47):
know what Michael Jackson did to make thriller. You don't
really want to know. Dog, I promise you you don't
want to go to know. You don't want to know
what Michael Jackson got them dance moves. You don't fucking
want to know, cause y'all are not prepared to take
that type of shit.

Speaker 3 (42:01):
You have to see people as these completely.

Speaker 1 (42:03):
Like It's like even now when we explain in marketing,
like when I'm explaining the Coach marketing, it's like it's
like you're telling somebody Santa Claus is fake?

Speaker 3 (42:11):
Are you telling them.

Speaker 1 (42:12):
The Two Fairy ain't real? You get what I'm saying.
It's like, you don't want to know, so just enjoy
the records. So the point I'm saying is when he
takes that shit and they make that into Best I
Ever Had, which I could tell I think forty probably did.

Speaker 2 (42:28):
The music.

Speaker 3 (42:29):
The music was inspired by Best I Ever Had?

Speaker 1 (42:32):
I mean, excuse me, do it for the boy Little
Wayne sung, and then the words were actually used on
the song and they switched it. Which at that time,
if you was coming through Wayne, like I wish I
would have thought about that, Like, you're coming through Wayne,
so your first audience is gonna be Wayne's audience, right,
and then you put out a song that's so familiar
to Wayne's audience that's just a more of a more

(42:57):
of a like an extension of what this song that
you already liked was.

Speaker 2 (43:01):
So cash Money basically doubled up on that song. He
used it twice.

Speaker 1 (43:06):
Yes, Well, remember one of them is on mixtape Wayne Shit,
it's on mixed. It's on Mac Wayne's mixtape. But imagine
like if I signed a deal with mac tin, right,
and then people discovered me through mac ten right, and then.

Speaker 4 (43:18):
I flipped for life.

Speaker 3 (43:20):
M hm, you know what I'm saying.

Speaker 4 (43:23):
I flipped for life.

Speaker 2 (43:27):
But that's what I'm saying though. So, so kis Seine
brought the record and Wayne used it, and then Drake
doubled back and used it again. You're saying basically, right, Yeah.

Speaker 1 (43:37):
So what they did was they took inspiration from I
could tell how the record was made. I don't I
know for sure, because I know how people make records at.

Speaker 2 (43:44):
This said, they came through. You said, you say to
come through too.

Speaker 1 (43:46):
Yeah, I'm saying, but minus the kis Seane song. I'm
saying to take the idea right, because even the music
is a it's an interpolation and an approved version of
what the Kids Shine song.

Speaker 2 (43:57):
The beat was, That's what I'm saying.

Speaker 1 (43:59):
Yeah, and then they took the words right of the
kids Shine song and made it the hook of best
I ever had, you know what I mean, the best I
ever had, and then they made that into that. And
then even the flow pattern of like if you listen
to the little Wayne song do It for the Boy,
and then you listen, it's the exact flow pattern. But

(44:19):
imagine that's your audience of people you're servicing a record too, right.
It's like the first Buyio record when you drake or
you glasses alone. At that time, it's people that's fans
of young Money and cash money. And if this is
one of Wayne's songs that's doing well on a mixtape circuit,
you have an automatic audience that hears that song like,
oh shit, even if you don't know, Like when I

(44:41):
heard Gin and Juice, I did not know that was
slave song. You know, I didn't think of walking down
the street watching ladies go by, watching you like rolling
down the street, smoking in though sipping on gin and juice.
You don't calculate those things instant's you know what I mean.

(45:02):
Unless you're into the business, you don't think of that shit.
So for him to know that, that's why I knew
somebody was there, That's not something you figure out. Even
people who want to be dope mcs like him. He's
an MC. He wanted to be dope, so he start MCing. Right,
you don't think of how to write a record. That's
somebody's complete other ship. That's their profession, you know what

(45:27):
I'm saying, that's their profession.

Speaker 2 (45:30):
So when we were discussing this yesterday, all right, so
you you you were saying, we both both basically came
to the agreement, saying like that they approached within within way.
The way they were delivering Drake to the audience was
was basically hip hop. So it was like basically it
was approaching as if he was a pop artist and

(45:51):
behind the scenes stuff.

Speaker 1 (45:52):
Not even no level of hip hop. It was always
from the first day like a pop artist. It was
all he was always a pop artist, even before I
knew what it was. I could feel what it was
like I didn't know because I couldn't articulate. I didn't
know enough about the business, but I could see, like
that's different. But even like thinking of those songs like successful,

(46:16):
thinking of those songs best I ever had, thinking of
those ideas, Bro, they were like well written, and they
weren't well written for somebody that's an MC or a rapper.
They were well written for somebody that's been in the
record business for ten years. So again it's like you
don't think about that, even Snoop, Like when when they
did Jen and Juice, that's not Snoop's idea to put

(46:39):
that on that hook, Like that's somebody who had been
in the business.

Speaker 3 (46:42):
That's Dre and Doc.

Speaker 1 (46:43):
I have to ask one of them, But that's one
of those guys who've been in the business long enough
to understand record writing.

Speaker 2 (46:52):
Yeah, right that though, Yeah, they credit of for remember you. No,
that's why Sean went right to Universal. Not something about
the doctor trade joint though? Did they credit him? Did
they credit them for that?

Speaker 3 (47:08):
I don know?

Speaker 2 (47:12):
Yeah, they can't got that ship later mm hmm, that's
me right there.

Speaker 1 (47:18):
He didn't Sam shout out to Peter Sean could have
said sample, but they didn't sample it. That that is
a proper word to you. That's not a sample. Like,
that's not a sample, you know what I mean? Like
they didn't sample kiss Shine's version of that song. In
Drake's song, his music, the music he produced is interpolated

(47:40):
making the beat. The flow that he used that he
wrote is the flow that they used to make best
I ever had. And there's actual words that kis Seine
says that's not even changed at all. It'll be a
word for word version of it. That is, he co
wrote a song the and it's not even anation. It's further,

(48:01):
it's not even a rendition. It's actually he co wrote
the song. You get what I'm saying That a sample
is when I take a master or something and then
I use that master or the music itself, the actual
recording and put that into my music. And interpolation is
when I take give you a take on it. It's
a co write because you're using the words I'm saying,

(48:23):
the flow that I'm using, and you're interpolating my idea
of production wise to make a song. So again it's
it's it's he did use the correct term. It was
word for words. It's he used a correct term. It's true,
and I do and I do get you because he
could have gave you a bunch of oh you know what,

(48:45):
well he used words that I wrote for blah blah blah,
and then they interpretated my idea and they use his flow.
But no, the proper terminology in the business is CO
wrote the song. It's not something unique, uh, Marie is not.
It's not something unique, bro, It's just it's nothing wrong

(49:09):
with that. Like again, like we can go back to
the beginning of hip hop. It's not nothing crazy. It's
just the fact that to be that far along, it's
like when you first heard Nelly, like really great songwriting,
is him to flip that nursery rhyme and make country grammar.
So no, it's not it's not about you know, is it?

(49:31):
Is it unnormal? Is?

Speaker 3 (49:32):
I'm telling you that's high level. It's high level.

Speaker 1 (49:36):
And whoever was thinking they was thinking, they was thinking
like Wayne, Wayne knew it, Wayne knew what it was.
Wayne heard it. It was like, okay, yeah, this is a dope.
So they delivered it right to a young money audius
that was familiar with the feeling and the words of
the song.

Speaker 4 (49:57):
I agree with you.

Speaker 2 (50:00):
Agree with that.

Speaker 1 (50:01):
I think I always said Forty is like he does
in rap music what Max Martin does in pop music.

Speaker 4 (50:08):
He's doing it with rap.

Speaker 2 (50:09):
Now, no Max Martin's no. No, Forty's good, but not
no Max Martin.

Speaker 1 (50:16):
You're not saying he's Max Martin. I'm saying what I'm
just saying.

Speaker 2 (50:19):
You're saying, like everything he touches, everything he touches, he
makes records, everything he touches.

Speaker 3 (50:24):
That's not what I'm saying. I'm saying Max.

Speaker 1 (50:25):
That's the same thing with funk, right where like if
you listen to the Britney Spears Backstreet Boys, he kind
of makes this pop version of funk. They would never
call Britney Spears Oops, I did it again or everybody
funk songs, but their interpolation on funk ideas, and there'll
be a popular melody that he just recooked and he reinterpolated,

(50:47):
they do the same thing. I was just saying, Damn,
this is crazy. Like his approach from the first day
was so far out there. That's why I knew he
had people around him that knew what they were doing
and it is, it's probably forty. It is some and
it is some writers like they was cold, they was
cold as hell.

Speaker 2 (51:09):
Well, what I'm saying I was gonna, Yeah, I don't
take nothing like as far as I'm doing doing things
like that, as far as a right to get a
record brought to you. All right, this is the layout,
is the structure the record. It's the way it should go,
you know what I'm saying. And then he goes about
it and puts them verses down, puts his sixteenes down
and shit like that. I'm fine with that right there.
You know what I'm saying. I think many people should
do that right there. You know I'm saying that. I

(51:30):
don't have no problem with that. But it's when you
get the whole, the whole painting, frame and everything brought
to you, when you presenting the shit as if you
you know what I'm saying, painting and frame that and
then everything like that. I don't got no problem with
somebody bringing them a hook the beat and he put
his sixteen to it. But then you start thinking, did
he really put his sixteen to it? Though?

Speaker 1 (51:51):
Yeah, And the truth is from the beginning of his career,
I can't say this because I didn't watch it, so again,
it's not something I can say as a fact. But
knowing the business how I understand it now, I could
pretty much trace things back really easy. There was always
a team of record making people around him, and I
didn't know that, Like I didn't know that kids Sean's

(52:13):
chose co write instead of sample because he co wrote it.
He didn't sample that song. That's not what a sample is.
So you gotta kind of remove your emotions of what
you believe it is versus what it actually is.

Speaker 3 (52:27):
But like the.

Speaker 1 (52:29):
People around him dog at that time, for him to
have that type of team, it's funny because it goes
back to that same thing where I was explaining to
somebody like they was asking me they felt like a
bashed Drake. People used to think that, and I'm like, nah, bro,
like they people would think I'm jealous. I'm like, bro, no,
Like that shit is a like if you see it, okay.

(52:52):
It makes me have a different respect for how they
approach the business, right Nicki Mina's Drake. They approached the business.
They knew so much about the business. Drake knew a
ship ton like when his team, his team was an animal.
It makes me have a different respect for somebody like Dot,
like Hendrick, you know what I mean, Like there was

(53:14):
certain things that I watched Dot learn in the business,
Like Dot just to me just hit his record making pinnacle, now,
you know what I mean. Like the records on GNX
Dog is like bar none, some of the best records
I heard in the long Oh.

Speaker 2 (53:32):
My god, Oh my god.

Speaker 4 (53:34):
I mean trap.

Speaker 1 (53:35):
You can't have four or five top ten songs on
one album.

Speaker 2 (53:40):
Ken, if you the highest artist that's in the game
right now, nobody.

Speaker 1 (53:45):
Have still top ten songs Trapped, especially on one project.

Speaker 2 (53:50):
You think this is the best music that he put
out that he ever put out.

Speaker 1 (53:53):
Music is art that's different. These are by far the
best records he's ever put out. I'm not lying to you, bro,
Like this ship is crazy. Like I'm telling like, this
is what I do, Brom. I'm up here listening to
Marvin Gate on the way here, I'm listening to War,
I'm listening to motherfucking uh.

Speaker 3 (54:11):
Uh a Queen.

Speaker 1 (54:13):
That's what I'm living. I'm jamming all this ship that
got records. This motherfucker right here when it comes to records,
is some of the best records I ever heard, bro,
I swore to God, I'm like, damn, this is really good.
I find myself going back listening like it's a dog
or the chronic, Like it's that many great records.

Speaker 2 (54:33):
So you think you think he got the got the
album of the yeah wrapped up at least for hip hop.

Speaker 4 (54:39):
Oh no, I don't know.

Speaker 3 (54:41):
I don't know.

Speaker 1 (54:41):
I don't think nothing is close, No, not quite, not
not jed album gives.

Speaker 3 (54:51):
Listening to this ship.

Speaker 1 (54:53):
But I'm saying it's hard to it's hard to make
that comparison when you got somebody like that.

Speaker 4 (55:00):
Shit is good, bro.

Speaker 1 (55:01):
Like his ability to tell stories without making it dialogue
heavy has grown so much, bro that it's scary. It's
like it's gotten scary, bro. Like he told the whole
story of this record without using those without using dialogue,
without using narratives like oh you know, like he set

(55:23):
it up all the time with skits. This shit is simple,
and to get right to it, it's like really really
really really really good. It's like really really really good.
Like trust me as somebody who really study who's been
studying records now for thirteen fourteen years and really have
enough time and endless resources to go ask questions. This

(55:43):
is bad, this is really good.

Speaker 2 (55:45):
You know, you know what is around the corner, and
I can already see it because you're basically going there,
and I'm gonna give it probably another two weeks for
need to be Corner's the greatest album ever made right here.
That's that's what that's what.

Speaker 3 (56:03):
Think's, Coach, I can see if possibly happen.

Speaker 2 (56:07):
Yeah, me too, me too.

Speaker 4 (56:09):
That's not Listen, that's not gonna happen.

Speaker 2 (56:14):
Because you know, Coach, you know why And I already
told him this. You know why. You know you exactly
produced the album, right, executive produce an album?

Speaker 3 (56:21):
Right, No, that's not it's not Listen.

Speaker 1 (56:23):
There's certain things that I'm going to say, and then
there's certain things I'm not going to say. That's just
you just out of control. Well you might put it
top five for all time. It's certain things you said
is just out of control.

Speaker 2 (56:33):
Like chill.

Speaker 4 (56:34):
It's not that I'm just telling I'm just giving credit
to a great record.

Speaker 3 (56:37):
You just going far.

Speaker 1 (56:39):
I know you, but I'm not gonna say that. I'm
telling you there is no reason to say that at
this point, Like it will take a lot of ship
to say that type of ship. Mm hm, take a lot.
You can't just make this record like for me to
get to the point where I thought, uh uh not
like us was the greatest. It took a lot to
get to there.

Speaker 3 (57:00):
You said that pretty fast. No, no, it took me.

Speaker 1 (57:02):
It took me almost seven months months. Greatest pop record,
it was the greatest month.

Speaker 4 (57:09):
Four months.

Speaker 3 (57:10):
Nine months is not fast. On that greatest hip hop record?

Speaker 4 (57:12):
I didn't say it was. I'm saying, could it be.

Speaker 3 (57:17):
So? I thinking about another year, you might say, could
g n X be the greatest hip hop?

Speaker 1 (57:21):
What's gonna have to happen to make? What's gonna have
to happen for it to be that? Like you go
to the go to the Grammy Doggie style, they gotta
do a lot.

Speaker 3 (57:32):
What about tough?

Speaker 2 (57:33):
Would you?

Speaker 3 (57:34):
Would you get to that point? No? Thriller? God damn.

Speaker 2 (57:38):
I'm saying music as three music hist three.

Speaker 3 (57:43):
No, not not think about it thinking about it right now?

Speaker 2 (57:47):
Better Is it better than making last foraver?

Speaker 3 (57:50):
No?

Speaker 1 (57:51):
No, make it last forever is different. That's a generational
asking ship like that.

Speaker 3 (58:00):
Messling for everything? No, no, no, no, Because my you
know what I I like more than Mega Last Forever?

Speaker 4 (58:08):
Jamie Fox.

Speaker 1 (58:10):
Predicted unpredictable. I like it more even though Mega Last
Fever is a greater album, and this.

Speaker 3 (58:15):
Nigga said, that's come on, I love that. That's a
hot You ever heard him say this?

Speaker 2 (58:19):
To let me ask you this coach. He says that
he sweat make your last forever. It's better than Michael
Jackson Bad.

Speaker 3 (58:27):
What do you think of that?

Speaker 1 (58:29):
Bad?

Speaker 3 (58:29):
Or Mark Bad?

Speaker 2 (58:32):
Bad?

Speaker 3 (58:33):
Better than Bad?

Speaker 2 (58:35):
Better?

Speaker 3 (58:36):
So Trapped? I don't know. I don't know if you
remember we kind of talked about this some months ago.
I hate to say it, bro, I go with g
on this. I'm not a big I think Thriller is
a great album, and I think Bad is a good
album also, But I don't I think there's better bodies
of work than those albums Thriller.

Speaker 4 (58:56):
There's certain shit you just can't play with Thriller, Dark
Side of.

Speaker 2 (58:59):
The Banns Fire though, like bans Ban, that is not
Bad Trapping. Probably like two songs on It Ain't they ain't.

Speaker 3 (59:07):
Go Yeah more than that, Cornball man, you know what?

Speaker 5 (59:14):
You know what?

Speaker 3 (59:14):
I think he got wrong.

Speaker 1 (59:16):
I think where Mike went wrong with Bad is and
it's hard to say for Glass to say Mike went Bad,
Bad went Bad because it didn't take Cameo into account.

Speaker 2 (59:24):
Like on Thriller.

Speaker 1 (59:25):
You can hear him taking Rick James into account. You
can hear him taking Hall of Notes into account. Like
it was a level of soul that existed in Thriller
that doesn't exist in Bad. Bad is just hella pop.
It's just hella pop. Like you went from Rick James
inspiring Thriller, which is possibly your greatest song, even though

(59:48):
I don't think it should be. But if there's one
Michael Jackson to everybody know, it's probably Thrilled. Well, nobody
really know Thriller.

Speaker 3 (59:55):
It's the song.

Speaker 1 (59:56):
It's the song that's the flagship of Michael Jackson, and
that's really James. That's given to me baby, and then
that changed to Ray Parker. You know, it's just a
level of like nigganess missing that makes sense, like niggadness missing. Like,
and I think he avoided Cameo. Cameo was like the
crown jewel of Black America at that point as far

(01:00:20):
as like what we was into, as far as the ship.

Speaker 4 (01:00:24):
Thriller is definitely Rick James.

Speaker 3 (01:00:26):
I think Thriller is probably his greatest album of all.
Of course, yeah, probably one of the five Michael Jackson
album is off.

Speaker 2 (01:00:38):
Listen better and Greatest is different, Yeah, exactly, Like the
number goes by the numbers though.

Speaker 1 (01:00:44):
Right, Greatest is quantifiable things, not just numbers, but it's quantifiable.
Thriller is way more than just numbers. Thriller a bad
motherfucking album.

Speaker 3 (01:00:53):
It was like a cult.

Speaker 4 (01:00:55):
That ship is different.

Speaker 1 (01:00:56):
Yeah, but yeah, it's like people talk like I just
saw somebody say that, like Michael Jackson, Like Thriller is
not Rick James.

Speaker 3 (01:01:04):
It's given to me.

Speaker 1 (01:01:05):
That's the whole idea of the song, Like it's just
give it to me. You just don't see it that way.
You just don't get it.

Speaker 2 (01:01:11):
I agree.

Speaker 1 (01:01:11):
I've been saying for years I thought Thriller, the song
is probably the greatest worst song ever.

Speaker 3 (01:01:17):
I'm glad, Jeez bringing up that that Rick James inspiration
too from Thriller, because I don't think Rick James get
enough credit for a lot of shit. Rig James is
really a pioneer out here, man.

Speaker 1 (01:01:29):
Yeah, but I was saying that back to the point,
like I was saying with Drake, it's like it's weird
to see that on your very first album. That is
like high level ten year down the line songwriting, and
you don't become a great songwriter and a great MC
at the same time.

Speaker 3 (01:01:48):
He was.

Speaker 4 (01:01:48):
You could tell where he was really working on being
a grad m C on his earlier music. So but
it's it's it's odd.

Speaker 1 (01:01:58):
Like so even now looking back, I really like, God
damn these niggas was flipping songs and shit like he
was taking this. So I wouldn't even listen to the
Wayne music at that time, Like my favorite Wayne project
when I first signed to them was like father like
Son or Quarter one.

Speaker 4 (01:02:15):
I wouldn't fucking with none of that other shit like that.

Speaker 1 (01:02:18):
So to listen to best I ever had, and then
go back to listen to give it to the you know,
the kids Shine song that he did for Tune, it
was like, oh damn, this was like really really smart.
That was like really really smart, Like, oh yeah, we're
feeding it to this underground group of people, right, we
feed it to this underground group of people that's going

(01:02:42):
to already identify with these things, even if they don't
know what they're listening.

Speaker 3 (01:02:47):
Genius.

Speaker 1 (01:02:47):
It's fucking brilliant. And that's like how you do pop artists.
You get what I'm saying, that's how you do pop artists.
That's a pop approach on what they do. That's a
pop approach.

Speaker 2 (01:03:01):
Bro.

Speaker 4 (01:03:02):
I swear to God, like.

Speaker 1 (01:03:02):
If you listening to the pop artists first song, that
shit be like like a true pop artist like you
be like, damn, it's almost impossible not to fuck with
it based off you know, excuse me, Like they'll know
which based they're delivering the music to, like which base
of people.

Speaker 3 (01:03:20):
You get what I'm saying, it's almost Elvis yeah, like
you couldn't miss. Yeah, it's almost like Likes like.

Speaker 1 (01:03:29):
You couldn't miss you know what I mean. So I
really when people really asked me, was I jealous?

Speaker 3 (01:03:35):
I'm like hell no, Bro, Like his.

Speaker 1 (01:03:36):
Whole ship was like great, it was like great, get
that coach. Like Nikki shit was like that too. Nikki
was like she had like the management even when she
like they knew what to do, like they had to
write people to even put him next to Tune Bro,
to put him next to Wayne and then deliver best

(01:04:00):
I've ever had with a budget is insane.

Speaker 4 (01:04:04):
Knowing that it came from.

Speaker 1 (01:04:07):
Uh uh that's here for what This name of the
song the kids from the white song, say for the
boy grew.

Speaker 4 (01:04:14):
For the boy I got brilliant. That's brilliant.

Speaker 3 (01:04:21):
Something else called my attention.

Speaker 1 (01:04:24):
Like I've been saying for years where people say black
culture is toxic, and it goes back to this thing
I've been telling King for years, like black culture is
a very niche thing, Like it's very broad, Like I
would never say something is white culture. I'm saying culture
is a niche thing. To say black culture is very

(01:04:44):
broad if I didn't okay, So I'm like, I've been
saying the same thing, Ray, like what is black culture? Like,
what's something that we could uniquely say because they say
black culture is toxic? Like I saw, uh that man
that got killed say that Charlie Kirk. He was saying
that black culture was toxic. Then I see black people
that follow Charlie saying black culture is toxic in black

(01:05:07):
and I'm like, what is in black culture that that
is that?

Speaker 3 (01:05:12):
It's I'm glad.

Speaker 1 (01:05:14):
So shout out to Jews before we jump on that.
He explained why Drake is not writing good records. That's
a good point, Jews. It's not he's not writing good records.
The base of people that listen to Drake right that
that kind of stamped him and made him what he
is is hip hop people people that digest hip hop, right,

(01:05:35):
And it's like, at first it wasn't like that. It
was like just people, but then he kind of rooted
it into people like me and different people's ideology. And
as the battle happened, right as the battle happened, his
cultural cachet was stripped.

Speaker 2 (01:05:53):
Right.

Speaker 1 (01:05:54):
So now you're listening Jews to everything he's saying that
you would let go before you're not. Drake is for
sure off the same assembly line.

Speaker 3 (01:06:04):
She's saying his stuff right now it's not good music.

Speaker 1 (01:06:06):
Yeah, that's what they feel like. Okay, it's not that
it's not good music. It's actually the same stuff Drake
was making on the assembly line before.

Speaker 2 (01:06:14):
It's just you.

Speaker 4 (01:06:15):
You the public feel different about it.

Speaker 3 (01:06:17):
We have too much information about Drake. I think too
much truth and too much we see too much of
how the shit got done and what's being made, and
too many questions now about Drake. But that's what I
was going about with Young thug Man. I think that
Internet is fucking up a lot of good artists because
there's to be some mistique with some of these artists,
and we didn't know a lot, Like we didn't know
everything about Tupac. When we started finding out more shit

(01:06:39):
about Tupac, people start changing their minds on some shit
about Tupac. But now we just know too much about
these artists. We know too much about Drake. Now we're
dissecting everything he says, like debate now.

Speaker 1 (01:06:50):
Yeah, And for me it was always like that, you
know what I mean, Like I could recognize how great
he was, but I don't listen to it.

Speaker 3 (01:06:57):
Future is the same way I recognize how great Future is,
listen to it.

Speaker 1 (01:07:01):
It's a lot of great artists that I'm really don't
get into the depth of what they're doing, but I
can hear real easy that they know what the fuck
they're doing, and it's incredibly well.

Speaker 3 (01:07:10):
You know.

Speaker 4 (01:07:10):
But even now watching y'all argue about some of this stuff.

Speaker 1 (01:07:14):
Again, like I said, this was the same stuff I
used to sit tell dotting people before that I was like, oh,
I see what's wrong.

Speaker 3 (01:07:19):
I see what's happening, you know what I mean? And
now so like the same shit coming off this.

Speaker 1 (01:07:24):
It's like McDonald's was great when you was like a
little kid, but then as you grow up, you start
to learn more about McDonald's and then, like most kids
in LA, you know, in California, you start to change
the in and out.

Speaker 4 (01:07:36):
You're like, Man, I'm gonna do the double double, you know.

Speaker 1 (01:07:39):
What I mean? Like you just McDonald's didn't do anything different,
you know what I mean. You just kind of was
over it, And I think that's what happened. People are
just over it culturally.

Speaker 3 (01:07:52):
You know what I mean.

Speaker 4 (01:07:53):
Over it.

Speaker 1 (01:07:55):
It's time.

Speaker 3 (01:07:55):
But like you, like you were saying, and I was saying,
when you get older, you start knowing too much about
McDonald's too. You start looking at She's got that, You
start looking at the workers different. Now you're still looking
at these documentaries and ship and you're like, but you.

Speaker 2 (01:08:11):
Still go back and get the fries though, that's no matter.

Speaker 1 (01:08:15):
That's what I'm saying, Draco, be fine, bro, But you
just can't get mad that you're not the bell of
the ball anymore. It's not to say you're not gonna
sell your records. You're not finished string your joints, nigga.
You have a huge audience base that's tapped into you,
and you make great records.

Speaker 3 (01:08:32):
They are all on this assembly line.

Speaker 1 (01:08:33):
So you're gonna be fine, but it's almost like he
think he's fighting to get back into the place.

Speaker 3 (01:08:38):
Do you think Drake's fans are aging out now or
do you think they're just ag Yeah? Like do you
think he's kind of confused on how to reach the
youth now?

Speaker 1 (01:08:48):
And that's that's what But that's what happens to pop
artists all the time, like Madonna, Britney Spears. You just
kind of you stop hitting them Mark, I mean, and
normally you just it just happens naturally. But this one,
because he was playing so much in hip hop business,
hip hop kind of just slapped him down, like in
front of all the next generation of kids and they like, oh,

(01:09:10):
he's not cool.

Speaker 3 (01:09:12):
Okay, because I was. I was really confused on this rollout,
But now it's starting to kind of shed some light
on the Rollouttle confused on how to he like the
Mark again?

Speaker 1 (01:09:19):
Yeah, Like, how do I get to the next generation
of kids when this person made me not look cool?

Speaker 3 (01:09:25):
Yeah, he's trying to figure it out.

Speaker 1 (01:09:28):
And so it's like instead of like which not, Like
I'll be honest, I wouldn't have the right idea for him,
Like I'll be telling him for sure, like yo, drop
the lawsuit, just apologize es.

Speaker 4 (01:09:41):
Like I'm tripping. You know what I'm saying.

Speaker 3 (01:09:42):
I'm wrong.

Speaker 1 (01:09:43):
I should have never did that. If I wanted to compete,
I shouldn't have did that. Fear me, I'm fain to
get back to what I do. That's how I would
build it, and I would build it at like a
primitive level of like at like I go back and
be kissing babies and shaking hands and all of that,
Like I'll break it down to the very as compound.

Speaker 4 (01:10:00):
I wouldn't go the way he's going.

Speaker 3 (01:10:03):
I remember when damage control should be a thing. I
wonder if people think that that the opposite of damage
control is do nothing like or lean more into what
got you in trouble and shit or what fucked you up,
because it almost like Drake is leaning more into Oh
I'm a whiner and all that time shit. Let me
lean into this ship. Now let me what you always did,

(01:10:23):
like he's going, and even like you said, it's almost
like he said this hip hop shit was cool when
I when they would let me tip tip my toe
in it, diet my toe in there. But now that
they didn't slap me down, now I'm gonna go, I've
never seen Drake act this white in my life.

Speaker 2 (01:10:38):
You know what's funny.

Speaker 1 (01:10:38):
I always thought he did the whole time this white,
Like when he was on that call with Aiden ro first,
it wasn't like what the throw and that's what I've
been saying, But I always heard it like that when
he there was this footage a cousining in a studio,
King and a coach, and that motherfucker was like, I'll
never forget it. He was like, yeah, I want the
snareves over here because and I was like, okay, look

(01:11:00):
that was Drake.

Speaker 3 (01:11:01):
Yeah.

Speaker 1 (01:11:01):
Then I saw that other video where he was like
people in the hood, Yes, it's not soft. He sounds
straight up, like straight up and down like he was like, yo,
he was doing an interview with this news broadcaster lady,
and the lady he was like, that's why I feel
like people in the hood could feel my music. And
I was like, I never heard a brother say no

(01:11:22):
shit like that black man say like people.

Speaker 3 (01:11:24):
In the hood could feel my music.

Speaker 1 (01:11:26):
Like why would you need to explain to somebody why
people in the hood. And maybe I'm tripping, but it
just felt me.

Speaker 3 (01:11:35):
When did you know your draking personation was just spot on.
Well that's how you really talk about I know, but
did this situation help you, like, like, oh man, I
can really do a draking person But when did I
never heard like this draking personation be so spot on.
This is exactly.

Speaker 4 (01:11:50):
I ain't said it, no, because then it'll make this
whole day the joke.

Speaker 2 (01:11:56):
I'm not jo here he is. I think that he
he he goes about it because I think even from
the time when he was starting, it felt like he
was a part of the situation. You know what I'm saying.
He was a part of it.

Speaker 1 (01:12:08):
It's about this.

Speaker 4 (01:12:09):
I don't think it's about that man being a small
hat rad.

Speaker 3 (01:12:13):
Choice. There's the other people that were.

Speaker 1 (01:12:15):
It's not that bro, it's beastie boys like I've never saw.
I said, like, I don't know, it's more to it, man,
we really have to pill We'll put it back on that.
I mean, when I'm talking to you, he's just I
don't know, I don't know. But it's nothing wrong with
his music. It's something wrong with y'all. Y'all finally got

(01:12:37):
to where I'm at. Y'all finally got to where I
be in and I've been saying, and I'm like, you
could be dope, bro, but that ship ain't right, like
you know what I mean, Like it ain't right. Something
ain't right, that ain't right, that ain't how to go.

Speaker 2 (01:12:55):
Enough season and on it man, exactly. And they fully
cooked you. You know what I'm saying in the back of.

Speaker 1 (01:13:02):
The lis, like boiled chicken dipped in barbecue sauce.

Speaker 3 (01:13:05):
Sometimes you god damn you gotta go there barbecue sauce
on this boiled chicken. It's like he's like somebody teld
somebody to take the napkin and white the barbecue sauce off,
and I'm just gonna be boiled chicken. He left that nigga.

Speaker 2 (01:13:18):
Nah, he's not fried chicken. He's shaking baked.

Speaker 1 (01:13:22):
Trap that nigga ship. That nigga shit. He's like, yeah,
I'm just saying, bro, because you sound sassy. I'm like,
how you let that man say that ship to you?

Speaker 3 (01:13:30):
The nigga said you sound sassy and then he proceeded
to talk more sassy and.

Speaker 1 (01:13:33):
You said it publicly. You knew he was on the stream.
And he said that you should have fire cut. We
need to meet up, blood guy, We need to meet
up I'll squabble you down. But what you say, that's
what right, cribble blood right right right, right, something bro,
Because it was just weird, like this man called you sassy,

(01:13:55):
then you called him sassy back that I ain't a
cool insault.

Speaker 3 (01:13:59):
Yeah, that's it's first of all, it's never a good
insult when you use the insult that just got used
on you right back at him. It's almost like sticks
and stones kind of shit. But he was like, you're sassy,
Like I was like, yeah, he did say it, like
you're sassy. He said it's super sassy too, like your sassy.
Oh god, it came. He said it like that.

Speaker 2 (01:14:17):
Go listen to this. Listen.

Speaker 3 (01:14:18):
No, he's not lying, bro, like you're sassy.

Speaker 1 (01:14:21):
I dry.

Speaker 3 (01:14:21):
He's like seven times like listen to this. That ship
makes like what the fun?

Speaker 2 (01:14:29):
It's just it's just saying. It's seemed real wild, Like
it's total obvious how he's approaching his roll out right now.
You know what I'm saying, Like you just stated like
the people that the media he's choosing us sit down with.
You know what I'm saying, Like this stuff, I don't know.
I can't call it. Man. It's like even even within
like over saying now I want to be so arty

(01:14:50):
and stuff like that, Like it's just it's just seem
I don't know, maybe he'd be going maybe going back.
Maybe he's trying to really represent who he is then
about doing the shit he's doing right now though.

Speaker 1 (01:15:02):
Yeah, but like I said, even that, like and then
we're gonna move on, dog, It's like I think he
really understands he's not hip problem. And at this point
it's like and he always knew he did. It's more like,
damn they figured it out. So but I still got
to create marketing ways for my business. I still gotta
do all of that. So if I don't talk about this,

(01:15:25):
are people going to listen to me? Because even when
I heard him say something before, you act like it
wasn't consuming him, Like I don't watch forgive me bro
shout out to everybody at the LUST table. It's not
on purpose. It's not because I don't dislike dude or nothing.
I'm just saying I've never really been into him talking
like nothing about him even now, Like if y'all hear

(01:15:46):
me give him credit as a record maker, I still
kind of wouldn't want.

Speaker 4 (01:15:49):
To only hear him talking about making records.

Speaker 1 (01:15:51):
Like if he did a little thing where he was
talking about how they made records, I would listen to
that or watch that interview every other thing. I really
wouldn't listen to it, dog, but I wouldn't watch that
he was laid up with that white lady talking and
like that. That just doesn't seem interesting. He's not that
type of interview to me where I'm like, y'all want
to listen to him talk even when I see him

(01:16:12):
from it. It's I've never saw a clip in all
of these years that I felt like I need to
go listen to this whole interview.

Speaker 2 (01:16:19):
Yeah, you never watched the rap never watched the rap
interview he did with Ellie and I never watched Lebron James.

Speaker 3 (01:16:29):
Yeah, I saw a clip and it was like like
him talking like he too black to talk like that.

Speaker 1 (01:16:37):
I know that sounds hello weird, but it's like like
even like regular, like people keep saying because the man
is Jewish, bro, Like, that is not how Seth Rogan talked.
Seth Rogan is Jewish. That's not how Adam Sandler talked.
Adam Sandler is Jewish, that's not.

Speaker 2 (01:16:52):
But they're from they're from America. It's from Canada.

Speaker 4 (01:16:55):
Seth Rogan is from Canada.

Speaker 2 (01:17:00):
Talk about it talking about about what's the name the dude? No,
it's talking about.

Speaker 3 (01:17:09):
Rogan does talk a little like that.

Speaker 4 (01:17:11):
No, he talks like that normally. But he's cooler.

Speaker 3 (01:17:14):
He is much cooler.

Speaker 2 (01:17:15):
But Drake is.

Speaker 3 (01:17:16):
But Drake is a lame in any in any culture though,
Like I think he's a lame Jewish dude. I think
he's just a lame Jewish dude, a lamee Canadian dude.
He's a lamee. It's a lame brother.

Speaker 1 (01:17:29):
That's It's like when I saw the lebron clip, He's like, yeah,
I know, I let you down.

Speaker 3 (01:17:33):
I was like a change. It's definitely Jewish people. And
I don't know, I don't I don't know a ton
of Jewish people, but I would imagine that because Jewish
people are probably like like this, not it's not a
good representation.

Speaker 1 (01:17:48):
He talks like he like I'm talking to my attorney,
like to Bob Leberman, like, but we're talking about cool
ship and Bob still sounds cooler.

Speaker 3 (01:17:56):
That's what I'm saying. I think there's some Jewish people
who probably like nah, that's not a good that's not
how we act. So I think he's probably just a
lame jewsh dude.

Speaker 4 (01:18:05):
It's like, oh this is different anyway, fact to this.

Speaker 3 (01:18:09):
It's just I don't know.

Speaker 1 (01:18:10):
That's why I never really got to his interviews, even
as successful and how much respect I got for him
as a record maker. It's just like I can't watch it.
But it's not just I guess revenge saying Drake is
just not cool? Why does it need explanation. I'm not
used to people being that successful and not cool, Like
who is.

Speaker 2 (01:18:30):
The master that question? I asked that question before I
said that, before I said that ship, but before this
batle even so, I said, Joe, can you name an
artist what was on top of the hip hop game
and like and didn't embody coolness, didn't like have didn't
have the charisma and know what I'm saying, and come
across that other people wanted to be like the person

(01:18:51):
or saying like that. And he had a lot of influence,
you know what I'm saying, upon his whole staff. It
was never nobody that was like that other than Drake.

Speaker 1 (01:18:57):
League Park is the kind of guy you'll see one
interview I'm like, I need to go to see that interview.
You know, that's how he interviews. I interview like that
if you see a clippy like I gotta go check
this nigga out.

Speaker 3 (01:19:08):
I don't know why. Like when I see it, it
be just like.

Speaker 1 (01:19:13):
Huh, like like that's actually a great one of the
biggest most popular people in the history of the music business.
Like right, Like I've watched Freddie Mercury interviews. I've watched
Brian Wilson from The Beach Boys, Rest and Peace interviews.
I've watched Stevie Wonder interviews. It's just when I see it,
it's just.

Speaker 3 (01:19:34):
I have seen some interviews or heard people talk and
even met some individuals that I thought were gonna be
much cooler than they were, but never this uncool. Like
this is just a whole another level of uncoolness that
Drake is.

Speaker 1 (01:19:47):
I think, y'all right, I think that's what it is.
It's because maybe he's not cool at.

Speaker 3 (01:19:52):
All yet not at not a stitch, And.

Speaker 1 (01:19:54):
I've never saw nobody be this successful making rap songs
and not be cool.

Speaker 4 (01:19:59):
That's oxy morons.

Speaker 3 (01:20:01):
Have you ever seen somebody who's uncool but makes but
makes uncool being kind of cool, like Drake can't even
do that, Like he can't even that's what nerds did.
I'm saying, like, if there's some.

Speaker 1 (01:20:10):
Guys who are like cool and like the movie Revenging
the Nerds, yeahs, like dang, some.

Speaker 3 (01:20:15):
Of that were cool. They did that. That's funny because
Adam Sandler, to me is a guy who kind of
makes man coolest dude you are when I tell you.

Speaker 1 (01:20:25):
That dude so fucking coolist ship Man's one of my
favorite That dude is cool, bro Like even watching movies,
he's cool, maybe character super.

Speaker 3 (01:20:36):
Cool cool the water boy, Like how you making this
dude cool? And that's what I'm like, I don't get it.
Drake is more uncool than a water boy.

Speaker 1 (01:20:45):
It's crazy, yes, and he's supposed he's like it's like
he should be transforming into steph.

Speaker 3 (01:20:51):
Fine Nigga chamber, Like the chamber broke on him, Like
he was like, where the fuck the chamber? The step
calculations were wrong on the shame, Like he can't become
step Fine. Stuff is being Urkle and might have been
more cool than him. Yeah, yes, yes, Lord fell in
love with Arkle at the end.

Speaker 1 (01:21:13):
I don't know why bro, like, it's so crazy I
never saw and he makes rap some bro so like
you have and you could tell for years he had
access to the slang, he had access to the get down,
and none of that ship even rubbed off on you. Now,
I think I think that's what makes some You have
to grow up in it because the ship won't rub

(01:21:35):
off of Like how all the ship you've been around,
all these dirts, all these people you've been around, none
of that rubbed off of you.

Speaker 2 (01:21:42):
I think I think that's what makes some. I think
that's what makes them so dope. Though too at the
same time, because it's like, no, no, no, listen, I'm
saying because because he's he's super uncool when the mic
is off. When the mic comes on, he comes across
as the coolest though.

Speaker 1 (01:22:01):
Also what I'm saying, but all of it is fake.
I'm sorry, but all of it is fake when the
mic go off. But I also said, not even a
little bit.

Speaker 3 (01:22:08):
Of it is real.

Speaker 4 (01:22:09):
I'm sorry, No, no, no, I get you, Mike, come
on that nigga, be like, Okay.

Speaker 3 (01:22:15):
That's.

Speaker 1 (01:22:17):
Black facing minstrel show like that might go off because
it's not one part of it where it's like and
that's the thing, like, not no part of it. As
soon as the mic go off, it's just like all
go away. Hey, But I do see what he's sawing.
This talk made me kind of understand why he's sawing them.
Imagine being Urkle.

Speaker 3 (01:22:37):
He's Urkle, and hip hop was lower and it never
loved you back, like it never liked you ever you
found out that, Lord, Like, what if Urkle at the
end of the show find o Lord, just know, nigga're
a nerd. Get up out of here. This nigga like
he was a nerd, get up out of here. Now
he's mad. Now, Like I got, I gotta say, Lauren
God Like, yeah, I'm saying, imagine if it never happened.

(01:22:58):
Imagine if it never happened.

Speaker 4 (01:23:00):
G I get what he's saying.

Speaker 3 (01:23:01):
That King study he's saying at the end of it,
but she did fall in love, so that's the way
it went. But but you're missing what you're not doing, fantasy.
I'm doing what. I can't stop it. You deal with facts.
Stop it. What is happening?

Speaker 1 (01:23:19):
Okay, Look, so back to this black ship because I
don't get it, and I don't use the term black American.

Speaker 4 (01:23:26):
That's just dumb.

Speaker 1 (01:23:27):
If you American, you're American. I hate when people say
black man. I'm a black man in America. That's why
I call myself black. I would never call myself black American,
like that's a legal term, like when I'm another country.
I don't believe in that ship. Like if you're American,
you're American. I watched too many of these dudes talking
about they are proud black American.

Speaker 4 (01:23:44):
That just sounds crazy.

Speaker 3 (01:23:46):
You're not African American.

Speaker 1 (01:23:47):
No, I am black, Okay, Africa is the whole continent.
I wouldn't have any idea with none of my ancestors
from I am a black man in America. I use
the term black because I don't know who the hell
or where my people come from.

Speaker 3 (01:24:01):
I'm not with the whole.

Speaker 1 (01:24:04):
I'm just saying when somebody said that that's a Black
American thing, there is no Black American thing ever. Black
people in America are different, Like That's why I keep
saying hip hop is more of a street thing than
just a black thing. That's why so many black people. No,
I don't use the term FBA. That's the homie term.
That's somebody I respect term. But I don't use that,

(01:24:25):
you know what I'm saying. But the term, the term
I'm a black man in America, I will never reverence
myself as an America, a black American or that just
feel weird, Like you can't just be knocking my people
down and I think we still it's like we from
the same thing. Like I wouldn't be from the seven
if they did some under my family though, I wouldn't

(01:24:46):
be claiming a set and you hurting my people, you
know what I mean. But the point I'm saying is,
what is there something about black and toxic that works together?
Like what exactly culturally do y'all think that we do?
Like what is of black culture? Like it's so many
people that did not Like there's tons of black people

(01:25:08):
that never liked hip hop and I mean tons of
black people.

Speaker 3 (01:25:12):
But okay, so when you look at black culture, it
says like our music are our beliefs and like the
way we believe in God, gospel music, and like they
start naming some some stuff that's on there, and do
do we reject that as being Black culture?

Speaker 4 (01:25:27):
What's that?

Speaker 3 (01:25:28):
Like gospel music like blues and hip hop? And do
we reject that as being.

Speaker 1 (01:25:36):
I get the concept as an art department, piece of culture,
but I think it's very specific that everybody start to share,
even like when people say our food is like that
was really like slave food, Like that was.

Speaker 4 (01:25:49):
American slave food.

Speaker 3 (01:25:52):
You know what I'm saying.

Speaker 1 (01:25:53):
But I don't understand specifically, what about black people in
America's culture is toxic?

Speaker 3 (01:25:59):
I don't know. I don't understand that, especially if you're
gonna if you're gonna throw in music and believing belief
in the way we believe in God and all the
I don't understand what's tosic toxic about it?

Speaker 4 (01:26:09):
Like what do we all do that that well be like, man,
you know what that just spoil black people.

Speaker 1 (01:26:14):
Like if you saying gang banger, that's not everybody that's
this one percent of black people.

Speaker 4 (01:26:20):
There's not there's not like millions of gang bangers.

Speaker 2 (01:26:26):
Yeah.

Speaker 3 (01:26:26):
I hate when people just say every black person is
a gang banger. Yeah, like everybody is not in this.
This is being a gang banger is a street thing.
But you know a lot of what they see a
gang banger and they say, oh, that's that's every black person.

Speaker 4 (01:26:43):
That's what I'm saying. But the thought of it is weird.

Speaker 3 (01:26:47):
That is.

Speaker 2 (01:26:50):
So what you think what you feel like is the
it's something within black culture that gets misrepresentative.

Speaker 1 (01:26:57):
Though I don't know because I've been telling you for years,
you and King and Coach. I'm like, what is black culture?
Because people used to have a lot of negative shit
to say about blues, but blues wasn't for everybody.

Speaker 3 (01:27:14):
I don't feel like, even even if we go by
what people generally say is black culture, I don't feel
like a lot of it is negative. But I think
that it's the perception of what some of these people
think black culture is.

Speaker 4 (01:27:26):
Like, give me some ideas.

Speaker 3 (01:27:27):
I think that this gonna sound crazy, but I think
that people look at smoking crack as a black culture.
Some of these white people, I think they like, oh,
smoking crack is a black things because you white drug
is looked at as cocaine. I think they think crack,
smoking crack is a black thing, like, oh, they smoke
crackheads black, Like. I don't think they think there's ever

(01:27:51):
been a white crackhead, Like I just think white people
smoke methly did myth. It's funny because I kind of
think that, yeah, but now I see, like, no, man,
that shit is crazy. Everybody do whatever.

Speaker 1 (01:28:04):
But that's why I said Ray. Ray said he's black,
but he doesn't eat soul food. Soul fold is an
American slave culture either Ray American America is a soul
food is an American slave culture thing, Like you know
what I mean, that's closer to what it is versus
black because there was black people that did not eat

(01:28:26):
soul food. Every black person in America was not a slave.

Speaker 3 (01:28:30):
I'm not a slave.

Speaker 2 (01:28:30):
But that's just like it's just like when you I guess,
if a black person makes the food, they down side
of call it soul ful. A white person makes the
fool and they down so they call it southern fool,
you know what I'm saying. So just you can't really
go with them that. But I think it was something
about coach when you say, don't eat soul ful though
Southern fool.

Speaker 1 (01:28:53):
But I think the confusion blue magic because when you
say black Americans created, I don't think that means everything
that Black Americans created is a reference of black culture,
Like that could be very specific to certain places, like
Crippin is not black culture, Like that's not what most
people do that's black. That's not even a mass thing.

(01:29:14):
That's happening where all black people are at. So again,
I think just because we create organizations or something, I
don't think it means every black person has entitlement to it.
I don't think that's how culture works. So you know
what I mean, Like, I think that'll be what they're
talking about. Because even when they said, like I said,
a lot of brothers, I gotta get Ali on here.

(01:29:37):
Ali gonna be he gonna pitch y'all off. But I
gotta get Ali to because Ali can explain to me
what he thinks it is. Ali from the same lunatics.
Because I don't get what is black culture outside of
the stuff we do with our hair.

Speaker 3 (01:29:52):
But I think what we think of it is black
culture to us. We don't ever think that well, most
black people don't ever look at it as being the
next gative thing. I think that people outside black people,
they kind of look at it. They take anything somebody.

Speaker 4 (01:30:07):
That's what it was, right there?

Speaker 1 (01:30:08):
See somebody said that, right, But how is gang banging
a large part? So is celebrating murder music? That's what
I'm saying, Like, how is gang banging a large part
of black culture? That's That's what I don't get like,
but they're here one bad song and it'd be like,
that's how all black songs sound. But I'm saying, how

(01:30:31):
is gang banging a part of black culture?

Speaker 3 (01:30:34):
Because I think people look at it in the negative connotation,
and they want to look at black people negatively. So
if they say they think black that they oh, black
people gang bang, and we don't. We think it's bad.
So that's what all black people do.

Speaker 1 (01:30:46):
The first gangs in Los Angeles is street gangs in
Los Angeles. I always tell y'all this is Mexican gangs
based in East LA. There's Asian gangs in long Beats.
There are all kind of gangs. Like before black people
have street organizations, White people have street gangs.

Speaker 3 (01:31:05):
They call them clubs. Now white gangs. That up a
little bit.

Speaker 2 (01:31:12):
Yeah, I don't.

Speaker 1 (01:31:12):
I don't get how gang bang is a large part
of black culture. Like most black people are not gang
bankers pretty much, ninety nine percent of Black people are
not gang bankers.

Speaker 4 (01:31:22):
So how could that be a part of black culture?

Speaker 3 (01:31:26):
But they think drive bys are up Black culture. They
think that's our shit.

Speaker 1 (01:31:32):
But even though the white men in Chicago started that, Yes,
So that's what I'm saying like this is why people
are biggots and because they're just it's biggests. Yeah, because
it can't be that they think black people created drive bys,
like there's a one million movies that show you white
men in the twenties and thirties doing drive bys. Like

(01:31:55):
I forget if you thought the first gang street gags
in LA was black people, because you don't know, ask
your question, like.

Speaker 5 (01:32:00):
You couldn't even for carse, how many young people are
you think is going back looking at old stuff? How
far back you think young people look at TV?

Speaker 2 (01:32:11):
Shit?

Speaker 3 (01:32:11):
I know I didn't look back that I didn't look back.

Speaker 5 (01:32:14):
So you're asking them like seeing dry bids that we've seen,
you know, years and years ago on TV, when these
young people can't get past the internet to look at
anything old.

Speaker 1 (01:32:24):
Like I saw I saw a dude tell me, a
dude that I that I mess with, tell me he
was trying to explain to me that black people, the
racism that's just worried about that is holding.

Speaker 4 (01:32:40):
Black people back.

Speaker 1 (01:32:43):
I hear a lot of people say that, and I
just don't get that whole thing, Like what do people
think that black people do innately? Like just because you're black,
Like how could something that probably that less than one
percent of black people in America have ever been a
part of the black culture.

Speaker 5 (01:32:59):
But when they say that kind of stuff like holding
on the slavery and stuff like that, to me, I
just tell them, so, you're okay with the people holding
on to the Holocaust, You're okay with that, but now
okay with us holding on the slavery.

Speaker 3 (01:33:12):
I don't know. I'm trying to figure it out because
I need to get somebody on here so they could
explain to me.

Speaker 5 (01:33:17):
Because that's what I say to them, because they talk
about the holocast so it never happens again.

Speaker 1 (01:33:21):
So you want them to explain to you, like what
is black culture that they they that that that they
feel like it's toxic to black people.

Speaker 3 (01:33:30):
The explanation that they give you, you're not gonna agree with.
Tell us, I don't know because there's no to that,
Like yeah, that where we were just sitting here like,
oh that makes sense, Yes we all are gang banger.

Speaker 1 (01:33:46):
Shout out to Baseline, thank you for the two dollars
get to these superchats and super chats is open. I
meant to tell you, I'm sorry, superchat is cracking. Baseline
thank you for the two dollars, magic Canelos suing at
the losing a fight?

Speaker 2 (01:33:56):
Why not.

Speaker 3 (01:33:59):
I lost?

Speaker 1 (01:34:00):
Suing you shut out to Natasha, thank you for the
fifty check dollars glasses. Please let's get Drake out of here.
He is a forty year old man embarrassing. We are
sick and tired of the library caring. I like how
you put that together in Tasha, those two go together.
Shut out to k Wait, thank you for the five dollars.
In response to coach, if you really feel how he raps,
he needs to square up or shut up up. Antagonizes

(01:34:22):
six foot eight NBA players through the song.

Speaker 3 (01:34:25):
Of course, that's the facts. What is he gonna do
to de Mar de rozen when he really wanted to
see that?

Speaker 2 (01:34:29):
Bro?

Speaker 1 (01:34:30):
I saw that video where he was mad dog and
DeMar looked his way and he looked, but you look
like the mark on TV, Bro, Like at least front
for the TV, like look at him and throw up
your do that dumb ass thing you been doing with
your hands, like at least out of be like, oh,
he's trying to press a line, Like when he look
at you, you gotta just you know, whatever that shit

(01:34:52):
you be doing You could have did that, but you
mad dog and him and shit, and then he looked
your way.

Speaker 3 (01:34:57):
You like, bro, you can't be a mark on TV too, don't. Man.

Speaker 4 (01:35:04):
Shout out to Natasha, thank you for the fifty check dollars.

Speaker 1 (01:35:06):
My wishes that Kendrick pops back out again and just
stops this Iceman project. Every time I hear crazy and
embarrasses Lawbrary caring Drake just completely.

Speaker 3 (01:35:18):
Oh man, y'all.

Speaker 2 (01:35:21):
Tough.

Speaker 3 (01:35:21):
Shout out to JJ Thomas, thank you for the ten dollars. JJ.

Speaker 1 (01:35:24):
It's funny watching Drake fans analyzed lyrics when they kill
Kendrick fans for years for doing the same. Yep, they
be trying to do that little roll out. They be
like trying to make it be deep. I'm like this
not really. I don't even let dot fans do it
to me Like I was like, man, shut.

Speaker 3 (01:35:38):
Up, you don't like that said trying to decide for up.

Speaker 2 (01:35:46):
This is a play.

Speaker 3 (01:35:47):
This is hey, homie. I don't give a fuck what
it is. Is it great records.

Speaker 1 (01:35:53):
I don't give a fuck like y'all records. I don't
need nothing extra but great records. Everything else is cool.

Speaker 5 (01:36:03):
He did his first he did tell somebody that aim
down low. You know that that happened on one song
and the next song he said, he did.

Speaker 1 (01:36:12):
Smart man, I am the homie that told him how
to shoot that drake. Yeah, so hmm, point down and nothing. Yeah,
you never heard don't try to slip this up past.
I never heard of this one.

Speaker 3 (01:36:27):
I never heard that he tried to slip that one
passing about yes, yes.

Speaker 1 (01:36:33):
Down it's on thugging. Let the gun work on thugging,
he says, the kitchen on his so after shooting.

Speaker 4 (01:36:40):
That nigga, damn, let the gun work.

Speaker 1 (01:36:43):
I was like, ye told me that the homie told
me how to shoot the.

Speaker 3 (01:36:46):
Drake, and they I learned from I'm on this.

Speaker 2 (01:36:50):
Yeah. I was fine.

Speaker 3 (01:36:53):
Apparently sitting around taking all that out. He definitely ain't
last thing I'm gonnay about. King Ever, he said, I
didn't point down enough.

Speaker 2 (01:37:01):
Today.

Speaker 3 (01:37:01):
I showed you I learned from those mistakes. I heard
it all like, actually said like.

Speaker 1 (01:37:08):
Yeah, yeah, I was like, oh wow that I'm just
gonna tell nobody that that don't know that. You don't
say nothing because it ain't just for other people to
figure out that. Okay, I'm talking about I'm talking about
really getting cracky.

Speaker 3 (01:37:21):
You'm figuring that out together. Told people that ship and
didn't have him go back to the higher hieroglyphics and
ship go back to the Egypt. Then that meant this
and the other saw go back to Doe. Good look, yeah,
go back to and there. Honey told me that you
said the hommy told me to aim at this way.

Speaker 1 (01:37:38):
His homie didn't point down. And today I showed you.
I learned from those mistakes.

Speaker 3 (01:37:43):
That ship fires so much fire that you put them together.
It's like, damn, that's fire.

Speaker 1 (01:37:48):
You don't mean shout out the king o deck, thank
you for the fire dollars first ball was playing. Now
he's the same as tank dunking tank. David say, lo,
raise your hand from now before you talk boxing again. Listen,
I'm proud out of Bud.

Speaker 3 (01:38:01):
Getting that win.

Speaker 2 (01:38:02):
Brother.

Speaker 1 (01:38:02):
I'm just saying this is just his second grade win.
There's nothing wrong with the most gangster giving that on
that ship.

Speaker 2 (01:38:11):
You eating your most gangs, most gangster thing that Bud
Dido was giving that man back of his belt. So
that was gangster right there to me.

Speaker 3 (01:38:19):
Well, come on now, trapped, stop stop sting. That's the
best conception that they tried to throw out throwing some trickery.
He's getting all new belts.

Speaker 2 (01:38:26):
Man, that's it.

Speaker 3 (01:38:27):
That's Canello's bills to put up on this wall. That
that's the thing toop that.

Speaker 2 (01:38:32):
Does that.

Speaker 4 (01:38:32):
Yeah, classy, bro, It's okay to be classy.

Speaker 2 (01:38:35):
I know I was classy right there. Man. That class
we don't want.

Speaker 3 (01:38:38):
To tell we could We could actually just let the
class happen.

Speaker 4 (01:38:41):
You don't have to be like, oh, you get it.
People put don't through the curtain, don't pull the curtain back.

Speaker 3 (01:38:45):
Yes, that people world of what's that fantasy world.

Speaker 2 (01:38:49):
I'm playing on finding the supermen away through? They don't
playing some midweight no more.

Speaker 3 (01:38:55):
Shout out to Natasha, thank you for the fifty check dollars. Natasha.

Speaker 4 (01:38:58):
I was so happy to see.

Speaker 1 (01:39:00):
He asked Shike do his freestyle as Chak do his
freestyle on Kay Shanat's Marathon three on rap Radar stream
and Snoop Dogg and WHISKYLEYFD. I saw the clips Smoke down,
Shack is dope, and I'm happy I got a song.
I wanted to do a song with Chaike four years ago.
That's how dope I thought he was. I never finished
the song, but I still got the ship and I'm like,
I'm gonna build it out one of these days. But

(01:39:21):
I always thought Chike was dope, So I really don't like,
I really don't watch Kasan stuff not like that is
like I watch a clip, but it's kind of like
too tongue in cheek for me. Yeah, I mean not
not not saying y'all shouldn't watch it. Support anybody that's
a brother, you know what I mean?

Speaker 4 (01:39:36):
That's solid. I'm saying it's like for girls.

Speaker 3 (01:39:38):
I don't really watch it like that. I love this
for girl. Yeah, I think that's.

Speaker 2 (01:39:50):
Kids.

Speaker 4 (01:39:53):
Thank you for the fifty check dollars glasses.

Speaker 1 (01:39:55):
Did you watch the Drake interview for Magic City that
he doesn't give a funk about any other rappers think
a him or his music?

Speaker 3 (01:40:00):
He's lying.

Speaker 1 (01:40:02):
I saw the clip. He looked like he looked like
a little hurt damsel in distress when he did that,
you don't really give a fuck about nobody listening to
my music?

Speaker 3 (01:40:09):
Yes, you do. You know he's lying because he'd buy
everything from any rapper to he.

Speaker 1 (01:40:13):
It's funny he said, I don't care what nobody else
think of my music and I was just thinking about
that with the Joe Budden thing, like you're a hardcore
Joe butden fan. Joe Budden gives you criticism on an
album that he didn't think was dope, and instead of
you responding or coming to sit down with him and
asking what he didn't like, or seeing him in person
and then going to talk to him, you put this
whole raggedy comment in the section like he's a feel.

Speaker 4 (01:40:36):
He wouldn't be a faker.

Speaker 3 (01:40:37):
That's a dragon, Jason.

Speaker 1 (01:40:38):
It was a platinum rap all, like he's made a
living off rap for years. Then he transitioned into a streamer.

Speaker 3 (01:40:44):
I didn't like that.

Speaker 1 (01:40:46):
That was one of the things that kind of early on,
I was like, I don't like that. It's not a
million things I didn't like. That was one of the
things I didn't like. I was like, you act like
this dude was your grade. That's why I believe him
about none of these people he says his inspiration. I
think all that shit's a lie. I think everybody said
was an inspirationist a lot. I think his inspirationist people
like Elvish. I think it's inspiration is people at best

(01:41:07):
like Michael, like people like different people. I don't think
his inspiration is people in hip hop all that. But
I swear to God Dog because.

Speaker 2 (01:41:16):
That I can see that.

Speaker 1 (01:41:17):
I don't think he really respects that Michael, But I
don't think he respected he used to rap Joe Bines.
That's because that's what you would do if you just
heard somebody you've seen was getting credit, you just emulate them.
So you think he's a mimic, he just he's a
He don't quite understand what goes into this ship. He's
just mimic and styles.

Speaker 3 (01:41:35):
That's the genius. Mimic and styles.

Speaker 1 (01:41:37):
I mean, but that's how you learn how to jack
genius like I'll do that until I put into position
to actually use these the correct way. If you don't
know why the punches are thrown, you.

Speaker 3 (01:41:49):
Just throwing punch. Hey, that's an interesting theory and it
actually it makes a whole lot of sense.

Speaker 1 (01:41:54):
I don't believe none of them people. I don't believe
he looked up to Push. I don't believe he really
looked up to Fontee. I think he heard some of
their music. He thought they was dope, saw what they
was getting, and that was it. I don't think he
grew up studying these guys like that. I don't believe it.
He studied them as a way to build his business.

Speaker 3 (01:42:12):
Like an actor study his script.

Speaker 2 (01:42:15):
Yeah, so he wasn't inspired. He wasn't inspired, But none
of them artists that he mentions like that.

Speaker 4 (01:42:20):
Thing inspiration is short. I think he was aspired.

Speaker 3 (01:42:24):
Do you think it was more infatuation than love when
it comes to hip did rap for hip hop?

Speaker 1 (01:42:29):
No, I don't think it was none of that. I
think I think he was looking for a way to
be cool. He had talent, he comes from a family
of musicians. He knew he could do it. He put
it together. If you hear him rap, you know he's dope,
like you could hear it like. So, he just wanted
to be popular.

Speaker 2 (01:42:45):
That's it.

Speaker 3 (01:42:45):
That's what I believe. The way you said, it's almost
like he had hip hop blust, not love though, that's
what it is.

Speaker 2 (01:42:51):
Yeah, Yeah, that's.

Speaker 5 (01:42:54):
Was through the hip hop door because he was still
black at the time, so he couldn't go through popular.

Speaker 2 (01:42:58):
It was always black, so he had to go.

Speaker 1 (01:43:00):
But I don't think it was hip hop journey. But
I don't think it was just a journey about music.

Speaker 4 (01:43:06):
Don't get me wrong.

Speaker 5 (01:43:06):
I'm gonna talk about to get to become popular like that,
you have to go through hip hop.

Speaker 1 (01:43:11):
You couldn't everybody go through hip hop his first door.
You could tell what everybody who not from the streets,
their first door is to go through backpackers. That's their
first door. Backpacker, that's the backpackers don't have no standard.
They ain't let anybody in know you like wrap, you
got a notebook, you went us and then it's acting.
He was coach backpack Im finl get on my boys.

(01:43:32):
You to get on all the hommy backpackers don't have
no backpackers. Backpackers are like gang bangers. They the worst
standards of hip hop.

Speaker 3 (01:43:39):
Anybody could get in.

Speaker 2 (01:43:41):
No yeah, backpack no no, no, it's not a fact.

Speaker 3 (01:43:48):
Everything and that's all fire with the style.

Speaker 2 (01:43:54):
I got a story that hip hop man, that's the
roots of hip hop. Yeah, what you say, can.

Speaker 5 (01:44:04):
They're saying Drake was was that Nickelodeon working, you know,
on that Garrossi show and Matt Wayne at that the
Garrossi Show over that Disney And this is how Wayne said,
I want to make you a rapper.

Speaker 3 (01:44:17):
Got started.

Speaker 2 (01:44:17):
That's not what happened. No, it happened.

Speaker 3 (01:44:20):
You know how it happened, how they became. All I
know is a story.

Speaker 4 (01:44:23):
But it had more to do with jazz J prince Son.

Speaker 2 (01:44:26):
Yeah, yeah, okay, but I don't know.

Speaker 4 (01:44:29):
I'm saying that's not how the Holster. Maybe it could have.

Speaker 1 (01:44:31):
I don't know, but that's why.

Speaker 3 (01:44:32):
That's what I heard.

Speaker 4 (01:44:33):
But he just say I wanted to make you a
rapper because.

Speaker 3 (01:44:36):
He was rapping in the bathroom and Wayne heard him.
It was like, okay with you.

Speaker 1 (01:44:42):
But the thing is, if you listen to Drake rapping
on him come Back Seasons and those other projects, he
can rap like he's he's a he's a qualify them.

Speaker 2 (01:44:50):
SE's not a bad m.

Speaker 3 (01:44:51):
It is just yes, I heard Wayin' hurting the rapper.
It's like, oh yeah, I want to work with you
like he rap.

Speaker 1 (01:44:56):
Listen, man, when that when that switched go off, it's
viable when that flip that switch comes down. I've never
I ain't gonna lie to you, I've never in my
entire life heard that type of switch at that level
in my life. I never heard somebody flip the switch
and be a completely different person like and here's raps

(01:45:19):
sometimes that's pulls it on. Yeah, sometimes.

Speaker 2 (01:45:23):
It's like that was like when she talked regular.

Speaker 1 (01:45:29):
You know, you be like, yeah, it's a well stock,
why ship don't never stop? And it's like you'll be cool.
I'll be like, man, that's kind of cool. And then
a ship come off and it be like that's a cut,
that's a take.

Speaker 3 (01:45:49):
Be like like I've never like.

Speaker 1 (01:45:53):
Homie is like a complete fraud, and like the girl,
I'm gonna get your sucker.

Speaker 3 (01:45:56):
When she started pulling off everything she started pulling off.

Speaker 4 (01:46:05):
He brought up no stop.

Speaker 3 (01:46:06):
If you listen to him rapp on, no Stop, and
then you go listen to that Bobby whatever her name
is interview, you're here talking to Aid And.

Speaker 2 (01:46:15):
I said that that was like, was like when she
talked regularly, that's old.

Speaker 1 (01:46:21):
But it's like Drake is the biggest fraud I ever
heard make rap music.

Speaker 3 (01:46:26):
So he's the middle Vanillia rap. Should they get worried.

Speaker 2 (01:46:32):
Nah singing like like this is Drake actually rapping.

Speaker 1 (01:46:38):
I don't think I've ever heard something as far removed,
Like he's not cool at all, Like I've never saw
him talk, And it was cool. All them clips, all
these clips, over all these years in person seeing him
talk all these clips I've never saw it was.

Speaker 3 (01:46:56):
Like, damn, that was that was cool? Like but like
he got a lot of music. Oh, that's cool.

Speaker 4 (01:47:04):
Music is powerful.

Speaker 3 (01:47:06):
M this nigga calling this dude malibus most wanted.

Speaker 1 (01:47:08):
Yeah, it's obviously cared because he was cussing Joe Budden's
out when he talked about his music and what he
thought of his music. That's where he's at now. So
shout out to Pete, thank you for the two dollars.

Speaker 3 (01:47:18):
Kids.

Speaker 1 (01:47:18):
Sean chose to say co write it's at a sample
because he co writer. It's not a sample, Pete. That's
now you call it. Shut out to k Wait, thank
you for the ten dollars. It's crazy another field or
any other field or genre. We were shame folks like
Lance Armstrong, Mary and Jones, Milly Vanilli would turn a
blind eye to the boy when we have ocular proof
of cultural and musical plagiarism k Wait, because it's more

(01:47:42):
than that. It's not as simple as plagiarism and music.
You know, he's saying, like in the other shit, if
we saw somebody cheating, oh okay, because ka like I
would have to get rid of Michael Jet like the
list of people I would have to get rid of
for that is crazy. That yeah, that's different because of
music doing that versus you know, yeah, that's what I'm saying,

(01:48:03):
the bike or do you know running track or so
that's different. Plagiarism is I agree, Like plagiarism is wrong.
If somebody did just sing a song that was somebody
else song and it blew up, it is different.

Speaker 3 (01:48:14):
Like that is you're inspired by them and let them know.
But did he did he steal the work? I mean
I guess so.

Speaker 1 (01:48:24):
I think JD said that you not or somebody said,
you're not trying unless you steal it.

Speaker 3 (01:48:31):
I don't know, don't ask me not trying, that's crazy.

Speaker 1 (01:48:36):
You're not trying to shout out to all skit, thank
you for the five dollar watching your game. Y'all know
the music is a toxic part of black culture. So
it's a gang culture being mainstream. That don't make sense
because gang culture is not being mainstream.

Speaker 2 (01:48:47):
That's like, well, when they're doing when they're doing the
CP walk at the super Bowl.

Speaker 3 (01:48:51):
Kids, that's still a happen.

Speaker 2 (01:48:54):
They got the super Bowl.

Speaker 1 (01:48:54):
It's not like the whole crowd started cript walking after that,
that's one cryp crip walk.

Speaker 4 (01:49:01):
I don't know if that's talking.

Speaker 2 (01:49:02):
The background dances doing that, I don't think.

Speaker 1 (01:49:04):
I don't think nobody went. I was like, oh man,
did you see that dance? They're putting me on tomorrow
I'm scheduling might put on. I don't think it didn't
infect America? Wasn't It didn't poison America with nothing? And
what's wrong with being a crypt No.

Speaker 2 (01:49:20):
I'm not saying that. I'm just saying that I've seen that.
I'm gonna hold you when I've seen that. I was like, yeah, man,
they doing that shit at the Super Bowl B in
front of the people that don't know nothing about the
culture like that.

Speaker 4 (01:49:30):
They won't have no idea about the Colt drafting.

Speaker 3 (01:49:32):
I've got a question for you, trapped.

Speaker 2 (01:49:33):
Do you know what I mean?

Speaker 3 (01:49:34):
People crip walk that ain't crypts?

Speaker 5 (01:49:36):
I got a question for you, trapped, So you too,
walking is worse than when the people be twerking everywhere.

Speaker 3 (01:49:44):
On TV.

Speaker 2 (01:49:44):
Comp turking actually comes from African culture, though, so send
you up then over there toxic?

Speaker 3 (01:49:53):
So he said a thing now African, I know you
think for Black culture. Now that's so k over here.

Speaker 4 (01:50:00):
He was saying.

Speaker 1 (01:50:01):
He was saying that that's why I was cool because
Africa's dad. I'm like, so it can't be. I don't look,
I'm not finna get into that. Twarking is not a
black cultural thing. Most black people do not twerk.

Speaker 3 (01:50:11):
Like like crip walking. It's not it's not it's not
they missing out.

Speaker 1 (01:50:16):
Shout out to Leonardo Thomas, thank you for the five dollars, brother,
It's not enough. That's that slag line needs explanation and
clearance from Drake.

Speaker 3 (01:50:26):
No, it don't.

Speaker 1 (01:50:26):
He fucked up and there's nothing really to explain you.
He sees himself as other. That's that's been obvious the
whole time. When he said people in the hood, like
he said, he saw his dad get jacked up at
the border.

Speaker 3 (01:50:43):
The border.

Speaker 4 (01:50:44):
It's so traumatic.

Speaker 1 (01:50:46):
Dad was trying to cross illegally, he said, I saw Peter,
he said, So that's why people in the hood relate
to my music.

Speaker 3 (01:50:52):
That's his version of somebody getting beat up in the
hood by the police. Is his dad getting stopped at
the border.

Speaker 1 (01:50:57):
So illegally crossing into That's the same thing him.

Speaker 4 (01:51:01):
It's like, I go, man, be whooping.

Speaker 3 (01:51:03):
Ask for everybody about He wrote a song about that. Yeah,
my dad at the border and ship.

Speaker 1 (01:51:12):
You know, get the shout out today, Visious, thank you
for the two dollars. How do we get God to
do an interview today?

Speaker 3 (01:51:18):
You know what?

Speaker 1 (01:51:19):
I don't know, but everybody keep trying to get me
to talk to him and I am, but I don't.
I don't think I want to make I'm not an interviewer.
So if y'all like, I wanted to ask y'all, who
did y'all want on this platform? But I'm not interviewing
nobody that's.

Speaker 2 (01:51:30):
Not even come down and trap it up, comes down
and trap it up.

Speaker 1 (01:51:34):
And we're gonna politic If I talk to Dollar on
the show, we're gonna be talking about a bunch of
old ship. We probably won't even talk about the battle
unless it's something funny.

Speaker 3 (01:51:43):
It's like that's the best way to get to know somebody. Anyway, though,
we got to.

Speaker 2 (01:51:47):
Give him a point in five minutes.

Speaker 1 (01:51:48):
Man, Thank you for the fifty check dollars. Natasha, this
was beautiful to see the clips. First time rappers ever
to perform at the Vatican with John Legend said, you
know what's funny? I told trap that was the best
song on that record. I said, I mean, yeah, yeah,
that that ship is dope.

Speaker 3 (01:52:07):
I mean.

Speaker 1 (01:52:09):
I thought it would hope for him just to be
at the Vatican.

Speaker 3 (01:52:12):
Y'all know how I feel about John Legend. I like Johnny.

Speaker 1 (01:52:16):
I know you're hating on Joe's over rating from the
rated coach.

Speaker 2 (01:52:21):
Thank God got one note, crazy.

Speaker 3 (01:52:24):
Boy got the wards. We got one note.

Speaker 1 (01:52:26):
Saream had one shot that made thousand John Legends scream.
Now look it looked like he was at the Vatican
and ship the real ordinary people.

Speaker 2 (01:52:40):
Oh my god, that's it. I understand one day understand.

Speaker 3 (01:52:45):
Why named four John Legend songs?

Speaker 2 (01:52:47):
That's I can like that.

Speaker 3 (01:52:50):
I bet you, I bet you could named seventeen Luther
Ratro songs.

Speaker 2 (01:52:53):
Right now in my sleep, I canna John Legend song.

Speaker 4 (01:52:56):
John Legend.

Speaker 1 (01:52:57):
Luther is the best singer in the world, the greatest
all time. I'm best male vocalist in the history of music.

Speaker 3 (01:53:02):
He performed at the Vatican. No, okay, then let's not
talk about John. He performed at that.

Speaker 5 (01:53:07):
I used that hold on the reason why John Legend
for the Vatican, because look where the post from.

Speaker 3 (01:53:13):
Now, okay, think about that. Now, look where the Pope
is from actually Legends.

Speaker 2 (01:53:20):
Yeah, man, King is cooking. The King is cooking over there.

Speaker 1 (01:53:26):
I like that John Legends on best I Ever the
song that they use for the the Kevin Hart movie
the name of It. So I think John D John
Legend is better than that nigga, y'all like Frank Ocean.

Speaker 3 (01:53:39):
I'm gonna tell you better than John. Song should be
called ordinary People. One, Ordinary People, two, Ornary People three.
That's all that.

Speaker 2 (01:53:50):
Now, listen to Get Lifted and listen to Get Lifted album.
Listen to the Same Room album and we're doing it again.

Speaker 3 (01:54:02):
Crazy Ever. Yeah, I'll be I love him.

Speaker 1 (01:54:15):
You have to say, I'm gonna listen to a bunch
of John listen now, but I like here like ordinary
People is a dope song.

Speaker 2 (01:54:21):
Yeah People is a classic song, man.

Speaker 4 (01:54:25):
Your song in history.

Speaker 3 (01:54:25):
You gotta go listen to Blonde like you gotta go listen.

Speaker 2 (01:54:27):
To You gotta listen to Blonde. Blonde is fire pressed.

Speaker 1 (01:54:31):
And you got the fact that y'all acting like that's good.
Like we're coming off with some of the best R
and B like me and you grew up in the
time with R and B was fantastic.

Speaker 4 (01:54:38):
You talking about gonna listen to blonde.

Speaker 3 (01:54:39):
Or or nigga.

Speaker 2 (01:54:40):
No blonde is fire not fire.

Speaker 3 (01:54:43):
You gotta listen. He sing good enough here?

Speaker 1 (01:54:46):
I mean you don't have, like, you know, great fire,
not sing Teddy roddy. That's how Bobby Brown and Keith
swe his bats ain't even good enough.

Speaker 2 (01:54:55):
I'm gonna send you. I'm gonna send you my Frank
Ocean playlist and let me and this is.

Speaker 4 (01:55:00):
No mister frank and all with no fucking singing.

Speaker 1 (01:55:04):
All of me with John Legend was was cool. I
like this nigga coach trippy, how you big enough? And
talking shit about John Legend, John Lesson to sing Frank O.

Speaker 3 (01:55:14):
Cinder, Ordinary People three and four, I guess ordinary People
the whole catalog for that. Ordinary People seven coming. I
can't wait.

Speaker 1 (01:55:23):
Shout out to Zid, thank you for the two dollars.
Mexico line was about the Raptors losing early in the playoffs.
Yes it was and still was weird. He's playing the
trip to go to Mexican like whatever.

Speaker 4 (01:55:36):
Whatever.

Speaker 1 (01:55:36):
Shout out to all Skit, thank you for the five dollars.
Do Mexicans have a genre of music based on killing
called your rap? No, it's called corrido's asshole. God, it's
called corridos, and you set them dudes with them big
fucking hats something. See this is my problem, skit, y'all
be on that bullshit. Do Mexican have a genre of
music based on killing called your rap? No, they have
a they have a genre of music called corrios, and

(01:55:59):
all of it is cowboys stories where people get shot down.
And you think gangster rap god people getting shot down.
Go look at what happened to to? Uh, what's my boy?
I'm writing a movie on his life. I've been slowly
writing the movie. Uh uh uh Charlino Sanchez, go look it,
go go look what happened to Chilino. Go Look, y'all

(01:56:20):
keep acting like black people doing something new. People been
messing each other up over this music that's been happening
in Ireland, been happening in Mexico. This is this ain't nothing,
y'all keep me, y'all, keep trying to put stuff off
on black people that ain't nothing new to humanity.

Speaker 3 (01:56:35):
Nothing corridos. When you see them dudes be playing.

Speaker 1 (01:56:39):
Don't don't, don't bomm don't.

Speaker 3 (01:56:52):
About knocking shit down over drugs.

Speaker 1 (01:56:55):
See, y'all don't see that when y'all be thinking them
pisces be wearing them hats and them really them belts
in them boots, they're cowboys. Them belts cost like two
thousand dollars, them shoots belts and them boots to them
boost expensive.

Speaker 2 (01:57:09):
You don't even know that.

Speaker 1 (01:57:10):
See you, you thought you was being slicked with that skit,
and see that that fast you ain't. No, Yes, Mexican's
got a job. Rap music based off knocking sh it.
And they really knocking ship down too, They knocking ship down.
I show you a picture where they knocked some ship down.
They shot this man called over the music.

Speaker 7 (01:57:27):
Hold on, No, no, they don't know about cartels and
stuff I like, and they gotta understand what the hell
it'd be real l a Mexican game man scared of them, Like.

Speaker 3 (01:57:41):
Down there, them dudes ain't no mess with him.

Speaker 1 (01:57:44):
My homies, my messking hommies be like he was talking
to Looney Bro. I'm talking to loony loony a homie
bro one one seven sign gang. I'm like, man, I
finna come down there, were gonna hang out, loon. He like, man,
you can't come down there with all that ship we
be doing he knew the man like men, you can't
come down here with all that ship we be doing.
My boy, he was like, man, glass, don't fuck with
it like all them people with them hats and all

(01:58:05):
that people.

Speaker 3 (01:58:09):
And that fast.

Speaker 1 (01:58:09):
Y'all tried to make something unique, y'all always trying to
make something unique to black No, we're just humans. Sometimes
we laid on ship like we was laid on credit
card scams. We were laid on drive boys. We was
laid on music about knocking people down and entertainment about
knocking people down. Everybody else all these white people for
years had cowboy movies, and the whole movie is knocking

(01:58:30):
shit down. As soon as we get some entertainment about
right now, they didn't went through so many years they
making movies about white people that knocked it in.

Speaker 3 (01:58:37):
They gonna an them for knocking motherfuckers down.

Speaker 2 (01:58:42):
Let's go.

Speaker 3 (01:58:43):
That's the whole thing.

Speaker 1 (01:58:44):
As soon as black people finally making some entertainment, y'all like,
oh my god, we always late.

Speaker 3 (01:58:50):
We late to the party.

Speaker 1 (01:58:52):
We were late to check system. I seen that movie
with Frank Abig Neil Junior with uh what's it called?
People was talking shit about black people doing checks in
the eighties and nineties. Frank was doing it in the
fifties and sixties.

Speaker 3 (01:59:05):
On Delta Delta checks. Y'all so full of.

Speaker 1 (01:59:09):
Shit, And as soon as y'all get in front of
these white people, y'all start with you know, because black people, no,
because people we late to all this shit. Tell me
the first that black people start doing first. We ain't
starting nothing first. We always lead, not in America.

Speaker 2 (01:59:24):
Always.

Speaker 3 (01:59:24):
One thing we start doing first is taking baths.

Speaker 1 (01:59:26):
Were always leaked. Really, you know when we was first
on Season and Chicken, that's what we was first on.
We was last on Drive By. We was first on
season and Chicken?

Speaker 2 (01:59:38):
How about that?

Speaker 1 (01:59:42):
Shout out to sign leg thank you for the five dollars.
You're wrong, glasses. The difference is Kate out is actually
a cryptic artist. That's literally one of the reasons why
he won a political prize. I'm not saying he's not
a cryptic artist. I'll tell you I don't give a
fuck about solving the puzzle. You missed it, tramp.

Speaker 3 (02:00:00):
He said he not.

Speaker 2 (02:00:06):
Smart.

Speaker 4 (02:00:07):
You don't have to worry about who else smart.

Speaker 3 (02:00:09):
Listen with the colder or nothing is.

Speaker 1 (02:00:11):
The record, jam I told this nigga that I'm like, man,
I don't give a fuck about none of them skits.
Is the record jamming, He sounded like, He's like, Nigga,
you love skits, you be having skins. Fuck all that records, Nigga,
is the records jamming. It's the fucking records. I don't
give a fuck about no fuck. I don't give a
fuck off you play it backwards. I don't about none

(02:00:31):
of that.

Speaker 3 (02:00:32):
Ship and I played for it in the records is jamming, traps, trap, trap, trap.

Speaker 1 (02:00:38):
I'm not talking ship. I'm not mad at none of
y'all who look fire?

Speaker 3 (02:00:43):
Have you rather less up? I don't.

Speaker 1 (02:00:45):
I don't give a if you put the music in
three folds and play this is the record jamming that
nigga know me like a bush.

Speaker 4 (02:00:53):
That's why this album sounds its way, because the records
need to be jamming.

Speaker 3 (02:00:57):
That's what I fuck with you here, good album coming out.
He just want to hear if it's jamming track.

Speaker 4 (02:01:05):
Talk about niggas rapping with no drum.

Speaker 1 (02:01:07):
I'm not fucking with none of that ship without no drums, nigga,
How you even call it a beat if it don't beat,
I'm not fucking with none of that.

Speaker 3 (02:01:15):
Listen.

Speaker 1 (02:01:15):
I love all of that shit. I love I get it,
I get it, but I'm listening to the songs when
I turn on music. I'm not mad at nothing deeper.
I make deeper shit. Shout out to y'all. I won't
make deeper shit, but I really care about the records.
So I'm not saying God ain't cryptic. I thank God
is cryptic. I just don't care about that part of it.

(02:01:36):
That's for y'all, y'all. I'm like, is the song good.
I'm listening for Inner City Blues and it's a good record.
That's why I like gn X. It's great records. Is
the music jamming. Shout out to just be Yapping, Thank
you for the five dollars. Abrey the most bothered, wanna
be unbothered.

Speaker 4 (02:01:53):
I like how you did that.

Speaker 1 (02:01:56):
He's so mad he can't even stop giving himself self
inflicted els.

Speaker 4 (02:02:00):
Love that for him.

Speaker 2 (02:02:01):
It is like that.

Speaker 3 (02:02:04):
He is doing it to himself now, that boy glutting
for punishment. Shout out to.

Speaker 1 (02:02:09):
Miss Peachy Peaches, thank you for the five dollars. Jelope
pointed out that Terrence Thornton and Crawford May history the
same night Euphoria Drake Drake in her first use the
Untouchables movie driver. All facts, facts, all facts. Yeah, you're right,
you are right. That's true. They did both make history

(02:02:32):
that night. All the terrences, oh terrences. Shout out to Natasha,
Thank you for the twenty check dollars. Bobby Audolf did
an interview and confed it with YG.

Speaker 3 (02:02:43):
I saw that. I didn't really look at it though,
because that little white.

Speaker 1 (02:02:45):
They just around there just look crazy. Shut out to
k Wait. Thank you for the five dollars. Coach ain't
never been in love. Most of john catalog is about
marriage and clapping raw cheeks with your wife. I love
me some me, shout I desire. Thank you for the
two dollars. Coach stopped being a yes man in the glasses.

Speaker 4 (02:03:03):
God damn it.

Speaker 3 (02:03:04):
Why thank you?

Speaker 2 (02:03:05):
Thank you?

Speaker 1 (02:03:06):
Coaches?

Speaker 3 (02:03:07):
Where the fuck is coaches?

Speaker 2 (02:03:08):
A man?

Speaker 3 (02:03:09):
Coach? I always agree with me first up on the
first time. If I heard that you agree with me
once in my life, you always to agree with them
in the end. That's crazy. What he'll be like, are
you the whole I want to fight. I kind of
agree with you saying, but I always agree with some

(02:03:30):
of his ship, but then I always end.

Speaker 1 (02:03:32):
Up agreeing that no cuts said it. Coach is the antagonist.
Hell y'all talking about.

Speaker 3 (02:03:37):
I'm cool, thank you that other comment, somebody coach you
again right now. I always come back to that comment
to her Glass to say you you just be trying
to disagree with me. I'm blaking that other niggas.

Speaker 4 (02:03:50):
Comments called the division cry.

Speaker 1 (02:03:53):
Coaching Glass like, bro, and that's why you always disagree
with me. He'd be like, nag funk that. I'll be like, coach,
so you mean to tell me no.

Speaker 3 (02:04:01):
No, no, I'm happy I got that coming, dude, Like,
I'm just yes, yeah you should coach?

Speaker 2 (02:04:10):
All right?

Speaker 3 (02:04:10):
Trap, is you done coming up?

Speaker 2 (02:04:12):
Yeah? I gotta gotta it up?

Speaker 1 (02:04:16):
Pop back in yeah, child to k Way, Coach never
agreeves with g They are real life Claude and Ray.

Speaker 4 (02:04:22):
That's probably closer to me.

Speaker 3 (02:04:23):
Claud and Ray.

Speaker 4 (02:04:24):
That's probably you guys, that's for sure.

Speaker 1 (02:04:27):
And he's for sure Ray old city slicking at He said, no,
motherfucker farmers come down here.

Speaker 3 (02:04:32):
He's a fucking farmer. It's crazy. I would out for sure,
you're about to be ready. I was thinking about it
because g ain't Claude though that's a problem. I'm definitely
clawede g ain't club.

Speaker 2 (02:04:46):
All right?

Speaker 3 (02:04:46):
Pop back on Trapp where's your camera?

Speaker 2 (02:04:48):
Jesus got the computers?

Speaker 1 (02:04:52):
No citlers lied to lunch hour every Monday, Wednesday and
Friday right here noon Pacific Standard time Digital No No
Siblings by glassm Subscribe subscribe.

Speaker 4 (02:05:02):
We gotta go through this.

Speaker 1 (02:05:03):
Thing so we can start sending out them cash apps.
I'm gonna requesting cash apps next week. I'm gonna have Fatima,
who moderates the chat. Shout out to everybody who moderated
the chat. My dog squishy, Fatima, fats. I don't think fantcy,
I aren't seen him here, but shout out to everybody
who helped this stream be something. We're gonna get somebody
to be on the stream really soon. Trying to forget
the right person. Could I get guess Djail up here. Yes,

(02:05:25):
I'm gonna do that. My boy six is gonna come.

Speaker 3 (02:05:26):
DJAS somebody else too, feel me shout out.

Speaker 1 (02:05:29):
To uh yeah, every Monday, Wednesday, Friday at noon Pacific
Standard time right here on No Siblings by Glassman Subscribe.
New podcast dropping tomorrow. Make sure you check it out.
We do this stream and support that podcast, No Sillings Podcast.

Speaker 4 (02:05:41):
I got something to say.

Speaker 3 (02:05:42):
Yes, not gonna just let me get through this.

Speaker 4 (02:05:45):
Huh, I thought you was doing go ahead, get through
it and me do this every day. And he like,
I thought you was done. There's no way you thought
I was done.

Speaker 3 (02:05:51):
Cause you hit the button. Somebody no ciling the podcast.

Speaker 1 (02:05:55):
You can listen to it on Apple Podcasts, iHeart Podcasts
or anywhere you get your podcasts from. No Sillers podcast
executive produced by the infamous presidentially Sean Charlottage, The God
the Black Effect podcast Networking.

Speaker 4 (02:06:07):
I heart hit that, Like, but go ahead, where's the
men that from?

Speaker 3 (02:06:10):
With King a mint? No, the digger brought me my meal,
my dream?

Speaker 2 (02:06:17):
Do I get dessert?

Speaker 3 (02:06:18):
Do I get where's the men at King? Had to
get in?

Speaker 5 (02:06:21):
Yeah?

Speaker 2 (02:06:22):
All right, hold on real quick, so man, this meal.

Speaker 4 (02:06:26):
Now you had to be a good guess.

Speaker 3 (02:06:27):
That'll be a good guest, ye it will be yeah.

Speaker 2 (02:06:29):
Yeah. Listen, man, if you're in the DC area September twentieth, man,
we're doing we're doing an event out there. We have
to digging in the Crates crew. Now I'm saying to
be broadcasting live from there for the hip hop hip
Hop Top one hundred features of all time. If you're
in the DC area, I'm gonna put some more information
up on here on Wednesday.

Speaker 1 (02:06:46):
And even though y'all can't see that talking face, that
I ain't talking face. September, if you are in the
d C area. In the DC area, they're doing a
dope event, the digging in the Crates Crew. It's gonna
be fantastic. I think it's at Howard right.

Speaker 2 (02:07:03):
You know it's it's not a Howard, it's the location.

Speaker 1 (02:07:06):
A little information we're gonna post it on this channel.
If you're in the DC area on the twentieth, go
support some real hip hop people. Give me that really
messed it and put on for the culture. We will
see y'all Wednesday, same time.

Speaker 3 (02:07:20):
What's love to everybody?

Speaker 1 (02:07:24):
Good looking out for tuning into The note Seller's 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 Effect Podcast
Network and not Hard Radio.

Speaker 3 (02:07:38):
Year

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