August 15, 2025 • 38 mins
Chance the Rapper on School Struggles, Special Ed, “No More Old Men,”, Life After Divorce + More
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Speaker 1 (00:03):
What's up.
Speaker 2 (00:04):
It's way up at Angela yee. This guy has definitely
been way up. Chance the rapper is here, so you
got your merch onto let me see this.
Speaker 1 (00:13):
That's really nice.
Speaker 3 (00:14):
Okay, So there's some of the new pieces.
Speaker 4 (00:17):
The pants is of collaboration with Kasubi I loveeah.
Speaker 3 (00:21):
And then this joint is this was going to be
I think an exclusive.
Speaker 4 (00:25):
I could be wrong, but I think this is an
exclusive with Complex Shop.
Speaker 2 (00:28):
You are not playing with the merch with the I
was actually I'm here's a little secret. Before you got
here today, I was watching you on live.
Speaker 3 (00:35):
Yeah, when I was doing the talk shop.
Speaker 2 (00:37):
Yeah, you're doing the talk Shop so I had to
sign up for it and you know, go through all
of that.
Speaker 1 (00:41):
So I was like, let me see what chance it's
talking about.
Speaker 2 (00:43):
Because a lot of people haven't been getting information about
star Line like that. You know what I'm saying. I
feel like you've been giving us bits and pieces. We've
been sending emails like okay, so what are you know?
The collapse and we got to wait for the album
to come out.
Speaker 3 (00:56):
I just don't want to give it away too soon.
Speaker 4 (00:58):
Like there's something about like here a new body of
work for the first time and still being able to
be surprised and being able to enjoy it, like on
a on a level of like this is all new
versus like, you know, anticipating what kind of song this
kind of person would beyond.
Speaker 3 (01:13):
Because I do have a few features.
Speaker 4 (01:15):
It's not a feature heavy album, but the artists that
are on there, some of the songs that they're on
are different songs and they're typically on or like you know,
or I just want people to be surprised and I'm
working with this person for the first time type stuff,
So I think, like I want to just like give them,
give everybody that's been waiting for the project.
Speaker 2 (01:33):
And they've been waiting. Yeah, I feel like this has
been a long time coming out. We're going to talk
about the evolution of star Line. I mean, I did
see the video that you directed with Little Waynus. Yeah,
the trade with the nai Re sample. I love that song,
thank you man. Yeah, it's like it's cool.
Speaker 4 (01:48):
I think that song is like a really good maybe
not sonically like the songs sound different, but like in
terms of I think it's a good thesis statement for
the project.
Speaker 3 (01:58):
So you know, like the song outwardly or.
Speaker 4 (02:00):
Like on your first surface list, and it just sounds
like kind of like a weed song. It's fun you
get to hear the NDR re sample. You know, there's
like some like clever funny bars, but as you like
kind of strip away, you know, or I guess like
hone in on on the purpose of the song. It's
really in a lot of ways about the inequities or
unfairness in the cannabis industry, how it's become a commercialized thing,
(02:24):
but it's still people in prison for it. And it's
also like largely a song dedicated to my mom or
anybody else that's been you know at some point kind
of like otherwise that felt like a taboo because of weed,
Like you know, like we's made like a this made
a crazy rebrand in like the past twenty years, But
(02:45):
there was when I was in high school.
Speaker 1 (02:47):
We invent themselves.
Speaker 2 (02:48):
Let me tell you the rules around it would be
the same politicians and so against it want to lock
you up.
Speaker 1 (02:54):
Are the same ones that are like trying.
Speaker 3 (02:55):
To own med men.
Speaker 4 (02:57):
Yeah, and they own like some of these you know,
not name drip like drop brands. But I'm just saying,
like the whole way that people even go about in
terms of like the rich people having access to med
cards or to grow cards prior to like anybody else.
That's like really trying to start up a business off
of it. But also just like how we look at people,
(03:17):
Like when I was in high school, you know, like
fifteen years ago, I remember like coming into class melling
like we like freshman and sophomore year was like people a.
Speaker 3 (03:27):
Look at you like you are a murderers.
Speaker 4 (03:29):
Yeah, you know what I'm saying, And then sophomore in
junior year though, you know, just cushion orange juice changed.
Speaker 3 (03:36):
A lot of people's perception on it.
Speaker 4 (03:37):
And so it's like, over time, you see it become
more and more of just like a regular thing, but
even still within like it becoming more normalized, there's still
like a separate viewing of like how we think about
weed as like a funny like thing that people just
do or like as a joke in movies, versus how
they pair it with like hip hop culture or blackness,
(03:58):
and it's like still taboo. And so I kind of
wanted to make a song that like celebrated my mom
celebrated you.
Speaker 3 (04:04):
Know, people like people smoke weed, you know what I'm.
Speaker 2 (04:06):
Saying, like but like even if you think about stopping frisk, yeah, yeah,
but back then, you know, black people and black neighborhoods
get stopped in friss and go to jail for weed.
White people smoke weed just as much as black people do,
but they're not going to end up going to jail
for it and then having record that.
Speaker 4 (04:22):
Yeah, that follows them all one hundred percent. And I
think like hip hop is just like I heard, I
can't remember.
Speaker 3 (04:30):
Who it was.
Speaker 4 (04:30):
I think it was karas One was explaining, like hip
hop the origin of the word, you know, the hip
and the hop of it, Like the hop is the movement,
so it's like it's movement in terms of dancing, like
but also like culture in terms of what's you know,
relevant at that time, and then also like the literal movement,
like you know, we all part of the movement, even
though it's not the sixties no more, Like we're all
(04:52):
a part of society and we all have our opinions
and we all use our power whatever that is, your voice,
your hands, whatever, to push that shit for excuse me,
to push that forward.
Speaker 3 (05:03):
You could curry okay, okay, okay.
Speaker 4 (05:06):
But then on the side of like the hip like
he was explaining that means like you got to get
people hip to stuff, Like it's like intelligence that we
passing along every time that we wrap. And so whether
it's like we describing a block or we describing our
love life, where we're describing, you know, the money that
we got, or that we're trying to make, like we
were passing off intelligence every time. And so I think
(05:26):
with this whole album, I'm trying to make it or
or I made it fun to listen to, but also
something that you could like go back and layer through
and be like oh oh oh oh and learn something
and you know, or like reevaluate something just based off
of you know, how dense some of the lyrics.
Speaker 2 (05:47):
You know, I want to say one of the songs,
it's like that was Negro problem. And it's interesting because
I only got the album last night, so I haven't
had to been able to sit with it the way
that I wanted to. But I literally went to the
doctor yesterday and one the conversations around black women in
five grades and how black women have fibrads that are
three times greater percentage than white women do and so
(06:09):
and this can you talk about this Negro? I was
listening to that, and it literally was making me think
about my visit of like going to the doctor and
the things that we have to deal with in our
community that maybe doesn't get the studies that they deserve
to get the money put behind it because it affects
us like sickle cell and things like that.
Speaker 4 (06:27):
No facts, Yeah, that whole second verse and Negro problem
is kind of hyper focused on medical care and like
the difference in the medical care that we receive as
black folks versus versus other groups. And it's like widely
documented that doctors expect black men and women to have
(06:48):
a higher pain tolerance, that they don't necessarily take it
as seriously when there's something that patient believes is a
medical emergency. Like you could go down the list, like
in terms of transplants, Like there's so many things.
Speaker 3 (07:00):
And I think what I.
Speaker 1 (07:01):
Honed down healthcare Black maternal health care, That's what I.
Speaker 4 (07:03):
Really honed in on is like when it comes to
maternal health care and like you know, delivering children, Like
there's a lot of death, there's a lot of like
ignoring of medical emergencies. This is all document, there's not
like sometime I'm just making up, you know, what I'm saying,
and I think like we hear about it every once
in a while when like a study comes out, but
it's not really documented in music like that. And so
(07:25):
this song is called the Negro Problem. It's the title
is pulled from an old book.
Speaker 3 (07:31):
By Booker T.
Speaker 4 (07:32):
Washington that was describing some of the issues that black
America faced in terms of, uh it, trying to get
to upwards mobility. And so I mixed that book, which
you know has its errors, like so I don't want
anybody coming after me being like that book is blah
blah blah, but like it's a mixture of that. And
then this idea of intersectionality, which is that a lot
(07:53):
of the problems that we face can find like a
general like meeting point of like if like I could
picture somebody who's not black hearing this and being like, man,
we all got problems at the hospital, or like in
the first verse, I talk more about the criminal justice
system or just like the environment that black folks is
raised in, or our relationship to violence that then, you know,
(08:16):
keeps this cycle of violence going, whether it's towards us
or towards each other. And they might hear that and
be like, man, I got problems with the police too.
Speaker 3 (08:26):
I got problems. And that's kind of the point.
Speaker 4 (08:28):
That's the idea behind intersectionality, is like everything works on
this scale of like the broker you are, the blacker
you are, you know, the more otherwise you are, the
more different you are, you get these issues of society
more up close and personal the further you go towards
this intersection and the idea of the hook, it says,
my problem is your problem.
Speaker 3 (08:50):
Your problems my problem.
Speaker 4 (08:51):
And basically it's saying like this negro problem is like
the magnified, you know, most in depth version of issue
that you could see, and that if you fix it
within that, like where the real issue is in medicare,
or the real issue is in criminal justice, the real
issue is wherever, then it'll reverberate and have positive effects
on everybody else that's money is fucked up, or you know,
(09:14):
I can't find work, can't get proper medical attention, you
can't get whatever.
Speaker 2 (09:18):
Man, Listen, I was it just so happened that song
did kind of like resonate with me at that moment
in too, just because like I said, I was saying
on the radio, I was like dang, I ain't been
to the doctor in over two years to get like
a regular checkup. And we had a whole conversation about
it here, and then somebody called in. This guy said
he ain't been in nineteen years, and he was like,
(09:39):
you know, I don't.
Speaker 1 (09:40):
Need to go.
Speaker 2 (09:40):
He was like, but I did pass out the other
day while I was outside smoking a cigarette. But I
just had low blood sugar. But I'm not going to
the doctor. I'm just going to pray.
Speaker 3 (09:47):
That's how the first the first part of that verse.
Speaker 4 (09:49):
It also explains like that we have a weird relationship
because of our history or understanding of our families or friends'
histories with the doctor that we get the experimental drugs
that people, you know, put us through tests without letting
us know whether it's the Tuxigee experiment, whether it's now
I'm about to forget her name. She just celebrated they
(10:13):
took her womb or parts of her womb out. What
is her name, Jesus Christ, I can't remember. But I've
just got so many things going on to day.
Speaker 1 (10:21):
But I've seen you already working all day today.
Speaker 3 (10:23):
No, yeah, I'm.
Speaker 4 (10:24):
Running around, but like, yeah, there's this you know, weird
relationship that we have to the doctor, and especially black men,
we don't be wanting to go get certain checkups or
you know, stay in the hospital or ghosts get seen
or call an ambulance. One because of the financial part
of it, which is crazy, but then also just because
we have this innate fear that we could go in
(10:46):
there and come out worse than we went.
Speaker 2 (10:47):
Now you'd be like nothing was bromding me, and then
I went to the doctor and now all of a sudden,
I'm dying.
Speaker 4 (10:51):
I think it's a mixture though, of the two things,
of like there is a certain paranoia that might not
even necessarily be there you might need to go to
the doctor and see you know what I'm saying. But
then on the side, like everything has a little bit
of truth to it, so you know, you could be
pulling from your own experience going to the doctor, or
what happened when your dad went to the doctor, or
you know, you put granny in the hospital and then
(11:12):
they messed up something like a lot of that's a
lot of people's stories.
Speaker 3 (11:15):
That's how that verse ends.
Speaker 1 (11:16):
They said, that's not my grandfather.
Speaker 2 (11:17):
He was when the hospital he was having some issue
with his hearing and then he like fell in the
hospital and died, and I was like, well, dang he
You know, it was devastating because we didn't expect all
of that to happen.
Speaker 3 (11:29):
Nanny lou Hammer, thank you, thank lou Hammer.
Speaker 4 (11:32):
Like that was that's that's a story of them, you know,
stealing her body for medical research and stem cell research.
Speaker 1 (11:39):
And we always hear about these organs being st man.
Speaker 4 (11:43):
All that stuff is real listing, and I don't think
it only happens to black people, but it probably happens
to black people on a higher scale. And so that's
like the idea of it is like we have these issues,
but we won't address them. And even on that ending
verse of that second verse where I talk more about
like mat cool stuff, the last lines is malpractice we
(12:05):
still can't call, or malpractice we still can't file them.
All know the number, but we just won't dial them.
It's talking about like my cousin de Kwan passed away
I think four years ago to the day yesterday, and
he was I think he had a headache or something small.
He went to one of the worst hospitals in Chicago.
I'm not going I don't want to get into it
(12:26):
with them, But I'm just saying he went there and
I think he got a shot for something because he
had had a seizure. But he passed away in the
hospital that same day.
Speaker 3 (12:35):
Super young.
Speaker 4 (12:35):
I think he was in his early twenties, maybe twenty
one or twenty years old.
Speaker 3 (12:41):
But then it was just like, it's kind of.
Speaker 4 (12:43):
What it is in a lot of cases, like we
go through something where they give your mom or your
aunt or whoever the wrong medication, they have an allergic reaction,
they have some sort of like oregan failure, and then
it's just kind of like their hands are in the air,
and then we don't be knowing all the things to
do or having the money in place to go actually
file a malpractice lawsuit. So it's just kind of like
(13:03):
explaining these issues that like some people don't see as
real issues or say, oh, yeah, that's just a Negro problem,
and kind of like put them to the forefront and
saying like, no, like, if y'all solve this problem, do
you know that that would positively affect your daughters and
your granny and your whoever.
Speaker 1 (13:19):
You know.
Speaker 2 (13:20):
This album has been a long time in the making,
and when we talk about the song like a Tree.
I saw that process as like when you first were
working on it, and you do let people in a
lot on the process of like your writing, so they
know what's going on. So talk to me about it,
because it's been years, like how long sixty years?
Speaker 3 (13:37):
Six years?
Speaker 2 (13:38):
Yeah, since the last protect It's not crazy, it is crazy.
Did you even anticipate it was going to take you?
Speaker 3 (13:44):
Not at all.
Speaker 4 (13:44):
I would have had it out way sooner if I could,
I think it. I'm glad for the journey that it
took because I got so much knowledge and so many friends,
made so many communities, Like I spent a lot of
time in Ghana, like always got to shout out Ghana,
because that brought me a lot of the you know,
understanding of this global community of blackness. How we all
(14:07):
been you know, connected, traveling, creating movements and community internationally
for years and in years and years and years and years.
Speaker 1 (14:17):
Uh.
Speaker 4 (14:17):
And so going to Ghana, going to the art fairs
and meeting some of the top artists, like our top
contemporary contemporary artists and getting to like be in real
community with them definitely informed the album a lot. And
I think also, like you know, my personal life changed
over and over and over and over again, and I
think like in that time, it's funny, like there's some
(14:40):
things that are like happen in the news, like you know,
just where we are as a country and how we
stand it as a part of like the international community.
That I'll have a song that I'm working on and
then I feel like it's done, and then something happens
and I'll be like, man, I knew I was supposed
to talk about that. Now, I definitely got to talk
(15:00):
about that. And I'll go back and like add something
or change something to pull something. And I think like
music is similar to a painting in that you know
it's never done till it's done, and really only the
artist knows when it's done, and even they sometimes don't
necessarily know until you look up one day like, oh,
(15:21):
this piece has always been beautiful, just like this. I
thought it was missing something or I was afraid to
release it, or whatever happens, like this has to come out.
And I think like with this project, everything kind of
fell into place in the perfect time. Like I'm working
again with Brandon bro that's my that's my dog.
Speaker 3 (15:40):
He did the artwork.
Speaker 4 (15:42):
Yeah, So I've been working with Brandon since I was
twenty or nineteen years old. He's like a big brother
to me. He ran this really successful clothing company out
of Chicago call Ends. Well he's obviously like a international painter.
But we did the first three projects like when we
were both though he's older than me, like you know,
younger in our careers, and then like to come back
(16:06):
now all these years later and do you know another
project and be really really intentional about it the same
way that we were with color book You No color
book astrap was his idea, right, So he took a
picture of me at this random bar.
Speaker 3 (16:19):
Like with a fan and it.
Speaker 2 (16:20):
Definitely worked out. Yeah, and before you came in here,
I produced it.
Speaker 3 (16:23):
Dan.
Speaker 2 (16:23):
He went to the anniversary performance, he said one of
the has he ever been to?
Speaker 3 (16:28):
Y thank you and you're not lying? Right?
Speaker 1 (16:30):
Yeah, that's it.
Speaker 3 (16:31):
You got the vinyl drum? Yeah. No. I feel like
like that's one thing that I can do is I
could put on a show.
Speaker 1 (16:38):
Yeah.
Speaker 4 (16:39):
And I love songwriting, I love recording, I love all
the things dealing with music. But my favorite thing to
do is be on a stage singing my works. So
I feel like with Brandon being back with me, and
being able to sit in the studio and go through
songs and really like what Brandon really focuses on, Like
he focuses on portraiture, so he's really like intense with
the shadowing, Like what expression he wants me to have
(17:02):
on the cover arts. Except for color Book, that was
my idea to be looking at my daughter to get
the smile and stuff. But for this one and all
the other ones, he's like, he's like, we need you.
You need to be looking up or you need to
be looking inside, you need to have your body position
like this, and then he spends a long time thinking
about what the setting of the painting is. So for
this one he picked I always I don't know how
(17:22):
to pronounce it, but Aurora borealis, which I'm gonna just
say the easier way to say, at the northern lights.
And it's like this this crazy like cosmic thing that
happens that you can only see like every like once
in a while, every every three monte.
Speaker 3 (17:37):
It's like it's a it's a thing. Oh my fucking.
Speaker 4 (17:42):
I know, my hair is getting long, but there's this
thing where like they allow where people will travel to
go get this to get this vision of this this
beautiful thing that happens cosmically and you're standing over the
water and uh. And in two parts he was like, well, one,
you know the space that you go see it, you're
right on the waters. And a big part of this
(18:05):
album is is pulling from the Black Star Line, which
was that shipping and trading company that Marcus Garvey started
in the early nineteen twenties that you know, gave black
people the opportunity, yeah, to trade, to build community.
Speaker 3 (18:21):
And also, like you know, a lot of times.
Speaker 4 (18:22):
When we think about black people and ships, we think
of slave ships, like we think of like, you know,
we don't necessarily think of the idea of like an
all black crew, you know, determining their own destination, creating
community and all that stuff. And so when I learned
about that, I thought, I felt that was so empowering.
I'm I do believe in, you know, black entrepreneurship, not
necessarily black capitalism. They're two different things to me, But
(18:44):
like I believe in, like, you know, black people self
determining and creating business and creating networks and also being
able to chart their own path metaphorically and physically. So
like I really aligned with this idea of like a
shit and the waters and all these things as motifs,
and so he was like, I love this place because
you you know, you'll be in nature and in front
(19:07):
of the waters. And then also that northern lights will
work as like in a way as like a callback
to the North Star and the Black Star and like
and just like having our you know, having the stars
having our back.
Speaker 3 (19:19):
And I probably explained it wrong. When Brandon sees this,
he's gonna correct me.
Speaker 2 (19:22):
But like, you know, it's interesting because you said you
have been through a lot of personal changes, so it's
nice to have something familiar that you're comfortable with too
as you're working, as you're putting out something new.
Speaker 4 (19:33):
I think Brandon is like somebody that's been with me
through all of the changes in my life.
Speaker 3 (19:38):
And you know, like.
Speaker 4 (19:41):
Chicago's so small that we all like kind of grew
up together, so and we're all still for the most part,
really really close. So having to have him be by
my side in this in this time, and also having
him be like my introduction to the arts, like I
tell people all the time, like when I first put
out ten Day and asked her rap, so many people
(20:03):
would come to me and tell me like I had
never heard your music before, I never heard anything from you.
I clicked on your shit because I've seen that artwork and.
Speaker 2 (20:09):
The merchan is amazing. That goes and like it kind
of falls into everything.
Speaker 3 (20:12):
It's all cross connected. And I think he.
Speaker 4 (20:16):
As like a as a person that used to fail
at art class every year and almost got kicked out
of school for like.
Speaker 3 (20:22):
A lie that my art teacher told on me in
a sophomore year. I've always had a weird separation from art.
It was crazy. I'm not gonna show what was the lie. Bro.
Speaker 4 (20:30):
Something happened when she was like she was like, uh,
something happened when she was telling everybody to shut up
and I was still talking, and she says something along
the lines of like get out the class, and I
was like, I bet, and I grabbed my shit and
walked out. And then she like told the administration that
I had like threatened her and that I've like made
(20:51):
up like I physically charged her some type of crazy shit.
Speaker 3 (20:53):
I was on. I was blessed that there was thirty
witnesses in the room that was like this.
Speaker 4 (20:58):
It was crazy also because it's like I hated going
to school, like I used to not go to school,
Like I went to school downtown in Chicago. I'm from
seventy Nights, So i would take the train all the
way to where all the big buildings are and everything,
and then I'd have to look at this school that
looks like a jail, and then all around it is
these big beautiful buildings and like dating busters and you
know what I'm saying. Places I could just kick it
(21:18):
Panera bread and I would just not go to school.
So around that time, when I started going back to school,
I had gotten placed in this arts class that I
think was like the freshman and sophomore's art class because
I missed that credit and stuff, and so I used
to just hate being in there and used to hate
having to draw, like I'm not good at drawing.
Speaker 3 (21:35):
So when that stuff happened and she kicked me out,
like it.
Speaker 4 (21:37):
Almost ruined my whole, like like I almost got kicked
out of school, all.
Speaker 3 (21:41):
Types of stuff.
Speaker 1 (21:41):
Why would a teacher, Dude, that's wild to me.
Speaker 3 (21:43):
Me and my teachers was never cool, like I have
like maybe four teachers I could think of from kindergarten through.
Speaker 4 (21:50):
You know, I was always cool, like the dean of
discipline with like certain people that were like in the
administration that like, you know, at first they would get
tired of seeing me, but then they hear what I
got in trouble for, they were like, Oh, you're funny
as hell, Like you got in trouble for doing what for.
Speaker 2 (22:02):
That's interesting because I think I feel like education has
been so important to you, even as far as with
your nonprofits, but it also does show you that the
right teachers and the right staff and can make it
a huge difference.
Speaker 3 (22:15):
No, one hundred percent.
Speaker 4 (22:16):
I feel like what I learned was like when I
was in school, I thought differently than a lot of
my friends, which was one of the main things. Was
like I never really looked at a teacher as a
teacher like I did in the very beginning, and by
the time I got to high school, I was just like, Oh,
these are just adults that just come here to watch
us because our parents got to go to work and
because they need some money. So they don't care about
(22:38):
making sure that I learned the concepts. They don't care
about like nothing I got going on. Really, they just
want they're waiting for the next Belding so they could
get the next group of kids in here, So they're
not gonna care that I don't come to class. They're
not gonna care that I don't understand the concepts. They're
not gonna care about really nothing other than maybe trying
to teach me a lesson because they going through a
divorce or like tired of seeing these kids every day
or whatever. And so I use still not get along
(23:01):
with my teachers at all. And then I feel like
once I graduated and I started realizing like some of
the issues with youth and some of the problems, I'm like, well,
one of the main issues is just that these classes
are overpopulated and these teachers are underpaid. So you know,
I can't fault them for being human beings. And I
wish there was a different structure in which we, you know,
allow kids to connect with adults. Like back in the
(23:24):
back in the back of the day, we were just
talking about this in the car, Like the great philosophers
and stuff that we know are all came up under
like a system of like learning with one person, like
they learned with their parents and then they would go
study under you know, whoever was the great philosopher, and
then they would in turn become their own come up
with their own doctrine, and we still.
Speaker 3 (23:43):
Teach that philosophy years and years later.
Speaker 4 (23:45):
And I say all that to say, like, the less
the less kids it is to teach at a time,
the better you know.
Speaker 1 (23:52):
That's a fact.
Speaker 2 (23:53):
Some kids need special attention too, Clearly.
Speaker 4 (23:58):
I was a special at like from fourth grade through
graduating high school. I had an IEP, which is an
individualized education plan. I had like certain classes that I
didn't go to that to go sit in a room
with like seven kids like And what I'll say is
that like those sort of diagnosies and labels on children
(24:19):
definitely mess with they with their sense of self and confidence.
And I used to always feel like I was not
smart when I was a kid, And obviously I am smart,
and did y'all know I was in specially before now?
Did y'all even get a hint of a feeling that, right?
Speaker 2 (24:36):
I just special attention because I do sometimes because sometimes
kids that are super creative need that, right. And it's
also not easy when the other kids and making fun
of you facts.
Speaker 4 (24:46):
Like I think that's the hardest thing is feeling separated
from everybody else.
Speaker 2 (24:51):
We had kids that used to fix cars and they
would just be like in this other I wish.
Speaker 4 (24:55):
I was at a trade school and I would know
how to do something other than ra I think, like
I rap about it a lot on the album actually,
and like a couple of different songs on the intro,
in the outro, I kind of touch on it. But like,
I think that when I did graduate and I realized
some of those things, it made me be like, well,
first of all, I started working with kids way sooner.
(25:16):
So I was in a lot of after school programs
that was for creative stuff. They didn't know I was
in a special class, you know what I'm saying, So
they treated me like I was a genius because of
my raps.
Speaker 3 (25:25):
And when.
Speaker 4 (25:28):
And when our mentor died, we all shared a mentor,
me Vic Mensa, Nico Sigaal no name, Lucky, Mick Jenkins,
Saba Like there's a bunch of people in his say yeah,
we were all in this after school program together in
Chicago that was led by this like this really cool
dude a long Dress's name was brother Mike. When he
passed away, I think we was all probably like twenty.
(25:50):
It was like shortly after Astrap came out. I think
maybe a little bit later actually tripping this is like
twenty fourteen, twenty fifteen, we all came together and we're like,
we're going to continue his program and call it open
mic and that kind of like that reconnecting with the
kids in that way, having like this this thing that
was staffed by a bunch of like you know, versioning
or you could call it like already you know, famous rappers,
(26:13):
and having all these kids, you know that we were
like guiding and giving a platform like that really was
the beginning of my uh social works and nonprofit work.
And also like made me be like, oh, like these
kids is talented, they just need somewhere to go. They
just need someone be and and that kind of like
pushed me into being like, oh, I want to be
a mentor like brother Mike or like some of the
(26:34):
people that help me.
Speaker 3 (26:35):
I want to be spaces for the kids.
Speaker 2 (26:38):
Yeah.
Speaker 4 (26:38):
No, it was it was like no, And you got
to know, like that's what I think it's so funny
about this album is like I'm glad that I took
time to like keep parsing out stuff to my to
my fans and supporters that like is more in the
direction of the type of stuff I was writing when
I was a kid, and what we were, you know,
a lot more radical then then, you know what, I
(27:00):
think some of my fans would have been used to
if they had only heard coloring Book or only her
ass rap, only her ten day. But like when we
were kids, like we was like we was like deep poet,
activist kind of kids, like all of us, even the
ones that like, you know, I include myself, Like all
of my music isn't so you know, isn't super militant
(27:20):
like our poetry and our raps were when we were
in high school. And I feel like anybody could imagine
like we were our exact same selves, just shrunken down
with no facial hair and like screaming you know what
I'm saying about political action and you know, and stuff
like that. And I just think it's whenever I think
about it, it's just so funny to me, Like we
(27:42):
were literally kids, but we knew who we wanted to
be and what we wanted to see in the world
at a really young age.
Speaker 1 (27:47):
You know.
Speaker 2 (27:48):
One of the standout tracks is no more Old Men
on This And I definitely as we're talking about all
of this and thinking about, like, you know, people that
have helped you and wanted to continue this program and
help the next generation. And can you talk about no
More Old Men and what was going on when you
were writing that song.
Speaker 4 (28:04):
Yeah, so No More on Men. I've told people a
few times at this point. For a long time, it's
my favorite record on the album. It's a collaboration between
me and Jamila Woods, who I've worked with a bunch
of times. She did Sunday Candy with me, and she
did Blessings with me. She actually was in another after
school program that most of us were in too, and
she's i think two or three years older than me,
so she.
Speaker 3 (28:23):
Was kind of like a counselor.
Speaker 4 (28:24):
But like Jamila and I were in like have known
each other since we were kids. And when I made
this song, I really wanted to do something that I'll
tell you where it really comes from. So my cousin,
her name's Tanikia Carpenter. She's an amazing poet and a
(28:46):
million things, like she's just like an incredible person, but
she's a really really good poet and she had this
piece I think it was called The Day with No Grandfathers.
I'm probably butchering the title, but she basically wrote this
piece that was like, you know, because of how many
niggas get killed right after they have a kid. We're
up with from Chicago, from Chicago, how many people that
pass away before, like right after they have a kid,
(29:10):
and how many you know, old men uh end up
with health problems dying younger and younger. There's gonna be
a day in Chicago where there's no pop pause is
what we be calling them, Like there's no grandfathers.
Speaker 3 (29:21):
And the piece was just so deep.
Speaker 4 (29:23):
This is years ago now that I was like, man, like,
I love this concept, and so I kind of did
the same thing the first versus really about the importance
of this space that I used to occupy when I'll
go to the barbershop with my dad, Like there's this
there's this you know, kind of like boyhood father and
(29:45):
son thing that has to happen, or even your mom
dropping you or your cousin's taking you where you go
to the barbershop and it's all men, and it's like,
you learn so many lessons. You learn about women, you
learn about sports, you learn about you know, entrepreneurship of
niggas that get to come in and bootleg stuff.
Speaker 3 (30:02):
You learn about you know, the colloquial barbershop talk.
Speaker 4 (30:06):
You get that really as a kid, and there's like
a very specific cultural importance to that that, you know,
we lose as as you have less and less old
men in the barbershop, less and less fathers in the barbershop.
And so that whole verse like kind of tells the
story of mister Harper who was the owner of the
barbershop on eighty seventh when I was a kid, mister Darden,
(30:29):
who was one of my neighbors growing up, all the
little things that I would see, and then it kind
of just like reflects on like, man, a lot of
that shit is gone. The second verse talks more so
about like my relationship to my father and how I
watched him interact with his homies growing up. My dad
and I are super super close, which is not always
the story in hip hop. You get it more now,
like Kendrick talking about his relationship with his father. The
(30:51):
clips obviously talking about the relationship with their parents, but
it's a story you didn't always used to see and rap.
And so I talk a little bit about me and
my dad, our closeness, Like I got a line that
I love so much. It starts off, I say, I
danced with my father, Luther Vander Ross. We played catch
so much I turned a Randy Moss Like little lines
(31:14):
like that, like I love so much because they give
a beautiful and clever and understandable description of the relationship
with me and my dad. And it also, like you know,
it uses hyperboles, so there's a lot of things I
like about that, but it goes into further and further,
like describing how my dad and his friends, his friends
relationships was, and how even his friends romantic relationships.
Speaker 3 (31:38):
With they wives was.
Speaker 4 (31:39):
And it just kind of talks from again a cultural
standpoint of like understanding, you know, why they make certain decisions,
why people get divorced, but net or I'm sorry, why
people split up and never get divorced and like just
live in two separate rooms on two different.
Speaker 3 (31:51):
Parts of the house. Like that's like a me growing up.
Speaker 2 (31:54):
That was something that I used to see all the time,
you know, And I do want to say, like even
for you, I know that was a hard decision for
you to get divorced, and you know, we watched that
struggle like break up, get back together, you know, and
you briefly reference it on the first song and you
talk about divorce, child support, all of that, and so
I know, sometimes people look at you and they're like, Okay,
(32:16):
Chance the Rapper. Sometimes it feels like, man, you know,
my parents stayed married for a long time. They got
divorced after I graduated from college, and they still live together. Yeah, no,
that's all that thing nobody, But I feel like I
wish they would have made that decision to like be
happy in life and move on.
Speaker 3 (32:32):
Yeah. I think like.
Speaker 4 (32:35):
I don't know the answers at all. I don't know
what's right or what's wrong. I do know that like
growing up, I used to see and.
Speaker 3 (32:42):
I didn't understand it.
Speaker 4 (32:42):
When I was a kid, I'm like, damn, why my
uncle lived like sleep in the basement, Like why is my.
Speaker 1 (32:47):
Auntie's room on the topic, it's still normal.
Speaker 4 (32:49):
Yeah, it just felt like that's just how they live.
And then you understand like they at some point made
a decision that that's how they wanted to live. But
they also decided that they didn't want to, you know,
go through court or have their kids living in separate
houses or you know, feel like they were alone in
any way.
Speaker 3 (33:07):
That's what I reference in the verse.
Speaker 4 (33:10):
There's a line I'm gonna butcher, but something where I say,
you know, sleeping separate sleep in separate rooms for years
when their hearts broke, so at least somebody there if
they start to stroke, and it's like, you know, you
split up and you spend all this time with somebody
(33:31):
and now you alone, and who's going to be there
to like be your partner or help you when you
get sick or if anything happens to you. And I
think that's the decision that a lot of our you know,
parents and aunts and uncles and everybody made to like
to keep some sort of like family house or some
sort of family dynamic. Again, not saying that that's the
(33:51):
right way to do it, and not vilifying it because
that's what I grew up knowing for a long time.
But then also like I agree totally that people should
go and you know, in the pursuit of happiness and
in the pursuit of love and making decisions that are
going to be best for their hearts, and so like, again, yeah,
(34:11):
I don't have all the answers, but I think even
in the context of the intro, it's more like, you know,
I mention it, but I'm really mentioning it on like
the like decision making part of like tell me, now,
tell me, how can you now afford to file divorce?
Speaker 3 (34:29):
The child support, the back door, take the trial to
coord the back door and the trial. A chord is not.
Speaker 1 (34:35):
About my about my speneral.
Speaker 4 (34:37):
It's more like other things that's going on in my
life I really don't talk about because I am you know,
like I have like all these things to worry about,
so I like try not to, like.
Speaker 3 (34:48):
I guess cloud the information that I'm putting.
Speaker 2 (34:51):
Sometimes you don't want to say something it gets misinterpreted
or it becomes the headline.
Speaker 1 (34:54):
But you have an album coming out on Friday.
Speaker 4 (34:57):
When I got an album coming out on Friday called
Starline and my tour.
Speaker 3 (35:01):
That I'm so excited.
Speaker 4 (35:02):
That's like my favorite thing in the world is performing,
like you were saying, like those assa rap shows, Like
I cannot wait to perform this material and to like
put on a show with it for people. And it's
been so long since I've been on stage that I
really just kind of need, you know, I need that
personal connection. I love being on stage and feeding off
of the fans and singing the songs together and like
(35:24):
altering show mixes of them, and like all of that
stuff is like that's one of my real joys.
Speaker 1 (35:29):
You seem like you genuinely like people.
Speaker 3 (35:31):
I love people, like you know.
Speaker 2 (35:32):
How some people do it and it's like just because
it but I feel that you really want to shout
each missing out and like be a good person, you know,
Like it's crazy, it is sometimes.
Speaker 4 (35:44):
I mean I think I touch on that on the
outro of the album, like there's certain people that I think,
especially the ones that grow up child stars, and I'm
not the definition of a child star. I kind of
got I don't even know when I got on, but
I feel like I didn't start and start traveling on
a world too until I was nineteen. But that's still
really young. And you get access to this fame and
(36:07):
money and certain like adulation that you think is the
same thing as love at a young age, and it
kind of like alters your brain chemistry to the point
that you can't even like you know, you can't tell
the difference between the two things. And so like, I
(36:29):
love people because since I was a kid, I was
doing open mics and like talent shows and doing that
whole circuit of like I love to get a mic
in my hand and say what I want to say
and be get collaps and stuff like that, and I
think that remains with me. That's just a certain type
of person. I think a lot of people that came
up in my industry that got on when they were
in their teens or were traveling or supporting their family
(36:50):
in that way, like they got that same.
Speaker 3 (36:53):
Vibe of like, oh yeah, I love people. I want
people to love me. You know what I mean.
Speaker 1 (36:58):
Listen, I could talk to you all day, but they
tell me we gotta wrap up because.
Speaker 3 (37:00):
I know, yeah, we gotta run over seat butt.
Speaker 2 (37:03):
But don't run out yet. Let me just okay, So
make sure y'all get tickets to the show. The album
is star Line finally is here. So I just want
to take congratulations to you. I love get a chance
to chat it up as well, even off the mic,
like when I run be kicking it.
Speaker 4 (37:21):
Yeah, tell everybody that you're listening, that you really that
we really be seeing each other, Like I've really.
Speaker 2 (37:26):
Seen him in Atlanta, sat down, had some shots called
my flight drunk as hell, ran into him at the
Airbnb event. Always a good time and always in. You're
always in good spirits no matter what's going on. And
I do want to say that I took up for
you when you were in Jamaica dancing. I was like,
that's how people dance, That's what Carnival is all about.
And anybody who's ever been knows that.
Speaker 3 (37:47):
And you always have my back.
Speaker 4 (37:49):
But every time I've ever come in with you, you always
are like, what about bar?
Speaker 3 (37:53):
About a bar? What about yourself directed thing? You have
like real questions, but you have real questions for me,
and you really like I feel the love and like
I'm excited to be you know.
Speaker 2 (38:03):
Now, I appreciate how real you. I was in Chicago
in the park and I see Chance by himself.
Speaker 1 (38:08):
He just dropped his daughter off to school. Oh yeah,
leaving the park. I was like, is that a chance
of rapper across the park.
Speaker 3 (38:15):
I'm a regular nigga. I'll be walking around Chicago. I'm
also not sweet, but I'll be just chilling. You know
what I'm saying, Like, I just be chilling. I just
be killing.
Speaker 2 (38:22):
But I appreciate you and congratulations on everything. And I
can't wait to have you on lip service.
Speaker 4 (38:26):
I was gonna say we're on lip service next, get
in your mix.
Speaker 1 (38:29):
You know what I'm saying.
Speaker 2 (38:29):
Once I get to really live with this album and
go through it all, but congratulations, thank you.
Speaker 3 (38:35):
I appreciate chance of Love. I remember
What's up.
Speaker 2 (00:04):
It's way up at Angela yee. This guy has definitely
been way up. Chance the rapper is here, so you
got your merch onto let me see this.
Speaker 1 (00:13):
That's really nice.
Speaker 3 (00:14):
Okay, So there's some of the new pieces.
Speaker 4 (00:17):
The pants is of collaboration with Kasubi I loveeah.
Speaker 3 (00:21):
And then this joint is this was going to be
I think an exclusive.
Speaker 4 (00:25):
I could be wrong, but I think this is an
exclusive with Complex Shop.
Speaker 2 (00:28):
You are not playing with the merch with the I
was actually I'm here's a little secret. Before you got
here today, I was watching you on live.
Speaker 3 (00:35):
Yeah, when I was doing the talk shop.
Speaker 2 (00:37):
Yeah, you're doing the talk Shop so I had to
sign up for it and you know, go through all
of that.
Speaker 1 (00:41):
So I was like, let me see what chance it's
talking about.
Speaker 2 (00:43):
Because a lot of people haven't been getting information about
star Line like that. You know what I'm saying. I
feel like you've been giving us bits and pieces. We've
been sending emails like okay, so what are you know?
The collapse and we got to wait for the album
to come out.
Speaker 3 (00:56):
I just don't want to give it away too soon.
Speaker 4 (00:58):
Like there's something about like here a new body of
work for the first time and still being able to
be surprised and being able to enjoy it, like on
a on a level of like this is all new
versus like, you know, anticipating what kind of song this
kind of person would beyond.
Speaker 3 (01:13):
Because I do have a few features.
Speaker 4 (01:15):
It's not a feature heavy album, but the artists that
are on there, some of the songs that they're on
are different songs and they're typically on or like you know,
or I just want people to be surprised and I'm
working with this person for the first time type stuff,
So I think, like I want to just like give them,
give everybody that's been waiting for the project.
Speaker 2 (01:33):
And they've been waiting. Yeah, I feel like this has
been a long time coming out. We're going to talk
about the evolution of star Line. I mean, I did
see the video that you directed with Little Waynus. Yeah,
the trade with the nai Re sample. I love that song,
thank you man. Yeah, it's like it's cool.
Speaker 4 (01:48):
I think that song is like a really good maybe
not sonically like the songs sound different, but like in
terms of I think it's a good thesis statement for
the project.
Speaker 3 (01:58):
So you know, like the song outwardly or.
Speaker 4 (02:00):
Like on your first surface list, and it just sounds
like kind of like a weed song. It's fun you
get to hear the NDR re sample. You know, there's
like some like clever funny bars, but as you like
kind of strip away, you know, or I guess like
hone in on on the purpose of the song. It's
really in a lot of ways about the inequities or
unfairness in the cannabis industry, how it's become a commercialized thing,
(02:24):
but it's still people in prison for it. And it's
also like largely a song dedicated to my mom or
anybody else that's been you know at some point kind
of like otherwise that felt like a taboo because of weed,
Like you know, like we's made like a this made
a crazy rebrand in like the past twenty years, But
(02:45):
there was when I was in high school.
Speaker 1 (02:47):
We invent themselves.
Speaker 2 (02:48):
Let me tell you the rules around it would be
the same politicians and so against it want to lock
you up.
Speaker 1 (02:54):
Are the same ones that are like trying.
Speaker 3 (02:55):
To own med men.
Speaker 4 (02:57):
Yeah, and they own like some of these you know,
not name drip like drop brands. But I'm just saying,
like the whole way that people even go about in
terms of like the rich people having access to med
cards or to grow cards prior to like anybody else.
That's like really trying to start up a business off
of it. But also just like how we look at people,
(03:17):
Like when I was in high school, you know, like
fifteen years ago, I remember like coming into class melling
like we like freshman and sophomore year was like people a.
Speaker 3 (03:27):
Look at you like you are a murderers.
Speaker 4 (03:29):
Yeah, you know what I'm saying, And then sophomore in
junior year though, you know, just cushion orange juice changed.
Speaker 3 (03:36):
A lot of people's perception on it.
Speaker 4 (03:37):
And so it's like, over time, you see it become
more and more of just like a regular thing, but
even still within like it becoming more normalized, there's still
like a separate viewing of like how we think about
weed as like a funny like thing that people just
do or like as a joke in movies, versus how
they pair it with like hip hop culture or blackness,
(03:58):
and it's like still taboo. And so I kind of
wanted to make a song that like celebrated my mom
celebrated you.
Speaker 3 (04:04):
Know, people like people smoke weed, you know what I'm.
Speaker 2 (04:06):
Saying, like but like even if you think about stopping frisk, yeah, yeah,
but back then, you know, black people and black neighborhoods
get stopped in friss and go to jail for weed.
White people smoke weed just as much as black people do,
but they're not going to end up going to jail
for it and then having record that.
Speaker 4 (04:22):
Yeah, that follows them all one hundred percent. And I
think like hip hop is just like I heard, I
can't remember.
Speaker 3 (04:30):
Who it was.
Speaker 4 (04:30):
I think it was karas One was explaining, like hip
hop the origin of the word, you know, the hip
and the hop of it, Like the hop is the movement,
so it's like it's movement in terms of dancing, like
but also like culture in terms of what's you know,
relevant at that time, and then also like the literal movement,
like you know, we all part of the movement, even
though it's not the sixties no more, Like we're all
(04:52):
a part of society and we all have our opinions
and we all use our power whatever that is, your voice,
your hands, whatever, to push that shit for excuse me,
to push that forward.
Speaker 3 (05:03):
You could curry okay, okay, okay.
Speaker 4 (05:06):
But then on the side of like the hip like
he was explaining that means like you got to get
people hip to stuff, Like it's like intelligence that we
passing along every time that we wrap. And so whether
it's like we describing a block or we describing our
love life, where we're describing, you know, the money that
we got, or that we're trying to make, like we
were passing off intelligence every time. And so I think
(05:26):
with this whole album, I'm trying to make it or
or I made it fun to listen to, but also
something that you could like go back and layer through
and be like oh oh oh oh and learn something
and you know, or like reevaluate something just based off
of you know, how dense some of the lyrics.
Speaker 2 (05:47):
You know, I want to say one of the songs,
it's like that was Negro problem. And it's interesting because
I only got the album last night, so I haven't
had to been able to sit with it the way
that I wanted to. But I literally went to the
doctor yesterday and one the conversations around black women in
five grades and how black women have fibrads that are
three times greater percentage than white women do and so
(06:09):
and this can you talk about this Negro? I was
listening to that, and it literally was making me think
about my visit of like going to the doctor and
the things that we have to deal with in our
community that maybe doesn't get the studies that they deserve
to get the money put behind it because it affects
us like sickle cell and things like that.
Speaker 4 (06:27):
No facts, Yeah, that whole second verse and Negro problem
is kind of hyper focused on medical care and like
the difference in the medical care that we receive as
black folks versus versus other groups. And it's like widely
documented that doctors expect black men and women to have
(06:48):
a higher pain tolerance, that they don't necessarily take it
as seriously when there's something that patient believes is a
medical emergency. Like you could go down the list, like
in terms of transplants, Like there's so many things.
Speaker 3 (07:00):
And I think what I.
Speaker 1 (07:01):
Honed down healthcare Black maternal health care, That's what I.
Speaker 4 (07:03):
Really honed in on is like when it comes to
maternal health care and like you know, delivering children, Like
there's a lot of death, there's a lot of like
ignoring of medical emergencies. This is all document, there's not
like sometime I'm just making up, you know, what I'm saying,
and I think like we hear about it every once
in a while when like a study comes out, but
it's not really documented in music like that. And so
(07:25):
this song is called the Negro Problem. It's the title
is pulled from an old book.
Speaker 3 (07:31):
By Booker T.
Speaker 4 (07:32):
Washington that was describing some of the issues that black
America faced in terms of, uh it, trying to get
to upwards mobility. And so I mixed that book, which
you know has its errors, like so I don't want
anybody coming after me being like that book is blah
blah blah, but like it's a mixture of that. And
then this idea of intersectionality, which is that a lot
(07:53):
of the problems that we face can find like a
general like meeting point of like if like I could
picture somebody who's not black hearing this and being like, man,
we all got problems at the hospital, or like in
the first verse, I talk more about the criminal justice
system or just like the environment that black folks is
raised in, or our relationship to violence that then, you know,
(08:16):
keeps this cycle of violence going, whether it's towards us
or towards each other. And they might hear that and
be like, man, I got problems with the police too.
Speaker 3 (08:26):
I got problems. And that's kind of the point.
Speaker 4 (08:28):
That's the idea behind intersectionality, is like everything works on
this scale of like the broker you are, the blacker
you are, you know, the more otherwise you are, the
more different you are, you get these issues of society
more up close and personal the further you go towards
this intersection and the idea of the hook, it says,
my problem is your problem.
Speaker 3 (08:50):
Your problems my problem.
Speaker 4 (08:51):
And basically it's saying like this negro problem is like
the magnified, you know, most in depth version of issue
that you could see, and that if you fix it
within that, like where the real issue is in medicare,
or the real issue is in criminal justice, the real
issue is wherever, then it'll reverberate and have positive effects
on everybody else that's money is fucked up, or you know,
(09:14):
I can't find work, can't get proper medical attention, you
can't get whatever.
Speaker 2 (09:18):
Man, Listen, I was it just so happened that song
did kind of like resonate with me at that moment
in too, just because like I said, I was saying
on the radio, I was like dang, I ain't been
to the doctor in over two years to get like
a regular checkup. And we had a whole conversation about
it here, and then somebody called in. This guy said
he ain't been in nineteen years, and he was like,
(09:39):
you know, I don't.
Speaker 1 (09:40):
Need to go.
Speaker 2 (09:40):
He was like, but I did pass out the other
day while I was outside smoking a cigarette. But I
just had low blood sugar. But I'm not going to
the doctor. I'm just going to pray.
Speaker 3 (09:47):
That's how the first the first part of that verse.
Speaker 4 (09:49):
It also explains like that we have a weird relationship
because of our history or understanding of our families or friends'
histories with the doctor that we get the experimental drugs
that people, you know, put us through tests without letting
us know whether it's the Tuxigee experiment, whether it's now
I'm about to forget her name. She just celebrated they
(10:13):
took her womb or parts of her womb out. What
is her name, Jesus Christ, I can't remember. But I've
just got so many things going on to day.
Speaker 1 (10:21):
But I've seen you already working all day today.
Speaker 3 (10:23):
No, yeah, I'm.
Speaker 4 (10:24):
Running around, but like, yeah, there's this you know, weird
relationship that we have to the doctor, and especially black men,
we don't be wanting to go get certain checkups or
you know, stay in the hospital or ghosts get seen
or call an ambulance. One because of the financial part
of it, which is crazy, but then also just because
we have this innate fear that we could go in
(10:46):
there and come out worse than we went.
Speaker 2 (10:47):
Now you'd be like nothing was bromding me, and then
I went to the doctor and now all of a sudden,
I'm dying.
Speaker 4 (10:51):
I think it's a mixture though, of the two things,
of like there is a certain paranoia that might not
even necessarily be there you might need to go to
the doctor and see you know what I'm saying. But
then on the side, like everything has a little bit
of truth to it, so you know, you could be
pulling from your own experience going to the doctor, or
what happened when your dad went to the doctor, or
you know, you put granny in the hospital and then
(11:12):
they messed up something like a lot of that's a
lot of people's stories.
Speaker 3 (11:15):
That's how that verse ends.
Speaker 1 (11:16):
They said, that's not my grandfather.
Speaker 2 (11:17):
He was when the hospital he was having some issue
with his hearing and then he like fell in the
hospital and died, and I was like, well, dang he
You know, it was devastating because we didn't expect all
of that to happen.
Speaker 3 (11:29):
Nanny lou Hammer, thank you, thank lou Hammer.
Speaker 4 (11:32):
Like that was that's that's a story of them, you know,
stealing her body for medical research and stem cell research.
Speaker 1 (11:39):
And we always hear about these organs being st man.
Speaker 4 (11:43):
All that stuff is real listing, and I don't think
it only happens to black people, but it probably happens
to black people on a higher scale. And so that's
like the idea of it is like we have these issues,
but we won't address them. And even on that ending
verse of that second verse where I talk more about
like mat cool stuff, the last lines is malpractice we
(12:05):
still can't call, or malpractice we still can't file them.
All know the number, but we just won't dial them.
It's talking about like my cousin de Kwan passed away
I think four years ago to the day yesterday, and
he was I think he had a headache or something small.
He went to one of the worst hospitals in Chicago.
I'm not going I don't want to get into it
(12:26):
with them, But I'm just saying he went there and
I think he got a shot for something because he
had had a seizure. But he passed away in the
hospital that same day.
Speaker 3 (12:35):
Super young.
Speaker 4 (12:35):
I think he was in his early twenties, maybe twenty
one or twenty years old.
Speaker 3 (12:41):
But then it was just like, it's kind of.
Speaker 4 (12:43):
What it is in a lot of cases, like we
go through something where they give your mom or your
aunt or whoever the wrong medication, they have an allergic reaction,
they have some sort of like oregan failure, and then
it's just kind of like their hands are in the air,
and then we don't be knowing all the things to
do or having the money in place to go actually
file a malpractice lawsuit. So it's just kind of like
(13:03):
explaining these issues that like some people don't see as
real issues or say, oh, yeah, that's just a Negro problem,
and kind of like put them to the forefront and
saying like, no, like, if y'all solve this problem, do
you know that that would positively affect your daughters and
your granny and your whoever.
Speaker 1 (13:19):
You know.
Speaker 2 (13:20):
This album has been a long time in the making,
and when we talk about the song like a Tree.
I saw that process as like when you first were
working on it, and you do let people in a
lot on the process of like your writing, so they
know what's going on. So talk to me about it,
because it's been years, like how long sixty years?
Speaker 3 (13:37):
Six years?
Speaker 2 (13:38):
Yeah, since the last protect It's not crazy, it is crazy.
Did you even anticipate it was going to take you?
Speaker 3 (13:44):
Not at all.
Speaker 4 (13:44):
I would have had it out way sooner if I could,
I think it. I'm glad for the journey that it
took because I got so much knowledge and so many friends,
made so many communities, Like I spent a lot of
time in Ghana, like always got to shout out Ghana,
because that brought me a lot of the you know,
understanding of this global community of blackness. How we all
(14:07):
been you know, connected, traveling, creating movements and community internationally
for years and in years and years and years and years.
Speaker 1 (14:17):
Uh.
Speaker 4 (14:17):
And so going to Ghana, going to the art fairs
and meeting some of the top artists, like our top
contemporary contemporary artists and getting to like be in real
community with them definitely informed the album a lot. And
I think also, like you know, my personal life changed
over and over and over and over again, and I
think like in that time, it's funny, like there's some
(14:40):
things that are like happen in the news, like you know,
just where we are as a country and how we
stand it as a part of like the international community.
That I'll have a song that I'm working on and
then I feel like it's done, and then something happens
and I'll be like, man, I knew I was supposed
to talk about that. Now, I definitely got to talk
(15:00):
about that. And I'll go back and like add something
or change something to pull something. And I think like
music is similar to a painting in that you know
it's never done till it's done, and really only the
artist knows when it's done, and even they sometimes don't
necessarily know until you look up one day like, oh,
(15:21):
this piece has always been beautiful, just like this. I
thought it was missing something or I was afraid to
release it, or whatever happens, like this has to come out.
And I think like with this project, everything kind of
fell into place in the perfect time. Like I'm working
again with Brandon bro that's my that's my dog.
Speaker 3 (15:40):
He did the artwork.
Speaker 4 (15:42):
Yeah, So I've been working with Brandon since I was
twenty or nineteen years old. He's like a big brother
to me. He ran this really successful clothing company out
of Chicago call Ends. Well he's obviously like a international painter.
But we did the first three projects like when we
were both though he's older than me, like you know,
younger in our careers, and then like to come back
(16:06):
now all these years later and do you know another
project and be really really intentional about it the same
way that we were with color book You No color
book astrap was his idea, right, So he took a
picture of me at this random bar.
Speaker 3 (16:19):
Like with a fan and it.
Speaker 2 (16:20):
Definitely worked out. Yeah, and before you came in here,
I produced it.
Speaker 3 (16:23):
Dan.
Speaker 2 (16:23):
He went to the anniversary performance, he said one of
the has he ever been to?
Speaker 3 (16:28):
Y thank you and you're not lying? Right?
Speaker 1 (16:30):
Yeah, that's it.
Speaker 3 (16:31):
You got the vinyl drum? Yeah. No. I feel like
like that's one thing that I can do is I
could put on a show.
Speaker 1 (16:38):
Yeah.
Speaker 4 (16:39):
And I love songwriting, I love recording, I love all
the things dealing with music. But my favorite thing to
do is be on a stage singing my works. So
I feel like with Brandon being back with me, and
being able to sit in the studio and go through
songs and really like what Brandon really focuses on, Like
he focuses on portraiture, so he's really like intense with
the shadowing, Like what expression he wants me to have
(17:02):
on the cover arts. Except for color Book, that was
my idea to be looking at my daughter to get
the smile and stuff. But for this one and all
the other ones, he's like, he's like, we need you.
You need to be looking up or you need to
be looking inside, you need to have your body position
like this, and then he spends a long time thinking
about what the setting of the painting is. So for
this one he picked I always I don't know how
(17:22):
to pronounce it, but Aurora borealis, which I'm gonna just
say the easier way to say, at the northern lights.
And it's like this this crazy like cosmic thing that
happens that you can only see like every like once
in a while, every every three monte.
Speaker 3 (17:37):
It's like it's a it's a thing. Oh my fucking.
Speaker 4 (17:42):
I know, my hair is getting long, but there's this
thing where like they allow where people will travel to
go get this to get this vision of this this
beautiful thing that happens cosmically and you're standing over the
water and uh. And in two parts he was like, well, one,
you know the space that you go see it, you're
right on the waters. And a big part of this
(18:05):
album is is pulling from the Black Star Line, which
was that shipping and trading company that Marcus Garvey started
in the early nineteen twenties that you know, gave black
people the opportunity, yeah, to trade, to build community.
Speaker 3 (18:21):
And also, like you know, a lot of times.
Speaker 4 (18:22):
When we think about black people and ships, we think
of slave ships, like we think of like, you know,
we don't necessarily think of the idea of like an
all black crew, you know, determining their own destination, creating
community and all that stuff. And so when I learned
about that, I thought, I felt that was so empowering.
I'm I do believe in, you know, black entrepreneurship, not
necessarily black capitalism. They're two different things to me, But
(18:44):
like I believe in, like, you know, black people self
determining and creating business and creating networks and also being
able to chart their own path metaphorically and physically. So
like I really aligned with this idea of like a
shit and the waters and all these things as motifs,
and so he was like, I love this place because
you you know, you'll be in nature and in front
(19:07):
of the waters. And then also that northern lights will
work as like in a way as like a callback
to the North Star and the Black Star and like
and just like having our you know, having the stars
having our back.
Speaker 3 (19:19):
And I probably explained it wrong. When Brandon sees this,
he's gonna correct me.
Speaker 2 (19:22):
But like, you know, it's interesting because you said you
have been through a lot of personal changes, so it's
nice to have something familiar that you're comfortable with too
as you're working, as you're putting out something new.
Speaker 4 (19:33):
I think Brandon is like somebody that's been with me
through all of the changes in my life.
Speaker 3 (19:38):
And you know, like.
Speaker 4 (19:41):
Chicago's so small that we all like kind of grew
up together, so and we're all still for the most part,
really really close. So having to have him be by
my side in this in this time, and also having
him be like my introduction to the arts, like I
tell people all the time, like when I first put
out ten Day and asked her rap, so many people
(20:03):
would come to me and tell me like I had
never heard your music before, I never heard anything from you.
I clicked on your shit because I've seen that artwork and.
Speaker 2 (20:09):
The merchan is amazing. That goes and like it kind
of falls into everything.
Speaker 3 (20:12):
It's all cross connected. And I think he.
Speaker 4 (20:16):
As like a as a person that used to fail
at art class every year and almost got kicked out
of school for like.
Speaker 3 (20:22):
A lie that my art teacher told on me in
a sophomore year. I've always had a weird separation from art.
It was crazy. I'm not gonna show what was the lie. Bro.
Speaker 4 (20:30):
Something happened when she was like she was like, uh,
something happened when she was telling everybody to shut up
and I was still talking, and she says something along
the lines of like get out the class, and I
was like, I bet, and I grabbed my shit and
walked out. And then she like told the administration that
I had like threatened her and that I've like made
(20:51):
up like I physically charged her some type of crazy shit.
Speaker 3 (20:53):
I was on. I was blessed that there was thirty
witnesses in the room that was like this.
Speaker 4 (20:58):
It was crazy also because it's like I hated going
to school, like I used to not go to school,
Like I went to school downtown in Chicago. I'm from
seventy Nights, So i would take the train all the
way to where all the big buildings are and everything,
and then I'd have to look at this school that
looks like a jail, and then all around it is
these big beautiful buildings and like dating busters and you
know what I'm saying. Places I could just kick it
(21:18):
Panera bread and I would just not go to school.
So around that time, when I started going back to school,
I had gotten placed in this arts class that I
think was like the freshman and sophomore's art class because
I missed that credit and stuff, and so I used
to just hate being in there and used to hate
having to draw, like I'm not good at drawing.
Speaker 3 (21:35):
So when that stuff happened and she kicked me out,
like it.
Speaker 4 (21:37):
Almost ruined my whole, like like I almost got kicked
out of school, all.
Speaker 3 (21:41):
Types of stuff.
Speaker 1 (21:41):
Why would a teacher, Dude, that's wild to me.
Speaker 3 (21:43):
Me and my teachers was never cool, like I have
like maybe four teachers I could think of from kindergarten through.
Speaker 4 (21:50):
You know, I was always cool, like the dean of
discipline with like certain people that were like in the
administration that like, you know, at first they would get
tired of seeing me, but then they hear what I
got in trouble for, they were like, Oh, you're funny
as hell, Like you got in trouble for doing what for.
Speaker 2 (22:02):
That's interesting because I think I feel like education has
been so important to you, even as far as with
your nonprofits, but it also does show you that the
right teachers and the right staff and can make it
a huge difference.
Speaker 3 (22:15):
No, one hundred percent.
Speaker 4 (22:16):
I feel like what I learned was like when I
was in school, I thought differently than a lot of
my friends, which was one of the main things. Was
like I never really looked at a teacher as a
teacher like I did in the very beginning, and by
the time I got to high school, I was just like, Oh,
these are just adults that just come here to watch
us because our parents got to go to work and
because they need some money. So they don't care about
(22:38):
making sure that I learned the concepts. They don't care
about like nothing I got going on. Really, they just
want they're waiting for the next Belding so they could
get the next group of kids in here, So they're
not gonna care that I don't come to class. They're
not gonna care that I don't understand the concepts. They're
not gonna care about really nothing other than maybe trying
to teach me a lesson because they going through a
divorce or like tired of seeing these kids every day
or whatever. And so I use still not get along
(23:01):
with my teachers at all. And then I feel like
once I graduated and I started realizing like some of
the issues with youth and some of the problems, I'm like, well,
one of the main issues is just that these classes
are overpopulated and these teachers are underpaid. So you know,
I can't fault them for being human beings. And I
wish there was a different structure in which we, you know,
allow kids to connect with adults. Like back in the
(23:24):
back in the back of the day, we were just
talking about this in the car, Like the great philosophers
and stuff that we know are all came up under
like a system of like learning with one person, like
they learned with their parents and then they would go
study under you know, whoever was the great philosopher, and
then they would in turn become their own come up
with their own doctrine, and we still.
Speaker 3 (23:43):
Teach that philosophy years and years later.
Speaker 4 (23:45):
And I say all that to say, like, the less
the less kids it is to teach at a time,
the better you know.
Speaker 1 (23:52):
That's a fact.
Speaker 2 (23:53):
Some kids need special attention too, Clearly.
Speaker 4 (23:58):
I was a special at like from fourth grade through
graduating high school. I had an IEP, which is an
individualized education plan. I had like certain classes that I
didn't go to that to go sit in a room
with like seven kids like And what I'll say is
that like those sort of diagnosies and labels on children
(24:19):
definitely mess with they with their sense of self and confidence.
And I used to always feel like I was not
smart when I was a kid, And obviously I am smart,
and did y'all know I was in specially before now?
Did y'all even get a hint of a feeling that, right?
Speaker 2 (24:36):
I just special attention because I do sometimes because sometimes
kids that are super creative need that, right. And it's
also not easy when the other kids and making fun
of you facts.
Speaker 4 (24:46):
Like I think that's the hardest thing is feeling separated
from everybody else.
Speaker 2 (24:51):
We had kids that used to fix cars and they
would just be like in this other I wish.
Speaker 4 (24:55):
I was at a trade school and I would know
how to do something other than ra I think, like
I rap about it a lot on the album actually,
and like a couple of different songs on the intro,
in the outro, I kind of touch on it. But like,
I think that when I did graduate and I realized
some of those things, it made me be like, well,
first of all, I started working with kids way sooner.
(25:16):
So I was in a lot of after school programs
that was for creative stuff. They didn't know I was
in a special class, you know what I'm saying, So
they treated me like I was a genius because of
my raps.
Speaker 3 (25:25):
And when.
Speaker 4 (25:28):
And when our mentor died, we all shared a mentor,
me Vic Mensa, Nico Sigaal no name, Lucky, Mick Jenkins,
Saba Like there's a bunch of people in his say yeah,
we were all in this after school program together in
Chicago that was led by this like this really cool
dude a long Dress's name was brother Mike. When he
passed away, I think we was all probably like twenty.
(25:50):
It was like shortly after Astrap came out. I think
maybe a little bit later actually tripping this is like
twenty fourteen, twenty fifteen, we all came together and we're like,
we're going to continue his program and call it open
mic and that kind of like that reconnecting with the
kids in that way, having like this this thing that
was staffed by a bunch of like you know, versioning
or you could call it like already you know, famous rappers,
(26:13):
and having all these kids, you know that we were
like guiding and giving a platform like that really was
the beginning of my uh social works and nonprofit work.
And also like made me be like, oh, like these
kids is talented, they just need somewhere to go. They
just need someone be and and that kind of like
pushed me into being like, oh, I want to be
a mentor like brother Mike or like some of the
(26:34):
people that help me.
Speaker 3 (26:35):
I want to be spaces for the kids.
Speaker 2 (26:38):
Yeah.
Speaker 4 (26:38):
No, it was it was like no, And you got
to know, like that's what I think it's so funny
about this album is like I'm glad that I took
time to like keep parsing out stuff to my to
my fans and supporters that like is more in the
direction of the type of stuff I was writing when
I was a kid, and what we were, you know,
a lot more radical then then, you know what, I
(27:00):
think some of my fans would have been used to
if they had only heard coloring Book or only her
ass rap, only her ten day. But like when we
were kids, like we was like we was like deep poet,
activist kind of kids, like all of us, even the
ones that like, you know, I include myself, Like all
of my music isn't so you know, isn't super militant
(27:20):
like our poetry and our raps were when we were
in high school. And I feel like anybody could imagine
like we were our exact same selves, just shrunken down
with no facial hair and like screaming you know what
I'm saying about political action and you know, and stuff
like that. And I just think it's whenever I think
about it, it's just so funny to me, Like we
(27:42):
were literally kids, but we knew who we wanted to
be and what we wanted to see in the world
at a really young age.
Speaker 1 (27:47):
You know.
Speaker 2 (27:48):
One of the standout tracks is no more Old Men
on This And I definitely as we're talking about all
of this and thinking about, like, you know, people that
have helped you and wanted to continue this program and
help the next generation. And can you talk about no
More Old Men and what was going on when you
were writing that song.
Speaker 4 (28:04):
Yeah, so No More on Men. I've told people a
few times at this point. For a long time, it's
my favorite record on the album. It's a collaboration between
me and Jamila Woods, who I've worked with a bunch
of times. She did Sunday Candy with me, and she
did Blessings with me. She actually was in another after
school program that most of us were in too, and
she's i think two or three years older than me,
so she.
Speaker 3 (28:23):
Was kind of like a counselor.
Speaker 4 (28:24):
But like Jamila and I were in like have known
each other since we were kids. And when I made
this song, I really wanted to do something that I'll
tell you where it really comes from. So my cousin,
her name's Tanikia Carpenter. She's an amazing poet and a
(28:46):
million things, like she's just like an incredible person, but
she's a really really good poet and she had this
piece I think it was called The Day with No Grandfathers.
I'm probably butchering the title, but she basically wrote this
piece that was like, you know, because of how many
niggas get killed right after they have a kid. We're
up with from Chicago, from Chicago, how many people that
pass away before, like right after they have a kid,
(29:10):
and how many you know, old men uh end up
with health problems dying younger and younger. There's gonna be
a day in Chicago where there's no pop pause is
what we be calling them, Like there's no grandfathers.
Speaker 3 (29:21):
And the piece was just so deep.
Speaker 4 (29:23):
This is years ago now that I was like, man, like,
I love this concept, and so I kind of did
the same thing the first versus really about the importance
of this space that I used to occupy when I'll
go to the barbershop with my dad, Like there's this
there's this you know, kind of like boyhood father and
(29:45):
son thing that has to happen, or even your mom
dropping you or your cousin's taking you where you go
to the barbershop and it's all men, and it's like,
you learn so many lessons. You learn about women, you
learn about sports, you learn about you know, entrepreneurship of
niggas that get to come in and bootleg stuff.
Speaker 3 (30:02):
You learn about you know, the colloquial barbershop talk.
Speaker 4 (30:06):
You get that really as a kid, and there's like
a very specific cultural importance to that that, you know,
we lose as as you have less and less old
men in the barbershop, less and less fathers in the barbershop.
And so that whole verse like kind of tells the
story of mister Harper who was the owner of the
barbershop on eighty seventh when I was a kid, mister Darden,
(30:29):
who was one of my neighbors growing up, all the
little things that I would see, and then it kind
of just like reflects on like, man, a lot of
that shit is gone. The second verse talks more so
about like my relationship to my father and how I
watched him interact with his homies growing up. My dad
and I are super super close, which is not always
the story in hip hop. You get it more now,
like Kendrick talking about his relationship with his father. The
(30:51):
clips obviously talking about the relationship with their parents, but
it's a story you didn't always used to see and rap.
And so I talk a little bit about me and
my dad, our closeness, Like I got a line that
I love so much. It starts off, I say, I
danced with my father, Luther Vander Ross. We played catch
so much I turned a Randy Moss Like little lines
(31:14):
like that, like I love so much because they give
a beautiful and clever and understandable description of the relationship
with me and my dad. And it also, like you know,
it uses hyperboles, so there's a lot of things I
like about that, but it goes into further and further,
like describing how my dad and his friends, his friends
relationships was, and how even his friends romantic relationships.
Speaker 3 (31:38):
With they wives was.
Speaker 4 (31:39):
And it just kind of talks from again a cultural
standpoint of like understanding, you know, why they make certain decisions,
why people get divorced, but net or I'm sorry, why
people split up and never get divorced and like just
live in two separate rooms on two different.
Speaker 3 (31:51):
Parts of the house. Like that's like a me growing up.
Speaker 2 (31:54):
That was something that I used to see all the time,
you know, And I do want to say, like even
for you, I know that was a hard decision for
you to get divorced, and you know, we watched that
struggle like break up, get back together, you know, and
you briefly reference it on the first song and you
talk about divorce, child support, all of that, and so
I know, sometimes people look at you and they're like, Okay,
(32:16):
Chance the Rapper. Sometimes it feels like, man, you know,
my parents stayed married for a long time. They got
divorced after I graduated from college, and they still live together. Yeah, no,
that's all that thing nobody, But I feel like I
wish they would have made that decision to like be
happy in life and move on.
Speaker 3 (32:32):
Yeah. I think like.
Speaker 4 (32:35):
I don't know the answers at all. I don't know
what's right or what's wrong. I do know that like
growing up, I used to see and.
Speaker 3 (32:42):
I didn't understand it.
Speaker 4 (32:42):
When I was a kid, I'm like, damn, why my
uncle lived like sleep in the basement, Like why is my.
Speaker 1 (32:47):
Auntie's room on the topic, it's still normal.
Speaker 4 (32:49):
Yeah, it just felt like that's just how they live.
And then you understand like they at some point made
a decision that that's how they wanted to live. But
they also decided that they didn't want to, you know,
go through court or have their kids living in separate
houses or you know, feel like they were alone in
any way.
Speaker 3 (33:07):
That's what I reference in the verse.
Speaker 4 (33:10):
There's a line I'm gonna butcher, but something where I say,
you know, sleeping separate sleep in separate rooms for years
when their hearts broke, so at least somebody there if
they start to stroke, and it's like, you know, you
split up and you spend all this time with somebody
(33:31):
and now you alone, and who's going to be there
to like be your partner or help you when you
get sick or if anything happens to you. And I
think that's the decision that a lot of our you know,
parents and aunts and uncles and everybody made to like
to keep some sort of like family house or some
sort of family dynamic. Again, not saying that that's the
(33:51):
right way to do it, and not vilifying it because
that's what I grew up knowing for a long time.
But then also like I agree totally that people should
go and you know, in the pursuit of happiness and
in the pursuit of love and making decisions that are
going to be best for their hearts, and so like, again, yeah,
(34:11):
I don't have all the answers, but I think even
in the context of the intro, it's more like, you know,
I mention it, but I'm really mentioning it on like
the like decision making part of like tell me, now,
tell me, how can you now afford to file divorce?
Speaker 3 (34:29):
The child support, the back door, take the trial to
coord the back door and the trial. A chord is not.
Speaker 1 (34:35):
About my about my speneral.
Speaker 4 (34:37):
It's more like other things that's going on in my
life I really don't talk about because I am you know,
like I have like all these things to worry about,
so I like try not to, like.
Speaker 3 (34:48):
I guess cloud the information that I'm putting.
Speaker 2 (34:51):
Sometimes you don't want to say something it gets misinterpreted
or it becomes the headline.
Speaker 1 (34:54):
But you have an album coming out on Friday.
Speaker 4 (34:57):
When I got an album coming out on Friday called
Starline and my tour.
Speaker 3 (35:01):
That I'm so excited.
Speaker 4 (35:02):
That's like my favorite thing in the world is performing,
like you were saying, like those assa rap shows, Like
I cannot wait to perform this material and to like
put on a show with it for people. And it's
been so long since I've been on stage that I
really just kind of need, you know, I need that
personal connection. I love being on stage and feeding off
of the fans and singing the songs together and like
(35:24):
altering show mixes of them, and like all of that
stuff is like that's one of my real joys.
Speaker 1 (35:29):
You seem like you genuinely like people.
Speaker 3 (35:31):
I love people, like you know.
Speaker 2 (35:32):
How some people do it and it's like just because
it but I feel that you really want to shout
each missing out and like be a good person, you know,
Like it's crazy, it is sometimes.
Speaker 4 (35:44):
I mean I think I touch on that on the
outro of the album, like there's certain people that I think,
especially the ones that grow up child stars, and I'm
not the definition of a child star. I kind of
got I don't even know when I got on, but
I feel like I didn't start and start traveling on
a world too until I was nineteen. But that's still
really young. And you get access to this fame and
(36:07):
money and certain like adulation that you think is the
same thing as love at a young age, and it
kind of like alters your brain chemistry to the point
that you can't even like you know, you can't tell
the difference between the two things. And so like, I
(36:29):
love people because since I was a kid, I was
doing open mics and like talent shows and doing that
whole circuit of like I love to get a mic
in my hand and say what I want to say
and be get collaps and stuff like that, and I
think that remains with me. That's just a certain type
of person. I think a lot of people that came
up in my industry that got on when they were
in their teens or were traveling or supporting their family
(36:50):
in that way, like they got that same.
Speaker 3 (36:53):
Vibe of like, oh yeah, I love people. I want
people to love me. You know what I mean.
Speaker 1 (36:58):
Listen, I could talk to you all day, but they
tell me we gotta wrap up because.
Speaker 3 (37:00):
I know, yeah, we gotta run over seat butt.
Speaker 2 (37:03):
But don't run out yet. Let me just okay, So
make sure y'all get tickets to the show. The album
is star Line finally is here. So I just want
to take congratulations to you. I love get a chance
to chat it up as well, even off the mic,
like when I run be kicking it.
Speaker 4 (37:21):
Yeah, tell everybody that you're listening, that you really that
we really be seeing each other, Like I've really.
Speaker 2 (37:26):
Seen him in Atlanta, sat down, had some shots called
my flight drunk as hell, ran into him at the
Airbnb event. Always a good time and always in. You're
always in good spirits no matter what's going on. And
I do want to say that I took up for
you when you were in Jamaica dancing. I was like,
that's how people dance, That's what Carnival is all about.
And anybody who's ever been knows that.
Speaker 3 (37:47):
And you always have my back.
Speaker 4 (37:49):
But every time I've ever come in with you, you always
are like, what about bar?
Speaker 3 (37:53):
About a bar? What about yourself directed thing? You have
like real questions, but you have real questions for me,
and you really like I feel the love and like
I'm excited to be you know.
Speaker 2 (38:03):
Now, I appreciate how real you. I was in Chicago
in the park and I see Chance by himself.
Speaker 1 (38:08):
He just dropped his daughter off to school. Oh yeah,
leaving the park. I was like, is that a chance
of rapper across the park.
Speaker 3 (38:15):
I'm a regular nigga. I'll be walking around Chicago. I'm
also not sweet, but I'll be just chilling. You know
what I'm saying, Like, I just be chilling. I just
be killing.
Speaker 2 (38:22):
But I appreciate you and congratulations on everything. And I
can't wait to have you on lip service.
Speaker 4 (38:26):
I was gonna say we're on lip service next, get
in your mix.
Speaker 1 (38:29):
You know what I'm saying.
Speaker 2 (38:29):
Once I get to really live with this album and
go through it all, but congratulations, thank you.
Speaker 3 (38:35):
I appreciate chance of Love. I remember
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