BONUS #4 THE AFTER PARTY: VOICES OF INFLUENCE: Hip-Hop Legacy - Beacon of Change, Breaking Barriers, Dynamic Wordsmiths, and World Impact with A.J. Throwback from CYP eps 30 - Confident You NETWORK with Marion Swingler

Episode Transcript
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Speaker 1 (00:00):
All right, so you have officially entered the
after party.
Listen, this is the after partyto episode 30.
50th anniversary celebration ofhip hop.
Listen, all from scratch.
That is exactly what took place.

(00:20):
Like I can't even believe.
That that's what we're saying.
And it's about hip hop, andthat's what it's all about.
That's what it's all about.
That's what it's all about.

Speaker 2 (00:28):
So that's your son yeah, it's like bruh bruh, come
on the moment, the moment, themoment.
He even thinks somebody talkingabout him.
He ready, he can feel it like,like, you need me Like, nah, nah
, nah, nah, nah, I'm good, notthis time.

Speaker 1 (00:51):
Not this time, that is too funny.
But just to think that hip hopstarted literally from scratch.
It's like baking something,putting the ingredients into
something.
Yes, it started from scratch.

Speaker 2 (01:05):
That's right.
That's right, yeah.
And the interesting thing aboutit is that a lot of times, it's
easy to say that it started,like creating something out of
nothing, because that's what weoften, as black people, do.
You know what I'm saying.
We get the least and make itthe most.
Whether you're talking soulfood, whether you're talking um

(01:29):
fashion, whether you're talkingwhatever it might be like,
there's so many different areas.
Whether you're talking um eventhe way that we built up our
communities, when you thinkabout the black wall streets,
when you think about the blackbroadways here in DC, like all
of these different movements,harlem, you know all of these
different movements where, asbecause we have been rejected or

(01:51):
because we haven't been allowedto be in certain spaces, we
have to take what we're actuallygiven and make the most out of
it, and sometimes it comes fromelements that already exist and
we just put our flavor on it.
Once again, you know thinkingabout Kool herc, going back to
him and what he was playingthere there has to be a shout

(02:13):
out and amish pay to james brown, because in so many different
phases of hip-hop whether you'retalking about the very
beginning of hip whether you'retalking new Jack swing, which
was, I mean, largely based offof his break beats, you know, in
his songs, like James Brown is,I mean, so much a part of the

(02:37):
foundation of what hip hop is,you know, but, like, those are
some of the elements that we hadto take from in order to create
something that made sense to us.
You know now, granted, you know, but like, those are some of
the elements that we had to takefrom in order to create
something that made sense to us.
You know.
Now, granted, you know, I'msaying like I came along, I'm
born, like, six years after hiphop starts.
So, like, hip hop has beenliterally around my entire life

(03:00):
and I grow up in this cultureand I see all of these different
things, all of the progressionsand all of the things that
happen, some for the better,some not so great, but when it

(03:22):
comes down to it, when it madethe most of it and made it
something that made sense to us,made sense to our generations,
our specific cities, becauseevery city does hip-hop
differently.
You know what I'm saying LAdidn't do hip-hop like New York
did it.
Chicago didn't do it like LA,or New York, atlanta, different

(03:44):
Houston different, miamidifferent, miami different, new
Orleans different, dc different.
A lot, a lot.
This is the interesting thingand a lot of times and there's a
lot of different layers to whatI'm about to say.
But the whole thing with a lotof DC people back in the day

(04:06):
kind of sort of being againsthip hop because they look at
they looked at it as that NewYork Bama stuff.
But I always look back on go goand I'm like, but y'all do
realize that go go basically iship hop in a lot of ways.
To one of the biggestsimilarities when I was really
thinking about this was the factthat go-go tapes and those

(04:32):
bootleg hip-hop tapes from thosefrom those parties, from those
battles they weren't going inthe studio and recording,
recording albums.
You know I'm saying it was likeyou, it was one of those.
You had to be there or you haveto have the tape from that
particular show to reallycapture the essence, and even
then it doesn't capture theessence of actually being there

(04:55):
at that show.
Hip-hop and gogo has so muchmore in common than people like
at that particular time, reallywanted to admit.
You know what I mean.
But it was because of theongoing kind of sort of feud
with like in the street culture.
The street culture was kind ofsort of driving the fact that

(05:19):
New York wasn't accepting DCanything.
Dc wasn't accepting New Yorkpretty much anything because of
the feud that was going on inthe streets.
You had people coming down fromNew York hustling here.
Dc people wasn't having it.
Next thing you know New York,dudes getting ran out the city.
It was shootouts going on, alltypes of stuff.

(05:40):
And so you have all of theseundercurrents affecting the
ability to kind of sort ofbridge that gap.
But like it's like.
But we do the same thing, itjust sounds different.
That's it, that's the onlydifference.
You know.
Like when I first played a gogotape for somebody in new york
and they was like you know whatin the world is this?
You know I'm saying like thissounds like noise.

(06:00):
I'm like you do realize thatthis is how the old heads looked
at hip hop when hip hop was inits raw form.
On these party tapes or thesebattle tapes, it's the same
reaction.
You're.
You're reacting to the musicthat helped to raise me, to help
to shape me, in the same waythat the old heads were reacting
to the music that was shapingthe youth at that time, reacting

(06:27):
to the music that was shapingthe youth at that time.
You know like you're doing thesame thing.
But I say all of that to saythat, even like when you look at
gogo, when you look at hip-hop,when you look at all of these
different art forms that arerelated to each other, it was,
it was something that wasnecessary for the youth to feel
like they had something of theirown that represented their
culture, that represented theirtime, that represented their
culture, that represented theirtime, that represented their

(06:48):
energy.
You know what I mean, becauseanother two genres that kind of
sort of were interrelated atthat time was hip hop and punk
rock.
Because it was like the edge,the energy, that almost like the
anger in a lot of ways.
You know the wild style thatboth genres had.
You had a lot of punk rockersdoing shows with hip hoppers.

(07:12):
You think about a place likethe Negril in New York.
On the same bill they couldhave, you know, a punk rock
group doing something withGrandmaster DXT you know what I
mean.
Or Grandmaster Kaz like, or, orgrandmaster flash like, like
they were.
They were rolling a lot oftimes in the same circles
because the energy was verysimilar, and I think that's the

(07:34):
beauty of hip-hop is that yourealize just how much it can
unite across different genres,different, um, different race,
racial backgrounds, differenteconomic backgrounds, a lot of
different things.
Because it's something about themusic it's hard to explain
sometimes, but it's like it'ssomething about hip-hop that

(07:55):
just speaks to people.
I think because it speaks topeople like it's a spoken art
form versus and it's not theknock singing, because singing
is absolutely fantastic.
R&b is always going to be myfirst love in terms of music but
like it's just something alittle bit different when it's
like spoken word, rhythmicallyit does make a difference,

(08:20):
spoken word rhythmically.

Speaker 1 (08:22):
Just saying that is poetry, that is definitely.
You know that is spoken wordrhythmically.
I want to go into you sayingthat hip-hop transforms.
It transforms lives.
Can you give me your top threepeople in hip-hop and go through

(08:47):
their lives and thetransformation, how they were,
where you think that fork in theworld changed for them and how
they are?

Speaker 2 (08:57):
so, um, one of the people I mentioned, actually,
two of the people I mentioned,um, one of them being, uh, I'll
start with Royster five nine, um, royster five nine, now,
granted, you know like he'sagain, he's Detroit, detroit,
they just produce a differentkind of rapper.
It's like, just go on and go.

(09:17):
They ready to battle whoever.
I mean, the guy was a part of agroup called slaughterhouse you
, you know what I'm saying.
So that should tell you hispedigree of MC, you know what
I'm saying.
Sort of searching for hisidentity as an artist and
probably as a man, to somebodywho started owning his voice, to

(09:47):
somebody who started realizingthe power behind the words that
he said like, yes, you could sitthere, and it's kind of like
something that I forget who saidthis, but it was like you had
to kind of sort of transitionfrom yes, yes, y'all to
something with a little bit moresubstance, something that
really like resonated withpeople, something that like

(10:08):
sticks to your ribs at the endof the day in terms of the
messaging, in terms of thecontent that you make.
And I feel like he went fromnow, you know it wasn't
necessarily yes, yes, y'all, butit was he kind of sort of
progressed from somewhat of abattle rapper to somebody who
could really make albums.

(10:29):
The Book of Ryan is.
It was a push between.
And when I mentioned the Bookof Ryan, I just made me think of
the third person I'm going tomention Um.
The book of rhyme was one of myfavorite albums of 2018, um,

(10:50):
because of how it just reallyjust showed his growth as a man,
the fact that he was able totalk about certain issues like
mental health.
He was able to talk aboutrelationships.
He was able to talk about hisrelationship with his father,
which was not a greatrelationship to my recollection,
but he was able to talk aboutthings very honestly and be very
transparent and Frank with hisemotions, but also look inwardly

(11:16):
in certain situations and seehow he may have contributed to
certain situations.
And that's not.
You don't always hear that inhip hop.
You don't always hear that frompeople period, when you can
look at yourself and say youknow what I contributed to this
or I contributed to this beingproblematic.

(11:36):
I'm working on myself, I'mprogressing and to really see
that.
It was just like to see thatthat could be possible with
somebody who is in hip-hop.
It was just a great thing tosee, you know.
I mean, um, so he would be onenipsey hustle.

(11:56):
The reason I mentioned nipseywas because I also thought about
I also thought about hisprogression musically as well.
When Nipsey first came out,nipsey was raw.
Nipsey was really raw.
I mean, like you know, like Iwant to say he rolled a 60, if

(12:17):
I'm not mistaken.
But like you talking about likea legit crip, like he ain't no
for play crip.
He a real crip like this.
This ain't no play, he ain't nofor play crip he a real crip.
He was probably still crippingat the time.
He made the bullets, ain't, gotno name series and a lot of the
stuff that he ended up makingas an artist, you know.

(12:37):
But the fact that just the factalone that one of his greatest
collaborators was YG, yg being ablood and you know bloods and
crips, you know what I'm saying,like you don't, you don't see
that.
You don't see that too often,especially in this newer state

(12:58):
of like bloods and crips,because it's different than you
know the old school bloods andcririps, and you know the reason
.
They even started what theystarted.
But mentioning Nipsey's gangaffiliation is very important
because I feel like as heprogressed, as he grew as an
artist, as he grew as a man, hestarted, you know, like he

(13:19):
became a family man.
So many different things werehappening in his life.
He started tapping into thespirit of why the Crips were
even created in the first place.
They were like a lot of whatthey were doing was to help the
community, was to build up thecommunity, and you saw that with
what he was doing in Crenshaw.
You know like that was veryimportant to him, like it was

(13:42):
very important to him to inspiregenerational wealth.
It was very important to him toinspire personal growth in a
lot of ways.
Because you take this raw, youngdude, you know, representing
Crenshaw, and then you see hisprogression by the time he puts
out Victory Lap progression.
By the time he puts out VictoryLap, it's like he still has the

(14:04):
street element but you see thathe's a lot more introspective
with how he is at thatparticular point of his life and
unfortunately, a year after heputs out that album, he's
tragically murdered.
But I think that's why hisdeath hurt so many people was
because it's like dang, he wasone of the good ones, or he was

(14:28):
one of the ones really turningaround his life and really
progressing and really growingand to see how hip hop changed
him and helped him to be incertain spaces that he probably
I won't say he never imagined hewould be in, cause I feel like
he always knew he would be in,because I feel like he always
knew he would be in those spaces.
But it's like how would it lookto be in specific spaces?

(14:51):
How would it look to help tobuild up your community?
How would it look to be kind ofsort of one of the faces for,
like Bitcoin and blockchain andlike all and cryptocurrency and
all of these different thingsthat weren't necessarily being
talked about in the popularspace at large?
Like nipsey was a huge part ofthat progression, and to see him

(15:12):
progressing that way was justeverybody, like who was anybody
was rooting for nipsey.
You know I'm saying if you waship to him, you know, because a
lot of people got hip after hedied.
I got hip two years before hedied, so I got to ride with him
like along that journey and seehis growth and it was just a
beautiful thing to witness.
Um, so your voice, nipsey.

(15:34):
And then, like I mentioned,jay-z, like one of the biggest
areas of seeing Jay-Z's growthis him and his relationship with
women, because he could have,you know and I'm gonna just keep
it all the way funky he couldhave taken the Dr Dre route and

(15:56):
never progressed in terms of howhe viewed women, how he viewed
women, how he treated women, hisperception of women.
But he ultimately goes fromkind of being very misogynistic
in his music because, look,jay-z's my favorite rapper, but
I hold my favorite rapper's feetto the fire, just like I hold

(16:18):
anybody else's feet to the firewhen it comes to stuff like that
.
I don't care if I fool with youas a rapper, I don't fool with
you as a rapper.
Jay-z was very problematic in alot of his relationships with
women and how he talked aboutwomen in music.
You go from a Big Pimpin' to a444 and it's a dramatic

(16:39):
difference going from you knowwhat I'm saying me, give my
heart to a woman never happened.
I'd be forever macking, like hegoes from that to being
completely transparent andaccountable.

Speaker 1 (16:56):
Yeah, on 444.

Speaker 2 (16:59):
Like to see that progression in him, to see him
just wanting to be better as aperson, not just as a
businessman, not just as arapper, because he had already
proven a lot of those things,even though, like the business
part, he had to grow into thatas well.
Because, you know, he had somemissteps even with that being an

(17:21):
executive.
He had some missteps when hewas president of Def Jam.
For a good little man, a lot ofpeople felt like he didn't do
enough for their you know,pushing their projects.
He had his people, he waspushing them, but he wasn't
pushing other people enough.
He had to take those L's andlearn how to be a better
executive when it came to their.
You know, once he did RocNation Him even getting into the

(18:05):
arena of sports, like you know.
Like that marriage of sportsand music cannot be overshadowed
when it comes to howinterconnected they are,
interrelated they are, becauseit's like you don't have people
getting hyped up for gameswithout music.
And now that hip-hop is thesixth most streamed genre of
music in the world, not in thenation in the world sixth most
streamed genre of music in theworld, the most streamed in the
united states, that's how youknow the power of hip hop.

(18:26):
He understood that and he'slike you know what I want to get
into this arena as well.
So he's growing as abusinessman.
He's growing with, you know,rock sport I mean rock, nation
sports.
He's growing in his personallife.
He's growing as a father.
To see Jay-Z be a father, youknow, like to know a lot of the
things that he probably did inhis life, in his first child as

(18:49):
a daughter.
That changes you.
When your first child is adaughter, that changes you.
And he still made mistakesalong the way.
But it was the intention of himwanting to become better as a
person, become better as a manand be more free, be more
liberated in his thought, sothat he couldn't be so easily

(19:11):
controlled.
Like a lot of artists are outhere, like a lot of men, black
men are out here, and it's notto say that Jay-Z is.
You know that he's perfect.
He's not perfect.
He's.
You know he's had a lot ofmissteps, even along the way of
his evolution.
But the fact that he ischoosing to evolve instead of
staying in the same space,because there's a lot of artists

(19:33):
, a lot of people who they stillrapping about the same stuff
they was rapping about at 20 intheir 50s, and it's like you
ain't evolved yet, you ain'tgrown yet, you ain't grown yet.
You know, because, unfortunately, in a lot of spaces I always
think about something 50 Centsaid a long time ago and it's
representative in his music now,because you really haven't

(19:55):
heard him do it.
He said something to the effectand I'm kind of paraphrasing,
but he said something to theeffect of I don't really get
vulnerable in my music because Ifeel like people will use that
against me.
And where I'm from, it's likewhen you're that vulnerable,
they'll use it as a weakness,and so I can't come across that

(20:17):
way, or I can't come off thatway.
And it's a lot of artists, it'sa lot of Black men, who feel
that way.
So when you see the Jay-Z's ofthe world, when you see the
Nipsey Hussles, when you see theRoyce, the Five Nines, and it's
a whole lot of other examplesout there on top of that, I mean
I could throw a Kendrick Lamarin the mix too.
You know what I'm saying thefact that he has progressed even

(20:38):
more and this is the stuff hekind of started his career off
with, and to see him progresseven more, to be even more
transparent than even he was inthe beginning.
Like this is the beauty of theevolution of hip-hop is that you
have artists who are willing toput themselves, you know, out
there like that, like neverbefore, and not just talk.

(21:00):
Not just talk about theproblems in the world or the
problems of the community, buttheir own problems in the sense
of how they fit into that scopethat is bigger than just them.
They fit into a puzzle, likewhatever you're struggling with
as a black man, whatever you'restruggling with as a black woman
, that fits into the puzzle ofthe bigger narrative.

(21:22):
And understanding that you fitinto that puzzle of the bigger
narrative.
When an artist understands that, that's, that's to me, when
they really become a hip hopartist.

Speaker 1 (21:34):
Hmm, I, there is a song that uh, jay-z has.
There's a lyric.
Uh, I can't see it coming downmy eyes, but I gotta make this
song cry.
Oh yeah, I see it coming downyour eyes, but I gotta make the
song cry that speaks so stronglyto what you're speaking of in

(22:00):
terms of the plight of a blackman, being honest with his
feelings, his emotions, hishurts, disappointments, his
guilt.

Speaker 2 (22:16):
Yep.

Speaker 1 (22:19):
It is, it is very.
You can see that clearly.

Speaker 2 (22:27):
Yeah, yeah.
And that's a great referencepoint because when you think
about it, song Cry sets up 444.
It sets up the whole albumbecause so much of what he talks
about on the song 444 and thenother songs on that album, like
you don't get 444 without SongCry, you don't get 444 without a

(22:49):
song like Soon, you'llUnderstand from um the Rock La
Familia album.
Um, you don't get songs likeyou don't get 444 without Meet
the Parents, without a meet theparents and even meet the
parents.
It shows kind of sort of hisrelationship to women because of

(23:11):
his relationship with hismother.
You know I'm saying and but youdon't get, say, the song he did
about his mother I forget whatthe name of the song is, but um,
you don't get that song withoutmeet the parents.
Like he jay-z has been settingup 444 his entire career and
this is the thing that I've beentrying to tell people like
anytime I have to basically be ajay-z defender.

(23:32):
And when it comes to the factthat this dude talks but y'all
not listening, like he's sayingmore than what you realize, he's
just not saying it in the wayyou want him to.
He's not talking about what youwant him to and that's the
thing for me when it comes tohip-hop, if you are going to
talk about something that'sunsavory or is taboo or is

(23:56):
something that okay, it's notthe super duper, most obvious
conscious song in the world,talk about it from a social
perspective, like put socialcommentary into it.
And that's something that Jay-Zhas always done his entire
career, even when he was talkingabout the streets.
He's talked about it his entirecareer, you know.

(24:17):
But going back to what youmentioned with Song Cry, like I
said, you know like Song Cryreally set up it allowed him to
be honest about himself, hisnonsense, how his nonsense
affected somebody.
He was in a relationship withhis mentality of oh, you know, I
know I was, I know the wayliving was whack.

(24:39):
She don't get it back like that.
It's's like it's like theaudacity of him to say that.
But how many of us men havesaid that, whether we've said it
out loud or whether we've saidit inwardly, you know like,
despite us out there doing ournonsense, it's like so you

(25:00):
expect this woman not to do herand you treating her like crap,
like the fact that Jay-Z putthat on wax and was willing to
like show kind of sort of bothsides of that it.
I feel like he does not getenough credit for how great that
song is.
You know, he does and he does,and that's the power of hip hop.

(25:24):
And that's the power of hip hop, and that's the power of hip
hop.

Speaker 1 (25:28):
Okay, so I want to touch on something that we
didn't mention, that we weregoing to touch on, but you said
the power of hip hop.
I want to talk about the powerof women in hip hop.

Speaker 2 (25:42):
Yes.

Speaker 1 (25:43):
I want your take.
I yield the floor to you.

Speaker 2 (25:46):
Yes, yes.
So what's interesting?
And I was, uh, I was watching,uh, netflix.
They have a documentary, uh,right now.
Um, that's recently came up onladies first, and so one of the
things that they talked aboutwas the fact that a woman was

(26:08):
behind the first big hip hoprecord, sylvia Robinson gang.
But it's like if you don't havethis black woman who hears this
music and understands itsappeal, understands its ability

(26:32):
to go worldwide or go beyond thestreets or go beyond the Bronx,
go on wherever, without thatwoman having that vision and,
granted again, controversybehind that song, we, you know,
that's another conversation foranother day.
But the fact that she was ableto see that it's like that
started with a black woman, whenyou had so many, when you think

(26:55):
about the battle that Imentioned with the cold crush,
cold crush brothers and I thinkit was a fantastic five you had
that battle.
Who was controlling the battlethat night?
The women.
When you heard, when they waslike, okay, who, you know who
killed the battle, you heard theladies.
The ladies were driving that.

(27:16):
You know.
I'm saying so women have been acontrolling mechanism in hip
hop, more so than people willadmit, beyond even getting to
the point where they, you know,you start getting women MCs
beyond the point where you had Bgirls, beyond the point where
you had women DJs, graffitiartists.

(27:38):
Um, women have been a fixturein hip hop from the beginning
and it's just like black womenhave had in our community, like
black women are.
They're more than the backboneof this culture, they are the
culture.
If you really think about theseguys going around dressing, the

(28:01):
way that they dress, who theytrying to impress with the way
they dressing, when you thinkabout the kind of cars these
guys try to drive around in, whoyou think they trying to
impress, because they know thewomen set the tone.
If you can't, if you can't, ifwhat you do doesn't speak to the
women, it'll go, but it'd bevery limited.

(28:24):
So that's just to that aspectof how women are influential in
hip-hop.
Then when you think about oneof the things they always talk
about is when utfo put outroxanne roxanne in 1984, roxanne
shantae, who is, I mean, areference point for pretty much

(28:45):
every woman MC that ever existed, like you really think about it
, she put out one of the, if notthe first, diss record.
She put out one of the firstdiss records and murdered them,
this teenage girl murderingthese grown dudes, and every

(29:08):
battle that she would get in,they would try to come for her
womanhood and every time shewould just cut them down to size
.
You know what I'm saying andthat's because it's like when
you think about a lot of thethings that a black woman has to
deal with versus what black menhave to deal with.
Yes, we're all black, but we asmen are still men.

(29:30):
We still have certainadvantages or we still have
certain things that we're ableto do that women aren't always
able to do, they're not alwaysallowed to do.
When you think about theeconomic disparities, when you
think about economicopportunities or just
opportunities period, women,black women, have to fight

(29:50):
harder than anybody else.
So it only makes sense that thisteenage girl from Queens is
murdering everybody in battles,murdering everybody.
It only makes sense.
It only makes sense thatsomebody like an mc light, who

(30:13):
she came out and basically said,like she was talking about
languages in school and how theygot french in school.
They got spanish in school.
She was like, why don't theyhave swahili in school?
You know, know what I mean.
Like this is the pedigree thatan MC Lyte comes from.
She's speaking up in certainareas that aren't being spoken
up for.
Mc Lyte is one of the greateststorytellers not for women

(30:39):
rappers period, she's one of thegreatest storytellers in hip
hop period.
When I think about a GeorgiePorgie, when I think about
Cappuccino, when I think aboutwas it a cram to understand you
like so many eyes of the soulstorytelling songs.

(31:08):
It's not even funny and shetells it so well.
You were intrigued the entiretime.
But that's because a lot oftimes women, especially Black
women, are forced to be more theobservers, because a lot of
times they're pushed to thebackground.
So, of course, because they'reforced to be in the background,
they're going to have more of apanoramic view when it comes to
how they, how they view things,how they see things, how they're

(31:29):
able to express those emotions.
And they, they are willing toput emotions in their songs.
They, they, they have noproblem with doing.
So, of course, the women of hiphop would kind of lead the way
in a lot of ways, and it's notalways heralded, it's not always
talked about.
Queen Latifah, same way.

(31:50):
Salt and Pepper, same way.
Salt and Pepper, salt andPepper.
They knew how to tell storiesin an entertaining way.
They all did, but Salt andPepper, they was just different.
I love me some Salt and Pepper,you know what I mean.
But like you have all of thesejust great women artists Monie
Love, same way, yo-yo, same way.

(32:15):
I mean there's countless otherwomen, just at that particular
time, that don't necessarily gettalked about Sister Soulja Now.
Granted, sister Soulja wasn'tnecessarily like a rapper,
rapper but it was almost likespoken word to like really hard
public enemy-esque beats, and Imean she was.
I mean she was talking thattalk, but it was still hip-hop.

(32:38):
It was still hip-hop.
It wasn't necessarily likerhythmic rapping, but the way
that she presented it, I mean itwas hard body.
You wouldn't get nobody talkinglike Sister Soulja.
So, like these are the type offigures that were setting it up
for a lot of, like the futureartists to be able to express

(33:01):
themselves in the way that theywanted to express themselves, I
want to say it was Rhapsody,who's one of my favorite artists
period.
Rhapsody, I mean she's a stonecold beast, stone cold beast.
One of the things that she saidwas she doesn't expect somebody

(33:22):
to rap, just like her.
But she's opening the door forsomebody to be themselves.
Even if you don't rap about thesame stuff she rap about, she's
like I want to open it up forsomebody to be themselves and
have the bravery to bethemselves, and I feel like
that's what a lot of the womenartists in hip hop were doing.
Even if you look at like theLil' Kims, even if you look at

(33:46):
the Foxy Browns, the Eves, a lotof the, even the Trinas, you
know what I'm saying.
Like a lot of these artists,they had the audacity to say
what they said, because thewomen before them took the reins
and said look, y'all say this,this, a man man's world, y'all
say this and that in the third.

(34:06):
But it's like nah, you knowwhat I'm saying.
Like, ladies first yeah, justthat one statement right there.
Ladies first yeah, becauseyou're not selling.
You're not selling the recordsthat you're selling as a man
without the ladies, anywaydefinitely moving.

(34:26):
You're not moving that manyunits without the ladies.
A bunch of dudes, a bunch ofdudes ain't buying your records
like you think they are rightyou know, maybe white dudes, but
I'm just, I'm just saying andthat's another conversation in
terms of who, who the music getspromoted to, who's buying most
of the music.

(34:47):
That's a whole notherconversation.
Right there, you know I'msaying but you got to talk to
the ladies, you got to talk tothem, you got to talk with them.
You got to make them feel likethey are a part of what you do
as an artist.
So you don't have hip hop beingas successful without not only
the women in hip hop but alsothe women who support hip hop,

(35:10):
the women who are behind thescenes, one of the I gotta
mention this is the right heredrew dixon.
Drew dixon was basically an anrum and one of the records that
she was the most instrumentalbehind that she never got credit
for and it's egregious that shenever got credit for.

(35:32):
This record is You're All INeed by Method man and Mary J
Blige.
She heard, I guess, kind ofsort of like a, maybe like a,
not a finished version, but itwas like, I guess, a demo or an
idea, and she was like yo, youknow who would be perfect for
this?
Mary J Blige, like you, make anew version of this.

(35:57):
You know what I'm saying and,like, I think I don't know
whether or not she reached outto Puffy or Puffy found out
about it or whatever, but it wasbasically a thing where she
helped to bring Puffy to thetable.
This huge record in hip hop,this classic record in hip hop,
started because of a woman'sidea to make it so, but she

(36:20):
didn't get credit for her nameis nowhere on that record.
Yeah, nowhere on it.
And those are the stories thatI feel like need to be told more
.
Women who were a part of thismovement, that were a part of
this culture.
You think about somebody else,like going all the way back to
an mc shy rock.

(36:40):
Mc shy rock is credited asbeing like the first, basically
the first lady of hip hop.
You know, I mean like her being, I think it's the.
I think it's a fantastic fourplus one.
If I'm not mistaken, she was apart of that group and she was
one of the best members of thatgroup.
Like she, she made it possiblefor Roxanne Shantae to do what

(37:02):
she did.
She made it possible for MCLight to do what she did.
She made it possible for an mclight to do what she did, like a
lot of people look back to mcshy rock as one of the pioneers
for women in hip-hop in terms ofthe mcs, you know.
So I just feel like, as it'svery easy for when we have these
conversations, especially forus as men, to talk about other

(37:24):
men, artists, but there are somany women who have, at least
for me, who've been a part of myhip hop story, I cannot say
anything about a hip hop story,about somebody who's influential
on me, somebody I admiregreatly, without mentioning my
favorite, which is Missy Missy.

(37:49):
What she did for music with herand Timbaland did together.
I mean it just transformed theface of music.
Forget hip-hop.
It's transformed the face music.
Nobody was doing what they weredoing at that time.
This woman in this video withthis trash bag, looking blown up
, thing that she dancing around,and the audacity to do that,

(38:12):
the, the, the effects that theydid in that video, her wearing
them glasses and like it wouldjust jump out at you like just
the, the wildness, the, the, thebravery, the, just just willing
to go out there on a limb.
And you're talking about a girlwho started off with sister you
know I'm saying like being in agroup, sister and she goes from

(38:34):
that to being missy elliot whojust makes like basically her
and bust arounds might as wellbe like cousins.
You know I'm saying becausethey make very similar videos,
like just the fact that she justtook it somewhere, nobody else
took it before, but stillmaintaining the elements of
hip-hop.

(38:54):
She always represented theelements of hip-hop in
everything that she did the, theDJing aspect, the emceeing
aspect, and that's not even tosay that missy was the absolute
best rapper.
But she did it in a way thatmade it fun.
She made it in a way that madeyou want to listen to her music.
You know I'm saying because youcan listen to whole missy

(39:16):
albums and be thoroughlyentertained.
You know I mean like, and she,just she.
She represented graffiti.
When she would have videos shewould have like graffiti all
throughout the videos and youjust felt like it was authentic.
She had like she was a B girlthrough and through.
I mean Missy was a heck of adancer, is a heck of a dancer,
like she could basically do itall she can sing, she could rap,

(39:40):
she could dance, she couldproduce Like.
It's not too much that Missycan't do.
So when I think about somebodythat like really brings it home
in terms of the essence of hiphop, but then made it fresh.
Missy is my person, she's myperson.

Speaker 1 (39:59):
Missy is your person.
You mentioned white boys andyou mentioned hilarious the
hilarious the, the, the, thehilarity.
I think that's the word.
If it's not, if you put that inthe dictionary, that's me it is
a word I can't take that one.

Speaker 2 (40:20):
Yep, no, you can't take that one.
That that's not right everybody.

Speaker 1 (40:24):
I'm going to come up with another, don't you worry.
So listen.
The hilarity of this white boy,I think, was so to me
refreshing and unique.
Not to take anything away fromthe Beastie Boys, not even to

(40:48):
take anything away from theBeastie Boys, not even to take
anything away from the audacityof Vanilla Ice, but Eminem.

Speaker 2 (41:01):
Putting it kindly Huh .
I said, putting it kindly, yes,but Eminem Huh Oof.

Speaker 1 (41:05):
I said putting it kindly yes, but Eminem Oof yeah.
The way he came on.
It was funny, the first video Isaw, so I can't say it was his
first video, but I know the one,the first one I saw with him
and like Long Johns and the capeand running down the street,
you know even the, the, the wayhe did his voice and everything.

(41:27):
Just the fact that he would bein his songs and literally
playing two characters in a songhe, you could see exactly what
he was saying.
So when the video came out,everything made sense.

Speaker 2 (41:48):
Yep.

Speaker 1 (41:50):
So how do you feel about?
You mentioned white boys andyou mentioned the hilarity, the
funniness that Missy had in hervideos.
That is how he was introduced,but that is not talk about that
transformation so Eminem.

Speaker 2 (42:13):
Eminem was actually at one point and to a large
degree he still is probably oneof the most influential
lyricists on who I was and who Istill am to a large degree.
Because when I think about,yeah, like the first video that
you know my name is like yeah,he was hilarious in that video

(42:35):
is I mean, like you gotreferences to uh, leave it to
beaver.
You got references to you knowthe president at the time, like
you have all of these differenthilarious references that he
uses in this video, although hisactual first video was for a
song called I Don't Give a.
You know what I'm saying?
Yeah, and the thing is that'sactually the first video that I

(42:57):
saw and I actually kind of paidattention.
I was like wait, who is this?
It's like, oh, he rapping,rapping.
I'm like where he from.
So then, by the time you get tomy name, is it's like we're all
just, I mean, it's just sofunny that he's just like in
this video doing all of thesecrazy and wild things, but he's

(43:17):
still rapping.
He's still saying someinteresting things, you know,
and I think that it opened up adoor for so many different
artists, especially, you know,white boys, because it's like
for a very long time it's likeyou didn't really have a whole

(43:39):
lot in the forefront that I feellike we as hardcore hip hop
fans respect it.
And I think part of that isbecause Eminem really does come
from hip hop, like Eminem was inthe rap Olympics, you know,
like battling, like he comesfrom the battle culture and I

(44:00):
think what makes Eminem soawesome in that respect is that
you want to make an argument NowI'm not necessarily saying that
I'm a stand on it, but onecould make an argument that he
is the greatest battle rapper totransition to actually making
records, because there's a hugedifference between when you

(44:21):
battle in somebody and you makean actual song that people want
to listen to, something you gotto go in the studio and record
and make it palatable for awider audience than just, say,
the battle rap circuit or peoplewho just want to hear what we
often call in rap circlesrappity rap, rap.

(44:41):
It's when you just be rappingwords together.
They call them the lyricalmiracle rappers because they
just rhyme like all of thesecrazy multisyllabic words
together just for the sake ofshowing how well they can rap.
And Eminem has had his lyricalmiracle moments, but he's also
had his moments where he talksabout real.

(45:02):
You know, things that are realto him, things that are real to
people who roll in similarcircles that he does because he
has a different background.
I mean, you talk about a dudewho grew up in a trailer park.
So his experience is going tobe slightly different, being
from eight mile, which isminutes outside of Detroit, and

(45:24):
somebody who is like fromDetroit Detroit you know what
I'm saying Like really, reallycame up hard and not to say to
somebody coming from a realapart doesn't come apart, they
just come up a different type ofheart.
But the fact that now you havesomebody who represents that
particular ideology or thatparticular environment in the

(45:50):
mainstream, it's like now youhave, like these same people
that have been supporting us foryears, not even like oh, but we
got somebody that we canactually relate to.
Who came up like us, who do thestuff that we do?
Who came up like us, who do thestuff that we do.
You know what I'm saying Likethat's the thing a lot of times
about music you want to be ableto see yourself in the people

(46:14):
that you admire.
You know, like, when you thinkabout somebody like Eminem
blowing up like he did, when youthink about somebody like a big
pun when Big Pun came along,and Big Pun when you talk about
people who are super lyricalit's funny that you mentioned
Eminem, because you have Big Punwho blows up even like slightly

(46:36):
earlier than Eminem, and herepresents you know what I'm
saying the Hispanic and Latinocommunity, and they've had
rappers who have been dope Imean, fat Joe was holding it
down for years, even before Puncame along like Fat Joe kind of
set it up for Pun, you know, butthen Pun comes along, it just

(46:57):
completely takes it to a wholenother level.
But then you have a wholenother community being able to
see themselves in a big punt ina fat Joe.
You have the white communitybeing able to see themselves in
an M&M, even if you get to like,say, the battle circuit, and
you look at somebody like JenJen, I mean one of the best

(47:19):
battlers ever.
Now, granted, when he got withRough Riders, which I feel like
he should have never done.
It was like, okay, what is this?
But the fact that this dude wasjust murdering people on the
battle scene, the fact that youhave the Asian community, they
can see themselves in a gen.
I feel like, when it comes toall forms of music, you want to

(47:41):
be able to relate to people.
You want to be able to relateto people, you want to be able
to see yourselves in people.
It's no different than howwomen often, you know, connect
with music made by other women.
Men connect to music made byother men because you can relate
to those struggles, you canrelate to those experiences.
That's another part of theevolution and the beauty of hip

(48:04):
hop is that you start to seemore and more experiences come
along and although we might notnecessarily be always able to
relate to each and everyexperience, going back to Eminem
, because there's certain stuffthat Eminem talk about I can't
relate to.
Most black people I know can'trelate to, but at the same time,

(48:27):
you respect his lyricism, yourespect how serious he takes his
craft.
It's not, you know, it's notcorny, it's not um.
You know.
It's not like he can't rap.
No, the dude can rap his behindoff.
You know I'm saying like he's.
I mean he's one of the mostinfluential rappers, probably of
the last 20 to 25 years.
So many people have patternedtheir style, pattern the way
that they meet, make music afteran M and M.

(48:50):
You ask, you ask 10 peopleright now who their favorite
rapper is.
I guarantee at least two tothree people are going to say M
and M is in their top five.

Speaker 1 (49:00):
Yes, yes, is in their top five.
Listen, guess what?
You just got us to the lastround of the other rounds.
I suggest you go back and watchepisode 30 of Confident you
podcast, and that episode istitled 50th anniversary of hip

(49:24):
hop.
Listen, made from scratch.
I just want you to know.
You'll see these other uhrounds of this game that we're
about to play.
Listen, this game is 50 yearsof hip hop.
Did you know?
I want you to tell the peoplewho you know as the fastest top

(49:49):
rappers in what song you wouldsay they exhibited on best.

Speaker 2 (49:55):
Oh, when you say like fastest, like the speed of how
they rap.

Speaker 1 (49:59):
Yes, sir.

Speaker 2 (50:01):
Twister, twister, twister, twister, twister.
I mean now, granted, you know,I mean there's other rappers,
it's not just Twista, you knowwhat I'm saying.
Twista is definitely one ofthem.
Now, in terms of speed, I wouldprobably say I want to say he's

(50:22):
on this song with Drag oncalled Twisted Heat.
Say I want to say he's on thissong with drag on called twisted
heat.
That is on, I think it's eithervolume, I think it's on volume
two of the ride or die series byrough riders.
Both him and drag on go off.
Now, granted, like, twister iselite when it comes to speed.
In fact, he Guinness Book ofWorld Records, he's the fast, he

(50:44):
was the fastest rapper at onepoint, like because the thing
that in the book book he was hewas, he was actually the world's
fastest rapper.
A lot of people, you know theywould throw bone out there, but
bone would kind of sort of makeup certain stuff that it was
like OK, is that really a word?
You know where's Twista?

(51:05):
No, it was actual words that itwas like okay, is that really a
word you know?
Whereas Twista, no, it wasactual words that he was rapping
and it was like oh no, thisdude is, he's a beast, he's a
beast.
So yeah, twista Heat by Drag Onand Twista and that's not even
saying that's my favorite song,but that's one like they really
had to rap, rap, rap, reallyreally fast on that song.

(51:25):
But that's one like they reallyhad to rap, rap, rap really
really fast on that song, right,um, let's see, I would probably
say um, jay-z got a few outthere actually.
Um, when he first startedrapping, jay-z was actually
rapping really fast, really fast.

(51:48):
There's a song I can't rememberthe name of the song, but it's
on Big L's first album,lifestyles of the Poor and
Dangerous.
It's a classic hip-hop album,but the casual hip-hop fan
doesn't know about it.
You got to be really intohip-hop to, but the casual
hip-hop fan doesn't know aboutit.
You know I'm saying like yougot to be like really like in
the hip-hop to know about big l.

(52:10):
Rest in peace.
Big l, like when I say thisdude was like one of the
greatest who never really got toget his off because he was.
He was murdered, but like big lwas a beast but jay-z was on
one of his songs, and like thespeed in which he was murdered.
But Big L was a beast, butJay-Z was on one of his songs
and the speed in which he wasrapping on that song was just

(52:30):
absolutely crazy.

Speaker 1 (52:31):
So I was like dang Jay-Z can rap this fast.

Speaker 2 (52:33):
Really and this is before the stuff that Jigga what
, jigga who?
Or Is that your Chick Beforethat?
He's rapping even faster thanthat On songs that you don't
expect somebody to rap that faston.
Or is that your chick Likebefore that?
Like he's rapping even fasterthan that, you know, on songs
that you don't expect somebodyto rap that fast on.
So that's, that's another one.
I'm going to find out the nameof that song, but, but it's on

(52:58):
Big L's album, a Bone Thugs song.
I mean, probably one of theones that come to my mind is
Notorious Thugs and you knowBiggie really tried to hang.
Biggie really tried to hang,but it's like Bone Thugs.
They really showed why that wasreally their thing.

(53:20):
I'm trying to think who elseLogic?
Logic has a lot of songs.
If you don't know about logiclogic, who's actually from
Gaithersburg?
Logic, really, I feel like he'salso kind of sort of cut from
that Eminem school or cut fromthat kind of sort of cloth and

(53:41):
even some of the stuff that hetalks about.
Like he's cut from that kind ofsort of cloth and even some of
the stuff that he talks aboutlike he's cut from that cloth.
But I've heard Logic rap reallyfast, really really fast, like
and I I don't know Logic songslike by name, except like the
Suicide Prevention Hotline song,because I mean it's literally

(54:02):
like the number, like that's thename of the song, but like he's
had other songs like well, Iwant to say on that same album
that that song is on, like it'sjust like.
His speed is incredible.
Um, now, who would be?
Who, would I say, is fifth,busta Rhymes has had plenty of
songs where he's rapped reallyfast.

(54:24):
Oh, the one with Chris Brown,look at me now, busta Rhymes,
float on.
Look at me now, my goodness,busta Rhymes.
I feel like Busta Rhymes getshis props and doesn't get his
props at the same time.

(54:45):
But his ability to kind of sortof like, be a chameleon of
sorts and do what the song needs, do what the song calls for,
because Busta Rhymes, like youknow he comes out, he's animated
, you know it's like like adungeon dragon, like you know
he'll give you that, but thenhe'll give you a joint with
Mariah Carey and be like realsmooth, but then he'll give you
a joint like look at me now,when it's like his flow is just
ridiculous on that song.

(55:07):
So, just off the top of my head.
Those are like the five peoplethat I would think of, but my
answer would probably always beTwista.
No matter what.

Speaker 1 (55:18):
Mystical, didn't make the list.

Speaker 2 (55:23):
Now Mystical.
I thought about mystical hewould be, he'd be an honorable
mention.
He would definitely be anhonorable mention because even
how he's rapping on, look, makehim say, uh, like he goes really
, really fast.
And then he's like I'm on top,now you can't stop, don't try,
we keep rolling.
No, no, no, no, no.
But then, like he'll, he'll goright back to rapping fast.

(55:46):
You know, like he is a beast,like I wish that mystical didn't
get in all of the trouble thathe got in right oh my gosh,
because it's like it'd be takenaway from me wanting to listen
to his music half the time.
It's like, bro, come on, stopraping women.
Dog, like stop it, just juststop, you know, stop having
sexual assault cases, just justquit it, quit it, right, right.

(56:07):
You would be so much bigger ifyou didn't ruin your own career,
you know.
But yeah, I, I definitely thinkmystical should be an honorable
mention, definitely and yousaid ruin your own career.

Speaker 1 (56:20):
Who else would you say has self-sabotaged?

Speaker 2 (56:28):
first person come to my mind is kanye okay kanye,
kanye.
He lost a lot of.
I mean, he never was reallythat humble in the first place.
You know he all Kanye was very,always much like you know he.

Speaker 1 (56:45):
If nobody believed in Kanye, kanye believed in Kanye,
you know but he was green,though I really think his mom
groomed him that way.

Speaker 2 (56:52):
I think so too.
I think so too, but I thinkKanye became really lost after
his mother died.
Think Kanye became really lostafter his mother died.
You know he was kind of headeddown that path a little bit, but
once his mother died it justcompletely changed him and I
just feel like he's never reallygotten back to the essence of

(57:14):
what made him great.
Like you see flashes and youknow it's there and he has his
moments, but he's very, he'sbeen very inconsistent.
You know, and I know a lot ofthat has to do with mental
health issues.
You know he's suffered frommental health issues, you know
and it's not to poo poo that orwhatever, because they do play a

(57:35):
part in it but I also feel likehe's been inconsistent in
taking control and making surethat his mental health issues
are really put in check.
You know, because you can't beone minute, one minute talking
about jesus is king and then thenext minute you talk about pete

(57:57):
davidson and talk about whatyou're going to do to pete dav.
He's dating Kim Kardashian.
Now, you know I'm saying likesaying all the violent stuff
that you're going to do to PeteDavidson, you know I'm saying
I'm like Kim don't want you nomore dog, let it go.
Like, let it go, you know.
And just also a lot of the waysin which he's another way that I

(58:18):
feel like he's beeninconsistent is like the back
and forth, with one minute likebasically Jay's looking at Jay-Z
like his big brother, and thenthe next minute like kind of
sort of slant, slandering him ina lot of ways, you know, and
it's like you, you barking upthe wrong tree, cause Jay-Z
ain't the type that's going tolike give you what you want
anyway, you know, but like notyou like I think he has too much

(58:43):
respect for you to like do thatwith you.
But at the same time it's likehe's just one minute you know
he's cool, you can tell he'staking his meds, you can tell
he's got his mental health undercontrol, and then the next
minute he just seems unhinged.
And then the whole thing aboutyou know, slavery was a choice,
like that whole nonsense.

(59:04):
It's like bruh, really.
And then you wearing MAGA hats,it's like yeah, nah, nah, so
he's he.
I mean, as soon as you saidself-sabotage other than
mystical, he was the firstperson that came to mind first
person, okay.

Speaker 1 (59:20):
Okay, you did mention his relationship with jay-z or
jay-z's uh strength in notresponding, which to me would
play into the east coast, westcoast, kind of having a battle,

(59:41):
and then different artists kindof having a battle.
I don't see Jay-Z falling forthe okie-doke.
He's like no, I'm not doingthat.
You can say whatever you wantto say, it's a free country.
Knock yourself out.
I'm not getting involved in it.

Speaker 2 (59:56):
Depending on what it is, and especially at this point
in his career, because, let'snot forget, jay-z was involved
in one of the most heraldedclassic beefs of all time with
Nas You're right.
Yeah, like, let's, let us notforget, this is the same guy

(01:00:18):
that was, you know, like takingdigs at nas, and those digs went
way before he put out takeover.
And the thing is it's likejay-z picks and chooses who he
wants to battle or who he wantsto say.
Whatever he wants to say, Ifeel like he only is going to
respond if he respects you.

(01:00:39):
If he doesn't respect you, he'snot even going to give you the
time of day he's responded toNas.

Speaker 1 (01:00:46):
Because that puts the brands together.
So the brand that he's going upagainst has to be something
reputable.

Speaker 2 (01:00:55):
Exactly, exactly Like he respected Nas.
He thoroughly respected Nas asan MC.
Nas even took him when he tookhis jabs like dog, you, you been
a fan.
You know.
I said you love my style, like,like, and, and the thing is, I
feel like people know or knewthat Jay-Z admired Nas.

(01:01:16):
And I feel like Nas admiredJay-Z because I feel like if he
didn't feel like Jay-Z was aworthy adversary, he would have
never said his name.
Because I mean, who else is Nasreally like, come at in rap,
like who else has he made a dissrecord about?
I mean he said little crossstuff, like about Cam'ron, you

(01:01:37):
know I'm saying, but that didn'tblow up into a whole big old
beef in the same way as Jay-Z.
He didn't even feel that way.
I don't think he had as muchrespect for 50 Cent as much as
he had for Jay-Z.
And 50 Cent took his jabs atNas.
I mean it was so serious with50 Cent that he stopped dealing

(01:02:01):
with Game because game wanted todo a song with nas.
And in 50 cent minds like nah,nas the enemy, like no, you know
, you ain't doing those songswith him, you're doing songs
with him, you on his side, now,yeah, those your, that's your
peoples, you know.
But going kind of, going backto jay-z, it's like, and I feel
like with a lot of rappers, Ifeel like they will only respond

(01:02:23):
if they feel like you're worthynot every rapper is like that
because, eminem, dissing machinegun kelly is like machine gun
kelly is not on your level,eminem, you didn't even have to
diss him like you could have notresponded and that would have
been a response.
You know.
But like Jay-Z going at Nas,jay-z basically giving 50 cent,

(01:02:44):
one bar, you know what I'msaying.
Like I'm about a dollar, whothe fuck is 50 cent?
Or what the fuck is 50 cent?
You know, it's like, you know,even even 50 cent couldn't even
be mad.
Like he gave me one bar andthat one bar was coded and
probably a whole song I couldhave made about jay-z.
You know I'm saying, um, I'mtrying to think who else is jay?

(01:03:06):
Even joe button, like jay-zbasically made a, basically made
a whole disc record on joe,about joe button on joe button's
beat, and even joe button hadto respect it's like it's jay

(01:03:40):
no-transcript that you canconfidently carry into every
area of your life.

Speaker 1 (01:03:48):
If you are faced with someone acting out of pocket,
you really have to say do I evenrespect you enough to give you
a response?
That's fire.
All right, sir, it is as always.
Our conversations are such apleasure for me.

(01:04:11):
I have such a great time.
I'm going to take everything.
I'm like nodding.
I'm like don't do it, don't youstart, because I'm so ready to
go in on every artist that youlike songs start popping up yeah
, yeah oh my god, this video andthat video and this video.

(01:04:34):
So I just want to thank you forbeing an inspiration in this
space in this time.
Thank you for staying for thein this space in this time.
Thank you for staying for theafter party.
It's the after party.

Speaker 2 (01:04:48):
After the show is the after party, that's it.

Speaker 1 (01:04:53):
That's right.
We're always going to change itto what she had as a kid.
I didn't realize until I wasolder, when they would play a
song and I'm like that's whatthey say, because in my mind
that's what was said.
But you telling me that that'swhat they say, oh okay, well,

(01:05:15):
that's fine, they could havesaid it like that.

Speaker 2 (01:05:17):
But it makes much better sense.

Speaker 1 (01:05:22):
I've had quite a few.

Speaker 2 (01:05:23):
I've had quite a few songs like that too.
It ain't just you.

Speaker 1 (01:05:29):
You can admit when she's wrong.
When she's wrong, I messed somewords up.
It's all good.
So yes, I appreciate you.
Thank you so much for hangingout in the after party
absolutely.

Speaker 2 (01:05:44):
I just want to make sure everybody knows how to
follow you yes, as you can seebelow, facebook and X, but we
know it is Twitter at AJThrowback.
Yeah, I still call it Twitter,I don't call it X, instagram and
TikTok.
I'm at a dot J dot throwback.

(01:06:05):
And also, if you want to see mycontent, you can go to my
YouTube channel, which is at AJthrowback nine to eight.
Look me up, I got videos.
I have a couple of series onthere that I've done and, yeah,
like you can connect with all ofthat good content that I've

(01:06:26):
created, connect with the music,all of that good stuff.
You want to find my music?
My website is B-A-M-M-L-L-Cnet.
That is the home for everything, including including the first
part of this conversation andincluding, also included in
there, my first interview.

Speaker 1 (01:06:49):
Yes.

Speaker 2 (01:06:50):
With Marion.
If you go to my, if you go tomy press page, both of both of
the conversations that I've hadwith Marion are on that page.
Because I got to showcase mysister for showcasing me, for
showing love and doing such amagnificent job both times.
Actually, you can say all threetimes.
Now you know what I'm sayingBecause you had the first joint,

(01:07:11):
you had the episode 30 and thenthe after party for episode 30,
because this is what we do allthe time we get together.

Speaker 1 (01:07:20):
It is, this is what we do all the time we get
together.
It is this is what we do allthe.
This is how we do it you know,what?
Beatbox?
Beatbox how you feel aboutbeatbox.
Real quick, I'm sorry, I just Iknow I wanted to talk about
something else beatbox how youfeel about beatbox I love
beatbox master um, definitelybiz marquis.

Speaker 2 (01:07:39):
Um, biz marquis is definitely a beatbox master.
Now, if I had to pick a personmyself who was my favorite, it
would be razel razel, who, uh,did some work with the roots.
Um, I want to say he might havedone some work with erica badu.
Um, he's like basically thewhole soul quarians, that whole

(01:08:00):
crew.
Um, you don't know, soulAquarians, the Roots, of course.
Jay Dilla rest in peace, jayDilla.
James, I'm trying to thinkJames Poyser D'Angelo was part
of the Soul Aquarians.
Balown was part of the SoulAquarians.
I want to say Erykah Badu wasbasically a member of Soul
Aquarians, that whole crew.
They were just so talented.

(01:08:22):
And Rozelle, when I say thisdude, it doesn't even sound like
he's beatboxing, it actuallysounds like a record how well he
does it.
Rozelle is like he's my goatwhen it comes to that.
All right, you just said anotherartist that is a good, she raps

(01:08:42):
well to me yes, she does youknow who I'm talking about oh,
yeah, erica badu, erica yes anddjs and and dj and djs erica
badu.
When I say that woman ismulti-talented, she is
multi-talented like she is abeast come on here.

Speaker 1 (01:09:02):
All right, we have talked about all the beasts.
We have celebrated the 50thanniversary of hip-hop.
Thank you everyone for joiningus.
We will catch you next time.
I appreciate you coming back,but I'll be here next time.
But trust and believe my manwill be back.
Please tell your beautiful wifeand son.

(01:09:24):
I said thank you for allowingyou to spend all this time with
the confident you fam, everybody.
I'll see you next time.

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BONUS #4 THE AFTER PARTY: VOICES OF INFLUENCE: Hip-Hop Legacy - Beacon of Change, Breaking Barriers, Dynamic Wordsmiths, and World Impact with A.J. Throwback from CYP eps 30

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