#584 - Chance The Rapper Talks Acid Rap, New Album, Blog Era, Apple Music Deal, Mac Miller, Kanye & More

https://youtu.be/yI_VJlQX-1s

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Episode Transcript

Speaker 1 (00:00):
Booglet Cat Show, Buglet Cat Podcast. We got a special

(00:02):
guest here, man the legend chance chance to rap.

Speaker 2 (00:05):
Thanks for having me mane.

Speaker 1 (00:06):
Yes, sir, I've had your brother up here.

Speaker 2 (00:08):
Now we got we got you know, got both the
Bennett Boys.

Speaker 1 (00:11):
The Bennett Boys and the Bill and your dad was here.

Speaker 2 (00:13):
My dad came up here. Oh with Taylor. Yes, okay,
I thought you were saying again interview No no, no interview.

Speaker 1 (00:17):
The worst Bennette, the last Bennette. Anyway, Man, I got
to give your props to this new album.

Speaker 2 (00:25):
Thanks you.

Speaker 1 (00:25):
Star line is in my opinion, uh you know, it's
my favorite body of work of yours.

Speaker 2 (00:32):
Thank you has to wrap so thank you. Man.

Speaker 1 (00:36):
I got to ask you this, man, because I do
feel like as a fan, I always would in my head,
I'm like, yo, I wonder if the out I would say, like,
you know, because your last album came out, you know
critically people, how do.

Speaker 2 (00:52):
You talk about it?

Speaker 3 (00:52):
And I'm just kidding, but what I'm saying is I
wonder like, do you get to the point because as
a fan like of yours, I always wondered if you
had gotten to the point where you start to overthink
this shit or like you know what I'm saying, like because.

Speaker 2 (01:04):
This album always do I always overthink it.

Speaker 4 (01:06):
When I was in.

Speaker 2 (01:09):
When I was in the ninth grade, I put out
a project called This Is How It's Done. That was
my first mixtape. I was in a group called Instrumentality,
me and my best friend Justin, and I probably stressed
out making that album as much as I did any
other one. Like I feel like I'm kind of the
type of person that just really puts a lot of
pressure on the words and on how it's presented and

(01:32):
how it's contextualized.

Speaker 4 (01:34):
And you know, am I gonna do it?

Speaker 2 (01:36):
Even back then, I was making music videos on my laptop,
like literally on like the little the camera that's on
the laptop I was.

Speaker 4 (01:43):
I was always like, you know, very uh.

Speaker 2 (01:48):
Like granular, like piece by piece trying to make stuff
even when it wasn't. I always felt like the stakes
were high.

Speaker 1 (01:55):
Well because you I mean you all you do take
your time with bodies of work, Like it's not like
this isn't anything new, but this time you took a
little bit more time, but you did give us some
some some stuff in between.

Speaker 2 (02:04):
Yes, I think that was that was the context. I
feel like the songs like I saw some some fans
like I be on Reddit. I can't tell you who
I am, but I be on Reddit and uh and
in my uh in my subreddit, somebody was just putting
you know, kind of talking about some of the songs
that came out before and like how they wish some

(02:26):
of them were on the album, but like they also
love that it's like their own thing that the whole
world doesn't necessarily know about it, and songs like Buried Alive.
There was another one that I was thinking of that
it's like really good, Oh the Lion, like the one
I put out about what my dad was saying to me,
Like I think I put it out maybe a week
before the album came out, even though they were just

(02:48):
like little YouTube snippets or like Instagram things, like they
deeply and like profoundly contextualized the album and like kind
of like bread crumb you into it to like what
I'm gonna be talking about how I see myself, you
know what I'm saying. Like, I think it was perfect
that that amount of time lasted that I could do

(03:09):
all those little, you know, kind of parcel out information
and then I was doing my writings on the wall
thing where I was having like you know, like forty
or fifty fans come into a small room and I
set up like this intimate setting where they could you know,
hear the album but also have like a projector and
like lights, audio visual experience, and like doing that over

(03:30):
and over again really like refine the album.

Speaker 4 (03:33):
It reminded me that, like, you know.

Speaker 2 (03:36):
We're so digital now, you know what I'm saying, We
so like we're so like connected via the Internet that
sometimes we you know, can make it seem like that's
like the real world, and it's like it is, you know,
to a certain extent, some real people on the Internet,
it's also like that real life connection. And like really
being you know, hand to hand in with your fans,

(03:59):
even even if it is through the Internet, is like
that's like a real, real connection. And I feel like
if I didn't have that, I wouldn't even have the base.
You know, there's people that weren't tuned in that are
loving on the album and they love it. But I
feel like some of the people that really are getting it,
like the first or second day, they're like, oh, I
love all these literary references or I love all this
you know, whatever it is in the album. Those are

(04:22):
the people that like kind of was in it the
whole time.

Speaker 1 (04:26):
Yeah, it's interesting too because I feel like, obviously it's
been six years since your last project. But you know,
I wonder when you get as famous as you are
and then these like i'll callumb side quest opportunities goe
or you're hosting TV shows, or you're doing commercials or
it's almost like then it becomes not only is it

(04:48):
a full time job for you to you know, create art, right,
but it's also now just a job just to be you.

Speaker 2 (04:56):
Yeah, being a public face, like just to be Chance.

Speaker 1 (04:58):
The rapper, Like, Okay, what do we gotta do today?
Is it? Is it a hard balance because to be
able to really hone in when there's so much other
shit going on.

Speaker 2 (05:07):
Yeah, I think like it's two sided one. Like I'm
a dad. I've been a dad since I was twenty,
so like I have a you know, certain level of
understanding of it as a job, you know what I'm saying, Like,
and what makes money is what makes money, you know
what I'm saying. And I have the things that I
think of as side quest aren't even side quest. They're

(05:28):
really like a large part of my purpose. But those
things have to be funded too. So I threw a
free fifty two thousand person festival in Ghana, West Africa
in twenty twenty three.

Speaker 1 (05:38):
I think I remember seeing that.

Speaker 2 (05:39):
Yeah, that was a part of leading in the star Line.
That's like a lot of like Wes star Line is
basic was victorid. It was me and me and Victis
the festival together and first of its kind, you know
what I'm saying, Like it was it was really really
a communal and beautiful thing. I think I guess you
kind of had to be there to understand how deep
this thing was. But like that, shit costs money, like

(06:01):
you know what I'm saying, Like, it don't cost rap money,
it costs the voice money, you know what I'm saying.
So doing certain stuff like that was necessary. But then
on the other side of it, and I didn't know
when I was going to say this, but I might
as well say it now a big part of this
album coming out. I'm thankful to Miss Laurence Hill because
she sent me a text. I rap about it in
like the first few bars of the intro. She sent

(06:25):
me a text one night and like you know, she's
in my life, but we don't talk all the time.
She's very busy and like, you knowing like but like
I think her forever. She sent me this text that
basically said, Hey, I was watching TV and I saw
that you're doing a second season of the Voice, and
I want you to know that in this industry, you know,

(06:47):
sometimes a lot of these opportunities as important as they
are financially, And she was like, you know, she like
really was talking to me like as important as they
may be, like there's nothing more important than your art.
There's nothing more important than which like I'm sure a
lot of people can understand, Like how deep that is
coming from hill crazy right, you know, saying sure? And

(07:08):
also like how if you know me, you know, like
I placed her pretty high in terms of like who
I think are the greatest artists of all time. And
so I think that shit really made me cry. I'll
just say it like it may. It broke me down
into tears because I feel like I remember when I
when I was saying when j Cole made let Nads Down,
I felt like that was my let nads down moment

(07:29):
where I was just like damn, Like, first of all,
I'm humbled that she even thinks that my art is
that important. But I'm also like, damn, like, let me
re prioritize things. And it's not like she told me
I couldn't do it or that I shouldn't do it.
She was just like it was kind of like, where's
your output? Like what you I'm sure she said a

(07:49):
lot of really kind things about it, you know, because
she's a friend of the show. I'm still trying to
do the show. So I'm not saying in a way
where it's like she was bashing it, but she was
like she was just passionate telling me like, you have
to shine in your purpose. And I'm sure you're a
great coach, and I'm sure that you have your musical
output on the show that makes you feel good, but
is it what is? Do you have the time to

(08:11):
do what you're supposed to do? And so that really
really like it put a more of a urgency on
like getting out what I had to say.

Speaker 1 (08:21):
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Speaker 2 (08:24):
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odd socks dot Com. Let's get back to the interview.
Talk to me. You meant you mentioned the Ghana Festival,
but you know, it's been so dope. I feel like
it's been what six seven years now that you and
Vic have been back super tight tight again. That was
you know, I was such a big fan of kids
these days. Yeah and uh and obviously all your early

(10:16):
shit ten day tape.

Speaker 4 (10:18):
Uh.

Speaker 1 (10:20):
And I think, like you guys, I always think about
like the what ifs, Like wait, what if they never
would have stopped with each other? But how dope has
it been? Because he just put out an incredible body
of work that you got to spend some money on.
You know what I'm saying, which now, But but how
dope has that been to just have him back in
your life? And you guys have this you know, you

(10:41):
guys just have such a great chemistry together, and you
guys are so synonymous with each other.

Speaker 2 (10:44):
Every time I start trying to tell a story, I'll
get ready to cry.

Speaker 4 (10:47):
I don't know why.

Speaker 2 (10:47):
It's like all these these are like just like bringing
up important parts of my life that happened in the
past six years. But basically, you know, me and Vic,
I tell the story all the time. Me and Vic
really really grew up together, like been through everything together,
and he put me in position in a lot of ways,
like I would have never ended up on tour with
Childish Gambino, which was a big, big launch point for

(11:11):
my career if he hadn't let me. I used to
be a roadie for a Kizzies Day, so I would,
you know, help with the drums, help with like certain shit.
And then Vic started having me come up and spit
this verse during I think it was a song called
hard Times and I'm not on the record, but he
would just have me come out and my verse. Yeah,
And I got seen by their publicists who also represented

(11:32):
Kizzies Days, and he was like, well, the roady's pretty good.
You know what I'm saying. You got a mixtaper something
I gave him ten Day, which wasn't even finish yet,
but like a version of it. He showed it to
Donald Glover and Donald Glover asked me be on tour.
So and that's just one like situation, Like there's so
many different things that I probably if I just sat
down and thought.

Speaker 1 (11:48):
About it, that the Ath tour, I just know that
I saw Asher Roth and kids. They's days live.

Speaker 2 (11:53):
This was at south By Southwest, so it was like
they had like probably six or seven shows. I had
three that all got canceled.

Speaker 5 (11:59):
But like the peak days of south By when it
got Southviole used to be, that was zero for everything.

Speaker 2 (12:06):
Ill more the rap Genius House, Like you know what
I'm saying, Like there's so many stories that came from that, but.

Speaker 1 (12:11):
I don't want I don't want to, you know, get
you off the path of oh sorry.

Speaker 2 (12:14):
About me and vic him like so you know, I
don't have to go too deep into it. But we
fell out at one point, you know, for a little while.
And also that's like I don't even want to characterize
it like that because we honestly fell out a million times,
you know what I'm saying, since before we got on
and like, that's just that's just life. That's just how
it goes, you know what I'm saying. I think we're
just such Yin and yang, like Kindred Speirits though that

(12:39):
like that just was bound to happen. But one of
the greatest things that ever happened was I had a
vulnerable moment with my dad where he was like, this
is in twenty twenty one. I think he was like, Yo,
we need to put together, uh, you know, a dinner
with the people that helped build you.

Speaker 4 (12:58):
And that you also helped build.

Speaker 2 (13:00):
There's a lot of people that came out in this
era from twenty thirteen to twenty seventeen that you know,
we're my friends, childhood friends of people like that I
you know, grew up with and around that we all
like because of that era of like Chicago really going up,
we all created you know, names for ourselves businesses. And
he was like, I want to invite all those people

(13:20):
that are in all these different industries now to come
out to dinner and you tell them that you're working
on a project. And I was like, all right, for shure,
you know what I'm saying. And he was like, who
all do you want to be there and I went
through the list of names and he was like, is
there anybody else? I was like, well, also add Joe
freshcuz like, well, is there anybody else? I'm like, oh,
well add Brandon Bro. Oh well ad blah blah blah
blah blah. And I keep adding people and he was like,

(13:41):
who's the person you're not saying. I was like, big,
because when it comes out get an emotional again, when
it comes to like sitting in the studio and being
my best self and wanting to rap as good as
I possibly can, it always comes from being sitting next
to Vic and we had that dinner and just be honest, like,
you know, now in the past year, everybody that was

(14:03):
at that dinner has been activated. Shout out Mary McKean,
shout out Brandon Bro did the artwork for the album.
Shout out Joe Frescas just called me the other.

Speaker 1 (14:09):
That's great because you know, there's there was like a
conspiracy theory that the artwork might have been AI.

Speaker 2 (14:13):
I think that's a concerted Did you see that? Yeah?

Speaker 1 (14:16):
I saw that on Twitter. I was like, I know
when I saw the artwork, I knew what we were getting.
I was like, oh, this is this is that acid
rap coloring book.

Speaker 2 (14:24):
No. Yeah, what I'm saying now Brandon is like he's
just such a phenomenal artist man, and like across so
many different mediums, and I think after this project people
will tune into his other works. Like he's really raw
what's called augmented reality and a lot of like tech
art right right, But his style is just it's like

(14:45):
you can't you can't mimic it. There's no AI that
can make what Brandon does. Brandon draws, Brandon paints naturally,
like with oils and crylics and stuff. But he also
all of my cover arts say he's done. He drew
with a fucking iPad pencil for sure, you know what
I'm saying. So like as a digital artist, he's just
like super cunnitis. But basically all those people showed up
in my life, you know, by I would say February

(15:09):
of this year, everybody that was at that dinner got
activated somehow, But who I will say was activated since
twenty twenty one when we had that dinner was Vic,
Like we we would rent out this crib in La
and it's amazing poet that like kind of raised me
and Vic Agramone, not to make it sound like she's
that much older than us, but like, you know, somebody
that we both looked up to was Agramone, and she

(15:33):
would come and sit with us and do writing prompts
like we used to do when we was in high
school in the after school writing programs, and give us
different prompts to just you know, to sharpen our pen
literally over and over again. And we made so many songs,
like so many songs that I literally I could hear it,
and I'm like, I'm making screwfaces at the verses because

(15:56):
I feel like I never heard them before. But like
all of that prepared me to make what was Starline
and and it was really like a journey that I
took with.

Speaker 1 (16:07):
Vic, you know, shot to Vic Man talk to me.
I always say, you know, I forget who we just
had on the pod. But we're talking about, uh, the
blog era, and I'm like, I look at the blog
era as the bookend being Chance. I feel like you
were the last Wow blog era star, Like you're the
last product of the blog era that like, really you

(16:30):
know what I'm saying, that's deep. I feel like Acid
Rap kind of was like it was like and but
but but but that whole entire era, I feel like
kind of all came together on this Mac Miller tour. Yeah,
so we look back at this Mac Miller tour, it's Mac,
it's you, It's at the Internet, Vince Staples, I'm forgetting

(16:53):
somebody else.

Speaker 2 (16:53):
It was school Boy did a couple of days. I
for some reason in my mind, I want to say
Donald did some days, but I know that it was
in saying though, yeah, Action, Action Bronson, school Boy and
one other person came on for a few days.

Speaker 4 (17:05):
Meek Mill did a date in Philly.

Speaker 1 (17:07):
Crazy by the way, if you go and you got
to see Mac Miller, meek Mill.

Speaker 2 (17:10):
Is that's that's that tour raised me yo, like I
went and raised me fast, And I have a whole
record that's like not a whole record, but you know,
I talk about it on the record on the outro.
Like the year before that, I went on tour with Donald.
Donald is ten years older than me and very very
like mature and meticulous, and his decision making and his

(17:33):
whole tour is his.

Speaker 4 (17:34):
Family and friends that he grew up with.

Speaker 2 (17:36):
And that taught me a lot of the ways to
operate smart. But a lot of like the you know
what I'm saying, they wouldn't let me go to the
strip club with them, and like, you know, they just
were very protective. Like these was like older brothers in
a lot of ways, or even like uncles Khanna and
they and they were young too. I was twenty one,
they were thirty one, so like it wasn't like they were,
but they had a different approach to things than when

(17:57):
I went on the tour and we're all kids, you
know what I'm saying, like maybe two or one year
older than me, and so on the album, I say,
we grew up on tour like we were actually child
stars and we didn't really realize it, but like because
we felt like I'm eighteen, I'm like teen, I'm you
know what I'm saying, I'm twenty like whatever.

Speaker 4 (18:15):
It is like I'm going around and I'm an adult.

Speaker 2 (18:17):
But like really we were having a lot of like
premature experiences and like you know, exposure to things on
a level that like, you know, a lot of people
don't get to see till thett older I never get
to see at all. And I'm really I always really
really value that tour and the experiences I had and
the friendships that was made because it really really took

(18:40):
me a lot of places, like ten Day came out
and that you know that did something for me, especially
in Chicago and put me on tour.

Speaker 1 (18:47):
I remember you do it put me on a ten
Day before any before I saw it on any blogs.
What was fucking Freddy Gibbs old DJ's name for DJ Ozone?

Speaker 2 (18:57):
No, no, I'm not sorry, right Ozone is my other
Damn Now I'm fucked up.

Speaker 1 (19:03):
You know what I'm about.

Speaker 4 (19:04):
Yeah, I don't want to.

Speaker 1 (19:07):
He's like, yo, okay, if you'll like this and that
ship man.

Speaker 2 (19:11):
That was the first time I came to l A.
I stayed at ISO's crib and chuck English when you
said blog era, I had to make the cool kids
was also like, they're kind of before Blogger, a little
like to me that was blog when I was So
when I think of blog Era, I think of like
two dope boys, not right, I think of fake shore Drive,

(19:31):
I think of ill roots. I think of like a
lot of spaces that I was trying to get onto
because I was seeing that the cool kids and you
know what I'm saying, I really want to say it,
so I don't want to fuck up, Dom Kennedy, What.

Speaker 1 (19:47):
Was the Knowledges group from Chicago.

Speaker 2 (19:50):
Kids, the kids in the Hall, Like all of that
stuff was happening while I'm in high school and we're
all thirsty to go to streetwear stores where they're all
playing this music and having niggas mixtapes on the counter
so you could come in and buy one. And I
wanted to be a part of that. This is when
I'm seven, sixteen, seventeen years old, so, like I mean,
I remember meeting the Cool Kids at a Wendy's meeting,

(20:10):
specific Chuck English when I was a kid. You probably
don't even remember this, but as a child leaving leaders.

Speaker 1 (20:15):
By the way, thanks to the for they brought snapbacks
back period that's the fact.

Speaker 2 (20:18):
Man, they brought rap back. Man Like the Cool Kid
is one of the most important hip hop groups period
fast and I think like so much of like style,
retro futurism, like being yourself, like being like all of
that shit came from them, from Chuck and Mikey and
I like they I actually got introduced to I invented

(20:41):
my ad lib. This is a story that I never
get to tell. I'm so glad you brought up Mac
and you brought up all this stuff. I never get
to tell the story the way that my ad lib
my that came from a session where I was supposed
to be with Chuck. Chuck brought me to the studio.
I'm standing in the in the booth. This is like
my first time, like in a real studio in LA
I've been in studios in Chicago, but like I feel,

(21:04):
you know, a lot of weight on it. And while
I'm recording, Mac Miller came into the control room and
I was getting ready to start my rap. It's the
first song on ten day. It's called fourteen four hundred minutes.
And I'm trying to like charge up and I'm going, ah,
like I don't know, nervous tick, I got ADHD, I'm kid, Yeah,

(21:24):
I'm just like doing I And I'm like all right,
I'm ready started over. And Mac told somebody to tell
me through the intercom to keep that shit at the beginning.
And like I don't even know why I forget that
or why I never told that story, But like I
thank Chuck for like bringing me to the studio and
letting me be this little brother nigga. That's just like

(21:46):
following him around with no name at that time, and
also like you know Mac for interjecting and being like
that shit hot, you know what I'm saying, Like little
moments like that, Like and then I ended up working
with all of them and touring with all of them
and like rolling up like in spaces with them.

Speaker 1 (22:02):
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You know, we had to celebrate the two year anniversary
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Go get you a shirt. Let's get back to the interview.

(22:22):
Do you go back ever? And just press play on
acid Wrap. It's such a perfect body of work, and
it's such a time piece I.

Speaker 2 (22:31):
Appreciate, man, honestly, don't listen to it that much my music.

Speaker 4 (22:37):
I listened to the most while I'm making.

Speaker 2 (22:38):
It, and maybe like in a few weeks, a few
weeks after it comes out, at a certain point, I'd
be thinking a lot about things I wanted to change
or all types of like I.

Speaker 1 (22:45):
Just felt, you know, it's like you know, like, however,
many years later, let's strow on acid rap. Let me
just remember where the fuck I was then, you know
what I'm saying.

Speaker 2 (22:51):
That's what music does with people. And I think for me,
as the person that made it, I have so many
more memories attached to it than other people do.

Speaker 1 (22:58):
No, no, so it's a lot. It's probably if you're
a task for you to like, like you said, you
might get emotional, you know what I'm saying.

Speaker 2 (23:05):
When I when I when I made aswer Rap, like
I was still figuring out who I was, I always
look at asser Rap as a project of questions and
color and book like you know, I thought I had
found the answers. And I think aswer Rap is is
so pure and so like you know, I really hope

(23:27):
that my mom used to say this thing when I
was a kid, that she called it the second album
text test.

Speaker 4 (23:31):
Because my mom's super into music.

Speaker 2 (23:32):
She always used to say that like an artist's second
you know album is the most important, because that's how
you know if they just like you know, if it
was I'm saying, you do it twice, if you could
do it twice, then you then you got it. And
she used to put that pressure on every new CD
that we would get from an artist that I already
sucked with, and uh, I put that same amount of

(23:54):
pressure in my mind, this is my second thing, even
though nobody had really heard today, but I'm in my brain,
I'm like, it was your second thing. Yeah, it was
my second thing as a chance to rapper. So I'm like,
I think, like it's really a kid that's like hungry
to be this specific thing, this specific you know, different, quirky,

(24:16):
gospeling inspired, you know, well worded album or mixtape at
the time, and it accomplishes all of those things. But
it's like, I don't know, it's just like it's it's
flat now. Like I loved it the most when I

(24:38):
was making it.

Speaker 1 (24:38):
Well, were you actually like on the Psychedelic's pretty tough
while creating.

Speaker 2 (24:43):
Oh yeah, and while not creating so like I was
like Troom's acid all yeah.

Speaker 1 (24:50):
It's like.

Speaker 2 (24:52):
I didn't have kids, I didn't have.

Speaker 1 (24:56):
Non for profits, I didn't have microdos.

Speaker 4 (24:58):
Every day.

Speaker 2 (25:00):
Michael Dozan is different from half and just walking around
like we're going in the studio and literally just like
what I always tell people as funny is like there
were a lot of acid and shroom sessions, but like
I can't think of one song that's on asca rap

(25:20):
that actually comes from those sessions, right, you know what
I'm saying, Like.

Speaker 1 (25:24):
It's almost like it, you know, because it depending on
how much you've taken, you probably you might catch the magic.

Speaker 2 (25:34):
It's incredibly hard to function on.

Speaker 1 (25:36):
Very hard, because every beat sounds like the greatest beat ever.

Speaker 2 (25:40):
I remember, I was always the scariest beat.

Speaker 1 (25:42):
I like, I have to ate the shrooms. And I
was in the studio with a buddy of mine who's
a rapper, and he's playing me his album, Big Big Artist,
and it sounded like the greatest hip hop album ever
created at the time. And then it came out and
I listened to it and I was like, man, this
is weak.

Speaker 2 (25:58):
Yeah, I got this ship was cracked. I was high. No, literally,
the vibrations was just they took me over the skewed
perception of the world. No, I think like I was.
I was documenting my life, and so the days where
it was clearest and I was best able to do
that was on the days where I was just smoking wheed.
You know what I'm saying, and I think, you know,

(26:21):
the the experience of like living in through an album
is like how I create, like I have to like
I have to live my life and then look at
it and then kind of judge it and then kind
of put a theme or thesis to it, and then

(26:41):
I and then I create a bunch of different pieces,
typically from thinking of a title or a or a
topic first and then just writing to that over different
beats and the different.

Speaker 1 (26:55):
Things tell me. So I want to jump to the
new album a little bit. There's some crazy joints on
here conceptually, Uh, you know this this Letter's record is
it is a lot many thank you man.

Speaker 2 (27:08):
That's so funny. I was I was gonna say, like,
that's the one that almost didn't make it. And it's
not because I was saying anything controversial, but it was
because I was like, this one, this one's scaring the
hoes for.

Speaker 1 (27:20):
Shure, I don't like later on in the album, but
it's definitely you know, I feel like for people who
haven't heard that the record, it's it's you know, each
letter is a letter to a you know, in a
different perspective. Yeah, it's like but but you know, it's
it's man, it's a lot dog like when you're writing
that record, Like, yeah, that record was That's.

Speaker 2 (27:43):
One of the few that's a punch cut. So I
actually didn't put in the paper for that one, which
feels so phony because I keep talking about I'm writing
the motherfuckers.

Speaker 4 (27:50):
But like that was inspired by two works.

Speaker 2 (27:53):
So a lot of those songs on the album just
for context are like inspired by some literary works. So
either a book like The Negro Problem or Homer's Odyssey
for Space and Time or uh, you know from certain
from poetry with with No Moral Men or.

Speaker 1 (28:12):
I felt like you had just to drop was one
of those records that felt like I could have read
it out loud in a poetry book.

Speaker 2 (28:17):
Yeah, I forget how I wrote that in Atlanta. I
don't know why. That's one of the records that came
back out of nowhere.

Speaker 4 (28:24):
That one.

Speaker 2 (28:24):
And Ride at the towards the end of the sequence
in the project, I was like, you know what, we
need to ride on that?

Speaker 4 (28:30):
You know what, you know what we need just to
drop on that.

Speaker 2 (28:31):
But like for a while, those both of those and
a few other ones were not on the record, and
even though I made them a while ago.

Speaker 1 (28:38):
And the letters you were saying, you're punching in the line.

Speaker 2 (28:40):
Yeah, I'm just But it's inspired by two books sort of.
One of them is uh, James Cohne's book The Crossing
the Lynching Tree, and it's like one of his like
most important works in like explaining black liberation theology. But

(29:01):
when I was when I was reading that, I was
getting super super radicalized for Christ and for my people,
and like so I was like, I.

Speaker 4 (29:11):
Need to format this at some point.

Speaker 2 (29:14):
So I had an idea for a song called The
Crossing the Lynching Tree, and then I and then I
was also inspired by Paul's letters. So in the Bible,
like the last like I don't know, like a lot
of books of the Bible are letters from Paul to
different church.

Speaker 1 (29:31):
So you get like, if you've ever heard.

Speaker 2 (29:32):
Of Romans or Thessalonians or Corinthians, that those are letters
to the Church and corinth or letters to the Church
of Rome or wherever.

Speaker 4 (29:41):
And so all these letters that he was writing are.

Speaker 2 (29:43):
Like these scathing, you know, mad letters to them saying
y'all fucking up, this is not how the church is
supposed to be, and explaining them that his life was
divinely changed by Christ. So there's like this ongoing Christian
meme that may not be your algorithm where it's like
where the most.

Speaker 5 (30:03):
Christian thing in my algorithm is my guy Miles Minnick.
It's just a joke that like of like, you know,
imagine the letter that the church will get from Paul today.

Speaker 1 (30:15):
I felt like that that that nails the perspective of
the record.

Speaker 2 (30:18):
That's where it comes from. So the first verses to
my church that I grew up in, the second.

Speaker 1 (30:24):
Verses to the megachurches.

Speaker 2 (30:26):
Yeah, yeah, third verses to the Black Church which exists,
and you know what I'm saying. And then the fourth
one is to the body, which is you know, not
to get too deep into theology, but the Church is
considered the body or the bride of Christ and and
and and Christ is the head and the body is
all of us. So to be church doesn't mean to
be brick and mortar or to represent necessarily certain principles.

(30:50):
It's just the existence of us and the connection of
us working together is what makes up Christ's body. And
so like I added that last verse at the very
very end because it used to just be three mean
ass letters. And my pastor was like, I sent it
to him a while ago, and he was like, you
got to talk about the good that's happened in the church,

(31:11):
which I obviously didn't still, but I wanted to, like,
you know, at least not even sympathize, but empathized with
the body, because I am the body.

Speaker 1 (31:19):
Are you nervous sending that to your pastor?

Speaker 2 (31:21):
I think I was nervous, and I was hoping that
he was gonna be like, oh, it's all good, and
he was like, it's not all good. So there was
a long time where I was like, you know, I
said partially that I didn't want to do it because
I felt like the song be scaring the host, but
also I was not doing it because I was like,
I don't want it to be I don't want to
persecute Jesus. I look, he just watched the whole sermon
on Sunday that was like, you know, talking about how

(31:44):
when Saul meets Christ down the road to Damascus, he's
he asked him, why do you persecute me, which is
saying that like by by Saul, you know, murdering and
hung down and persecuting Christians. He was ultimately, you know,
by attacking the body, he was attacking the head.

Speaker 1 (32:03):
And so.

Speaker 2 (32:06):
I still have feelings about it, you know, but I
published the work, I stood on it.

Speaker 1 (32:10):
I think it's great, and I think I think, I
think at the end of the day, like I'm not
a super religious guy, but I do think that like
a lot of people who aren't super religious will see,
you know, the mega church shit. You know, we think
of Joel Stein not letting people in during the hurricane
in Houston, and we're like, wait a minute, you know,
and a lot of these mega preachers are magas. Yeah,

(32:34):
and it's like, I don't know, I just feel like,
you know, religion, I feel like as you know, I mean,
I think I think that's why I thought it was dope,
because because it's it should be at least in my opinion.
And I'm not the person to look for, but it
should be like a direct relationship, you know what I'm saying.
And it's not about you know, where you go, because
a lot of people who are preaching a lot of

(32:55):
these places are you know, ran by humans, and all
humans are imperfect, you know what I'm saying.

Speaker 2 (33:00):
And and and the church is not God. You know
what I'm saying the church is us, so we should
be a reflection of God, and we should be you know,
we should be giving, you know, the shelter and things
that we have to those in need, and we should
be you know, the song is really really blessed, and

(33:20):
so I want to like also even take a step back,
like I'm not at all ashamed of the words.

Speaker 1 (33:25):
It's so good man. When I listened to it, I
was like, Yo, this this is some shit. This is
great what I really want to doing concepts anymore. I'm
like this was a joke. Like I felt each verse
building up, like I was like, okay, no.

Speaker 2 (33:37):
Thank you man.

Speaker 4 (33:38):
Yeah.

Speaker 2 (33:38):
I feel like I was very intentional about like really
seeing concepts through. This is a lofty album, and it's
a lot that I'm trying to achieve and address and
attack at the same time. And being who I am
or however people might see me without like knowing what
this music is. It makes it like just a lot

(34:00):
to do. And so I was really really careful about
my words and what I wanted to say, because I
don't want to under address or overlook anything.

Speaker 1 (34:12):
Can you tell me, do you send okay, you send
letters to your preacher, do you send Speed of Light
to Common.

Speaker 2 (34:19):
I should have. I should have. That is so crazy,
that record, it didn't used to have the Bobby call Well,
I'm sorry, not Bobby Callwell? Am I right? Bobby Call?

Speaker 1 (34:28):
Well?

Speaker 2 (34:28):
Why do I feel like I'm messing that up right now?

Speaker 1 (34:33):
I don't know who. I don't know who.

Speaker 2 (34:34):
Yeah, Bobby is the dude. That sample and one of
my favorite songs. There are times, of course that song
has always been in my life and the whole all
of the samples throughout the album are to me are
parts of my makeup and and a lot of shared

(35:01):
you know, musical genetic makeup that like helps tell this
story and helps like be the better foundation for these messages.
And when I was making that song, it didn't have
that sample in it, like for a long long time.
The person who brought that sample to the song was
bj the Chicago kid that's my dog.

Speaker 1 (35:20):
Like, hey man, he was I think he was on
ASI rap twice.

Speaker 2 (35:23):
Yeah yeah, no, it's like really like this album twice. No,
I mean he's a fucking legend. Yeah, he's coming to
the Blue Note. They just opened a Blue Note cafe
here and he's coming next month.

Speaker 4 (35:30):
Yeah, I gotta come see that.

Speaker 1 (35:32):
He's incredible. No, he's like such an underrated artist.

Speaker 3 (35:35):
Man.

Speaker 4 (35:35):
That's another person.

Speaker 2 (35:36):
When we were just talking about the blog era, Like
I remember like begging to be in his music video
one time he shot a video with him and GLC.
I was probably fifteen at the time at the leaders stort.

Speaker 4 (35:45):
You know what I'm saying.

Speaker 2 (35:46):
I have Chicago is a very like rich musical like
sure like everything, and so it's like being around certain
people just through getting to see them like I watched
them ascend, like I get to learn so much from
him and then BJ being in my space. He's always
bringing like you know, a certain no pun intended light

(36:08):
to the session and a certain like spirit of an
adventure of being like, oh what if we do this?
Like I would never come to somebody's session. I'm not
saying it like he did anything wrong. He actually changed
the song for the better. Better, Yeah, but I would
never come to somebody's session and be, you know, singing
vocals like background vocals on it and be like you

(36:30):
should put a sample on that joint? Like what nobody
says that. But he's like he's a genius and he
and he really like translated the song I just had
the at the speed a lie, and then I didn't
know what to do for the hook. He was like,
you should put poll Well on that, and but I
should have. I also like, remember the day I was

(36:51):
in Jamaica. I spent a lot of the time making
this in different parts of the world. Where did you
make where you I was in Kingston. I spent a
lot of time in Kingston making this album. And shout
out to all of everybody. You know what I'm saying, man,
Jamaica is beautiful, and specifically Kingston is beautiful, and that's
not where people typically vacation.

Speaker 1 (37:09):
Yeah, you should go to Montego Bay, the north east.

Speaker 2 (37:12):
Side of the or west side of the island, but
Kingston is where all the culture, the history of the music,
the yeah radical thought, it's it's a lot of that
is there. And I was driving. I was actually with
Popcorn and he rode with us. So the first day
that I brought my friends down there, we stopped in

(37:33):
Montego Bay and then we drove down to the other
side of the island.

Speaker 4 (37:37):
We went down there, Popcorn like and all of his homies.

Speaker 2 (37:40):
We rode in basically a motorcade of like thirty vehicles
and ATVs from one side of the island to the other.
And once we got to Kingston, that's when I was
got to like really experience what would become the next
like four trips that we took down there was like
Kingston is where all of the history and everything is.

Speaker 4 (38:00):
Yeah, can you bring me those?

Speaker 2 (38:01):
We got some albums, yeah, some hard copy, let's go.

Speaker 4 (38:05):
Yeah, we've been hand to hand in these joints.

Speaker 2 (38:07):
We got to pop up. I've really been out the trunk. Yeah,
can you have one? Can buy one? Yeah, of course.

Speaker 1 (38:15):
There we go. See like media please physical media?

Speaker 2 (38:20):
Yeah, man, yeah, No, you were.

Speaker 1 (38:22):
Talking about Chicago earlier. I mean dude kicking the album
off track to Do or Dies. Yeah. By the way,
they just did a new video to do you Like.

Speaker 2 (38:33):
It's a it's a resurgence. So those are the architects
of to me, you know what I'm saying. I don't
want to discount anybody, but of the Chicago rap scene.

Speaker 1 (38:41):
It's like damn twist.

Speaker 4 (38:44):
Twist got put on.

Speaker 2 (38:46):
Yeah. So it's like so it's like we come from
this musical lineage of like of a certain artistry and
style and like pimping and like understanding of just fly
ship in Chicago that like you know, you get you
get like flares of that in other places, but that's

(39:06):
like a real, a deep part of Chicago. And when
I was making the song ride like it's so funny,
Like there's certain songs on the album that I've heard
people say like this is my easy listen, this is
my like you know, this is just when you're fucking around.
It's like those be the deepest ones. Like when you
go back through and you listen.

Speaker 1 (39:24):
To like, what's what you're saying?

Speaker 2 (39:25):
Yeah, it's like, oh well even on the record, Uh,
what's the record you have with the Chief Dude? Oh yeah,
the ice line. Yeah, it's like that's that song? Is
that song is slack? Yeah, But that's how you gotta
do it. Like that's what I learned this from KRS one.
He said, it's it's hip and it's hot, and the
hip you gotta you gotta be hip, you gotta be intelligent,

(39:47):
you gotta be educating. But the hop the movement. You
gotta keep the movement going. If they if people can't
move to it, at least bob they head at least
something you you can't carry them through the amount of
listens that it's going to take to break down the hip.

Speaker 1 (40:03):
So it's like.

Speaker 2 (40:06):
That song that that one way sample the you know
what I'm saying, The fact that do or Die comes
in with these like super nostalgic and super sly tones,
you know what I'm saying, Like the hook, everything of
it feels nostalgic and a part of a movement. And
then you know what I'm saying, I'm able to be lyrically,
you know, to say whatever I want to say. And
then the same thing for the record with Baby Chief,

(40:29):
Like that's probably my most radical song on the album.

Speaker 1 (40:33):
I would say, like it's politically probably, I mean it's
one of them.

Speaker 2 (40:37):
I think there are I feel I feel that way too.

Speaker 1 (40:41):
This is a very conscious album. Yeah, and this is
a political and I've been saying this on the pod.
With everything that's going on in the world right now,
there's such a lack of what we grew up on.
And when I say that, I mean, like, yo, there
we like we have to talk about this stuff, and
you could do it without it being preachy, without it

(41:02):
being you.

Speaker 4 (41:03):
Have to or nobody.

Speaker 2 (41:05):
I don't want to listen to a nigga tell me
what I'm doing wrong over a week ass beat, you
know what I gotta I need to damn near be
in love with a song before I could break it down.
That was one of the most important things that I
learned or taught myself over the course of making the
album is that I, as a writer, attack things almost

(41:25):
always from what I'm saying and how it'll read. But
nobody listens to music, including me in that way. The
very first thing anybody hears is pitch. The second thing
that they'll hear is rhythm, and then melody and then
me serious. But even when you hear the lyrics, it
still takes, like, you know, a long time to understand

(41:47):
and break down lyrics, you know what I'm saying, So like,
I have to focus so much on the drum because
that's a communicator too, and I gotta focus a lot
on the bass or the synth, bass or you know whatever.
So I got, you know, way more involved in production
and arrangement and in like, you know, really formatting the

(42:07):
songs in a way that's like gonna make it feel
good the first time I hear it, and the third
time I hear it, and the hundredth time I heard it.

Speaker 1 (42:16):
Yo. I am maybe in a minority here, but I
actually enjoyed The Big Day I did too, funny enough,
I had just gotten married in twenty eighteen, you know,
and I actually really I thought it was a fun album.

Speaker 2 (42:28):
I liked it, and it's a fun album for you.

Speaker 1 (42:32):
Like, did the reaction to that album fuck with you
at all?

Speaker 2 (42:37):
Of course? I think it will fuck with anybody. I
think if anybody was me, it will fuck with them.
But I think, like.

Speaker 4 (42:47):
What really.

Speaker 2 (42:49):
Saved me in a lot of ways was like finding
other creative outputs. So like film became like a thing
that I got really really deep into.

Speaker 4 (43:00):
So I kind of like one thing I.

Speaker 2 (43:03):
Learned from Dave Chappelle, who you know is my most
important mentor in my adult life.

Speaker 1 (43:10):
Wow.

Speaker 2 (43:11):
Yeah, Like he's been there for everything and like really
like loves me, you know what I'm saying, Like, and
I love him too. I love his whole family. And
one of the most important things he taught me, Like
this is maybe like a week or two after The
Big Day came out, or maybe this like the next month,
and I was like going through it and I came
to Ohio to do this show with him, and I

(43:33):
was asking him about like how he went through certain
things and like what you know, what his advice was,
and he gave me a bunch of good advice, but
one of the things that he was saying, I'm about
to butcher it. But like he made this metaphor about
being on the basketball court and you know what I'm saying,
everybody's using your ball and then you know, they start
dissing the way that you play or the way that

(43:54):
you want to set the rules, but it's your ball.
So sometimes you got to just take your ball and
go home.

Speaker 4 (44:00):
You know what I'm saying.

Speaker 2 (44:00):
They might find another ball, but it's not gonna be
your ball. It's not gonna be you. So when you're ready,
you come back to the court and you set the
playing feeling you and when they're when they figure out
the need you, you show up as your exact same
self with no concessions. And like I really took that

(44:21):
to heart and I started, you know, just like creating
in my own space and learning about you know, and
I had a whole lot of things to figure out too,
Like a lot of things was going against me at
that time. But like the the thing that really, you know,
I really dove deep into and that brought me back
to music, was watching you know, film essays and learning

(44:44):
about how to use a camera and how to you know,
learning specifically direction and cinematography. And that made me shoot
the video for The Heart and the Tongue, which gave
me my visual language, like putting the text on the screen,
just contextualizing how I want to be seen. Imagine like
everybody else is memifying and trying to define. And it's

(45:06):
not every body too. I want you to look up
dead internet theory. Okay, I don't even need to get
into it right now, but a lot of the things
that you see on the Internet are not individuals live
in real lives, and a lot of the people that
you see doing certain things have been programmed through what
they're seeing consistently to your opinion. Right, So, when you're

(45:30):
in a position where like there's so much media telling
your story inaccurately and depicting you a certain way, you
get this like very heavy feeling of like I need
to be in control of how I'm seeing, or at
least that's how I felt.

Speaker 1 (45:46):
And you're like, you want to control your own narrative.

Speaker 2 (45:48):
Yeah, And just like as an artist, I think I'm beautiful.

Speaker 1 (45:53):
Right by the way, I think I think you kicked
off that pretty record.

Speaker 2 (45:57):
And this year's ten damn final. Lord, it's like I
had to like remind myself who I am and the
with that, like with that time that I spent focusing
on how to really frame myself up in a video
and how I wanted to be seen and thinking about

(46:18):
myself more as a narrator than the star, making my
words the star, and focusing on every video you gotta
see what I'm saying so no one can misinterpret me,
misquote me, or misunderstand me. And now you got seventeen
of those, Like what do you do with that?

Speaker 1 (46:35):
You already know?

Speaker 3 (46:35):
Man?

Speaker 1 (46:35):
Want to give a shout out to slap Woods for
presenting the podcast only papers I smoke man only leafs
that we let fly around here on the Blue Leg
Cap podcast. We just did a crazy pool party with
them too. That was insane out here in La. So
shout out to slap Woods. When I tell you, man quality,
They smoked so good. And they're called slap Woods because
they slap I know that's like their you know, their tagline,

(47:00):
but it's also the truth, all right, So look, go
follow them at slap Woods. Make sure you hit their website.
And if you're at your local smoke shop, if you're
the local store and you need some papers, get you
some slap Woods. And you know, I think pretty soon
I want to do we are going to do this
pretty soon. I want to do a giveaway with some
Slapwood stuff, So be on the lookout for that. We'll

(47:21):
be announcing it on the podcast. We're gonna be sending
out obviously, you got to be of age sending out
a good box of these goodies. Oh, the Sweepingana cigar
wraps are fire. Slap Woods man, make sure you go
show them some love. Slap woods dot com, follow them
on Instagram at slap Woods. Let's get back to the podcast.
Outside of you know, being a you know pioneer the

(47:41):
blog era when it comes to what we consider independent
music and some of these deals that were coming up. Obviously,
your your run with Coloring Book and you you did
like a first of it at the time. This is
a new thing because you did the deal with Apple
d Yeah. Yeah, this was a whole entire new landscape.
Streaming is new. This is before we all have Spotify

(48:05):
on our phone and Apple Music on our phone.

Speaker 2 (48:07):
It was really in.

Speaker 4 (48:07):
The middle of the streaming war.

Speaker 2 (48:09):
So it was so funny, is like, because time does fly,
like some people don't you know, have the context for
what was happening. But the at that time title there
was no Amazon Music. I was getting exclusives exactly everybody.
There's this exclusive war and.

Speaker 1 (48:23):
Because everybody because they wanted you to sign up.

Speaker 2 (48:25):
Yeah, they exactly. They wanted to get the users. And
Spotify has always had hella hella users. And because I
don't think Spotify has ever done that, right, I don't think.

Speaker 1 (48:34):
I think.

Speaker 2 (48:36):
Because they were trying to get there. So like a
lot of artists started doing those deals where they would
say my album is going to be exclusively on this
on this platform for for two weeks. And when it
came to me, I think mine was so you know,
like platformed and talked about because my music had never
been on any like official platform before. It was always

(48:59):
on that pith SoundCloud YouTube of course, and so it
was like, you know, this is an independent artist that's
going direct to fans, that's getting like you know, basically
the company that makes all of our phones is promoting
this artist who's anti record label. So now it's like,

(49:23):
you know, I feel like I took a hit from
people like making it seem like they built my album
or built my infrastructure.

Speaker 1 (49:31):
Or built or built because that's the thing is like
it I remember the narrator, it's not it's not really independent,
and I'm like, yo, Like it's pretty crazy to think,
like you've never not been independent.

Speaker 2 (49:44):
It's been scary.

Speaker 1 (49:45):
It's it's pretty wild though, because what you because what
you've done that's very smart, is people who don't understand,
like you will hire somebody to do what a major
label does. You outsource the work, but you're keeping all
your masters all you keep all the money, but you're
taking all the risk.

Speaker 2 (50:02):
Yeah, but I think that's how it's supposed to naturally work.
That's how it works up until you get in the system.
And it's so weird because you work. People that get
signed have done what I've done to get signed. They
had a manager, or they had a publicist, or they
had an assistant, or they had something that you know,
even if it's just your friends or your family, like

(50:23):
they put on a show or put out a song
to the point that they got noticed, not even first
by a label, but by fans. Because labels don't sign
niggas that no one's ever heard of. That's in the movies.
I'm telling you, Yeah, maybe in.

Speaker 1 (50:38):
N you can take a demo tape and impress somebody
and hey, but now it it don't matter how good
the music is.

Speaker 2 (50:45):
You know what the label's gonna do when they get
that demo tape, They're gonna say, we want to see
the show. Yeah, because if the label wants to people,
they want tickets. They want to see people invest it.
It's not they do not care about your talent herd.

Speaker 1 (50:56):
Tickets are all that matter because they know that they
could Okay, well if they if this guy can do
five hundred fans in his hometown, yeah, we could scale this.

Speaker 2 (51:04):
And that's that's like the key to understanding it is
like if you can get a team around you that
can help you organize into like exactly the spaces that
you choose, then you can continuously, like you know, build
your fan base. I started out in libraries and putting
on my own shows at Reggie's Rock Club in Chicago's

(51:26):
like four hundred person cap venue. But I go to
all these schools after school with my dad and my
my friends and save money and be selling tickets hand
to hand or passing out CDs, and.

Speaker 4 (51:38):
That built a fan base.

Speaker 2 (51:39):
And so when like when Keith blew up MTV did
this thing I think it was called My Block Chicago.
I remember that say was going roundering all my blocks
so that that I don't even think I'm featured in
the fucking episode, which used to blow me. But like
I was lucky enough that like.

Speaker 1 (51:57):
What, that's most Chicago thing you said today? What I say,
but you said it used to blow you.

Speaker 2 (52:01):
Oh yeah, I'm getting do Chicago though. Yeah, but I
think it was like a thing where.

Speaker 4 (52:09):
Uh we.

Speaker 2 (52:12):
That that created like a wave or like a new
level of interest everything that Keith was doing. And then
the MTV special where a lot of people started looking
at Chicago, and that like put me in a position
where I started like flying out to New York and
LA to go take label meetings. And when the labels
would come, they would be like, Okay, we want to
see your show, we want to go to see your

(52:33):
SOB show, we want to see blah blah blah blah blah.
And I had the people and that's what kept the interest.
Like obviously I have a skill, but like does it sell,
does it do this? And so I think like the
point that I was making originally was just like everybody
is independent till they're not. And I know enough people
and seeing enough movies to know that usually when you're

(52:55):
not is you seem to have the same troubles, if
not more.

Speaker 1 (53:00):
Was there ever a point in like like what was
the closest you had gotten to signing or was it ever?
I'm sure you considered it.

Speaker 2 (53:07):
Yeah, I've told the story before that I almost signed.
It doesn't matter to who, but I almost signed in
the New York office, Like.

Speaker 1 (53:13):
Was it to a rappers label or was it was?
It was it was.

Speaker 2 (53:17):
To like an imprint of a major label but not
ran by an artist. And uh and yeah, they printed
out the paperwork in the meeting type shit, that's like
one of the tactics.

Speaker 1 (53:27):
Yeah, yeah, they want to show you. Hey, their goal
is to you are not going to leave until you
sign this. So if we have it printed and you
see the number on the paper and no, no, I
gotta have my lawyer this ship. I gotta, I gotta.

Speaker 2 (53:40):
My dad called me during the meeting and said, whatever
you do, don't sign anything as a just a random
phone in the meeting while I'm in the meeting.

Speaker 1 (53:49):
Hey, I'm in the meeting. Sign whatever you do.

Speaker 2 (53:51):
Don't sign anything, and they have just passed it across
the table to fucking Shout out to your dad man,
Shout out to my dad.

Speaker 1 (53:57):
Hey, we got to wrap up this interview. Another one present,
ydo Hardean, Baby, you already know what it is. Shout
out to Hardeen for presenting another episode of the Bootleg podcast.
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(54:44):
to them. Let's get back to the interview. YO, how
cool are you with Barry with Barack? I feel like
me and your dad were talking about Barack a little
off camera when he was here with your brother. Are you, like,
can you text Barack Obama?

Speaker 2 (54:58):
I don't know that I have Barack Obama number.

Speaker 4 (55:00):
I don't think I even have his number.

Speaker 2 (55:02):
If you shot hoops with him, No, I never shot
hoops with him. I've been to the White House a
couple of times. My dad used to work for him
in the White House and at the Senate level. Yeah, like,
I don't don't. I don't like know him where I
like talk to him on you know, with your holladays

(55:23):
and stuff, but you know I met him, yeah, White House.
Super sick?

Speaker 1 (55:28):
Do you feel like because I do think I don't
want to like make get into politics too much, but
I do feel like, you know, right now we're in
this crazy space, and I'm glad that you acknowledge what's
going on with ice, you know, because it's obviously hit
a lot of communities all over the country. Chicago's got
a big lat specialpulation L a right here. But for you, man,
is could you ever see yourself going in that direction

(55:53):
of like on an official capacity.

Speaker 4 (55:56):
No, I was just saying this yesterday.

Speaker 1 (56:00):
I think.

Speaker 2 (56:02):
The prestige and facade of honor that was originally attributed
to being a public servant is like kind of gone.
And and I think I have a better understanding now
that to be, you know, in certain offices makes you

(56:29):
a part of the system in a way that like
it's kind of unavoidable unless you want to see JFK.

Speaker 1 (56:36):
No, you see bro, Yes that I don't know if that.

Speaker 2 (56:40):
Was too radical to say. I don't mean it in
a disrespectful way, but I'm just saying.

Speaker 1 (56:43):
JFK was talking about getting rid of certain organizations, he
was calling out certain countries, and then he died. Seriously.

Speaker 2 (56:51):
It's so I think, like, no, you're right about that.

Speaker 1 (56:53):
It's like you because you know, I'm not.

Speaker 2 (56:55):
Afraid of death in that in that way that like
my words or my actions are less important than my
immediate safety most of the time. But I think there's
an understanding that I have now that you participate in
a global community that's tied to capitalism and the death
of brown and poor people. Across the world. That is

(57:16):
unavoidable almost, And so some of the strongest people in
our nation right now are just people with pens and
papers and microphones. Yes, because they influence culture and they
push the revolution for this.

Speaker 1 (57:30):
Is the thing I'll say. It's like, you know, when
we see everything that's been going on in the world,
it's like, for better or worse, it seems as if,
like our politicians will, they're forced to react to the
people at certain points in time. And when I think
about what's going on with like in Gadza, right, yeah,
you know, if it wasn't for the Internet, if it
wasn't for like Sean King early on, like a lot

(57:51):
of this stuff we wouldn't have seen. And now you
see people and they cannot not face it anymore.

Speaker 2 (57:59):
And they still to a certain extent act like the
hands are tied the heroes in this. You know how
many journalists have been killed in Gaza. Everyone from Al
Jazeera is dead, you know what I'm saying, yea. And
so to be somebody with a microphone or a pen
or paper, and to be a documentarian in this era

(58:26):
is like something a great responsibility and a great, great
risk and you and you can end up giving your
body to the movement by just trying to give your
blessed gift to the movement. And so I championed the
journalist and the writers and the and the people that
speak out in this time so much more than any politician.

Speaker 4 (58:47):
And I think like.

Speaker 2 (58:50):
The people are motivated by people telling the truth and
being you know, voices for the voice, and it makes
them feel like they have a power too. And you know,
I think we're naturally inclined to want leaders and politicians.
You know, I think anybody can anybody can and and

(59:13):
might have a good heart going into it, but.

Speaker 1 (59:16):
Yeah, like like you're intense good and then when you
get into the system, you're like, oh oh yeah, and
I got to peek behind the curtain and there's really
nothing I got. You're playing you gotta play ball. You're
gonna get primary or you know.

Speaker 2 (59:29):
And I think there's also like a level with both
artists and you know, people seek in public office that
there is a level of selfishness and like wanting to
be you know, voted for, and like there's a there
is a vainus to being a politician, yeah, to be
a public face and figure period. And I think that, like,
I don't believe totally that everybody that goes into uh,

(59:55):
into that specific workforce of working for the US or
the powers that be are completely naive or like you know,
un aware of those pitfalls in politics. Maybe they just
believe that they I don't know, I don't know what
it is. And I'm not dissing politicians, like we need
we need good people.

Speaker 1 (01:00:15):
And I think finally, like it feels like there might
be a moment happening where like things could turn because
the people have almost gotten a peek behind that curtain
to a point where they're like, oh no, no, no, no,
you know tell me uh. I always have this analogy
and and you know, I always say, if you go
through Ya's albums, he'll always kind of sample a human

(01:00:40):
I think he cut he itoids and heartbreaks. I think
Travis Scott was around for a lot of the stuff.
I felt like he sampled your energy for the Life
of Pablo because it felt you're I mean, obviously Ultra
Light Being to Me is one of the greatest songs ever,
one of the greatest intros ever. Can you just kind

(01:01:01):
of take you were around for that album for that
I feel like, you know, there are fans who say
it's like Yay's last great album, and I don't. I like,
you know, but I don't want to get into that.

Speaker 2 (01:01:10):
But but what was that process like being around creating
that album and obviously ultra light beams in all timer
man put it in the rafters. Yeah, that's like your
hero at the time.

Speaker 1 (01:01:23):
You know, I remember how big of a deal that
was for you.

Speaker 2 (01:01:25):
It was a huge I was a kid, you know
what I'm saying. I was twenty three. I hadn't even
put out Color and Book yet. It was three years
since Asserap came out. I'm working on this project at
that time that you know, I'm thinking it's going to
be radically different from anything else out. Nobody was rapping,
you know, in a mainstream and I wasn't even mainstream,
but like was rapping about their faith, you know, on

(01:01:46):
several different songs or using that as a as like
a blanket theme.

Speaker 4 (01:01:50):
For their project.

Speaker 2 (01:01:52):
And uh, you know, growing up, Jesus Walks was like,
you know, was the song that that my mom loved.
Of course, so it's like I had a you know,
that was crazy. I was a you know what I'm saying.

Speaker 1 (01:02:11):
I was a kid.

Speaker 4 (01:02:11):
And I was very like.

Speaker 2 (01:02:15):
Even though I had just that I had my kid,
yet I don't know, Yeah, I did have my after
I just became a father. And so the idea of
like working with this person that influenced me so much,
and you know what I'm saying, being able to write
on multiple songs and like kind of guide you know,
the workspace, and at times was like it felt crazy.

(01:02:40):
And I came and I was let in like slowly,
so it was like I came in to do a
feature verse at the crib that didn't end up getting used,
and I came and did a rework of the verse
I didn't get used, And then he asked me to
come in and do Ultra light Beam, which was me
and Nico Sigal, who plays horn on all my records
and produced on Letters and a bunch of other stuff
that I've worked with, did Surf, Donald Trumpet on the
Social experien. We we sat in and like worked on

(01:03:05):
that Ultra light Beam beat for like a whole day,
and then I got brought back a few more times.
I ended up writing on I think four other songs
and was there like through the completion of the album,
and it was it was a very like it's just
you know, it's hard to like even remember everything from it,
but I do remember I was gassed as fuck.

Speaker 1 (01:03:25):
I remember you.

Speaker 4 (01:03:27):
That, Like that's what you know.

Speaker 2 (01:03:28):
I think everybody also, like just for perspective, everybody has
a rapper that they grew up loving that. You know,
it's typically from their hometown that they have some sort
of like they identify with that person at a young age,
that person almost becomes a part of their identity. And

(01:03:51):
imagine if that person was kind of and imagine if
like you're from the same city as them, you become
a rapper. You know, it's like there's I'm getting super
caught up on my words. I think all I'm trying
to say is like that time it was very formative
for me because it was my like that was the

(01:04:13):
last bit.

Speaker 4 (01:04:14):
Of times of like.

Speaker 2 (01:04:17):
Me before like launching into like what I feel like
I'm still on it. Yeah.

Speaker 1 (01:04:20):
I mean, like if you think about like coloring book
comes out, everything changes, man. I mean it's it's like
because acid rap was such a phenomenon, and i mean,
look three years later, you're still going crazy off of
this classic mixtape and and then you got to deliver
after acid Rap, re see you in the studio with Kanye,

(01:04:42):
and then Coloring Book comes and it's like just it's
just to the racist dog.

Speaker 2 (01:04:46):
It's so funny though, Like when I think about it,
like everybody has different I guess perspectives or when they
got introduced to music and how it was introduced to them.
So maybe you got it from the internet, maybe not
my songs, but maybe you heard in the club, maybe
you like you know what I'm saying, heard on the
radio or or a friend put you on. And depending
on how you get delivered that music, I think that
influences greatly how you think about it and how you

(01:05:08):
think the world thinks about it.

Speaker 4 (01:05:09):
So something might be you.

Speaker 2 (01:05:10):
Might consider something underground or like yours if you don't
think everybody knows about it, or you might think it's
super super popular if you see it in other spaces.
And what's funny is I see people sometimes I don't
want to say romanticize, but like they think about color
and book or ass or wrap as being like universally

(01:05:34):
hailed when it dropped and just me being me, I.

Speaker 1 (01:05:38):
Said rap was initially like some if you know you
know shit and then it then it rolled on rolled
on a big.

Speaker 2 (01:05:44):
Thanks to mc miller taking me on tour. You know
what I'm saying, like a lot of different things.

Speaker 1 (01:05:47):
At the time during that time, second most highest I've
ever been in my life was watching that show in Phoenix, Arizona.
You guys are at Celebrity Theater, in the fucking stage,
in the spinning you.

Speaker 2 (01:05:56):
Just unlock some shift.

Speaker 1 (01:05:58):
Bronson I apped for the first time in my life
was backstage. You were there, I was there with you.
It was high as a drafts private part.

Speaker 2 (01:06:05):
Imagine me. I was like nineteen or twenty.

Speaker 1 (01:06:07):
I was dab the fuck out and Mac had the
band going. Yeah.

Speaker 2 (01:06:12):
Yeah, the Internet used to play with Mac on that shot.
You bring it back so many different Jesus that's always
lost the man.

Speaker 1 (01:06:19):
That's an all time great tour. Like we have to
look back and.

Speaker 2 (01:06:21):
Be like, yeah, what I think ascer Wrap and Coloring
Book both came out, and when they came out, because
I have access to my Twitter, I was watching people
have negative reactions to it in real time and with
color and Book, it was like, damn this nigga rapp
about Church. Obviously, over time, like everybody was like, this
is phenomenal. This is the best rap album of the year,

(01:06:43):
and this is all this stuff.

Speaker 1 (01:06:44):
But it almost like probably your OG fans were like.

Speaker 2 (01:06:46):
That's what happened. He switched up, Well, I did asser rap.
They was like, I thought we was rapping about suspension. Nigga,
you're talking about acid an LSD, Like what type of
shit is dead?

Speaker 1 (01:06:56):
Right?

Speaker 2 (01:06:57):
So it's always going to be like an initial reaction
of people. They say comparison is the thief of joy,
and so like when.

Speaker 1 (01:07:04):
Watching is a thief of joy too, Jesus.

Speaker 2 (01:07:06):
So if you have like a you know, a context
for what you're listening to, you can as the artist,
you can decide like how you can textualize a project.
And I think what I was blessed enough to do
was like I really you know, I went for a
long journey and I tried the best that I could

(01:07:29):
to keep my fans with some you know, preview er
taste of what it is that I make, you know,
what I'm saying like and how I'm making music as
I grow. And I think that like that helped a
lot with how people experienced it, at least the people
that have been tuned in for the last few years.

Speaker 1 (01:07:49):
Can you share a Mac Miller's story that we haven't
heard yet because uh, you know you guys man, Max,
I feel I got him on a mural outside. You know,
he's he's an all timer to me. You know, I
think he was a kind guy too.

Speaker 2 (01:08:03):
I have so many stories about Mac two that come
to mind immediately. One of them, I remember we were
at Reggie's Rock Club. I was just bringing this up before.
This is like the like the hip hop club that
you aspired to play at in Chicago. It's really a
rock club, but like it's this is where like local
raps shows were. This is when I was still in

(01:08:25):
high school. Vic got a gig opening up for Mac
as local support at this show, and I came with
Vic and a few of my other friends and we
were backstage and uh, and we were freesylen. We used
to just always like be beatboxing free sylent shit. And
we were standing on the side of the stage and
some people came over and Toldal said we had to
get the fuck out of there because Mac Miller was coming.

(01:08:46):
And when Mac came up, he was like, y'all tripping
like they good? He damn their freestyle with us, Like
I don't want to add too much sauce to the story, right,
But I definitely remember he stopped.

Speaker 4 (01:08:54):
Us from getting kicked out.

Speaker 2 (01:08:56):
And then and then obviously this is we're in high school,
so I didn't really meet him meet until I went
on tour within. But like the other story that I
remember really well is, uh, one night I think it
was me Oreo might've been my homie Danny mac and
and I think Tree and we went to I used

(01:09:17):
to have this like little broken down RV like, so
I wasn't on a tour bus when I was on
his shop. I had like literally a camper that didn't
have air conditionings that work.

Speaker 1 (01:09:27):
Everybody just climbed in.

Speaker 2 (01:09:28):
We just be in that just like sitting on like
a shag couch, hot a seal. Like it was okay,
awful but also probably awesome.

Speaker 1 (01:09:36):
Yeah, now even remember them.

Speaker 2 (01:09:37):
There, you know. But I remember one night we basically
took the took the bus out just like without his
security or anybody else, and we drove to a Wendy's
and watched the fight happen in front of us, like
in the car between two cars that was in front
of us, and we're just kind of like like I
say in the song like we were just kids. Like literally,

(01:09:59):
you know, out to the mixtape kids. That was very
formative for me, But like we were children just kind
of like learning a lot of lessons without our parents
there and becoming breadwinners and becoming men and becoming like superstars,
but also like living it in the real now. Like

(01:10:19):
every day you wake up and you're in a new
city and you gotta do a meet and greet with
one hundred fans, and you gotta go to the radio station,
and you gotta, you know, find some time to get high,
and you gotta find some time to meet some girls,
and you gotta find some time to like rehearse whatever,
like freestyle that you want to add or like, you know,
whatever it is.

Speaker 4 (01:10:36):
You know what I'm saying.

Speaker 1 (01:10:36):
Like it's just like we were.

Speaker 2 (01:10:42):
Going and growing at the same time, and I look
back at that time and just I'm really proud of
all of us as kids.

Speaker 4 (01:10:49):
And you know what we were dealt and how we
dealt with it.

Speaker 1 (01:10:55):
Who is in your personal blog Era moult Rushmore, Mac
Chance cool kids? You can't put yourself that's cheating.

Speaker 2 (01:11:05):
How's it gonna be? Mount Rushmore?

Speaker 1 (01:11:06):
You built the fucking mountain. You can't fucking put yourself, don't.

Speaker 4 (01:11:08):
You well, just being honest.

Speaker 2 (01:11:09):
Mount Rushmore is sacred Indian Land, so okay, okay, Mount
Rushmore is sucked up as just like a concept.

Speaker 1 (01:11:15):
Anyway, listen, it's.

Speaker 2 (01:11:16):
Not we don't need we don't need the top five
excluding me blog Era, I gotta go cool kids, I
gotta go Mac Miller. Do you consider cutting blog Era
or is he too big?

Speaker 1 (01:11:30):
You know what a kid named Cuddy was? Blog was
blog Era ten Deep Presents. Okay, okay, if I.

Speaker 2 (01:11:38):
Could say k cutting, then I can say Big Sean, Yeah, okay,
Big Sean, and then my fifth spot I'm gonna give
to Whiz of course. Yeah, Cush.

Speaker 1 (01:11:49):
That's a hard five.

Speaker 2 (01:11:50):
That's a crazy starting five or six niggas, so like
you can't lose.

Speaker 1 (01:11:53):
That's great. Uh, you know when you when when you
listen to this album, man, there's so many emotions that
I brought it through the project. I sonically, I feel
like you take this album in so many different places
at this very moment. What is the song that you
like the most if you had to say, like a favorite,
because I'm sure it changes on a daily basis, but

(01:12:16):
it does change.

Speaker 4 (01:12:16):
A lot and once again today to.

Speaker 1 (01:12:20):
Burn your Block records tough.

Speaker 2 (01:12:21):
Burning your Block is so what's funny is like I've
been very avoidant of the internet, and like, even though
it's been getting great reviews, I've been trying to stay
out the way. But I saw a review that called
burning your Block just like a fun you know, saying
nothing song that's one of the most that's the one
like it starts off the versus Red Summer heads on

(01:12:44):
a Pike pipe down, And I don't think any context
know what heads on a Pike means now, but look
up what Red Summer was and understand what these samples are.
So there's obviously like a lot of great music examples.
But throughout the project you hear Richard Pryor. It's from
a very specific film called Watstacks, which was in the seventies.

(01:13:08):
They organized the benefit concert after the burning and Watts,
which happened because of race riots and not even race rise.
That's not the right word. But what do we call it?
I don't want to get too radical, but basically there
is an understanding this.

Speaker 1 (01:13:23):
Is all on fire chance just let's go man.

Speaker 2 (01:13:28):
When the government responds to the needs of the people,
as set forth. It's typically in response to the burning
of metropolitan cities throughout history. And they'll tell you that
the Civil Rights Acts passed because we reached the agreement,

(01:13:53):
or it was because the whole United States was on
fire for about six weeks after Matin Luther King got killed.
And there's a lot of different times in this country
where the whole United States was on fire and after
that you got legislation. And not to say the legislation
is the end goal or even changes anything, but just
saying that response comes from that and that song and

(01:14:14):
that sample throughout the album is all from Richard Pryor
speaking to his people on various subjects, but on the
backdrop of you know, coming back from our neighborhood's burning.
And I think that song and again those samples really
really contextualize the album in a way that I can't

(01:14:38):
even say with my own words. And I'm so blessed
that we got to use those. The intro ends with
his with Richard Pryor's intra introduction to the movie, and
he says, you know, for six or seven hours, you know,
thousands of black people. Well, the first thing he says
is everybody's got something to say, but not everybody is

(01:14:59):
heard m hm. And and that's that's what this album
is is like, these are my words. These are the
words of like of great poets and literary authors and
people before me. These are the words of people from
my community and communities all over the world. These are
the words of like the people you know, refined and

(01:15:20):
put into a place where you have to hear it
now and you have to understand it now. And I
think it'll take a little time for people to really
like go.

Speaker 1 (01:15:28):
Like you said, when people listen, it's almost like the
you know, diving into because I think on my third
listen I was catching shit. I was like, oh shit,
the link me in the future. Who's is that about
a particular person?

Speaker 2 (01:15:41):
Uh, it's in two parts, I think. And that's what's funny.
Like some of the songs, the songs are songs at
the end of the day, like they be raps, but
they be songs, you know what I'm saying. And so
sometimes I make decisions that are best for the song
that aren't necessarily best for the raps.

Speaker 1 (01:15:56):
There's a verse.

Speaker 2 (01:15:59):
How do I put this because I don't want to
ruin it for anybody, but basically that first verse is
a little bit more about you know, not wanting to
feel unneeded or unable to find the person that you
love just because they come up missing all the time.
The second verse is way deeper, and it's you know,

(01:16:19):
it's about the way that we as black folks, but
people period kind of tackle death as something that like,
you know, that happens to the people that we love.
And it's some of my best writing on the album,
but it really examines that because one of the things
that I noticed that's where that song came from, or

(01:16:41):
at least that second verse came from, was RP.

Speaker 4 (01:16:44):
Little Dance. One of my friends.

Speaker 2 (01:16:46):
Passed away in the past two years, and you know,
a couple years later, I was at one of my
friend's house for just like a random ass like late
night after party type thing, and I saw his obituary
sitting on the death and it made me feel so
many feelings because when I was growing up, that's something
that you saw old folks doing.

Speaker 4 (01:17:04):
Yeah, what I'm saying old folks.

Speaker 2 (01:17:06):
Would have you know, across I remember my babysit of
Miss Brown and lived across the street. She had her
whole entire grand piano had just like a line of
you know, obituaries from people and the way that we mourn,
in the way that we keep people with us. It's
just fascinating to me. And the idea of love being
everlasting or you know, transcending dimensions beyond life and death

(01:17:30):
is something that I really had to deal with with
the passing of my auntie, with the passing of my cousin, Like,
I lost a lot of people in the past six years.
So you know, that shows up in different places in
the album, and like and and I think that that's like,
you know, that song isn't for one specific person, but
I think it does throughout the song at different moments.

(01:17:52):
It's always pointing to grief. That might be the grief
song on the album.

Speaker 1 (01:17:56):
That makes sense. That's what I kind of got from it.
So I didn't know if it was like a you know,
obviously real life situation, but do you because obviously I
don't want to get twitched in your personal life because
you've talked about it a lot, But we talked about
kind of like how you know, Kanye at a certain
point in time gets wrapped up as to who your
identity is. But I'm a married man, I have I
have kids. I feel like the idea of being married

(01:18:19):
and being a husband, it also kind of becomes a
part of your identity. But what I'm saying is like
once that ends, right, you know, is it is it
a hard adjustment to to to kind of just I
don't know if it's being fulfilled. I don't know if
it's you know, do you It is.

Speaker 2 (01:18:40):
A hard adjustment, just like living a different life in
terms of like living together and not living together is crazy.
But also I was, you know, touring not touring, but
I was, you know, traveling a lot. I was doing
a lot of other things that like kept me from
being present anyway. So I think I also think of

(01:19:01):
like my life as cumulative, as opposed to like separated
and parceled out into different eras, like you know, we
think of our.

Speaker 1 (01:19:09):
Sometimes we do think of our lives as eras.

Speaker 2 (01:19:11):
Yeah, But I think of it as like each thing
is just a step, and I'm carrying something up this
flight that like sometimes more things get added on, sometimes
I leave some things behind, but I'm still like I'm
going up and I'm the same person that did all
the things that I did on each one of these
steps from my life. But I'm just on a different

(01:19:33):
stare at this moment, and so it's like my idea.
It's not like a part of my identity got taken
away by going from not being a husband to being
a husband and not being a husband. It's more like,
you know, I've had all these different seasons of my
relationship with my kid's mother, right, and they're they're all

(01:19:54):
incredibly important, and some of them have you know, heartbreaking
moments or regrettable moments or.

Speaker 4 (01:20:00):
You know, but also some of the greatest joys in
my life. You know what I'm saying.

Speaker 1 (01:20:03):
Forever, it's always.

Speaker 2 (01:20:04):
Gonna be like I'm you know, I couldn't do this
with anyone else. Like my life is perfect, right, Like
I'm grateful for all of those things. But also this
is just the next step. It's not like I took
a step down or anything.

Speaker 1 (01:20:21):
I'm getting the rap signal from Silvan Marshall Troy Marshall Son. Uh,
but before I let you go, are we gonna have
to wait six years for? Like? Are you is the
battery in your back? Are you?

Speaker 5 (01:20:36):
Like?

Speaker 1 (01:20:37):
I just because because you are so intentional with your music,
you know, I wouldn't want you to just microwave some
shit and put it out. But you know, are you
like already kind of thinking about the next thing or
you living in in this moment with this album right now?

Speaker 2 (01:20:49):
I think this album is so like heavy to me
in multiple ways, Like I feel like, do you notice
like my face is skinny? Like I put in a
lot of like work to finish this, and also in
the like you know, I'm really street team, like I'm
going to three more cities in the next two days
to go out the trunk with the c So it's like,

(01:21:13):
for one, it's heavy in that I don't want to
just like continue to be on this cycle of you
know what I'm saying, I need some time with my
kids and relaxing.

Speaker 4 (01:21:22):
And but then also like.

Speaker 2 (01:21:25):
It's heavy in terms of like what all the things
that I think can be pulled out of this album,
And so I want to do a lot with this
to further people's layering and understanding of it. I want
to do gallery shows, I want to do my writings
on the wall thing again, because there's so much music
that is star line that's not necessarily on the CD
that I want to you know intimately, you know, work,

(01:21:49):
you know, like work with people to understand and to
contextualize and to you know, to bring to life.

Speaker 4 (01:21:56):
And then also I also like feel like they're there's a.

Speaker 2 (01:22:02):
There's like a really good thing or really good like
quote that Miss Laura Hill said years ago was just
talking about like, you know, you have to you have
to live life to create, like you can't go.

Speaker 1 (01:22:15):
You have to live life to get inspired.

Speaker 2 (01:22:16):
You feel me so like, I gotta I gotta like
live more life in this in this time of like
what's going on, And.

Speaker 1 (01:22:24):
Like Loupe did an entire album from the perspective of
whether or not Amy Winehouse was a battle rapper in
an alternative universe recently.

Speaker 2 (01:22:33):
I can't even hear about that. That sounds so ill.

Speaker 1 (01:22:36):
You didn't know that. The last Loope album, it's from
the perspective of if Amy Winehouse was a battle rapper.
It's it's called Samurai.

Speaker 2 (01:22:46):
It's sick. The last thing, the last thing that I
was really really heavy on was the Drogos Wave, which
was incredible.

Speaker 4 (01:22:54):
He's just I've said it.

Speaker 2 (01:22:57):
I've been saying it more recently because I don't think
people get this context for why I'm such a good,
why I'm the best rapper is because I My first
mixtape I ever got was called Loop a Fiasco's uh
yeah yeah two Revenge of the.

Speaker 1 (01:23:14):
Nerds, fucking classic. Revenge of the Nerds is my favorite loop.

Speaker 2 (01:23:17):
I could not rap how I wrap on this album
if I didn't have that, and I couldn't be as
bold if I hadn't heard his bravado.

Speaker 1 (01:23:25):
He's so ahead of it. He was so ahead at
the time with like he has a song, Well, he
has an American Terrort series. I know exactly American Terrrist three.
Though three is not on any mixtape. It's pretty crazy
if you listen to it. It's fifteen years ago, fourteen,
But if you listen to it, it's like it's about
like what's.

Speaker 2 (01:23:41):
Going Which one is the one that's like, uh something
is a racist? Glynbec is a racist?

Speaker 1 (01:23:47):
I forget. But American Terrorists starts off. He's like rapping
from the perspective of a veteran. Oh, like a veteran
who's talking to his wife, preparing her for the fact
that he's about to blow up a federal building. It's
fucking crazy. Dog American Terrorist three. Incredible people with a

(01:24:07):
little bit of loope talk to the interview. Man, look,
the album is out. It is incredible. Man, Man, thank you.

Speaker 2 (01:24:13):
For get it straight from my website, Chance stuff dot com.

Speaker 1 (01:24:16):
Yeah, go buy it. I'm sure vinyls vinyls out, No
vinyls vinyls coming.

Speaker 2 (01:24:21):
I don't know, man, do the vinyls. Man, vinyl is
such a like complicated thing that people don't really understand.

Speaker 4 (01:24:29):
They're not.

Speaker 2 (01:24:29):
They're also like hard to sustain because they can melt
and warp they have. You know, it's a long process.
I think people just want vinyls so that they seem
cool and be honest like, yes, well, but you're right,
that's what I'm saying. I just want to collect my vinyls.

Speaker 1 (01:24:44):
You know what people want to do is they want
to support you by buying what they feel.

Speaker 2 (01:24:50):
Like, this is eight dollars, buy this from me.

Speaker 1 (01:24:52):
They rather spend one hundred and buy the splatter vinyl
off of you. I'm just I'm just giving.

Speaker 2 (01:24:56):
Them it's one hundred percent facts. I want something that
people can.

Speaker 1 (01:25:00):
And then they're gonna they're gonna be like, look at
this art, this record.

Speaker 2 (01:25:04):
It's like, yeah, I'm a really big Chance fan, Like
how often do you play this far?

Speaker 1 (01:25:08):
You're an independent artist. I'm not telling you how to
run your business, sir.

Speaker 2 (01:25:10):
It's extremely expensive to make vinyl.

Speaker 1 (01:25:13):
And you'll sell them all out. Okay, you're leaving money
on the table.

Speaker 2 (01:25:16):
I'm gonna I might do a vinyl eventually, I think.
Right now, what I'm really focused on is being able
to like go to somebody and say, hey, I got
the album.

Speaker 4 (01:25:26):
I got it right here. You know what I'm saying.
A bucks, and I mean the people where.

Speaker 1 (01:25:31):
They are get the album on the website Chance wrapper,
chance stuff dot com.

Speaker 2 (01:25:35):
This is actually my stuff. I actually actually paid for these,
get made and everything go to chance stuff dot com.

Speaker 1 (01:25:41):
Yeah, Chance the Rapper, thank you many, appreciate you. We
did it, Yes sir, Yes, sir,