IF YOU'RE HEARING THIS, IT'S TOO LATE - Kendrick, Drake, 2Pac, Fugees, Larry June/2Chainz - HipHop Talks Podcast

Episode Transcript
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Speaker 1 (00:45):
Peace Kings, peace Kings.
Welcome to Hip Hop Talks.
What up?

Speaker 3 (00:50):
what up?

Speaker 1 (00:51):
Apparently, we're going to have to start whooping
some other pods' ass the way theKansas City Chiefs got their
ass whooped in the Super Bowl.

Speaker 3 (00:59):
What's up, fellas?
Man do not remind me of thatWax Super Bowl.
Please don't remind me.

Speaker 1 (01:03):
We're going to have to talk about this WAC Super
Bowl.
Before we talk about this WACSuper Bowl, like share,
subscribe to our page.
I've been throwing a lot ofviral vibes out lately getting
prepared for Unwrapped with Coop.
We have Miramate Music with meand Andrew.
I know you and AG have beenpulling up some of your station
head stuff and kind of puttingit back up for our YouTube fans

(01:26):
and we got a lot of stuff coming.
Click like, share and subscribeto all the things that we have.
Don't pay attention to themother niggas talking shit.
And let's talk about that WACSuper Bowl.
Sean, I don't think it Okay.
So here's the thing.
I don't think it was WAC.
I think it think it Okay.
So here's the thing.
I don't think it was whack.
I think it was actually.

(01:47):
First of all, kansas City wasdue Like they were due.
It was time.
You can't keep winning the waythat they were winning the law
and just say that you're notgoing to keep on getting by the
hair of your chinny-chinny-chin.
You're not like the threelittle piggies in this,
motherfucker, okay.
You're not like the threelittle piggies in this
motherfucker, okay.
No, you're not alright, eventhough sometimes Patrick Mahomes

(02:08):
look like he built like one ofthe little piggies.
You know what I mean.
New name Patty Cake.
Okay.

Speaker 3 (02:11):
New name is Patty.

Speaker 1 (02:11):
Cake.

Speaker 3 (02:14):
He look like it out there.
His name is Patty Cake.

Speaker 1 (02:18):
Alright, he need to hit the gym in the offseason.
This is probably the first timehe probably felt the need to so
season.
This is probably the first timehe probably felt the need to
throw that ass up, but I thinkit was really just a culmination
of that.
I think, like the eagles werethe superior team everywhere,
except for quarterback and thequarterback isn't too shabby,
you know and so they just gotbeat by the superior team.
They've been, they've been theinferior team in a lot of these

(02:39):
games that they've been winning.
It really has been patrickmahomes that has been saving
them and, like you, like youknow, philadelphia was just like
oh, we're not going to let himsave you, we're going to play
quarterback contained, we're notgoing to blitz.
See, here's what they did.
Everybody is so worried aboutwhat he does that nobody just
sits there and lets him, like,make the mistakes.
They sat there and playedquarterback contained, didn't
blitz, and went with a basicfour-man front with a two-cover

(03:02):
zone, and just didn't letanything happen.
They just rushed the passer,they played old-fashioned
football and hit him in themouth and they were just about
due for an ass-whooping and theygot one.
Now, I think this does end theGOAT debate, at least for now,
because I mean he's got two bad,bad Super Bowl losses, one of
them to Tom, but this one waspretty bad.
I mean it's pretty bad when youget beat in the Super Bowl

(03:24):
twice like this.
Yeah, yeah, like Tom ain't getbeat like this.
Tom lost three Super Bowls.
Like Tom lost three Super Bowlsthat he could have easily won.
Like Tom could easily beat 10and up, like easily.
Like Tom is literally three orfour plays from being 10 and up.
So what were your thoughts onthe game?

(03:46):
Cause I know Sean don't want totalk about it.

Speaker 2 (03:50):
I mean I was smiling from ear to ear.
You know, chiefs got blasted.
As a Raiders fan it nothingbrought me more joy than to see
the chiefs get beat that badly.
Only thing I was upset about Ididn't, you know, win any money
on the pools I had going.
But at the end of the day, youknow, I was mad when they scored
the first touchdown.

(04:10):
But I'm not going to lie, I wasworried in the first play of
the game, the pass interferencecall that they got.
I was like here we go, theref's cheating for them already
you know what I'm saying Badcall out the gate in favor of
the Chiefs.
But after that things workedout how they were supposed to.
So not an Eagles fan, but I wasan Eagles fan for that day hey,

(04:30):
hey, ag, I forgot you were aRaiders fan.

Speaker 1 (04:32):
So what downtrodden old whack ass quarterback is
your team gonna take next yearto try to, like, um, fill the
gap?
Um, is it gonna be RodgersRussell Wilson?
Which old whack quarterbackKirk?
Cousins which old whackquarterback y'all taking EG.

Speaker 2 (04:52):
I hope that we can pull a magic hat out for the
draft and still get ShadorSanders you know what I'm saying
Deion's son.
But I don't think that happened.
We'd have to like make youprobably have to give up Crosby
to get move up the trade ranks,but I'm just hoping that higher.
Where are you?

Speaker 1 (05:10):
all picking.

Speaker 2 (05:11):
I forgot, but no, I think we dropped down to like
six or seven.
Like I don't think it'll stillbe around Six.

Speaker 1 (05:16):
I think Shador might be there at six.
I actually think Shador mightbe there at six.

Speaker 2 (05:22):
I don't think he'll still be around.
He'll go top four or five, Ibelieve.
But what I do think it just youknow some of those teams don't
need QBs.
But at the same time, like Idon't think you leave him on the
board but I'm hoping to yourpoint where we hire Pete Carroll
.
You know Pete Carroll's on theold side of things, but you know
I like him as a coach.
But I hope the grand plan isnot to have a reunion with Russ.

(05:44):
That I don't want.
Russ is washed up.

Speaker 1 (05:48):
Pete Carroll had to forfeit his social security to
come back and coach.
He was definitely sitting athome.

Speaker 2 (05:56):
We don't got enough time on this pod for me to talk
about Raiders woes, so I'm goingto just move on.

Speaker 1 (06:04):
Pretty certain he helped Moses write the 10th
Commandment.
I think 007 with the 199 supercheck Queens get the money.
Time to put the beef to rest.
What's next?
What's next is new music.
Life is beautiful, Larry.
June 2, Chainz Alchemist.
Sean, what's your earlythoughts about this album?

(06:24):
Is it the early album of theyear?
Is this a good start off our2025?
No, no, you didn't enjoy theproject.

Speaker 2 (06:35):
It was okay.

Speaker 3 (06:36):
It was okay.
Nothing for me to go crazy,yeah, just okay.
2 Chainz sound great, 2 Chainzsound great, 2 Chainz do sound
great.
It just was a snooze for me.
Man tempo.
The tempo was just so.
It's too laid back.

Speaker 1 (06:56):
I'm not gonna lie it's too laid back.

Speaker 3 (06:58):
I listen to it three times.
I listen to it three times justto make sure I wasn't bugging.
You are, but go ahead.

Speaker 1 (07:06):
I might be, I might be.

Speaker 3 (07:09):
But I don't think it's not even close to being a
contender album of the year.
I mean, of course, it's onlyFebruary, so we can't even talk
about that at this point.

Speaker 1 (07:15):
You don't even think it's a good tone setter, pace
setter.
There weren't some moments fromthe project that you found
yourself impressed?
None of that there weren't somemoments from the project that
you found yourself impressedLike.

Speaker 3 (07:24):
None of that You're just like oh, it's just cool,
it's a vibe, it's a vibe, it'ssome real silky, smooth shit.
It's a vibe, it's a vibe, andthat's the best way I can
describe it.
It's not, you know, blowing meaway, pauls, it's more of a vibe
, it's just a feel thing.
It's a feel.

(07:46):
It's in the middle, it's in themiddle for me.

Speaker 1 (07:47):
Yeah, it's just a vibe.
I mean, how would you rate thealbum then?

Speaker 3 (07:50):
I would give it a three and a half okay.

Speaker 1 (07:55):
AJ, what about you?

Speaker 3 (07:56):
this man.
This is the tone.

Speaker 1 (08:00):
I feel like the first half of the album has some
tempo to it, got some pace to it.
You don't think the first halfof the project got some pace to
it.
You don't think the first halfof the project got some pace to
it.

Speaker 3 (08:06):
It sounds too similar , bro.
The tone just sounds toosimilar.

Speaker 1 (08:10):
So is it the production.
Are you saying that Alchemist'sproduction is the issue here?

Speaker 3 (08:18):
Yes, fascinating.

Speaker 2 (08:21):
AG, ag.
That's why I love the album.
I'm not mad at the three and ahalf.
I think that rating is actuallypretty decent.
But what Sean said To medoesn't line up with the rating.
You know what I mean, becausehe was talking about it like it
was a two and a half.
Really, it's not trash.

Speaker 3 (08:40):
It's a vibe.

Speaker 2 (08:42):
It's a vibe, it's just a vibe For the reasons you
don't like it, the reasons Ilike it.
I think you said laid back, butI would describe the production
as plush sounding.
When I put it on I was likethis is some lavish sounding
production from AlchemistExtravagant.
I think it was perfect in 2Chainz's wheelhouse.

(09:03):
2 Chainz is a star.
You know what I'm saying, foryou know, 2 Chainz is a star.
That's mainly why I wanted totap into the project to see what
Chainz was going to do.
But I actually think him andLarry June got like pretty good
chemistry on these tracks, whatI don't know.
I have to go back and listen toit.
I was asking myself did theyhave more chemistry than Chainz
and Wayne when, when they didthe uh collin grove you know two

(09:24):
joint and from what I rememberthat was a very good project as
well.
It was very good.
But um, I can't say withoutlistening to it you know here
recently which one is better.
But I like the chemistry thatchains and larry june had and I
love the alchemist production onhere like uh colossal.
It's one of my favorites badchoices.

(09:45):
The sample on that is one of myfavorites and the title track
Life is Beautiful.
I mean they all play sound andrecords to me.
You know what I'm saying.
I think this was dope, but I'mnot mad at the 3.5, though I
think the 3.5 is, you know,respectable 3.5 to 3.75, but you
giving it the same 3.5, AG 3.5to 3.75, somewhere in that

(10:07):
ballpark.
But you know Sean's rating don'tmatch his critique.

Speaker 3 (10:13):
How can you tell I'm a critique?
It's my rating, it's mycritique.
If it matches to me, it matchesto me.
It sounds like you were talkingabout it doesn't matter how it
feels to you.
It doesn't matter how it feelsto you, it doesn't matter how it
feels to me.

Speaker 2 (10:27):
That's why it's mine.
That sounded real crazy.
Pause my critique.

Speaker 3 (10:35):
Not AG's rating, but AG's critique.
Sorry, go ahead, coop.
Sorry to disappoint yourcritique.

Speaker 2 (10:44):
Apologies, it's not the day.
Sean, apologies, it's not theday.

Speaker 3 (10:47):
Sean To me, Me me, me , me me, you gotta be chill.

Speaker 1 (11:12):
I think the album okay.
So I like the dichotomy of howthe album was built, maybe more
than some of the executions ofthe records, if that makes sense
.
I like the fact that if youlisten to the project that well,
on the first half of the albumit's like 2 Chainz's mic and
Larry June and Scotty picking upoff of Chainz's vibe Mike and
Larry June and Scotty picking upoff of Chains' vibe.
The second half of the projectflips and Larry takes on the
Mike role and Chains playsScotty to Larry's Mike.

(11:32):
And I do like how they switchedup zones like that.
It's like creating a matchupproblem for the defense.
When you're stepping out on thecourt it's like, oh, but watch
us flip it on you.
Chains' hook game on here isstellar.
Chains's hook game on here isstellar.
Chain's hook game on here isstellar.
And I started thinking aboutChain's and this is the highest
compliment I think I can pay him.

(11:53):
He might be the closest thingwe have to a Method man in the
South, because when he is on agroup effort, when he is on a
group effort, he's the best inthose arenas and he's one of
those guys that I feel like he'sat his best actually, and he's
more than capable of doing thesolo mission, but there is just

(12:15):
something about him when he's intandem with somebody else and
just when he's in a group effort, and that means he's one of the
best team players in rap.
And I think that means somethinglike how about this?
He, he and um, he.
And he, in basketball terms,would be like, you know, a, a

(12:35):
tim duncan, like somebody thatit really doesn't matter who you
pair him with.
Like he, he's gonna shine andfundamentally do all the things
that he normally does.
That makes you like him as aplayer and succeed, and so that,
for me, elevates the album.
I feel like Alchemist did anokay job.
I think he did a good job oftrying to manage both of those

(12:56):
worlds accurately.
But there were some productionmissteps, but it was more on the
engineering side.
I think there was a transitionon one of the records, from
track two to three, where thetransition in the break and
going into the next record wasjust downright awkward and
offbeat the way that the dropcame in.
So I think the Alchemist hadmore missteps than usual for a

(13:21):
project of his caliber.
But I'm I'm I'm with ag actuallylike I'm gonna give it a 3.75
because I thought about givingit a four, but I do think there
are some production missteps andeven though the chemistry is
good, I do think there is somestill some building blocks.
Like you can tell from the waythat they pass the mic off to

(13:41):
each other that wayne and chainshave been doing that for a long
time.
Larry and chains have beendoing that for a long time.
Larry and chains don't havethat type of chemistry, but they
do know how to create the samevibe, which means they do have
the potential to do that in thefuture.

Speaker 2 (13:53):
Can I add to that?
I'm glad.
I'm glad that you pointed outhow they switch roles is like
which one was, you know, takingthe wheel in the album?
Cause I think that's a big dealthat we really don't think
about, because in anycollaboration album, one person
has to make the concession tosay like yo, I'm riding shotgun
on this Kind of like D Wade.

(14:14):
You know, when LeBron came toMiami he said yo, if we're gonna
win, you gotta be the guy Igotta fall back.
Like you can go throughanything.
Watch the throne was like kanye,in his bag jay-z was riding
shotgun, distant relatives nobswas riding shotgun to damian
marley, like you know, um, thejoint with uh future, uh, what a
time to be alive.
He was in the driver's seat,drake was riding shotgun.

(14:36):
So one person always has tomake that concession.
But on this one I did noticethat too, but that was dope that
you pointed that out that theythey kind of, you know, switched
roles a little bit on the tracklist.
And I just wanted to ask Seanthis real quick you know, shout
out to Alchemist.
He did announce that Mobb Deepwas in the process of taking P

(14:57):
vocals and putting out a newMobb album where him and Havoc
was handling all the production,and Nas is involved in this
project as well.
So with Alchemist saying thatand what he did on this album,
does that make you nervous forupcoming?
You know, I guess you can callit a posthumous Mob Deep album,

(15:19):
you know, since Prodigy is nolonger with us, does it make you
nervous for that production?

Speaker 3 (15:23):
Not at all, because Havoc would be there.
Anytime Havoc and Alchemist getin the studio together, they
bounce things off of one anotherand they correct each other and
it's a mob album you know, wehave never had.
We don't have any data to provethat Alchemist has dropped the
ball with a mob album.
He's always the little and he'sgoing to tap into a different
zone when he get into a mobalbum.
He's always the little and he'sgoing to tap into a different

(15:45):
zone when he get into a mobalbum.
This is a different tone.
You're talking about Chains andLarry June, two MCs that really
draw their words out.
Right, they just laid back MCs.
Now you're talking aboutsomeone like Pete God bless his
soul attacked the mic.
Chains attacking the mic, andnow you got Nas involved.
You're going to get some grittystuff.
You're going to get some oldgritty stuff.

(16:05):
Also, alchemist did really wellwith Black and White.
You know what I'm saying?
It's all about who the artistis.
Alchemist knows how to switchit up, that's all.
I'm not saying this is bad, I'mjust saying it just tone, it's
tone man.
It's very laid back, which I'mcool with.

Speaker 1 (16:27):
Okay, speaking of laid back and cool Rock, marcy's
got a new single produced by DJPremier Armani Section AG.
Quick thoughts on ArmaniSection.

Speaker 2 (16:39):
I like the track On its own merit.
I like the sample that Primouses for the scratches.
The beat itself is, you know,primo's normal wheelhouse.
It's nothing major but you knowI can rock with it.
It's a vibe.
I'm not the biggest you knowRock Marcy fan, but at the same

(17:00):
time I like this track.
But you know, if we're doingcomparative analysis and saying,
okay, is this enough to be atrack that lives on the Nas
album, then no.
But you know if I'm judgingthis in a vacuum.
On its own merit, I like thistrack.

Speaker 1 (17:19):
Sean what about you.

Speaker 3 (17:21):
I like it as well.
I like it.
I think this is a good startupif Primo is starting to get into
that ramp up phase as aproducer, if you're ramping up
for a Nas project or anythinglike that, I think this is
continuing to sharpen that sword, if you will, to get ready.
It's unfortunate because Ithink right now, fans are going
to over-criticize anything thatPrimo does at this point, which

(17:44):
is crazy because, you know,again you've got that Nas base.
That is over-criticize anythingthat Primo does at this point,
which is crazy because again,you've got that Nas bass that is
over-critical when it comes tobeats and when it comes to Nas
himself.
So I saw, I heard a lot ofthings about this song, about
Primo's production.
More than anything else, Ithink it's just a ramp up and I
enjoyed it.

Speaker 2 (18:04):
And let's be for real .
You know we come from the erawhere the top tier producers got
A folders, b folders and Cfolders.
That A folder that Primo'sdoing is going to be for Nas,
like you know.

Speaker 1 (18:18):
I know disrespect to Rob Marcy, but this is going to
be a B folder joint so I don'tthink it's a B folderfolder
joint, but I do feel like andthis is my thought.
When I heard the record I saidthis beat is good.
This beat is better than mostof what I've been hearing from
him lately.
But Nas probably said no tothis beat and that's exactly how

(18:39):
I felt about it.
So I wouldn't necessarily callit a B-folder beat, but it is
probably something I feel likeabout the um.
You know the naz preem projectis gonna get priority.
It just is that's not even anysort of not knock the rock.
So it's like it shouldn't evenbe taken that way, but it's like
it did come off to me like it'slike oh no, this is a dope
joint, this is a dope beat.
It's probably something thatnaz passed on because he like we

(19:00):
need something a little bitmore, but it is good and Rock is
always in pocket.
Rock is really steady atdelivering on the mic.
You know he's one of those.
He's got a classic cultfollowing A lot of this
independent East Coast.
You know gangster rap, ethos,post-mod, deep.
You know Rock is actually likethe independent author of it you
know what I'm saying andgodfather of it in a lot of ways

(19:22):
, and so he's in an importantplace in space in the game where
even you know he can call on apremium.
Get a beat like this, because Ido feel like this is one of the
better dj premiere producedtracks.
Like, I like this beat morethan the define my name track.
Production wise, I do, and so Ido feel like there are some
advantages to it.
It does make me excited aboutwhat he's doing production wise
for the, the upcoming Nasproject, now officially,

(19:44):
whenever that may be in 2028.
So on to the last one.
Drake and Party Next Door aresupposed to be releasing an
album at midnight AG.
What are your expectations forthis album?
And does Drake need a majorvictory?
Like, does Drake need a victorylap or does drake need, you

(20:08):
know, like, what, what?
What does drake need right now?

Speaker 2 (20:11):
I don't necessarily have expectations, but I think
this is the the most fascinatingpart about it.
Um, drake dig is dismantled bykendrick.
Let's make no mistake aboutthat.
Um, drake the rapper might bedone for now.
Quote, unquote um, but onething about being versatile um,

(20:34):
he could be knocked down bykendrick and fall onto a another
bag and his r&b bag is prettygood and you got party next door
standing next to you yeah.
Then you got party next doorwith next to you, yeah.
And then you got party nextdoor with you for a
collaborative album which youknow.
The cool thing now is the hateon drake, but if this was, this
happened some years ago.
It's a lot of anticipationswirling around this album.

(20:57):
If you don't have, you know, um, the him losing the battle, uh,
to go along with that, withthat said, what I want to know
is and I'm just asking, I don'tknow do you think that the guys
who were talking about Drake andlike he needs to get out of
here and Kendrick killed him,and they were deciphering the

(21:19):
Kendrick bars and lyrics, thatafter midnight they're going to
try to get off smashing withtheir girl putting on that pnd
and that that drake, you knowthe set of vibe because in my
opinion that's like nasty workif you were saying that, like
you know, drake need to get upout of here, but you tried to
like set a vibe with your girlthis is what people need this

(21:41):
understand.

Speaker 1 (21:43):
Drake has been part of the music cycle for radio,
for top 40.
He's such a part of the cyclethat people that even speak
about getting rid of Drakearen't speaking realistically.
He's made enough records rightnow that if he never recorded
anything again, he'd still be inthe cycle for the next 20 to 40

(22:03):
to 50 years, like most otherartists that chart the way he
charts.
Think about it like you everthink about the fact that it's
like.
Think about songs that came out, guys, when we were literally
like in elementary school and injunior high school, from
artists like a mariah carey orwhitney houston that's still
getting played today.
His career is more in that veinand that's the part of his
career people don't want toacknowledge and so there is no

(22:25):
getting rid of him.
I think this is the appropriatefade and sidestep for him,
because this is obviously notrap related.
They're doing a veryintelligent job about dropping
it on valentine's day.
It is party next door with himand so you know, party next door
is kind of like the x factor inthe ovo space.
You know what I'm saying iskind of like the X factor in the
OVO space.

(22:46):
It's like when Party Next Doordropped, it gathered so much
attention just because of therarity of the drop.
So think about so.
I even am sparked by thethought.
It's like oh, like, party NextDoor been doing a lot of work,
it's just dropped the dopeproject last year.
I ain't never seen aback-to-back year project from
Party Next Door.
There is some intrigue that'scoming with that from the Party

(23:09):
Next Door fan base.
You get what I'm saying.
They're like oh, back-to-backlike that, oh, not that.
That's by design, Coop, becauseno, it's strategic, it's smart,
it's how the team works.

Speaker 2 (23:24):
What I was going to allude to, though, is, like,
prior to this, for people whowere a fan of P&D, we always had
to wait on the drop.
You know what I mean, but nowDrake needs somebody to stand
next to him at a time like this,and, like you said, it's a
sidestep and a fade, so it'skind of super convenient that

(23:47):
he's putting them out back toback, you know now.
So I get that, but it's justkind of weird, you know.
It's a very poetic thing,because so far gone dropped in
09 on valentine's day, and 15years later well, 16 years later
um, now he's dropping again onvalentine's day, and people
saying he's done, but it's beena long run hey, look here.

Speaker 1 (24:03):
But here's, here's where this album may be
important for him.
This might be the point in hiscareer, you know?
Hey, here's the reality of thematter.
Mike got his fadeaway becausehe couldn't go to the hole like
he used to, but he still neededto be able to score the ball at
the same rate.
So, like Drayton needs todevelop some sort of fadeaway
game.
Right now, it's really what'sgoing on, and whether he

(24:29):
develops the fadeaway game ornot is really going to determine
how the rest of this reallyturns out for him in terms of
his stature and how some thingsget remembered because of what
kendrick has done and this iskudos to kendrick for this.
This, this story gets told oneor two ways from here.
It's like, oh well, he was ontop for so long and then that
thing with kendrick happened andhe was never the same, but it
was great when it was great, orhe's going to be able to recover
and learn how to shoot the fadeaway, and so I think doing

(24:51):
stuff like this with party nextdoor is part about learning how
to shoot the fade away.
Now we about to see what thequality of that product sounds
like, but, but I am encouragedby that Cause.
I mean, I know some peoplearen't the biggest fan of Party
Next Door, but I haven't foundthem to put out a poor product
yet though.

Speaker 2 (25:09):
What you got.
Sean, you think it's going todo numbers.
I think it's safe.

Speaker 3 (25:13):
It's a safe way to go through Drake.
You got to go this routebecause each time Drake and
Party Next Door did anythingtogether, it always been good.
They got great collaborationsout there.
So this is the safe thing to gowith right, Other than doing
something with Future, who he'snot with anymore.

Speaker 1 (25:30):
So if you're Drake.

Speaker 3 (25:32):
I would have preferred that as a surprise
over this.
I'm not a big party guy, partynext door guy, but it's one of
those things where Drake has todo this right now, because not
only is partyter Next Doorattached to it, the world is
attached to it.
They want to see what thenumbers are going to look like.
This might be one of the firsttimes in his career that he will

(25:53):
be scrutinized based on numbers.
If he's not hitting a certainnumber, they're going to
scrutinize him and say yo, he'sover.
They want to see this number atthe end of next week.
They want to see what this isgoing to attract.
This is going to be atrue-teller right here.
This is important.
I don't think it's going toderail his career or take him
out of here.
I think it's going to take himdown a couple of notches if they

(26:15):
don't do well number-wise.
The big question mark is goingto be what does Numa look like
by the end of next week?

Speaker 1 (26:26):
I am encouraged by the fact that he actually wasn't
petty and didn't drop anything,knowing that this was
Kendrick's time for the SuperBowl and all that.
That actually makes meencouraged and feel like there's
good music on here.
He didn't try to disturbKendrick's party, which is
something that you might try touse as a ploy when the quality

(26:50):
of the product isn't there.
The fact that he had a productcoming and it's literally right
after Kendrick's biggest momentof his career and he could have
tried to be petty and interruptthe moment and he didn't makes
me feel like there's somethingabout this project that
potentially is quality, thoughcan tell you what the why.

Speaker 2 (27:07):
That decision was probably made because it
wouldn't be fair to party nextdoor, because he gets lost in
the shuffle of the drake andkendrick battle and all the
super bowl talking and eventhough he's a collaborator on
this album, he's an afterthoughthe's still lost.

Speaker 1 (27:22):
He's still lost, he's still now AG.
But I think that's a greatpoint.

Speaker 2 (27:25):
But it's majorly lost if that happens.
Think Ty Dolla $ign whenVultures was coming out and
Kanye on one of his rants.
Per usual Stuff like that, youget lost in the shuffle, ty.
Huh, exactly Sorry.
I'm sorry, go ahead AG.

Speaker 3 (27:40):
I'm sorry.
I'm sorry to your originalpoint.
I just think that the scrutinyof this album, if it's not
superior the scrutiny is goingto be out of this world.
The question is for both of youguys do you think that Party

(28:03):
and Drake is going to get a fairShake when it comes to the
critics?

Speaker 2 (28:09):
This is what we gotta do.
We gotta be consistent and holdsome people accountable.
I saw a tape on Twitter theother day when Ebro was Talking.
I forget what the interview wasor who he was talking to, but
he said Drake was a quote onquote sickness.
That's wild.
We gotta start pulling the tape, man.
The interview was or who he wastalking to, but he said Drake
was a quote-unquote sickness.
That's wild.
We got to start pulling thetape, man, because does Drake

(28:30):
represent true hip-hop in itspurest form?
Absolutely not.
You know what I mean?
That's Kendrick.
We've identified Kendrick as ofthe culture and then Drake, in
a lot of ways, is not of theculture.
But what we can't do is movethe goalposts and call dude a
sickness, when we heavily and Isay we because everybody, ebro

(28:52):
included heavily promoted hisalbum, promotes the likes of Ice
Spice and Simply Red and allthat.
If he is a sickness, then youwere contributing to those
symptoms of the sickness.

Speaker 1 (29:05):
Listen to me.
I guarantee you Ebro wife got aDrake playlist and don't have a
Kendrick playlist.
Go ahead and bet that.
Go ahead and bet that book.

Speaker 2 (29:15):
Yeah, we got to start pulling the tape and being
consistent.

Speaker 1 (29:18):
Yes, he lost the battle.

Speaker 2 (29:19):
No doubt about that.
No, he's not like tried andtrue hip hop, like Kendrick is,
but man, man, we can't get up onthe screen and lie to the
people, man, like you know, I'msaying that's just not so.

Speaker 1 (29:29):
So, ag, when you're when you were saying that and
when you're saying, are we gonna, um, not critique this album
properly?
And this is what I mean aboutlearning how to shoot the fade
away has been fade away out ofthis rap community into the
larger community where most ofyour streams money, assets and
equity belong anyway.
It's not like if he fades fromrap from a little bit, that's

(29:54):
necessarily the worst thing forhim professionally.
So it's like if you're talkingabout somebody like Ebro and
Budden critiquing him, well,yeah, they're probably going to
do what they do with it, but thelarger masses that have really,
like, made him into the machinethat he is are probably not and
they're probably stillgenerally excited about this

(30:14):
project and some of the thingsthat you just spoke of.
I want to talk about when weactually talk about Kendrick's
Super Bowl performance, becauseI do feel like there are some
things at play that we need tostart addressing and start
asking ourselves some realquestions, because I think we're
asking ourselves some of thewrong questions about the
Kendrick's Super Bowlperformance.

Speaker 2 (30:36):
I think we're on the same page, coop.
But before we leave this topic,I just want people to be
consistent, man.
No matter what side of thefence you stand on, just be
consistent, man.
No matter what side of thefence you stand on, just be
consistent.
Like you know, it'll be thosehip hop fans and pundits that
say this R&B album is trash orwhat have you, because he lost
the battle and it's not going tobe a rap album, it's going to
be an R&B album.
And hold on one second, cooper.

(30:57):
I'm just saying that, likeit'll be.
Like.
Well, I told you.
He was whack.
Whatever he's doing, asing-songy R&B, he's soft.
But if those things are alltrue, which they are then how
does that like make Kendrick'swin as big as it is?

Speaker 1 (31:15):
I'm so tired of having this conversation, ag
though, because it's like, well,what's wrong with those things?
Because Kendrick, quite frankly, does a lot of sing-songy and
voice-altering things with hisvoice.
Oh no that's fine.

Speaker 2 (31:27):
But just on some hip-hop rap shit like people
within the same breath say likethis is the biggest win of all
time, it's the bestest of alltime, it's the worst loss of all
time, it's the biggest opponent.
But not try to give credence tothat opponent being a
formidable opponent.
Know, I mean both things can'tbe true.
He can't be a non-formidableopponent.

Speaker 1 (31:50):
it can't be the biggest winning opponent I beat.
No, no, no, you're right.
It can't be the biggest win ofall time if the opponent's not
gigantic right, we just got it.

Speaker 2 (31:57):
We just got to be consistent in how we talking out
here.

Speaker 1 (31:59):
That's all I'm saying they can't, they can't, man,
you know that, okay, okay.
So G and I don't want to jumpagain.
One of the things that islacking that I keep talking
about when it comes to Kendrickis that people lack clarity with
how they audit circumstanceswhen it involves Kendrick.
This is another case of that.

(32:19):
When it comes to him, it islike the rules are literally
different.
Things that are not okay areokay, and it's like if it wasn't
okay before if it was hold on,if it wasn't okay before, then
it's okay.
Finally, when he does it.
You get what I'm saying andthere is something that is very
like dangerous about that on alot of levels.

Speaker 2 (32:40):
Well, to answer you, I think that's a different base
and we'll touch on that a littlebit later With the Super Bowl
thing.
But I think those are peoplethat are coming in Because hip
hop is, you know, broadened andexpanded.
And he has the most listenersOn Spotify that any rapper's
ever had 88 million now.
Drake's peak was 86 million,right.
So I think a lot of thosepeople Are new inductees to

(33:02):
listening to hip-hop.
They were introduced to hip-hopthrough Kendrick and they're
using these metrics, you knowwhat I'm saying.
No, I think they were introducedto that level of pure hip-hop
by their introductory wasKendrick.

Speaker 1 (33:20):
That's why, kendrick, just dissing Drake, you mean
yes, so Drake would be the.

Speaker 2 (33:28):
Right, but things are going to be a little skewed
because everybody weighing inhas not been fans of hip-hop and
been in the culture long enoughto have a really objective
viable.

Speaker 1 (33:41):
I don't want to spend this too far, ag, because we've
got to get off this topic andget to the music anniversaries.
But everything that you'resaying, by all rap terms and
definitions and hip hop culturaldefinitions, is what we would
call clout chasing.
But we'll talk about it in aminute.
Let's get to the actual musicanniversary and get to the type
of album that Drake needs to bemaking on February 13th.

(34:04):
That is not going to happen.
Look, I'm telling you what heneeds to do, right.

Speaker 3 (34:11):
On February 13th 2015,.

Speaker 1 (34:14):
Drake released.
If you're reading this, it'salmost too late.
It's almost too late now, seanthoughts on the album it's a
great album was.

Speaker 3 (34:29):
I think this is one of the ones that people classic.
Is it a classic?
I was about to say that I thinkthis is one of the ones that
people will get closer to it.
I don't see it as a classic,but I think this is the closest
one.
A lot of people have him atearly in his career, that this
is like if you don't have thisis the one that's closest to an
actual classic.
I don't deem it as a classic.
I deem it as a pivotal pointfor Drake.

(34:52):
I think that's when the musicwas really starting to pivot
very, very hard in hip-hop.
He was at the forefront of that.
Other than that, this is a dopealbum.
I don't have it as a classic,though Cool, I'm not mad at
anyone who calls it a classic.

Speaker 2 (35:10):
I just don't have it as a classic.
This is definitely a classicmoment because I think that, if
I'm not mistaken, this is one ofthe first surprise drops in the
streaming era that was thismagnitude.
It was either this or Beyoncé.

Speaker 3 (35:21):
It was this, remember , this was the pivot.
This is when things started tolike.

Speaker 2 (35:27):
So Beyonce might have been after that, but definitely
a classic moment because Iremember when it dropped I was
at a sneaker event, a sneakercon in Charlotte, and then it
dropped and everybody was justgoing crazy on their phones at
the sneaker event so it was kindof wild.
But as far as classic album, ithas the elements of a classic
album.
But I can't consider it classicin good faith Because of the

(35:48):
Quentin Miller Ghostwritingstuff surrounding the album.
So that's the only thing thatkeeps me from calling it a
classic.
Can't do that in good faithwith that scandal.

Speaker 1 (35:59):
Yep, I think the Scandal is the only thing that
hurts it's classic status.
Everything else about it isclassic.
It has the classic moment, ithas the classic drop for its era
.
It has everything that aclassic rap album actually has,
except for the controversysurrounding the songwriting.

(36:21):
So I would say the songwriting,so I would say how much do we
want to hold that against himwould determine its classic
nature, in my opinion.
And I'm not going to hold itagainst him to the degree
because here's the reality ofthe matter too Well, he's
already suffered from it, likeit's already hurt him some.

(36:43):
And, quite frankly, this is hislast great album and so his
critics can always say, and thisis why he needs an album like
this, post this album, cause allhis real, real critics really
say that Noah's catalog is like,yeah, but he hasn't made
anything really great, has beengreat, has a mind blowing, has
been breathtaking, since thoseallegations and a lot of

(37:05):
people's estimation In terms ofa full-length project or what
you would deem some sort offull-length project, mixtape,
album or whatever.
And this album does kind ofhave that duality to it because
of those allegations.

Speaker 2 (37:20):
Yes, oh, go ahead, charles.

Speaker 3 (37:25):
But this album also launched the Drake feature run
as well, because his feature runon the heels of this album was
getting ridiculous.
He was going crazy oneverything because there was a
demand for him at that time whenhe had a demand for him as an
artist, as a feature and as acollaborator after this album.
That's when you started seeingDrake go into a whole different

(37:45):
sphere of hip hop and it alsomade him a little bit more of a
transcendent hip hop in the gameas well after this album.

Speaker 2 (37:54):
That's why the controversy was around the Rico,
the meat joint.
That was around that same time.
But let's oh, go ahead, goose,that's a super chance.
No, no, we just got a couplesuper chats here.

Speaker 1 (38:06):
We got some super chats.
Okay, go ahead, say what again?
Mother with the 999.
What's going on, fellas?
Love the content.
I've been listening to a lot ofJay-Z lately.
Is it time to have the talk ofall you want over Reasonable
Doubt?
If you take off Girls Like andSunshine, that's a perfect album
.
You have to take off City IsMine too, but we can definitely
have the conversation.
Everybody knows how I feelabout 97-0.

Speaker 2 (38:27):
You cannot have girl, that's fan fiction stuff.
Fan fiction get dangerousbecause we could make a lot of
classic albums with fan fictionA lot.

Speaker 1 (38:36):
No, no, no, but he's not talking about adding stuff,
he's talking about taking stuffoff, take it, take it, that's
just as important.
No, no, no, but all I'm sayingis I've always felt that way If
you take three records off ofall of them, it is as good as
Reasonable.
Doubt to me, but that is sayinga lot that you still have to
take three records off for it tobe as good.

Speaker 2 (38:56):
But this way, if we narrow a lot of track lists down
to 10 songs, we've got a lot ofIllmatics running around.

Speaker 1 (39:02):
No, no, no, hold on, that's an 11 track album, but
it's 11 rap songs too.
It ain't like an intro orinterlude or none of that.
It's 11 rap songs if he takesthose three records and it's 11
great rap songs.
Guys.
A lot of our great rap albumsonly have 11 great rap songs
Greatest Adventure, slick, rick,criminal Minded, illmatics.

Speaker 3 (39:22):
It's like I can do that to the pillage.
Then Let me take off threesongs off the pillage.

Speaker 1 (39:27):
Okay, how about this?
How about this?
I got a better idea.
How about you?
How about you just take thepillage?
How about you just take thepillage?
How about that?

Speaker 2 (39:36):
I got one better.

Speaker 3 (39:38):
How about, instead of five?

Speaker 1 (39:38):
songs, just no mics.
How about, instead of that, weget those beats to inspect the
deck?
How about we do that?
Let's do that.

Speaker 2 (39:46):
How about we do that Cool, I'll see you.
When we did our Supreme show,you put it there that the
pillage that Takao was betterthan the pillage.
I saw that, which is not true.

Speaker 3 (39:55):
Did you see that this is grimy man?
Coop is grimy.

Speaker 2 (40:06):
I want to let you know how petty I am.
I was at work and I'm notallowed to be on the phone at
work, but I need time to jump inthe chat and be petty.

Speaker 1 (40:11):
I'm going to tell you what was crazy.
I'm going to tell you how wellI know you guys.
I didn't even know that y'allwere talking about the pillage
because I couldn't have myheadphones in, but I had a
feeling y'all were going to talkabout the pillage while I
wasn't there, and so I had toput the comment in, because I
know you all too.
I was like you're probablytalking about.
I said they're probably talkingabout that Capadonna album they
have no business talking about.

Speaker 3 (40:29):
Let me go ahead and let people know.

Speaker 1 (40:32):
And has fate would turn out.
Guess what you guys weretalking about when I'm putting
this stuff in the chat.

Speaker 2 (40:38):
That was a wild shot in the dark, but you know me and
Sean, so there you go know meand sean.

Speaker 1 (40:47):
So there you go.
Terrible andrew's.
Like they're really talkingabout the pillage right now.
I was like that's terrible.

Speaker 2 (40:50):
I was like why are they doing that?
Oh, real quick, while we I knowwe gotta read the super chat,
but before my brain forgets,real quick, since we're on the
woo, I still count that againstdrake on, if you're reading this
too late for the ghost rideallegations.
But we, that's what I'm talkingabout consistency.
We all call Return to the 36Chambers a classic album,
knowing that GZA wrote it.

Speaker 3 (41:12):
Let's not do this tonight.

Speaker 2 (41:17):
I'm just asking questions, man Nope, okay.

Speaker 1 (41:22):
He wrote 75-80%.
He didn't write the entirety ofit, he did write the majority
he probably wrote that much, Imean I mean, I have to be honest
with you, I feel like dirty didthe first four, five, six
tracks and then the rest of itis the jizz, because it sounds
like I'm just asking, because Ivery much consider that, um,

(41:42):
pretty much a classic.

Speaker 2 (41:43):
but I take points off for Drake, but I think more so
because that was trying to behit.
Well, no, he was credited, butwe always knew that Jezza wrote
for Dirty.
I don't know, I'm just askingquestions.
Y'all put that in the chat.
How y'all feel about that?

Speaker 1 (41:58):
I think we also hold on real quick, aj.
I think we give Dirty a passtoo, because it's like that is
his big cousin.
That's like OG Bobby Johnsonteaching you how to rhyme still
Like people forget.
I think people forget Wu-TangClan were still like really
young when they got put on too.
It's not like old Dirty Bastardis like 29 years old when he
made Return to the 36 ChambersLike no, he you know what I'm

(42:19):
saying, and nobody that Dirty'sthe nicest lyricist of nothing
either.

Speaker 2 (42:22):
So that's a fact.
But, drake, if you're goingaround saying that you're the
best, you're the nicest with thepen, it has to be your pen.

Speaker 1 (42:31):
Period 007 with the $4.99.
If you're reading this, it wascool for the first six, seven
tracks.
Then it tails off.
That's the issue with Drake noclassic albums and ghostwriting.

Speaker 2 (42:43):
Is this the most he's ever rapped on one album?
I think it is.
I think it is as far as ratioof rapping to singing, I think
this is the most he's ever.

Speaker 1 (42:51):
I'm about to say if you're talking ratio, because
he's made projects that becauseof the length, where there's
been more rapping on them.
How about this?
This is the rapping Drake thatpeople do love, though Like on a
hip-hop level, and I thinkthat's why the ghostwriting
allegations hurt so much,because drake the rapper this is
might be his best rap stuff.
I don't know.

Speaker 2 (43:13):
I know people that hated it in real time said that
he was trying to be a little bit, you know, too hard, you know I
think, I think take care.

Speaker 1 (43:20):
Take care is a better rapping version of drake,
because it's a more authenticdrake nothing.

Speaker 2 (43:23):
Nothing was the same.
I think it a better rappingversion of Drake because it's in
a more authentic Drake.
Nothing was the same.
I think it's better rapping too.

Speaker 1 (43:27):
Yeah, right, but I'm just talking what some people
say.
Reasonhead499, do we take awayfrom America's most classic
status because Del the Funkywrote for Cube?
You read my mind, ag, and Delthe Funky is Ice Cube's cousin,
just like the jizz is Dirty'scousin.
A lot of people don't know thatDell is Cube's cousin when
we're saying writing.
If I'm not mistaken, the Delland Ice Cube thing was writing

(43:49):
together, not like Dell writingfor Cube, if memory serves.
Okay, we got a slide to thenext classic rap album.
The score by the Fugees cameout 2013, 1996, guys, what are
your reflections of the score AG?
How is it going to beremembered?

Speaker 2 (44:06):
well, um, full disclosure.
I was late to the fuji's party,right, you know I'm saying um,
their first album was prettyunderwhelming to me.
And then, when the scoreinitially came out, I had a
friend that was in, I was inclass with um I think it was
ninth grade was just telling me,like yo, this is the best album
I've heard in years, just likeyou know, going on and on about

(44:28):
the album, you know it wanted meto listen to it, pass me the
headphones, and I was like I'mcool on that, wasn't really a
fan of their first album,whatever.
And he just kept talking aboutit every day, talking about it.
Then those singles started toroll out.
You know Fuji Live, like readyor not, joints like that.
And I was like okay, like thesejoints is crazy, and Lauren is

(44:48):
going off.
And then by the time you getaround to Killing Me Softly,
like you know, I'm full blown,like you know, calling the album
a classic in real time.
But you know I was late to theparty, but, yeah, still in
present day I think it's a BobMike classic, but I don't know
for sure if it cracks my topfive of 1996.

Speaker 3 (45:12):
Sean, what's your thought?
I damn near agree with him Inreal time.
I was surprised because when Iwas going back and looking at
the stories, we're getting alineup and everything.
When I was going back andlooking at the stories, we're
getting a lineup and everything.
But tonight I forgot this albumactually came out in the first
quarter of 96 because thecarryover for this album was
crazy throughout 96 because itwas carried heavily by Lawrence

(45:34):
performance.
And when I went back andlistened to the album again
today, that's a few skips on thescore.
You can have a classic with afew skips.
The highs are so high that youforget that it has skips on the
score.
You can have a classic with afew skips.
The highs are so high that youforget that it has skips on the
back end of it Because Laurenwent crazy on Killing Me Softly.
We love that song.
That song was going crazy overthe summer.

(45:55):
That song was going into thesummer of 96.

Speaker 2 (45:58):
And this album came out in.

Speaker 3 (45:58):
February and I honestly forgot about that.
Ready or Not was a mega hit.
It was going crazy throughout96.
But I think it covered upPryor's Shout out to Pryor's.
But it covered up how badPryor's was on this project.
Ready or not refugees takingover the Buffalo.
You talk about me, you talkabout me, man.

(46:22):
I'm keeping it funky, right.
I mean hold on.
First of all, you're bothterrible Cool.
This joint got some skips on it, and it is mainly because of
Pryze.

Speaker 1 (46:34):
Hold on.
Sean, first of all, I'm going tohave to echo a lot of your
sentiments.
I'm going to say something thatI've been saying for a long
time and it used to get mecrucified in 1996 when I say it.
Do I think this album is great?
Yes, do I think this album is aclassic?
Yes, do I think that this albumis overrated?

(46:55):
Yes, I do.
This album has always beenoverrated, and I'm going to tell
you exactly why this album isoverrated.
The greatness of Lauryn Hill isshown in multiples on so many
ways on this album and it is sobreathtaking to witness and we

(47:16):
have never seen anything like itin hip-hop terms happen that
that overshadows the mishaps andthe missteps of this album.
Sean, you were absolutely right.
Every critique, sean, that youjust gave about what's wrong
with this album is spot on.
The second half of this albumis not anywhere as good as the
first part of it.
The first eight or nine recordsare all stellar.

(47:37):
The rest of the album is not.
Proz is the obvious weak link onhere, and I hate to be the one
to break it to people.
Wyclef ain't too much better onhere the fact that the biggest
record on here Is a RobertaFlack cover, and it's not a rap
record that rose them to stardom.
The saving grace of this albumOn hip hop terms, guys, oh,

(48:01):
every verse that Lauryn HillSpits on this album would be a
bar seminar.
It is the best mic performancewe have ever heard by a woman on
the microphone.
Since we've heard it andnobody's equal or duplicated it
since including her.
You want to know what mybiggest fear was.

Speaker 2 (48:21):
That's why you want to know what my biggest fear was
.
I thought there While I waslate to the party.
You want to know what mybiggest fear was?
I thought there was going to beanother Diggable Planets.
I ain't going to lie, they wereheaded towards Diggable
Planetsville.

Speaker 1 (48:32):
They was on Venus and Mars.
Diggable Planets.

Speaker 2 (48:37):
Yeah, that's why I wasn't tapped in.
I was late to the party becauseI was like man, this is just
another Diggable Planet, but Iwas wrong.

Speaker 3 (48:45):
I love you.

Speaker 1 (48:46):
You weren't wrong.
But here's the thing about it,that's what I'm saying Lauren's
greatness in some hit recordsFuji, la Ready or Not Killing Me
Softly oh no, it took it.
It took it there and it's a bigselling album.
It made stars out of all ofthem.
But this is really just aboutLauren's iconic nature.
At the end of the day, thelegend that is Lauren Hill as we

(49:15):
know it not just in Blackculture, because people need to
understand this is like oh no,she's an iconic culture to
people and this is where theicon shows her, like starts
showing her iconic status forthe first time and that's what
the score is about.
But the album itself, when youplay it next to classic, other
classic records, like thinkabout this.
You can't play this album nextto moment of truth by gangsta or
tell me it's all-time great rapalbum.

Speaker 2 (49:35):
Moment of truth hurts this album a lot because I
think the versatility is whatdoes it on this album it's, it's
versatile and I'm gonna give itits versatility.

Speaker 1 (49:44):
But I also tell you, like the carnival bar, why clef
is more versatile and maybebetter produced it is you you
hold the carnival pretty high.

Speaker 2 (49:52):
Sean does too.
I I never.

Speaker 1 (49:54):
I like the carnival, but not like that I think the
carnival is.
I think the carnival is aborderline classic.
It's a four and a half.
It's pretty damn it's.
It's pretty brilliant.
It's pretty ahead of its timetoo.

Speaker 3 (50:06):
It is the Carnival Y-Club came through Carnival's
pretty special, yeah, carnival'spretty special.

Speaker 1 (50:12):
He orchestrated Carnival really, really well.
I'm not saying the beats arebetter than the beats on the
score.
I'm saying the production joboverall might be better though
In terms of putting the projecttogether, because I think the
score taught him how I thinkwyclef put the score together as
an executive producer more thanthe rest of them, and I think
he learned a lot from thatprocess and that's why the

(50:34):
carnival is better produced thanthe score yeah, the score gave
them like it really catapultedand even how about this?
Sometimes the source did get itright.
When they gave this album fourmics, I agreed with them.
I was like, yeah, four mics.

Speaker 3 (50:52):
Yeah, they caught people off guard.

Speaker 1 (50:56):
But the four mics that it got.
Oh no, it deserved those fourmics.
Now can some four mics growinto five mics?
And this is what I mean aboutit being a classic and a hip-hop
classic.
Well, liquid Swords got fourmics too.
You think it's better thanLiquid Swords?
Hell, no, it don't hit inhip-hop terms like that, in
terms of its classic nature.
That's what I'm talking about.

Speaker 2 (51:15):
Agreed.
Where do y'all have it in 96?
Top 10 or not?
Definitely not top five, buty'all got it, Montana no.

Speaker 3 (51:20):
Man, I didn't think so heavy bro, I had it top ten.

Speaker 1 (51:27):
I mean.
So we got.
It was written.
Reasonable doubt.
All eyes on me, Hell on Earth,ATLians, Muddy Waters, Illiduff,
Half-Life, Iron man, the scorebeing there, yeah.

Speaker 2 (51:42):
You didn't say Machiavelli.
I got Machiavelli pretty high,got Machiavelli pretty high
Machiavelli?

Speaker 1 (51:47):
Yeah, how about this?
I think it's better than who isit?
Yeah, it's better than Stakesis High by Daylong.
If you told me that it wasbetter than ATL Enz, I would you
think it's better to getsomebody that's acquainted with
the hell on earth, the MuddyWaters, the ATLs, to tell you

(52:09):
that the score is better.

Speaker 2 (52:10):
It's like nah, I don't think that I will put the
score at the end of the top tenbefore I put in like Hardcore or
Il Na Na, like.

Speaker 1 (52:21):
I think they would get the buy-in.

Speaker 3 (52:23):
It's better than Hardcore and Il Nana though,
because the Highs are muchhigher than Hardcore.

Speaker 2 (52:28):
And Lauren's better on the mic than both of them,
and that's saying a lot.

Speaker 1 (52:31):
Way better.
I mean Lauren, okay, so howabout this?
It's a top 10 album and she's atop 10 MC.

Speaker 3 (52:43):
Maybe top five that year.

Speaker 1 (52:45):
The only people that year that I know are better than
her as emcees are Prodigy Nasand Jay, and I'm not even
certain if you could convince meat the time that Jay was
necessarily better than herright at that point in time.

Speaker 2 (52:58):
I think Redman will have a fighting chance.

Speaker 3 (53:01):
Redman will be there.
I got to give you the goals too.
Goals, no, it's not better thanLauren be there.

Speaker 1 (53:05):
I got to give you the ghost too.
Ghost, ghost, ghost is notbetter than Lauren in 96.
I don't believe it.
Ray was still Ray, ray.
I'll give you Ray.
I'm not giving you Ghost in 96over Lauren, though she was like
that no.

Speaker 2 (53:20):
How many mics?
No, I can't make the top 10.
Scarface Untouchable.
That was 96?
Was that 96 or 97?

Speaker 1 (53:26):
I 10, Scarface Untouchable.
That was 96?
Was that 96 or 97?
I think Untouchable's 97, AJScarface doesn't have a 96 rap
album.
There you go, Okay.
Alright, staying on 96, rightwe're actually staying on the
same day, which is actuallyabout to make me ask you guys a
question before we jump into itOn the same day in 1996, tupac
Shakur dropped his magnum opus.

(53:46):
That is All Eyes On Me, guys,it's February 13th 1996.
The biggest classic rap day inrap history, because what rap
day has two classic albums ofthis stature?

Speaker 2 (54:00):
Tryman and Wu on the same day.
Tryman who Wu-Tang on the sameday.
Try them, and who?

Speaker 1 (54:04):
Wu-Tang on the same day.
Okay, so here's what I wouldtell you, ag, is that, even
though it's not better, thisFuji's album and the lexicon of
how people have carried it isheld higher than Midnight
Marauders is, and All Eyes on Meis definitely held higher than
Enter, the Wu-Tang and MaskedLexicon.
So that's what I mean.

Speaker 2 (54:23):
It's like I higher than Enter the.

Speaker 1 (54:24):
Wu-Tang and Mass Lexicon.
So that's what I mean.
I don't know if yes, all EyesOn Me is Tupac's biggest and
brightest moment in selling out.
You don't think that's biggerthan Enter the Wu-Tang.
It's definitely not even aconversation sales-wise,
sales-wise.
It's not even a conversationSales-wise, it's a joke.

Speaker 2 (54:40):
Bigger, yes, but when you're talking classic talk, I
think, a lot of people.

Speaker 1 (54:44):
If they form their top 10 hip-hop albums of all
time, I think 36 would make morelist than all eyes on me would
it would, but more people areacquainted with all eyes on me
and and this is one of thethings that I've always said all
eyes on me it's like, oh no,I'll put book one up against
almost anything that's ever madethat album's top ten to me, and

(55:05):
so I do think that the firsthalf of all, I do think book one
of all eyes on me is as good asinto the Wu-Tang book two has a
couple skips, but book one'sonly blemish is what's your
phone number?
see, I see, here's the thing.
What's your phone number fitsthe purpose of who he is, though
I a part of the legend of him.
That is a sex symbol, becauseall the girls in school love

(55:28):
that record because, well, hewas sexy to them and so, like,
like, like, like the guy thatwas heartfelt and thoughtful,
that I may have liked the thugand the gangsta, other people
may have liked the girls didn'tgive a shit about that.
They like the dude from I getaround and what's your.
The phone's still trash, though.

Speaker 2 (55:47):
It's a Morris Day remake.

Speaker 1 (55:48):
You don't like the Morris Day remake.

Speaker 2 (55:50):
No, and I'm a Morris.

Speaker 1 (55:51):
Day fan.

Speaker 2 (55:52):
I'll mess with Morris Day, but no.

Speaker 1 (55:53):
That's not good.
I thought it was dope.

Speaker 2 (55:57):
Put it like this the Morris Day.
Yes, I love that Morris Daysong, but as a hip-hop song to
sample that, it came off realunorthodox to me.

Speaker 1 (56:06):
Okay so how about this?
We let Puff get away with allthat shit.
A year later and nobody said aword.
Pac was just ahead of the curveon using samples like that.

Speaker 2 (56:16):
It's how the sample's done, though it's just not what
sample's how it's done.

Speaker 1 (56:26):
I mean, I feel you there but that's on the producer
, not on Pac.
If that's the case, because Pacain't making a sample, yeah, if
the producer thought that, Imean I ain't rhyming on that
shit, but Pac was also known asa big Prince fan, which means he
was probably a more Zayn theKyle fan.
So he probably did tell theproducer to pull that sample,
but the producer probably didn'ttreat the beat right.

Speaker 2 (56:46):
Now I will tell you this AG.
That is the weakest beatbetween the two projects, I
think that's the weakest song onAll Eyes On Me period.

Speaker 1 (56:51):
There's a couple records on All Eyes On Me, book
two, that I could argue with youabout that, but I understand
what you're saying.
Fundamentally, what I'm sayingis think about what All Eyes On
Me and the score is in terms ofrecord sales, notoriety, impact,
cultural lexicon.
It's like, as much as I loveMidnight Marauders and Into the
Wu-Tang, that's on some boom baprap shit.

(57:12):
The score in All Eyes On Me ison some global rap is taking
over.

Speaker 3 (57:17):
It's musical, it has more music to it.
Yeah, yeah.

Speaker 2 (57:21):
Yeah, more grandiose, more grandiose.

Speaker 1 (57:23):
Yeah, yeah, yeah, more grandiose More grandiose,
yeah, yeah, yeah, I mean I meangrandiose can be, but the music
is comparable to like, like thescore.
The score for those recordsthat are on the first half are
comparable to Midnight Marauders.
For the records that are on thefirst half they are all eyes on
me.
Book one is comparable, likethose 13 records that are on
book one are comparable to the11, 12 records that you're

(57:45):
getting on Into the Wu-Tang, andthey do do bigger numbers.
So I'm saying it'sconversational, but what about
the actual album?
As a matter of fact, guys,where do you?
Guys have All Eyes On Me alltime as a rap album?
Is this a top 20 rap album alltime for you?
Yeah?

Speaker 3 (58:06):
Probably the top 25 for me.

Speaker 1 (58:09):
Where would you put it AG?

Speaker 2 (58:12):
It's definitely around.
I think 25 is a little low.
I think it does crack the top20, but I have a hard time
gauging that because it's not myfavorite.
I prefer Machiavelli, but I dorecognize that All Eyes on Me is
better.
And then you got another groupof fans that'll tell you that Me
.

Speaker 1 (58:30):
Against the World is better.

Speaker 2 (58:32):
Pac has three definitive classics, but mine is
Machiavelli.
But I will recognize thatobjectively, all Eyes on Me is
better.

Speaker 1 (58:43):
So let me ask you some questions.
Do you think that All Eyes onMe is better?
So let me ask you somequestions.
Do you think that all eyes onme is better than it's dark and
hell is hot?

Speaker 2 (58:51):
objectively not.
For me, that's a conversation.
When I listen to them, both inpresent day, I feel like all
eyes on me.
Age better than the dark isdark and hell is hot.

Speaker 1 (59:01):
I agree, wow I agree with that too.
I think all eyes on me betterthan it's dark and hell is hot,
because I do feel like the ageof it age better.
I feel like it's it's two yearsolder but it sounds fresher to
me.
Um, what about?
What about the infamous by mobdeep?

Speaker 2 (59:24):
That's hard for me to ask, because I prefer hello
nerf over the infamous.
But yes, uh, all eyes on me isbetter than the infamous.

Speaker 1 (59:33):
I mean, if I okay, so that that would put it closer
to the top 15 for me, If you'retelling me that it's better than
the infamous, because I thinkthat's closer to a time and I
love the infamous but I'm a hellon earth guy.

Speaker 2 (59:45):
But the records on hell on earth is not big enough
to go up against.

Speaker 1 (59:50):
They're not, because most of the records on the
Infamous are literally East.

Speaker 2 (59:55):
Coast.
That would be more of aquestion for.

Speaker 1 (59:57):
Sean than me.
Think about it.
You got a record like QU Hectic.
That's like a street classicand QU Hectic might be like the
7th or 8th best record on thatalbum.
What?

Speaker 3 (01:00:09):
do you say, Sean, Maybe I'm bugging.
I just think book two of AllEyes On Me brings it down a
notch for me.
I couldn't appreciate All Eyes.
I'm going to be honest.
96, February I'm 15.
I couldn't appreciate All EyesOn Me when I first heard it.
I'm going to be honest with you.

(01:00:30):
My go-to song on there wasactually Can't See Me.
I love going to be honest withyou.
My go-to song on there wasactually Can't See Me.
I love that song.
To me, I thought that was thebest song on that album.
He killed that and the energyaround that was crazy.
I still listen to that song.
I'm going to be honest with you, Kool Listening, knowing how
you love this album, I had to goback and listen to it about two
times today.

Speaker 1 (01:00:54):
Once on a plane, one in a gym.
I love book one wayexponentially more than I love
book two.
It's exponential, my love forbook one.

Speaker 3 (01:00:59):
Give me book one and give me Can't See Me to finish
out book one.

Speaker 1 (01:01:03):
Okay, so how about this?
I've always said give me Can'tSee Me and Picture Me rolling
and you can slide those over onbook one and I think you have.
How about about this?
If you put me in picture, youput you can't see me and picture
me rolling on book one.
You have an easy top rap albumto your to your point easy, like

(01:01:23):
, easy, like.
That album is as good as thechronic or doggy style at that
point, yeah, absolutely butabout book two.

Speaker 2 (01:01:30):
Book two is the reason why, head to head, I put
Life After Death over All EyesOn Me.
I think Life After Death is thebest double album ever made,
and head to head against Wu-TangForever, which is not fair
group versus a solo.
But I think that's aconversation based on preference
because of this two on Wu-TangForever and book two on Pox.

(01:01:54):
But just like book one isflawless on the pot, I think the
first disc of Wu-Forever isflawless you think the first
disc of Wu-Forever is flawless?
flawless bro and once you getpast the intro, which the intro
knocks.
But I think it's flawless bro acouple of things.

Speaker 1 (01:02:13):
First of all, I think the real gems that put Wu-Tang
forever, even in the great discconversation, double disc
conversation is the specialmoments about disc 2, not disc 1
for me.
I think disc 1 has some flashes, but I think the most memorable
moments are on this too.

Speaker 2 (01:02:34):
But it makes this two more uneven, if that makes
sense.
The highs are so high.

Speaker 1 (01:02:39):
Okay.
So here's the first thing LifeAfter Death is better than All
Eyes On Me, but also lesscontextualized.
All Eyes On Me is 27 songs toBiggie's 22 songs, so it's five
more songs.
So if you actually pick thebest 22 songs that Pac has and
take the worst five songs offlike when you take the what's
your Phone number and half abook too off, that Life After

(01:02:59):
Death All Eyes On Meconversation, if you're going
song for song, like 22 to 22, isway, way, way closer than
people are talking about too.
For me, as much as I love wooand as much as I love wu-tang
forever, those songs on all Imean are too big for wu-tang
forever to compete with it.
Because the best moments thatare on wu-tang forever to me are

(01:03:20):
on some rap shit, and it's onsome rap shit that most people
aren't going to hear, like bellsof war, dog shit, the mgm, uh,
uh, scary hours.
Cash still rules.
Older gods, older Scary Hours,cash Still Rules.
Older Gods, older Gods is myshit.
Rago Sanjiza, but I don't know.
No, that's not messing.
What got my mind made up.
Hearts of Men, I Ain't Mad Atyou and America's Most Wanted

(01:03:46):
with Snoop.

Speaker 2 (01:03:47):
It's big records.
It's really Cuban Link's life.
It's a.

Speaker 1 (01:03:54):
West Coast Cuban Link .
yes, Book One of All Eyes On Merecords it's really um, it's
really cuban links, like youknow as far as all the west
coast cuban link, yes, but oneof all eyes on me is very much
like a west coast cuban linkbecause it's like, oh no,
everybody came out and showedtheir ass.
He got one beat from quick.
It might be the best beat onthe whole first record.
He got a couple beats from daz.
The beats from daz are some ofthe best beats daz ever did yeah
, my favorite joint is no MorePain as far as production.

(01:04:14):
He got Timberland slash Devante.
Timberland's drums.
He got the best out ofeverybody on that project.
It's special.
I think it's a top 20 rap album.

Speaker 3 (01:04:29):
Alright, I'm going to stop calling you out on the
page For all three of you anyrap album.
All right, I'm putting a pollon the page for all three.
I'm putting a poll on the pagefor all three.

Speaker 2 (01:04:41):
Oh, the double albums .

Speaker 3 (01:04:42):
Yep.
You guys came up with.

Speaker 1 (01:04:47):
For me, the double album conversation is about life
after death and all eyes on me.
It's no disrespect to Wu-Tang.
I do not put Wu-Tang Forever inthe same conversation with
those two albums.
I just don't Mitch Gordell withthe $2 Super Chat.
We give ODB a pass becauseBrooklyn Zoo exists and Shimmy,
shimmy, y'all and Baby Come On.

Speaker 2 (01:05:06):
Dirty gets a lot of passes because on Shimmy, shimmy
, y'all bro said the same verseverbatim twice in a row.
We don't even talk about it,it's not what you do, it's how
you do it.

Speaker 1 (01:05:18):
It sounds fly.

Speaker 2 (01:05:20):
I didn't even notice that until I was an adult.

Speaker 1 (01:05:23):
I'm going to tell you how funky it is.
I'm going to tell you exactlyhow this happened in the studio.
Rza was probably like yo, thatshit sounds so good.
Just say that again.

Speaker 3 (01:05:31):
and we're done.

Speaker 1 (01:05:32):
Just say that again and we're done.
It's old, dirty Bastard, he'slike.
Of course I'm going to do that.

Speaker 2 (01:05:39):
R&B artists do it all the time R&B artists.

Speaker 1 (01:05:42):
Diana Ross made a whole iconic career off of doing
it, seeing the same four to six, eight bar loops her whole
fucking life Raising head withthe 199.
Foxy was better than Fuji'sLauryn Hill.
Those are lies.
Those are bald-headed lies.

Speaker 2 (01:05:58):
I preferred Foxy over Lauryn, but she wasn't as good.

Speaker 1 (01:06:01):
I prefer Foxy.

Speaker 2 (01:06:02):
Foxy is my favorite female emcee ever.

Speaker 1 (01:06:05):
Look here 96 Foxy, and I love 96 Foxy.
Oh, 96 Foxy is all-time great.
96 Lauren is the greatest.
The end, the end.

Speaker 3 (01:06:18):
The end.
She's special man.

Speaker 1 (01:06:23):
Parents Hill, tv 199.
First Super Chat Appreciate it.
Jean Gray is in my top fivefemale MCs.
Agree, no, I don't agree.
I don't even know if Jean wouldcrack the top 10, but I think
that's more about notoriety andmaterial that people can digest.
Yes, but she is nice.
She's pretty wicked out therewith it, though.
Can't never sleep on Jean Grey,not at all.

(01:06:47):
Any more super chats.
We all cut up the slide to thenext topic.
Be good, be good, be good.
Nothing like going from Draketo Tupac to Lauren.
We just got all the bipolarmotherfuckers up in here today
and then we get to the king ofthe bipolars, kanye.
You're on.
Another Twitter rant by Kanye.

(01:07:08):
Guys, let's see.
Hold on, guys, because this isthe only shit that I wrote down
all week.
Let's keep a rundown of whatKanye's Twitter rant consisted
of.
One I literally have itnumbered off.
One he declared himself a Nazi.
This week, did you know?
He declared himself a Nazi onthis rant.
It's ridiculous.
Okay, he really needs to stopplaying with a certain community

(01:07:29):
.
That he keeps on playing with,sorry, led to dilapidation some
assets, some resources.
Let's go to number two.
He praised Adolf Hitler, whichyou know is okay if you're in
Germany in 1935.
Maybe not so much America in2025.
90 years behind, maybe, on therhetoric.

(01:07:50):
Three release Diddy yes,because let's let some more baby
oil using pedophiles run amokon the streets with millions of
dollars they can actually runwhole trafficking operations,
which is probably what that assis in jail for anyway.
And number four declareddominion over his wife, who

(01:08:13):
actually apparently todaydecided to separate from him.
So so much for that dominion.

Speaker 3 (01:08:19):
They say that's not true.

Speaker 1 (01:08:20):
Oh, they say it's not true that she left them.

Speaker 3 (01:08:23):
Yeah, they say it's still together.
That's what they say.
Okay, so the enslavement.

Speaker 2 (01:08:27):
She look like she need help, Like she a sex slave
or something like that, Betweenthe two of them.
You're saying it looks like sheneeds help.
No, she needs like rescued,like saved from.

Speaker 1 (01:08:38):
I think some people Blink twice out.

Speaker 2 (01:08:41):
Right she be on the red carpet like this.
I'm like looking for a blink.
Everybody else looking atsomething else I'm watching
Blink.

Speaker 1 (01:08:50):
He has professionally kidnapped this woman.

Speaker 2 (01:08:53):
We are pretty sorry about that.
You named off a lot Coop.
I named off what happened.
Well, it got more sickeningthan that it did.

Speaker 1 (01:09:04):
I'm the stuff that's not going to get us flagged is
what I want like for the merchhe won't be making his money AG
AG, but we should make ours.

Speaker 2 (01:09:15):
I'm just saying what he did to try to sell merch,
that was the nastiest, that'sone of the nastiest things I
ever been able to see anybody do.
That was just really disgustingon all levels.
Are you surprised?
Am I surprised?

Speaker 1 (01:09:33):
People are going to start listening to me A little
bit.
I'm a little surprised.

Speaker 2 (01:09:39):
You know, when people surprise you like you know, I
know you could go low, but notthat damn low Like I didn't.

Speaker 3 (01:09:46):
Yeah.

Speaker 2 (01:09:48):
That was different.
That was different man.

Speaker 1 (01:09:56):
That's because I know the two of you have never done
cocaine before thismotherfucker's on cocaine.
Bro has a whole daughter bro,you don't know what the fuck
going on with you.
I'm not being funny at all.
You've never done drugs likethat, so you don't understand
what's going on with thisfucking addict.
That's a good one.
You and never done drugs likethat, so you don't understand
what's going on with thisfucking addict.
That nigga man.

Speaker 2 (01:10:14):
You with Marcus Jordan, with the Lambo on the
train tracks, but listen manMarcus probably in jail.

Speaker 1 (01:10:21):
Yeezy taught me, Ain't no telling nigga.

Speaker 2 (01:10:24):
Listen, man, kanye got a whole daughter man, it's
like I just couldn't believe hetook it there.
And here's the thing I'm notgoing to like.
I'm going to try to veil how Isay this, but all that you know
what I'm saying.
The Nazi propaganda and stufflike that man, look, read the
tea leaves man.
He got back on Twitter.

(01:10:44):
He plugged certain folks thatpushed that agenda anyway.
His bread got up again when itwas low and then they were
reporting he was the richest.
Like his bread got up againwhen it was low and then they
were reporting, he was therichest.
Rap like just, it just added upy'all the writing's right in
front of you.
You know I'm saying sometimes,sometimes you know you could get
he's crazy on his own, butthere's bigger things that play

(01:11:04):
and like let's use the unstableblack man, the puppeteer.
You know I'm saying and andpush these agendas is what I'm
getting at.

Speaker 1 (01:11:12):
So so that's all I got to say about it.

Speaker 2 (01:11:15):
But it's disgusting on all levels.
Whether he's being puppeted orhe's not on his meds, or if he,
like, realized he was saying it,I don't care how you slice it.
It's probably one of the mostdisgusting displays I've ever
seen.

Speaker 1 (01:11:29):
While we're worried about Drake's career.
You know this is going on.
You know we might be worriedabout the wrong person's career,
just that.

Speaker 2 (01:11:38):
It's bigger than that at this point.

Speaker 3 (01:11:43):
I have nothing, we can move on.

Speaker 1 (01:11:45):
His career encompasses things that are
beyond music.
That's what I mean His entire,the entirety of his career.
He has built an empire, guysLike an empire.
He's an empire builder and anicon.
He is a fashion icon.
He is a music icon.
He is a production icon.
He's an MC Like.
He's an icon in a few differentrealms and a few different

(01:12:08):
spheres to people.

Speaker 2 (01:12:09):
We don't really use the word genius and icon too
much.
It goes to their heads and thenstuff like this happens.

Speaker 1 (01:12:15):
I've been saying that .
I've been the one saying thattoo.
I've been saying it about theother guy that we're about to
talk about in a minute.
Sean, any parting shots beforewe get to the next set of crazy
motherfuckers?

Speaker 3 (01:12:28):
I'm saddened man, Are you sad?

Speaker 1 (01:12:32):
I am because I'm mentally prepared to deal with
this.
I've seen this coming.

Speaker 3 (01:12:37):
I'm done with them.

Speaker 1 (01:12:42):
I told y'all it's over.
I said it.
I said it.
Did I not say it last year thatit was over?
Yeah, I said that guy.
I said it's done.
I said that guy gone, it's over.
Yeah, it was over, yeah, I saidthat guy man.
I said it's done.
I said that guy gone, it's over, yeah, it's over.
How about this?

(01:13:02):
The way that people talkingabout Drake right now is
actually how they're supposed tobe talking about Kanye, it's
like oh no, you want to know it.
It was a great run.
Shut him out you should shuthim out.

Speaker 3 (01:13:11):
You should shut him out.

Speaker 1 (01:13:13):
Yeah, run, shut him out.
Yeah, look, how about this?
What about Kanye's numbers?
Kanye's numbers ain't what theyneed.
That's what I'm saying.
Drake ain't the thing here.
Kanye's numbers are numbersthat really then dipped and fell
off the map in the streamingera.
You get what I'm saying, notDrake, right?
So on to some more pressmatters.

(01:13:33):
Hold up 007 again with the 499.
Kanye has a strong following incommunities, in countries
Surprised to not have seen himin Russia yet.
He's in another realm and willnever die.
No, I'm not saying he willnever die.
I'm just saying the artistformerly known as Kanye West, as
we know him, is like you know.
We're going to be inremembrance of what he was, as a
musician, as an artist.

(01:13:54):
I don't think that guy is aboutto resurface in any sort of
fashion other than in flashes,like he does on these carnival
projects, or his wife would beflashing Moving on.
Okay, first of all you have toput on clothes to flash first.
Ag.
She butt-ass naked from thejump.
That's a good point.
Got these hoes out here hoeingin public, knowing hoeing is a

(01:14:22):
private institution.
Outcast is up for the Rock andRoll Hall of Fame guys, along
with some other notable names.
Let me read out some of theother people that are actually
eligible.
First-time nominees are ChubbyChecker, the Group Fish, billy
Idol, black Crows, but othernominees Cyndi Lauper, oasis,

(01:14:44):
mariah Carey guys I meanMariah's getting in.
She should have been in there.
She should have been in there.
Yeah, mariah getting in.
I don't know how they missedthe Mariah shit.
See, when they start missingstuff like this.
See, when I saw Mariah's nameup there I said, okay, she
messed it up for all the rappers.
Yeah, you gotta go for it.

(01:15:06):
She messed it up for all therappers.
It's like, oh, they ain't letMariah in.
Is Mariah in on first shot?
Is this first shot for Mariah?
They ain't let Mariah in.
Like, is Mariah in on firstshot?
Is this first shot for Mariah?
Has to be yes, yep, it betterbe.
So I look at it like when Ilook at this list I say to
myself Mariah's in, nobody elsematters, and no.

Speaker 2 (01:15:28):
Outkast matters.

Speaker 1 (01:15:29):
No, they matter, but I mean Mariah's different.
So Mariah's going to be theheadliner of this.
I think OutKast is getting in,though.
When I look at this list, guys,don't you think that OutKast is
getting?
In it's going to be tough.

Speaker 3 (01:15:42):
It's going to be tough.
This is a pretty good list.

Speaker 1 (01:15:47):
Okay.
So here's what I would like Ifthey do get in.
I don't mind Andre playing theflute to start off the show, as
long as the flute playing goesinto Bombs Over Baghdad.
It has to go into Bombs OverBaghdad.
You're going to get your ass uphere and rap I know, that's
going to be the conference.

Speaker 2 (01:16:07):
I don't want no flute stuff, because this is
acknowledging OutKast you got tolet him play his flute.
He might not show up, but that'sthe point, because this is
acknowledging OutKast as thegroup and what they did.
Andre did whatever he chose todo after the fact and he went on
to do those things.
So that doesn't need to behighlighted here, what this
needs to highlight for them andBig Boy especially, because Big

(01:16:31):
Boy's name gets left out a lotof stuff.
It has to be acknowledged whatthey did as a group and that
needs to be put on the forefrontor whatever.
Leave the flute at home.
So yeah.

Speaker 3 (01:16:44):
No flute.

Speaker 1 (01:16:45):
That goes against the grain.

Speaker 3 (01:16:49):
And it's not about him, it's about Outkast.
That's the point, I think, ifthe flute comes on stage, then
it's to about him, it's aboutoutcasts.

Speaker 2 (01:16:53):
That's the point, I think.
If the flute comes on stage,then it's to be made by Andre
not to these white people.

Speaker 1 (01:17:00):
May I grab that flute ?

Speaker 2 (01:17:05):
you know what?
I'm glad you said that Coop,because we're going to get to
that later.

Speaker 1 (01:17:10):
I'm glad you're right , aj.
Guess what we're going to getback to.
Guess what we're going to getback to Mariah?
Right, we're about to get backto Mariah.
We're about to talk aboutMariah.
Yeah, we are.
We're about to have anotherconversation, yeah, but I mean,
but we all three for three.
Outkast is getting in, I think.
So okay, how about this?
If Outkast gets in, what istheir must go to performing song

(01:17:31):
?
What's the Outkast gets in?
What is their must-go-toperforming song Like?
What's the Outkast go-to songLike?
Is it Elevators or is it BombsOver Baghdad?
Those are the two that I thinkof.
Neither, neither.

Speaker 2 (01:17:46):
I think it's Miss Jackson.

Speaker 1 (01:17:48):
Safe.
You're going to get inductedinto the Rock and Roll Hall of
fame and do the baby mama dramasong over bombs, over bags.
That's their biggest record areyou?

Speaker 2 (01:18:01):
sure, hold on, hold on, are you sure miss jackson's,
their biggest record I don'tknow numbers wise, but I mean
being living in real time likeyou was in atlanta what?

Speaker 1 (01:18:11):
So okay, so that's the thing, those of us down here
, it's kind of like back to thatludicrous thing here.
Like that was the record wewere like.
No, like so Fresh, so Clean wasour record of those two.
Like it's so Fresh, so Clean.
Clearly down here it's not evenconversational.
So y'all played Miss down in inother places around the country

(01:18:36):
on the radio more than weplayed it down here because we
were playing so fresh, so clean.

Speaker 2 (01:18:38):
I think miss jackson had a wider reach.
You know I'm saying differentaudiences but if you're going
for the rock element, then I'mwith you on the bombs over
baghdad.
You want to rock and roll hallof fame stage, what I mean?
Then yeah that aestheticallythat would be a good one like
how about this?

Speaker 1 (01:18:54):
if I were picking just quick set list for them?
Well, I would actually givethem their solo shot and I would
let Andre do.
Hey, y'all let big boy do theway you move and have them do
bombs over Baghdad that's fair,because that was marketed as an
outcast album yeah, that's how.

Speaker 2 (01:19:12):
I double albums.
That's one that we don't bringup because we separate those a
lot in our mind.
But that was a double album,but one wasn't wrapped, but one
wasn't wrapped.

Speaker 1 (01:19:23):
Yeah, but Big Boy's album's not good enough for it.
I think to, maybe.
How about this?
Is it better than the Art ofWar by Bone?
Yes, yeah, but where does it?
Art of War was terrible though.

Speaker 2 (01:19:35):
No, it wasn't.
Come on, dog, don't do that.
It wasn't terrible.
Shout out to Ms FB.
Sean's thoughts and opinionsare those of his own.
Some of us like the Art of War.
We listen to.
You know all the Bone Thugs andArmy stuff.
He's 1999, you know All thatstuff.
People don't want to come upwith all that.
You're like yo, nah, that'sSean Hayden on Cleveland.

(01:19:57):
Shout out to LB.
True that Shout out to Bonethough they secured Pac and big
features and released that joint.
In 97, when they both were gonefrom us, that shit was me, that
shit was me, that shit was meSean.

Speaker 1 (01:20:17):
I hate her man.
And now, the moment we've allbeen waiting for, kendrick
Lamar's Super Bowl halftime showguys, or as I like to call it,
the GNX Promo Fest.
There are so many places to gowith this AG.

(01:20:39):
I know you have a lot ofthoughts.
I have a lot of thoughts.
Are you okay if I start off?

Speaker 2 (01:20:46):
Go right ahead, follow me.

Speaker 1 (01:20:52):
Now let's musically discuss the performance and I'm
just going to give my quicksynopsis of it.
Thought, musically it was asolid performance.
I did feel like he missed somethings.
No records from good kid, madcity or to pimp a butterfly were
played.
Zero, those are the records hislegend are built on.

(01:21:14):
So I'm not okay.
That is the since people wantto talk about the numbers of the
halftime show.
That is like Prince and MichaelJackson pulling up and not
doing some shit off the wall inThriller and Purple Rain in 1999
.
Like you, just don't do thatJust for one, just for context.
And don't do that just for one,just just for context, and
don't tell me that it's okay.

(01:21:35):
Your legend is built on thosetwo records.
At least a record or two fromthose albums should be big
enough or strong enough to runinto this.
So I didn't like that.
As far as the organization ofthe set list, when I look back
on the actual set list, hisvoice did hurt him in this
performance.
His voice is his kryptonite.

(01:21:56):
It was audibly difficult tohear some of the vocals.
Stop giving him excuses andpasses.
For well, he's running and didthat.
Well, you're performing.
That's part of it and that'spart of why I question whether a
high level rapper is ready todo this solo.
Not about the capability, notabout the records, not about the

(01:22:33):
artists, mostly about theactual Singing and dancing since
he was 12, and it's tough onhim and he is out there sweating
and breathing heavy and that'susher, so it's not an easy pull.
So I'm not criticizing Kendrickwhen I am making that critique.
That is really more about theart form and where we are in the

(01:22:55):
art form and maybe how we canuse this performance to see what
vocally works for a rap artistin this solo space.
Moving forward.
I immediately thought when Iheard him vocally I would have
preferred LL got thisopportunity, because LL's
records with LL's voice justwould have rang like really,
really hard.
Imagine LL doing rock the bellsat the Super Bowl, just like

(01:23:16):
vocally.
Everybody would know the wordsto rock the bells for the rest
of their life because L's voiceis strong and built for the
stadium like that.
When people are talking aboutthis message that he delivered,
this message that he delivered,how can you deliver this black

(01:23:40):
empowerment message and notdeliver All right to us?
It just literally makes nosense to me because you're
putting this whole show togetherabout you know Pretty much it's
a.
It's a black culturalappropriation statement about
what's done to us systemicallyon a whole lot of levels, and
you're not going to use yourbiggest record that actually

(01:24:01):
expresses that, and in the, inthe record that you have in its
place now is a diss record, likewe're talking about all this
cultural progress that he did.
I mean, you do understand thatthis whole show was centered
around him dissing another manthat is considered to be black,
which is another thing thatwe're going to get into, because
a lot of people don't considerhim to be black and maybe that's

(01:24:25):
where not like us really reallycomes from.
Anyway, it's him actually usingverbs of colorism and, dare I
even say, some antisemitism.
So there are a lot of things tounpack about this that I found
to be problematic when I reallysat back and thought about it,
because once again, people aremaking it seem like he did it

(01:24:46):
from the culture and I'mthinking like well, if he did it
for the culture, why is thisshow centered around a diss
record and not around All Right?
Doesn't All Right fit more intothe theme of what he was doing
in terms of the message he wastrying to convey and he left the
record completely out.
And so how is this such a bigBlack Power movement moment when

(01:25:07):
it's centered around a dissrecord once again, guys, which
is why the diss record isbecoming more and more
problematic for me.
And then what does it say?
And here's what I realized, andI've had people tell me this
this week no, like people, thereare people and I didn't know
this.
I really thought everybody knewwho Kendrick was.
They're like no Coop, this ishis real coming out party.

(01:25:28):
There was a lot of people outhere that still didn't know who
Kendrick was out party.
There was a lot of people outhere that still didn't know who
Kendrick was and this record ishis coming out moment.
And I'm like, seriously,they're like, yeah, it's his
coming out party and I'm like sothere are people that really
really think that it's his bestrecord.
And in a lot of ways, guys, Ihad to come to the terms and

(01:25:51):
realize it is his best record,but that means he's not the
greatest MC of all time.
This can't be your best record.
There can't be no goat talkwith this being your best record
.
This is your album.
Closer hold on.
Think about this.
We're celebrating Tupac's AllEyes On Me.
This is like Tupac ending theSuper Bowl show with Hit Em Up

(01:26:11):
instead of Dear Mama, or Keepyour Head Up, and you gonna try
to make it seem like ending theSuper Bowl show with hit them up
instead of dear mama, or keepyour head up, and you're going
to try to make it seem like it'sa black power moment.
No, it's not.
It's a Kendrick beating Drakemoment and from that point it
does feel kind of industryorganized and playing guys like
the way the records went, the Gand X of the album, and not even

(01:26:32):
getting in into Kendrick'sbackground and even Kendrick's
team, making this about Drakeand about GNX and not making it
an encompassing career moment.
Think about all the old stuffthat Kendrick's done that could
be all getting big streamingnumbers right now.
Imagine if he just did a briefsnippet of something off of
Section 80.
A record off of Good Kid MadCity, which supposedly,

(01:26:53):
according to Apple Music, is thenumber one rap album of all
time.
Tell me how an album can be ona platform like Apple Music and
be considered to be the numberone rap album of all time by the
metrics that they measure andthe artist doesn't perform one
record of it at the first rapsolo Super Bowl performance ever
.
Tell me that I'm tripping aboutthese gaps, ag, and tell me

(01:27:15):
that there's not some colorisminvolved now, officially.

Speaker 2 (01:27:19):
No, I'm actually in alignment with a lot of stuff
you said actually.
Yeah, it's a lot to unpack.
Where I'm going to start withis the track list.
The track list.
I'm surprised that the tracklist, you know, and Joe Budden
even had to walk this backbecause he like shitted on the
lead track list before heperformed it.

(01:27:41):
But me and my son and mydaughter, we were sitting there
watching it and we was goingthrough like, yo, this is lining
up, this is lining up, perfect.
The lead track list is right.
And I was literally shocked.
You know that the track list isright and I was literally
shocked.
You know that the track listended up being spot on.
Um, the fact that he playedeuphoria was crazy.
That was one of my favoriteparts.
So, um, I'm gonna start withthe things I did, like some of

(01:28:04):
the pros, the choreography.
Choreography was dope.
You know I'm saying the.
You know the visuals of all.
And one thing I don't thinknobody's really pointed out,
excuse me, is you.
You said it coop, like Kendrickhad to cover a lot of ground on
the Superbowl.
That takes breath control,rapping and stuff, and

(01:28:24):
Kendrick's was not afraid totake hip hip hop back to what it
was when we came up rememberthe mid eighties, where it was
like you know, you had Kane andyou had Heavy D and the boys
were dancing was actually kindof cool.
Everybody was dancing in theirvideos, they had backup dancers,
they had routines, you know,kid and play or whatever.
Then it was a certain pointthat cross where hip hop had to

(01:28:44):
be so hardcore to be viableRight, but I like the fact that
Kendrick's not afraid to get outthere with his choreography uh,
choreography and his dancersand then, you know, do dance
steps with it.
Like I was talking to one of myhomies he said it made him think
of, like Janet Jackson RhythmNation, like it's militant
looking choreography to go alongwith it, and I actually thought

(01:29:05):
that was dope.
On the Super Bowl stage, youknow, um, the uh, beginning with
the GNX car with all thedancers coming out of it like
you know what I'm saying, like20 or 30 of them was coming out
of the car.
I thought that was a dopevisual and that's probably
something that they're going totake on the stadium tour, if I
had to guess you know what Imean they should, they should,
they should AG.

Speaker 1 (01:29:25):
but that's what I mean.
And it's like oh no, this isthe GNX show.
This is about D&X.
That's the thing he is thefirst solo rap artist to get.
I'm going to get to that.
I'm going to get to it.
Look at what Usher just did,that's Usher.
Usher ran through his wholecatalog, dog.

Speaker 2 (01:29:46):
I'm going to get to that.
A lot of you said it was right,but I think I'm going to take
it a little bit deeper.
Pause, one of the highlights ofthings I like when he did do
not like us, the thing that'sbeing mean the most when he
looked at the camera to saydrake, because I thought it was
going to cut off at that part,right, um.

Speaker 1 (01:30:02):
but when you looked, at the camera when he said that
was funny as hell, like that.

Speaker 2 (01:30:07):
That was hilarious.
So that pretty much sums up thethings I like.
Now, as far as the cons of theperformance, right, if we're
thinking Super Bowl, super Bowlhas usually been reserved for
legacy acts until recently inthe last handful of years or so.

(01:30:27):
So you're talking about bigstadium records that everybody
from different walks of lifereally know and can sing along
to.
Granted, hip-hop hasn't had thetime, the chance to really like
be on that stage, but whetherit was you too, bon jovi or you
know whoever, these are songsthat everybody knows in

(01:30:50):
different cultures.
Uh, who you know, genres,different walks of life, big
records, usually reserved forlegacy acts.
Then I knew that Kendrick was ina different space, when not
only is he not a legacy actbecause his discography, his
catalog, is still cooking rightnow.

(01:31:10):
So, as popping as he is rightnow, with all these listeners 88
million, or whatever the numberis on Spotify and 133 million
people watch the halftime showand set a record to Coop's point
A lot of people still weren'tfamiliar with him.
And you know who he is as anartist and with a catalog as

(01:31:35):
lyrical, as lyrically dense ashis is, I don't know why you
would shy away from your biggestrecords that majority of the
fan base knows.
Now I knew he was off to adifferent start when he started
off.
Uh, with bodies, an unreleasedsnippet from gna and no setting.

(01:31:55):
Have I ever seen that work?
I've been to a million concertswhere artists say, yo, I'm
gonna try something new that'scoming out soon.
What the audience don't care, Idon't care how far it is, we
don't know it, we can't.
We're trying to listen, we'retrying to tap into it.
That never works.
I've only seen it work one timein my whole life and that was
when jay-z did iso at the betawards.

(01:32:19):
That was because instant songrecognition for the michael
jackson sample.
I'm about to say that's themichael jackson loop and people
went crazy.
That's the only time I've seenthat work.
So when you're coming outacapella to a song that nobody
really knows, that was a boldmove and I think you were a
little bit too big for yourbritches.
You know, pause like thinkingthat you're more massive than

(01:32:41):
what you are in the space.
Now we got to figure out thedemographic that's watching.
You know, although it's mostlyblack players on the field,
football is still most mostlywatched by middle-aged white
Americans, right, and for a hiphop show.

(01:33:02):
It made me realize that the wayDr Dre and friends did it was
about as perfect as you can get,because it gives you different
looks.
You got first.
First of all, the chronic cameout in 90, uh, 92, right, doggy
style, 90, 93, you know.
Then you got eminem, who waslate 90s.

(01:33:25):
You know all these people whowere in their formative years
then is the main target audiencewatching a super bowl, or
middle age people who've livedtheir whole lives with these
records.
So they're still legacy artists.
And you're getting the look ofmary j blige, 50 cent kendrick,
who was a nice added throw-inspice to that.

(01:33:45):
But it was a perfect blend withthe medley of medley of uh
superstars.
But if you get one artist tooccupy that stage, their catalog
has to be so massive and genrebreaking If you don't have
nobody to come in and give you abreak, which he did.

(01:34:09):
He lacked the surprises.
You know the surprise guests.
You just had Sizz up there.
If Samuel Jackson is your bigsurprise, I'm sorry.
You could have kept that.
You know the surprise guests.
You just had Sizz up there.
If Samuel Jackson is your bigsurprise.
I'm sorry, you could have keptthat If Mustard is your big
surprise.

Speaker 1 (01:34:22):
You could have kept that If.

Speaker 2 (01:34:23):
Serena Kripwafen is your big surprise.
I'm sorry you could have keptthat.

Speaker 1 (01:34:30):
No, how about this?
Okay so, ag.
I hate to interrupt you realquick, serena K, but you just
need some.
No, how about this?
Okay so, aj, I hate tointerrupt you real quick.
Serena crip walking being oneof the bigger things talked
about, is part of the problem.

Speaker 2 (01:34:39):
It is, and I'm definitely going to get there
too.
But that's not necessarily aloss for Drake because he can
say, like yo, there's two chickson the Superbowl stage at the
same time that I smashed.
Is that really a loss?
Like Drake, you know what I'msaying If he, you know, they say
she was a crip walking on hisgrave, but whatever, but I
digress.
But anyway, your catalog has tobe like.

(01:34:59):
I've heard different people Meand my girl was having a
conversation.
She was like yo, she was like Ilove that performance.
It was great, you know, and Iwas like it was okay, it was a
base hit.
When the home run wasn't astrike.
She was like no, I think hekilled it for his intended
audience.
And that sent me spiraling downa rabbit hole because I was
like okay, let's define what hisintended audience is.

(01:35:21):
That's why you're getting allthese think pieces from the
hip-hop heads about thesociopolitical messages and all
this and that, Of course, we'regoing to say that it was the
greatest thing.
Whatever, because we're the hiphop heads, the audience that
was watching the Superbowl.
That's a different audiencethat is going to be over their

(01:35:44):
heads.
Us hip hop fans, like Big said,we never thought that hip hop
would take it this far.
We just happy that Kendrick upon the Superbowl stage and we
like with our pom poms cheering,but did it translate to that
other audience?
Because they don't understandthe lyricism, they don't get it,
they're not tuned in with therecords.
So my thing I started thinkingis there any?

(01:36:05):
And this is not an indictmenton Kendrick I started thinking
is there any one solo hip-hopartist that could hold that
stage for 13 to 15 minutes andthey go over the way it's
intended to go over?
And the answer I came up with isprobably no.
I don't think jay could do it,like kanye too crazy, you know.

(01:36:26):
I'm saying nobody calledkanye's catalog could do it
properly.
Jay's catalog could do it ll.
Ll would be a stretch, LL wouldbe a stretch.
I'm the biggest Nas fan in theworld.
But can Nas do it?
Hell, no, I just don't.

Speaker 1 (01:36:40):
L's the only guy, l's the guy.
To me, ll's a rock star too.

Speaker 2 (01:36:45):
But my thing is, I'm not trying to shit on hip-hop.
It's not saying we're bigenough, but for that, for you to
translate on that stage tothose different audiences.

Speaker 1 (01:36:58):
So so here's the reality of the matter.
There is some over evaluationof kendrick's catalog in terms
of his ability stadium flow,because here's the reality of
the matter.
He has to create these showsbecause the music doesn't have a
stadium flow.
That's why he makes it intoplays, that's why he makes it

(01:37:19):
into these thoughtful thinkpieces.
But here's the reality of thematter.
Sometimes you don't have to doalways go back to this.
What word said Erykah Badu?
What good do your words do ifthey don't understand you when
people are missing the pointwhile the point is being made,
has it?
If the point has to be madeafter the fact, then that moment

(01:37:43):
is not as big as people aremaking it out to be to be made
after the fact.
Sometimes, some sometimes, theidentification of our blackness
in these white spaces is assimple as wrapping your head
with a fucking scarf while itrains, like prince did when he
was performing.
There's something about that inour black culture that we

(01:38:06):
forever and identify with.
It's like, yeah, that fool didthe whole show in the rain in
his do-rag, and that meant moreto black people than all of this
other shit, because as soon ashe did it, we understood it's
like no, this nigga got a permand it's wet outside.
We know what happens, we knowwhat time it is, and so for me,
once again, it's overkill, it'soverdone and not on top of that,

(01:38:28):
it's the wrong songs, and thisis the thing about it that I
really take issue with.
This is actually peopleactually propping kendrick up on
a pedestal saying that he'sdoing this for the culture, when
really, if you look at the setlist and how he put it together,
this is what drake would havedone.
If drake.
This is the, the wholepromotion of all of this and the

(01:38:50):
g and x and of all of this.
This is a drake move fromKendrick and nobody's even
talking about it.

Speaker 2 (01:38:56):
And that's my last point that I, that I have to
make, so, you know, piggybackingoff of that.
So the sociopolitical stuff,like you said, if it has to be
talked about the next day, somepeople got it, some people
didn't.
But if you're hanging your haton that, like saying like well,
he got on that stagerepresenting the culture,
representing hip hop, and, youknow, did stuff in front of the

(01:39:20):
president or whatever, and gotthat message off, it's like OK,
at what cost though?
Because the talk the nextmorning isn't about that, isn't
about that.
What overshadowed.
That is not like us, because ifyou're going to get that
messaging off, then if I'mstanding on that.

(01:39:40):
I'm saying I'm not performing,not like us, because I don't
want that to get my message toget lost.
On the messy stuff number oneand number two I want to prove
my catalog can stand on its ownwithout even having to play Not
Like Us.
But here's where the problem.
Here's where the problem comesin.
You said you alluded to itearlier who, when a song gets so

(01:40:04):
big, it becomes moreproblematic for you.
So I don't know what happenedwith the powers that be, but it
damn near looks like I don'tcare what you do or what you say
on the stage, but you're goingto perform that record because
that's why you're here.

Speaker 1 (01:40:20):
So it's almost like we're going to take care, and
we're going to take care ofwhatever legal fees may come
Right.
So you.

Speaker 2 (01:40:27):
It almost damn near becomes a minstrel show type
shit.
Like nigga, you're going to tap, dance and do this song because
that's what everybody's comingto see, the one.
They don't understand yourlyrics but everybody can sing a
minor and you're gonna, like youknow, key, uh, key in on that.
Like when have we ever sawkendrick wear a chain that gaudy
, like with the a for the aminor?

(01:40:48):
Although it is a pg lane chain,the a is symbol.
Symbolic for the a minor is themessages in there.
And I'm looking at it like, okay, at one point, what point do
you cut the cord on that song?
Because, like joe bud, I lovejoe as an mc, not so much as a
media personality but as an mc.

(01:41:09):
What if they're booking him andsay, nigga, you can't be booked
unless you perform Pump it Up.
You got to perform that song.
It's almost like they're goingto know.
Sean asked me.
We had a conversation behindthe scenes.
He asked me do you think thatNot Like Us is bigger than
Kendrick himself?
And I don't know.
I couldn't answer that.
I was basically like it mightbe not like us because everybody

(01:41:33):
is so infatuated with like, dothe song, do the song do?

Speaker 1 (01:41:37):
the song.
That's what I mean.
And so here's the thing.
Sometimes, the greatest trickthat the devil will play on you
is, you know, making you thinkthat you tap dancing for your
people, when you were really tapdancing for him Right, because
the message is lost and this hasofficially gotten to the point.

(01:41:57):
Well, here's the reality of thematter.
People talk about all thesearchetypes, all these things,
the Uncle Sam, the blacks on topof the dark.
There are certain things that Isaw from the immediate contact
of it, but I just knew thatpeople weren't going to get it.
But here's what you do you washall of that away when you look
into that camera and you smileand you go some sort of pedestal
, when the reality of the matteris that all of this fame and

(01:42:36):
notoriety is based on the factthat you dissed another black
man.
It's not a black history moment.

Speaker 2 (01:42:42):
It's not.
It would hold more weight ifyou don't have that attached to
it.
People are talking about thatthe next morning as
overshadowing it.
What I don't like is that theyteased it Like it was a point
where they said no, here's thereality of the matter, ag.

Speaker 1 (01:42:57):
is that the most poignant thing that you actually
said is the fact that itactually, when you look back at
it, feels like that they mayhave told him oh, there is no,
not performing this record, wedon't care about those lawsuits,
we're the NFL.
We got billions of dollars tospend on drake and his team.
Go ahead and do that, butyou're doing that because you're
not going to perform, becausethink about this do you really

(01:43:19):
think that the nfl will let himperform a real black power
anthem at the super bowl?
Like all right?

Speaker 2 (01:43:25):
no, because you got to read the signs.
Like trump took the um, the uhrace right.
Uh, get rid of racism out ofthe end zones.
Before the you know what I'msaying the game even happened.
So it's like that messaginggets lost on the messy stuff.
And here's my part, here's mypoint.
They teased it.

(01:43:46):
It was a point where he wassaying they want me to do their
favorite song, but I don't know,because they might sue, which
was a nice dig at Drake.
But you're almost givingcredence to the fact that I know
what everybody has got theireyes on me for.
And Kendrick is too talented ofan artist and too dope of an MC

(01:44:07):
to be defined by just this song.
And if you keep on milking it,that's what it's going to be.

Speaker 1 (01:44:14):
Actually, ag, it's not.
And so here's the thing.
So these last few years whenI've been telling people well,
if you put his catalogalbum-wise it stacks up,
song-wise does not stack up tothe greats.
If you put him in the verseswith all these other guys with

(01:44:36):
his records, no, it doesn'tstand up.
And so he is actually a victimof what his greatest trait has
always been, and I've alwayssaid this his greatest trait is
his album making ability, nothis one-off song making ability.
Not Like us might be his bestone off rap song, it just
happens to be a disc recordOther guys.

(01:44:56):
That's why I bring up LL.
That's why I'm telling you it'slike right now LL would blast
this guy like on stage, like ina battle, because the better
stage presence.

Speaker 2 (01:45:05):
He's one of the best performers we've ever seen.

Speaker 1 (01:45:07):
No, no, no, I mean, the records are more built for a
Super Bowl Jingle in baby Rockthe bells, you know what I'm
saying.
Like those records play betterthan Kendrick records, because
you want to know why they're funrecords.
Kendrick don't make fun recordsand people have lived long
enough with him.

Speaker 2 (01:45:26):
And then they've lived long with him where they
know him and they don't know Gand X like that, as popular as
he is.
But you know, I had thisconversation with Sean the other
day.
Not um, what'd you told me?
Nas like got at some point, gottired of performing ether and
refused it.
They would be chanting it atshows, and he said it just it
was just sickening for him toperform it.

Speaker 1 (01:45:46):
He didn't want to do it, but here's the thing it
wasn't a career defining momentfor him.

Speaker 2 (01:45:51):
It wasn't Right, but you, it wasn't right, but you
don't want it to become that.
You know?
That's my whole point.
Like once, you keep sewing andsewing into it like people
feeding that beast.
I think kendrick can puthimself in a dangerous space
where he is just defined by thatand he is too talented to be
that we got super chats.

Speaker 1 (01:46:09):
mama, bear with this five.
I'm happy to see the finest mentalking hip hop together again.
Thanks, mama, appreciate it.
Double barrel $5.
I think it's worth a rewatch.
That was a great show.
Take the audience out, watchfor yourself.
It's impressive.
Shout out to y'all.
No, I'm not saying that itwasn't impressive and you
might've overrated the show onceagain, because all things with
him get overrated and you'retalking about all this black

(01:46:31):
empowerment while he's dissinganother black man and calling it
a black history moment.
It's like how's it a blackhistory moment when it's all
based around dissing anotherblack man and tearing down
another black man empire, quitefrankly, in front of all the
white people.
It definitely got some minstrelshow to it.
Any more Super Chats?
Oh, we got plenty more SuperChats.
007 with the 1999.

(01:46:51):
Kanye could Nas could if he hadQueens artists featured,
including LL Ja Rule Because ofhis big hits, but nobody wants
to see him.
Nelly could barely.
It could have been donecreatively, but solely one
rapper?
Probably only Kanye.

Speaker 2 (01:47:07):
That was the crazy realization that I had.
So that's not even anindictment on Kendrick.
It's like hip hophop artists asa whole.
It would really You'd have tobe jaw-breaking.
Kanye would be the guy if we'retalking about the actual
records, but ain't nobodycalling his ass to get up on
stage.

Speaker 1 (01:47:27):
I like the fact that he's still that dangerous Mad
Max up in the building speakingof dangerous and people who
don't know what they're talkingabout.
Very much like kanye.
Maybe he was scared to play hishits because he knows he don't
have a single classic song.
Okay, humble didn't hit.

Speaker 2 (01:47:41):
Dna did not hit my mom said they could have got
kanye before this guy, my mom.

Speaker 1 (01:47:46):
when, when a grown man puts in parentheses, my mama
could have said they could havegot kanye before guy Bellbottom
dot exposed himself.
Bellbottom.

Speaker 2 (01:47:58):
Matter of fact, DNA and Humble were the best parts
to me.
I agree.

Speaker 1 (01:48:05):
Any more final thoughts about the Super Bowl
show.

Speaker 3 (01:48:09):
AG, I want to say something because I wanted you
guys to watch our clips, becauseI know y'all have strong
opinions on all of this.

Speaker 1 (01:48:17):
Hold on real quick, sean, before you do.
I'm just tired of people notholding him to the same standard
we hold literally everybodyelse to Like.
Really think about this.
When he's saying not like us,is that a reference to Drake's
Jewish heritage or Drake'swhiteness or Drake citizenship?
Think about the guy that's inoffice right now and be careful.

(01:48:40):
What have I always been saying,guys, we, as black men, we tend
to get in places of money andpower and position Our thoughts
and our ideals frighteninglyline up to rich and powerful
white men more than we'd like toagree with.
And so for this guy thatembodies the culture so much and
represents the culture so much,he does understand he's having

(01:49:02):
his biggest moment tearing downanother man who is considered to
be black by most people'sestimations.
Nobody's talking about thataspect of it.
For your king, who's such theblack power guy and the
empowerment guy, and for theculture, it's like well, your
whole rep right now is based ontearing down another black guy.
We don't find that to beproblematic at all.
Or is Drake not black enoughfor us now in this community?

(01:49:25):
And we're back to throwing thecolorisms again, like I make a
lot of Shalimar and like HowardHewitt and Jody Wiley jokes and
shit, but like, at the end ofthe day, you feel what I'm
saying.

Speaker 2 (01:49:35):
His hair.
Don't nap enough.
What you got Sean.

Speaker 3 (01:49:40):
That's what Pusha said.
Y'all finished, I just want tomake sure I want to get mine off
real quick so we can move onand get out of here.
All great points.
I get what both of you guys aresaying.
Here's the thing If Kendrick's,if his motivation was to show

(01:50:09):
the world that he is thedominant dog, he had that stage,
he did that Because no one caninterpret outside of those who
know his catalog and know whathe's doing.
No one can interpret exactlywhat happened on that stage.
A lot of the complaints that wesaw that we heard, that we read
they were saying stuff about.
They can't understand what he'ssaying because they don't even
know exactly what's going on.

(01:50:29):
They're not familiar with hiscatalog.
So if he's not doing it forthem and he's doing it for those
who really know him he's doingit for himself, he's doing it
for his camp.
He accomplish all of that.
The other side of that coin tome is this when you're on that
stage, especially as an artistand I don't want to get into
colorism or anything like thatyou have a responsibility

(01:50:51):
because you don't know who'sgoing to come behind you.
You don't know what other hiphop artists that could come
behind you, right, so you haveto be able to have a certain
decorum to show that particularaudience because that's not your
average audience, that SuperBowl audience that is not the
average audience that listens toa Kendrick that listens to hip
hop, that cherishes and valueship hop as we do.

(01:51:12):
This is one of the first times,if not the first time, that you
have a pure MC, a pure rapper,on a Super Bowl stage with a
solo set.
And he did it for Dolo.
He didn't really bring out abunch of artists out there to
help carry the weight that comesalong with being a Super Bowl
performer.
You guys named Usher, one ofthe greatest of all time, dr Dre
, one of the greatest of alltime, dr Drake, one of the

(01:51:34):
greatest of all time.
They were able to bring indifferent people that helped
them facilitate their entire set.
Kendrick didn't do that, so itdid make it look like it was
more about the Drake battle andgame over and all of these
different things.
So again, if that was hisintent, mission accomplished.
But the other side of that iswhat are the repercussions for
hip hop moving forward?
Because if you say that you arehip hop and you say you're for

(01:51:54):
the culture and you say thatyou're doing this for the rap.
If you're doing this for the MC, doing this for pure hip hop,
how does that impact those thatmay not even come behind you?
Because, keep me in mind, lookat all of the rhetoric that was
shared after the Super Bowl,look at everything that was said
in those comments after theSuper Bowl, that was said in

(01:52:15):
those comments after the SuperBowl.
Does that give you any type ofconfidence that we're going to
get an opportunity to haveanother hip hop act anytime soon
, or anyone of that elk, of thatKendrick elk, of that elk that
we can say, you know what, weare proud to have that
individual or the individualroles on stage.
Because now it puts us in asituation where you're having
people talking a little bitlouder, a little bit boisterous,

(01:52:35):
and saying we don't want thatanymore.
That was buffoonery, becauseyou're seeing that a lot.
You're seeing prominent peoplein the media, prominent people
in different places, saying wedon't want that anymore because
y'all bringing that beef to thisstage and we want to hear music
to make us dance, we want togroove, we want to have
something to shout about,because this is a Super Bowl,
this is a global thing, this isnot an isolated hood thing.

(01:52:58):
That's what they're saying.
So if he was looking toaccomplish all those things, he
checked all the boxes that hewanted to accomplish.
But it also hurt theopportunity for someone else to
come behind him to be able tosay you know what?
We have another hip hop actthat can come on the stage and
represent hip hop and take us toa whole different level as well
.

Speaker 2 (01:53:17):
That's what I want to say.
That's a big fact, sean.
You know if somebody.

Speaker 1 (01:53:20):
I think it's a wrap.

Speaker 2 (01:53:21):
I don't think there's no more hip hop acts.
They probably won't give it toTaylor next year.

Speaker 1 (01:53:27):
Well, here's the reality of the matter, and so
here's a better way of puttingthis, without making it about
the beef, the catalog, kendrickor Drake.
So, in public speaking, thefirst thing that you're taught
is that you must know youraudience and then address your
audience.
And so, for whatever rhetoricthat's being espoused about this

(01:53:47):
performance, for the positive,ask yourself was it being done
for an audience that was goingto receive the message when the
message was being delivered?
That makes the messageinappropriate and that's a
failure of the public speaker athand and the performer at hand.
And that's just it.
At the end of the day, thiswasn't the time for that, not

(01:54:09):
because there's never a righttime for it, but because the
message wasn't going to bereceived because of the
demographics.
This show, more than any othershow for entertainers, is about
you literally entertainingpeople for about 15 minutes in
between halftime.
It's literally just about that.
There are so many other formatsand forms to make the social

(01:54:31):
commentary.
How about this?
Other formats and forms to makethe social commentary?
How about this?
Him doing this show better andproperly could have set somebody
up in the future future toactually have that moment.
I feel like that moment hasbeen taken now.
We are not about to get thatmoment back anytime soon.
You can't overdo it.
You can't try too hard.
You can overthink it.

(01:54:51):
This is an entertainment show.
This is why I keep going backto Usher.
Last year that Usherperformance was dope because
guess what?
Usher performed his biggest andbest stuff.
That's what the show is about.
How do I put my biggest andbest stuff into a short
framework so these people seethat I'm the motherfucking man.

(01:55:12):
That's what Prince did.
That's what Prince did.
That's what Michael Jackson did.
That's what Usher did.
Stop trying to make it seemlike Kendrick is above the fray
of what these men chose to dobecause they understood the
assignment, and don't make itseem like that it's okay to not
understand the assignment.
This was not the assignment.
This was not the time.
You're supposed to play yourbest shit and put hip hop on a

(01:55:33):
further pedestal with thismoment.
Instead, you just made it abouta disfew with Drake and GNX,
and that's exactly how it'sgoing to go down.
Ain't nobody going to rememberthis black culture moment Like
all these bougie ass Negroes isrunning around here saying this
is some fucking bullshit.

Speaker 2 (01:55:49):
Because, like I said, the biggie lyric.
We never thought that hip-hopwould take it this far.
We champion him because he'sjust on that stage doing it.
But two quick points Usher toy'all's point.
Usher's a legacy act.
Although Usher's around our agegroup, maybe a couple years
older than all of us, he's stilla legacy act.
Usher's been around for 20 plusyears, so he's a legacy act

(01:56:13):
doing his biggest hits thatpeople are familiar with.
One, two, like when you're, whenyou're an artist like kendrick
who's still in the middle of thecatalog I don't have, I don't
care how big you are, sometimesthat's not going to translate.
If you can remember back ahandful of years ago, the
weekend set had the same issue.
I remember people like who wasthat on stage?

(01:56:34):
Like what was that he was doing?
That looked weird, like whoeven was that?
Because you got to look at whothe intended audience is.
They don't know who in the hellWeeknd is, even though he's a
pop star.
So it has to translate.
And then to the point of themessage getting lost that you
said.

Speaker 1 (01:56:55):
And then to the point of the message getting lost
that you said no, I mean at theend of the day what I mean okay.

Speaker 2 (01:56:57):
So so understand, hold on, hold on.
Let me let me finish real quick.
Cool, this is just one lastthing.
So if he gets his point offabout the you know, the black
empowerment and all that withthat stuff, cool, but leave it
at that.
Like putting the messy stuffwith that overshadows it.
Because I know people who arenot hip-hop fans that had no
clue.
I hear patients in real timetalking at work, talking about,

(01:57:20):
like I didn't know, drake andkendrick lamar had a problem.
Whoever these are, they'reunfamiliar.
So the talk is going to be likewell, what this about?
Let me dig a little bit deeperon.
What's this issue?
What's this problem?
So nobody's talking about thepowerful, important message,
everybody's talking about themess.
So the mess could have beentotally left out of it.

(01:57:40):
But like to sean's point, andI'll end with this, if that was
your goal to go out there andkeep your foot on his neck and
dig a few inches deeper for hisgrave then you did that here's
my biggest problem.

Speaker 1 (01:57:54):
This is what I'm saying, ag, and we can leave it
right here and we can slide andstart to get out of here with
the press.
Play Drake.
What's the one I'm saying?
Drake has been the face ofblack music for the better part
of the last 15 years.
You all don't get to pull upand say that it's okay for
Kendrick to talk this way andthen all of a sudden well, you
know, drake's mom was white.

(01:58:15):
You know he's half Jewish.
That hadn't been an issue foranybody for the previous 15
years.
Like nobody in the blackcommunity has raised issue about
it.
Nobody's raised issue about it.
Have we had one conversationabout Drake's white side, or
Drake's Jewish side in hip hopterms?

(01:58:35):
When does it become?
When did it become a problem?
And so now it's okay forKendrick to say these things and
do these things, andimmediately, where black people
go is well, you know Drake'sreally not black like that.
You know he's half white.
So was Obama, nigga, thatdidn't stop you from voting for
his black ass, says the firstblack president.
Right, you get what I'm saying.
You see how we pick and chooseour fruit, and that's the thing

(01:58:57):
that's dangerous about whatKendrick just did.
Because people identify him assome sort of cultural flag
bearer.
They try to make it seem likeDrake's not black now, when the
reality of the matter he's beenthe face of black music for the
last 15 years and we have beenletting him be the face of black
music for the last 15 yearsuntil now.

Speaker 2 (01:59:18):
It's because what Kendrick raps about in his songs
is what his listeners aspire tobe, although they out about
acting more like Drake.
But real quick.
One more thing I gotta say,because I see this a lot on
Twitter With all the things thathappened, I know it was a lot
of messaging.
Kendrick is very deliberate,very intentional, and a lot of

(01:59:38):
stuff is double entendres,deeper meanings.
But y'all on Twitter with thelike koofy, like 10-4 hats on
you know what I'm saying Takingthese deep dives, y'all got to
stop.
Like they'll be doing somethinglike yo did.
You see Kendrick had the flareleg jeans on.
That's symbolism, for if you'reunderage girl with Drake, then
shoot your flare gun as adistress signal to let us know

(02:00:01):
you in danger.
Like they be doing shit likethat.
Y'all doing too much.
Just stop, just, just, juststop.
That's all I got to say.

Speaker 1 (02:00:10):
Couple super chats before we hit the press, play
Web visibility with the file ona super chat.
Is it true this was the mostwatched Super Bowl of all time?
Yes, it was.
It's also the most people thathave existed on the earth right
now too.
Literally, it's gone up everyyear for the last four years.

Speaker 2 (02:00:25):
The halftime show.
He did break a record for thatfor the most watched halftime
show.

Speaker 1 (02:00:29):
Yeah, 1.5 million more than last year.

Speaker 2 (02:00:31):
I thought it was.
Yeah, 133 is the number, Ithink.

Speaker 1 (02:00:37):
Yeah, 133 to 135, something like that.
007 with the 199 Super Chat.
After all, this KDOT stillhasn't cracked top 10.
Some people are calling him theGOAT today.
I disagree.
I don't think.
I mean he's not in my top 10still, but I hear what people
are saying.
Raising Head, rename the song.
They Don't have to Lynch Us.
Oh, that's a real quick way tolose your Super Bowl slot.

(02:00:58):
Raising Head, be like so,kendrick, just want to let you
know you won't be performing atthis Super Bowl, because we're
about entertaining at the SuperBowl, because this is an NFL
driven product.
You'll not be messing with oursponsorship dollars to the tune
of the billions of dollars thatwe make that was an NBA all-star
halftime performance 10 out of10.
10 out of 10.
It's NBA halftime Because theNBA can run the NBA.

Speaker 2 (02:01:22):
Right, that's the yeah, exactly, that's my point.

Speaker 1 (02:01:24):
That's my point Running on NFL, roger Goodell
but the NFL.

Speaker 2 (02:01:29):
The NFL wanted to chuck a job and play, not like
this.

Speaker 1 (02:01:32):
I'm not even fully convinced that he wanted to do
it.
Roger Goodell is playing golfwith Trump right now.
Probably okay.

Speaker 2 (02:01:38):
Are y'all convinced that he wanted to do that or was
he made to do that?
That's my biggest question.

Speaker 1 (02:01:43):
Both Because I don't think he is who people say he is
any damn way.
So he wanted to do it.

Speaker 2 (02:01:50):
I thought he would do it and cut it off damn way.
So he wanted to do it.
They wanted him to do it.

Speaker 1 (02:01:54):
That's what they did.
And on to press play, on tosomebody whose hip hop ear has
gone underappreciated.
I love how you guys decided todedicate this week's press play
to Irv Gotti.
So I felt like when I waspicking my press play that I

(02:02:14):
feel like people only know Irvas a hit maker.
And I just want to talk about acouple things before I talk
about my press play so I can runthrough it relatively fast so
we can get out of here.
Irv was a head and Irv was aloyal dude.
When I was going back throughIrv's catalog, I said to myself
had this dude actually allowedhimself and made himself

(02:02:36):
available outside of the JaRules, jay-z's and DMX's and
Murder Ink and Rough Riderscamps?
Had he made himself availableoutside of those camps, he would
actually be higher up on ourproducer list guys.
But he was a loyal dude andreally wanted his artists and
his guys to shine.
And so Irving did productionfor people that he really rolled
with thick as thieves.

(02:02:57):
But I tried to highlight someof what I felt like some of his
better hip hop contributionsthat people might not be aware
of.
And so first one Time to BuildMike Geronimo.
This is one of the maybe themost underrated posse cuts of
the 90s.
This is the first time I heardJa Rule.
This is one of the first timesI had heard Jay-Z and remembered

(02:03:18):
Jay-Z.
This was my second time hearingDMX and so this was a special
record.
And Irv obviously, when youstart going back and looking at
the lineage, we had arelationship with Mike, geronimo
and Ja and Jay and X was allcoming up and the thing that
they all had in common wasn'teach other, but Irv.
Think about that.
Ja, jay and X are coming fromthree different hoods in New

(02:03:41):
York that's Yonkers, brooklyn,queens but they're all getting
down with Irv.
Think about how special Irv isin that time to be able to roll
through those areas, and rollLiterally.
Think about it.
It's like well, you got up andcomer from queens I ain't gonna
say he's best in queens becausehe might not even be top five in
queens and then jay you know,in brooklyn at the time
everybody's looking at jay,maybe next to big and az and a

(02:04:01):
couple other guys.
And then you got x coming outof yonkers, who essentially put
yonkers on the map outside ofmary special record.
Uh, we don't give a fuck.
All flesh of my flesh, blood ofmy blood, with kissing styles.
I actually thought this was thebest pure hip hop record on this
album and what a shock to findout that Irv is the producer of
it.
This is another joint that hegave the X.

(02:04:23):
I realized something I think heloved X more than he loved Ja.
I think he really wanted X inhis camp and I don't know how
that happened or what happened,and Def Jam just probably came
and took him away, which mighthave gave Irv his clout.
But everything I think that heended up doing for Ja I think he
originally intended to do for Xhe had so much love for X and

(02:04:46):
gave X so much heat.
I think X was the guy and Ithink Irv was the guy that
really knew X was going to bethe man, even in the time where
he's seen jay and nas up closeand personal.
Next, I can't wait more olddirty bastard rhetoric.
Old dirty bastard makes a lotof these shows.
He's a special guy a lot ofpeople don't know.
On old dirty bastards album,nigga please I can't wait, it's

(02:05:07):
produced by herb gatti.
Guys, this is actually the bestmic performance, in my opinion,
on nigga please.
Nigga please is a lot of rants,a lot of raves.
it's a lot of old dirty bastardbeing old dirty bastard, but on
this record he is actuallyrapping and I actually think it
is the best actual rap song onnigga please.
And it's produced by herb thiswas my sleeper pick.
What's my name?

(02:05:28):
By dmx.
This might be my favorite xrecord post.
It's Dark and Hell is Hot.
I'm going to keep it brief withthis.
I think this record is goodenough to be on.
It's Dark and Hell is Hot.
It was the reason that I bought.
And then there was X, because Iwasn't totally thrilled with
the production on Flesh of myFlesh, blood of my Blood, even
though I enjoyed the album.

(02:05:49):
But when I heard this record itmade me feel like he was
getting back into his classicbag and for a lot of people.
And then there was X is betterthan Flesh in my Flesh and Blood
on my Blood according to somepeople.
But this was a great lead offsingle and one of my favorite X
records.
And last but not least, Iactually wanted to show some of
his ability to make an R&Brecord but still make it hip hop

(02:06:09):
, cause I think people stillfeel like when he was making hip
hop records that he made him toR and B.
I feel like this is theantithesis of that back in one
piece with Aaliyah and X has ahip hop feel to it, even though
it's an R and B record.
And so it is a dope track, it's.
It's one of my favorite recordsfrom that time.

(02:06:30):
It was hip hop about Aaliyahthat we liked and then embodied
everything about DMX.
That was hip hop that we liked,but it still came off smooth
and it was a very surprisedpairing of like good chemistry
coming together, and so that'smy press play.
Rest in peace.
Irv Gotti, the legend AG,you're up.

(02:06:50):
Yeah, we actually had a coupleof the same joint scoops.

Speaker 2 (02:06:53):
So I AG you're up.
Yeah, we actually had a coupleof the same joints, so I'm going
to go through those prettyquickly.
My first one was Time to Buildas well.
Oh, you did Time to Build.

Speaker 1 (02:07:03):
Yeah, I would have picked the other Mike Geronimo
track.

Speaker 2 (02:07:08):
No, you're good, it's all good.
The Time to Build is the firsttime that we see the group
murder ain't featured, becauseor was the brainchild behind
that group that never came tofruition.
They are on a few trackstogether, but we never got the
album that we were promised toget during that time.
Speaking of which, that doubleXL cover with Jay-Z, ja Rule and

(02:07:29):
the X, and then the back coverwith them holding the weapons
behind their back, one of themost classic, iconic XXL covers
ever.
But yeah, this is the firsttime you hear all three of them
together.
My second joint is Can I Live?
Can I Live by Jay-Z with theIsaac Hayes sample.
Yo man, listen, this is like atop five Jay-Z song for me.

(02:07:50):
The way Herb flipped the sample.
This is like a top five Jay-Zsong for me.
Like the way Herb flipped asample I remember watching.
It was like a VH1 documentary,the Making a Reasonable Doubt,
where it showed him on the youknow what I'm saying on the drum
machine, like making the beat.
He was like redoing it for theshow and it was like really dope
.
But what Jay did on this recordI mean it's easily top five Jay
.
He went crazy on here Next.

(02:08:12):
I mean it's easily top five,jake, he went crazy on here.
Next joint I got is DMX'sDarker Than Hell is Hot intros.
I still maintain to this daythat this is a top five hip-hop
intro of all time.
You know, and Irv is like theproducer behind this record and
I just remember being on myschool bus hitting play on this

(02:08:33):
album for the first time andthat intro come on and just
losing my mind.

Speaker 1 (02:08:37):
Quick question.
Aj, Do you mean intro from theperspective of it actually being
called an intro?

Speaker 2 (02:08:43):
Yes, yeah, because you got intros, the opening
tracks, like yeah, like theintro stillmatic intro, dynasty
intro, like that sort of thing.
I will put this in the top five.

Speaker 1 (02:08:54):
I think this is better than the Dynasty intro,
so I'm with you on the top five.

Speaker 2 (02:08:58):
It's up there.
It's up there.
I also had what's my Name?
Quick story behind that, one ofmy favorite X records, but
quick story that Irv always usedto tell.
When they laid that track hesaid it's like 30 dudes in the
studio to tell um.
When they laid that track, hesaid it's like 30 dudes in the
studio, everybody's high-fivingand going crazy.
And the ex come out to um thebooth and he's looking at irv

(02:09:19):
and irv is just sitting in hischair, like you know, saying no
emotion, and you know he wants,like, like you said, coop.
You know, uh, irv loved x.
He wanted irv's approval morethan anybody's.
And he's like yo irv, what's up, like you know, like what's
wrong with than anybody's.
And he's like yo, irv, what'sup, like you know what's wrong
with you, what's up?
And then Irv said he looked himin the face like yo, x, I ain't
feeling it.
And then, you know, irv saidanybody else X would have just

(02:09:43):
been like F you, I don't knowabout his business.
But he was like, nah, yourenergy ain't there, like you
know what I'm saying.
So X went back and he said turnthe beat back on, went back in
the studio, back in the boothand that part at the beginning
where he's like you think thisis an effing game, like Irv said
, he was looking at him, talkingto him when he laid that part

(02:10:05):
of the record Like.
So that energy he brought wasfor Irv, not, you know, liking
how he laid the record the firsttime, but the second time he
laid it that was the keeper.
So that's one of the dopeststories I think I've heard Herb
tell was the making of that songand the last joint I got is the
Pledge remix with Ja Rule,ashanti and Nas.

(02:10:26):
When I first heard this record Ithought it was super dope.
I'm glad Nas didn't sign toMurder Inc.
I did not want that to happenbut it had the streets buzzing
around that time and around thisrecord collaboration.
But it was an easy sell for mebecause so Many Tears just
happens to be my favorite popsong.
So when I heard the sample Iwas like you know, count me in.

(02:10:47):
And oddly enough, ja Rule andhis verse is this and DMX and
Nas and his verse is throwingsome, you know, residual shots
at Jay after Ether beat out.
You know TakeOver and SuperUgly.
What do you say?
How that other rapper feel tolose his whole gangsta.
And then, like I said, ja Rulehad some lines for X, but that's

(02:11:10):
my press play.
I'll throw a quick bonus jointin there, since you know we had
some of the same ones.
Cool Um, uh, grand finale offbelly.
That's one of the joints that Iwas uh, you know I wasn't
really privy to that earth uh,did production on that, but
that's a dope joint collabbetween Nas, uh, method man DMX

(02:11:38):
and Ja Rule, the lead single offthe belly soundtrack, and I
think that joints fire.

Speaker 1 (02:11:39):
So, look, I specifically didn't pick can I
live in the intro to it's darkand hell is hot, because I knew
you would.
Okay, yeah, I specifically Iwas like, let me go ahead and
not pick those, because I knewyours was done before mine.
I was like, well, I alreadyknow ag picked those two, right,
yeah, that that's actually thereason that I picked time to
build, because I'm like, well,well, I know he picked the intro
to it's Dark and Hell is Hotand I know he picked Can I Live.
I was like, maybe he didn'ttouch the Mike Geronimo stuff.
Oh, I had to take it back.
Maybe he touched the MikeGeronimo stuff.

(02:12:02):
So that was my thought process,sean, what's up with yours?
Yeah.

Speaker 3 (02:12:05):
So me I'm kicking off with Kill Em Ja and Jay.
I thought this is one of thedopest beats that Irv came out
with on.
Vinnie Vettivici Got Jay on thehook.
You got Ja going crazy on here.
People be talking crazy aboutJa, but Vinnie Vettivici had a
lot of bangers on there.
This is definitely one of them.

(02:12:27):
Jay was killing that hook.
It's murder.
Jay X and Ja Again anotherjoint offer Vini Vedevici
Underappreciated album.
People forget the legacy of Jabecause of what happened to him.

Speaker 1 (02:12:43):
But Vini Vedevici, he was spitting like crazy and
that album went platinum withoutany R&B singing.

Speaker 3 (02:12:49):
Yes, it did, yes, it did yes, it did my it did.
Yes, it did, yes, it did.
My third one.
We here Now, another Jot jointKicking it off Again.
I went back and listened toVinny Vettavici this week and
Irv produced an entire album,and that is a big one.
Now Production is on point.

Speaker 1 (02:13:10):
Jot is speaking.
It's a good four-mic album.

Speaker 3 (02:13:13):
Definitely this is when he leaked for our myth
Bleak, because Bleak wassupposed to be coming out there
at the Def Jam camp.

Speaker 1 (02:13:19):
Hold on, sean.
Can I tell you a quick story?
I met them when I was in highschool.
They came into the record store.
They went on tour together,bleak when they hopped on the
tour bus, you're right, bleakwas the hottest rapper.
But by the time they got offthe tour bus, bleak had went
gold, but Ja had went platinumand was approaching 1.5.

(02:13:41):
And so by the time they'remaking it to Charlotte, ja is
the star and Bleak did not likethat shit.
Like Bleak was ready, bleaktried to leave.
An hour before the crewliterally ignored Bleak.
When Ja was ready to go,everybody went and jumped in the
van and Bleak was literally inthe record store talking shit to

(02:14:02):
niggas.
That's how the fuck we doingnow.
When that nigga ready to go, weleaving.
That's what we doing.

Speaker 2 (02:14:08):
That shit live in front of us.

Speaker 1 (02:14:11):
Look, I seen Ja's come happen live in real time.
Like, like that day, from theway Bleak reacted, because Bleak
was cool until he was ready togo, and then it was like, oh no,
no, no, like, cause Jaws becomethe star.
Jaws was the platinum artist onthe bus.
He a leapfrog.

Speaker 3 (02:14:27):
They had a song on that album together on Jaws
album.
That was also on Bleak's album.
Song on that album.
Together on Ja album.
That was also on Bleak's album.

Speaker 1 (02:14:35):
If you go in the Manifest on South Boulevard in
Charlotte, they got their shitsigned up there with Memphis
Bleak and Ja Rule on the sameone.
I'm the one that handed themtheir shit and helped them sign
it.

Speaker 3 (02:14:47):
I'll be in Charlotte next week.

Speaker 1 (02:14:49):
Go in the Manifest.
Most of that shit up on thewall in the back.
I helped him put that together.

Speaker 3 (02:14:53):
That's dope, that's dope.
Yeah, he leapfrogged, bleak,and so did Bean, sorry, ag.

Speaker 1 (02:15:02):
Bean's.
Definitely that's got nothingto do with me.

Speaker 3 (02:15:05):
Has nothing to do with you.
I also got Tales from the DarkSide with X.
This was the single joint thatX had on the Murderous album and
that Murderous compilationanother dope joint.
People don't talk about thecompilation.

Speaker 1 (02:15:19):
That's a dope project Because it didn't have dope
rhymes.
It had dope production though.

Speaker 3 (02:15:23):
Dope production, dope production.
And he gave, like y'all said,how much he loved X.
He gave X a solo joint on theMurderous album.

Speaker 1 (02:15:32):
Love.

Speaker 3 (02:15:33):
X and I finished it off with we Don't Give Up on the
Murder Inc album, the Murderousalbum as well.
Another joint, a lot of energy,a lot of this production went
crazy and they all went crazy.

Speaker 1 (02:15:46):
I thought that was the best joint on there.
That was the best joint onthere.
In my opinion, it was.

Speaker 3 (02:15:53):
Compilations and soundtracks.
Man, I missed that Job.
Versa in this joint is actuallya quotable Job.

Speaker 1 (02:15:58):
Versa in this joint was a quotable.
Darren Harris just saidManifest is closed now.
Ah, shit.
Well, I'd like to thankManifest for getting me my copy
of Dirty Minds hitting rightthere the other day.
Prince Dad, I'd like Thank you,manifest.
You did something for me, gotmy copy of Dirty Mind from.

Speaker 3 (02:16:18):
Manifest.
That's my last one.
I love that album.
I'm going to listen to thatalbum this week as well.
As well as Beanie Baited Beachy.
Rip definitely to Herb Gottiman.
Loud voice, boisterous voice.
So much contributions tohip-hop, to Jade, to X, to Ja,
to so many others.

Speaker 1 (02:16:39):
If he's responsible for Ja, jade and X, I mean, it
don't.
That's heavy guys.
Think about it.
How about this Name anotherproducer not name Dr Dre that's
been responsible for three guyslike that about it?
How about this Name anotherproducer not named Dr Dre that's
been responsible for three guyslike that?

Speaker 3 (02:16:57):
Exactly, exactly, pivotal, pivotal for those guys.

Speaker 1 (02:17:01):
Pivotal figures.

Speaker 3 (02:17:02):
Pivotal for those guys.

Speaker 1 (02:17:04):
Look, Def Jam not open for business today if Irv
Gotti don't exist.

Speaker 3 (02:17:10):
He gave Jay that additional edge that Jay needed
to have one foot on the streetand one foot in the industry.

Speaker 1 (02:17:16):
And he gave Jay Can I Get A?
Which is the real reason thatVolume 2 went 5 billion times
platinum.

Speaker 3 (02:17:22):
Easily.

Speaker 1 (02:17:24):
That was Jai's record first AJ that's the story that
I like the most is how when Jayseen that Jai was selling
records, he really wasn'ttripping.
But then he saw X sell thoserecords and his ass was up in
the office with Irv again.
See, he had stopped kind ofthink about it.
In 96, him and Irv is stilltight because he's with Mike

(02:17:46):
Geronimo in 95.
He's doing Can I Live?
In 96.
In 97, jay slides over withBiggs Camp the bad boy In 98, x
and Ja win.
Ja sells 1.5 and then X doeswhat he does.
Keep in mind X does more in aweek than Reasonable Doubt did

(02:18:09):
in like a year.
Jay is up in fucking Def Jamoffices talking to Irv and walks
out of the offices after hehears Can I Get it?
Think about it.
And this is some hustler shit.
He didn't ask for it.
While he was there, he waiteduntil he left and was like hey,
what you doing with that record?
Let me get that record.

Speaker 2 (02:18:30):
Now you gotta respect it, because that's how he got
the Annie record from kid Capri,like no one.
Uh, yeah, kid Capri was playingat shows, it's a 45, king did
the production, but you know hewas like yo, let me get that,
you know what I'm saying Arecord where you flip the Annie
joint, like you know what I'msaying, and play it.
A classic story about Old Boyand how that came about.

(02:18:51):
Jay would de-bow you for arecord in a minute if it came
down to it.

Speaker 1 (02:18:58):
See, that's the thing .
He was just charismatic.
Even the way Irv tells thestory it's like, oh no, he
didn't de-bow him out of therecord.

Speaker 2 (02:19:07):
That wasn't Jay's way , that's not how Jay does
business.
You ain't doing nothing with it.
Let me get it.

Speaker 1 (02:19:14):
Right, he's like hold on, what's going on with Ja's
album?
Ja just dropped out.
Hold on, when this going, whatyou doing?
Let me get that.
Let me get that.
Come on, I'll let you folks.
You know, I'm your folks, right?
You know, we fam, we go back toeven before this rap shit, come
on on.

Speaker 2 (02:19:32):
But to be honest, you know Sean might not like this,
but for every hit that Jay-Ztook from somebody else, he
probably gave away just as manyto other people you know what I
mean and helped him put them onBleak's album, or whatever, you
know what I'm saying.

Speaker 1 (02:19:44):
I don't agree with that because Jay's weakness is
his hook writing and that'swhere hits are made.
But I hear what you're sayingthough.

Speaker 2 (02:19:53):
Yeah, records that might have been supposed to be
his, but he gave it to the team.
No fast records, yeah, howabout this?
He?

Speaker 1 (02:19:58):
gave away a lot of great records, even if they
weren't hits absolutely.

Speaker 2 (02:20:01):
Yeah, definitely.
50 used to do the same thing.
What did he give away?

Speaker 1 (02:20:06):
Okay, first of all, let's not compare what Jay did
to what 50 50 did.
What 50 did was special interms of the records he gave
away.

Speaker 2 (02:20:12):
50, yeah, he's giving away magic stick.
Like you know, I'm saying allthe time what did you give away
ag since you?
Want that's a chick, that's onbleak's record anything was a
joint that he gave to beans toput on, uh, the truth album that
like to help boost the salesvolume three, like he was giving

(02:20:32):
away records.
That's just being fair.

Speaker 1 (02:20:35):
I'm pretty certain when Beans is talking.
How about this?
When Beans said that whole 5, 6, 7 songs Cut the camera off.

Speaker 2 (02:20:43):
I don't want to look at this nigga, no more.

Speaker 1 (02:20:47):
Today is not the day you want to know it.

Speaker 3 (02:20:51):
No, no, no.

Speaker 1 (02:20:52):
Now's a good time to part ways.
Make sure you click like andsubscribe.
Make sure you like share,subscribe to our tribe.
Like, share.
Subscribe to Mirror Music 99.
Unwrapped with Coop is comingsoon.
We want to thank all of y'allfor coming out this evening and
remember these other podcasts.
They not like us.
They not like us.
Wah, wah, wah, wah wah.

Speaker 3 (02:21:17):
Yo, quick shout out to I Am God, he has that release
coming out next week.
Yeah, yeah, city of Gods.

Speaker 1 (02:21:24):
City of Gods 217.
We working out the detailsabout getting him to pull up.
Actually, you know what?
Yo, I Am God's a real brotherman Like you know.
Uh, yo, I am god's a realbrother man, like you know he
got my math.
I am god.
Hit me up a couple days ago tocheck on me, like not even on
some rap shit, like he just hitme up.
He's like fam, how's you doing?
Like you know, I mean like youpeace, like he's like that.
He's not just a great mc, he'slike a solid brother like in

(02:21:47):
life.
I'm happy that I've gotten tomeet him and build with him.
This fucking project is fireand another album of the year
contender for the secondstraight year from this guy.
Wait till you hear this project.
Super excited to be talking tohim soon.
Guys, we have to go to Chicago.
The Chicago rap scene ispopping too much for hip hop

(02:22:07):
talks not to pull up.
We need to put that on theagenda.
They have some things that willbe coming up soon.
I'm going to let I Am God talkhis shit because I don't want to
let too much out the bag yet.
But when he starts letting shitout the bag, we need to get on
our fucking sleigh and bring ourbag like we Santa Claus.

Speaker 2 (02:22:27):
Shout out to LT too.
Man, LT got some exclusives forus.

Speaker 3 (02:22:33):
Hold on.

Speaker 1 (02:22:35):
Hold on, mama Bear.
Yes, that's unwrapped withcoupe.
That means no rubber, mama Bear, that means no rubber.

Speaker 2 (02:22:43):
Okay, so we got to go .

Speaker 3 (02:22:46):
Shout out to LT 8AM Exposure, Benny, all those guys
over there.
You too can get unwrapped withcoupe exposure, Benny, all those
guys over there.

Speaker 1 (02:22:54):
Appreciate the love you too can get unwrapped with
Coop.

Speaker 3 (02:22:58):
Oh my goodness, yo man, make sure y'all take your
vitamins.
And independent selling withMessing With Coop, shout out to
the Coop.

Speaker 2 (02:23:10):
Yo, what Hulk Hogan say is take your vitamins, say
your prayers.
Take your vitamins, say yourprayers and mess with Coop.

Speaker 3 (02:23:18):
Yeah, take your vitamins, say your prayers and
mess with Coop.
On the rap with Coop.

Speaker 2 (02:23:23):
No, no, no, no, we got to go man.

Speaker 1 (02:23:25):
My sister interned at the CDC.
I got people, I know people.
You should get plugged to aplayer.
Get plugged to a player.

Speaker 3 (02:23:31):
All right, we got to go, man.
Yeah, last thing Shout out toall the viewers.
Thank you all for popping up.
We had a strong viewershiptonight, strong comments tonight
.
We had a lot of folks Shout outto the other pods as well.
We all push each other to bebetter and we had a show tonight
.
We were better.
Shout out to those who probablydon't have a job tomorrow going

(02:23:57):
to Valentine's Day Look, look,look, that's all my homies this
is what Sean meant to say.

Speaker 1 (02:24:02):
Shout out to all you broke-ass niggas with pretty
women.
You won't have pretty women bythe time tomorrow's over.
Nigga, what's your broke ass?

Speaker 3 (02:24:13):
Johnny dropping tonight.
Tonight, shout out to AG, he'sgonna listen to that joint
tonight.
I'm sure he cannot wait for itto come out.
He cannot wait.

Speaker 1 (02:24:23):
Look here just know, just know, just know.
All you woke niggas with yourbroke asses on Valentine's Day,
I'm gonna pull up.
I'm gonna pull up next to youplaying this Drake and party
next to him.
Take your bitch.

Speaker 3 (02:24:36):
Shout out to my nephew Jordan which you won't
have, which you won't have,Shout out to my nephew Jordan
Tonight is Jordan's day.

Speaker 2 (02:24:47):
Jordan going to be feeling himself walking through
the halls tomorrow.
I already told him don't do toomuch at school tomorrow, kid.

Speaker 3 (02:24:56):
Hi your daughters.

Speaker 1 (02:24:57):
Shout out to Andrew.

Speaker 3 (02:24:58):
Shout out to Andrew Miriam Music for the dope
graphics for the support all thetime.
Andrew's behind the scenes alot guys.
Andrew's the one that's pullingthe strings behind.
He's actually the glue to thegroup.
He keeps us balanced more thananything.
We got crazy personalities andAndrew is like that centerpiece
to kind of keep thepersonalities in check.

Speaker 1 (02:25:18):
I know Andrew can't stand my ass, because Andrew
won't hear from me for threedays and he'll just get four
videos from me at like 6.30 inthe morning.

Speaker 3 (02:25:25):
We talked about that.
We talked about that.

Speaker 1 (02:25:31):
I bet you did.
He's probably like thismotherfucker knows me since he
was 15.
He can't say hello with this.
Shoot me four videos at 6.30 inthe morning.

Speaker 3 (02:25:39):
Shout out to the Discord.
Shout out to the chat.
We have one of the loudestchats in the pod space.
The chat people are crazy.
They love us, they hate us,they mess with us and all that
good stuff.
So we appreciate the love inthe chat as well as the hate as
well as the threats.
We appreciate all of it.
So I think we got it and restin peace, lovebug Starsky as
well.

Speaker 1 (02:26:01):
Rest in peace.
Lovebug Starsky, we might needto do a little vibe on that as
well.
A little short on that as well.

Speaker 3 (02:26:06):
We got some more stuff coming to Pipeline.
So thank you all for thesupport.
Unwrap is coming.
Pause Mirror Music show iscoming.
You know AJ and I will be doingthe actual Stoop Stories on
YouTube.
A lot of content coming y'all,so like, subscribe, share all
that good stuff Yo yo yo, holdon.

Speaker 1 (02:26:28):
Michael Brown, I just gotta read this.
You only taking teenagersplaying that Drake and partying
next door.
Hey yo, listen, listen, shoutout to my son Jordan.

Speaker 2 (02:26:40):
He got his braids tight and I told him don't do
too much at school tomorrow.
He going to be on one at schooltomorrow.
He's a big P&D fan, anyway.
So yeah, he going to be, Idon't know.
Like Sean said, hide yourdaughters tomorrow, man.

Speaker 3 (02:26:54):
Hide your daughters.
Tomorrow Valentine Say shoutout to my man as well.

Speaker 1 (02:27:00):
You woke, you're broken.
Tomorrow, you got no hope.

Speaker 3 (02:27:02):
All right, vote for Coop in 2028, motherfucker,
applebee is going to be littomorrow night.
It's going to be crazy.

Speaker 1 (02:27:15):
The chili's going to be popping Four-hour wait.

Speaker 3 (02:27:18):
Your LP just texted me.
He was like yo.
Son be going to Chili'stomorrow night in San Francisco.
Going to Chili's in SanFrancisco is crazy LP.

Speaker 2 (02:27:29):
Shout out to everybody going to Pizza Hut and
getting their girl toHeartShake Pizza.
Hold on LP, You're in Frisco.

Speaker 1 (02:27:33):
Shout out to everybody going to pizza and
getting their girl theheart-shaped pizza.
Hold on LP.
You're in Frisco.
Frisco might be the best foodtown in this nation.
The plate might cost you $500to get like a muffin.

Speaker 3 (02:27:41):
Tomorrow he's taking this shorty to Chili's.
That's crazy, me too.

Speaker 1 (02:27:45):
That's nasty work LP Yo you know how expensive it is
to eat in San Francisco.
I'll be taking my girl toChili's too, that's probably
going to cost him $200.

Speaker 2 (02:27:56):
Come on the fajitas $200 for a Chili's plate is wild
.

Speaker 3 (02:27:59):
Wild.

Speaker 1 (02:28:01):
Nigga, when you step into San Francisco, they charge
you $25 to breathe.

Speaker 3 (02:28:03):
They're like we're going to need that.
It is true it is expensive.
You can't breathe here, cooper.
Like give me the faj fajitasfam, yo peace, yo yo.
Jonathan Coleman, I had RaisingCane's a couple days ago in
Nolo, raising Cane's off thechain.

Speaker 1 (02:28:23):
Raising Cane's on the street.

Speaker 3 (02:28:24):
I'm sorry Raising Cane's on the street.

Speaker 1 (02:28:26):
It is yo I was look, look, my daughter took me on to
get the chicken tenders.

Speaker 3 (02:28:31):
Dip yo, michael Brown .
I was on Claiborne on Tuesdayand I had all the grazing canes
on Claiborne and the Magnoliaprojects on Tuesday Absolutely
delicious, I'm not going to lie.

Speaker 1 (02:28:44):
You know where I'm going Taking my black ass to
work.
That's where I'm going.
My black ass will be at worktomorrow.
Where you at Work, nigga Makingmoney.
My black ass will be at worktomorrow.
Where are you at Work, nigga,making money?

Speaker 3 (02:28:54):
Why are you spending money Right.
How about you, aj, we gotta go,right you?

Speaker 2 (02:28:57):
two niggas need to go .
Don't say anything else.

Speaker 1 (02:29:01):
You two don't say anything else.
Cut the camera off.
Cut the camera off.

Speaker 2 (02:29:06):
Cut the camera off right now.

Speaker 3 (02:29:08):
Cut it off right now.
Yo peace.
Had a rough day Sean.

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IF YOU'RE HEARING THIS, IT'S TOO LATE - Kendrick, Drake, 2Pac, Fugees, Larry June/2Chainz

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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;}IF YOU'RE HEARING THIS, IT'S TOO LATE - Kendrick, Drake, 2Pac, Fugees, Larry June/2Chainz