BEEF! Drake v. UMG, Cam v. Jim, Group Breakups | Beanie Sigel, Clipse + Kendrick - HipHop Talks Podcast

Episode Transcript
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Speaker 1 (00:03):
🎵outro music plays🎵.

(00:40):
Good evening.
Welcome to Hip Hop Talks, thepodcast least likely to be sued
by Drake at this point.

Speaker 2 (00:47):
Shit.

Speaker 1 (00:50):
How come you got the knife Fellas?
What's going on?
How are you Cold?
It was actually a nice day hereand then it just like literally
got cold like 30 minutes ago.
I'm just like I'm over it.

Speaker 3 (01:06):
Bridget, we had a high of like 30 degrees.

Speaker 1 (01:08):
Oh no, it's like 70 degrees today, but it just got
cold out the middle of nowhere,Like literally now.
But that's Atlanta.
The weather's kind of like thewomen down here Bipolar,
schizophrenic, sociopathic.

Speaker 3 (01:20):
Yes very much so we support all women at Hip Hop
Talks.
Man Don't listen to Coop Coop'sviews and opinions.
That doesn't represent that ofHip Hop Talks.
Yeah.

Speaker 1 (01:32):
Keep supporting those .
If you want to Click like share, subscribe to our page.
We're growing, pause, yeah,sorry.
Especially when you useenhancements we're gonna leave

(01:53):
your honey packs in 2024.
Okay, yeah, we did too.
So, um, you want to know?
I kind of wanted I kind ofwanted the vibe to be like a
little sports talk right quick,like what are you feeling about
the playoffs so far, fellas, Iactually had an idea about what
they should do with some of theNFL playoff season, but I just
wanted to get you fellas'thoughts right quick on how you

(02:14):
feel about the playoffs.
Who you're picking right now,who you think was the most
impressive?
Where you think we're headed,how are we looking?

Speaker 2 (02:23):
What are your thoughts?

Speaker 1 (02:26):
Cowboys not in there Trash If you mean the Cowboys
are trashed, then yes, yeah,they are Definitely trash,
Definitely trash.

Speaker 2 (02:35):
It's interesting because, I mean, I think anyone
can make it right now.
To be quite honest, the Ramslooked really good last week.
They played a hell of a game.
I'm not surprised by thembeating Minnesota.
You know, sam Donald, he messedhimself up big time, probably
lost a lot of millions andmillions of dollars.
Somebody's going to pay him,but I'm sure that that's going

(02:57):
to be a fraction of what hecould have gotten if he would
have been successful in theplayoffs.
I do think that it's ashooter's chance for everybody
this weekend.
You got the Ravens, you gotBuffalo, you got Philly.
You got who they got Philly gotthe Rams.
Second time they're playingthis year.
It's going to be an interestingfinish this weekend.

(03:19):
I think the Chiefs can be had.
You can't sleep on the Titans.
I think it can be had.
You think the Chiefs can be had.
You can't sleep on the Titans.
I think it can be had.

Speaker 1 (03:26):
You think the Chiefs can be had?

Speaker 2 (03:27):
I think it can be.
Had man In this round, yeah, inthis round.

Speaker 1 (03:33):
AJ, I thought you nodded your head.
Do you agree with that?

Speaker 3 (03:35):
Yeah, I agree.

Speaker 1 (03:36):
Have you seen Patrick Mahomes' record in touchdown
and interception ratio on thedivisional round of the playoffs
?

Speaker 3 (03:41):
Yeah, but he ain't been the Patty that we know this
year.

Speaker 1 (03:44):
Right, okay, hold on.
Are any of y'all pickingHouston, you picking Houston, or
are you just saying that theygot a shot?

Speaker 2 (03:54):
I think they got a shot.

Speaker 3 (03:55):
Yeah, they got a shot , they got a shot, yeah.
It's not a smart bet, but theygot a shot.

Speaker 2 (04:02):
They got a shot, yeah .

Speaker 1 (04:03):
Yeah, yeah, he got shot in the ass.
That's what they're about toget.
I mean, I love CJ Stroud, Ilove Houston.
I do not think that, no, just,no, it just.
I mean, how about this?
If CJ Stroud goes into Houstonand beats Patrick, I mean goes

(04:24):
into Kansas city and beatsPatrick Mahomes and company and
Andy Reed, with two of his threebest receivers being down in
that in his second year in theleague, I mean, that's, that's
going to be one of the betterand bigger playoff upsets and
playoff history.
If he can scale that mountain.
I am I'm doing this for yournumber two in a row, guys, but I

(04:47):
feel like the stars are liningup for Lamar Jackson.
I think he's going to go toBuffalo and beat Josh Allen this
weekend and I think he's goingto go to Kansas City and beat
Patrick Mahomes.
I think, stylistically, KansasCity poses a bigger threat, but
Baltimore about to run all overBuffalo like they did earlier
this year.
Nothing about Buffalo's frontseven defense has improved at

(05:08):
all.
You're saying that theirheaviest linebacker is 10 pounds
lighter than Derrick Henry.
He's literally about to runover them and through them.
This is a game aboutphysicality.
And if Lamar and Derrick Henryrun the football.
This game is over and I don'tthink that it's much of a
discussion.
And it's not that Buffalo is abad team, it's that styles do
make fights and Baltimore istheir like ultimate bad matchup.

(05:28):
But I am picking Lamar to go onthis run again.
I think he said he made a quoteearlier this week where they
asked him if he had watched theBuffalo playoff game.
He's like, yeah, he was like Ijust got done watching.
They got through and then hehad this look on his face.
I was like, oh, I know thatlook because I come from a
family of crazy people.
I said that is that crazed lookthat I like to see in a winner.
That's that look that Tom Bradyhas, that Patrick Mahomes has.

(05:51):
And I saw Lamar with that lookfor the first time.
I'm picking the Ravens to atleast make it, because I don't
know who they're going to face,because I think they can beat
Detroit, but I think Phillyposes a is a matchup problem for
Baltimore.

Speaker 3 (06:01):
I disagree, coop.
I think it'll be a close game,but I think Josh Allen is going
to sling the football and end upedging Baltimore out.
I would like to see Lamar winit, but I don't think it's going
to happen.
I'm picking the Bills in thatone and at this point I'm still

(06:23):
riding for Detroit as the winner.
You know what I'm saying.
I think they're going to go allthe way and win the Super Bowl.
I'm still sticking to that.

Speaker 1 (06:29):
You think Detroit's winning the Super Bowl?

Speaker 3 (06:31):
Yeah.

Speaker 1 (06:32):
I think if Detroit doesn't have to play Baltimore I
do think that it's aboutmatchups.
I think if Detroit has to playanybody but Baltimore, I would
pick them as the favorite.
But there no guarantee thatthey beat Philly if Philly
commits to the run, becauseDetroit is dilapidated on
defense as well.

Speaker 2 (06:45):
I think they smoke on the Ravens' boots in the Super
Bowl.
I don't think the Ravens cankeep up with that offense.
I don't think they can go scorefor score.
Ravens' defense is theircrippler.
That's their crippler, and JoshAllen's going to put up points
against them.
Lamar's going to have to getinto a track race with them and

(07:08):
I think the bills have a higherchance to give them something um
more this year.
To be quite honest, I don'tthink for a shot.

Speaker 1 (07:12):
Y'all do understand that.
They handed the bills the firstloss of their season and
stomped the life out of them.
They didn't just like win, likeit wasn't like a field goal.

Speaker 3 (07:20):
They beat them by 25 and I'm sure buffalo remembers
that.
I think it's going to come downto game of possessions.
I think if Josh has morepossessions and longer than
Lamar does, I think Josh isgoing to come out on top.

Speaker 1 (07:34):
No, I think Pittsburgh just found out the
same thing Buffalo's about tofind out, which is, when this
team chooses to run the ball andyou're kind of light with your
linebackers, they're going tostomp you out.
Pittsburgh just got their asswhooped too, and then that's
what just happened.
They just turned around andthey kind of whooped that ass
again, and they about toprobably whoop Pittsburgh got to
do something about Tomlin.

Speaker 3 (07:52):
I think that was part of the problem.

Speaker 2 (07:54):
You think Tomlin's part of the problem.
Russell Wilson.

Speaker 1 (07:58):
How about this?
What just happened toPittsburgh?
They could have just playedJustin Fields this whole season
and he'd be a better quarterbackgoing into the next season.
I feel like that is a mistake.

Speaker 3 (08:05):
They should have stuck with him.

Speaker 1 (08:07):
All those games that Russell Wilson won were winnable
games by Justin Fields, thegames that Russell Wilson needed
to win.
He just lost all of those games.

Speaker 3 (08:16):
Russ is washed.
They tried to have faith in him, but they should have stuck
with Justin.

Speaker 2 (08:19):
He had a moment.
He had a Russ moment for a gameor two quarter or two.

Speaker 1 (08:24):
He just looks like somebody that's never worked out
in the offseason as aquarterback.
He just does, and you can tellthe way it's starting to show.

Speaker 2 (08:31):
Fame went to his head Too many trips with CeCe to
Cancun.

Speaker 3 (08:36):
But in that regard, with the both of them, you got a
side with youth in that case,because they were comparable,
their performance was comparable, but you got to side with youth
in that case.

Speaker 2 (08:51):
You got to Let them learn, let them learn.
So.

Speaker 1 (08:56):
All right.
What do you think about?
You know the Rams playoff gamewas actually held in Glendale,
Arizona, and Minnesota had thebetter record.
What do you think about if ateam has a better record than
the division winner, moving itto another site but making it
closer to the home team stadium?
Like a lot of people understand, getting from like LA to like
that part of Arizona is probablylike a four-hour trip.

(09:17):
It would be the equivalent oflike going from like Atlanta to
Charlotte.
It's not like a super, superfar, like drive or commute for
people.
What do you think about howthat played out?
I still think it played out tothe Rams' advantage, but they
didn't have a home fieldadvantage, but they didn't have
the better record, so I don'tthink they necessarily deserved
the home field advantage.
They didn't have the betterregular season, although they
won a weaker division.
I can get behind that yeah.

Speaker 2 (09:39):
I've always struggled with that.
I've always struggled with thatbecause you've got to win your
division.
You've got to master yourdivision to be able to get that.
That's the whole reason to playhard in your division.
You've got those shots twice ayear, every year.
So you've got to go harder inyour division, Paul.
But I understand what you'resaying.

Speaker 1 (09:55):
Well, here's the thing, here's the way that I
feel about that.
Is that, well, let's look atthe AFC North, for instance,
where, legitimately I mean,Cincinnati was a Kansas City
Andy Reid not being an assholemove away from being in the
playoffs, which means the AFCNorth would have had three teams

(10:17):
.
It's like, well, when you havethat type of division and you
don't win that division, I dounderstand what you're saying.
But like, look at Cincinnati.
Like how about this?
If Cincinnati was in Houston'sposition, oh, I would pick
Cincinnati to beat Kansas Cityand Kansas City, Because that
guy's done it and that guy has areceiver that can't nobody

(10:39):
guard.
It don't matter, Because twopasses to him change the game
anywhere.

Speaker 2 (10:45):
But that's the beauty of the NFL.
It's so much parody because youcan have a team that is low on
the pole to get into theplayoffs and catch fire.
We've seen the Giants do itthat year.
Yeah, they were like strugglingand they barely got into the
playoffs.

Speaker 1 (11:00):
I mean, look at it like this Baltimore lost to
Kansas City on opening night bya point, by literally a player's
toenail.
Baltimore only beat Cincinnatiby a combined five points in two
games.
The error of margin is thatyour division winner and a team
that didn't make the playoffs.
Oh no, they played them as goodas any team not named.

(11:22):
The defending champs playedthem this year, and Baltimore
actually did have the highesthighest ranked offense in the
league over detroit, so likesince.
So you were right about theparody, sean.
The parody is like astoundingat this point like joe burrows
at home.
Think about that.
Joe burrows at home right nowyeah that's why the mvp caliber
season, like I said at thebeginning of the season I mean,

(11:43):
I actually think he should stillfinish in the top five for MVP,
even though his team didn'tmake the playoffs.
I would put him right afterLamar, Josh and Saquon.
I would put him fourth, Evenwith his team sitting at home.
He had that kind of year.
He outplayed Lamar in one ofthose two games he did.

Speaker 2 (11:59):
He did.

Speaker 1 (12:00):
All right, let's get to some of the new news and the
new music of the day.
Let's start with new musicfellas, my guy Beans, beanie
Segal.
Fellas, broad Street Bully.
Yeah, we got the AI.
What's this?
This is the Freeway track.

Speaker 3 (12:15):
Right, this is the Freeway track that dropped this
past summer with Jada Kiss right.
He submitted.

Speaker 2 (12:23):
Yeah.

Speaker 1 (12:24):
No, no, no, no, no.
What do we need to do?
We need to do the super chatsyeah, we got we got four of them
let's go ahead and do thatright quick before we get the
beans.
007, what up queens?
Get the money.
Well, method man out herebeating up kids, um, I don't.
I don't know how old is methodman daughter again, because the
dude was 28 years old.
That might be why he got hisass.
So if I thought method man 19like 19.

Speaker 2 (12:45):
I think she's close to 30, if I'm not mistaken.

Speaker 1 (12:47):
Okay.

Speaker 3 (12:49):
That qualifies, that checks out.

Speaker 1 (12:51):
I'm about to say well , you know.
Shouldn't play with Method man.

Speaker 3 (12:54):
I'm age for an ass whoop.

Speaker 1 (12:56):
Get your ass whooped.
Really don't know what to sayto that.
Happy trails.
Hope you got Medicare, medicaid, health insurance, some shit,
something stitch up your wounds.
Cj, the kid with the $10 superchat.
Hey guys, hope you guys aredoing well and are healthy.
Update Che Noir is not, Irepeat, is not the female MC
stepping out.
She confirmed it on dead endhip hop live last night and I

(13:18):
look nuts.

Speaker 2 (13:21):
Unfortunately, LOL, you could be dead last week.
Cj, I told you that CJ, CJ Idon't know what to say, young
man.

Speaker 1 (13:29):
Okay, 007 again.
Let's skip to the Super BowlKansas City versus Detroit.
I don't think Kansas City isgoing to make it.
I do think how about this If,by some chance, buffalo does
beat them?
I think Buffalo is going.
Cj the Kid again.
Also, two days ago, Iinterviewed the rap collective
Brokeland about their new albumVolume 2, for about an hour.
They said I gave them theirbest interview ever and they've

(13:50):
been around since 2018, so I'mproud.
Cj, you're not about to take myjob in these streets.
Player, you stick to thepostman, don't work, cj.
No, you're not about to take myjob.
I'm like a starting NFLquarterback.
I'm not giving you no snaps.
You sit on the sideline next tothe offensive coordinator.
Watch these plays get calledout while I run these plays.

(14:11):
Audible Next super chat.
Cool piggy.
Willie Beeman.

Speaker 3 (14:17):
Willie Beeman.

Speaker 2 (14:21):
Get the ladies, that's the bars.

Speaker 1 (14:24):
That's the bars on there.
Speaking of bars, did y'allhear the beans preview?
What do y'all think about theAI generation?
I haven't been a big fan of theAI, but for somebody like a
beans or for a DOC, who have hadlife issues that have altered
their voices, both of which aregreat rap voices in the DOC case
, I think, damn near an all timegreat rap voices In the DOC's

(14:46):
case?
I think damn near an all-timegreat rap voice.
Absolutely Correct, docall-time great rap voice before
the accident, right, mm-hmm.
So I actually think this iswhere AI actually benefits the
hip-hop community, and I can'tfront to hear Beans with his
voice, quote-unquote.
Oh, that shit excited me.
When I heard it I was like oh,that's the Broad Street Bully.

(15:09):
I've been hearing him rap forthe last 10 years, but it hasn't
sounded the same becausevocally he hadn't been the same,
he hadn't been able topenetrate and pierce that beat.
So these are beans bars withthe AI technology.
I was impressed.
I can't lie, I enjoyed it, butI'm also partial to beans, so
what?
So?
What do we?
What do we do about theseconundrums now that AI can
benefit of beans?

Speaker 2 (15:33):
AG.

Speaker 3 (15:35):
Coop.
I think you said it perfectly,man.
It creates a conundrum, becauseSean knows how anti AI I am.
That's one of the things thatfrustrated me the most with the
TaylorMade freestyle, with theDrake and Kendrick beat right.
But in this situation, you know, sometimes it could be some
exceptions to the rule.
This is not somebody usingsomeone else's likeness, it's

(15:58):
not somebody pretending to besomeone else.
You know what I mean.
This is the genuine article.
This is the genuine article.
The person who owns theproperty.
So they're just kind ofrestoring, you know, going back
to what they once were, and inthat case I can get behind that.

Speaker 2 (16:18):
Yeah, no, I echo that .
It's Beans.
You know, we know what happenedwith his situation, with his
voice.
And if the ayah allows him todo what he loves doing, which is
rapping, which he does verywell, the high clip, I'm all for
it.
I support it because, to yourpoint, ag, it's one of those
things where, if you're usingayah technology and you still

(16:39):
got your vocals, you're still ingood health and all those great
things and you're just using itjust to enhance whatever you
want to enhance.
That's different.
But in this situation, he'sdoing it as an aid, because he
needs it.
It's not like he just he'sleaning into it because he's
trying to enhance or try toblend in with the culture at
this point.
Um, he's doing it because heactually need him.
He want to get back to what hedoes and that's being beans.

Speaker 3 (16:59):
So I'm off, and it's still him.
I liken this to something likeyou know a movie, like if you
have a aged actor but the rolethat they're going to play
requires them to be de-aged byyou know CGI technology or
something like that, but the youknow role that they need to
play requires for them to lookyounger, but it's still them.

(17:22):
It's still their acting chops.
So it's still them behind thecamera that they're just the age
, um, somewhat.

Speaker 1 (17:28):
So I I liken that to this for me poets and romer said
in the chat that the beans isactually dropping at midnight
tonight.
Expectations for the beans.
Do we know who's handlingproduction?
Guest appearances, because I'veheard absolutely nothing.
I have like nothing about it.
I have like I know, in 2023,siegel had started doing
interviews and talk about how hewas going to start using AI,

(17:51):
and I don't feel like I reallyheard much from it in 2024.
So I actually think he may havefit 2024 like putting this
project together.
I'm excited, like I always.
I like beans more than allthese dudes out here, like when
I mean all of them.
I'm talking drake, talkingabout kendrick, I'm talking
about cole.
I I'd rather hear him over hereand all these dudes.
He's one of my favorite,favorite emcees I mean it's

(18:12):
beans.

Speaker 3 (18:13):
I mean beans is one of them.

Speaker 2 (18:15):
Once he is what I'm saying there's a lot of
conversation on twitter todaytalking about beans and jay on
uh on the same track and wasbeing smoking jay on a lot of
those tracks.
I mean, people were actually.
They're still talking aboutthat.
Um, shout out to lobe.
I think he was saying thatbeans never got the best of jay
on them tracks.

Speaker 3 (18:33):
I think, of course, of course, lobe gonna say that,
but um shout out to lobe.

Speaker 1 (18:38):
That is incorrect.
On the becoming on it's onbeans got jay that's my favorite
collab of theirs.
It's their best collab becauseit's when.
Dean's actually showed.

Speaker 3 (18:48):
He's like oh no like ain't no more stunting on me and
Jay, and Jay had to take it toa place he usually doesn't take
it.

Speaker 1 (18:58):
I'm going to tell you the moment where it elevated
when Jay cause at the end of oneof the bars, jay actually
switches his flow on the verylast bar, which actually throws
the timing off where he goes.
This is Jay.
Every day, no days off, you'rea nigga.
And when Beans comes in andgoes, bc Craig Kruger niggas.

(19:19):
When I heard him do that andcatch it even though it was off,
I was like goodnight, I waslike goodnight.

Speaker 3 (19:25):
I was like he's like officially, like all the way
upper echelon, goodnight but onthat collab that let me know
that Jay had to raise his level.
He switched his tone duringthat era Jay was rapper in a
higher octave tone.
He went back to that volume 1 Stone to rhyme on that track
with Beans, cause he had to go alittle bit darker.

(19:46):
You know what I'm saying?
The rhyme alongside beans onthat track.

Speaker 2 (19:49):
Yeah, he also going into that whisper flow too.
He was going into that.
You know um, he was adoptingthat Philly whisper flow you
know what I mean.

Speaker 3 (19:59):
Yeah.

Speaker 1 (20:02):
He might beans.
Might have them on streets.
He's talkingans might have himon.
Streets Is Talking, he mighthave him on.
Where have you Been?

Speaker 3 (20:07):
That record's hard.

Speaker 1 (20:09):
I think he's got him on.
Where have you Been?
I think Streets Is Talking is adraw.
Beans clicked on Jay's heels.
A whole Do it Again.
Beans is extremely close again.
Jay really beat him on Do itAgain with the flow.

Speaker 3 (20:25):
Beans flow is crazy Jay's crazy Jay is crazy on, do
it again.

Speaker 1 (20:27):
It's not Jay level yet, because Jay level is like
big and Pac level in terms ofthe flow, even back then.
But he's been there and a lotof people need to understand.
It's like, if you think Jay theGOAT, it's like understand.
Beans is rhymed next to thisguy seamlessly on multiple
occasions.
It's like you're not hearingsome sort of succinct drop-off
in the craft of emceeing.

Speaker 2 (20:48):
No doubt, no doubt.
I think Beans is the reason whyBleak never got a chance to
really reach the heights.

Speaker 1 (20:59):
How can you do that?
That's like back to thefootball conversation.
That's like having Alex Smithstarting conversation.
That's like having alex smithstarting for you while you're
watching patrick mahomes inpractice and you're just like
hold on.
Are you sure we should likehold on?
Like you sure we should like?
No, I know this guy steady, butit's like you seeing what this
dude doing in practice.
That's how they were talkingabout my homes.

(21:20):
Andy reed didn't have a choicebut to start him it.
Andy was like give him time,give him time.
The players were like no coach,we on game number 10.
We think this dude ready,nothing against Alex, it's just
he, alex Smith, don't have thenatural gifts Mahomes got.
And it's kind of the same thingwith Bleak and Beans.
It's not anything personal.

Speaker 2 (21:39):
No, and Jay wanted Bleak to be the one.
He was like the new, improvedJay-Z.
But then Bleak and Beans cameout of nowhere and was like nah,
hold on.

Speaker 1 (21:48):
I mean, you know it's funny.
I think Jay adversely affectedBleak and Beans, just in
different ways.
I actually think he held upBleak too high and didn't hold
Beans up high enough.

Speaker 2 (22:00):
I think because Beans didn't have that appeal, Like
even Jay said it.
Like you know, Beans, I'mtrying to put you on some game.
You know he was trying to getBeans to be more polished in
that regard, because Beans wasreally street, he was so gutter.

Speaker 1 (22:18):
He is, and we're going to talk about this Because
you know we're going to do ourmusic anniversary on the locks
his first album, and you know,when we have our music
anniversaries, I try to go backand listen to the material that
I don't just recall track fortrack off hand, because I never
was a super big fan of the album.
It has been a minute since Ilistened to it but I can't front

(22:38):
.
I find myself listening to thealbum and I've kind of feel the
same way about beans that I feelabout styles and and chic on
this record, because kiss ismore affable on the first record
than they are.
Why would you make these guysnot do what they do well out the
gate and then try to flip it alittle bit?

(22:59):
Reasonable doubt is jay doingwhat jay does, great out the
gate, ready to die?
Is big doing what big does well, out the gate, like you get die
?
Is big doing what big does well, out the gate, like you get
what I'm saying?
There is time.
You know we've got certainformulas and we update our
formulas with the times, and soit just feels like to me that
trying to stick guys like thatand that formula on first
go-round instead of letting themease into the transition Like

(23:20):
think about this, think aboutthis.
People forget.
Ready to Die.
Outside of Big Papa and Juicyis a dark, dense, intense,
gritty album.
Don't ask me why I'mmotherfucking stressed.
My mama got cancer in herbreast.

Speaker 2 (23:41):
Give me the baby rings and a number one mom
pendant.
Yes, dark and gritty.
Even the Beats.
The Beats was sinister Beats.
It wasn't going to sell recordsif you did not have that
crossover, if you didn't havethe Overchance remix.
You don't sell that.

Speaker 1 (23:57):
But Puff, still let Big be big is what I'm saying.
The crack smoke made my brainsfeel so strange, like he still
let Big talk his talk.
He just gave him let Big talkhis talk.
He just gave him a couple ofhit records.
And so when I see A-Beans, whenI see A-Styles, I'm like sure
you don't just want to let themrap the way they want to rap and
just sprinkle in a joint hereor there A little, knock
yourself out A little in theclub.

Speaker 2 (24:19):
You know what I'm saying you, sure it was how I
did it with Beats, because youhave Bleak side by side at that
time, because Bleak was gettingthose more flashy beats, those
more club related beats.
Because, remember, bleak wasactually on tracks with Ja Rule
and Ja Rule was smoking hisboots on those tracks.
No disrespect intended, it'sjust that anybody that Jay put

(24:42):
beside Bleak, that person endedup outshining Bleak and moving
past Bleak and that's no hit toBleak.
I think Bleak was a dope MC.
You know he came out.
You know who's the earliestshow he alive?
I confess I'm like yo, this guy, he might be the next one.
But then you got to competewith Ja, you got to compete with
Beans and that's tough.

Speaker 1 (25:04):
That's tough.
He's, he's a dope rapper and soand I and I've always said that
about bleak bleak's made a lotof records that I like, like um,
and he's done a lot of dopecollaborations.
He is one of and this is somepurge a2.
He is one of the first, likenew york mcs, to really come
down here and get down with themcs down here on a regular basis
.
He is and I'm gonna give himcredit for that.
That's, that's good businessand you know, I mean we

(25:26):
appreciate the look from themecca.
But really okay.
So bleak and beans both havewhat you I wouldn't call it an
issue.
They're just not what I'd liketo say star power, charisma, mcs
.
But and and here's where Bleaksuffers in Bean Shine.
But Beans is just the type ofMC that even when you hear him,

(25:49):
you're like oh my god, like thismotherfucking rap is ass off.
He is a rapper's rapping assRapper at the end of the day,
even outside of all the streetrhetoric.
Bullets hit your chest like ablunt rolled loose.
I'm throwing niggas in theytrunk like a roof.
Like when he's talking likethat, it's like no, I want you

(26:11):
talking like that.
I don't want to hear you likeit's cool if you do that other
stuff, but that ain't why wecame to your party, fam.
And so I think it's always beenthat delicate balance and I
think Jay has just done a poorjob of to like an nba finals
when he's like like him and billrussell, like those guys are

(26:50):
like rare in terms of being ableto actually like be the one of
the greatest players of all timeand then being able to leave
team somewhere.
No, that's extremely rare andso, you know, not perfect, but
you know oh, naz alluded to thaton the remix to let Nas down.

Speaker 3 (27:06):
That made Nas proud.
He was talking about Colesigning to Jay and he said you
already got Jay.
He's one of the greats, butit's hard for somebody great to
tell somebody else how to begreat.

Speaker 1 (27:15):
So you know what I'm saying but because a great
person looks at you.
A great person looks at it andis like why can't you do that?
You know I can do that right.
I'll never forget.
When Kane was talking, he'slike I didn't understand how
much people studied my styleuntil people came to me and
started talking to me about mystyle.
He was like I was just doing it.
I was like I'll be damned.
I was like you was just doingthat.

(27:36):
Naturally, your flow is justlike that.
When you hit the mic, do do youknow how hard it is to rap like
that, it's pretty much sayingit's like oh no, I was just you
know.
Here's why, coop.
That's just how I feel.

Speaker 3 (27:48):
Here's why Coop, it's a difference between.
It's a thin line betweentalented and gifted.
That's the difference.

Speaker 1 (27:58):
Oh, that's great Kane is gifted.

Speaker 2 (28:02):
Fact.
But, guys, even with Jay, jaywas still building a plan about
flying it, because you'retalking about a time when Jay
was still ascending.
He wasn't at a space where hewas in a place to say, okay, I
can elevate Bleak to be on parwith me, or Beans to be on par

(28:24):
with me, beans to be on par withme.
The field was totally differentat the time because you had
Locke breathing down your neck.
Pauls, you had Nas still rightthere.
You had X right there.
You had all these other thingsaround you where Jay had to get
away from the fray.
He didn't have time to bringthose guys away from the fray
along with them at the same timewell, well, also also to that

(28:45):
too.

Speaker 1 (28:45):
I think people forget this too is is that when jay is
telling you in 98 as far asprogress, you'd be hard-pressed
to find another rapper hot as me.
That was true, and so he wasprobably looking.
Keep in mind, beans is comingon.
I think first time I heardbeans is crew love.
What's that belly?
That's 99 right 98, 98 that'slate 98 right november, november

(29:06):
98 november 98, right, so thinkabout november 98.
It's not like jay had beenaround for a long time, guys,
it's november 98 right and andthat's a good point that six.
It's been two and a half years,barely not even two and a half
years, and so that's a goodpoint that both of y'all made.

Speaker 3 (29:24):
That's a good point that both of y'all made, because
Sean Jay was talking aboutretirement from Reasonable Doubt
from day one.
He still was talking aboutretirement on volume two.
So he was trying to push Bleakto the forefront like yo, he's
the new, improved Jay-Z.
So he was, you know, setting itup to get out of the way to let

(29:44):
guys like Bleak and Beans havenext.
But I think he realized alongthe way at some point, like
they'll never achieve that.
So I got to keep ascending toyour point, sean.
I got to keep ascending andreally take it to where it needs
to go.
Because you know, likebasically, when a guy says we're
not going to win this gameunless I drop 40 or 50.
So everybody get on my back andI'm going to, you know, carry

(30:06):
you to this championship, like.
I think Jay realized that atthat point.
You know, but it's not for alack of trying in the beginning,
because he wanted to step away.

Speaker 1 (30:17):
Right.

Speaker 2 (30:18):
And it wasn't, it wasn't.
He couldn't leave it to Bleak.

Speaker 3 (30:23):
He just couldn't, but Jay's too competitive and he
couldn't leave it to Bleak.
He just couldn't, but Jay's toocompetitive and, like I said,
we've all witnessed Kobe in hisprime.
Like you know, kobe played thefirst quarter, tried to get
everybody involved or whatever,but shit, if you don't get your
points within that first quarterand a half, you know he going.

Speaker 1 (30:38):
You know it's funny.
When you brought up thetalented versus gifted comment,
kobe's actually the first personthat I thought of, because I
think Kobe is that person that'sactually right in the middle of
that where he's not as giftedas some of the other guys the
work ethic, but the but butright Like he's on that talented
, the gifted line, but that workethic put him over there,
gifted Like and Jay is very muchlike that as well, because Jay

(31:01):
is on that line of actuallybeing talented as gifted.
I'll tell you, I've always saidthis we're just talking about
pure MCing.
Kane is a more natural MC thanall those dudes, and that
includes Big and Jay.
Big sounds like Kane on LifeAfter Death in terms of the ease
at which he is delivering onthe mic.
Kane was like that from JumpBig developed into that.

(31:24):
Jay developed into that Kane.
Kane was like that from jumpBig developed into that, jay
developed into that.
Kane woke up like that.

Speaker 3 (31:31):
And I'm glad we oh I'm sorry go ahead.

Speaker 1 (31:34):
No, no, that was it.
I was just saying.
Kane came out the gate likethat.
That's gifted.

Speaker 3 (31:38):
He did.
My favorite Kane moment andoddly enough we was talking
about Beans is when he'sfreestyling over to rock the mic
, beat in front of the crowd andhe drops the mic.
They think he dropped it forreal.
He dusts it off.
He was like I drop shit andstill make it look good.
You know what I mean?
That was the flyest Kane momentever to be right there.
Crowd went crazy, gifty.

(31:59):
Kane is different man Different.

Speaker 1 (32:03):
Let's get to a couple of these super chats and we'll
move to the next topic Mad Max.
What up?
Mad Max 999,?
Lol.
Well, they need Dot to use AI.
They need Dot to use AI to helpthat trash family cause a voice
that we hear on beats.

Speaker 3 (32:20):
Yeah, mad Max Boy, see y'all be taking up for Mad
Max okay, I'm not a fan ofKendrick's voice, but Kendrick's
natural rapping voice is dope.
It's the other stuff he doeswith it that I'm not a fan of.

Speaker 1 (32:33):
I agree I find his regular rapping voice to be
above average, but not great.
Cj the Kid with the $5 SuperChat.
By the way, coop RBX liked mypreview of the Brokeback
interview and hit me with a linkto his new album.
You better hope I don't get anRBX interview.

Speaker 2 (32:47):
Okay, he's doing an RBX interview.
That's going to go crazy.

Speaker 1 (32:51):
CJ, don't have me pull up in your neighborhood,
homie, yeah.

Speaker 2 (32:54):
Shout out to RBX.
Rbx is going to break numbers.
Shout out to RBX.

Speaker 1 (32:59):
What up CJ the Kid?
Again $10.
Sean, you never said Che Noirwasn't the MC and Coop.
You're the one who mentionedthat it was her probably.
So, if anything, I went out ona search mission for you.
Lol I'll roll the tape back inthe Discord.
I can neither confirm nor denythat that happened.
Cj, all right, and Sean beingSean once again Right.

(33:22):
Mad Max, once again bleak voiceisn't standout-ish.
And Beans, I mean, respectfully, you can't play that jailbird
poetry with them Jailbird poetryMad Max man.

Speaker 2 (33:36):
Oh my goodness.

Speaker 1 (33:37):
I can play kiss around the chick at least one or
two joints with Tom Beans guys.

Speaker 2 (33:43):
Jailbird poetry is a wild phrase.
Jailbird poetry is a wildphrase.

Speaker 1 (33:48):
Jailbird poetry is disrespectful towards being
watched alone.
That is disrespectful.

Speaker 3 (33:56):
But I like what he said about Bleak and his voice
not being good enough.
And you know Sean makes fun ofme all the time.
I call myself a bleak apologistbecause I was actually you know
I'm saying a pretty good Bleakfan.
I call myself a bleak apologistbecause I was actually you know
what I'm saying a pretty goodbleak fan.
I thought bleak was dope, butbleak was just good enough at
every category.

Speaker 1 (34:11):
Right, he's good, he's a good MC.

Speaker 3 (34:14):
But he's like straight Bs or B minus, like
he's never in no category, isbleak an A.
You know what I'm saying, so Ithink that's kind of what hurt
him.
Overall, he doesn't have any Apart of his game but he has had
some A moments though, true, butusually he has another MC
better than him attached to it.

Speaker 1 (34:34):
I mean, got my mind right to moment.

Speaker 3 (34:37):
It is, it is.
Who want what with Beans is amoment he's tough on there, but
sometimes he raises his leveldepending on the person he
ruminates to.

Speaker 1 (34:48):
A lot of the Beans and Jay moments hypnotic.
A lot of people don't rememberthe track Hypnotic with him and
Beans oh, that's a standout, butmy favorite bleep moment is the
intro to Volume 2.
He went off on that I don'tlike that.

Speaker 3 (35:02):
Wow, that's crazy.

Speaker 1 (35:04):
I've never loved that beat and I always thought it
was the most like.
How can you start off youralbum with another dude rapping
over a preem beat and then youdon't rap over a preem beat
again?
I'm not handing out hall passes, no.

Speaker 3 (35:15):
No, so you don't like the preem beat, or you just
don't like Bleak rhyming overthe preem beat.
Would you have rather it beenJay?
Would you have rather it beenJay?
Would you have liked it if itwas?

Speaker 1 (35:24):
Jay.
I'd probably love that beatmuch more if it was Jay, but
it's not.
And why?
Screw good, not pitching to PJlike come on bro starting off a
Jay Z album over a DJ premierbeat pump somebody he gave you
the disclaimer, he said, nah, helet you know in the first bar,
as it wasn't Jay you know, man,just cause you let you know, in

(35:47):
the first bar it wasn't Jake man.
Just because you let me knowthis about the rain outside
doesn't mean my black ass is notgoing to get wet when I step
outside.
I don't give a goddamn.
Alright, we're going to move tothe next topic.
Clips previewed this song lastyear at Fashion Week fellas, the
Whips and Chains, butapparently there's a remix that
is about to drop, with oneKendrick Lamar on there, and

(36:10):
there are even some rumors thatthere might be some more Drake
jabs involved on the remix byPusha and Kendrick.
Sean, you're the petty one.

Speaker 2 (36:21):
Why not?
It's funny because UMGcopyright actually stated that
Kendrick is on this actual songthat's coming out on the Clips
album, so they were the ones whoAre they the ones?

Speaker 1 (36:35):
Is UMG dry snitching?

Speaker 2 (36:38):
Purposely, they're really trying to get them
divorced.

Speaker 1 (36:42):
So they're like that's why these niggas got a
track about you and we about tolet everybody know Yeah're mad.

Speaker 2 (36:46):
We're gonna go and let you know that.

Speaker 1 (36:47):
Hey, by the way, kendrick is on this song look,
your rivals are teaming togetherto take you down and we're
literally co-signing it in thedocument.
You want to play a game crazy?

Speaker 2 (37:00):
bad, bad.
Don't be mad, don't be.
I'm hoping that kendrick isactually on this and I do hope
that they um are riding on drake.
Be quite honest, I wonder ifjimmy is going to say because I
think this is the actual jointthat jimmy um did a freestyle to
um going at pusher.
Uh, remember, with jimmy, Iknow it came and went real fast.

(37:21):
Right, let me actually this,let me ask you this Pusher,
right after this joint came outand he was actually, you know,
saying why Pusher, on stage,gallivanting or whatever, and
posing, gallivanting.

Speaker 3 (37:35):
He was talking about Pusher.
I mean, pusher was talkingabout Jim's house getting
repossessed right in those bars.
I think so.
I think so, you know.

Speaker 2 (37:43):
Jim went straight to the streets.
Man Gooney, goon goons Justwent crazy on Push but Push
never responded or did anythingwith it.
I hope that Drake and Jim get aresponse on his actual joint.

Speaker 1 (37:59):
Jim got some bigger problems going on at home that
he needs to tend to than Pusha T.
I think he will Need to takecare of Uptown first.
I think he need to take care ofUptown first.
He got a couple issues.
It looks like.

Speaker 3 (38:13):
Yeah, I think with this track, since no Malice is a
man of God, I think Pusha andKendrick are going to finish
Barry and Drake and then no.

Speaker 1 (38:25):
Malice might come through and do the eulogy you
want to know.

Speaker 2 (38:27):
Crazy bro, that would be crazy.

Speaker 1 (38:30):
So, so, so, first of all, sean, to the original
version of this actual record.
You're right, the beat isactually crazy.
And when I actually do it, Iwas like you know, pusha is
probably underrated as a curatorin terms of how he puts
features together.
Because when I listened to thisbeat, I'm like this is coming
for me.

(38:50):
I'm like this is perfect forKendrick to slide on.
This is a perfect beat for forKendrick to ride on, like all
his, all his little twists andturns and rhythmic cadences and
style.
I can see him bouncing on thisbeat and in a way that we would
enjoy cadences and style.
I can see him bouncing on thisbeat and in a way that we would
enjoy.
And so when I think about thisand then I think about this
whole lawsuit that's going on,it's like, oh no, do not.

(39:13):
I mean these two guys,especially pusher.
Oh, they're sinister when theydig in.
See, we're just finding outthat kendrick can dig in.
We know pusher can dig in andthey're about and it's not like
they haven't slid on a recordvery well together before.
See Nostalgia, which is one of,I think, one of the best duo
pairings of the past 15 years interms of a song.

(39:34):
It's better than Drug DealersAnonymous.

Speaker 3 (39:39):
Oh, for sure, when they're walking down the dark
alley.
They said Drake be seeing thatin his dreams, right?

Speaker 1 (39:47):
It's better than what would Meek do, like it's better
than a lot of these collabsLike so when they get together
it hasn't happened like so often, but it's been special when it
does happen, and I imagine thisto be that, and the original
version of the song is just sobeautiful.
Like you know, like malice nomalice and pusher can still

(40:08):
exist on the record together,despite obviously you know, and
it almost makes you feel likeyou know it very much.
You very much feel like.
The first time I heard therecord I was like this is like
the god and the devil having aconversation.
That was my thought it's like.
It's like you get the sinisterand then you get the sacrament.

Speaker 3 (40:26):
You know what I'm saying right yeah, you know, but
but, like you, think it's theperfect pocket, though it
reminds me of numbers on theboards for push like that, that
pocket that is in yes, very muchso.

Speaker 1 (40:39):
And beat wise, I find to be comparable and on that
level too, I think the beatsgetting understated.
I think when the actual beatgets released, like not over
stadium speakers, with someslight distortion, as we've been
having to listen to it, I thinkwhen people actually hear the
beat, they're gonna be like whoa, I'm excited about the record.
Drake, you can keep your OVOjacket.
You had your chance.
Back to home team.

(41:00):
Shout out to Pusha T andEclipse.
Can't wait for the album.
I was really hoping their albumwould drop last year.
All right On to anniversaries.

Speaker 3 (41:07):
Can I ask y'all something real quick?

Speaker 1 (41:09):
Yeah, go ahead.

Speaker 3 (41:11):
Real quick.
Who do you think is going tohave the best feature between if
they already confirmed Nas,stove, god, and it looks like
we're getting Kendrick who doyou think is going to have the
best feature Stove, stove Forthe type of talk that's going to
be done on the album.
I'm with Stove too.

Speaker 1 (41:28):
I'm picking Stove just because of rhetoric and,
quite frankly, I'm saying thisin jest and I'm saying this
seriously.
Well, of all these modern daydope boys, mcs, well, they've
all thought Pusher out and weall have records with all of
them, except for Stove.
Think about it.

(41:51):
No, we got Benny records andGibbs records and currency and
like no Pusher's giving all ofthese guys like some heat.
But like him and Stove, I findthat to be a fascinating pairing
you know, like I feel like Nasand Kendrick are going to do
what we expect Nas and Kendrickto do, like they're exceedingly
great they're supposed to beexceedingly great in moments
like these.
They're gonna deliver somethingthat's exceedingly great.
Like I expect kendrick's verseon here to be 10 times better

(42:13):
than that.
Like that verse that peopleoverrate.
Yeah, yeah.
Like because he's rapping, pusha t and no malice, not with
future.
Like you're not about to.
Yeah, your bar work.
Look your bar work better belike it's like on future, like
you're not about to yeah, lookyour bar work.
Better be like it's like onnostalgia, because if you got
push, you got them by hair andit took everything you had

(42:34):
that's his best feature by far,it's not even.

Speaker 2 (42:38):
I wrote that in the city, the city, the game.
He went crazy he did.

Speaker 1 (42:43):
But it's not nostalgia though.

Speaker 2 (42:45):
Nostalgia.
He was confident in who he was.
By that time he was like I gotto get my name on the map.

Speaker 1 (42:57):
Lyrically speaking, nostalgia might be the best
pairing by two MCs of the last15 years.
If we're just talking, bar forbar nostalgia.

Speaker 2 (43:05):
They were damn near dead even.

Speaker 1 (43:07):
Like that is a bar seminar.

Speaker 2 (43:10):
Like their verses are bar seminars.

Speaker 1 (43:12):
Both of the verses are bar seminars.
That's next week, yeah, I mean,like, think about it, Like
when's the last time we got arecord with two guys where both
of the verses are verse of theyear contenders?

Speaker 3 (43:22):
Yeah.

Speaker 2 (43:27):
But I'll give kendrick the edge because of the
intricacy of the verse.

Speaker 1 (43:29):
Okay so okay so here's the thing I always gave I
always gave pusha credit forsetting kendrick up for success
because he did the west coastlayout for kendrick when he sent
him a track like dough boy totrey if he cries.
Throwing punches in his room.
We don't drink away Like.
This is Simon, says Simon, redas in sugar.

(43:50):
You get what I'm saying.
He did set Kendrick up to kindof like.

Speaker 3 (43:54):
Yeah, absolutely as a collab should be.
As a collab should be.

Speaker 1 (43:58):
That's what I mean about Pusha being underrated as
a curator.
Yeah because he set Kendrick upfor success.
Think about it how many peopleare confident enough to set
Kendrick up for success on arecord?
Who else is doing that otherthan push?
You think these other dudesgoing to set Kendrick up for
success?

Speaker 2 (44:13):
No, not right.

Speaker 1 (44:15):
That's why nostalgia is his best feature, because he
really actually thought aboutthe person.
Push a thought about the guy hewas making the record with
instead of just being like.
And push a thought about theguy he was making the record
with instead of just being likehere.

Speaker 2 (44:26):
rap over this, yeah.

Speaker 1 (44:27):
Yeah, special moment.
All right, we're going to go toanniversaries now.
Money Power, respect by the Lox, dropped on January 13, 1998.
I'm going to let you guys kindof take it.
I have a lot of thoughts andreflections about this album.
I was not a big fan of thisalbum when it came out.
I will tell you and we'll justtake it from here and I'm going

(44:47):
to let you guys take off withthis AG.
You can kick us off.
My biggest problem with thisalbum is that the song that
actually bears the album's titleis bigger than the album in
hip-hop lore Go AG.

Speaker 3 (45:00):
I can agree with that statement.
The album is not a classic byany means, but it was very
refreshing because it came atthe right time, because the the
shiny suit era was only like acouple of years, if we really
think about it you know what I'msaying Like 97, 98, going into
most of 98 at the at the max,and this was a.

(45:22):
This was a nice change of pacebecause I think after big pass
and then you get no way out withpuff and then you get harlem
world with mace, I think thislocks album is kind of hitting
the reset button a little bit.
Even though it's not a classic,it's taking it kind of back to
you know, like what we needed tohear at the time.

(45:45):
It didn't have as much gloss onit as the harlem world and then
the no way out you know what I'msaying to like real rapping,
because I mean that transitionperiod.
Yeah, you know big had money,more, more money, more problems
on life after death.
But the whole album wasn'tglossy like that.
It was a lot of street stuff onlife After Death and I think
the Lox album was kind ofhitting the reset button, taking

(46:08):
it back to that vibe a littlebit as far as the bad boy run is
concerned, but overall it's asolid album.
I think shit Bitches FromEastwick is one of the most
underrated storytelling tracksin hip hop ever.
It's one of my favorites.

Speaker 1 (46:24):
Okay, hold on, AJ, not to cut you off.
I feel that way about the HeistPart One.
The Heist Part.

Speaker 3 (46:30):
One is fire too, but you know, I just love it because
you need all three of theirverses to complete the picture
and tell the full story.
You know what I'm saying and Ijust think that it's an
underrated album.
It's not a classic but I thinkit doesn't give get the praise
that it deserves.
A lot of times it's a lot ofgems on the album, but you are

(46:51):
right, Coop, the song itself isthe single is larger than the
whole album and, for the record,Chic was my favorite during
this era until Jada just had therun of the Rough Riders
compilation, we Are the Streetsand his solo album.
But prior to the Rough Ridersera stuff, Sheik was my favorite

(47:13):
in the group.

Speaker 1 (47:33):
I think he had the most style to me, true, to this
day.
I think jim just got morecomfortable over time.
You know she, she is a naturalstar.
He just don't like the industrylike that.
But as far as my take on thisalbum, I think this album, quite
frankly, is actually the markof the beginning, the beginning
of the end of the bad boy era.

(47:53):
Actually, and this is actuallyPuff's worst debut album job as
an executive producer, theproduction on this album, fellas
, the production on this albumto me sounds like the leftovers
from Life After Death, harlemWorld and no Way Out, like
whatever was left after thosethree albums were made were what

(48:15):
the locks were left withproduction-wise.
And it's not up to par.
And it's not till you get totrack 11.
The heist part one which, bythe way, is where the jada
kissing styles back and forthfirst starts, for the first time
that we hear on a record is nota mixtape.
That's the birth of the backand forth between the two of
them is the heist part one.

(48:36):
Well, until the heist part onecomes on, you don't really know
who these guys are.
They're just guys like carryingthe bad boy flag around.
There's no personality, there'sno vibe to it, there's no feel
to it.
Outside of money power, respectthat first set of 10 tracks.
Outside of money power, respect.
There's not a great song,there's not a standout record.

(48:56):
Production is subpar.
When they started reachingoutside of the bad boy box on
the latter half of the album iswhen the album takes off.
The heist part one.
What's the other one?
Not to be fucked with Bitchesfrom Eastwick, all for the love.
That stretch of songs makesthis album worthwhile.

(49:16):
Prior to that, outside of thetitle track, it's not a
worthwhile experience.
And I'm going to tell you why.
There's the production.
Jadakiss hasn't found himselfas an emcee on this album until
the second half of the album andhe is their front man and
really has always been, and thisteam has always gone the way
that he has gone and he is stillfiguring it out on this album.

(49:38):
And that's exactly what thisalbum sounds like.
It sounds like they're stillfiguring it out, but when they
figured it out, we got.
We Are the Streets.

Speaker 3 (49:47):
True, there's no clear star on this album.
You do got a good point withthat.
There's no clear front man.

Speaker 1 (49:54):
Kiss doesn't take over this album, mc-wise, until
the second half of the album.
That's when he really startsrapping, and even the rapping
that you're hearing I've alwayssaid this it's like that guy
didn't pop out until blackout.
That's november of this year,not january of this year, so the

(50:14):
kiss that you're hearing onthis album isn't the kiss that
you hear later this year.
If that guy is on this album,we having a different
conversation, but he's not, sowe are that's true.

Speaker 3 (50:25):
Everybody's on the same level, even on tracks.
It's not on, you know themixtape joints.
It's not on the album.
You'll see the joint with bigjoints like that.
When they're all rhyming,everybody is like I mean, it's
no, nobody's.

Speaker 1 (50:40):
If you told me Styles was the best rapper on this
album, I'd be like okay.
If you told me Sheikah was thebest rapper on this album, I'd
be like okay.
If you told me Kiss was thebest rapper on this album, I'd
be like okay.
The best locks bar on thisalbum is on Money Power Reset.
I sneeze on tracks and blessyou.

Speaker 2 (51:02):
It's the best hotline on the album.
Album that's not good enoughfor what they are capable of.
I think this album struggle hitus during that time because of
what it came off the heels of.
Like you said, cool you'retalking about you know no way
out.
You're talking about thesuccess of um life after death.
You know all of that happenedin 97 and that carryover from 97
.
You told me this album came outwhat January to you know, this
week of 98.
The carry over clouded a lot ofthis because you got to think

(51:25):
about the inception of thisalbum.
This album probably was made in97, during all that time where
the focus Puffy wasn't focusingon this album, he was focusing
on no Way Out Maze.
Harlem World was going crazy atthe time.
You got Harlem World, you gotno Way Out and you got Life
After Death, all in 97.

(51:47):
And now you're going to dropthis at the top of 98.
Everything else didn't get achance to breathe.
Not to mention you're in theinception of making Black Rock's
first debut album, becauseremember.
Life Story.
Life Story was actually madereally in the beginning of back

(52:11):
in early 98 because we had areview on Life Story.
It was a five mic album, in thesource Four and a half.

Speaker 1 (52:20):
It was four and a half, the original life story
without Walt on.

Speaker 2 (52:25):
It got four and a half mics, four and a half and
they had to go back and revisitit because it was prematurely
leaked as a review.
It didn't come out until 99.
So you're talking about a lothappening in that short span of
time.
Not to mention, bad Boy wasalso dealing with 112, who was

(52:46):
dropping a classic at this time.

Speaker 1 (52:52):
So, sean, may I interject from having personal
knowledge of this, from knowingRob, knowing Rob's people like.
Rest in peace to Rob, yeah restin peace to Rob yeah.
The project was done and whenPuff listened to it he looked at
Rob and was like I'm notreleasing this until you make me
a banger.
And so the only records thatended up on there that weren't

(53:14):
already made in 97 and 98 wereEspacio with Kim and Whoa.
Everything else was alreadythere.
I Dare you, Jasmine, Can I LiveDown the Line?
Joint Life Story Looking at Uswith T-Lo.
These records were done andthese records were phenomenal.

Speaker 3 (53:31):
Life Story is 10 times better than I'm glad you
brought that up, zarn, becausewhen it came back to me I was
going to bring that up becausethat to me that's a bigger
indictment on the Lox album.
How good Black Rob's album wasversus the Hong World and no Way
Out and stuff, because they'recommercially successful, big
albums.
But as far as the Lox and theirrapping ability and then the

(53:54):
product that they put together,I think Black Rob's album,
superseding that by a lot, ismore of an indictment on the Lox
album for me.

Speaker 1 (54:03):
How about this?
I'm about to fuck your head upwith what I'm about to tell you.
Well, during that time, Rob'sthe second best rapper on Bad
Boy, actually, after Big.
It's not Kiss or Styles or Chic.
Rob's a better rapper than themat that time.
Rob's more crazy.
Rob's a better rapper than themat that time.
Rob's more crazy.
Rob's a better rapper than theyare at that time.
People forget that.
That's why I'm talking aboutthat jump that Kiss took.

(54:24):
That happened at the end of 98.
The Styles jump happened in 99.

Speaker 3 (54:29):
But 98 Mase was nice though.

Speaker 1 (54:31):
Harlem World is dope.
Harlem World is dope.
Harlem World is not life story.
In the end song, the song it'sgot the backers.
It's not in life story.
It's better with the commercialsongs Money Power, respect is
not touching life story.
And you want to know what'scrazy Can I Live?
Featuring the locks on lifestory is better than everything
on Money, power and Respect,except the record Money Power

(54:54):
and Respect.
I agree with that Everything onthat album.

Speaker 2 (54:58):
You got DMX outshining them, though.
You got DMX outshining them onthat.
That's the thing.

Speaker 3 (55:04):
Money Power Respect.

Speaker 1 (55:05):
X is stunting on everybody not named J and Nas in
98.

Speaker 3 (55:10):
I'm sorry but Money Power Respect.
I think Kim with the hook takesit even over X's verse.

Speaker 2 (55:15):
He did, kim being the veteran and being the draw to
it.
It brings a different you knowumph to it, right, but again,
you've got so many things andSupa had just put something in
the chat.
I was going to that where thebeats selection for Money Power

(55:36):
Respect is the biggest problembecause the production wise it
wasn't living up to what Puffywas already doing and I don't
think they knew what to do withthe rocks, because you got again
.
They were the warlocks.
Right, you're talking aboutthree super MCs from the hood
hood and they might be the mostdisrespectful and the most

(55:57):
flagrant and the most aggressiveone on that roster at that time
, because Rob knew how to blendit.
Rest in peace, rob.
Rob knew how to blend it.
Rob had a little bit of thatHarlem swagger, so he knew how
to really swag that thing out.
Right, pauls, but with thelocks because they were so rough
and rugged.
It made sense for them to fitunder that Rough Riders banner

(56:18):
as opposed to that Boy's banner,because it just didn't fit.
You can tell they were tryingto figure their way out.
It just didn't fit.

Speaker 3 (56:24):
They're not on Bad Boy if Big doesn't stamp him
during that era before he passed.

Speaker 2 (56:29):
No, no, not at all, not at all.

Speaker 3 (56:32):
Because I feel like you know and I think I've heard
them say it as much ininterviews that you know a and I
think I've heard them say it asmuch in interviews that you
know a lot, a lot of that.
You know to your, to your point, sean, that Puff didn't know
what to really how to marketthem, but you know, big kept
stamping them as emcees.

Speaker 1 (56:51):
So this is where I'm not going to give Puff a pass.

Speaker 3 (56:55):
We shouldn't give him a lot of passes for the record.
You don't need no passes at allanywhere.

Speaker 1 (57:02):
I'm not joking.
If you can take ChristopherWallace from Bed-Stuy Brooklyn
and make him into a sex symbol,don't tell me that you don't
know what to do with the locks.
Respectfully.
Big is different Coop If you cantake—no no no, Listen to what
I'm about to say about Puff.
If you can take fullcountry-ass niggas from
Charlotte, North Carolina, andmake them into the biggest R&B

(57:25):
group of the decade, if you cantake a chick from Yonkers, a
hood chick from Yonkers whoreally can't sing like that yet,
and make her into an icon, andyou're telling me this guy don't
know what to do with the Locksalbum.

Speaker 3 (57:39):
I'm not.
No Well me, this guy don't knowwhat to do with the locks album
.
I'm going to harken back towhat I said earlier.
All those people, there's adifference between talented and
gifted.

Speaker 1 (57:45):
Oh, yeah, kc, gifted Mary's, gifted Mary's totally
gifted.

Speaker 3 (57:48):
Big is gifted, the locks are talented.

Speaker 1 (57:53):
Say less.
I like that.
We can leave it right there,unless y'all got something y'all
want to add.

Speaker 2 (57:58):
No.

Speaker 1 (57:59):
No, alright, cool, we can leave it right there,
unless y'all got something y'allwant to add.
All right, cool.
On to the news all being shoutout to def jam your whack ass
ball signs the def jam for eightmillion dollars, guys.
Um, so when we get in thestudio to get a track to submit
to Def Jam so we can getmillions of dollars we don't
deserve.

Speaker 2 (58:24):
Go Sean.
This shows you how the currencyof Def Jam has gotten so low.
We used to talk about Def Jam,loud Records, death Row, these
historical record labels, andhow great they were for hip-hop

(58:44):
and how they were the foundationfor hip-hop, and Def Jam was
one of those actually one of thefront runners, if you will,
when it comes to the excellenceof hip-hop at its core.
And now you start to see howthe currency of Def Jam is no
more Again.
I'm not going to sit here andcap and be like yo, tweaker is a
vibe To me.
It's not.
Def Jam is tweaking for signingL'Angelo Ball for Tweaker,

(59:06):
because he could make probablymore money streaming this song
that he has on streamingservices and let the people vibe
out to it or have fun to it orwhatever they want to do to it.
But the fact that Def Jam, whenit got this based off of that
song, ain't going to sign him to, I think about $8 million or

(59:26):
something like that, that hehave to hit some points and all
of that stuff just to be able tocontinue to move forward.
We're not going to be talkingabout this next year.

Speaker 1 (59:34):
By the end of this year, almost by the summertime.

Speaker 2 (59:40):
We're not going to be talking about LiAngelo Ball.
I'm being honest with you andDev Jam.
Shame on you, because you werethe actual standard, the gold
standard when it comes tohip-hop, and now your currency
is as low as Japanese yen in2026.
So hopefully, you know thepeople will love it.
I guess I don't like it.

(01:00:00):
I'm not going to say I like it,I do.
It's trash and I mean it fromthe bottom of my heart.

Speaker 1 (01:00:06):
So yeah, whatever Well.

Speaker 3 (01:00:12):
I'm going to disagree , sean.
I'm going to push back a littlebit.
I get it, hold on AG.

Speaker 1 (01:00:20):
do you like Tweaker?

Speaker 3 (01:00:21):
He loves it.
No, I'm going to allude tosomething.
I think when they interview LLagain and they ask him who's on
the Mount Rushmore of Def Jam,now we got a legitimate case for
LiAngelo.
I think he makes it on theMount Rushmore of Def Jam, right
there beside LL, the Beasties,whoever.

Speaker 1 (01:00:41):
Public Enemy J Redman , dmx Method man.

Speaker 3 (01:00:47):
Yeah.
So when they ask him again nextyear, ll, who's on the Def Jam
Mount Rushmore?
I think you got to nameLeAngelo.
I think it's only right.

Speaker 1 (01:01:00):
Are you done?

Speaker 2 (01:01:03):
He really liked Quaker.
He texted me, he was like yoman, this is one, he got one.

Speaker 1 (01:01:08):
The only thing that I really have to say, gentlemen,
is that one time Cool G Rap tookNas to Def Jam and they felt
like Nas wasn't Def Jam worthy.
And here we are in this worldthat we live in now, where Nas
wasn't worthy in the world thatwe grew up in, for Def Jam in
the beginning.

(01:01:28):
But a novice Nas who, by theway, was more advanced than half
the rappers who had ever livedwhen he was only a novice,
couldn't get a deal out ofRussell.
These whack-ass motherfuckerssigned Lee Angelo Ball.
The same deaf jingles.
It's the same company imprint.

Speaker 3 (01:01:51):
There's two stories beside that.
Russ said he sounded too muchlike G-Rap.

Speaker 1 (01:01:57):
I remember the comment.
And G-Rap don't sell no records.

Speaker 3 (01:02:00):
That's what Russell said yeah, and rest in peace, to
Clark Kent.
Clark Kent said that he wouldhave signed Nas, but Nas didn't
have a demo and the rules of theengagement was back then that
you had to have a demo to getsigned.

Speaker 1 (01:02:13):
That's not true, because that's not how Kane got
signed.

Speaker 3 (01:02:16):
I'm just telling you what Clark said.

Speaker 1 (01:02:20):
Rest got signed.
I'm just telling you what Clarksaid Rest in peace, clark.
That's not how Rocky Kim gotsigned.
But okay, clark, rest in peace.
But that's not accurate or true.
That's some bullshit, is whatthat is.

Speaker 3 (01:02:29):
He found his way there eventually anyway.

Speaker 1 (01:02:31):
AZ got signed off a verse off Illmatic talking about
you need an MO back, then Rightyeah.

Speaker 3 (01:02:38):
Maybe that was just a Def Jam rule, I don't know.

Speaker 1 (01:02:42):
Well, nobody cares about your rules.
You guys suck.
I'm going to let you know thatyou suck, Mount Rushmore.

Speaker 3 (01:02:48):
LeAngelo.

Speaker 1 (01:02:49):
We're going to have to.
Unfortunately, we're going tohave to do the rest of it.

Speaker 3 (01:02:55):
Quick question Before we get off topic who do you
think has a better chance?
Liangelo to get on the Def Jam,mount Rushmore.
Or LaMelo or Lonzo to get onthe NBA all-time round, mount
Rushmore.
Who has the better chance?

Speaker 1 (01:03:14):
LaMelo and Lonzo.
They actually have talent atwhat they do.
They have a skill set.

Speaker 2 (01:03:20):
We're not going to be talking about LiAngelo Bob.

Speaker 1 (01:03:24):
LaMelo is going to be the starting point guard for
the East at some point, likesoon, like probably next year,
Very soon.
Lonzo if his knee actually doesrecover was a upper half point
guard.
Has been a top 15 point guardin this league when he was
playing um their.
Their brother sucks at rap andI usually don't encourage this

(01:03:45):
type of behavior, because thething that I've always loved
about hip-hop is that you canalways like take a lifestyle
that might be a little bit morenefarious and transfer and
translate into a more legitimatetype of field.
But I really think he shouldtry selling drugs instead, Cause
he sucks.

Speaker 3 (01:04:04):
That's well, you already did try something.

Speaker 2 (01:04:08):
The fair is that that didn't work out well Overseas,
wasn't it Some shades.

Speaker 1 (01:04:14):
I don't know Um.
You know, I'll just, I'll just.
You know, he should probablypush some weight Cause wrapping,
wrapping it.
This is crazy, don't be mad.
Jps is hiring.

Speaker 3 (01:04:25):
Def Jam, mount Rushmore.
This is crazy, you heard ithere first.

Speaker 2 (01:04:29):
Tweaker is from West Virginia, though that's where
most of the streams are comingfrom.

Speaker 3 (01:04:33):
We do got a lot of tweakers, though.
While you play, let's talkabout tweaking.

Speaker 1 (01:04:40):
What is tweaker?
What is a tweaker?
I mean when somebody, I meandown here, when somebody
tweaking down here.
We talking about somebody, justcracked out, that's that's what
I thought.

Speaker 2 (01:04:48):
That's what I'm saying.
Like I thought that's what he'stweaking down here.

Speaker 1 (01:04:53):
Like how about this?

Speaker 3 (01:04:54):
like like, it's like this, like if you geeked up,
it's like we there's a lot ofmeth down here, and I'm not
talking about MBTHOD man, Iain't talking about it.

Speaker 2 (01:05:09):
It really is.

Speaker 1 (01:05:11):
Like there's geeked up and there's geeked up, talk
about Walter Wright and JesseBreaking bad, all right, all
right.

Speaker 2 (01:05:21):
Look, here we're going to actually go to
something that I actually.

Speaker 1 (01:05:25):
No, no, we changing the subject.
We not about to stay here, wenot going to stay in the sunken
place.
All right, we're not.
All right, we're going to moveto Cam and Jim Jones, and Cam
was right, and I'm going to justgo ahead and start this off by
saying this Thank you, cam, forsaying that you're not going to
do this anymore, because, onbehalf of hip hop, we're tired
of hearing you niggas do it Likewe're tired of it.

(01:05:47):
We're over it.
I don't know where this started.
You know one thing that I loveabout Cam Cam is super
informational.
Guys Like when Cam startrunning it down to you, cam
really run it down to youbecause he was really there,
because Cam was really outside.
So when Cam starts freestylingin podcast mode, he's like no

(01:06:11):
fam.
He's like I'm not being funny,you're not from here, I'm from
140th.
And Lenox these dudes is righthere.
They two blocks up.
He start running it down and hestarted talking fast and you
like, and you like oh shit.
Like that's when reality setsin in the situation and people
can't lie anymore.
It's like when your reflexmemory kicks in.
He like, he's like I'm notbeing funny, you're not from the
neighborhood boom, boom, boom,boom, boom, boom, boom, boom,

(01:06:32):
boom.
And he starts breaking it down.
The truth hit different whensomebody's tone is different.
Cam, don't talk like thatanymore, right?
Cam, don't run it down like hewas talking fast, like he was
back in the streets again.
You know I'm saying like that'show you talk when you're in the
streets, because everything ishappening fast, you're moving
fast, you're thinking fast, thereactionary time is fast.

(01:06:53):
He was talking to me.
He's like no, he's like he'sfrom the bronx.
He's like no, rest in peace tohis grandmother, but he's really
from the Bronx.
He just got gifted his housebecause his grandmother's from
Harlem.
I'm like ooh, these are.
You know it ain't sounding likelies man.
He's running down the tape oflike Mace taught me how to rap,
mace taught me how to rap Mace,killa, cam and mcgruff.
It's like no, I never heard ofjim, you know.

(01:07:25):
So when cam starts speaking andif you know your hip-hop history
, it's like then you startasking yourself damn, when did
jim pop up?
And then he's calling him joe.
I'm like, oh, he done knownthis thing for a long time and
he's super comfortable with itand so he just handled it in a
manner that I was like and evenand I don't want to get into
some of the business that likehe discussed in terms of how he
ran it down, because that'sbetween them, but the way that

(01:07:47):
he talked about the businessmade me go like cam ain't the
type of dude, because cam is thetype of dude that even if he
don't like you, he give youprops, like he.
You know, like him and jayhaven't always had the best
relationship, but he'll always.
He was speaking highly of jay inthis.
He's like no, when I met jaywhen I was a teenager, he's like
no, jay had money, jay hadpiranhas and fish tanks and on

(01:08:08):
the wall in his crib and waspushing like two, three.
Like you know he'll give youyour due because he was really
outside.
He even talked about how dameand uh and one of dave's right
hand man kind of put some pushedhim out of the hustle game that
he was in with them.
A little bit Like cam's honest.
He's like yeah, they kind ofbig dog me and like push me to
the side.
He letting you know no, thatshit happened when you coming up

(01:08:29):
in the dope game, your OG wouldbe like nah, nigga, this
playing for you get you on work,yeah, yeah.
So cam is honest and so whencam be talking, it's like oh, I
don't be siding with the otherside yeah, yeah I don't, can't
be talking, can't be, can't besaying some real shit he breaks

(01:08:49):
it down yeah, he don't hesitate.
There was a reason.
Mace was sitting there with thepopcorn.
He's like oh I know this, dude,since we were 10, I already
know where this going yeahthat's why mace was sitting
there like that.
He's like.
I know this dude since we was10.
I already know where this isgoing.
That's why Mace was sittingthere like that.
He's like.
I know this dude since we waskids.
We from the neighborhood.
We from the same block.
Oh, I already know what heabout to do.
He been doing this since we waskids.

Speaker 2 (01:09:10):
Yeah.

Speaker 1 (01:09:11):
Yeah, and I realized something too New York is much
more territorial because of thecondensed space.
When he said 140th and Lenoxand then started shouting up the
blocks, I realized, oh, hewasn't talking.
Two, three exits 15 minutes upthe road, like when you in
Atlanta.
Like when you in Atlanta, oh no, you can be on Campbellton and

(01:09:36):
get to Camp Creek easy, but itain't two blocks up the road
where you can walk.
You feel what I'm saying?
Oh no, you're going to have toride up Campbellton towards Bend
Hill and then make that leftdown the back road and then ride
that up four miles and thenbust that right.
Then you're on Camp Creek.
You're still on the south side,but you ain't two blocks away.
Cam, talking like these niggaswas right here.

(01:09:58):
These niggas was right here, meand mace and l was right here.
You wasn't right here.
And then I realized when he wassaying that, oh no, he really
meant right there.
Like see down, here it'sdifferent.
It's like I grew up on the eastside, but you know the east
side stretch from morelandavenue all the way up the
latonia stone mountain.

(01:10:18):
There's different parts of theeast side.
So it's like somebody can tellyou that they're from the east
side and you'll be like whatpart?
When you in New York, it's likeoh no, I'm from 140th and Lenox
.
What block you from?
Because you can probably walkto where the nigga is from.
Uh-uh, that's different.
That's different.

Speaker 2 (01:10:36):
Yeah, it's an interesting dichotomy between
those two, because the thingsthat Cam was saying and he was
very methodical in his approachyeah, he really broke it down
Very practical, very practical,very.
He was speaking on blocks andtime periods, showing the

(01:11:00):
history of when Jim came through.
He said it without saying it.
Jim, you jumped on thebandwagon when you saw that we
were going somewhere with this.

Speaker 3 (01:11:10):
No, he straight up called him a fan.
He called him that.

Speaker 2 (01:11:14):
He called him a fashionable guardian angel.
He called him a fashionableguardian angel when he said that
.
I'm like yo.
That was crazy.
But I heard something that Macesaid and you know what?
I applaud Mace for not sayinganything at all but popcorn,
because Mace actually said on aninterview this week, apart from

(01:11:36):
that, when he said that hetried to get them both on the
phone to talk this thing out now.
Granted, jim had been going atmace for years, very
disrespectful, and mace said thereason why he didn't say
anything because he tried to getcam to not go down that road
anymore.
And he said he was trying to getCam and Jim on the phone

(01:11:59):
together.
And when he realized thatwasn't going to happen he had
nothing to say, because I'm sureMase could have said a lot and
continue to fuel that fan, thatflame that Cam had.
But he allowed Cam to shoot theclip out.
He didn't give him any moreammo, he just sat back and ate
the popcorn.
I respect that to the fullestbecause he could have really

(01:12:21):
jumped down that road as well,because jim was more
disrespectful to mace than hehas been to cam oh, yeah, crazy
talking wild about crazy.
But I do have a question forboth of you, because at one
point, you know, jim was kind ofcarrying that Dipset flag you

(01:12:42):
can call him whack, but at onepoint he was really carrying
that flag when Cam was goingthrough those things and he was
the one that was out therestomping it out for Dipset
during that era, you know.

Speaker 1 (01:12:58):
Now okay, so let me tell you how I feel about that
and I'm glad that you'rebringing that up.
One, let's give Jim his props.
He made the biggest hit singlethat ever came out of the camp,
so we're going to give him hisprops.
He's not a rapper by trade theway a Mase, a Cam, definitely
not Big L on the mic, but hemade the biggest hit, arguably
to ever come out of the Harlemsince, since Rob base made it,

(01:13:20):
takes two quite franklyseriously in terms of like
iconic.

Speaker 3 (01:13:25):
No, I wouldn't say no , no, Cause you got puffing.
The Macy's bad.

Speaker 1 (01:13:31):
And what made singles bigger than balling in your
opinion?

Speaker 3 (01:13:35):
It feels so good.
It was pretty.
No no no, not culturally.

Speaker 1 (01:13:40):
No, it wasn't being involved that's why I'm saying
balling is culturally like,still in our framework, like if
you put them balling, but Idon't think you can just like
push Puff over to the side likethat, though.

Speaker 3 (01:13:50):
I mean, benjamins is the thing.

Speaker 1 (01:13:52):
I'm not pushing Puff over to the side.
How about this as far as the MCcraft is concerned, even though
Jim isn't a traditional MC?
Because even when you'retalking Benjamins, no, that's a
posse cut Like.
That's why I'm saying Rob Basslike a rapper making a song like
by himself, essentially.

Speaker 2 (01:14:09):
I think oh Boy was one of those too.
Oh Boy was something.

Speaker 1 (01:14:12):
Ooh, I give you oh Boy.
I think Ballin' was bigger thanoh Boy and oh Boy has Jewels on
it.

Speaker 3 (01:14:17):
Yeah, it's close.
Oh boy and oh boy has Jewels onit.
Yeah, it's close.
I would say ball and edges it,because ball and was like you
know, I think that was beforeviral, like was really a thing.
But if, if ball and came outpresent day with it, that would
be a viral song, like you know,and a tick tock type you know
thing Right as it was then, yeahyeah, I'll see.

(01:14:41):
I'll see where you're goingwith it, coop, but that still
don't give him.

Speaker 1 (01:14:44):
I'm not saying how about this?
I'm not saying that there arebigger records that aren't
bigger records that have comeout of harlem, because puff has
a lot of stuff, but I'm thinking, think about a solo shop that's
iconic in hip-hop lexicon.
It's like no ballin's there andyou really do gotta maybe go
back to it.
Takes Two to think about a songcoming out of Harlem from one
artist rapping over the entiretyof the song by themselves to

(01:15:06):
find an iconic record like that,because even the Mase Records
got some help.

Speaker 2 (01:15:10):
Yeah, but Ballin had massive help too.
Though that's Max B's pen, youknow Max B's.
Thank you, yeah.

Speaker 3 (01:15:17):
But I don't care.
Like, forget all that.
I don't care if it is thebiggest hit to come out of
Harlem, like that doesn't giveyou the passport to talk
reckless about the person who,one, taught you how to rap in
the first place, or, two, theperson who put you in position
to even be successful.
Make it to those heights.

Speaker 1 (01:15:34):
Well, what?
But what I was about toactually speak to AG is that,
well, did he take over bydefault, because the way it's
been broken down to me, well,cam's mom got sick and about her
health he moved down to Floridato be able to care for her.
And so, well, you're a stand-upguy, or you're not, because if
you know that your man's mom issick and that he's got to leave

(01:15:57):
town and take care of her,you're supposed to carry the
torch.
And so when people talk aboutholding him, holding dips head
down, it's like, well, you didwhat a stand up guy is supposed
to do, like kudos to you, butlike let's, not let's not.

Speaker 3 (01:16:10):
Yeah, it's like maybe you want a cookie.
Like you know, I'm saying tostart player go out the game
with a sprained knee or whatever.

Speaker 1 (01:16:25):
And you like second best player on the squad, you're
supposed to step up and getbuckets like 20 points need to
turn into 25, 30, right, exactly.
So it's like come on, man, but.
But here's what.
But here's what I say, becausewhen cam was talking, I'll
always go back to the first timethat I ever heard them really
talk about the breakup and I'llnever forget what cam said the
first time that he really talkedabout the breakup at least that
I can recall and he was like Imade a joke about chrissy.
And I was like I was like hemade a joke about chrissy.

(01:16:46):
And keep in mind, this is whenthey for him, jim and chrissy at
first started dating.
Cam said he made a joke.
It was like I think he's likeoh, you in love with the
whatever, are you in love withthis b or whatever?
And they had only been datingfor like two weeks and Jim felt
some type of way that Cam saidthat and I'm thinking to myself
I thought y'all were boys thatcame up together and it wasn't

(01:17:07):
until Cam broke it down today.
I was like oh, y'all were theboys that came up together and
that's why Jim took it like that, because Jim noted he not folks
too, that's why he took thatshot that way.
You feel me because it's like Ialways thought that was funny.
It's like, oh no, I thoughty'all all came up together like
it's supposed to be.
A little tighter than tougherthan that, especially if you

(01:17:27):
just started dating her, even ifyou think she's the one.
It's like you shouldn'tnecessarily just x your man now.
You just need to tell your manlike, hey, I like this one,
don't be speaking about it thatway and keep the shit pushing.
You feel what I'm saying?
The fact that he took it so,personally I never understood
until Cam broke down like oh no,fam from the Bronx, and grandma
passed and started pulling upon us and all that.
And I'm like, oh so he'shypersensitive to this because

(01:17:51):
he got invited into the crew,because he kind of wanted to be
down with the Kings.

Speaker 3 (01:17:55):
Well, the reason why this started again, I think,
highlighted that they wasn'treally like that as far as like
you know family, because youknow they were clowning and
joking about 50, saying like, oh, I think I can get the gym
strategically in the battle.
And if Cam and Jim were reallylike that you know what I'm
saying Like brothers you knowwhat I'm saying For real, for

(01:18:16):
real Would have been able topull that move even if it was a
look for Jim.

Speaker 1 (01:18:21):
That's what I mean about NewYork being small though AG like
smaller than people think it'slike.

Speaker 2 (01:18:26):
oh no, 50 probably knew that through the grapevine
because 50 been around for along time, guys, and we know
that 50 probably knew, like thatnigga Jim is really from 50,
probably knew 50, knew that hetook a shot in the dark because
he was like well, balling rightnow was going crazy, so why not
continue to gas this guy?

(01:18:46):
You know if it was somebodyelse of it.

Speaker 1 (01:18:49):
If it was somebody other than 50 sean, I would
agree, but he is one of thoserare guys who street acumen and
business acumen are both extreme.
No, doubt, no doubt, so I don'tbelieve that he didn't know
some of these things.
I don't.
He might play coy like that,because that's also part of the
game that he plays so well, butdon't tell me he didn't know
some of that stuff before hemade that move.
He's very calculated and I meanthat in a good way that he's

(01:19:12):
calculated.

Speaker 3 (01:19:14):
Can I go ahead, sean?
I wanted to just tie somethingall together real quick.
But you go ahead, sean.

Speaker 2 (01:19:18):
I was going to say you can tell like, ok, from a
distance or even close by, youcan see that Jim was riding his
wave of balling Right.
If I'm 50 and I'm beingstrategic, I'm going to tap him
on the shoulder because rightnow you're off in space where
you probably shouldn't have beenthere.
Let's be honest, jim probablyshouldn't have been in that

(01:19:40):
space.
He was the henchman, he was themuscle, whatever you want to
call it.
He caught lightning in yourbottle.
If I'm 50, I'm testing that I'mseeing, okay, you got a hot one
and you just leapfrogged themain guy in your group when you
probably never should have, andin your city, not just your
group, your city, your city.

(01:20:01):
I'm going to tap you on theshoulder to see where you stand,
because if I can't get you andhim to butt heads because right
now you hot and he's not, that'sjust strategy.
I don't think he really knewanything about internal beef or
internal Because?

Speaker 1 (01:20:14):
he said it himself.

Speaker 2 (01:20:20):
He said I just threw it out there to see what he did.
Let's see how he reacts.
Let's see how he reacts.
It's the very simple.
That's what I mean about 50Street Acumen.

Speaker 1 (01:20:26):
That's what I mean about 50 Street Acumen.
Something about the situationmade him go.
Hmm, let me pick a guy.
You want to know what I think?
Jim the guy.
I hear this all the time when Italk to all my New York people.
They be like oh Coop, you knowyou be acting like you from
Harlem when you do this, or yoube acting like you from Brooklyn
when you do this, but you gotQueens tendencies when you like,

(01:20:48):
do this, and so that's why I'msaying no, 50 is student of the
streets of the game, so heprobably seeing some of Jim's
tendency.

Speaker 2 (01:20:58):
He, like you, know this nigga really don't do
Harlem shit like that.

Speaker 1 (01:21:00):
really, you know what I'm saying.
He might have been feeling thatvibe from Jim.
It's like oh, this don't feeltotally like uptown to me, let
me go him.

Speaker 3 (01:21:06):
Him.
Yeah, I want to try to tie thisall together real quick, right,
so to 50's point, right?
Okay, so we got the dip set and, like you said, Sean, he
leapfrogged the main guy, theleader of his group, you know,

(01:21:27):
by having the lightning in thebottle right.
And Jim's main reasoning, hisreasoning for saying he did what
he did, was because Cam wasn'tmaking no moves in the dip set
clip and that provided him anopportunity and he took it or
whatever.
So, like I said, if they wereboys it wouldn't matter what
opportunity would have presentedfor Jim.
He wouldn't have did thatbecause he knows, like yo, this

(01:21:49):
guy's beefing with my guy rightnow.
But here's where the problemlies with groups, collectives or
what have you that end upfalling apart.
This is just to me.
Right, cam is the leader of dipset.
I got on a woo hat right now.
Right, riz is the leader ofwu-tang clan.
I think anytime you are in agroup or a collective where

(01:22:12):
there is a de facto leader, itsets the table for jealousy and
envy and things like that to bebreathed.
Right, and Jim, he got thatlightning in the bottle and it
put him in position to leapfrogthe person in that spot and he
took the opportunity, even if itmeant siding with 50 Cent, who

(01:22:34):
was the ops at that point.
But we just got through talkingabout the locks, the locks came
in under Puff.
They've been loyal with eachother from day one to now.
Any turmoil they had behind thescenes and they kept it
internally.
Because, you know what?
There's no de facto leader Coop.
You said Jadakiss was the frontman.

(01:22:55):
The front man is different fromthen a leader.
Lutang's front man is Methodman.

Speaker 1 (01:23:01):
But the leader was RZA, I didn't say leader.

Speaker 3 (01:23:05):
It's totally different.
The locks don't have a leader.
Every man is equal.
It goes back to that J line onReasonable Doubt where he said
if your whole crew is rugged, ifsomebody falls, we could be
each other's crutches.
You know what I'm saying Onreasonable doubt.
So that's why the locks havebeen able to keep it together

(01:23:25):
this whole time, versus theseother groups that have a de
facto leader in place, that havepeople eyeing that top spot
like yo.
I don't think he need to be inthat spot.
We've heard, Ray, you guystalking candidly about some of
the moves that RZA has made.
Yeah, so I think that breedsjealousy, envy and all sorts of

(01:23:47):
things, and I think it's areason why we don't see hip-hop
groups today.
The last major hip-hop groupthat we've had that made noise
was the Migos.
I don't consider Griselda agroup.
That's more of a collective.

Speaker 1 (01:23:59):
That's true.

Speaker 3 (01:24:00):
And it's for these reasons that we're speaking
about right now.

Speaker 2 (01:24:04):
Perfect segue.
Perfect segue Because when you,when you throw that stuff out
there to the public right, whenyou talk about your internal
strife and it leaks out to thepublic and you're talking about
it to the public, it's hard torecover from that Internal beef.

(01:24:26):
You can have a conversationamongst men, women or whatever
the case may be.
You can hash it out because youdon't have the public opinion
weighing in on your issues.
Because now, when you geteveryone talking about it like
we're talking about it right now, you got everybody putting
their opinion out there and theyare like really bloviating the
situation, they're making it bigand what it probably really is
it's hard to get back to thecore of why we got a problem and

(01:24:47):
can we fix that problem.
That's why social media hasbecame like one of the biggest
issues when it comes, like yousaid, ag, breaking up these
groups.
Because when they start talkingto this source or talking to
that source and words startgetting out, everybody's talking
about it now, everybody'sweighing in on it and it's hard
to backpedal.
It's hard to backpedal whenthat shit gets to the airwaves

(01:25:11):
and you could probably havefixed that within your circle by
saying, yo, we need to talkabout it.
Let's hash this thing out.
Once that thing is out there,it's a wrap.

Speaker 3 (01:25:22):
Because a lot of those opinions pumping up that
ego that you got Bingo.

Speaker 1 (01:25:25):
Let's go to Mad Max before we transition.
$9.99 for Mad Max.
Ag Puff ain't from Harlem, hisdirty freak self from Mount
Vernon, like me.
But he a Westside and I'm anEastside and gotta make the
distinction Okay side and I'm aneast side and we gotta make the
distinction Okay.
So, mad Max, I'm gonna pushback a little bit because Puff
was born in Harlem.
He only got moved to MountVernon after what happened to

(01:25:47):
his pops happened to his pops.

Speaker 3 (01:25:49):
His daddy used to be.

Speaker 1 (01:25:54):
His dad used to run with Nicky Barnes in Harlem.
He was one of Nicky Barnes' topguys, and a lot of people feel
like some of Nicky's decisionsled to what happened with Puff's
dad, and that's definitely awhole other conversation that
we're not about to dig.
Yeah, we ain't going to touchthat one.
We're definitely not touchingthat shit, because some of they
people are still walking aroundReal talk, but I will say, as

(01:26:16):
somebody that was born inCharlotte but raised in Atlanta,
well, I discovered hip hop inCharlotte, not in Atlanta,
though I started rapping inCharlotte, and so, although I
was born in Charlotte like Puffwas born in Harlem and Puff was
raised somewhere else, I claimCharlotte, kind of like he still

(01:26:38):
claim Harlem, because that'swhere I found hip-hop, which is
where Puff found a lot of hiship-hop too, even though the
heavy D Andre Harrell, mountVernon connection helped, but
the first thing the nigga didwas really take it to Harlem,
though, which is where he'soriginally from, which is kind
of what, in our diaspora ofliving, we are taught to do,

(01:26:58):
quite frankly, in all walks oflife, not just rap we're taught
to take it back to where westarted, right, so we did that,
so we can knock him for a lot ofthings.
I'm not gonna knock that.
I'm gonna give him some HarlemMount Vernon dual citizenship,
because I like my AtlantaCharlotte dual citizenship.
Quite frankly, a lot of shit toknock Puff about, but holding

(01:27:20):
Harlem up high shouldn't be oneof them, in my opinion.

Speaker 2 (01:27:22):
And with that being said, let's transfer to the
downfall of hip-hop groups, guys, let me get this one real quick
, I think Mad Max, let me callthis one out.

Speaker 1 (01:27:33):
Oh, mad Max, yeah, oh , I missed this one.
I'm seeing Cam over Jimmy.
One cam's the reason I saycomments like jailbird poetry.
Well, you should stop that, cam.
Shame on you.
That was great max.
Jimmy sold max being stackedbundle style rip.
He did do that, I agree.
Three jimmy knew better than tothrow the franks at cam and 50.

(01:27:55):
I don't think he did all right.
Thank you, mad max, for yourcontribution.
You're always entertaining eventhough you know very little.
And with that being said, we'regonna go to the downfall of
hip-hop groups, guys.
I'm gonna tell you the firstthing that I noticed when we
were doing this.
I tried to list all the umiconic hip-hop groups that had
broken up, and it was way easierto list the ones that had
broken up than the ones that hadstayed together.

(01:28:17):
When I got to the ones I wastrying to keep together, I was
like damn, who's together?
Because OutKast ain't together.
Tribe Called Quest broke up.
Epmd, public Enemy even brokeup.
We all know what happened withNWA.
Guys, why do iconic rap groupsbreak up?
If we could just keep it to therap segment we know about Bobby

(01:28:38):
Brown and Teddy Pendergrass andLionel Richie, smokey Robinson,
david Ruffin and theTemptations ass nigga.
We know about all these dudes,but why do hip-hop groups suffer
the same fate?
Because, quite frankly, themoney and the stardom isn't the
same as it is for the R&B guyswhen they break off and go solo.
What's with the hip-hop group?

(01:28:58):
Disunity, too many egos?
The same as it is for the R&Bguys when they break off and go
solo.

Speaker 3 (01:29:00):
What's with the hip-hop group?
Diff Unity, too many egos.
And you know I mentioned a lotearlier.
But let me be clear, like Idon't want to paint the picture
like, oh, they're, you know theepitome of hip-hop groups and
you know, yes, they keep their,you know their struggles
internal and don't let it comeout.
But let's, let's be realisticabout that situation.

(01:29:21):
They got what?
Four group albums and the locks?
Yes, they got four albums as agroup.
So I think it's easier to stayconnected with that model
because they masquerade as soloartists and they reconvene as a
group every now and then, versusrelying on the group format and

(01:29:44):
then saying, well, thisperson's going to drop a solo,
this person's going to drop asolo.
Same thing with Wu-Tang Clan.
They only got together everyhandful of years.
It's a bunch of solo artiststhat come together like Voltron
and form a group, but theyreally masquerade as solo
artists for the most part.
So it's easier to navigate thatas a group.

(01:30:07):
If you have your own autonomy,so to speak, you're smoking that
bro.

Speaker 2 (01:30:13):
No doubt Appreciate it, because you need that space.
When you got egos like that,it's hard to be under one roof
and the reason why I've alwaysadmired the way RZA did Wu was
because he understood that atthe gate I got nine
personalities including myself.
I got to create room under thishouse of woo so they all can

(01:30:34):
thrive, because I can't keep itevery single.
You cannot have consecutivealbums without those guys going
at each other.
Next, pause from different.
You know different areas of thehood, different, different ways
of thinking, grown men, theyhave families to feed, they have
their own silos and so on andso forth.
And to your point, when you gotlike a group, you saw it and

(01:30:56):
coop you.
You started off by talkingabout the, the, the r&b groups
that never got a chance tothrive.
Think about the subsidiarygroups under those guys.
Like that, ghost had his team,everyone has a considerable

(01:31:17):
group under them.
So they're saying you should bethe one, you should be the front
door, you should be making X, yand Z.
There should not be an equalsplit because your album sold
more solo than this person'salbum.
You got that stuff going inyour head and now you're
thinking like, wow, I am the onethe streets are talking about
the most.
You know, I mean because thinkabout if method man had that

(01:31:39):
true ego when he first launchedbecause he was the one he was
supposed to boy for woo justimagine how that could have
crippled everything thathappened after that.

Speaker 1 (01:31:51):
you know, I mean, I think I think my perspective and
I'm not saying your perspectiveis wrong.
My perspective of it is alittle bit different and so let
me.
Let me explain to you, maybe,where I'm coming from with it.
One of the most unselfishmoments in hip-hop history to me
is the production job thatQ-Tip did on the low-end theory,

(01:32:13):
because when I listen to thosebeats I say those beats are made
to make sure that Phife Dawg ismore included in this project.
This go-around Q-Tip is theobvious star as the emcee and
the producer.
Part of what makes the low-endtheory beautiful is that, well,
you know, q-tip sounds great onhis stuff but you don't know

(01:32:34):
what Fife does.
But Q-Tip shows you on thelow-end theory, and I think what
happens is that in order for agroup to really, really stay
together, the star has to makestar type of sacrifices that are
comparable to being the bestplayer on the team in order to
secure the championship.
And much like with sports, youknow, there usually comes a

(01:32:58):
point where the star maybe getstired of making the sacrifice at
the expense of another playergetting the credit that maybe
they don't fully deserve.
See kevin durant and russellwestbrook in oklahoma city.
You feel what I'm saying and solet's go to wu-tang clan.
I've always felt that the numberone reason that wu-tang clan

(01:33:19):
stayed together is actuallybecause their front man went
platinum out the gate and neverleft the fucking crew.
The first thing that he did wasbring his ass right back and
give them more classic shit.
It's the first thing that hedid.
He went back and gave dirty rawhod.
He went back and give them moreclassic shit.
It's the first thing that hedid.
He went back and gave Dirty Rawhot.
He went back and gave Ray icecream and Gambino's.
He went back and gave GZAliving in the world today and

(01:33:40):
shadow boxing.
Watching your star come back andshine his light on the rest of
the crew, like meth did for theWu projects, like Q-tip did for
the low in theory for fife.
Those are the things that ittakes consistently to keep the
group together.
Look at what ghost did when thestar power transferred to him.

(01:34:03):
He did the same thing meth didheld the woo up high, gave
everybody their shots when ghostbecame the thing to do.
That's how these groups staytogether.
Now let's come on down here toAtlanta, georgia.
You know where we're going.
You know where we're going.
You know I was going to do itright.
Let's go down here to Atlanta,georgia.
We're the star of the groupdown here.

(01:34:25):
Maybe never wanted to rap withthe other guy like that after
the second goddamn album andlook what happened.
Look at what happened, serious.
Look at what happens when thestar of your group likes to
drift instead of putting thegroup first.

Speaker 3 (01:34:42):
Yeah, no, that's a shame.
It's a shame, but real quick toyour.

Speaker 1 (01:34:48):
I'm not saying it in a personal manner, like it is
what it is.

Speaker 3 (01:34:51):
No, you keep it.
You keep it in the book.
You keep it in the book.
But real quick, if I can, um,you know, interject um.
A lot, of, a lot of times wedon't acknowledge with the whole
woo um infrastructure.
You know they got the featureson every album but from a
business model standpoint thatwas by design because a lot of

(01:35:12):
people don't know.
You know, yeah, it's a look tofeature other members from the
clan, but from a businessstandpoint you had to earn your
keep because a lot of peopledon't know the intricacies of
the deals because the way RZAhad it structured, every clan
member was eating off the soloreleases as well and getting a

(01:35:34):
percentage.
So if you're a clan member andclan member over here, you know
Raekwon or whoever drops a soloalbum and you getting a small
check, a piece of that.
And you don't even come throughto do a verse on the album but
you're still eating off of it.
So he did it in a very.
You know it was a democracy,what I mean.
And you don't even come throughto do a verse on the album but
you're still eating off of it.
You know what I'm saying so.
He did it in a very.
You know it was a democracy to,even though RZA structured it

(01:35:58):
himself.
It was very.
It was democracy like you knowwhat I mean, and you had to come
through and you had to earnyour keep on those records.

Speaker 1 (01:36:07):
Thank you, that's the thing, ag.
I think, the way that RZAstructured it he's the first
person to take a rapper'scontract and incentivize it,
maybe in the manner that asports player's contract is
incentivized.
It's like well, you know, youknow you get 10% of this check
over here, but you know you gotto come and do the work and,

(01:36:31):
quite frankly, think about backthen, especially spitting the
pie nine ways.
These guys are thinking, well,the better that I rap, the
better the song might be, thebetter it might do, the more it
might survive.
And so now you're seeing theferocious nature that they're
rhyming with.
It doesn't have all to do withthe impoverished upbringing.
It has to do with the unprovenupbringing.
It has to do with theimpoverished upbringing combined

(01:36:53):
with the check being dangled infront of you.
Like, oh, you telling me that Imight make 20, 25 G's off an
album that's not even mine if Ijust come and lay two verses on
Ray's album like, think about amaster killer and a you god who
were locked up.
So that knuckleheads verse is abig deal for a you God.
That Glacier's Eyes verse is abig deal for a master killer.

(01:37:15):
Oh no, they about to show upand stunt.

Speaker 3 (01:37:18):
But that's why every solo album had to be presented
like an extension or it wasalmost like a 2.0 of a Woo album
.
You know what I'm saying, meand Sean, we're Marvel fans.
We talk about civil war.
It's a captain America movie,but that's essentially Avengers
2.5.

Speaker 1 (01:37:41):
It's an Avengers movie with captain America in
quotations.

Speaker 3 (01:37:44):
Thank you.
Civil war is the makeup forevery woo woo solo album,
ensemble, ensemble cast.
It might have one person's nameas the marquee, but we're going
to like, market everybody toyou and push it to the forefront
to make sure that this issuccessful, because we all got
to eat off this.

Speaker 2 (01:38:04):
Right.

Speaker 1 (01:38:04):
Their five best projects, their five best solo
projects, are all heavycollaborative efforts.
It's a Wu-Tang effort.
Their five best projects areall heavy, Wu-Tang efforts
Supreme, iron man, purple Tape,like yeah, they're all.

Speaker 2 (01:38:17):
All of them.
It all worked because theytrusted RZA out the gate.
When they start trusting RZAand they want to go other routes
and get other producers likeShaiheen got this song, other
Producers when he's talkingabout that um, dope, dope,
record actually, um, and whenthey started doing that, you

(01:38:38):
start seeing the cracks in thewu-tang armor.
Now, granted, they all stillcame back because the foundation
was still there, thebrotherhood was still there.
And again, I tell you, guys,all the time it's going back to
what does your foundation looklike?
You know what I mean as acollective.
If your foundation is starting,if you start off being very
cracky or creaky or whateverunstable, you can never go back

(01:39:01):
to it.
And when we always startedtalking in the beginning, I said
, guys, let's keep everythingabove board.
That's all I ask for.
Let's keep everything aboveboard.
So in harsh times we can alwaysfall back and say, okay, we
kept everything above board,we're going through some
differences or what have you,but nothing that we can't fix,
because when that foundation isshaky, you can never go back to

(01:39:24):
it because you're going toalways fall through the cracks.
He actually set that foundationout the gate.
He said trust me.
For these five years, everyoneis going to eat, regardless of
what you are going to eat.
And then after that, once youare established, you have your
own record deal, you have yourown situation.

(01:39:45):
I'm doing all for you guys.
You have a chance to flourish.
After that, I mean, I do Foryou guys, you have a chance to
flourish after that.

Speaker 1 (01:39:51):
I mean, you know, and we always end up back in this
place.
I think the crack and it'sfunny that we're saying this,
because this is usually whatCarl's is cracks, oh, the flood
shortened the shelf life onRZA's beats in production.

Speaker 2 (01:40:05):
It did that needs to be a documentary on that?

Speaker 1 (01:40:09):
Yeah, that deserves a whole doc by itself.

Speaker 3 (01:40:13):
Nah, bro, I'm going to disagree.

Speaker 1 (01:40:14):
I think two things happen at once yeah, yeah, yeah,
I want to hear your thoughts onthat.
So here's why I'm saying thatthe flood is problematic.
I don't care what anybody says.
Riz's Heights is the highestheights a producer has seen in
this business in terms ofquality of beats for the time
that it happened.

(01:40:35):
But the drop-off is prettysuccinct and nobody knows.
You like your brothers anddon't tell me that those dudes
that have been rhyming all thosebeats didn't see the drop.
Ghost speaks to the drop on Ironman.
Some Think about this.
There's a reason.
The Riz only actually producedthree or four tracks beat-wise
on Supreme Ghost is speaking toit.

(01:40:55):
On Iron man, things had changed.
He knew he couldn't put a beatproject of RZA's out and make a
classic anymore.
It didn't used to be that way.
His production drop off now,the flood being another reason.
The fact that all of theseearly projects they're literally

(01:41:15):
almost every track is RZA,except for a beat or two.
There's a Brooklyn Zoo by TrueMaster or a Heaters here or
there, but for the most part itis RZA.
So they did gonna give you thepause beforehand suck the well
dry.
They did, but the flood couldhave extended the shelf life of.

(01:41:36):
That is what I'm saying okay,okay that's why I'm saying the
flood is important is becausethat five-year run maybe turns
into an eight or nine-year run.
If he doesn't lose, what 100200 beats?
He said yeah, two over 200.
Yeah, so that's it.
So, so in, so so back then youused to make, let's say, 30, 40
tracks for an album.
So he lost about four or fiverule projects that were probably

(01:41:59):
just as good as some of thestuff beat wise.
I'm saying we don't know howthey're rhyming on it, but beat
wise.
He probably lost some purpletape, liquid beats Like we can't
discount that in the crack.

Speaker 3 (01:42:15):
I agree with you, coop, now that you you know that
you finished your thought,because to that point, when you
start to recognize the fall-offhappening yourself, you could
dip back into that old stashLike you can be in 2000 and get
a beat that you made in 98 andit's brand new to the public,
you know.
So like he could have dipped inthose old reserves if that

(01:42:36):
flood never happened.
But what I was going to say wasI think it was more so two
things happening at once andkind of converging.
Yes, the brothers in the clanrecognized the fall off you know
what I mean and they wanted tokind of explore outside of
getting theZA production.
But I think at the same timethat was a relief to RZA because
he was burnt out just from amanagement standpoint managing

(01:43:00):
all the personalities, executiveproducing all these albums
Nobody's ever had a five yearrun like that.
And you know, even even likeyou said, on Supreme, he still
needed RZA for executiveproducer duties to make that
come together.
But I think as far as theproduction aspect and managing
everybody you can see it on theWu-Tang show RZA was completely

(01:43:24):
burnt out and drained and, likeyou said, coop, the well was run
dry.
But I think, I just don't thinkthat it was a disservice, in my
opinion, for them to not givethem the vote of confidence.

Speaker 1 (01:43:40):
The vote of confidence he gave them to get
them started.
He deserved the vote ofconfidence back.

Speaker 3 (01:43:44):
Right, right.
That's what doesn't sit wellwith me, because it's like okay,
riz is washed, so I'm going toget beats from whoever else else
.

Speaker 1 (01:43:53):
Like just, I don't like that, you know there's also
, sean, not to cut you short,there's also pun intended.
This is also a case of creamrising to the top.
You know how Ghost became thebest member in Wu-Tang Clan?
It's actually he's the onewho's done the best about not
rapping over RZA's beats.
All these other guys' beststuff is still over RZA's beats.

(01:44:15):
Ghost is the only one who'slike no, I got a whole classic
catalog without RZA's beats onthem.
He's the only one with aclassic catalog without RZA's
beats.

Speaker 3 (01:44:23):
That's true, and he worked the hardest.
I mean, it's just hard work atthe end of the day.

Speaker 1 (01:44:28):
Yeah, but he's the only one with a classic rap
catalog that doesn't have RZA'sbeats all over it.
Ray's got a lot of stuffbecause of the purple tape too,
but Ghost just got.
Ghost literally has a classiccatalog outside of RZA beats,
and he's the only Wu-Tang memberlike that.
And so that is speaking to hiscaliber of pin game and how it
evolved.
Yeah, and so some of that isjust like well, you know, these

(01:44:50):
other guys didn't adjust.
I can't front like I love deck,but here's what I will give you
guys.
Oh no, the pillage is betterthan uncontrolled substance.
Just off production.

Speaker 3 (01:45:00):
It is.
But uncontrolled substance isgood.
I think it.
I don't think it gets thecredit it deserves.
I would really likeuncontrolled substance.
It's because of what it couldhave been, because of the flood.

Speaker 1 (01:45:13):
RZA did more beats on Uncontrolled Substance than he
did on the Pillage.

Speaker 3 (01:45:16):
Deck did a lot of Uncontrolled Substance himself
he did because I mean the waythe show painted it.
He got tired of waiting aroundon RZA, like he lost the Flood
album.
Rza had his hand in otherprojects and Deck's like fine,
I'll teach myself how to produce.

Speaker 1 (01:45:34):
I've said this many times Deck and Meth took the
biggest hills.
Yeah, deck and Meth took thebiggest hills, from the Flood
specifically.

Speaker 3 (01:45:43):
And here's the thing that people don't talk about.
It was two Floods.
That's what's funny.
It was one in 95.
It was one in 95.

Speaker 2 (01:45:54):
It was back-to-back years One in 94 and one in 95,
if I'm not mistaken.

Speaker 1 (01:45:56):
Yeah, I think the 95 one was the big one.
I think the 94 was like a smallone.

Speaker 3 (01:46:03):
Yeah, RZA man, you got to stop keeping the floppy
discs on the floor, bro.

Speaker 1 (01:46:07):
A lot of weed and hash, A lot of weed and hash
yeah, a lot of weed and hash, alot of weed and hash.
Yeah, a lot of weed and hashand kung fu flicks late at night
.
Producer.
I don't know how many times mycousin Six would be like laid
out on the floor at like 4o'clock in the morning.
I'd be like nigga, why are youlaid on the floor?
He's like because I hate yourapping ass, niggas.
I was like okay, this niggafucking home, he don't smoke

(01:46:35):
weed anymore.
I can't give him a blunt.
It's like I'm getting out ofhere.
Step over his ass, step rightover his ass while you're
walking on the floor.
All right, cuz I'll see youlater.
Nigga, right, that's how it be.
That's how it be for theproducers too.
When you have a collective Iwas part of a collective my
cousin made beats for about 15different guys.
So it's like oh no, I knowfirsthand, because he'd just be
like man, fuck all y'all.

(01:46:55):
I'm like oh OK.
That's how the producers besometimes, and so like, yeah,
shit happens.
Like you work so hard for yourartists, you're dedicated to the
craft.
I understood why the floodhappened.
It's like, no, the nigga justprobably fell asleep working
hard for these guys trying tomake something of themselves.
That's how it happens, andspeaking of people working hard.

Speaker 3 (01:47:15):
We'll go that out real quick.
Sorry, coop, but we will never.
I'm going to stamp this.
We're never going to seehip-hop groups again.
I'm going to say that Maybe aduo, maybe a duo or something,
but we're never seeing hip-hopgroups again.
You want to know what bydefinition.

Speaker 1 (01:47:33):
I feel, like industry is killing it off too.
Like y'all are familiar withEarth Gang down here, right,
it's like I love Earth Gang.
They're like the last real rapgroup to come out of this city
and it's like I don't thinkpeople like even really know
they exist.

Speaker 3 (01:47:45):
That's what makes me worried about the hip hop group.
They got a good niche audience.
But yeah, you're right.

Speaker 1 (01:47:50):
They do.
But it's like how many peoplereally outside of atlanta know
they exist?
Because I'd be talking aboutearth gang in atlanta.
People be like who?
I'd be like earth gang south,cascade camel no, you don't know
these yeah okay, so the hip-hopgroup is dying in a lot of ways
.
Yeah, you're absolutely right,because why would you split the?
But I don't knock it, ag,because why would you split the
pie, like now, in these days andtimes, with everything being so

(01:48:14):
viral and social media and allof this?
Like you don't make money offof the music anymore, you make
money off of you.
Why would you split you withsomebody?
The music has to be fire to dothat but, but yeah.

Speaker 3 (01:48:26):
But, like a lot of times, people don't realize that
in the group setting the sum isgreater than the individual
parts.

Speaker 1 (01:48:36):
No, okay.
So I am of this train ofthought.
I've always been critical ofthe fact that Andre 3000 has
never made a solo album, and Ithink everybody solo rap album.
Excuse me, because when I usedto say so well, he made a flute
album.
Solo rap album.
Excuse me, because when I usedto say solo, he made a flute
album.
Shut the fuck up.
You know I'm talking about arap album.

(01:48:59):
He's never made a solo rapalbum.
But I'm also going to tell youguys something in full, full,
full closure and concern Uponfurther inspection, he might be
better off that way, because I'mnot sure how good that solo
album sounds without Big Boy.
I keep trying to tell everybodythe records that people know
them, for most of that stuff isBig Boy's foundational

(01:49:23):
groundwork Coop.

Speaker 3 (01:49:24):
He knows that.
That's why we never got it,thank you.
Just because you don't saysomething publicly don't mean
you don't know it yourself.
I don't think he has a desirefor it.

Speaker 2 (01:49:31):
I, you don't say something publicly don't mean
you don't know it yourself,right, and so I don't desire for
it.
I just don't think he has adesire to do it I really don't
see.

Speaker 3 (01:49:37):
Here's the thing, I think because it's all the work
on you I think he has the desirefor it.

Speaker 1 (01:49:44):
Hey, look here, when you're as nice as he is on the
mic, you can be humble as youwant to be.
When you're that kind of nice,you know that you're that kind
of nice and you know theexpectations that come with it.
That's what this was about.
But I've always been worriedabout the quality of the

(01:50:04):
material, like I was so happywhen Black Thought made Cheat
Codes because I had been soconcerned for so long about his
ability to make a great soloalbum, but I don't give a damn
man.

Speaker 3 (01:50:17):
At the end of the day it looks totally different just
pulling up to the studiodropping a 16, maybe helping out
on the hook, versus droppingtwo to three 16s and coming up
with the hook yourself for 12 to16 tracks.
That's a totally differentamount of work that has to be
put into it and everybody's notcut out for that.

Speaker 1 (01:50:35):
So, ag, I'll tell you this and every artist who has
ever rapped before knows thishas been a solo artist and this
is why I hold records like DeadPresident, so high by Jay oh, by
the time you were a solo artist, by the time you were done with
those first two verses and ahook.
If artist, by the time you weredone with those first two
verses and a hook, if you have athird great verse in you, you

(01:50:55):
are special.
It is hard to write three greatverses and a dope hook on one
record.
It is one of the hardest thingsin music to do.
I've been saying it my wholelife.
It's hard to do so when you arehearing somebody like jay
deliver a third verse like thaton a dead president's two oh no,
that is rarefied air.
That's what I tell people.
It's like oh, no, they don'tmake guys like that Some of your

(01:51:17):
favorite reps.
I'll give you an example andthis is what I mean about
rarefied air.
Now I love Prodigy and I loveQuiet Storm.
Oh, that third verse ain't asgood as them first two verses.
That third verse ain't as goodas them first two verses.
That third verse ain't as goodas them first two verses on
Quiet Storm, it's not, that'strue.
It's hard to finish it.
It's hard to finish it whenyou're going solo.

(01:51:38):
Yeah.

Speaker 3 (01:51:38):
And a lot of times songs would ascend from first to
third verse and shout out tothe homie I ran, we got a lot of
dope people in our Discord.
I ran is the biggest person whotries to take us back to the
era where we got three verses.
He hates this two-verse era.
But not to belabor the pointthough, but I just don't like it
when people put Andre 3K in thetop five and then don't want to

(01:52:02):
put Biggie in the top five andsay you know, he only had two
albums.
Biggie has been gone from usfor 28 years now coming up, and
he still has more verses incirculation than Andre 3000, who
is alive and well in 2025.

Speaker 1 (01:52:19):
I love Andre and he, along with Nas and Tupac, were
my biggest rap inspirations andI've always told people oh,
biggie got more bar seminars onlife after death than Andre has
in his whole catalog.
And I say that somebody thatwas directly inspired by his

(01:52:39):
bars to emcee myself and I'lltell you objectively, biggie got
more bar seminars.

Speaker 3 (01:52:43):
But even if we're not talking about quality, we're
talking about quantity, andBig's been gone for 28 years.

Speaker 1 (01:52:50):
Quality, that's what I'm saying, andre, don't have a
kick in the door.
That's what I'm talking about.
That three verse shit, it'slike.

Speaker 3 (01:52:59):
No, that's hard, this goes in the third verse is the
best use to use disrespectfulviews on the king.

Speaker 1 (01:53:06):
I think the first verse is the best verse, but
pick a verse, though, becauseit's not like there, you can
pick a verse.
That, because it's not likethere, you can pick a verse.
It's like oh no, there's aseparation and a rarefied air
when a guy does that, and soit's not fair to put uh andre
next to a big, because even ifyou're talking brevity and
material, it's like I don't haveno kick in the door where you
were literally just watchingthis guy stunt on a record and

(01:53:28):
the hook by himself, to thepoint that you were like, oh my
god, this guy might be the bestrapper I've ever heard tap
dancing audrey doesn't have arap song that makes you go.
This might be the best rapper Iever heard.
Biggie has a bunch of thosesongs, jay has a bunch of those
songs, naz has a bunch of thosesongs, tupac has a bunch of
those songs.
That's why we reverence themthe way they do.
They have the songs thatreflect the fact that they might
be the best person we've everheard.

Speaker 3 (01:53:49):
They have the actual songs.

Speaker 1 (01:53:52):
Yeah, I agree with you.
I think the Migos are the lastbig hip-hop group we're going to
see.
I think everything else isgoing to be localized until we
get an Outkast or Wu-Tang EPMDTribe Called Quest type of group
, and I just don't think that'spromised to us anymore.
Nah.

Speaker 2 (01:54:09):
Nope, it's a wrap.

Speaker 1 (01:54:11):
Right, we like.
Because here's the thing therearen't great front men anymore.
The sacrifice for the Q.
There aren't any Q tips runningaround anymore.
There aren't any method man'srunning around anymore.
Those guys are gone.
Yeah, yeah.

Speaker 3 (01:54:22):
But I mean it was the poverty thing.
Like you know, trying to getnot only the hood, but you're a
crew, anybody I know that gottalent in the same situation
with me.
We're going to put our talentstogether and try to get out of
this impoverished condition.
That's how a lot of groups camefrom.

Speaker 2 (01:54:41):
Then I feel like that no more, because they know they
can make more revenue in thestreaming service On TikTok.

Speaker 1 (01:54:46):
Streaming service can get up on TikTok and make you
10 Gs in a month if you go viral.

Speaker 2 (01:54:50):
Exactly.
Look at LiAngelo.

Speaker 1 (01:54:52):
Punk ass.

Speaker 3 (01:54:58):
Mount Rushmore Cut.

Speaker 2 (01:54:58):
AG's mic off, cut it off right now.

Speaker 1 (01:55:01):
We got to start having better checks and
balances Final actual topic ofthe evening.
We have some business we needto handle before we go.
Gentlemen, you know very, verylight we need to handle before
we go.
Gentlemen, you know very, verylight skin.
It's getting very, very lightskin.
So Drake has filed a defamationlawsuit against his own label,

(01:55:24):
umg, claiming that, specifically, the pedophilic drip, the
pedophilic dripping lyrics, pdf,pdf, pdf.

Speaker 3 (01:55:35):
PDF file.

Speaker 1 (01:55:36):
Yeah, the PDF file.
I like that, thank you.
Thank you Probably already lostall our money anyway.
Pdf file From Not Like Us.
Apparently Drake is stating hasbeen used by UMG to devalue his
worth in negotiations with saidlabel.
I found this to be verylight-skinned of the Elda, barge

(01:55:57):
and Prince variety guys.
What do you say, ag?
You appear to be pensive aboutthis.
Ag, I'm going to let you gofirst.
Go ahead and get it off.
Keep my OVO jacket.
It might be a wire in thejacket.

Speaker 3 (01:56:12):
I'm going to try to keep it brief.
Every diss track is defamationright.
Every last one of them, everyone of them.
I don't understand the thoughtprocess behind this.
Yes, it's likely lies andalright.
So if you're suing UMG right,saying that they're behind this

(01:56:36):
record, and Coop, I know you'reone to say that Not Like Us is
not like that.

Speaker 1 (01:56:41):
I'm not going to say that.

Speaker 3 (01:56:41):
I've always told you that it's a great record but you
know, I think Drake is of themindset that it wouldn't ring
off like that if it wasn'tdefaming him.
And UMG is being behind that,and hence we got this lawsuit.
But if Drake is their cash cowfor so many years, umg and he's

(01:57:04):
in a battle with Kendrick Lamar,and Kendrick Lamar is the I
ain't going to say the new kidon the block, but he's the best
thing smoking right now, becausehe's smoking Drake's boots
Right, and he comes out with asong that, soon as you hear it,
registers like oh, this is a hit, this is a banger.
So what in the hell is a parentdistribution company supposed

(01:57:28):
to do?
They're supposed to get behindthe rep, the record, to push it
to a mass revenue.
Yes, you're a casualty of that,drake.
You just so happen to begetting this in the, in the
record, but UMG is out to makemoney.
They don't care about yourfeelings.
They're saying damn your films,they're going to get behind the

(01:57:50):
record and do whatever theyneed to do.
Yes, they're going to getbehind the record and do
whatever they need to do.
Yes, they're going to get toall the streamers.
Yes, they're going to get it tothe radios?
Yes, they're going to push itto be performing at the Super
Bowl.
Because they're going to pushall their chips in the center of
the table on Kendrick Lamar,because they're riding the wave
just like everybody else.
Isn't that what they'resupposed to do as a corporate

(01:58:11):
business, yes or no?
They did it for him Exactly sowhen it's not for him, all of a
sudden, now it's a problem.
Can you imagine Meek suing themfor, like you know, the backing
on back-to-back?
It's just kind of weird thathe's doing this.

(01:58:32):
It's like, bro, take your L andmove on and sit down.
He's down worse than Cole rightnow.
I think that this move iscareer suicide and you get
demoted under Cole at this pointBecause it's like you have a
contingent of rap fans thatdidn't mess with Drake anyway
because of you know what I'msaying corny stuff.
He did his upbringing, himbeing light-skinned, what have

(01:58:55):
you?
You think you're going to comeback from a lawsuit win, lose or
draw and those people want tobe like down for what you're
doing.
No, they're not.

Speaker 1 (01:59:06):
AG, I'm going to push back, although I agree with you
, but I'm going to push back forthe sake of progressing the
conversation because just in ourtime knowing each other and
dealing with you, I had afeeling that you were going to
say this, so I'm just going tooffer you some respective
pushback after I get to thissuper chat.
Mad Max with $20.

(01:59:27):
Oh Lord, this is about to belong.
God help us, andre.
And Most Def, the same personto me.
I told you it is about to belong.
God help us, andre.
And Mos Def, the same person tome.
I told you it was about to belong.
Lord, mos, better, becauseblack on both sides exists, but
when I see guys who arebrilliant go and do experimental
albums right after, or none atall, tells me you can't handle
the pressure or you snubbing hiphop.
It's actually pretty tame byMad Max's standard.

(01:59:50):
We'd like to thank you for youractual, coherent contribution to
the check back first of all,you're wearing a hat that says
pause and I just noticed it,you're wild.
Stop the show, cut the tape,cut the tape cut the tape off.

Speaker 3 (02:00:09):
You see it, wow somebody tell Jim to take the
gloves off with the rings overthat, bro.
Like come on now, man.
I don't know, I just had tothrow that out there.

Speaker 1 (02:00:20):
I'm sorry and this is just me saying this, for
devil's advocate, I'm notdefending draking this, because
I do feel like a lot of this isindefensible, because some of
this shit is just a little bitclose to being like police work
for me.
Quite frankly, if Prince were todo this, would I say that he

(02:00:41):
was doing this for the industry,probably because he was the
type of person that would do itfor the industry, for the artist
, and so I think the questionthat is on the table is this
because your feelings hurtbecause you got your ass whooped
nigga, or is this about thereal artistic integrity of it?

(02:01:02):
Because he's the only rapperwith enough power and clout and
money to buck the system likethis?
So if that's what you're doing,if you're using your money and
your power and your clout tobuck the system, because down
the line, this is going tobenefit artists in this position
, that's the only way I can rockwith you on this, because my

(02:01:26):
favorite artist of all time, whoI literally have almost all his
albums hanging up on the wallbehind me.
That is the type of shit thatguy would do, and I know that
for a fact, and so if you'redoing it under that premise I'm
okay.
Any other premise isn't okayand that's the only way that I
see it.
What do you say to my retort AG?

Speaker 3 (02:01:46):
it just doesn't work because the timing of it I mean
he could have did this at anytime, but he just so happened to
be up for contract negotiationsfor himself.

Speaker 1 (02:01:53):
And then he's saying like, okay, y'all trying to not
pay me what I'm worth, becausehold on, but don't I don't mean
to cut you short, but don'tpeople in positions of power and
money typically do this to theartist or to the talent.
Remember what hey sean, you'llremember this.
Remember when the dallascowboys, wearing demarco murray,
like almost 800 carries in twoyears on the last two years of

(02:02:17):
his contract and then was likeoh well, you know, you're 29
years old and you just ran 800carries in two years, nigga, you
ain't no good, no more, bye,nigga.
You remember when they did that?

Speaker 3 (02:02:27):
but here's the shock of your life cool drake's value
was down before the battle evenhappened.
Oh, period, I told my homie whois a big-time Drake fan.
When For All the Dogs came out,I was like it's over.
Dude need to take a break,chill out, let people miss him a
little bit.
He need to fall back.

(02:02:47):
Drake fatigue is real.
If Drake was still at his peakand it was like that, he
wouldn't have had to spin theblock and make the scary hours
version of for all the dogs toappease, like certain, certain
part of the fandom.
So I said that, so I agree yeah,his stock was already on the
downhill slope.
And then the battle just helpedput the nail in the coffin.

(02:03:10):
So you're suing UMG for doingsomething that they're supposed
to do as a parent record company.
They're promoting somebody.
You just happen to be acasualty award.
Yes, you're the subject of thedisc record.
Yes, it's saying some heinousstuff about you, but doesn't.
Every disc record?
You know, every disc record isdefamation and I really don't

(02:03:31):
think that kendrick thinks that.
Let's put it this way.
I don't think kendrick thinksthat drake is a real pdf file.
Here's why.
Because you're not going tocreate a song that you can dance
to, like that, where apotential victim can hear that
and get triggered, just like thetarget can get triggered.
I think you know this.

(02:03:52):
Records are used to get this.
Records are used to get angles,and whatever is the best angle
to play is usually the bestangle that wins whoever does it
the most creatively.
And kendrick played the bestangle and he won.
And drake is crying sour grapes.
He can't take it in respect.
This is all from a person who'ssupposed to be quote-unquote,

(02:04:13):
unbothered by the whole thing.
And then what is the endgame ofthis?
Even if he wins against UMG,what does this do for his career
?

Speaker 1 (02:04:21):
But that's what I'm saying.
He really doesn't standanything to gain other than
standing his ground on anartistic standpoint.
That's why I referenced Prince,because I can't see the logic
in it personally.
First of all, how about this?
For the entirety of theircareers, this is the first time

(02:04:42):
Kendrick is outpacing Drakenumbers-wise.
Is that about the quality ofrecords?
Is that about the Drake fatigue?
I'm agreeing with you, ag.
I actually think it's both.
It's a combination.

Speaker 3 (02:04:55):
Yeah, absolutely the fact that kendrick made a great
record where he just ran allthrough your ass, paul but you
know what drake would havesomething if kendrick wasn't a
superstar or a megastar beforethis happened, because it would
look kind of crazy.
It would look kind of crazy.
It would look kind of crazy,like you know, if this was out
of nowhere.
But damn, did better numbersthan gnx back then.

(02:05:18):
And here's the thing too.
But here's the thing too peopledon't talk about if the fight
was in, if the fight was fixedand umg was just looking to get
drake out of here because theywere negotiating numbers in a
contract and they wanted to pushKendrick to the forefront,
wouldn't they did it earlier?
It took five records fromKendrick for them to get to that
point.
But it's an obvious banger.
I would look at this a littlebit funny if Euphoria was like

(02:05:41):
everywhere going crazy.

Speaker 1 (02:05:43):
No, no, no, what I would tell you.
I'm about to use a league oftheir own reference.
There's no crying in baseball.
It's like this is rap, this israp.
That's the problem with it.
Like is he saying somethingthat I find business practice
wise, to be fundamentallycorrect?

(02:06:05):
Oh yeah, I do believe that yourlabel will use something like
this to leverage the contractnegotiations, Like how about
this?
Look what's about to happen toSam Darnold.
Oh, Sam Darnold not getting $50million a year after how he
played those last two games.
So UMG is probably looking atDrake and like we're not handing
you that after the boogeymanjust boogied, the boogeyman just
gangsta boogied on your ass andyou want some more money from

(02:06:28):
us?
They're like nigga, no.

Speaker 3 (02:06:29):
This confirms to me that Drake has always been
scared to go independent, nomatter how big of an artist he
is.

Speaker 1 (02:06:35):
No, this is no AG.
He is the modern existence ofthe machine.
If he were to go independent,the machine would fall apart,
and so would he.
The machine don't exist withouthim, and vice versa.
To a degree, that's what I mean.
If this is about you fightingthe machine, from an artistic
perspective I can rock with you,but it's really just coming off
like you got your ass whooped.
He ain't doing it for theculture, though, crew.

(02:06:57):
He ain't doing it for theculture of the artist coming off
like you just got your asswhooped and you don't have an
appropriate response, becausehere's who I thought about today
.
Man Eazy-E got dissed like amotherfucker to an all-time
level by Ice Cube and Dr Dre,and you never heard him cry or
complain about it one time.
He just made real motherfuckingGs and kept it pushing.

Speaker 3 (02:07:19):
He did too.
But didn't Jerry Heller want tosue?

Speaker 1 (02:07:22):
Fellas, fellas, Hold on hold on.
The businessman wanted to sue,not the street dude from Compton
who was the businessman Bingo.

Speaker 3 (02:07:29):
So Drake moving like Jerry Heller.

Speaker 1 (02:07:31):
And that's what I mean about this being
problematic if you're movingthat way, because, well, you do
understand that forever and everand ever, oh, the cred don't
matter and you, being as big asyou are, don't get to take the
cred away, so you better bedoing this about the artists.
You get what I'm saying.

Speaker 3 (02:07:50):
What you got, Sean.
You got something to say.

Speaker 2 (02:07:53):
I think we missed an amazing point here.
Drake can fight two battles atthe same time.
He's trying to fight the battleof losing to Kendrick and he's
trying to fight the battle ofreopening.
At the same time, he's tryingto get UMG to shell out all of
this money that he feel that heis owed for what he's done for

(02:08:14):
UMG in any capacity based onwhat he has done in hip-hop, the
uplifting that he felt thathe's done in hip-hop.
When you look at that point ofit and you look at the fact that
he's getting his boot smoked byKendrick and everybody else
who's talking about him, he'snot that guy anymore at this
point.
He lost all of that at the sametime while he's still trying to

(02:08:36):
fight UMG.
The thing about all of thesefellas we've been saying this
for a long time and hip hopturned into rapping bullshit.
Just like RZA said back in 97,r&b, rap and bullshit, because
that's all this was.
We said that this was going tobe the biggest and most

(02:08:57):
delightful battle because yougot the people's champ who is
Kendrick.
You've got the self-proclaimedking of hip-hop.

Speaker 1 (02:09:05):
You got the machine.

Speaker 2 (02:09:06):
It's the machine, it's the machine behind him who
took care of him for all ofthese years.
Umg took care of Drake for all.
Keep in mind, drake wasbreaking records of Michael
Jackson.
Think about this fellas.

Speaker 1 (02:09:23):
He's still in.
He's still in, it's still goingon, yeah, bigger than hip hop,
bigger than hip hop.

Speaker 2 (02:09:28):
Right, you're talking about crossover to the third
power.
You're talking about an entirecountry behind him.
What he's done, what I feel, inmy personal opinion, where
Drake lost me, was the fact thathe kicked off this battle, this
beef, like he really had somesmoke to give, and when things

(02:09:50):
didn't go his way, he went thedetour route.
He started going the legalroute, not so much as for the
battle, but to try to get a bagin the process of still trying
to rationalize the fact that helost the battle to a higher
caliber MC that he should havelost to regardless.

Speaker 3 (02:10:07):
But Sean, I really don't think he can fathom that.
Not like us.
Is that good Like he's like?
This can't be right.
It has to be a fixed fight.

Speaker 1 (02:10:16):
A lot of people can't .
No, I'm about to say oh, I hateit when I have to be the voice
or reason of this, and I'vealways said this.
First of all, I mean and youall know this Well I'm really a
Pusha T fan at my car.
I'm from Charlotte, northCarolina.
How Pusha T raps is how mostpeople in North Carolina rap
More of a traditional East Coastaesthetic for rap.

(02:10:36):
I said this and people alwaysthought it was like oh, team
Drake.
The only reason that I pickedDrake in this battle is because
I didn't have any quantifiablefacts in my opinion.
Trademark no, no, you haven'ttrademarked it yet.
I actually filed paperwork forit last week.
You're in a lot of trouble.
You're in a lot of trouble.

(02:10:56):
I'm definitely going to sue you, sean, if you say it.

Speaker 2 (02:11:01):
It's already done.
You have three more weeks, sean.

Speaker 1 (02:11:04):
You have three more weeks.
You have three more weeksbefore everything's finalized.
About to hit Sean up for acouple bands for Christmas, but
no, about to hit sean up for acouple bands for christmas, but
no, no, all jokes aside, Ipicked drake in this battle
because I really didn't have anyquantifiable facts all jokes
aside, that kendrick could provethat he could stunt like this,
and I know drake was thinkingthe same thing.

(02:11:25):
But you have to be rooted inthe reality of the matter.
He smoked your ass and thesemoves that you're making in hip
hop terms.
I get how large you are in thenot just the hip hop space, but
just the entertainment worldspace.
You were one of music's big,biggest stars, like I can put

(02:11:46):
you next to Taylor Swift andlike all that shit, and it's
like we know that you lost.
Take your L the way that wetake our L's in the space.
Don't try like no, for real.
Don't try to circumvent orredefine the space, because
you're the biggest artist that'sexisted in the space.
The space is still the space.

(02:12:07):
You got your ass whooped.
Take your lumps and come backbetter.

Speaker 3 (02:12:10):
Don't do all this shit he's in full Karen mode
because you could be sneaky onsome business stuff.
Because when imagine Jay, yeah,but imagine Jay suing Sony
after Ether, jay still got hisbusiness shit off, but he was
sneaky about it Ron Brownscouldn't get work.
Ron Browns was bite-balled forproducing either, but that's

(02:12:32):
sneaky on the low stuff.
Drake, wearing his lawsuit likea badge of honor, like yo, I'm
taking you to court.

Speaker 1 (02:12:38):
Well, that's why I brought up Easy, because Easy
was a real street dude Look athow.
Easy handled it and, quitefrankly, that's the way we used
to our G's handling it.
We used to handle it.
By g's, I mean easy took two ofthe biggest shots ever and all
he did was make one of the like.
First of all, realmotherfucking g's might be the
best west coast beat ever manthat beat is hard real quick.

(02:13:01):
I'll put that beat up againstany dr dre, beat like outside of
two or three.
And then he found bone thugs inharmony, right, all I'm saying.
Isazy kept his motion in motion, bounced back like a real G
does, and it's like we don't seehim behave this way about it.
And then I'm looking at thequality of records.
It's like now, don't go outlike no sucker in front of us
because the numbers ain't goingto matter at the end of the day.

(02:13:22):
If you're going out like asucker, like nobody cares about
your numbers and in your space,if you're going to be on some
sucker shit, and he's stiflinghis own material from coming out
because the album with PartyNext Door is supposedly done.

Speaker 3 (02:13:34):
So that's not going to see thelight of day if he got this
lawsuit.
But let me ask y'all this,because this is the question I'm
dying to know, because I'm likenauseated talking about this
still in 2025, this battle youknow what I'm saying Granted, we
appreciate it, it's been astimulus package for the pod,
but with all the, with all thecorny stuff, we all get to 2025

(02:13:56):
with all the corny stuff that'shappened within this battle.
You know we we've held thisbattle up pretty high, like the
only battle I have over top ofit is jay and naz, right, but I
think this gets demoted eacheach corny thing that happens.
Like you got the apology.
You got hearing from Rick Rossand people you don't want to

(02:14:16):
hear from.
You got like Kanye coming outof nowhere and saying we're
energized for taking down Drakeand making remixes of songs
nobody asked for off the Futurealbum.
And then you got like then yougot Drake with the lawsuits and
stuff like that.
I mean, to me, everything thathappened just kind of knocks us

(02:14:36):
down a peg and has taken awayfrom the great music that we got
.
How do y'all feel about that?

Speaker 1 (02:14:42):
I never had a highlight.
I agree with you, ag, becauseit's kind of like first of all,
you're the instigator in this,me Drake is.
Drake is the instigator in thisand you're the instigator, and
this is why I always applaudedJay, even though he lost.
Oh no, he was the instigator.
He knew he was the instigator,so he stuck to the script.

(02:15:04):
He didn't pivot, he kept coming.

Speaker 3 (02:15:05):
He stood on his square.

Speaker 1 (02:15:08):
He stood on his square and he did not pivot, no,
he kept coming.
Now, what he came with wasn'tgood enough, but he did stand on
his square and keep coming, andthat's the part of it that I
don't like.
It's like, man, I really wish.
Can you give I'm not evensaying it gotta be a diss record
.
Can I get some quality subsfrom you out of this situation?

Speaker 3 (02:15:26):
no, it's been some decent subs.
It's been some decent subsquality.
How about this?

Speaker 1 (02:15:30):
the most animated, sean.
It's been some decent subs.
It's been some decent subs.
Yeah, I said quality, it's beendecent.
I'm talking about quality.
I mean, how about this?

Speaker 3 (02:15:34):
That's the most animated Sean Vidal show.
Right Hold on when I sayquality.

Speaker 1 (02:15:39):
AG, I mean something worthy of stirring Kendrick's
ire again.

Speaker 3 (02:15:44):
I haven't heard oh okay, no, not that.
But I think no face was a solideffort.
Effort, like I said, somethingthat would make kendrick go, you
trying to dance again.
Oh, I got you.
If you're not doing that, I gotyou.
No, it hasn't.
It hasn't been that right, buthe's been.
He's been focusing his gaze inother places, like but that's
what I'm saying.

Speaker 1 (02:16:04):
If we're not doing that, though, what are we doing?
That's the draw.
We're not going through themarquee to watch you do this.
Other like we not.
We just not.

Speaker 3 (02:16:12):
But it's like the boogeyman, you know what I'm
saying Kendrick staring him inthe face and Drake's like oh, I
see you, lebron, I see you overthere, demar, you know what I'm
saying?
Oh, umg, umg.
And Kendrick's right there inhis face, like you know what I'm
saying Like that's where we aretoday.

Speaker 2 (02:16:28):
This is not nothing new.
We've seen this before.

Speaker 3 (02:16:30):
It's a weak era.
It's a weak era.
Yes, you are correct.

Speaker 2 (02:16:34):
When pushing that Drake.
What did Drake say?
He said he went too far.
Styles P had to come back andsay nah, that's part of the
battle.
You've got to go far.
You've got to take it to aplace where that person feels
uncomfortable.
Drake, he took it to a placebefore with me that made it
uncomfortable.
He talked about me, hisgirlfriend at the time, nicki.

Speaker 3 (02:16:56):
It's okay when it's him, though.

Speaker 2 (02:17:00):
Hold on.
When the rabbit got the gun.
Now he's scaring away.

Speaker 3 (02:17:04):

Speaker 2 (02:17:07):
He didn't take it to that threshold.
He said if you got all of this,drop it right now.
He did.
He dropped it over and over andover.
And now you're sitting there,you get dizzy because you're
like I didn't think this wasgoing to happen.
I didn't see this coming.

Speaker 3 (02:17:23):
None of us did no one saw this coming.

Speaker 1 (02:17:26):
So let's go through some revisionist history right
quick.
Well, now we can look at backto back and it's like, oh well
shit, you were probably closerto Nicky than Meek was.
That's why that record came offso well.
You have more information andmore ammo to go off of.
You didn't have that withKendrick.
You don't have no insideinformation.

Speaker 2 (02:17:42):
But he just had to.

Speaker 1 (02:17:45):
No, he had to go off the bars this time, and it
didn't go well.

Speaker 2 (02:17:52):
It didn't land.
Those punches were landing.
He was hitting them, but itwasn't landing.
Family Matters was not a baddiss.

Speaker 1 (02:18:03):
I like the hard part six better.
But yeah, that's great.

Speaker 2 (02:18:08):
That's the stamina that you got to have in a
hip-hop battle.
That's one of the things.
Nas said that.
Eric B told him that.
The stamina that you got tohave in a hip hop battle, that's
one of the things.
Now, I said that Eric B toldhim that Ross said you want to
go into this, be prepared,you're going to have to.
There is a stamina that comeswith a hip hop battle Meaning,
if I drop this and he droppedthat, I got to, I got to have
something else.
I can't empty my clip and nothave anything to say or respond

(02:18:31):
back to.
He misjudged this entire battle, right.

Speaker 1 (02:18:36):
Well, the only battle that he'sclearly won from this era was
the Meek battle, and it'sstarting to look like maybe he
won.
I'll give him comment.
Okay, so I don't think that'smodern day.

Speaker 3 (02:18:49):
Yeah, but here's the thing, here's the funny part.
He told Kendrick to do exactlywhat Kendrick did, and then you
want to get mad and sue peopleabout it.
He was like talk about?
You heard it on the Joe Buttonpodcast.
Talk about him with underagewomen.
I know you got a quadruple,quadruple, double entendre or
whatever.
Give me all that.
He asked for this.

(02:19:09):
Taylor Maid was him digging hisown grave.
I told Sean that from day one.
Hey, taylor.

Speaker 1 (02:19:17):
Maid, and he has received it.
But that's what I'm saying.
It is like no, if you're goingto lose, you need to lose.
The way EZ lost, the way J lost, that's all I'm saying.

Speaker 3 (02:19:31):
I'm not cosigning the behavior, I'm saying oh no,
that's not how you do thisbusiness he took the push of
lost more graceful and I thinkthat was kind of odd to me
because push of, I know hedidn't look at push of.
He didn't have a choice, he gotouted yeah, he did, but I know
he didn't look at push of likeon his level.
But Kendrick is very much onDrake's level, but it was on the

(02:19:53):
back of Pusha.

Speaker 1 (02:19:54):
No, no, no see what happened with the Pusha battle
is that he didn't take Pushaseriously because Pusha's the
better MC actually, but staturewise not fair.

Speaker 3 (02:20:04):
Well, kendrick is every bit the MC Pusha yeah,
drake said well, this is goingto fall on deaf ears like
whatever you know.

Speaker 1 (02:20:10):
Kendrick is different , because Kendrick is lyrically
inclined like Pusha, but he'sstar-inclined like Drake.
So look here, the Spider-Manmeme is really Kendrick looking
at Kendrick.
That's what the fuck reallyhappened.

Speaker 2 (02:20:21):
But that's the thing Kendrick dropped a diss record
moments after Drake dropped his.
That turned everything upsidedown in real time, because he
was like what just happened.
How did that happen?

Speaker 1 (02:20:33):
It's one of the greatest moves in this rap
history.

Speaker 3 (02:20:35):
It didn't even have to be better, it's just
strategically how he did it.

Speaker 1 (02:20:38):
It's a move, that's what I'm saying.
It's one of the best moves.
I didn't say song baby Moves,it's one of the best moves.

Speaker 2 (02:20:44):
It's all about timing .
And then you that up again andyou're going to drop.
Not like us, it just it makesit.
Now I'm on your head, I'm onyour neck right now.
You can't respond becauseyou're going into whirlwind.
You don't know who's in Drake'sear at this time and this camp
telling him don't do nothing yet, Just let him shoot the clip.
And now that everybody'sgetting behind it, and now, when

(02:21:05):
you get behind it, the momentumis starting to build up, Even
with Jay and Nas.
When Jay came back with SuperUgly, we were like yo, that was
not the move.
And then what Jay did.
Jay went to the radio stationand he was crying and whining.
He went too far with that.
He did that right, but hewaited for a little while.

(02:21:27):
He came back on Blueprint 2.
He had the proper responseafter Blueprint 2, which finally
took him almost a year, or whathave you to do that?
So the stamina that Jay had wasthere, but the punches weren't
landing, because by that timeyour punches are a little bit
weaker.

Speaker 1 (02:21:44):
No, no, no, no.
I don't think.
I actually don't think Jay'spunches were weaker.
It's that Nas was hitting himwith some heavy stuff, he was
hitting him with ether, andyou're the man and last real
nigga alive.

Speaker 3 (02:22:00):
You want to be me is underrated.
I love you.
You want to?

Speaker 1 (02:22:03):
be me.
That's what I'm saying, Like no, no, no.
And here's what people forgetabout this.
People think ether is the dissrecord.
No, Nas made about six or sevendiss records.

Speaker 3 (02:22:11):
He did.
I, like you, want to be mebetter than Ether pretty much.
I think it's more scathing, butlet's bring it back to the law.

Speaker 1 (02:22:18):
You want to be more disrespectful, because it's more
of a straight up and downdisrespect Bingo.

Speaker 3 (02:22:23):
Let's bring it back to the lawsuit for a minute,
because I want to ask both ofy'all this I'm still stuck on
the fact that UMG did what alabel is supposed to do.
I'm looking at this EP thatKendrick put out, or whatever,
like you're releasing the album.
We talked on a bunch of showsago about Cole talking about

(02:22:44):
when he was signed to Jay-Z.
Jay-z kept saying like yo, youdon't got a hit yet.
You don't got a hit yet.
I'm not putting the album outuntil you have a hit.
Coop, you said the same thingabout Black Rob's album until he
got woke right.
All right, we got Euphoria, wegot 616.
We got Meeting the Grams andthen we finally got Not Like Us.

(02:23:06):
Now, if it was a fixed fight tome, that would have happened
earlier in these releases.
But when everybody heard NotLike Us I can attest to this
myself.
I was with my girl and mygirl's son.
I was sitting there.
I was like yo, this is going tobe a hit.
Like as soon as I first heardit, this is going to be out of
here.
And that's like when a recordlabel hears a single and it's

(02:23:27):
like that's the one, that's theone we're going to push.
That's the one we're going toget behind.
That's the one that's going tosell a bunch of records or
whatever, right, so, yes, hejust so happens to be called a
PDF file on the record, butanybody with ears can hear that,
not like us.
Is the record that apparentlabel company should get behind

(02:23:47):
to push everywhere they can.
Am I wrong?

Speaker 1 (02:23:55):
No, you're not wrong, got to, you got.
I mean, here's also the realityof the matter and this is what
I mean about like, no, not evendrake, who is fast, like the
conversation between sales wise,biggest artists in this space,
is a drake and eminemconversation at this point.
Yeah, but you cannot circumventa quality record backed with
your star power.

(02:24:15):
Your star power is still notenough in this space.
The record gotta back it.
And what this is really about,at the end of the day, kendrick
has the star power and the pastyear, he made the one or two
records, quite frankly, thatwere better than drake's best
one or two records, quitefrankly, that were better than
Drake's best one or two records.
And that's how this motion goes.
Kendrick made the betterrecords.

(02:24:35):
Now, drake has been the biggerstar up to this point, the
entirety of the time.
But when one person who iscomparable to you, this is kind
of like one of those things it'slike well, people thought
Michael Jordan and Clyde Drexlerwere close.
They played one-on-one in thefinals bingo and we realized
that, well, clyde is a hall offamer and he's an all-time great

(02:24:58):
player.
This other guy is going downwith all the greats already.
That was nice he's alreadygoing down and so what we're
really finding out at the end ofthe day.
Kendrick is all-time great andwe still have some question
marks about Drake becauseactually his battle record is
very LeBron James-like in theNBA finals it ain't 500.

Speaker 3 (02:25:21):
Hey Coop.
The difference between talentedand gifted once again.

Speaker 1 (02:25:25):
See, I think Drake is gifted.
I think they're both gifted.

Speaker 3 (02:25:29):
Yeah, it's still levels though.

Speaker 1 (02:25:31):
No, I tell people this all the time.
Oh no, if you're actuallytalking about overall talent, I
do think drake is more talented,he's just not the more talented
more versatile, more versatiletalent because when you can sing
and rap the way that you cansing, he can sing and rap.
You are the more gifted person.
You are not the more giftedwriter.
And when you were battlingabout the bars, it's a more

(02:25:53):
versatile thing.

Speaker 3 (02:25:54):
But I want to make one more quick point.
This is my last point, but Iwant to give credit to Sean.
Sean called it early on in thebattle.
Don't give credit to Sean, butSean said early on in the battle
it was a mistake whenterritorial lines got drawn.
Not Like Us is the first WestCoast sounding record out of all

(02:26:20):
the discs that Kendrick put out.
So not only does it sound likea hit, it's anthemic that the
West Coast can get behind it.
And I was talking to my homiethe other day and he was talking
about know what gang culture inla and all that stuff.
La, or people, they, they canunite behind a common cause
because they got a whole lot ofpride.
And we're talking about newyork, about the dip sets falling

(02:26:40):
out with each other, whatever.
New york will never have amovement like that, because they
can't.
You know it's too muchinfighting, you know what I mean
.
So not only do you have itright, so not only do you have
it Right, so not only do youhave a hit record, you have a
record that everybody can havepride about and get behind.
But Drake just happens to bethe casualty of it.
Sorry, buddy.

Speaker 1 (02:27:02):
So listen to what I'm about to say.
Ag, who's been the main personin this pod space for you're
saying well, kendrick, need tomake some West coast shit for
his folks.
Do you see what happened?
Yeah, you have.
You, I was.
That's why I'm telling peopleit's like no, don't look at me
like I'm crazy I'm the onethat's been calling like no, he
needs to go back home and makesome west coast stuff, because

(02:27:24):
those people will support youlike nobody's business if you
get down what they get down withand and he delivered on GNX.

Speaker 3 (02:27:32):
Because he didn't change up the formula.
He didn't say like well, let mego over here and make another
conceptual album.

Speaker 1 (02:27:38):
Hold on, hold on.
But look, think about this.
He ain't made no West Coastshit in a decade.
But as soon as he did he wentpast Drake in numbers, stature,
battle, all that.
All he had to do was rep hiscity.
That's it.
That's all I've been saying.
Rep your city.
Stop making all this artsy andcreative stuff.
He's such a creative geniusLike when you make some shit,
the homies can ride to.
I used to live out there.
I know these niggas.

Speaker 3 (02:27:58):
Come back home, come back home.

Speaker 1 (02:28:01):
Come back home and come spend these blocks right
quick and make some shit thatthese niggas like.

Speaker 3 (02:28:04):
And as soon as he did happen, what's smart is, this
is his most dumbed down album,because you've inherited all
those casual fans that used tobe Drake fans.
Now they riding your wave.
I'm going to have to dumb itdown to appease that ear that I
know I just gained.

Speaker 1 (02:28:23):
The album sound Cali.
That's all I got to say.
There's only been one person inthis space for the last four
years.
That's been like he need tomake some West Coast shit.
Nah, you've been saying thatSoon, as he did.
Look what happened.
He done took Drake down a notch.
He got this fool suing people.

Speaker 3 (02:28:41):
Who down worse, cole or Drake?

Speaker 1 (02:28:44):
Drake.

Speaker 3 (02:28:47):
I'm saying Drake at this point.

Speaker 1 (02:28:48):
I told you I told you , the Spider-Man theme is
Kendrick looking at Kendrick,because both of you dudes is on
the outs.
I'm only going to say Drakebecause, quite frankly, my
delete later is better than anyproduct Drake put out last year
and we further removed fromCole's fuckery than we are from

(02:29:09):
Drake's.
What?

Speaker 3 (02:29:10):
day are we, on Today's the 16th, cole's fuckery
than we are from Drake's?
Well, cole.
And what day are we on Today'sthe 16th, cole's birthday,
january 28th.
I'm gonna put it out there.
I think he's gonna try to dropon his birthday.
I don't have no information,I'm just throwing that out there
.

Speaker 1 (02:29:21):
But Can I tell you the truth it's taking too long.
I don't care anymore.

Speaker 3 (02:29:28):
But I think if he comes out with a good product
he'll be in a better space thanwhat Drake is.

Speaker 1 (02:29:33):
Comes out with a good product.
Yeah, a dope album.
I don't want to talk about this.
It needs to be more than dope.

Speaker 2 (02:29:39):
It needs to be monumental, it needs to be
classic, it needs to shake theroom.

Speaker 3 (02:29:44):
Well, I did say on here before he had to drop a
classic.
I said it wouldn't matter if hedropped a classic because he
would always be in third.
It don't matter.
But drake doing such a good jobbut, like you know, shooting
himself in the foot he's cheddarbobbing himself.
So if cole puts out a classicalbum he might move into second
place nah, here's how.

Speaker 2 (02:30:06):
Here's how wacky it all is.
We'll be doing it.

Speaker 1 (02:30:08):
Drake is still going to do numbers oh yeah, yeah, we
ain't talking about that, butbut how?
How much are we valuing thenumbers in the wacky it all is?

Speaker 3 (02:30:12):
Drake is still going to do numbers?
Oh yeah, but how much are wevaluing the numbers in the grand
scheme of things?
We got to be consistent as fans.
We can't say the numbers areimportant one minute and then,
when our favorite artists don'tsell, like yo, numbers is not
important.
We can't do that.

Speaker 1 (02:30:26):
Can I say something to both of you?
The numbers shouldn't be as big.
His quality hasn't been as good.
That's what I mean about.

Speaker 3 (02:30:34):
That's what I said.
Look at this one Certifiedlover boy.
Honestly, never mind For allthe dogs.

Speaker 1 (02:30:41):
All bad.
Kendrick isn't just winningbecause he won the battle.
He did make the more qualitysongs.

Speaker 3 (02:30:51):
Yep.

Speaker 1 (02:30:51):
Songs are better.

Speaker 3 (02:30:53):
But Family Matters is fire.
I'm not going to hold you.
But yes, he made the bestquality songs.

Speaker 1 (02:30:57):
Family Matters and the Heart, part 6.
Both of those records combinedmight not be as good as Not Like
Us, you're lost.

Speaker 3 (02:31:03):
No.

Speaker 2 (02:31:05):
But that's the thing.
If Kendrick dropped anotheralbum this year, and if it's one
of those, does that I mean?
What does that do to all ofthis within itself?
Because at this point I'm readyto move on from it.
To be quite honest, how aboutthis?

Speaker 1 (02:31:22):
What if?
What if?
What if?
Cole drops something?
That's better than anything thethree of them have done since.
Damn, that's the only thingthat switches the narrative for
me.

Speaker 2 (02:31:39):
It's possible, I don.
I don't think it changesanything, fellas it's possible,
I'm gonna ask you two questions,right, quick, sean.

Speaker 1 (02:31:45):
Well, one question and we'll see if it leads into
the other questions.
Do you think jay cole iscapable of making something as
good as or better than damn atthis stage?

Speaker 2 (02:31:57):
yes, I, I think he, I think he has it in him.
I really don't.

Speaker 1 (02:32:01):
So if you think that he has it in you I know you
haven't been the biggest fan ofhis behavior If you think he has
that quality of a record in him, you don't think he could
experience the same spikeKendrick just experience, or
something comparable to you.
Think that's plausible If hedoes make a record of that
quality, because that's thething that keeps getting lost in

(02:32:22):
what kendrick has done.
And I said this I said not likeus is the best record he's made
since anything on damn gnx isthe best thing that he's made
since damn and not like us isstill better than everything on
on gnx.

Speaker 2 (02:32:35):
Like there is something to do with the quality
of music that he just madeversus what he had been putting
out and the spike in it, becausehe's already a megastar in this
space but I think the problemwe're going to run into with
cole is that his situation hasbecome immutable and because
it's immutable, at this point Idon't think he's going to be

(02:32:57):
able to connect to the audiencelike he probably would have a
couple of years ago.
That's a valid point.
They're not going to changetheir opinion, no matter how
dope this album is.
That's the unfortunate part ofhip hop that we're in right now.
Hip hop has become immutable.
Hip-hop has become immutable.
If they feel like I feel thisway about this artist, no matter

(02:33:19):
what he or she does, I am notgoing to stand up and support it
regardless.
We've seen that over the years.
When we were coming up, we paidattention to our own ear.
We knew what we wanted to hearand we went and represented for
it, no matter what.
We bought Nostradamus becauseit was nice.
I love Nostradamus because Ihave to say it.

(02:33:41):
I'm going to figure right whatyou know what I'm saying?

Speaker 1 (02:33:46):
He owes me $14.99.

Speaker 2 (02:33:50):
We showed up, it went platinum because we already had
a, we were already connected tothat brand, regardless.

Speaker 1 (02:34:01):
Ooh, he did go platinum off brand recognition.
He did Exactly, he did goplatinum off brand recognition.

Speaker 2 (02:34:06):
When your brand has been attacked the way Cole's
brand has been attacked lastyear, and you got the rise pause
of Kendrick, even more so.
And you got Drake's downfall.
In the middle of all of that,his fan base who still want to
rap.
They're going to rap as much asthey possibly can, but you've
got those drifters, and there'sa lot of drifters in hip-hop.

Speaker 1 (02:34:29):
There's a lot.
Okay, sean.
Okay, this is where it becomesso nuanced and so sketchy.
Because it's's like, even whenyou're saying all that and I
hear and respect what you'resaying but it's like what world
do we live in?
Because it's like we're talkingabout Drake falling off and
he's still outpacing everybodynot named Kendrick and Eminem.
Is that what falling off lookslike?
Because if that's falling off,everybody need to be falling.

(02:34:51):
The fuck up falling off.

Speaker 3 (02:34:56):
I'm going to throw Drake a lifeline.
I don't think he wins thislawsuit, but I think he'll get a
small moral victory if thiscould just buy him time through
the Super Bowl and not, like us,doesn't get to get played on
the Super Bowl stage.

Speaker 1 (02:35:11):
Hey, how about this?
Not like us?
Getting played on the SuperBowl stage is about to help his
lawsuit.
What do you say about that?
Absolutely.

Speaker 3 (02:35:18):
That's why they don't play it.
That would be a small win forhim.

Speaker 1 (02:35:22):
Okay, so what if this is just strategic about making
sure that Not Like Us doesn't goviral at the Super Bowl and
after that?

Speaker 3 (02:35:28):
But I don't see why a band can't play the tune.
I just don't think he can saythe lyrics, but I wouldn't risk
it with, with the, with thelitigation, I wouldn't risk it?

Speaker 1 (02:35:42):
How about this?
This is what I'm saying, so, sohold on.
So that's what I mean about.
Is this about the artisticvalue and merit of how contracts
get handled by the label, or isthis just about you not wanting
to get chomped off at theSuperbowl?

Speaker 3 (02:35:59):
I think that's part of it.
But if I'm Kendrick, I'm sayingwhatever, forget, not Like Us.
I don't need that song for mySuper Bowl set.
I'm standing on my square as myartist, as an artist with my
catalog, and saying you knowwhat, I don't care, I don't need
that song.

Speaker 1 (02:36:15):
How about this?
I'll tell you this when Ilistened to GNX I was like, oh,
he knew he was getting the SuperBowl performance, because the
Scissor Records playing at thatSuper Bowl.

Speaker 3 (02:36:27):
With Squabble Up and TV Off, if you ask me.
They're all in the samewheelhouse.
You don't need to perform, NotLike Us.

Speaker 1 (02:36:33):
I'll take Squabble Up over.
Not Like Us, I love squabble up.

Speaker 2 (02:36:37):
TV off as well.
I can sit in TV off as well.
Man at the Garden Bray Nas out.
I don't think I'm supposed tosay that.

Speaker 3 (02:36:48):
That would be fire.
Are you still in my idea, Sean?
Because I said that first.

Speaker 2 (02:36:51):
I don't recall, you made it a hot line, I made it a
hot song.

Speaker 1 (02:36:56):
I mean you know I line and made it a hot song.
I mean you know I mean lasttime I checked they did share
the same management so yeah theyshared the same management.

Speaker 2 (02:37:04):
He did say Nas, the only one that congratulated him.
Let's look at the tea leaves.

Speaker 1 (02:37:11):
Still wondering why he did that, but that's a whole
other conversation for anotherday.
Just want to be happy witheverybody.
These days, that's great, sohappy, so happy.

Speaker 3 (02:37:22):
I'm going to sue you too, Sean.
You got two lawsuits cominghere.

Speaker 1 (02:37:25):
I mean Sean.
I mean, let's be honest Betweenme and Sean Hip Hop Talks
probably has about seven, eightlawsuits coming this year.

Speaker 2 (02:37:32):
We need to get ready for litigation.
We need to get ready forlitigation.

Speaker 1 (02:37:39):
Let's get to some super chats and then let's get
the press play and get out ofhere.
Fellas LP with the $4.99, bellmoney LP.
I always need that.
My brother was talking crazy tome today.
He was.
I told him I was like you comeup here, you ain't coming back
down.
Don't do that dumb shit.
Mad Max with the $1.99 superchat.
't do that dumb shit.
Oh man, mad Max with the 199Super Chat, laugh my ass off.

(02:38:01):
Yo, melly Mel just blacks onhis channel.
Well, melly Mel does that.
So next, yeah, I love him todeath.
He's our first all-time greatrapper.

Speaker 3 (02:38:11):
Tell him to put his shirt on All right.

Speaker 1 (02:38:14):
I don't think he's worn a shirt since 1995.
It's been all tank toppers,shirtless, since 1995.

Speaker 3 (02:38:20):
Bo just had on some suspenders.
One day I was like that's wild.

Speaker 1 (02:38:24):
Shirtless with some suspenders, that's dictionary
worthy Nasty work.
And then just have Melly Melsuspenders, big ponytail looking
all puffy and shit.
Nasty work.
It is Mad Max 199.
Disagree, we changed our tuneon Gunna.
Fire is fire.

Speaker 2 (02:38:44):
The region did Not 200 million.

Speaker 1 (02:38:47):
So this is what I mean.
Drake's biggest problem isn'tKendrick, it's the music.
It's the music.
Gunna album was fire y'all.
Gunna sold out State Farm downhere.
I told you, these niggas'projects ain't sound the same
without Gunna.
Ain't nobody even talking aboutthis Lil Baby project, no more.

Speaker 2 (02:39:07):
If Drake get the stimulus package from the
Futures and these other guysthat he used to collaborate with
and they somehow go back to himon his side, that's his only
way, in my opinion, that he canget in a decent position.
They got to go back to him Like.
Honestly, I really do.

Speaker 3 (02:39:28):
You just created an optical illusion on how things
look and how perception is notalways reality, sean, because
you just said if they get thestimulus package from
collaborating with him, thatstimulates his album.
Right, but everybody would haveyou think it's the reverse,
that he did that for them.

(02:39:49):
But Kendrick alluded to as muchin the final verse of Not Like
Us.

Speaker 2 (02:39:54):
Absolutely.

Speaker 1 (02:39:55):
So I'm going to tell you what I think the real power
move left on the table for Drakeis.
You see, too many Kendrick fanshave been acquired via Drake in
the past year via this base,and it's time to separate.
You know how you separate.
You drop something right whenthe Super Bowl show is happening
to take your fans away from hisperformance, right.

Speaker 3 (02:40:18):
That's a hell of a move, because all of your fans
away from his performance.

Speaker 1 (02:40:19):
That's a hell of a move.
All of your fans are about tobe watching that performance too
, to see if he's going to stunon you.
You separate the fan bases bydropping cereal.

Speaker 3 (02:40:28):
I like that idea, I'll roll with that.
That's petty.

Speaker 1 (02:40:32):
Who are you talking to?
Who thought of it?
Look at who you're talking to.

Speaker 3 (02:40:37):
It has to be an album .
It can't be like a single ornothing like that.
It has to be something I saidproject.

Speaker 1 (02:40:43):
I said project, it needs to be at least.
How about this, them fiveheat-seeking mensels that he
just dropped on you last summer?
Well, you could use a littlefive-track EP, at bare minimum,
you know a little five-track.
How about this?
And this would really reallyhelp galvanize.
A little five-track EP, but thelead single is a Young Money

(02:41:04):
single with Wayne and Nicky.
A little get-together togalvanize the bass.
You gotta think this Chess.
It's not Checkers.
He already beat you at Chess.
You better learn how to playChess with a Grandmaster.

Speaker 3 (02:41:15):
Nah, I'm with you Coop.
I'm with you Coop.
Yeah, I'm with your side.

Speaker 1 (02:41:18):
Yeah, there you go.
Yeah.
So all right on to our lasttopic press play songs of the
week.
All this, uh, all this Draketalk about lawsuits and
defamation got me thinking aboutthe police and feds taking
pictures and all that.
And so I did my dry snitchpress playlist, just for Drake

(02:41:41):
Gonna start off with one of myfavorite songs by KRS-One Sound
of the Police.
That's hilarious.
Yeah, that's right, it's myDrake dry snitching playlist
KRS-One Sound of the Police.
This is off.
Return of the Boom Bap.
A lot of people forget thatthis is actually KRS-One's first
, I believe, song, first singlefrom his actual, first real solo

(02:42:03):
album.
And you know, drake know allabout this.
Drake know all about thesesongs.
We about to go now.
Next personal favorite of minefor my Name Is my Name, the
Pharrell-produced Snitch byPusha T.
I'm trying to come home.
It has a lot of dry snitchinggoing on in these streets.
If you're not familiar withthis record, this is actually

(02:42:26):
one of the better acronym maderecords the last 15 years.
You didn't know I was taking ithere, did you?
Hey, g Sean, cue me up againOne more time.
Let's go.
We're in and out.
Dj Drama, oh, feds takingpictures.
Let me tell you why.
Let me tell you why.
I don't need an OVO jacket.
Drake, I can get the Feds andthe local police to tap my phone

(02:42:48):
without your help at all.
They've done it before.
Next question, before they stopwatching again.
Next song, next song, sean,let's go.
We got to make it happen fast.
Fans taking pictures Bestanthem ever about the
authorities Lil NWA Fuck thepolice.
Yes, yes, still rings true tothis day.
Guys, I'm done with my drysnitching player for the week.

Speaker 3 (02:43:11):
Real quick.
You know what's ironic Two outof your four picks have had
problems with Drake.
I know, no, no, no, that wasintentional.
Drama picks have had problemswith.

Speaker 2 (02:43:18):
Drake, I know, no, no , no, that was intentional Drama
and push.
The two would have problemswith him if they saw this in
their head.

Speaker 1 (02:43:24):
Yeah, oh yeah, KRS-POP had a big issue with
Drake in his day.
He had an issue with Nelly.

Speaker 2 (02:43:29):
Him and his note.

Speaker 1 (02:43:32):
Drake is Nelly time six.

Speaker 3 (02:43:35):
You say I disrespect KRS.
That's crazy, that's wild.
Am I up next?
Yes, sir.
Okay, my inspiration was, um, Istill mess with that hit boy
track, uh letter to my mentors.
But um, like I said, I'm just abig fan of homage tracks.
But what I like is I'm greatamish tracks with a little bit

(02:43:59):
of shade thrown in there.
You know I'm saying they saysometimes your idols become your
rivals or never meet yourheroes.
So that was my concept for mypress play amish tracks with a
little bit of shade in there.
So I'm gonna start off with umdoctor's advocate, the title
track off the doctor's advocatealbum where you know it's like

(02:44:19):
game is penning a letter to dre,super dope track.
He's, you know, rapping, likefrom a drunk perspective or
whatever you know, talking todre.
And an underrated moment onthis track, you know what I'm
saying.
He got uh, buster rhymes comingin for the last verse talking
to to Dre vouching for game Likeyo, I know this nigga's

(02:44:40):
hard-headed or whatever, but youknow what I'm saying, he a real
one.
So I thought that was a dopelittle twist on the album.
On the track having BustaRhymes' perspective, like you
know, kind of vouching for gameto Dre on the track.
So you know that's my firstjoint.
My second joint I got is JoeBudden's Slaughter Mouse, where

(02:45:01):
he's, you know, penning a letterto Eminem, as well as his
Slaughterhouse group mates, orcollectives Because you know
we've been talking about that inthe show they're another
collective of people who startedout as individual emcees, who
became a group and then theybroke up over turmoil.
So add them to the list.

(02:45:21):
Um, but this, this track isdope.
I think that's a five mic album.
All love lost by uh, joe button.
And this is one of the standouttracks, one of my favorite
albums.
Yeah, I give it a five mic forreal.
I mean, he was going crazy onthere.

Speaker 1 (02:45:37):
The bars are a five.

Speaker 3 (02:45:38):
Yeah, you know what I'm saying.
The production maybe, if youwant to take off a half of that,
that's cool.
But him talking to M1 there,super dope introspective track,
you know, relating to M.
And then, you know, talking tohis Slaughterhouse group mates,
which, oddly enough, they had aleaked track from, you know, an

(02:46:02):
old&m album that was circulatingthis week with m&m and
slaughterhouse.
That, uh, you know, was onsocial media.
So that's pretty dope, but Idon't think they'll ever get
back together.
But we got that one.
Moving on, I got let nas down byj cole.
I talked about the remix alittle bit ago where nas jumped
on it and did the joint calledMade Nas Proud.
But J Cole was talking aboutNas not being happy or approving

(02:46:29):
of his choice to come out withthe single workout.
You know what I'm saying andyou know there's a little bit of
shade in there.
There's a little bit of shadein there, but he's paying homage
to Nas through the track andhe's talking about you know, the
pitfalls of coming up andhaving to make hit records and
you know, still appease your fanbase and stay true to who you
are as a core artist.

(02:46:49):
So you know that's a dope trackand arguably my favorite song
on Born Center, which is myfavorite Cole album, and the
last track I got is Big Brother.
This is probably the favorite,my favorite one on my list
because you know Kanye's payinghomage to Jay and he's throwing

(02:47:14):
shade at Jay.

Speaker 1 (02:47:15):
Only the way that.
It's how passive, aggressive itis.

Speaker 3 (02:47:16):
Yeah, it is.
He's throwing shade at jay.
Only the way that kanye can.
The cold play line is myfavorite.
You know I told you I got aphone with cold play.
Next thing you know he got aphone with cold play I was like
yo.

Speaker 1 (02:47:28):
I was like is this a homage song or is this a
disrepair, like I don't knowwhat it is, it's easy.

Speaker 3 (02:47:32):
Yeah he, he was jumping on the bandwagon with
everybody else calling jay abiter but still telling him like
yo, you still my big brother.
But you know that's my pressplay.
I love Amish tracks, but I lovethose Amish tracks with a
little bit of shade in them.

Speaker 1 (02:47:47):
Okay.

Speaker 2 (02:47:48):
Go on, Brand.
My inspiration this week wasbased on some of our hood
classic movies that came outback in the day on some of our
hood classic movies that cameout back in the day.
I was listening to a lot ofhip-hop soundtracks and I forgot
how much we got away fromhaving some dope hip-hop
soundtracks.

Speaker 1 (02:48:05):
Back in the day Dying art.

Speaker 2 (02:48:08):
It's a dying art man and I actually wanted just to
pull some of the joints on justsome relics from those
soundtracks.

Speaker 1 (02:48:16):
And my first one.
Like we're about to go raid theLost Ark, like we're Indiana
Jones.

Speaker 2 (02:48:23):
We're going into the jewels man.
We're going into Temple of Doom.
Ghost Dog Coogee rapping RZA.
Rza went crazy on his featureman.

Speaker 3 (02:48:34):
RZA does not get enough credit as an emcee.

Speaker 1 (02:48:36):
I keep saying that Best emce MC producer ever but
his actual last great productionjob was Ghost Dog this beat was
crazy.

Speaker 2 (02:48:46):
The beats on.
There are crazy it's his lastgreat beat tape it was.
It was.
I love this joint.
Coogee rap, corona Queen standup, but love this joint that was
a good rap.

Speaker 3 (02:48:58):
Sorry Sean, I'm just saying that was a good ramp.
Sorry Sean, I'm just sayingthat was a good ramp for Supreme
because it came out like a weekapart.
Ghost Dog was like the weekbefore Two weeks.

Speaker 1 (02:49:09):
Two weeks apart.

Speaker 2 (02:49:11):
My next one was Mobb Deep Back At you on Sunset Park.
I love the joint.
I've always thought this jointshould have been on one of their
actual albums during that time,but this was one of those.
Like the beat, have it, destroythis beat.
I always felt like this was oneof those.
I love this track right here.
Always love this track.

(02:49:32):
I had to search for this trackso hard because I didn't know
Sunset Park even had asoundtrack back then.

Speaker 1 (02:49:37):
Motherless Child, oh my goodness.
Motherless Child is on SunsetPark, and so is we Don't Want it
by Junior Mafia.
Top five rhythm beat Top five.
I think it's top ten.

Speaker 3 (02:49:50):
Listen to it with a system and then come back to me.

Speaker 1 (02:49:54):
I went broke when I had Iron man.
I haven't listened to that in asystem.

Speaker 3 (02:49:59):
It's been a minute, that's fair.
I was broke when I had Iron man.
I haven't listened to that in asystem.
It's been a minute, that's fair.
I have one big-ass 15 in mytruck.

Speaker 1 (02:50:02):
You don't know, I got a big 12 JBL subwoofer right
here.
I just got to plug it.
We Don't Want.
It was my favorite song onSunset Park Sean the Junior
Mafia joint.
That's one of my favorite, kimverses.

Speaker 2 (02:50:13):
Crazy, crazy soundtrack.
Crazy, crazy, crazy soundtrack.
Crazy soundtrack.
My other one was Black andWhite.
Remember Prodigy had a joint onthere called Don't Be a
Follower.
Yes, and the Black and Whitesoundtrack.
Look at the heavy hitters onhere.
Oh, no, no, the Black and Whitesoundtrack right, and I used to
play this joint over and overand over because, again, this

(02:50:34):
was when Prodigy was ramping up,this was when he was actually
really stepping out there and wethought that Prodigy was going
to be the next one heavy hitterup, because this way he was kind
of moving away from a habitproduction and going into other
different areas for productioncredits.
Hey, you want one of those?

Speaker 1 (02:50:56):
You want to know what I didn't realize until we
started talking about thebreakups.
Today, mobb Deep broke up rightin front of us and we really
just didn't recognize it becausewe refused to believe it.
It's like they literally brokeup.

Speaker 3 (02:51:02):
Yeah, we didn't talk about it much.

Speaker 1 (02:51:04):
We didn't talk about it.
It was traumatic for us, so wejust kept it pushing.
We were like, yeah, it wasquiet.

Speaker 3 (02:51:11):
Bashawn, you did some digging for that one.
The Black and White soundtrackShout out to Power for that and
the movie and all that.
Yeah, respect, you did somedigging for that one, I was in
Japan when this came out.

Speaker 1 (02:51:23):
You could have went Soul in the Hole, but you went
black and white.
I like that.
Yeah, you had to go black andwhite.

Speaker 2 (02:51:27):
So I think Soul in the Hole was a little bit too
common.

Speaker 1 (02:51:30):
Diesel, the one thing for.

Speaker 3 (02:51:33):
Diesel.
Rest in peace, ODB man.

Speaker 1 (02:51:37):
The government's out to get me.
And he was right.
No, he was right.
Fed's taking pictures.
There they are.

Speaker 2 (02:51:46):
And my last one, benzabima, off a New Jersey
Drive soundtrack.
Love this.
Remember.
New Jersey Drive paddled about,I think two volumes.
This was volume one but theyhad two volumes.
But they also had like amixtape from new jersey drive
and I remember this is one of my.
This is the first time I feltlike I said man, these guys are

(02:52:09):
serious, because I try tounderstand why would an atlanta
based group be on new JerseyDrive soundtrack?
That's a good question and Icouldn't understand it.
It's like in what 95?

Speaker 1 (02:52:21):
95.

Speaker 2 (02:52:23):
And I'm like why?
So I started doing my researchon OutKast.
Like you got to be that dope tobe from Atlanta to be on a New
Jersey Drive soundtrack.
And man, this really got meover to cast, so can I speak to
that right quick?

Speaker 1 (02:52:43):
because somebody here , when I talk about andre, when
I talk about outcasts and thebelief that they instilled no
record instilled the belief likethis record, because all of us
down here were very clear thatwe had the best rap song on an
east coast bass soundtrack.

(02:53:03):
Yes, it's one of the thingsthat made us believe down here.
It's like, oh no, our best isjust as good as their best,
maybe even better at times.
It is one of outcast's fivebest songs and it's not even a
question.

Speaker 2 (02:53:19):
It might be the best song on that soundtrack.

Speaker 1 (02:53:22):
It is.
It is the best song on thatsoundtrack, it is.

Speaker 2 (02:53:27):
I had to take a pause when I'm like who are these
guys?

Speaker 1 (02:53:30):
No, even for us that love Southern Playalistic,
because you have to understandthey are better MCs on this
record than they are on SouthernPlayalistic and they're doing a
back and forth on here thatthey are not doing on Southern
Playalistic.
So even us down here we werelike, oh, these dudes can rap,
rap, rap, like Biggie Smalls,nas Redman, method man, wu-tang

(02:53:55):
Clan Mob, deep Rap, tupac Rap,ice Cube Rap they can rap, rap.
This was the record yo realtalk.

Speaker 3 (02:54:04):
Yo thank y'all for that, man, because that record
came out 30 years ago and mebeing where you know what I'm
saying I came up at is moreregionless as far as, like you
know, the hip hop spheres andstuff.
So, sean, you saying like uptop, you know it made me go
check for cast.
You know I'm saying the coopsaying like yo, it made us say
like yo, we're down south and wegot the best song on the east

(02:54:25):
coast driven soundtrack where me, where I'm coming up from, I'm
just taking, you know, the wholesoundtrack in and I'm like it's
just dope.

Speaker 1 (02:54:33):
I'm not looking at it from those lenses, but you know
that's, that's dope perspectiveand this video is the video
that popularized the bank headbounce, because that was the
first time people saw the bankhead bounce outside of Atlanta
live on TV Cool, Just doing thewith the fish and raw.

Speaker 2 (02:54:49):
That was the first time anybody.

Speaker 1 (02:54:50):
No, we had been doing that down here since I was like
10 years old that's like 1990,but that was the first time the
world seen us live Do that'slike 1990.
But that was the first time theworld seen us live do it
Exactly.
That's dope.
No, that's super dope.
Pick Sean Love it because it'sbecause it's not only a dope
soundtrack song.
It's important to the historyof hip hop.
For the southern regionspecifically, it was.

Speaker 2 (02:55:11):
It was because you know you talk about two volumes
on you know, and again it hadmixtapes as well associated with
New Jersey Drive.
On you know, and again it hadmixtapes as well associated with
New Jersey Drive, and thosemixtapes were actually better
than the original soundtracks inmy opinion, because they had so
much going on with it,freestyles and all, but with
Outkast being on the actualrelease version of the volumes.
I just thought that just wouldstand out to me.

(02:55:33):
I couldn't understand.
I'm 15 at this time.
I'm like how, why?
On to me I couldn't understand.
I'm 15 at this time.
I'm like how, why?
On an up north soundtrack,talking about what was going on
in New Jersey Carjacking.

Speaker 1 (02:55:46):
And also low-key.
I felt like Andre, on the firstverse, took a little low-key
shot at Tupac that people didn'tcatch at the end Because this
is around the time that Tupachad got shot At the end of the
first verse.
As long as I got this legally,people see that we can be on top
of things without causinganother nigga sorrow.
I know it ain't enough to goaround, but keep on holding on

(02:56:07):
like goody mo', because it's abetter day tomorrow.
That's all I can say.
Can't tell the future.
Tomorrow's another day, buttoday they just might shoot you
for your ride.
Fuck your pride, hi.
Better be out your seat QuickieSnappy with the happy face
before you bleed.
Ask me if that material shit isworth your life.
I don't know about yours, butif so you're smoking pipes,
right?
That's around the time Pac gotshot.
I was like.

(02:56:28):
I always thought like it's like.
Is that a shot at Pac?
Not giving up the jewels up atQuad, because you know that's I.

Speaker 3 (02:56:35):
I never thought about it, I never made that
connection.

Speaker 1 (02:56:38):
Always thought that was a Pac shot.
That's after Pocket got shotOver not running the jewels,
pocket thought to shoot me.

Speaker 2 (02:56:47):
That was the talk of the town.
That was the talk of the town.
This is 1995.

Speaker 1 (02:56:52):
I don't care what nobody says.
92, 93 and 94 is about Snoop,95 and 96 is about Top, 95 and
96 is about Tupac.

Speaker 2 (02:57:00):
Oh yeah, Nothing more .
Everything else kind of tookthe backseat Everybody else was
in the backseat.

Speaker 1 (02:57:08):
There ain't nothing against Nas or Big Y'all in the
backseat of a car that Snoop andPac drove for about five years.

Speaker 3 (02:57:14):
Yeah, they ain't put out and Big had a lot of
carryover.
But Nor Nas or Big put outrecords that year.
I mean you can count conspiracyfor Big, I guess.

Speaker 1 (02:57:26):
But Me against.
The world did 4 million copies.

Speaker 3 (02:57:31):
Right.

Speaker 1 (02:57:32):
Yeah.

Speaker 3 (02:57:32):
Pac was a megastar man.

Speaker 2 (02:57:34):
He was a megastar.

Speaker 1 (02:57:36):
The conspiracy is who shot Tupac?
Yeah?

Speaker 3 (02:57:42):
Dope press plays tonight.
Man, that was good.

Speaker 1 (02:57:45):
I think this is one of our best press plays.
Everybody had differentdope-ass perspectives.
All right, y'all Run our likes,shares and subscribes up one
more time before we get out ofhere.
We're off to a great start tothe year.
Sean, you got any parting shotsthoughts?

Speaker 2 (02:57:59):
Yes, like, subscribe, share.
We appreciate y'all.
Join the Discord, Join theTwitter handles, the Facebook.
Continue to support the brand,Continue to get us up to that
point where we can say we canbring on some phenomenal shows
and interviews for you guys.
We're trying to be verymethodical in our approach to
all of this, but we need yourhelp.

(02:58:20):
So tell a friend to tell afriend to lightly go on there,
hit like, hit subscribe.
It takes less than a second todo that, to get those
subscriptions up for the guys.
We appreciate y'all.

Speaker 3 (02:58:33):
Okay.

Speaker 1 (02:58:34):
See y'all next Thursday.

Speaker 3 (02:58:36):
Peace, y'all Peace, peace.

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}BEEF! Drake v. UMG, Cam v. Jim, Group Breakups | Beanie Sigel, Clipse + Kendrick