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Episode Transcript

Speaker 1 (00:00):
Outro Music what is up?

(00:32):
Welcome to Hip Hop Talks, wherewe don't throw subpar, just
throw subs, especially thepeople that don't give current
content.
Anyway, click, like, share,subscribe to the page.
Make sure you like, share andsubscribe.

(00:54):
I promise to be as petty asI've ever been this year, just
in a more effective and maniacaland silent, murderous type of
fashion AG.
Sean, what's up how you doing?
I know, sean, you just tellingme, you just touched down how
you feeling.

Speaker 2 (01:09):
Jet lagging, but I'm drinking a little bit of
turmeric and some coffee.
I'll be good.
Okay, all is well.
This came back from the Bayou.

Speaker 1 (01:23):
Yeah, I thought we were going to get some better
bayou news today, but we didn't.
Yeah, yeah, man, we got put onpause for real, but that's
neither here nor there.
Um, so let's go ahead and jumpright into it.
Uh, fellas, uh, get rich or dietrying celebrating its 22nd
anniversary, february 6, 2003.

(01:46):
So my question to you,gentlemen, as we celebrate this
classic, is get Richard Dot Ryana top 10 rap album all the time
.
Is it top 10?
And if it's not top 10, wheredo you have it?
Or you can just give me, andyou can give me a range of where
you have it, like, no, it's nottop 10, but I have it.
15, 20.
Ag, what do you say?

Speaker 3 (02:07):
I'm going to say not top 10, but the impact of that
record was palpable at the timeand it was undeniable.
And it was just so many bangerson there.
I've never really even thoughtabout that Coop, but just off
the top of my head I thinkanything lower than 30 would be
kind of crazy.
So I'm going to say it mightfall in around top 25.

Speaker 1 (02:30):
Top 25?
Yeah, okay, okay, sean, what doyou think?
What are you trying all thetime?

Speaker 2 (02:38):
Man, I listened to it this week just to kind of go
back in time for a little while.
And, man, that's an amazingalbum.
It is.
I think it fluctuates for meover time.
I think there was one pointwhen I had it as a top 25 album,
but then I started thinkingabout how it was aging and it

(03:01):
ages differently for me, becauseI remember when it came out I
was differently for me.
I remember when it came out, Iwas in war mode.
We were just fighting a war inIraq.
This is 2003.
We were doing the thickerthings.
It was very aggressive music atthat time.
My aggression was different atthat time as well.

(03:24):
When I listened to it this week, it was different at that time
as well.
But when I listened to it thisweek, it was different man, it
hit me different.

Speaker 1 (03:30):
I think, Sean, you make actually a very poignant
point when you state the statethat the country was in at the
time that some of the hip-hopmusic was coming out, because
that was probably that era.
That time was probably the mosttenuous time we've had in the
2000s as far as rap, and maybeit was just reflective of our

(03:51):
overall climate as well.
So that's a very astuteobservation.

Speaker 2 (03:56):
Yeah, it was a different time, man, and because
of the aggression I was tellingAG, I said, man, listening to
it, now you can hear a lot ofpain in 50.
He was going through a lot ofstuff at that time.

Speaker 1 (04:08):
I think he was still mad at a lot of people, very mad
.

Speaker 2 (04:11):
I think he was mad at a lot of people still Very
bitter, very bitter at that time, but the best music came out of
it.
So, to answer your question, Idon't know if I have any of my
top 25 albums.
I probably got it in that top40, though.

Speaker 1 (04:33):
Top 40?
.
So, if I can, if I may, I think, sean, you made another good
point.
When I go back and listen to it, it doesn't hit me as hard as
it used to hit me.
I'm not going to lie, eventhough I understand the gravity
of the bangers, it doesn't hitme as hard as it used to hit me.
I'm not going to lie, eventhough I understand the gravity
of the bangers, it doesn't hitme as hard as it used to.

(04:54):
So I think some of it was justthe mode and the time and for
the air.
But when I look at the impact ofthe album, I mean as far as
impact, though it might be topfive in terms of its impact
though, and so I think, becauseof the impact being so large,
just think about it I mean thisis, I mean, not being funny.
This is essentially the firstguy, the first black rapper, to
sell a legit 10 million.
You know what I'm saying.
And he didn't.

(05:14):
And he didn't.
And he didn't do it like likehe.
He did it the fast way, theschemax way.
You know what I'm saying like hedid it.
A certain kind of way too,where it was like, wow, he did
it that way and it won like thatbig.
It literally was like hittingthe lottery.
The empire that he sits ontoday, this is the foundation of

(05:34):
that, and so when I look at allof those things and then when I
look at the fact even though itdoes I don't know, dated isn't
isn't fair to it, because youdon't talk about other all time
great rap albums that way, andthat's what this album is.
It is still the best hookperformance all time that I've
heard, and so about all oh.

Speaker 3 (05:53):
Oh sorry.

Speaker 1 (05:56):
Who said oh laptop, laptop Just sleep, no, no, no,
laptop just slid, no, no, no,almost lost $500, right there.

Speaker 3 (06:05):
Oh shit, I thought you fell sitting still no,
that's the laptop slid.

Speaker 1 (06:11):
It hit the phone.
You know when these screenscrack on the Mac shit.
You know what I'm saying.
Yeah, you got good reflexes,coop still got.
It feels good at this stage,but to finish up.
But to finish up my point, thething about it is that all of

(06:34):
those things are so hard to deny.
Like it is one of those thingswhere, to quote Sean, there are
so many quantifiable facts aboutthe album that make it great
that it's hard for me to keep itout of the top 20,.
Guys, it is, it really is.

Speaker 3 (06:50):
That's what I want to ask y'all, because you bring up
an interesting point, because Idon't think it's off to say
it's top five impact all timeright.
So how do you weight that?
How do we average albums likethat?
Just say if the musicality ofit all is like top 30 to 40 but
top five impact wise, so wherewould you say that would land

(07:12):
overall?
Because it's a lot of albumsthat's the inverse of that.
They don't have nearly theimpact of get rich or die trying
, but they, the musicality of itis much greater.

Speaker 1 (07:22):
So so here.
So here's what I'll tell you.
When I hear something like aliquid swords or a moment of
truth ag, I think it's betterand it holds up better than the
get rich or die trying.
But I think, because of thosethings that I just talked about,
it it's hard to put thosealbums ahead of it.
That's the problem.
Yeah, it's too big.
It's too big for those albumsit's like like the record sales

(07:47):
are too big, the, the songs aretoo big, the moments are too
memorable, the aura is too.
The presence of it, the feelabout it, the vibe that, that,
that vibe that sean's talkingabout, that warm old vibe that
he kind of bought back to thegame a la dmx, you know it's,
you know it's so hard to ignorethose things.
So when I just hear itmusically, is it Liquid Swords

(08:08):
to me, no, but am I putting it?
Ahead of Liquid Swords?
Probably.
Yeah, I'm probably going tohave to.

Speaker 3 (08:16):
Two things that I want to point to that you all
both brought up with.
The impact was that this is analbum it's not many albums in my
life, but music marks time andthis is an album where I think
for everybody, you know whereyou were and what you were doing
when it came out.
You know what I'm saying.

(08:37):
I remember specifically I wasin college.
It's my going into my senior,junior or senior year of college
I think it was junior year andI remember going to driving to
four different stores before Icould find it.
Like it was that hot of acommodity.
Like I remember going to themall with that had a sam goody.

(08:57):
I remember going to best buy.
I remember going to circuitcity everybody was sold out of
it.
Finally went to a record mom andpop shop and found it and
copped it, rode around to it andthen at the time I was working,
you know, as an athletictrainer for Marshall University,
working with the football team.
So they did weightlifting inthe morning.

(09:17):
So I remember opening up theweight room like mad early, like
5 am, so they could get liftsin right and just on the
speakers I would play.
You talked about the aggression.
I remember playing this albumevery morning in the weight room
, blasting it for the footballteam so they could listen to it
while they was lifting, andeverybody was, like you know,
crazy over this album.

(09:37):
And then if you switched it up,put something else on, they'd
be like you'll put that 50 backon, like it was just.

Speaker 1 (09:51):
It just marked a moment in time for everyone and
then I actually went to the tourthat same year, um, where 50
performed the album and it was.
It was fire.
I mean, ag, you're right, Iworked out to it every day, me
and my roommate.
I'm actually almost got into afight because I was playing 50
so much.
He's like if you play, it'slike if you play many men.
He said if you play many men.
He said if you play many men,one more motherfucking time,
nigga.
So it was like that.
So shout out to one of theall-time great rap albums Get

(10:12):
Rich or Die.
Trying Fellas.
We got some new music coming up, oh real quick, real quick.

Speaker 3 (10:17):
Sorry, coop, my fault .
Real quick before we move onEverybody's favorite song.

Speaker 1 (10:23):
If I can't Favorite, yeah, everybody's favorite song.
If I can't favorite, yeah.
If I can is up there.
Oh, if I can't, a banger umyeah, if I can't in my top three
.
I'm gonna tell you like I don'tknow if it's my favorite song
still, but many men is still thebest song on this album.
That's saying a lot, a lot ofgreat songs, and so I'm still

(10:43):
gonna tell you many men, butI'll tell you the sleeper on the
album is, um, like my styleokay, that's a different pick.

Speaker 3 (10:51):
I don't hear many people say that one.

Speaker 1 (10:53):
You got a little yayo feature on there it's one of
those things when you get tothat part of the album and his
hook game is still so strong,it's like, well, you know yeah
uh for me.

Speaker 3 (11:06):
I was gonna say, um, what up, gangster?
Because I think that's like oneof the best hip-hop intros ever
.
That never gets talked about orbrought up.
You know just the way thatcomes in, uh.
But I'm not gonna say that I'mgonna go with heat, just for the
simple fact that heat has myfavorite 50 first of all.
Dray goes crazy on that beatand, um, heat has my favorite 50
cent First of all.
Dre goes crazy on that beat andit has my favorite 50 cent bar

(11:27):
ever, which just shows how muchof a psychopath he is.
He said if I was you, I'd beshook with me, because I get
tired of looking for you.
Spray your mama's crib and letyour ass look for me.
Once I heard that bar, I waslike yo, this guy's a psycho,
psycho for real.
So but yeah, heat's with theguns cocking and the beat and
all that stuff.
Man, it's crazy.

Speaker 2 (11:48):
Aggressive music man had me zoned out.
I'm ready to go at Alcada bymyself.

Speaker 1 (11:56):
It was the start of everything.
It was the start of so manythings.
Think about G-Units run.
You know what I mean.
Think about the game.
Think about the documentary Begfor Mercy.

Speaker 2 (12:06):
Hunger for War.

Speaker 1 (12:08):
Straight.

Speaker 3 (12:09):
Outta Nashville.

Speaker 2 (12:10):
The Massacre, and they all had dope features on
here.

Speaker 3 (12:13):
Two great Eminem verses on this album.

Speaker 2 (12:16):
The crazy thing is, to your point, coop, you saying
that I've got to be thinking allover again.
It opened a new chapter ofhip-hop because we had just the
chapter of Nas and Jade.
That battle was alreadysubsided by that time in 2003.

Speaker 1 (12:29):
Pete Richards and Dot tried to open up a whole
different chapter.
Yeah, how about this?
It wasn't like everybody waswondering who got next.
Well, he just took next.
He's like no, no, I got nextyeah.

Speaker 2 (12:42):
Move out of the way.
You got to move out of the way.

Speaker 3 (12:46):
All right I got next what I will say before we move
on.
If you don't have this album asfive mics, the only thing that
I take off for this album andyou poop I know you don't really
count bonus tracks like that,but those tracks Life's on the
Line and You're Not Like Me.
Fire Records.

(13:06):
And life's on the line and umand uh, you're not like me, fire
, fire records.
And then wankster too, all firerecords, but especially life's
on the line and you're not likeme there, where they were older
50 records.
It's a clear divide in 50s toneand how he raps on those
records versus the rest of thequality and the engineering
quality yes, big fact.
So if I'm nitpicking this album,if I'm knocking it down from a
five to a four and a half, it'syou know because of that.

(13:29):
But I think for the fans thatwasn't familiar with those
records, I think it was a goodcall to put those on there as
bonus tracks so how about this?

Speaker 1 (13:38):
that's also one of those things, too, where it's
like you realize how great dreis with the mix.
When you hear those otherrecords you're like like, oh,
absolutely.
You're like that's why you goget Dr Dre and we got a couple
super chats before we get tosome preview on the new music.
Cj the Kid up in the buildingAppreciate the $10,.
Cj Can't wait to hear Coop'sbreakdown on how the industry is
rigged against Drake after whathappened at the Grammys.

(13:59):
Who said I was going to say thathis breakdowns are legendary?
They are, thank you.
I remember you hitting at thislast november.
I did thank you again.
I was cj actually just to sayabout to say well, I said this
last year, niggas, good night.
But since you said it for me,cj, I'll actually have to come
up with some new material by thetime we get to that portion of
the show.
Thank you for stealing all mymaterials.

(14:20):
At least you paid ten dollarsto do it, unlike other people
who are bigger than me makingmuch more money than me doing
this.
Cj the Kid with a $2 super chatonce again.
Also, coop, hope everything isokay since the last pod.
Things are what they are, cj.
But I appreciate you checkingup on me what else we got, cj
got another one.

Speaker 2 (14:38):
He kicked off this early today.

Speaker 3 (14:40):
Yo shout out to.
Cj.

Speaker 1 (14:45):
Yo, yo, throw that up there.
Tde looking like death row Atthe 95 Source Awards, cj, dot,
cesar and Dolce win awards andthen, after Dolce puts another
record On Daylight Violets, joey, cj Flying Conductor, and NYC
with Absol, come on East Coast.
I don't know.
Talk to your folks, I'm inAtlanta, georgia.

Speaker 3 (15:03):
We're fine down here.
Everything's okay, babsoul,come on East Coast I don't know.

Speaker 1 (15:05):
Talk to your folks.
Talk to your folks.
I'm in Atlanta, georgia, we'refine down here, everything's
okay.
Everything's okay with us downhere.
Cj the Kid Also RIP, yeah, rip.
Irv 50 is pretty savage, but ifyou know, you know, yeah, we'll
talk about that briefly.
Cj, give us a little time.
're gonna, we're gonna,marinate.
Cj, stop stealing all thematerial.

(15:25):
Brother esquire with the five.
Ala, ala.
What's good, fellas, hope, allis well.
Random do you watch women'shoops?
I do.
Juju watkins, hannah hidalgo,olivia mills and a few others
equal must see tv.
I concur, I concur, and I thinkI think juju is, um, you know,
uh, potentially like a chamekaHolesclaw.
Cheryl Swoops, diana Taurasilevel, type of Maya Moore type

(15:51):
of Cheryl Miller type of player.
She the deal, deal.
Yeah, I agree.
Where are we going next?
Tj499,.
Appreciate you.
Peace, fellas.
Thoughts and prayers to herfamily.
One of my favorite Murder Incsongs is the Pledge featuring
Nas.
Eh, I think they got about 10,15 bangers.
I put ahead of that, but I hearwhat you're saying I'll be like

(16:18):
that, I'll be like that.

Speaker 3 (16:21):
Yo you do kind of look like John from the video.

Speaker 1 (16:23):
I ain't gonna hold you Don't do that either.
Don't encourage me.
Okay, fellas.
So we got some new music Comingup.
Unfortunately, LiAngelo hasgotten Lil Wayne to do the remix
to Tweaker.
What are your expectations?
Yeah, that's right.
What are your expectations?
Because I mean, you know,Wouldn't you agree that, along

(16:45):
with J Cole, that Lil Wayne hasbeen the best feature artist of
the 2020s?
And Method man?

Speaker 2 (16:52):
And Method.

Speaker 1 (16:52):
Man yeah, no, no, no, I'll put Method in there too.
So what do you think you thinkhe's about to add to this song?
Is this about to be a greatWayne verse?
Are you about to bedisappointed in Wayne?
Is this just still a throwaway?
Tell me what your expectationsare, guys, and tell me quickly,
so we can talk about somethingthat I actually give a shit
about.

Speaker 2 (17:11):
I don't have any expectations.
That's my take.

Speaker 3 (17:14):
Well, Wayne be tweaking a lot of times, so it
should be a layup.
So his verse probably going tobe fire.

Speaker 2 (17:22):
Those are bars, those are bars AG you those are bars.

Speaker 1 (17:26):
Those are bars, ag.
You wanna know what?
I don't really think there'sanything else to say.
Sean, do you got something?

Speaker 2 (17:32):
no, I don't.

Speaker 1 (17:33):
I don't.

Speaker 2 (17:35):
I'd like to.

Speaker 1 (17:37):
AG, I'd like to thank you for making two guys who
like to talk shut up.
We'll just move to the nextthing Larry June the alchemist
and 2 Chainz guys who like totalk shut up.
We'll just move to the nextthing.
You know, larry June theAlchemist and 2 Chainz have a
project getting released atmidnight.
Guys, what are our expectationsfor this project?

Speaker 2 (17:56):
I'm looking forward to it.

Speaker 1 (17:59):
What's the name of it ?
What's the shit called?

Speaker 2 (18:02):
Life is Beautiful.
Life is Beautiful.

Speaker 1 (18:05):
Life is Beautiful.
They got to do better than that.

Speaker 2 (18:08):
That's the title.
That's the title.
That's the title.
It's by Alchemist Life isBeautiful.
Life is Beautiful.
That's the name of it.
Yeah, that is not what I wantto hear Pips talking like.
Yeah, and that's what it'sgoing to be.
It's going to be on some reallypimp talk.
That's what it's going to belike.
I'm looking forward to it.

(18:29):
I'm looking forward to it.

Speaker 1 (18:30):
I'm looking forward to uh chains more than anything
man, me too there better be alot of hoes on the on this album
for my life like chains overalchemist man.

Speaker 3 (18:42):
Chains is what you just mentioned.
Feature artist chains is one ofmy favorite feature artists of
all time.
His feature run, like in theyou know what I'm saying late
2010s is like pretty epic.
You know what I'm saying.

Speaker 2 (18:56):
He was killing everybody in those features.
Yeah, no one would say so.

Speaker 3 (18:59):
I'm excited to hear what the you know and I think
that's a good pairing.
You know him and Larry June andI'm interested to see what it
sounds like.
But I'm more excited.
You know Alpha Miss is my guy.
You know I mess with Larry June, but I'm more excited for
Chains than anything.

Speaker 2 (19:15):
Yeah.

Speaker 1 (19:17):
It's like Shaft meets Superfly.
Can't wait, can't wait yeah.

Speaker 3 (19:23):
So excited yeah and that I can't wait.
So excited yeah, and to thatpoint real quick.
Chains, I think, is a betterartist as a feature or a
collabing with somebody else.
I really don't tap into Chains'music for his solo stuff, but
when he's paired with somebodyelse he just shines man.

Speaker 1 (19:40):
I think he does suffer from some of the same
stuff that Method man andJadakiss suffer from from the
perspective that it's like well,is the album whack?
It's like no, I didn't say thealbum was whack.
It's just not as classic as Iwould like it to be, for what
I've heard from the artists whenI hear them featuring on other
people's stuff, he does kind offall into that category.
In a lot of ways.

(20:06):
He is the Southern Method manthat way, because he doesn't
have the catalog of a Jeezy or aTI.
Right yeah.

Speaker 2 (20:11):
Yeah, I can see that, or a Ross.

Speaker 3 (20:14):
Speaking of which, Sean, how did you take that when
Ross beat him pretty bad in theversus While doing the massage
fight?

Speaker 2 (20:22):
I didn't like that match.
That was a bad matchup.
Anyhow, you don't put Ross in.
I agree that was terrible.
That was terrible.
Give me Ross and TI.
Probably that's better.
No, give me Ross and James.
No, no.

Speaker 1 (20:36):
See, I think TI can beat Ross strategically if he
puts it together properly,absolutely.

Speaker 3 (20:42):
I would like to see Ross and Jeezy.
That would be a good one.

Speaker 2 (20:45):
That would be a real good one.

Speaker 1 (20:48):
You know, the only problem with that is that you
know Jeezy may have lived theactual life more, but this isn't
the actuality of the life.
This is sometimes about whopicks the better beat, who rides
the beat better, and so some ofJeezy's best stuff is in
trouble against Ross's beststuff.
The beats Ross pits, oh, it's alittle bit better, and the flow

(21:09):
sometimes, oh it's better.
And so it's Jeezy in a hardplace, even though it's some of
his best stuff, Like when Jeezyplays put on, it's like, oh no,
Ross got records to beat that.
You know what I'm saying.
A lot of Southern artists don'thave records that can be put on
with Ye down here.

Speaker 2 (21:28):
Ross.
Can I think Gucci gave Ross Imean, I gave GZ a run for his
money.
I'm not going front.
I don't think it was a blowout.
It shouldn't have been thatclose.
It shouldn't have been thatclose.
It shouldn't have been thatclose.

Speaker 1 (21:39):
It shouldn't have been that close at all.
Gucci low-key actually letpeople know how strong his
catalog was low-key.

Speaker 2 (21:46):
Yes, he did.

Speaker 1 (21:46):
That was one of the more surprised verses where it's
like you want to know what.
I don't want to say that Gucciwas more of a fad than Jeezy,
but I think sometimes we forgethow dope those records was when
he made them.
And when you go back and listento him again you're like oh no,
he did have shit on lock for aminute.

Speaker 3 (22:06):
It's like hold on yeah, jay-z had a cult following
, but I think gucci, during hisrun, had a bigger cult following
bigger cult following, but notbigger mainstream following
right right today, and this iswhat I mean.

Speaker 1 (22:19):
I don't like how jay-z played, because I don't
think jay-z played the rightrecords against Gucci.
He tried to beat Gucci atGucci's game and it's like, well
, your catalog is more diverse.
It's like you should have hithim everywhere.
You know what I'm saying.
Jeezy wasn't thinking about it.
He was thinking about it beingon a street level and he should
have been thinking aboutbringing out Neo for Leave you
Alone.

(22:39):
Yeah, you feel me.
It's like oh, no, no, no, I gotrecords that you can't.
You know what I mean.
You don't get records like this.
You know what I'm saying, right, yeah, so that's kind of how I
feel about that.
Where are we going to next?
We're actually kind of likestaying with some of the people
that we've already been talkingabout, because apparently 50's

(23:02):
been talking about Meech andMeech doing stuff with Rick Ross
, most notably the car show thatis down here every summer on
the south side, very close towhere I work, actually, yeah, it
is.

Speaker 2 (23:20):
yeah, I passed it a few times yeah.

Speaker 1 (23:24):
About 15 20 minutes away, yep.
So fellas Meech has respondedby calling 50 an internet
gangster.

Speaker 3 (23:38):
Yeah, this is going to get ugly.

Speaker 1 (23:42):
Well, hold on.
Well, now see, the problemapparently, according to sources
, is that there is a personnamed like Tame Cousins who is a
co-producer on BMF or Power.
One of 50 shows that used tohave ties to Meech.
That apparently has informationthat has been shared with 50.
That has been shared with 50.

(24:03):
And so 50 has been walkingaround saying, potentially, that
Meech is actually a snitch,based on the things that this
cousin's person may have shared.
Now, with all of that beingsaid, what do you, gentlemen,
have to say?
I use the term gentlemen like soloosely too.

Speaker 3 (24:23):
You want me to go first, Sean?

Speaker 2 (24:24):
Yeah, please.

Speaker 3 (24:26):
Yeah, think.
I think this just could getreal messy real fast.
Man, it's um, you know 50,threatening to cancel the second
season, and oh, I mean notsecond season but the next
upcoming season of bmf, and umleaking out the text messages
between you know him and BigMeech's son, which is 50s, petty

(24:47):
, is unmatched man.
His level of messy is likecrazy.
So I don't know where this isgoing to go.
But I mean it's kind ofinteresting from both angles,
because if I had to pick RickRoss's biggest record his
biggest record is BMF Wouldn'tyou agree?
Ooh.

Speaker 1 (25:09):
I don't know.
I think Hustlin' is stillbigger.

Speaker 3 (25:15):
Okay, well, that's fair.
It's one of his biggest records.

Speaker 1 (25:18):
No, no, top five, top five.

Speaker 3 (25:20):
And if you know he was showing big meets love and
you know help putting bread inhis pocket, then you got that
but granted 50 on his side ofthings, looked out for his son
and was putting a lot of moneyin his son's pocket with the
show.
So it's kind of an interestingsituation.
But I just think it made thingsgo south, south.

(25:44):
When you know, meach decided tokind of appear with ross.
You know what I'm saying, soyou know now okay.

Speaker 1 (25:50):
So now here's the part about it that I don't like.
If he's doing first of all, weall know 50 is going to be petty
absolutely what he does bestevery day of the week and twice
on Sunday right, let's not besurprised about what we know.
But the part about it that Idon't like is when he's clowning

(26:13):
Big Meech, somebody who isinfamously and famously known
for being a drug kingpin beingexonerated and free.
Known for being a drug kingpin,being exonerated and free and
finding legal ways to accumulatemoney.
It is not a good idea forsomebody in 50's position to

(26:37):
clown that be like oh, thisnigga need money, he over here
doing this for Rick Ross.
I don't like that aspect of itbecause it's like well, so he's
been glorified by so many of youin rap culture, including you
50.
You feel what I'm saying.
So now that he is actuallyfinding ways to do stuff
legitimately off of his namebecause his name is that big in
hip-hop lore like let's not likedown that or frown upon that.

(27:00):
That's actually what he issupposed to be doing.
Am I wrong?

Speaker 3 (27:06):
yeah, I just more so don't like it for his son, you
know, because according to thosetext messages like you know,
the infamous why's it fuck mefor?
Like that's essentially whathis son is saying, like yo, let
him get bread over there, likewhat's that got to do with me,
you know yeah, hey, that'sbetween father and son,
definitely not getting in themiddle of that yeah, I don't

(27:29):
know man, I'm torn by it because50 is big on loyalty.

Speaker 2 (27:33):
He's like you staying close to that guy and you know
I got issues with him.

Speaker 3 (27:37):
I got issues with you now because you, yeah, look at,
look at his own son, how youhandle that situation right and
and and, and.

Speaker 1 (27:44):
There's, like you know, some gzy floating around
in all of this too, because alot of people's eyebrows were
raised, you know, just because,even though Ross and Jeezy have
squashed it, it was kind of likeoh, why ain't we seeing me and
Jeezy, but we seeing them withRoss and seeing them with 50.

Speaker 2 (28:00):
Right, and I think that's the thing with 50s
looking at it like yo I putmoney in your family's pocket
while you was locked up and waslocked up and ross wasn't really
how he looks right, ross wasn'tdoing this.
All he was doing is shouting youout and putting your name in
songs that you know, talkingabout affiliation.
So no one was really doing that.
But fifth, he was puttingtogether a legacy show for this

(28:23):
guy you know, and you get outand you stand close to a person
that you know been disrespectfulto me for all these years.
I might feel the way, yeah.

Speaker 1 (28:34):
You know one of my favorite Jay-Z lines, ag.
It comes off the blueprint.
When Jay says what you eat,don't make me shit.
Yeah, and so respectfully, eventhough I understand where 50 is
coming from, that's one ofthose things or, personally, I
might stop getting down with youabout that.
But business wise, I understand.

(28:57):
For somebody that used to livea life of crime that is now up
here getting money organized andlegally Well, those avenues are
different.
It's just like these rapperswith a lot of these beefs, like
I'll never forget what pusha twas like.
Oh no, I was just on theelevator with drake.
It's like did y'all sayanything to each other?
He's like no.
He's like didn't know fight ornothing.

(29:17):
He's like no, dude, he's likethis rap like you know what I'm
saying.

Speaker 3 (29:20):
Like we oh, I didn't know that happened yeah they was
on elevator together.

Speaker 1 (29:25):
That's wow, yeah they'd be at the same places at
the same.
It'd be hard to avoid eachother.
A lot of this stuff don't bereal, guys.
It really do be forentertainment.
That's what it's supposed to be.
It's just like when ray wassitting down with joe rogan and
he's like when martin scorsesewrites it, everybody loves it.
When we write it, it's likewe're fabricating violence.
Right, right you know what I'msaying so.

(29:46):
It's like a lot of that is inplay when it comes to rap and so
when those avenues get open forsomebody to make money, it's
like, well, if Ross is offeringhim an avenue to legitimately
make money, he should take thatavenue and 50 should be okay
with him taking that avenue fromhim and from 50.
There should be plenty of waysfor Meach to get paid for
everybody else that has shoutedhis name so much.
He should be making money withJeezy Ross 50, all at the same

(30:09):
time and it shouldn't be aproblem, because other people
have been doing it right infront of y'all's faces for years
and it hasn't been a problem.
Somebody like Puff been doingit with y'all.
Why is it okay for P?
You feel what I'm saying?

Speaker 2 (30:24):
Yeah, it's crazy Politics, man.

Speaker 1 (30:31):
I don't know.
Let's talk about somebody who,quite frankly, I wish would stop
making albums.
Dj Khaled is about to releasealbum number 73 called we, the
Rest.
We Need A Rest.
No, it's called Alarm Of God.

(30:51):
Now there's been a lot of talkthat Drake is not going to be on
a Khaled album.
Those are lies, guys.
Those are lies.
There can't be a Khaled albumwithout a Drake feature.
Don't people understand that?
That's how this whole musicbusiness works, you see.

Speaker 3 (31:16):
Khaled is he kind of dropped the hints that he wasn't
on it man he tweeted out, ormaybe it was IG.
He said I guess he's talkingabout drake bell, he's not
talking about me so nobodybelieving that.

Speaker 1 (31:30):
I believe that when I see it, drake is gonna be on
this album my, my assumption ison all 96 of khaled's albums he
he is.

Speaker 3 (31:39):
My assumption is that khaled has had, because I think
khaled has possession of thesesongs or else he wouldn't have
put them in his blockbusterslash Transformers movie promo,
like he got the wholeTransformers saga cast in there
doing explosions and shit, likehe was wilding on there.
But anyway, I don't think heannounces that in a promo if he

(31:59):
doesn't have them.
But I think from Drake'sperspective, he's basically
saying he's not going to clearthose records because those
records might have been, youknow, recorded earlier and then
you know, nowadays anythingdrake, whatever he puts out, is
going to go.
People are going to go throughwith a fine-tooth comb to, like
you know, dissect whatever andsee if it has anything to do

(32:20):
with kendrick or what have you.
So I think whatever he wassaying in those records, he's
like nah, we're not putting thatout.
I think he's going to be realcareful going forward with what
he lets be released as a feature, because this is not the first
time he's pulled a feature.
I think he pulled it was acouple other features that he
pulled right after the beefhappened.

(32:40):
I can't remember off the top ofmy head what they were.
I don't think it's going to beon there.

Speaker 2 (32:46):
I think Drake is about to get into his petty
season and he's going to startpulling everything Any resources
that he has with these guys,he's going to pull it.
He's going to pull it, and Ithink Khaled is one of them.
Drake, probably looking at itlike yo, you're a rock nation.
When I was getting stomped outby the world, where were you?
Where were you?
You didn't come out.

Speaker 1 (33:10):
You didn't get stomped out by the world, you
got stomped out by one guy.
There was a lot of people goingat him.

Speaker 3 (33:18):
That's why he came out at his concert in Australia
with the bullet hole hoodie withthe smoke coming out the back.
You know what I'm saying.
Looked like somebody had aminigun.

Speaker 1 (33:31):
A lot of people taking shots yeah.

Speaker 2 (33:34):
That's what he insinuated in that concert.
He came out there, Like youknow.
Yeah.

Speaker 1 (33:41):
He did insinuate some better records.

Speaker 2 (33:44):
Yeah, and that's the thing you're getting your back
blowing out of Paul's byeverybody in the industry across
the board that's what he'sshowing.
I said Paul's, though I meanhell, we actually kicked him a
little bit.
You know what I mean?
We kicked him while he was down.

Speaker 1 (34:04):
I did not kick him while he was down, I requested.
I gave him until October togive me my OVO jacket, not the
jacket, and after I don't get myjacket, it's free bands on your
ass again.

Speaker 3 (34:19):
Would you take it if it had the bullet holes in it
too?

Speaker 1 (34:22):
I definitely don't want his bullet holes.
I can get shot at without.
I definitely don't want hisbullet holes.
Okay, I can get shot at withoutyou.
I don't need Drake to get shotat, definitely not have you met
my family before.

Speaker 3 (34:31):
Nah, I don't need your help.
I know this is kind of like youknow off topic a little bit,
but y'all checking for thatparty album on the 14th who?
Some sexy the collab album withparty next door, some sexy uh
songs for you.
I think it's called oh, reallyno no actually, we'll check that
out yeah, drake dropping onvalentine's day, but um here's

(34:56):
the thing.
I will give him credit that.
You know he can get his asskicked and rap and then, you
know, fall into another bagbecause he has a lot of
different bags he could tap into.
So you know this is not goingto be wrapping Drake, so you
know we don't have to worryabout that.
This is, you know, he can fallinto the R&B bag and still, you
know, be fairly popular.

(35:16):
But what I'm interested to seeis how the fans will accept it
and what the numbers look like,because I think Drake will be
around still for a long time,but this might be the end of his
dominance era, and nobody wasdominated for this long, if we
say it's 15 years or whatever.
But I just think it's ironicand somewhat poetic because if

(35:38):
you look at his start takingover the mainstream, it goes
back to so far gone in 2009,which was released on
Valentine's Day.
So here we are.

Speaker 1 (35:51):
Which was also really Kendrick's entrance into the
sphere.

Speaker 3 (35:54):
Right.
So here we are, 16 years later,coming out on Valentine's Day.
We're going to see if peopleare still receptive to his music
, because I don't think Partyhas enough fans to really push
this album.

Speaker 1 (36:08):
See, here's the thing .
I think, the only thing thatthis is.
I hate that I keep having tobring it up.
It's like, no, he needs achocolate factory.
That's what fixes it.
It's not going to be the numbers.
It's not going to be thenumbers, it has to be the music
AG.
Yeah, numbers, it has to be themusic ag.
Yeah.
Yeah, it has to be good, but ithas to be one of those things

(36:30):
it's like oh, no, no, no, that'sthe drake that we know and love
.
Because when people hear that,that's what's going to drive the
numbers, because now thenarrative see the narrative,
low-key for a minute has alreadybeen that well, the music
hasn't been as good, the hitshaven't been as big.
We still love the guy we'restill going to support, but it

(36:50):
really hasn't been the same.
Now it's been like, man, yougot molly walk by the boogeyman
on top of the music not being asgood as it used to be, you know
, and that and that.
That's why the numbers are down.
It's like, well, here's thething.
What kendrick did, by winningthe battle in the fashion that
he did, is he gave people areason for the first time to

(37:12):
tune out on drake, where it'salways been like well, I know
this isn't his best, but it'sstill good enough and it's still
better than most.
Kendrick just so thoroughlydismantled him that it made
people be like I really don'teven want to touch it anymore.
And when people do that withyou, that means you need to give
them a quality product.
That's why he needs to make aChocolate Factory, and this is

(37:33):
why I say Chocolate Factory.
Oh, I don't think ChocolateFactory is 12 play.
You know what I'm saying.
But it's good enough, damn it.

Speaker 3 (37:41):
Well, I think the fatigue, the fatigue.
That was a great album, but theman I can't believe.
I just said that the fatiguewas real even prior to the
battle, like if you look atthose lineups of albums like the
Certified Lover Boy, followedby Honestly Nevermind, followed

(38:01):
by For All the Dogs, it waspretty lackluster and pretty
people were getting fatiguedEven then.
This just put the stamp on it.
But, sean, I'm going to ask youthis question.
So let's pretend you're a Drake.
Stand Right.
This album, this collab album,a Party Next Door, comes out and

(38:23):
the first week numbers are morethan GNX.
If you're a Drake, stan, whatare you saying online with your
Twitter fingers?

Speaker 2 (38:26):
They're going crazy.
We told y'all.
We told y'all they're goingcrazy.
They're wrapping up right now.
I mean, if you think about it,look at some of the Drake fans
right now they're waiting forsomething to drop like this.
That's going to do numbers.
And it's going to do numbers,guys.

Speaker 1 (38:45):
Let's be honest, it's going to do numbers, it's going
to stream.
It's going to stream very well,so this is okay.
So when you say that this iswhat I mean, this is what
kendrick did and this is what'sgoing to be interesting to
follow.
I'll give you a personalexample of it.
I don't know if you guys dothis, but like, do you ever?
You guys ever go on our youtubechannel and just you know, like
, play our stuff, like for theviews, just play all?
Do you ever go up there andjust play our shit?

Speaker 3 (39:07):
I haven't did that.

Speaker 1 (39:11):
Yeah, y'all need to do that because that's how we
get more streams and stuff.
Drake has more of that thananybody else has ever had.
People that, even if they don'thave time to listen to him,
because they're such big fans ofhim and what he does, when he
drops it they literally willjust put it on play in the
background.
I literally did that for MirrorMusic and Hip Hop Talks all
last Saturday.
I just played all of our stuffconcurrently on a loop to give

(39:34):
it the views from differentdevices.
You know what I'm saying?
Because YouTube gives you theplay all but option.
Drake has that in spades,usually with people.
These numbers are droppingbecause that hasn't happened
anymore, because Kendrick hasmade it Not cool.
You know what I'm saying?
Drake's not cool anymoreBecause of all of this.
Like.
Drake needs to make himselfCool again, however.

(39:55):
He needs To do it because thosesame people that were so down
For him that were just playinghim in the background at work or
in the shower while they'recleaning the house like I was no
, no, no they're not doing thatanymore like they used to.

Speaker 3 (40:06):
Well, if he needs to make himself cool again, he
ain't off to a good start withthose boots he had on stage the
other night, so he need to dosomething about that.
But I do have an idea though,and Kendrick's pretty diabolical
, and we'll get to this later.
If I'm Kendrick, it's alreadybeen rumored that he has a G and

(40:29):
X deluxe in the tuck.
Drake dropping on the 14th,kendrick performing on the Super
Bowl this coming Sunday.
I'm letting the G and X deluxego on the same day as Drake for
it to go head to head, and Ithink it would be similar to a
Meet the Grams type of situation.
Right, the thing about Meet theGrams it didn't have to be

(40:51):
better than Family Matters.
It just had to be good enoughto step on it and take away all
the steam that Family Mattershad.
Take the wind out of its sails.
So if he drops VNX with aboutthree to five more songs those
songs are, you know, pretty damngood, some slappers or whatever
then that take.
You know that'll take a lot outfrom Drake.
I think you should go ahead anddrop it, kendrick.

Speaker 1 (41:12):
Let me give you some appropriate rebuttal to that.
If Drake's team doesn'trecognize that and isn't making
sure that this project is aquality like you have to, sean,
you know about this from themiddle.
You have to prepare yourselffor impact.
That's what I'm talking about.
The quality of the record heneeds to make an album that can

(41:32):
withstand all of these thingsand people still be like like
here's how the talk needs to be.
The drake album needs to begood enough that what you talk
about happens, ag and be in the.
And people need to be able tosay be like.
That little extra three to fivepiece Kendrick gave us.
Oh it ain't hitting like.
This new Drake is Like thatpetty move didn't work.
That needs to be the rhetoric.
Drake's material needs to bethat strong, because only strong

(41:56):
material is going to changethat Narrative of Kendrick does
that he has to make himselfinflappable to it in music
because at the end of the day,it's still the music business.
Now that you're going to sellthe records and we know that
we're going to sell the records,but now you're officially at
the point, because of whathappened to you, that the
quality of music that you makeis going to affect the business

(42:19):
side of it, because people needto not be able to pull up on
that Kendrick 3 to 5 piece onthe deluxe and be like, oh,
that's just as good as Drake'swhole project.
If that could happen like, like,because if that happens, oh, we
about to have a big problem forhim it could happen, cause he
has the people's ear and that'swhat I'm saying.

Speaker 3 (42:38):
Family matters from top to bottom was strong, but
meet the grams was just strongenough.

Speaker 1 (42:44):
I don't think it is better, it was just strong
enough to you know, I don't wantto give too much away, but we
need to actually have aconversation about GNX, about
some of the conversations we'regoing to have later.
But let's slide to the nexttopic, which, coincidentally, is
well, you know, kendrick did apress conference today,
essentially about a Superbowlperformance upcoming and just

(43:05):
about you know everything that'sgoing on.
It's in the past year he satdown with ebro at apple music
and, uh, what were your oh yeah,yeah, I mean, what were your
early thoughts about theinterview?
I have a lot of, um, I have alot of journalistic thoughts, so
I have a lot of artistic andlike stylistic thoughts.

Speaker 2 (43:23):
But go ahead, sean give me one second, guys.

Speaker 3 (43:27):
I'm trying to get something in the chat go ahead,
go ahead and go AJ um,personally, uh, I thought it was
a decent interview.
I kind of knew they were goingto ask him many of the real hard
questions like yo, do youreally think homie's a pdf file?
Like they wasn't going to donothing like that.
But you know there's a lot ofburning questions that they left

(43:47):
on the table.
But overall I think it waspretty good.
The highlights for me were himtalking about his mind state
between Mr Morale and GNX andhow he had to switch that up.
You know what I mean, becausethat's something you speak to a
lot Coop and also his conceptualwriting style and kind of later

(44:11):
in the show at the end, hintingat you know his set.
That is going to be like tell astory.
So I thought that was prettyfly because Kendrick's a
conceptual writer anyway.
Pretty fly because Kendrick's aconceptual writer anyway.
So if you curate your tracklist like you're curating a
concept album or telling a story, I think that could go over

(44:31):
pretty crazy.
I think that'll be really dope.
So we have to see what he hasin store.
But that was my best takeawaysfrom the interview.

Speaker 1 (44:40):
Okay, here were some of my takeaways.
First of all, he told me he hada staff of 30 people.
Okay, having a some of mytakeaways.
First of all, he told me he hada staff of 30 people.
Okay, having a staff of 30people is why Hammer went broke.
Kendrick, fire some niggas.
Okay, you need to fire 5 to 10niggas.
That's how Hammer went broke.

Speaker 3 (44:52):
Hammer had more than 30.
Way more than 30.
Hammer had about 300.
He had all of Oakland.
He had the whole bay on hisstaff.

Speaker 1 (45:01):
You need to watch it.
You need to watch it.
People think I don't like you.
I love you.
I'm just looking out for you.
Brother to brother.
All right, watch that.
If you only got $30 to $50million and you got 30 employees
, who are you going to be ontour for a long time, kendrick?
Hopefully.
I don't know.
Okay, ag, I'm going to behonest with you.
I'm going to be honest with you.
I didn't love the interview andit wasn't because of Kendrick.

(45:24):
I actually thought Kendrickactually gave a very good
interview for somebody whodoesn't normally give these
types of interviews of thisgravity and this magnitude, and
he got progressively better asthe interview went along, like
some of his last statements andin these statements were some of
his best stuff because he gotmore comfortable and settled in

(45:47):
into the interview.
They just came off as fans asfar as journalists are concerned
.
Ag.

Speaker 3 (45:53):
Nadeska was pretty starstruck up there man.

Speaker 1 (45:59):
Yeah, and it was just fan behavior and fan questions
and so I'm going to question thejournalistic integrity.
But I want to be clear aboutthat.
I'm not questioning Kendrick,because Kendrick actually did
give a good interview and Iliked and appreciated a lot of
his answers.
I just feel like the questionsthat he got asked were softballs
.
I felt they definitely playedthe fan role to varying degrees

(46:20):
at varying times.
Like Ibro literally made thecrowd applause one time Like oh,
y'all need to clap for this.
This is Kendrick.
I was like stop making themapplaud.
When he said thank you forfighting for hip-hop, I'm like
yo fam is nice.
He's not Chuck D from PublicEnemy.

Speaker 3 (46:37):
Yeah, it was some pandering going on, but I
watched the interview.

Speaker 1 (46:42):
It was some look-a-who and a rubbernecking
going on.
That's what we said.

Speaker 3 (46:46):
I wasn't surprised when I watched the interview
because you know, like, if youwatch, you know other shows.
When they talked about him andthe situation, you know, I
expected it to go how it went.
So I didn't really grade itthat hard in that regard because
I expected it to go like that.
But I more so took from it whatyou talked about, what

(47:06):
Kendrick's answers they weresoftball questions but his
answers were, you know, I likewhere he took his answers and
how he did the interview andhe's somebody who doesn't
interview a lot and I think youknow I just want to point that
out for a little bit a lot ofthese artists in the social
media age where, um, your fandomand your, your, you know, stand

(47:29):
base or fan base does thepromotion for you, they don't
have to get out here and dointerviews and speak their piece
or whatever.
They can maintain an aura of,like you know, just
mysteriousness or whatever, havethis mystique around them
because they don't talk to a lotof people.
In the era we came up in, whenpeople were working their albums
or whatever, they were hittingevery radio station MTV, bet,

(47:52):
doing interviews or whatever andthey were getting their voice
out there.
Now you can maintain a level ofaura just by not saying nothing
to nobody when a lot of peoplehave unanswered questions that
they want to get at you.
So I mean it was, it was okayinterview.
You know what I mean.
It was a lot of questions lefton the table, but kendrick

(48:13):
probably won't be doing any moreinterviews because this is like
the biggest promo thing he'sdoing as far as the super bowl
and then, you know, setting upfor his tour.

Speaker 1 (48:22):
So I don't see those questions getting asked or
answered anytime soon, ok, sothis is what I mean, and, Sean,
you can jump in after this whenhe says when, when he is saying
stuff well, I did it for theculture.
He said that a lot.
It's like.
What does that mean to you?

(48:43):
Like, like, like it's easy tosay that.
Like, don't just say that to me.
Like to whom much is given,much is expected.
Like you're sitting in thisposition for a reason, like,
don't just tell me that you'redoing it for the culture.
Explain to me, like, what thatculture means to you, especially
when the interviewer is sayingat the end of the end of the
interview thank you for fightingfor hip-hop.

(49:06):
And I've always told you allthis people think I don't like
him.
No, no, no, I love his musicand I'm a big fan of his catalog
.
I actually went and listened togood kid mad city earlier this
week.
I might have to put it uphigher on my list, like, like,
like, listening to it, like theway that it's holding up is
phenomenal, like, and when Imean putting it higher up on my
list, I mean ahead of mybeautiful, dark, twisted fantasy

(49:27):
, because it's the only albumfrom its era that I have it
ahead of, actually, and I wasthinking, oh no, that might be a
title, or it might be Kendrick,because it's like that, but we
really still don't know what itis that he represents culturally
for this you do, I, do, I whatit is that he represents
culturally.

Speaker 3 (49:44):
For this you do, I do .
I think you missed the nuancethat was writing a face coop.
This whole bad, this book, thiswhole battle has been marketed
from a standpoint Like Kendrickis our cultural representative,
drake is not of the culture.

Speaker 1 (49:59):
What when you're saying he's a cultural
representative?
That's what I'm saying Likewhat does that mean?

Speaker 3 (50:04):
for him Everything that's to represent the purity
of hip hop.
He played the angle himself,which was genius.

Speaker 1 (50:10):
He doesn't represent that he uses the word bitch more
than Ice Cube.

Speaker 3 (50:13):
That's what I'm saying but we're talking about,
there's a perception and there'sreality.
It's how the fans perceive it.

Speaker 1 (50:19):
So I'm talking about the reality.
I'm not talking about thereality, I'm not talking about
the perception, the reality isthe word.

Speaker 3 (50:24):
He played the angle to perfection, though.
Remember in.
You know what I'm saying.
This is not me, this is whatthe culture's feeling.
That came out of his mouth.
So he automatically put theculture behind him and say we as
a collective whole feel thisabout you, drake.
And then everybody got on boardwith that.
So that's the undertone whenthey say thank you for

(50:45):
representing the culture, thankyou for representing hip hop,
because you slayed the giantthat's out here.
That's not hip hop that youknow.
That's that's the message.

Speaker 1 (50:54):
I understand that and I respect that.
But, AG, I didn't miss anything.
That's what I'm saying.
It's not me that's missing it.
It's the journalists that aremissing it when they have the
opportunities to interview himand ask him deeper questions so
that we can actually align theperception and the reality more
appropriately.
That's what I'm saying.
I'm not missing what's in frontof me.
That's the reason that I'mcomplaining, and I'm not

(51:16):
complaining about him at thispoint, because they should have
asked him to elaborate.

Speaker 3 (51:20):
is what you're saying ?

Speaker 1 (51:24):
to elaborate.
Is what you're saying?
That's exactly what I'm saying,because the reason that I don't
have answers to my questionsisn't because he's not doing his
job as an artist.
It's because they're not doingtheir jobs as journalists by
unpacking the musicappropriately.
They're just using generalizedstatements like thank you for
fighting for hip hop, andletting him use generalized
statements like I did this forthe culture.
Those are general statements asan interviewer and interviewee

(51:49):
can use, which means thisinterview is as safe as safe can
get, which is how all of hisinterviews are.
It just happens to be a goodinterview from him because it's
coming at a time where we reallyhaven't heard from him and
heard from him on this level ina while, and so it's insightful
to hear how his mind works.
But, from the framework, ifwe're looking at it like a
journalist and we're looking atit like an artist, it's like,

(52:11):
well, he didn't unpack anythingabout his music for us.
I do like how he did.
He did, he did unpack some ofthe process, right.
That's what I like and, by theway, the part that he unpacked
about GNX was the stuff thatpeople said that I was crazy for
and that I was saying a hater,and all I was saying was what he

(52:33):
just said.
It's like no, just make somelike West Coast shit, though,
like you know what I'm saying.
That's all I was saying theother day and he was saying oh,
I just got back to dope beatsand dope rhymes I was like oh,
you mean that West Coast shit?

Speaker 3 (52:47):
Yeah, but you're not held accountable to unpack a lot
of stuff if you're charismaticwe know that with artists.
I think he was charismatic inthis interview.

Speaker 2 (52:59):
Nah, I don't see it that way, guys.

Speaker 1 (53:01):
I don't see it that way guys.
I felt like at the end he wasvery poignant and made some very
astute things that made methink, but I didn't find him to
be charismatic.
Jay-z is charismatic.
Yeah, I think Tupac ischarismatic.
Ice Cube is charismatic.
Like he's not charismatic likethat, in my opinion.

Speaker 2 (53:24):
I gotta shoot them some bail.
Honestly, guys, you're talkingabout the hottest artist right
now on the planet and you'regetting a chance to get in front
of him for 30 minutes.
You're going to have to be onpins and needles because you
don't want to say anything todisrupt that.
And I understand what you'resaying, coop.
As far as the journalisticintegrity, you push the

(53:44):
boundaries, but they may want totry to get another opportunity
to get in front of this guy atsome point.
The purpose of this meeting orthis interview was really to
talk about, you know, the legacyof him being on the Super Bowl.
It wasn't to do a deep dive perse on a hot topic you know at
hand.

Speaker 1 (54:04):
So, Sean, when you're saying that if this is a legacy
conversation because and it wasa legacy conversation because
it's talking about his ascensionto the Super Bowl Well here's
my thing why are we notunpacking?
Well, he did some he personallydid some unpacking of the
rhetoric on Good Kid and MadCity, but there was no rhetoric
on to pimp a butterfly and damnwhich, which, quite frankly, in

(54:27):
terms of explanations from theartist, we don't have two pieces
of work like that, from agreatest artist like that, where
we don't have an explanationfrom them, that we can go back
and literally YouTube or listento interviews from that really
give you an explanation of whatthat process is like for them,
what the album is like for them,what some things mean and
represent from the perspectiveof the artist.

(54:49):
And here's what I mean aboutperspective of the artist.
When Jay did Volume 1, one ofhis favorite songs was Lucky Me.
That's in most people's bottomthree or four on that album, but
for Jay that was the top of thealbum.
But that stuff, that's the typeof stuff that Jay would share
with you, though they wouldshare with you, though they
would share that with you?

(55:09):
No, no, no.
He's like I fuck with thisother stuff.
I know y'all playing a millionand one questions.

Speaker 2 (55:14):
Lucky me is my shit.
Jay would tell you that, butCoop, that wasn't.
I don't think that was the goalfor them.
I think the goal was to say youknow what?
Hey, we got this guy.
We the only one that got him.
You can't tell me the recordsyou like.

Speaker 3 (55:28):
Well, no, let me ask y'all wouldn't you want to be
remembered as the interviewerthat asked the tough questions?
And do that Because if only somany people get an interview me
personally, if I was in thatspot, I would want to be, even
if it ruffled some feathers orwhatever, I would want to be
seen as the person who asked thememorable questions.

(55:50):
I don't think in modern mediawe have somebody.
Remember what's his name?
Kevin Powell, the one chickfrom MTV, tabitha, I can't think
of her name, but she had thePOC interview.
They were asking the greatquestions you know what I'm
saying, the major questions thateverybody wanted to know the
answer to.
They weren't like softballpitch questions that were being

(56:13):
asked back then.
And granted, we always talkabout we're from a different era
, I get that, but still like.

Speaker 1 (56:20):
Think about this Barbara Walters is getting the
interview Whitney Houston.
Do you think Barbara Walters isgoing to accept the interview
if she can't talk about all therumors and speculation around
Bobby and Whitney's drugaddiction?

Speaker 3 (56:37):
Right, but that's not even in the hip-hop sphere.
I'm talking about people whodid great hip-hop interviews.

Speaker 1 (56:41):
No, no, no, I'm just talking from the perspective of
journalistic integrity in termsof having room to ask questions.
It's like I can't ask this hoeabout her drug addiction.
Where's she getting her cocainefrom?
It's apparently better thanmine.
It's ruining her life.
My cocaine addiction is notruining my life.
I want to know where shegetting her cocaine from.

Speaker 3 (56:59):
They pre-game for all that stuff.
Now they pre-game.

Speaker 1 (57:02):
No, they used to pre-game for that stuff then too
, AG, that's what I'm saying.
But it used to be okay to ask acertain level of questions as a
journalist without ruffling thefeathers, and the person and
the PR person and the personthat's responsible for handling
the artist would prepare theartist to answer those difficult
questions.
It's like now they've justtaken that off the spear.

(57:24):
It's like no, you're notallowed to ask tough questions
because we don't have time toprep these things.

Speaker 3 (57:29):
Yeah and it off the spear.
It's like, no, you're notallowed to ask tough questions
because we don't have time toprep these things.
It was only a half an hourinterview, to start with.

Speaker 2 (57:34):
I get what y'all are saying, but you got to think
about who you're talking about.
You're talking about the guy.
You're talking about the onewho's in pole position right now
.
Paul, this is Kendrick.
His team straight up and down.
This is where you don't go.
You don't go with this, youdon't say this and you've got to
make sure you touch on this.
It's too many boundaries thatthey're going to put in place,

(57:56):
too many controls they're goingto put in place to make sure
this interview doesn't go offthe rails or go into a different
space that he doesn't want togo down that road with.
That he doesn't want to go downthat road with.
I give what you're saying,trust me, but it's no different
than the major artists.
Nas was one of the drink champs.
Think about how many softballpitches that Nori was giving him
.
Yeah he didn't ask no toughquestions.

Speaker 1 (58:20):
I tell you what I don't love that interview,
outside of the fact that it'slike oh look, nas popped up for
a few hours.
When does he do that?
It's the same thing that thisis, but here's the difference.

Speaker 3 (58:29):
To your point about Neskideskin Nas is my guy, but
Norrie was acting too much likea fan, granted him and, but that
was part of the problem withthe interview.
They didn't even address theattention they had with each
other, and people wanted to knowstuff behind it.

Speaker 1 (58:43):
Correct, but at least Nas pulled up for a few hours,
so at least you got a few hoursit was one.

Speaker 3 (58:48):
He pulled up for one hour.
That's Dream Champ's shortestinterview ever.
Promo.
Yeah, that was a promo.
Because he had just Cabasa Pwas also on Lost Tapes 2 was
coming out.

Speaker 1 (58:58):
But you want to know what?
But this interview felt alittle prime Nas-ish to me, and
I don't mean that in a good way,I mean that it's like.
I mean that it's like, well,the interviewer doesn't have
much time to get to know thisartist that traditionally
doesn't give these type ofinterviews on this stage, and
the interviewer in the in theinterviewee isn't used to giving
these interviews, and so someof the responses are really

(59:20):
great, some of them are justokay, some of them are good.
It's very much reminded me ofan old nasa interview.
I don't mean that in a glowingway.
When I'm talking about aninterview being glowing, I do
mean a Tupac interview, an IceCube interview.

Speaker 3 (59:33):
I don't think Nas is one of the best interviews for
whatever question is going to beasked, because he doesn't open
up that much.

Speaker 1 (59:42):
He's 15 times better in the last 15 years than he was
the first 15 years.

Speaker 3 (59:48):
To that charisma thing, he's more.
You know, he opens up a littlebit more.

Speaker 1 (59:53):
He's more comfortable now with those things.

Speaker 3 (59:56):
Yeah, the old interviews.
You could tell he don't want tobe there Like I don't even want
to talk.
Or be blazed out of his mind.

Speaker 1 (01:00:04):
So I mean so overall it was overall a good interview.
I don't feel like he waschallenged, I don't feel like I
learned anything new and I askedmyself like how much are y'all
playing gmx guys?

Speaker 2 (01:00:19):
I still play it.
I play from time to time yeah,like like, like how much like,
like, like.

Speaker 1 (01:00:25):
Is it like sitting with you and like really staying
with You're like man.
This is great.

Speaker 3 (01:00:29):
I let the album run.
I mean I still have certainskips or whatever.
How?

Speaker 1 (01:00:34):
about this.
Do you think it's better thanDamn?

Speaker 3 (01:00:36):
No.

Speaker 1 (01:00:37):
Or To Pimp a Butterfly.

Speaker 3 (01:00:38):
Yes, for me.
I know To Pimp a Butterfly ismore critically acclaimed, but I
enjoy this much more.
I never put on To Pimp aButterfly just for enjoyment, if
.

Speaker 1 (01:00:47):
I want to listen to Kendrick.
No, I didn't ask you what youenjoyed more.
I asked you what was better.

Speaker 3 (01:00:52):
No, it's not better, but if I'm listening to Kendrick
, I'm playing Good Kid Damn orthis Album, that's what I'm
listening to Okay, this has moreride factor because of the West
Coast vibes to it than To Pimpa Butterfly.

Speaker 1 (01:01:04):
Yeah, but it's not a better album, no, it's not, but
respectfully to it, though it'snot touching to Pimple Butterfly
, and this is coming from methat has criticized to Pimple
Butterfly Right, not having aride factor to it and asking him
to make something with a ridefactor.
Him making something with aride factor like this, it's
still not to Pimple Butterfly.

Speaker 3 (01:01:24):
Yeah to Pimple Butterfly is more like an art
piece, like it's not an album.
You could recognize it for whatit is, as a classic, but a lot
of people not want to listen toit.
I don't hardly ever hear peopleplaying To Pimp a Butterfly,
but you know it's an art piece.

Speaker 1 (01:01:38):
So I say this to say this respectfully.

Speaker 3 (01:01:45):
Is this album a classic, definitely a classic
moment.
Me and Sean talk about this allthe time, like if the Carter 3
can be held as a classic for thequality that that album is
because of the moment attachedto it, then I don't see why this
can't be considered a classic.
This is just a big of a moment.
It's a quality album and Ithink it's up there with the

(01:02:06):
Carter 3.

Speaker 2 (01:02:09):
Wow, carter 3?
Yeah, I'm, and I think it's upthere with the Carter III.

Speaker 3 (01:02:11):
Wow, really Carter III yeah.

Speaker 2 (01:02:12):
I'm going to put that far up there.

Speaker 3 (01:02:14):
I don't have it as a classic.

Speaker 2 (01:02:15):
I have it as a really really dope album, really dope
moment.
I think the moment is biggerthan the album I do too.

Speaker 3 (01:02:22):
That's how I feel about Carter III.
That's why I'm saying that.

Speaker 2 (01:02:26):
Probably think we got some stuff on there, though
Wayne was going crazy on Carter.

Speaker 3 (01:02:31):
III there's some skips on there too, the replay
value on the Carter III is waybetter than the replay value on
this in my opinion, it's stilltoo early for me to say that you
know what I'm saying, becauseI'm still playing G and X now
and it's not even a year old,and if we get that deluxe, then
that might change that too, likehow about this?

Speaker 1 (01:02:49):
Carter III was great enough to me that, even though I
didn't feel like it was betterthan the Carter II, even after
the first few times that I heardit, I still did play it over
and over and over and over.
And this album I did not dothat with.
That's what I'm saying.
I was still playing the Carterthree, like Mr Carter, a Millie.

Speaker 3 (01:03:07):
But you're a bigger fan of Wayne than you are
Kendrick, though.

Speaker 1 (01:03:11):
See, that's the thing .
That's not true.
I prefer good kid Matt city toanything Wayne's ever made.
I'm actually a bigger Kendrickfan than I am a Wayne fan.
I just grew up on Wayne more,but, artistically speaking,
kendrick actually does more ofthe things that I like my
artists to do than Wayne.

Speaker 3 (01:03:29):
I have them next to each other in my all-time
rankings.
I have Kendrick at 10 and Wayneat 11.

Speaker 1 (01:03:34):
My musical preference is going to listen to
Kendrick's best over Wayne'sbest.
How about that?

Speaker 3 (01:03:40):
I'm with you there.
I'm with you on that one yeah.

Speaker 1 (01:03:43):
So actually, no, I'm more of a Kendrick fan than a
Wayne fan.
Actually, I just grew up onwayne and I am from the south,
and so it is different aboutholding him high.
But but no, can I like I havethem right next to each other
too?
Ag, like, like wayne, is one ofthose people that it's hard for
me to put kendrick ahead ofwayne, even though I prefer

(01:04:05):
kendrick stylistically andartistically and even album-wise
, because of the fact well, no,you don't do mixtapes, you don't
do guest appearances, you don'tdo interviews, like you don't
do all this other stuff this guydoes.
Oh, no, you got this guy beatlyrically content album,
everything else, wayne.

Speaker 3 (01:04:28):
I think we put a lot of stock in how hard Wayne
worked.
Shout out to the homie LT.
We had this conversation.

Speaker 1 (01:04:36):
It's having the willingness to do the work.

Speaker 3 (01:04:39):
The willingness is one thing.
Yeah, that's totally different.
Shout out to the homie LT.
I had this conversation withhim the other day.
I think it was a time therewhere Wayne was just putting
stuff out.
The quality of the work wasn'tmatching the him.
The other day, I think it was atime there where Wayne was just
putting stuff out and thequality of the work wasn't
matching the quantity at acertain point.

Speaker 1 (01:04:54):
Was he putting stuff out, or were his people putting
stuff out because he wasrecording at such a vociferous
pace?

Speaker 3 (01:04:59):
I think some stuff could have just been left on the
cutting room floor towards theend of that era.

Speaker 1 (01:05:05):
He's the only rapper whose legacy might be hurt by
putting out too that era.
He's the only rapper whoselegacy might be hurt by putting
out too much material.

Speaker 3 (01:05:12):
That's kind of what I'm getting at.
When he was on fire, he was onfire.

Speaker 2 (01:05:18):
We got a lot of super chats.
Let's get these super chatsreal quick, no doubt.

Speaker 1 (01:05:22):
Where are we going?

Speaker 2 (01:05:25):
Can you see it cool?

Speaker 1 (01:05:27):
Is Mad Max the first one?
No, we got Esquire the firstone.

Speaker 2 (01:05:33):
I'm sorry, hold on, jermaine Johnson, you got this
one.

Speaker 1 (01:05:40):
Yeah, I see you, jermaine Johnson, with the $4.99
Super Chat.
Jermaine, 50 is gross.
His trolling of Irv is notfunny at all.
Irv's body was still warm.
We shouldn't allow anyone todisrespect our legends, not even
50.
We're going to talk about itbriefly.
Yeah, yeah, don't even worryabout that, jermaine.
We got you Joe Young with the$10 Super Chat.
What's up?

(01:06:02):
Good work, coop.
You're correct about the Drakesituation, about a quality album
.
I remember when Jay madeBlueprint 2, it didn't hit like
that after the battle when hemade Black.
Album oh, black Album.
The album was classic.
I was about to say BA.
I was like what is that?
Bachelors of the Arts?
See, I was thinkingacademically, like one time,

(01:06:24):
it's like Jay got a BA.
I was like what did he get hisBA in crack music?
Got a BA in crack music.
Okay, what's the it's like Jaygot a BA.
I was like what did he get hisBA in Crack music?
Got a BA in crack music.
Okay, what's the next superchat?
Oh, mad Max.
Thanks Mad Max.
It's Pepper Butterfly Trash,gnx Trash.
His interview was trash.

(01:06:45):
No charisma.
He on GNX rapping and fightinglittle B Talks about damn baby
saying BS like boom bat ding bow, mad Max.
You gotta love Mad Max.
Mad Max is the only person whoprobably you could say is a

(01:07:07):
bigger Kendrick hater than me.
According to the post,absolutely, absolutely, boy,
does he hate?
He does a great job at hatingtoo.
I want to let you know you area legendary hater, mad Max.

Speaker 3 (01:07:19):
Yeah, I don't know.
Mad Max and Maul is like aphoto.
Finish.

Speaker 1 (01:07:25):
You were great at it.
First place I did Mad Max,though.

Speaker 3 (01:07:29):
You coming in third Coop, you got the bronze medal.
They threw the bronze at you.

Speaker 1 (01:07:35):
First of all, sean's a big hater, sean's a big, big
hater.
Jack is a big hater.
Sean and Jack are big haters.

Speaker 2 (01:07:44):
Jack and.

Speaker 1 (01:07:45):
Mad Max need to have a hater off to fight Sean to the
death.

Speaker 2 (01:07:53):
That's crazy.
No, I can't beat Jack.
Jack is a different animal man.

Speaker 3 (01:07:59):
Jack's like a bot, he don't stop.

Speaker 1 (01:08:01):
They need to have a hater off, because never have
two young men talk so loudlyabout hip-hop and known so
little at the same damn time.

Speaker 2 (01:08:12):
Jack is a good guy.

Speaker 1 (01:08:15):
It's ridiculous how little they know.

Speaker 3 (01:08:16):
Jack be in the Discord.
I want to know do you talk toTex or text literally that fast,
man, because Jack be goingcrazy.
I'm still trying to rebuttal.

Speaker 1 (01:08:29):
Look here Jack vs Mad Max Hip-hop talks.
We need to do a Twitter spaces.
We need to set that up?
Yes, it's like the intro musicis going to play what's Beef
from life after death.
We're going to have what's Beefplaying in the background and
we get to hear these indignantass motherfuckers talk about a

(01:08:53):
bunch of shit they don't knownothing about.

Speaker 2 (01:08:58):
Jack is an institution you cannot mess with
.
That Jack needs to be put in aninstitution.

Speaker 3 (01:09:05):
Jack is a legend, not in a institution.

Speaker 1 (01:09:08):
In a institution, the Winter Soldier, not in a
institution.

Speaker 3 (01:09:10):
In a institution the Winter Soldier.

Speaker 1 (01:09:12):
He needs 30 days.
He needs 30 days, he needs 30days.

Speaker 3 (01:09:18):
Shout out to Jack and everybody in our Discord man, I
read Nonplussed.

Speaker 1 (01:09:24):
He needs to go somewhere where the LB objects
are not allowed.
Where sharp objects are notallowed.
Okay, where sharp objects arenot allowed, we got to do a
super chat.

Speaker 2 (01:09:31):
We got to do a super chat.

Speaker 1 (01:09:32):
My mere thoughts with the 999 super chat.
My number one critique of Wayneis he can never stick to a
subject matter.
When he rhymes he's all overthe place, no matter the song.
That explains most of Mad Maxand Jack's takes on Twitter.
Thank you, my mere thoughts.

Speaker 3 (01:09:48):
Yo, when I say that a couple weeks ago, like I was
getting cooked because I wassaying that Wayne was incoherent
, I wasn't trying to bedisrespectful, but that was my
point.
What disrespectful it was notdisrespectful Chief.

Speaker 1 (01:10:00):
And then with the $2 super check, catch y'all on the
block tomorrow.
Salute, catch y'all on theblock tomorrow.

Speaker 3 (01:10:08):
Chief a good dude.
He be in our discord.

Speaker 2 (01:10:10):
Yeah, we got Jarb in the chat.
What up, jarb?

Speaker 1 (01:10:16):
can I ask you?

Speaker 2 (01:10:16):
what Jarb just said.
He said work around the cornerdoing.
I ain't gonna say that Ithought it was gonna be good in
2025.
Nah, fuck it.
Doing a show on Cash Moneyversus no Limit, doing a Cash

(01:10:37):
Money versus no Limit show in2025 is wild, though.
You got it.
Who who we got.

Speaker 3 (01:10:49):
We got more Super Ch chats man Hold on hold on who is
doing that.

Speaker 1 (01:10:55):
Hold on, hold on we doing.
First of all, hold on we doing,we doing we doing what man?

Speaker 2 (01:11:04):
you know people got to do what they got to do.
You know what I mean.
You don't mess with nobody, butyou know doing shows on no
Limit and shit.
I don't think no Limit is doingshows on no Limit versus Cash
Money, if I'm being honest.
But let me chill out.

Speaker 1 (01:11:19):
Let's keep the show going.
My bad, my bad, ag.
Let's talk about the Grammysactually getting it right and us
still getting it wrong.
Who got it wrong?

Speaker 3 (01:11:31):
Who got it wrong?
Us?
Us, as in hip-hop talks.

Speaker 1 (01:11:35):
No, no, no, no, no, not us.

Speaker 3 (01:11:37):
Oh, I was about to say.

Speaker 1 (01:11:38):
Apparently, there are people doing cash, money, all
right man On a.
Thursday night.
That's so bad man that is nastywork.
That is nasty work.

Speaker 2 (01:11:51):
That is nasty work are they really being petty like
that?
Like, okay, it's my fault, mybad, I apologize guys, I don't
want no beef for nobody outthere.
Y'all super thugs out there.

Speaker 1 (01:11:58):
I don't want no beef, no, okay, so, so legitimately,
about things that mattercurrently.
About things that mattercurrently.
About things that mattercurrently that are going on,
that are happening, yeah.

Speaker 2 (01:12:11):
Current news.

Speaker 1 (01:12:13):
I think that the Grammys got it right this year,
but I think the problem is isthat we care too much that they
got it right, like, why do westill care?
I think this is the problemwith us.
I think the bigger conversationisn't like the wins, the
kendrick wins, uh, rhapsody.
Like like, uh, beyond check,like it's not that, it's the

(01:12:35):
fact that we keep on pullingaway when we feel like we're
done wrong, which is 90 of thetime, but then that one time,
every like you know, literallyfive years, because I feel like
in 2020 was about the last timethey like got it right.
Right, it's like.
So every five, ten years, theythrow us a bone and we're like,

(01:12:57):
oh, here we go, we salivate atit.
It's, it's like how.
It's like how blacks are withthe democratic, uh, with the
democratic party.
They do not understand that thedemocrats and the republicans
are filling out the same sheet.
At the end of the day, we don'thave these niggas make lemonade
or pick cotton.
It is the same agenda.
It is just about how you goabout the agenda.

(01:13:18):
So why do we even care thatthey got it right this year?
I thought we didn't careanymore.
See, like our problem is isthat we can't stick to our guns
about anything.
I think that's the biggerproblem.
I'm finding the Grammys to be amicrocosm about some of the
issues that we're having withinour community sphere, about how
we don't create healthyboundaries for ourselves.

(01:13:40):
We say that we're done with it,but we don't be done with it.
And then when they do somethingright, it's like look how
people have been riding for theGrammys.
It's like, oh, people have beenriding for the Grammys.
It's like, oh, kids are goingfive times and, and and TDE and
Dochi and da, da, da, da, da.
And it is a beautiful thing,but it was fucked the Grammys
two, three years ago, guys.

Speaker 3 (01:13:57):
But it is because it's never truly being done with
it.
When people say that themselvesor the artists is trying to
convince themselves Like they'renever truly done with it.
You know what I'm saying.
It's like you know afterGrammys until you win one, and
then you, you know what I'msaying, so what?

Speaker 1 (01:14:23):
I just realized we're in an abusive relationship with
the Grammys.
I mean, it's the same song anddance for years.

Speaker 3 (01:14:27):
But, like I said, it's never truly we've been
getting beat on and acceptinggetting beat on.
I think you know what I'msaying.
The perfect example of that isJay-Z's like you know
long-winded speech last year atthe Grammys.
You know, disgruntled becauseBeyonce didn't win.
And then you know she turnsaround this year and they damn
like well, we ain't in the.
If it was after the Grammysthen whether she was nominated

(01:14:49):
or not, you wouldn't pull up tothis event, would you not?
But you know they was like well, we'll hand you one, since you
was just run to.
And then you know they say thatyou won and you're like let's
act surprised for the camera andshocked, or whatever.
You know what I'm saying.

Speaker 1 (01:15:05):
I'm like come on now like I thought she was going to
start breaking, like I thoughtshe was about to start break,
dancing the way she was jerking.

Speaker 3 (01:15:13):
Yeah, it's like, come on, man, like at the end of the
day, we're never truly donewith it.
And when black artists say thatthey're just trying to convince
themselves, we, as like fansand viewers, we say we done with
it.
I personally didn't watch it,but I'd be damned if I'm not
here right now talking about it.
You know what I'm saying.
So it's the same song and danceevery year.

(01:15:33):
We care about it.
Let's just admit that we careabout it.

Speaker 1 (01:15:37):
See, that's where I feel conflicted, ag, because I
find myself as somebody that'sin this space now, but before I
was in this space, ag, I hadstopped watching it, and it
wasn't about like.
It wasn't about like on somesuperhero black shit either.
It was just about the simplefact that, well, quite frankly,
I didn't think they were givinga good show and it wasn't just
as entertaining.

Speaker 3 (01:15:57):
It's not something I regularly tune into.

Speaker 1 (01:15:59):
Right and as an adult , I just had better stuff to do.
I didn't feel like theyprovided me with big enough
moments that I could get intoLike Beyonce, enough moments
that I could get into likeBeyonce performing with my idol,
Prince singing the beautifulones.
Oh, no, no that was big, I wassitting my ass on the couch like
, oh, beyonce performing withPrince, no, that's big.
They weren't providing me thosetype of moments, so I didn't

(01:16:21):
watch as it grew.
It wasn't anything personal forme.
I find myself having theseconversations because I'm in
this podcast world and becauseI'm a writer and because I write
music reviews and cover musicstuff and even go to music
events and go to PR events.
I find myself in this spherewhere the Grammys do matter to a
degree and it's like, well, itdidn't matter to me until I got
put in this sphere.

Speaker 3 (01:16:44):
Let me ask you this, both of y'all If you don't watch
the Gram'all, if you don'twatch the grammys and you don't
care to watch it, aren't thenext day you still tapping in to
see who won what?
Because if you do, then youcare.
In my book that's like shortybreaking up with you or whatever
, and you saying like, nah, Idon't even care about shorty or

(01:17:04):
whatever, I'm done with her, andyou checking all her socials.
You know what I'm saying?

Speaker 1 (01:17:08):
like so you care.
So this is what I mean.
So it's almost caring byaffiliation for the love of
music.
Because here's what I'd submitto you for all those years that
I didn't watch and it wasprobably about six or seven
years I really didn't watch ag.
Well, but because I did music,because I'm around music people,
because I love music people, ohwell, it's hard for me to

(01:17:29):
escape the conversation becauseall I got to do is pull up my
social media and see the DJsthat I've done stuff with the
artists that I've done stuffwith the producers that I've
done stuff with talking aboutwhat the Grammys the day after.
So even when I didn't watch it,ag, I was still informed
because I'm part of a musicsphere, I'm part of the culture,
and so there is no way for meto avoid it.

(01:17:52):
And so you're right, there areyears that I didn't watch it and
I was informed on stuff justbecause all I had to do was cut
on Facebook or Instagram andsomebody who I knew, who I used
to do music with, was talkingabout what they saw.
I don't believe they did theMac Miller-Kendrick thing.
Oh, I didn't know that thathappened.
I didn't watch those Grammys.
I had been stopped watching theGrammys.

Speaker 3 (01:18:09):
Oh, you mean not Mac Miller, it was Macklemore.

Speaker 1 (01:18:14):
Macklemore, mac Miller, eminem, peanut Butter,
eminems I don't give a damn no,there's a clear difference in
all three of them.
Look here.
All I'm saying is when Kendrickgot hosed, I wasn't even
watching.
I had to find out on socialmedia the next day.
I was like they went and gavethis motherfucker over good kid

(01:18:34):
Mad.

Speaker 3 (01:18:35):
City.
So do you think they're tryingto overcompensate and make up
for that now Like too heavyhanded?
Like Drake said, kendrickopened his mouth.
Somebody give him a Grammyright now.
Or they think you know they gotto make up for that flood.

Speaker 1 (01:18:46):
So I mean, this is going to kind of go into our
headline topic, which isessentially, like you know, what
Kendrick did at the Grammys.
But what I would submit to youguys is that well, I don't want
to sound like a hater Did.

Speaker 3 (01:19:01):
Thriller win five Grammys.
No, thriller won eight, it waseight or nine.

Speaker 1 (01:19:06):
Right.

Speaker 3 (01:19:07):
Yeah, bad didn't win any, though Bad got shut out.

Speaker 1 (01:19:11):
No, no, no, I was about to go down the list.
I was about to go down the listfor you.
How many did Purple Rain win?

Speaker 3 (01:19:16):
Nine Did it win one.
Did it win one.

Speaker 1 (01:19:20):
Won two.

Speaker 3 (01:19:21):
Won two Okay.

Speaker 1 (01:19:24):
I thought it was maybe one, and I think it won
Best Original Song and BestScreenplay or something like
that, because it was movieaffiliated more than music
affiliated.
Right, that's what I was sayingit wasn't music affiliated, it
was movie affiliated.
Bad doesn't win any Grammys.
Lauryn Hill's the Miseducationof Lauryn Hill wins five Grammys

(01:19:47):
.
Stop calling me a hater when hewins five Grammys.
Listen to the stuff that I justnamed out for you.
Like what's going on, dude, youknow how many.
Like how about this?
He won more Grammys in onenight than Marvin Gaye won in
the 70s.
Y'all Like you, don't think?
You don't think it's a littleskewed?
You don't think the mediacontrolling the narrative a

(01:20:07):
little bit?
I'm going to say that again.
He won more Grammys last night,the other night, than Marvin
Gaye won in the 70s.
Don't tell me that the media isnot driving this shit.

Speaker 3 (01:20:17):
Well, let's keep it in the same spirit.
Drake has five.
It's not about the music.

Speaker 1 (01:20:20):
It's not about the music is my thing.

Speaker 3 (01:20:22):
Yeah, drake has five total himself.
You think about all the genresthat Drake crosses right, the
big hits he has, and you knowthe Grammys a lot of time like
the act plugged in, like they'rein the know on.
You know certain things likethe obscure artists, or you know
the.
You know how they do and thensometimes they give it to the
bigger records.

Speaker 1 (01:20:44):
Drake's AG.
Drake's best songs are very,very black, though.

Speaker 3 (01:20:50):
Right, but he only has five Grammys total.

Speaker 1 (01:20:52):
Because his best songs are actually really really
black.

Speaker 3 (01:20:54):
Yeah, kendrick, I think, is third all-time in
hip-hop behind Jay-Z and Kanye.
But what I will say aboutKendrick, I think if you look at
his Grammy resume, I think moreof that's predicated on his
catalog than Jay-Z or Kanye,which is more predicated on
collaborative stuff Kanye withthe producer stuff and then

(01:21:15):
Jay-Z with the collaborations.
So if you look at it from thatangle, kendrick might be the
most decorated Grammy hip-hopartist, more so based off his
catalog.

Speaker 1 (01:21:24):
But what I'm trying to tell you is that five Grammys
.
Think about this.
He won five Grammys.
It took Lauryn Hill, one of thebest albums literally of the
last 50 years in music, to getfive Grammys.

Speaker 3 (01:21:48):
Which Grammys did you think he didn't deserve to win?
Which categories?

Speaker 1 (01:21:52):
Do you think it was the best song of the year?
Yes, like period.
Yeah, deserved to win whichcategories do you think it was
the best song of the year?
Yes, like period yeah what?

Speaker 3 (01:22:00):
what else did he win?
He won.
He won record of the year, songof the year, which I don't
understand.
The difference between those.

Speaker 1 (01:22:05):
Okay I think song is songwriting.

Speaker 3 (01:22:07):
Credit credit record is the entirety of okay record
of the Songwriter, like maybesomething else could have won
that, because not like us is notfantastic lyrically, but it's a
big smash hit.
He won best music video.
I don't tap into music videoslike that, so I don't even know
what else was up for nomination,um, but I can't speak to that.

(01:22:28):
He won best rap song that's adefinite yes.
He won best rap performancethat's a definite yes.

Speaker 1 (01:22:35):
I'll give them rap song and rap performance.
I can't give him the rest.
Just clearly Not record of theyear.
Not just Scott Free, not recordof the year.

Speaker 3 (01:22:43):
Scott Free, can you name a record that's bigger this
year, even outside of hip-hop?
I can't think of no, no no, no,no, no.

Speaker 1 (01:22:50):
That's what I'm saying.
I understand that it's biggerthan hip-hop About a lot of my
personal matters.
Last year I didn't really tuneinto outside music, outside of
hip-hop, like I normally do.
To make that call fairly, Ifyou want to tentatively slide on
that third one, I'm cool withthat.
But five Grammys is a lot forone song, Guys.

(01:23:11):
They're essentially saying thatit might be the best song in
the history of the Grammys.
Is there a record of anybodyelse winning five Grammys for
one song?
I wouldn't know.
Think about that.
Five Grammys for one song,that's beyond Stevie, that's
beyond Michael Jackson.
That's what you're saying whenyou were making.

(01:23:31):
It's not that, it's not.
Stop telling me that.
It's that like.
Stop expecting me to buy thatlevel of it.
Is what I'm saying.
It's like.
If you want to tell me thatit's the rap song of the year,
that's a landslide.
If you want to tell me thatit's even record of the year
music wise because off the topof my head I can't give you
anything else from last year.
But I also wasn't tuned in likeI usually am, I'll give you

(01:23:54):
that.
But if you're telling me it'sthe most well-written song from
last year, it's like first ofall, it's like what was he
really saying in the song?
Like, think about it.
Some of the lyrics in the songlike that's songwriting of the
year Like hold on.
AG, ag, that's songwriting.
Yeah, not songwriting, but Ihear what you're saying.

Speaker 3 (01:24:14):
I hear what you're saying, but when you see the
footage, I don't think I've everseen A reaction like that From
other artists when somebody'sname was called when everybody
held out A minor.
When you got Taylor Swifttoasting and dancing, beyonce
dancing, jay Z cheesing from earto ear, I don't like.

(01:24:35):
It's hard to say that record isnot that level when other
artists' reactions were likethat.

Speaker 1 (01:24:42):
First of all, that's all for camera AG, and then
video-wise it's like.
I'm gonna be honest with you.
My thought on the video is Ithought the video was really
dope.
A whole lot of the video wasvery reminiscent of All Right,
then you and King Kunta.
It's reminiscent of that time.
He's done those types of videosbefore In terms of innovative

(01:25:04):
and ingenuity.
Video-wise, it wasn't like itwas anything groundbreaking.
No, it wasn't that.
Stop telling me that an 8 is a10.
If you want to tell me thatit's an eight, it's like oh no,
that's an eight.
Stop telling me it's a ten.
Is what I'm saying, what yougot, sean?

Speaker 3 (01:25:22):
yeah, I got it we can slide on to the next one.
What?
What about the?
What about the Dolce win,though?
Good for Dolce.
I think that deserved rap albumof the year.
We sung high praises on thatalbum.

(01:25:43):
It was definitely top five andshe's a star, so I think that
was a good win.

Speaker 1 (01:25:50):
You know, some people just catch the public's
attention and you're happy whenthey catch the public's
attention, and she's just one ofthose people.
And so I think, even though Ididn't watch these ceremonies,
when I went back and watched thehighlights, watching her win
Best Rap Album was the highlightof the show for me.

(01:26:11):
In my opinion, even though itfelt like a little stage, it was
like, like you said, ag, here'smy thing with her winning.
You know, rap is still aboutrags to riches and I think last
year nobody epitomized that morethan her.
She literally came, I wouldn'tsay from nowhere, but made such

(01:26:32):
a quality project that it hadpeople like you and I and sean
who I wouldn't say that we'renecessarily hip-hop purists, but
I think we have a traditionalhip-hop ear look at somebody
like her and be like oh no,that's some of the best shit I
heard this year.
That's a top five rap album.
Like that's hard for somebody,that's hard for a male rapper to

(01:26:56):
do in this sphere today in ourdemographic.
So the fact that a woman did itand then won Grammy Album of
the Year, that was the highlightof the evening in my opinion,
and Rhapsody too.

Speaker 3 (01:27:07):
That's just as big of a feat, because we praised her
album too, and then she won forbest melodic Rap Performance.
So shout out to Rhapsody onthat.

Speaker 1 (01:27:17):
I don't even know what that Grammy necessarily
means, but shout out to Rhapsodyand shout out to you.

Speaker 3 (01:27:23):
We're in an era where melody is carrying rap songs
more so than lyrically drivenverses, so that's like a fairly
new category.
You know what I'm saying.

Speaker 1 (01:27:31):
So what are they saying when they're saying
melodic?
That's what I'm saying.
So what are they saying whenthey're saying melodic?
That's what I'm saying.
Are they saying it's like jazz,inspired and influenced
contemporary, like instrument?
What's the definition andcriteria by which they are
defining the musicality of it?
I couldn't tell you that theyjust be making shit up.
Is what it sounds like?

(01:27:52):
Ag, cj the Kid, $5.
Damn, you guys inherit the beef.
As time goes by, an eye for aneye, we in this together.
Son, your beef is mine so longas the sun shines the light up
the sky.
What's CJ?

Speaker 2 (01:28:08):
talking about.
I don't know what CJ's talkingabout.

Speaker 1 (01:28:12):
I have been playing the Infamous, though I've been
playing the Infamous and GoodKid Mad City a lot.
I might have to boost both ofthose up.
Stuff like QU Hectic is not atop five song on your album, but
anyway.
Cj the Kid, $2.00.
Coop Theories about Dre andLucy and High Five.
No, no, we're not touching thattonight.
We got to stick to the script.

(01:28:32):
Cj, I might hop into Discordand we'll talk about that a
little bit more.

Speaker 3 (01:28:37):
What do you think about Kendrick's Canadian tuxedo
?
He's continuing to troll thisman in real time.

Speaker 2 (01:28:48):
At some point you got to be like alright, enough is
enough.
If I'm Drake, I'm pulling upsomewhere, I don't care, he got
to see you at some point At somepoint.

Speaker 3 (01:29:00):
That's so subtle, man , it's so subtle, that's crazy.

Speaker 1 (01:29:04):
I feel like the subs should have been in effect for
Drake.
He should have never.
I don't know.
I'm the type of person Scarfacegot this rhyme on the fix.
He's like I got an amazingrecord 47 and 5, and the nigga
had to fight me every time thatI seen him.
You know what I'm saying.
He's pretty much saying like ohno, the same dude beat me.
But it's like oh no, no, I kepton fighting that dude.

(01:29:27):
It's just a mentality about howyou approach things.
I will tell you this I loveKendrick's mentality and
approach way more than I loveDrake's mentality and approach.
So it's like I don't know whatDrake's management and people
been telling him about how tohandle this, but they've been
telling him wrong.
Yeah.

Speaker 3 (01:29:44):
Yeah, kendrick, just so, like, don't you love it?
He'll wear that and let youfigure it out.
And just smiles and accepts hisGrammy, don't say nothing to
you S-Quire with the $5 SuperChat.

Speaker 1 (01:29:56):
Dolce's album was dope, but I personally wouldn't
call it album of the year.
My opinion aside, Grammy slashcritics put a premium on artists
who make avant-garde music.
What does it mean to beavant-garde in today's era where
you can literally get it, grabit and go from anywhere?
What does that mean to beavant-garde?

(01:30:17):
Because GNX isn't avant-garde,that's just some dope West Coast
shit.
You feel me?
There ain't an avant-gardeabout that album outside of
Gloria.

Speaker 3 (01:30:26):
Well, let's talk about that then, because this
album ain't avant-garde, it'sgeneric.

Speaker 1 (01:30:34):
If that was up for the Grammys, would it that then,
because this is album, this isalbum ain't avant-garde, it's
janae we're gonna talk aboutlike if, if that was up for the
Grammys, would it have one?
I mean what?
Okay?
So, like when y'all was talkingabout playing the album, it's
like I'm playing songs off that,but I'm really not playing the
album like that.
And so when you're talkingabout it being album of the year
or even rap album of the yearif it was released in this time,

(01:30:55):
it's like well, I would tellyou like how is it like like be
honest with yourself and tell melike, is it moving like the way
other rap albums that tend towin these, uh, these awards do,
or is it about this one song?
We keep coming back to this onerecord, guys, guys, and that's
why I was like never has arapper this great made a diss

(01:31:18):
record that really belongs intheir top 10, 15 records, and so
this record has changedeverything.
And listen to what I'm saying.
I'm not blaming him for this,because really, what this record
has done is forced us to havedifferent level conversations
about what it means to have adiss record that gets this type

(01:31:38):
of notoriety out of it.
You feel what I'm saying?
Like it's not totally on him,we just have to address the
situation.
It's like the closest thingthat we have to a rapper having
a diss song be this great, goingthis high on their catalog
would probably be ice Cube withno Vaseline, and I still don't
know if no Vaseline is one ofKendrick's 10 best records.

(01:31:59):
You could argue this is one ofhis 10 best records, couldn't
you Sean?

Speaker 2 (01:32:03):
It's up there, it's up there.

Speaker 1 (01:32:07):
That's what I mean.
When we first heard the record,I went and told y'all I said
this shit's a banger.

Speaker 2 (01:32:14):
Yeah, it's a whole bop, it's a banger.
It has everything.
It checks all the boxes for adominant song.
I wouldn't call it.
I personally wouldn't call it aclassical song.
I call it a dominant song.
I just don't see it.
I don't see it other than that.
I really don't.
I just don't.

Speaker 1 (01:32:30):
When you say dominant song, give me an example of
something else that you wouldconsider to be a dominant song.

Speaker 2 (01:32:35):
When I think about a dominant song that's not really
truly a classic.
It's a song that just it comeat the right time, hit you at
the right position, the righttimeline.
This song hits you at the righttime, so it's dominating the
timeline, it's dominatingeverything that's around it Now.
Would it hold up later on thisyear?

(01:32:56):
Maybe, maybe not.
It's just people right now.

Speaker 1 (01:33:01):
Hold on.
Do you think when you weresaying that I thought of a
Millie by Lil Wayne?
Is that what you mean by adominant rap song?

Speaker 2 (01:33:09):
Very, dominant rap song.
Because the time that it cameout, it just captured everything
.
It captured everything.
It had so much momentum behindit.
Because the time that it cameout, it just captured everything
.
It captured everything, right,he had so much momentum behind
it, right?
Nothing could stop it.

Speaker 1 (01:33:20):
Because I love a Millie, but it's not even one of
my two or three favorite rapsongs on that album and that's
not my favorite Wayne album, butthat's his moment though.

Speaker 2 (01:33:28):
That was the moment.
Everything was behind it.
So much momentum was behind aMillie.
He messed around and sold amillion records in one week.
A milli, a milli.
All of that was going on at thesame time and everything was
just moving like a freight train.

Speaker 1 (01:33:40):
That's what this song right here is you got five.

Speaker 2 (01:33:42):
Grammys off of one song.
Like you keep saying, it's likeit's a freight train that
continue to move forward.
Everything getting in front ofit is crushing everything.
It's a big, big moment.

Speaker 1 (01:33:56):
It got so much momentum Five Grammys off of one
song.
I think Stevie Wonder andPrince are probably the best
songwriters ever.
They don't have three Grammysoff of one record.

Speaker 2 (01:34:09):
Not off of one.
It captures everything.
It's so dominant, it captureseverything.
It captures everything.
It's so dominant, it captureseverything.
It captures everything.
Hell man, it might be classic,it might be classic, it just.

Speaker 1 (01:34:24):
I think it's a great, great record.
It is hard for me to say thatthis is a classic record.
It is more of a classic momentto me than a classic record.
Even if the record is classicclassic record, it is more of a
classic moment to me than aclassic record.
Even if the record is classic,it's still more of a classic
moment than a classic record tome.

Speaker 2 (01:34:41):
When do you categorize or place a song as
classic?
I think sometimes we givesomething classic too soon.
We give an album a classic toosoon.

Speaker 1 (01:34:50):
I think it's something here's how I classify
a classic it's something thatblows your mind when you hear it
, because it gives you thatfeeling that in 20 years it's
still going to be blowing yourmind.
It gives you that feeling andthat vibe, like where you hear

(01:35:13):
something in it where you'relike oh my God, like this is,
this is a piece of genius thatis going to stay and stand with
me to the point that, musically,when you listen to it, it gives
you chills.
And so this doesn't and that'swhat I've always said about him.
I've never knocked him orknocked his career.

(01:35:33):
I'm like well, the only albumthat does that for me is Good
Kid Mad City, and I still feelthat way after all of this,
because it's like no, it doesn'tgive me that.
It doesn't give me that chill.
It doesn't Like it's one ofthose things that you can't

(01:35:54):
recreate, like one of my mentorstaught me that you hire what
you can't teach.
You know there's an intangiblequality that comes with classic
albums, that comes with classicmoments, that's truly, truly
hard to recreate because it's soauthentic and it's so organic.
This isn't totally authentic.

(01:36:14):
This isn't totally authentic.
It isn't totally organic.
It is hurting the classicnature of it.
In my opinion, even if you feellike the record is there, it
does feel almost like toocalculated for its own good.
It lacks some of the aggressionthat you want a rap beef shit
to have, even though he knowsit's rap beef battle shit.
No, vaseline feels the way itfeels because it really feels

(01:36:36):
like Ice Cube wants to fuckthese niggas up for talking shit
.
It feel that way.

Speaker 2 (01:36:45):
We got a two-part chat.
I want to ask you all aquestion though.

Speaker 1 (01:36:48):
You can't recreate making somebody feel that way.
I used to tell people it's likeyo, mobb Deep, you saw, would
almost be dangerous to listen tobecause Mobb Deep will make you
want to go rob a nigga Like yoube wanting to go mask up and go
grab a Mac and hop in the actand go get it done.
They make you feel that way.
That's so dangerous that theyhave the capability of making

(01:37:09):
you feel that way becausethey're doing such a good job
about bringing you into theirworld.
No, I do not feel felt drawninto this world of this beef by
him, but I can look at therecord for what it stands on and
what it represents and how Iknow Cali niggas ride and what
they like to ride to.
I can look at all those thingsand tell you stroke of genius,
job well done.

(01:37:30):
But you have to make me feel it.
That's the intangible qualitythat our great classics really
have.
That's intangible that we allsee.
We feel it.
On a certain level it's like no, that's that shit.
Think about this when SnoopDogg's rapping on the shiznit,
he's not saying any bar seminarlevel stuff, but we all love
that record to death, don't we?
It is, it's like what you justsaid, sean.

(01:37:56):
You said it's Snoop.
Yeah, prom Snoop.
It just makes you feel acertain type of way are y'all
talking about songs or albums?
I pointed out.
A song on an album as in like amoment.
It's like no, when you're inthat zone, you can just pick a
song from the project and it'slike it out.

(01:38:16):
A song on an album as in like amoment.
It's like no, when you're inthat zone, you can just pick a
song from the project and it'slike pick a song, pick a record.
You identify with it.
It's like no, this moment isn'tlike that, Even if you feel
like the record's like that.

Speaker 3 (01:38:27):
You had a question, sean.
Like you want to do the superchat and then ask your question.
Yeah, super chat.

Speaker 2 (01:38:31):
Yeah, Michael Williams.

Speaker 1 (01:38:33):
Michael Williams with the $5 Super Chat.
There's no way Not Like Us.
Isn't a classic?
Cultural impact alone makes itone by default, and it's the
cornerstone of a historicalbattle.
That's fair, that's fair.

Speaker 2 (01:38:43):
I didn't say it wasn't a classic.
I didn't say it wasn't aclassic.
That's fair.
I don't see.
I don't know if it's organicversus manufactured is what I'm
getting at, because if you thinkabout some of the the classic
records that were organic, youknow you think about.

(01:39:03):
I don't want to compare it tothriller, by no means.
But remember thriller, the songwas like what?
The third or fourth single ofthriller, the album.
And when that song dropped,that album was sold with a 200%
bass point jump.
It took out the stratosphere,it went crazy after the song and
the video dropped.

Speaker 1 (01:39:23):
But the video it gave people connected to it.
It was a moment that peopleconnected to.
It was an organic moment.
They didn't know when they madethat Thriller video that that
was going to be the organicmoment that people connected to.
Like they didn't know that theyhad records, they had Billie
Jean, they had everything theyhad Billie Jean.

(01:39:46):
Like it wasn't Billie Jean thatmade Thriller pop the video.
The Thriller made Thriller popThriller.
The song don't have shit onBillie Jean.
No.
People identify with the moment.
Thriller pop Thriller madeThriller pop Thriller.
The song don't have shit onBillie Jean, no.

Speaker 2 (01:39:57):
No, I'm just asking People identify with the moment.
I'm just asking I was.
I don't hold it as high as theaccolades are being given right
now.

Speaker 3 (01:40:07):
So you're talking about Not Like Us as a song,
like a diss record.
Do y'all not have a top fiveall-time diss record?
I don't, I personally don't.

Speaker 1 (01:40:20):
I mean, if I'm going to be objective, just like we
were talking about Get Richer,die Trying earlier the impact of
it being so large that it'shard to ignore.
I would tell you personally.
Personally, for me it probablywouldn't even make my top 15.
But about the impact personallythe impact changes it, but the

(01:40:45):
impact the impact puts it easilyin the top 10 and arguable for
the top five.
Because I mean the only things,because the only records that I
can tell you just offhand, thatI tell you are just superior
disc records that have theimpact enough to come with it to
withstand or no Vaseline Ether,the Takeover and the Bitchin'

(01:41:08):
you.

Speaker 3 (01:41:09):
So that's four.
I have those, but I'msubstituting the Bitchin' you
for Hit Em Up.
Those are the only four.
I have those, but I'msubstituting the Bitch and you
for Hit Em Up.
Those are the only four.

Speaker 1 (01:41:17):
I have above this.
Okay, so how about this?
This is how little I thinkabout Hit Em Up.
I actually prefer Not Like Usto Hit Em Up.
I keep telling people Hit EmUp's not a good record.
If you're familiar with Pop'scatalog, that's not even a top
50 record.

Speaker 3 (01:41:30):
But if we're keeping it consistent with the impact
and what it did at the time likehit him up was was major, those
the only.
And if somebody has not like usover, hit him up.
I'm not mad at that, but Ithink those are the five.
Like, whatever order you havethem in, ether, no vaseline um,
take over, hit him up and notlike us.
Like the story of adidon was waspretty damaging and Pusha is

(01:41:55):
surgical with his lyrics, but Igot to take points off if it's a
not original song.
You know what?

Speaker 1 (01:42:01):
I'm saying I don't, I don't, I don't love that record
like that.
Anyway, this is what I meanabout personally.
I was cited back.
It's like oh no, I love drop agym more than I love that record
Not direct enough.

Speaker 3 (01:42:10):
We knew it was talking to, but it's still not
direct enough to make the topfive and I love that record and
for pusher I've said this fromday one if he does that over
original music we're having adifferent conversation.

Speaker 1 (01:42:26):
Like that record is top five.
I don't know.
See, that's my thing.

Speaker 3 (01:42:28):
I think I prefer infrared and exodus to story
added on, like that's mepersonally, but the knockout
blow was Adidon If you take thelevel of impact over original
music.

Speaker 1 (01:42:39):
We have a different conversation, the impact didn't
have nothing to do with therecord.
For me, I do care about how therecord sounds, for whatever
people think about the Takeover,as Nas fans, it's like oh no,
that record sounds brilliant andbeautiful and wonderful.

Speaker 3 (01:42:54):
I see what you're saying, though, because, like
lyrically, like if you look atum exodus, um, his exodus record
, you look at infrared, thoseare very much euphoria and um
meet the grams, but yeah, youknow what I'm saying, but it
ain't always about, oh, lyrical,miracle stuff.
You know what I'm saying.
You have to put out a goodrecord.

(01:43:15):
Wait one second.
Drake laid the blueprint forKendrick with Back to Back.

Speaker 1 (01:43:21):
You're forgetting about the blueprint, because
when you're holding Not Like Usso high, no, the Bridge Is Over
is better than Not Like Us,because that's actually the
original.
Not Like Us.

Speaker 3 (01:43:31):
I'm not mad at Bridges Over being in the top
five, but as far as like arecord ringing off.

Speaker 1 (01:43:37):
I can give you better disc records than Not.
Like Us.
The Bridges over is way moredevastating.
Like literally he buried awhole important burrow until not
showed up.
That is bigger than whatKendrick is doing.

Speaker 3 (01:43:50):
But as far as like a disc record ringing off in clubs
and different settings, I don'tthink it's like a disc record
ringing off in clubs anddifferent settings.
I don't think it's been a discrecord to do that since
back-to-back and before that hitthem up.
I think those are the threethat rang off in different areas
, see but you got to think aboutit.

Speaker 1 (01:44:06):
It's like, oh no, the bridge is over.
It's still getting played inthe 90s.
It's an 80s record.
That's what I'm saying, Like.
Well, it's easy to say thatPeople forget the bridge is over
.
It was getting played literally.

Speaker 3 (01:44:18):
Sean can speak to that firsthand Felt the weight I
don't want to.

Speaker 2 (01:44:23):
I don't want to speak to that Right.

Speaker 1 (01:44:26):
Nigga ruined.
I'm not joking.
Wasn't nobody talking aboutQueens after the bridge is over,
until the noise popped upOutside of LL making Mama's head
knock you out.

Speaker 3 (01:44:37):
Yeah.

Speaker 1 (01:44:38):
But before that's.

Speaker 3 (01:44:39):
That's another dope one too.
But before we go on, like youknow, I wanted to say something,
cause you was talking aboutclassic field coop.
Um, I was thinking while youwas talking, like I think I've
always subscribed to the fact Idon't believe in there's no such
thing as an instant classic,because I can't think of any
record that I could like as faras a full album that I consider

(01:45:03):
a classic.
That grew on me to say you knowwhat?
I think that's a classic afterso many years because enough
time has passed or whatever.
Every album that I considerlike a five mic classic.
I knew that within the firsttime listening to it because it
provided me with a certainfeeling that lasted going.
But then we try to like battlewith ourselves and like convince

(01:45:23):
ourselves.
Like, well, is it or is it not?
We'll start picking apart thetrack list Well, this is a skip.
So can it really be classicwith a skip, can it not?
And then we do all these thingsbecause we say we don't want to
be prisoner in a moment.
But anything and everythingthat I can think of that I've
ever considered a classic albumhas always gave me a certain
feeling from day one.
So that negates the fact thatit's no such thing as an instant

(01:45:47):
classic, like we just talkedabout Jay-Z or whatever
Blueprint.
I was worried.
I was like he killed Nas withthe takeover and he got a
classic album to boot.
The first time I listened to itI said this is Jay-Z's best
work, outside of ReasonableDoubt.
After one spin of that recordI've told Sean that a million
times, like one spin classicstamp.

Speaker 1 (01:46:09):
Period.
I think it depends on how youdefine a classic in terms of
that.
I think it depends on how youdefine a classic in terms of
that.
I think the classics that youwere talking about are classics
that have that all-timegreatness to them that's just
hard to deny, where you knowthat you're witnessing something
special when you listen to it.
I do think that there are otheralbums that are classic, that

(01:46:33):
grow on you over time, where yougo back and listen to the music
and be like you want to knowwhat.
That was a really special momentand we probably didn't
recognize how special the momentwas.
I'll give you an example theroots with illadelf half-life.
That was one of those momentsbecause the fujis were having a
moment, nas was having a moment,redman was having a moment,

(01:46:56):
outkast was having a moment,tupac was having the moment of
all moments Because all thosemoments were happening.
All those guys made anend-to-end player with a banger,
with some of the best guestappearances in the 90s.
Think about this they hadD'Angelo Q-Tip, bahamadia.
This is all from a group thatonly released one major album.

(01:47:18):
They had hitters on that firstCommons on that record.

Speaker 3 (01:47:22):
It just got overshadowed, but I call those
cusp albums.
It's a lot of albums that's onthe cusp and maybe over time.

Speaker 1 (01:47:28):
So is it a cusp album ?
Or did we not get indoctrinatedwith it enough, the way we got
indoctrinated with an ATLagainst the score it was written
all eyes on me.
Is it about the exposure to themusic?
Because what I would tell youis that the more you expose to
some of the music, the more youmight find great shit.
I was so busy listening to allthat other stuff I probably

(01:47:50):
didn't realize De La Soul,stakes as High was a classic
until about 1999, guys, becausethe other stuff that came out in
96 was Soul Supreme.
I didn't spend that much timelistening to Stakes is High,
like really sitting down anddissecting the album from end to
end, because no, I wasn'tlistening to it, it was written
from month to end.
I was listening to ReasonableDoubt from month to end.

(01:48:12):
My cousin, every time I camearound him, was playing Muddy
Waters nonstop AT Ellions, wasplaying everywhere in Charlotte
all the time.
So those are the projects thatI heard.
So by the time I had made it tothe roots, made it to the
foodies, I was like, oh man,it's like fuck, I just missed.
Like, oh shit, like I didn'teven know.

Speaker 3 (01:48:32):
Yeah, we used to sit with albums longer back then.
So I think it's kind of hard togauge because now people
declare instant classics butthey only sit with them for
about a month and then don't goback to them.
What I'm saying is like I justfound that any rap album that I
listened to that I considered aclassic off the bat because of
what you pointed to, the feelingof it, and like you're

(01:48:53):
witnessing something great, likewhen Kobe was locked in scoring
that 81 points.
Like you know what I'm saying.
It's like you know thatsomething amazing is happening
as you go through the track list.
Like you listen to stillmaticit's a highlight reel from you
know I'm saying that on theirbeginning to end and get rich or
die trying joints like that.
But if I felt like thatinitially, I still felt like

(01:49:15):
that over time.
So I just don't think that youknow it's a lot of credence in
saying like, well, you can'tcall something classic off the
bat because not enough time haspassed to gauge it.
I think it's a loadedconversation, but I think from a
feeling perspective, like youtalked about, I think you know

(01:49:37):
when something's classy, you getthe chills, you know like when
intro to be comes on.
You know when what up gangstacomes on you know still manic
intro, like you, know, like youknow, I mean if you come out of
the gate like that Like you know.

Speaker 1 (01:49:54):
I mean, if you come out the gate like that, you got
to fumble the bag, you like.
But there's a differencebetween.
Even like you know, when youhear an intro to a classic album
, like you know, when you'reyounger it might be harder for
you to identify, but when you'relistening to a stillmatic and
you're 20 years old, it's like,oh no, you know, that is special
.
When you hear what up gangsta,you know Up Gangsta.

Speaker 3 (01:50:15):
The last time I got that feeling was listening to
KD3.
When I put it on, I was likeget a reporter it's cool From
legit on.
I was like the way he's pacing,he's going to do it.
This is another classic recordfor Nas' catalog.
That was a feeling.

Speaker 1 (01:50:34):
Here's why alfredo is my favorite freddy project.
It's because most of freddy'sprojects get better as it goes
along.
Alfredo is the project thatstarts the way.
Freddy's projects usuallyfinish like he started with 1985
.
It's like no, you usually getto about four, five, six, seven
songs into a great freddy albumbefore he really start going for

(01:50:54):
his.
Sometimes it's like, oh no, onAlfredo, he goes from this from
the jump.
It's like he's talking about1985, michael Jordan I travel
with a cocaine circus.
I'm like yo, I'm like he iswild right now.
Yeah, I'm like give me this guyright now.
And then it goes into God isPerfect and Scotty Beam and I'm
like, oh my God, I'm likeclassic.

(01:51:15):
I'm like it's sounding like aclassic rap album.
And then it starts playing outlike it and it's like, oh, by
the time you get the baby shit.
When you're on track seven,you're like, oh, this is a
classic rap album.

Speaker 3 (01:51:24):
Well, that's the difference, because you're
letting your ears dictate whatyou consider a classic versus
like we talk about classicmoments.
With this Kendrick thing, themoment he's having the hope, the
full year that he's having, ispretty much unprecedented as far
as a year that any rappers has.

Speaker 1 (01:51:43):
So you're going to listen to the music.

Speaker 3 (01:51:46):
It is right, you want to listen to the music with a
different ear because you'relike how can this album not be
classic, how can it not be thebiggest thing I've heard you
know this year because of, like,at the clip that he's operating
at?
So I think hearing the instantclassic when you're not, don't
have any expectations orwhatever, is more organic than a

(01:52:07):
moment surrounding an albumbeing so massive that you kind
of like it's a good album.
But you know what I'm saying?
It's a classic because themoment is classic.
How can it not be classic?

Speaker 1 (01:52:19):
No, because here's why Classic albums really change
your life.
Dnx isn't a life changer.
Not like us is a life changer.
Good Kid Mad City is a lifechanger.
Pimple Butterfly is a lifechanger.

Speaker 3 (01:52:35):
That's how you identify.
Do you consider Damn a classic?

Speaker 1 (01:52:37):
No, because it's not holding up like that.
When you go back and listen tothe music, I will tell you that
I personally do.
I prefer to listen to Damn overTo Pimp a Butterfly, but I mean
to be honest with you.
My ear tells me that To Pimp aButterfly Is the superior
product by far, just the contentalone.
Like you want to talk aboutexecution of high level,

(01:52:58):
conscious, thought-provokingcontent, like yes, it's
everything.
It's everything that mr moraleisn't and it has the cohesion
and the delivery that damn lacks, because the records on damn
are stadium flow and they're bigbut they don't connect any dots
for you.
The stories on sep a Butterflydo connect dots about at least
what he's striving to be as anartist, maybe not personally,

(01:53:20):
but what he is striving to be asan artist on To Pimp a
Butterfly.
He does an excellent job ofachieving and nobody can ever
take that away from him.
It's an excellent piece of work.
If you want to talk aboutgiving somebody songwriter of
the year type of credits as arapper, that is an album that
deserves those types ofaccolades, even over this, not

(01:53:40):
Like Us and GNX stuff.
Yeah, they dropped the ball atthe end.
Yeah, they dropped the ball onButterfly, where he deserves
song of the year.
Stuff is from the stuff onthere Because, as a writer, that
is his best performance as awriter.
That is his best performance asa writer.
Very much.
It was written as Nas' beststuff as a writer.
As a writer, he's in a specialspace.

(01:54:02):
So where are we going to start?
We're going to go through ourpress play, which is actually
guess what.
You know, I'm loving this.
It's more Kendrick.
We're doing a preview of whatwe think Kendrick's halftime
show is going to be like for ourpress play this week.
I'm going to start it off likeI always do, so, ag, tell me
what you think about my songnumber one.

(01:54:23):
I have DNA starting off theSuper Bowl halftime show.

Speaker 3 (01:54:27):
I like that pick.

Speaker 1 (01:54:30):
When I was thinking about songs, I thought about
songs that I felt like, since wejust picked 10 songs and we
don't know how the mashups aregoing to go, obviously I thought
about what would be a goodkickoff High energy, high energy
People familiar with, becausethis is damn so.
You've already had, you knowabout eight years of Kendrick

(01:54:51):
and so this is a familiar song,I feel like, to the masses.
And so I picked DNA at numberone.
I got Squabble Up at number twobecause I think it's a good
transition to go from somethingold to something new and modern
and you have to do new stuff topromote the album.
And so I picked two recordsfrom GNX, and Squabble Up was
one of the two records I pickedbecause I felt like it fit with

(01:55:12):
the songs that I was choosing.
Third song that I have isactually a mashup.
I have a Bitch Don't Kill myVibe and Money Trees mashup.
I think that's just importantto his core audience that's
going to watch this show.
But I also feel like you haveto get to those people early so
that you don't lose them.
If you play too many of the bigKendrick crossover records, you

(01:55:34):
might lose some of that corebase, and so you have to play a
record like that early to keepyour core Kendrick fans in there
.
Right now I feel like so I havethe Bitch.
Don't Kill my Vibe.
Money Trees mashup.
Number four I got humble off ofDamn.
I did realize when I was makingthis list Damn has the most
stadium flow by far.

(01:55:55):
So for people who like to ridearound, listen to music, I can
see why they love damn so much.
Aj, you strike me as one ofthose people.
I can see why you like damn somuch.
I got humble at number four.
I got love off of damn.
At number five.
I think you got to play love.
I think it's one of thoserecords, that it's one of his 10

(01:56:20):
best records, because veryrarely are you a big of an
artist as Kendrick and a greatof a lyricist and storyteller as
Kendrick, and a song like thisnaturally becomes a hit without
you planning on it becoming ahit.
That speaks to the quality ofthe record, in my opinion, and I
really do think it's one of his10 best songs and I think this
is one of those moments where,as a rapper getting this stage

(01:56:44):
as a solo artist, you need toperform your best songs, or at
least a good portion of them.
Number six more damn.
I got loyalty because I feellike you need to re-honor
appearance during the Super Bowl.

Speaker 3 (01:56:55):
Okay, so is that your first like shocking prediction
for a?

Speaker 1 (01:56:59):
guest.
Yeah, Loyalty with Rihanna is amust for me, and here's my
thing.
I feel like you got to, likeyou got to handle this carefully
because you got to bring SZAout too, and so I felt like,
after doing loyalty, he actuallyneeds to go into element.
But I want him to go intoelement because I feel like this

(01:57:22):
is a potential mashup where hesays I'm going to do it for
Compton and they're going tomash it up and go into Luther
with SZA.
Okay, so I feel like element isgoing to go into Luther.
You think Luther is Super Bowlworthy?
I don't, but I feel like it'sthe song that you should bring
out for SZA, and I feel like youshould have SZA and Rihanna

(01:57:43):
here Back to back.
That would be crazy.
Rihanna and SZA Like thinkabout your pull as a rapper when
you got Rihanna and SZA in thebag.
Like I mean, you pretty muchgot two of the top four of the
previous and current generation,because you don't have her and
Beyonce, but you got Rihanna andSZA.

Speaker 3 (01:58:02):
That's big, that's big.

Speaker 1 (01:58:06):
You do have big records with both of them and
it's a good way to keep pace ofthe show as you wind it up.
I have Luther going in theswimming pools, okay, and I have
swimming pools going in the allright, of course, which I think
everybody knows is probablygoing to be the show finisher.
I would like to think much likeUsher's year was the show

(01:58:27):
finisher.

Speaker 3 (01:58:29):
That's a good ten Coop and nice career
retrospective, because youpretty much Um yeah, I think
that's what.

Speaker 1 (01:58:40):
I think those songs are trashy, so I would never do
that.

Speaker 3 (01:58:42):
I'm going to be that's what I try to do too, but
any other like uh guestappearances.
I remember you said that, um,you thought TDE was going to
come out at uh one black hippie,I'm sorry you all kind of
discouraged me from that thought.

Speaker 1 (01:58:55):
And then I really did start asking myself, well, what
record?
Like what?
Do they have a symphony typerecord?
No, like that's what I use.
Like it's like that clicks andcruise records.
It's like, do they have aninternational players anthem?
It's like, nah, they don't.
You know, they don't haveanything like that.
And so unless you're gonna douh, unless I mean I know

(01:59:20):
kendrick did a lot of thereference track for when unless
you're gonna let j-rock come outand do a piece of when and let
schoolboy come out do a piece ofcollard greens, and then it
becomes that point where you'rebeing funny.
It's like, well, those are thetwo biggest records I can think
of from that camp outside ofkendrick.
And then it's like, well, whereabout the rest of the crew?
It's like, what ab soul recordyou're gonna let ab come out to?

(01:59:40):
It's like inviting the wholecrew kind of means inviting the
whole crew.
Do you have big enough recordsin that crew for you to do that?
And then that brings me to thefact that I realized, man, these
guys, to be a crew, reallydidn't collab like that and
kendrick alluded to that on hardpart six record.
So he did.
It's like well, you niggasreally didn't do records like
that together for that to be athing, and y'all kind of put me

(02:00:02):
onto that and got me to thinkabout it, so I don't think that
we're gonna get that okay, okay,fair enough, dope 10, though
you ready for mine?
Yeah, yeah, let me hear it allright.

Speaker 3 (02:00:12):
So for number one, um , what I envision for that is,
you know, I I thought he wouldstay away from it, but with all
the grammy wins and everythingelse surrounding it, I think he
comes out to not like us.
And the reason why I say that Ikind of envision you know.

Speaker 1 (02:00:30):
Right now though, angie I think.

Speaker 3 (02:00:33):
But but that's what I'm alluding to.
I think that he's going to dosome interpolation of the record
in some capacity.

Speaker 1 (02:00:40):
I think that I feel like that might be possible.
He might be able to play themusic live.

Speaker 3 (02:00:45):
Right, I think that I kind of visioned the stage
being like you know what I'msaying.
They're waiting for him to comeout and then it it drops the I
See Dead people and then thebeat drops.
You know what I'm saying.
It comes on and then he raps afew bars before he gets into
anything about Drake, the partwhere he says, say Drake, I
heard you like him young.
It's a few bars before leadingup to that.

(02:01:06):
He might get up to that andthen the music cut and
transition to something else orjust have the band play the
melody or something like that.
I think he comes out to that andI would prefer that be at the
top of the show to get it out ofthe way.
Like, okay, we heard the song,let's move on.
You know what I mean.
So that would be my number one,number two, number two through

(02:01:32):
five.
I kind of cheated a little bitbecause I went back and did my
research of the first time heperformed at the super bowl with
dre and that, um, you knowlittle medley they had.
So I kind of used that as areference point.
Um, number two I got mad.
Uh.
Number two I got mad city, youknow say yo, that's a thing.

Speaker 1 (02:01:52):
I had that my list.
That was the song that didn'tmake my list.

Speaker 3 (02:01:56):
Mad City is a huge banger he came out.

Speaker 1 (02:01:59):
that was his opener to his segment of the Super Bowl
last time that might be thebest song on Good Kid Mad City
too.
Ag.

Speaker 3 (02:02:07):
I'm not mad at that, it's my second favorite.
My favorite is BackseatFreestyle, but this is my second
favorite.

Speaker 1 (02:02:13):
Real is my favorite, but this might be my second
favorite too.

Speaker 3 (02:02:16):
But yeah, that's what he came out to last time.
And then he transitioned to AllRight.
All Right is arguably hisbiggest record.
All Right is getting playedagain.
Yeah, it's definitely gettingplayed.
And then he transitioned fromAll Right to what I have as
number four is Humble and thennumber five, dna.
Those two records off damn realhigh energy.

(02:02:38):
I don't think it's any way thatthose two records don't get
played.
So I cheated a little bit formy 10, because that was the
sequence of runoff from Mad CityAll Right, humble and DNA.
What he did on the last SuperBowl.

Speaker 1 (02:02:52):
What about Mad City?
I'd love it if he'd bring MC8out.

Speaker 3 (02:02:55):
Oh, that would be crazy, then number six is going
to throw you for a curveball.
I got N95.
Like I said Actually, no, ag,that didn't.

Speaker 1 (02:03:06):
That was the one song from Mr Morrell that I thought
about putting on my list,because I had to give it some
consideration, because Irealized that this is a
political game and he needs toget screaming numbers from all
his albums and so there might besome project.
I just have to be consistentwith how trashy and assy that
album is.

Speaker 3 (02:03:24):
It's trashy and but I love the record because it's
high energy and I think that itwould fit good in the set list
and, like I said, I'm trying todo a whole career retrospective
because you got to think likehim.
A lot of eyes and ears aregoing to be tapped into him that
normally are not, so you don'twant to point everybody to the

(02:03:46):
rest of your catalog withoutpointing them to that album as
well, is what I'm saying, ag youknow what Mr Morale is.

Speaker 1 (02:03:53):
It's like a girl with a BBL.
It's all right, but it's notreal.

Speaker 3 (02:03:57):
Next Number seven.
I think it would be a hell of atransition going from N95 to TV
Off.
That's what I got at my numberseven.
I don't like TV Off, but okay,it's a huge record for
everything.
It's so appropriate for themoment.

Speaker 1 (02:04:14):
It is.
It's just the record whereeverything is so appropriate for
the moment it is.
It's just the beat tail is toosimilar to the other stuff, but
I hear you.

Speaker 3 (02:04:19):
And all those thousands of people yelling out
mustard would probably be crazy.
But you know, at any rate, Ithink that's a big stadium
sounding record Number eight,and this is going to flip the
script a little bit From TV Off,I think, you go into squabble
up and you change your mind.
On the TDE thing, on the um, onthe black hippie thing.

(02:04:39):
Me, on the other hand, I kindof thought about what you said
and I don't think they perform arecord.
But I think this is the recordwhere he says well, let me let
the crew get some love and geton stage.
You know, you know, like Nashad everybody in the booth from
Queensbridge on Represent.
I think this is that momentwhere he brings a lot of the

(02:05:00):
West Coast on stage, similar towhat they did on the pop-up show
with Not Like Us.
I think everybody comes out tosquabble up and hits the stage
with them.
So, tde, black Hippie, theydon't get mic time, but they get
to share the stage, but theyget stage time.
Okay, alright, number nine thisis SZA's entrance.

(02:05:21):
All the stars Up until thispoint.

Speaker 1 (02:05:24):
I think Off the Black .

Speaker 3 (02:05:25):
Panther soundtrack.
I think up until this pointeverything else is just kind of
like a medley, I think you needmore GNX.

Speaker 1 (02:05:31):
That's why I didn't put all the stars.
All the stars was on my outsidewith Good Kid Mad City.

Speaker 3 (02:05:36):
Right, but I think this is more appropriate than
Luther, because you're at SuperBowl, all the stars.
You know what I'm saying?

Speaker 1 (02:05:41):
It is I'm thinking about running up the numbers for
G and X, though, but I hearwhat you're saying.

Speaker 3 (02:05:45):
I got you.

Speaker 1 (02:05:46):
And all the stars is the better record in my opinion,
you only get 13 minutes, Ithink.

Speaker 3 (02:05:51):
These other songs prior to all the stars get
played in a medley and all thestars perform.
It gets performed in itsentirety, since it gets the burn
.
And then, you know, kendrickgoes through all the verses and
that's the, you know, big recordof the night.
And then, for the close, Ithink, I think loyalty and all
right, or that?

(02:06:12):
but that's fair.
Um, and for the closer this isjust fan fiction for me.
I would like to see it happen,but I would like to see the
closer be man at the garden andI tweeted a long time ago I'd
like to see him.
You know what I'm saying.
Do a mashup of man at thegarden and one mic and bring Nas
on the stage.
I doubt that will happen, butit would be dope to see.

(02:06:32):
But yeah, that's my closer manat the garden.
I think it is appropriate.

Speaker 1 (02:06:37):
I like that you took some chances with your list, aj,
yeah, I like that.
Yeah, yeah, that was aninteresting list.
I really enjoyed that.
I mean, if Sean's not going tojump in, we're just going to
cover a couple of small notesbefore we slide out of here.
Unfortunately I'm sureeverybody knows this already Irv

(02:06:59):
Gotti has passed at the age of54, ag Sad news.

Speaker 3 (02:07:08):
Rest in peace.

Speaker 1 (02:07:08):
Now I know it's real because Russell Simmons finally
said something.
Now I know it's real becauseRussell Simmons finally said
something.
We're losing another one of ourbrothers, way too young in this
community.
They are poisoning us.
Do you know the number onething that I've been talking?

Speaker 3 (02:07:32):
about in the five years that I've been doing
podcasts AG Mental and physicalhealth.

Speaker 1 (02:07:34):
Mental and physical health.
Mental and physical health.
The health of the men and womenin this business and how the
demise of them comes all toosoon.
54 AG 54 years old, he isalready gone.
The things that this businessdoes to you and indoctrinates
into your lifestyle the poorsleeping habits, the, the poor

(02:07:55):
eating habits, the drug andalcohol addictions, the women,
the lack of physical fitness andcare.
It is a problem that needs tobe addressed.
It needs to be addressed by ourcommunity as a whole, but by
the hip hop communityspecifically.
We are losing this man too soonand I am tired of saying that

(02:08:18):
we are losing these legends,these icons, these contributors
to the game too soon.
I'm not trying to be funny whenI'm saying this.
Mick Jagger and Keith Richards'ass are still walking around.
This motherfucker, after allthe cocaine and drugs and women.
Something is really, reallywrong about not only what's

(02:08:40):
being done to us understand thenature of the threat, but what
we are doing to ourselves.
We need to stop, look, reflectand start making the appropriate
changes.
I am tired of having thisconversation on Hip hop podcast
about having to remembersomebody, but quite frankly, I
feel like should be here another20 or 30 years.

Speaker 3 (02:08:59):
Yeah, they said he was making better health after
his first uh, after his firststroke he was making better
health decisions and stuff, butthen it's tougher.
The second one.
You know it's tough, but herhas had a lot of contributions
to hip hop like if you're a bigtime DMX fan.

(02:09:20):
Irv is instrumental in DMX'scareer.
If you're a big time.

Speaker 2 (02:09:24):
Jay.

Speaker 3 (02:09:24):
Z fan.
Yeah, you know what I'm saying.
Majorly instrumental in Jay Z'searly you know beginnings, ja
Rule, you know the whole MurderInc bringing.

Speaker 1 (02:09:39):
Def Jam had two legendary runs Irv is the main
man responsible for the secondlegendary run, because he's the
man that is responsible forputting Jay-Z, Ja Rule and DMX
in the Def Jam building morethan anybody else.
If Def Jam is the greatest raplabel that ever existed, which
by most estimations andevaluations over a course of

(02:10:00):
time has proven to be, he's justas instrumental as anybody that
ever walked through the door,Because the numbers that Ja Rule
, DMX and Jay did, oh ain't.
Never one guy bought threepeople into the door.
No rap label, Nowhere that Idid numbers like that.

Speaker 3 (02:10:17):
That's what.

Speaker 1 (02:10:17):
I mean about losing him too soon, because what gets
lost in the fodder of 50 beingpetty and of Ja Rule, losing
this battle of 50 and the MurderInc.
Heist and being involved withSupreme and all this is his
contributions to hip hop.
This is somebody that startedoff carrying crates for DJs in

(02:10:38):
the neighborhood.
His beginnings are humble.

Speaker 3 (02:10:43):
And now he got production classics to his name.
Can I Live is a top 5 J trackfor me, and it's produced by her
.

Speaker 1 (02:10:54):
It's easy, it's the moment on reasonable doubt, like
if you ask people whatreasonable doubt is about can I
live?
Is the record that you play?

Speaker 3 (02:11:03):
right and I and I also credit her with bringing
something to the forefront thatwas right in front of our face
before, like during that erawhere Murder Ink was thriving.
Prior to that, a lot of ourbiggest records were R&B and rap
collabs.
You know what I mean.
But he decided to go out, getthe talent that's Ashanti, bring

(02:11:28):
her in-house and you just gothits being churned out by Ja
Rule and Ashanti with that R&Band rap formula that we knew and
loved before that, but nobodydid that within their same camp.
If that makes sense.

Speaker 1 (02:11:44):
This is what's crazy about it.
Irv's a street dude, yeah, even.

Speaker 3 (02:11:49):
Bad Boy Like you know Big Widow and Total Records and
112.

Speaker 1 (02:11:54):
He flipped his formula.
No, no, his shit is.
Can I live and get at me, dog,like the records him and jaw was
doing?
That's what I mean.
Like that's one of, actuallyone of, the more tougher feats
in hip-hop history.
The way john earth flipped thegame.
Them ain't the type of recordsand dudes like to make.
Right, they did that.
They did that because they seenwhere the paper was at.

(02:12:15):
They peeped the weakness in therap game and sold it.
To quote Tupac on Hail Mary,they peeped the weakness in the
rap game and sold it.
Irv was great at that in histime.
He's the one that took LiorCohen to DMX while DMX was
sitting in a hospital bed withhis jaw wired shut because some
niggas he had robbed had jumpedhim and fucked him up.

(02:12:37):
When people tell the storyabout DMX rapping with the wire
through his jaw, they forgetabout how Lee they forget how
the fuck Lee or Cohen got upthere.
You know how Lee or Cohen got upthere.
Irv Gotti is how Lee or Cohengot up there to see DMX.
You get what I'm saying.
That's why, like when you loseguys like this so soon and so

(02:12:59):
fast the way the news cycleworks they don't have time to
become legend and reach iconstatus fast enough for us to
really revere them.
This is what happens when youdie young.
Yeah, it's a rest.
When you die young, yeah.

Speaker 3 (02:13:16):
It's rest in peace to Earth.

Speaker 1 (02:13:18):
Yeah, rest in peace to Earth.
I don't know.
Yeah, I think we're good.
I think Sean had to dip out,but rest in peace to Earth,
gotti.
Appreciate everybody forpulling up the Hip Hop Talks
tonight.
We got more coming.
We'll be staying current andstaying brand new.
My new show, unwrapped, iscoming soon.

(02:13:40):
Shout out to Andrew MirrorMusic.
Shout out to Sean Behind theScenes.
Shout out to Hip Hop Talks.
Make sure you click like,subscribe, share Almost 2K.
AG.
Any parting words?
Or shout out yeah, yeah, goahead and get us to 2K.
Yeah, almost AG.
Any parting words of Shabby?
Yeah, yeah, go ahead and get usto 2k.
Yeah, almost 2k.
One more super chat before weget out of here.
This is actually a good way toleave Michael Williams with the

(02:14:01):
$5 Super chat.
Is Daytona better Than magic?
Two of the best projects under30 minutes.

Speaker 3 (02:14:08):
I think it's a photo Finish like I think that's A
tough one Bias, but that's,that's a tough, that's a tough
match.

Speaker 1 (02:14:18):
You know, what I love is like what I say, like post
the original nas prime.
Pusha t is my favorite mc andwhen I did my 40 and older mcs,
nas came out at one on mycriteria and pusha t came out on
number two, which made me smile.
I'm like you.
This is a photo finished to me,and so what I will tell you is
is that it is actually the lastcouple of tracks on magic that

(02:14:41):
put it over the edge.
It's the truth.

Speaker 3 (02:14:45):
It's the closeout record.

Speaker 1 (02:14:46):
Yeah yeah, dedicated in the truth, like actually
close the deal, because if youactually go record for record
it's like, oh no, it's hard, butyou get two bonus ones on magic
you know it's, it's, it's, it's, it's literally neck and neck.
I think the truth is theseparator, because the truth is
the best bar seminar betweenboth projects, even though the

(02:15:08):
projects are close and so I'llsay we're talking about the mic
performances.

Speaker 3 (02:15:14):
The production is real close as well between Kanye
and Hit-Boy.

Speaker 1 (02:15:17):
No, no, no, I'm talking about all of it.
The production between Kanye andHit-Boy is comparable.
The mic performance betweenPusha and Nas is comparable.
I'm going to call theproduction a draw.
I would tell you that Ipersonally would probably prefer
to rap over some of those primeDaytona beats.
The best Daytona beats to meare better than the best Hit-Boy

(02:15:40):
beats on Magic, but I feel likeMagic is more fitting to the
artist.
Like Hit-Boy did what Nas doeswell, more than Kanye did what
Pusha does well, even thoughKanye did an excellent job.
It's not to take anything awayfrom Kanye.
I just think magic is speciallike that and I think the bar

(02:16:01):
seminar on the truth on bothverses is special like that.
That that's the splitting hairspart.
But for me, those two recordsand Alfredo and Victory Lap by
Nip yeah, all four of those,that's all in the same pot for
me you said how the records end.

Speaker 3 (02:16:20):
Who do you think came out the gate swinging the
hardest?
Nas or Pusha?

Speaker 1 (02:16:25):
You know what I'm saying With the intros as much
as I love me some Speechless Ifyou Know, you Know is the better
record.
Hg.
You think so.
I do, if I'm being objectiveabout it, because If you Know,
you Know has more timeless legsand themes and I always give Nas
the credit when he doestimeless records and themes and

(02:16:46):
the timeless theme to If youKnow, you Know is bigger than
Speechless.

Speaker 3 (02:16:52):
Yeah, both of those tracks are real strong.

Speaker 1 (02:16:54):
And I inherently do think the beat is better.
I love the beat, tiff, you knowyou're not.

Speaker 3 (02:16:58):
Yeah, the opening bars of both tracks are crazy.
The opening bars.

Speaker 1 (02:17:04):
The bar work by Nas is better, but the record's not.

Speaker 3 (02:17:08):
Yeah, good question.
That was a dope super chat.
Appreciate it.

Speaker 1 (02:17:11):
Yeah, yeah, that was a dope chat.
All right, check us out.
We got more stuff coming soon.
I don't know if you all noticed.
We've started air and mirrormusic on hip hop talks and hip
hop talks on mirror music.
Look out for the new episodesfrom mirror music.
Look out for new episodes andshorts from hip hop talks.
We looking out for unwrapped bycoop coming soon.
Salute to everybody out therein.