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Episode Transcript

Speaker 1 (00:39):
Welcome to Hip Hop Talks.
Yo yo, How's everybody doing?
Sean AG, what up People?
What up, what up?
What up, what up?

Speaker 2 (00:50):
to the chat.

Speaker 1 (00:52):
Shout out to the chat , to the Discord, to all the
people Make sure you click, likeand subscribe to our page.
I know I missed our episodewhere we went over 2K last
episode, but we are officiallyover 2K, so congrats to us,
congrats to you guys, thank youto all the people who have
followed us, supported us, staydown with us, continue to help

(01:12):
us grow, click, like, subscribe,share, got another great show
on the docket.
Sorry I wasn't here last week.
Life took over the end likeLife be lifin', life be lifin'.
So you know it's rare that Imiss an episode, but had to take
care of that.

(01:33):
How y'all doing, how's yourweeks been Grindin'?

Speaker 2 (01:36):
Grindin' man, grindin' Grindin'.
It's good though.

Speaker 1 (01:45):
Okay, how we want to get started off.
Y'all want to go ahead and jumpright on in with some music
anniversaries.

Speaker 2 (01:50):
Let's do these anniversaries.
Let's do the anniversaries.
Shout out to the chat.
I'm tagging y'all back rightnow.
Pause.
Shout out to the chat.
It started early Wow.

Speaker 1 (02:01):
I mean, I'm pretty certain, it's only what.
45, 60 seconds into the show.

Speaker 3 (02:06):
Yeah, so go get us flagged early.

Speaker 2 (02:08):
I was going to say, take it back.

Speaker 1 (02:11):
There'll be no Skrilla for us this year, fellas
.
There'll be no Skrilla for us.
Speaking of Skrilla, you knowwhat rhymes with Skrilla the
name of Rick Ross's album.
Trilla Celebrated theanniversary March 11, 2008.
What are y'allall thoughts onthis early album for Rick Ross?
I feel like this is like analbum time and a point in Ross's
career where Rick Ross wasn'tthe Rick Ross that he's

(02:32):
recognized as now, but thisalbum has something to do with
his now legendary status.
What are your thoughts onTrilla, ag?

Speaker 3 (02:42):
Great album, definitely not a classic.
Like you said, coop, this wasearly on in his career and I
think each project was ascendingtill he eventually hit that
almost classic status record anddeeper than rap, you know, in
my opinion, um, but uh, I lovethis.
I love this album.
Um first made back music is onhere, classic record, one of my

(03:05):
favorite jay features of alltime.
I don't think it's even broughtup enough.
To be honest, um, hold ondeeper than what's that?

Speaker 1 (03:14):
you think deeper.
You don't think deeper than rapis a classic I mean I do.

Speaker 3 (03:18):
I said this was the essential to it.
I think it's debatable.
I I consider it a classic, butsome people may not.
But I do this got luxury tax onit.
It's a lot of heat rocks onthis album and I'm a big fan of
it.
Sean, I don't think he is,because everything that Ross
puts out Sean hates.

Speaker 2 (03:38):
Don't do that.
No, don't do that.
This is pre-hate for me.
This is when I was actuallyrocking the bass.
Oh, this is when, yeah, Istarted hating on Ross like two
years ago, going into a year anda half, okay okay, so the
hatred is a recent bias.
It's not an old bias you didn'thave a bias buy-in?

Speaker 1 (03:58):
No, no, not at all.

Speaker 2 (03:59):
Not at all.
This is what I honestly felt.
That Ross was one of those.
I'm going to be honest with you.
I used to play the boss all thetime.
That beat on the boss was crazy.
The boss is crazy.
The record is crazy.

Speaker 1 (04:18):
I had the Nissan Maxima on blast.
I want to let everybody knowthese dudes have been in the
background.
We've been talking about Q45sand Chevy Cavaliers.
What are we going to talk aboutnext?
The Corsica?
What else?
We got A little 1956.

Speaker 3 (04:35):
Corvette.
Yo, we should do a wholesegment on hood cars.
You know what I'm saying?
Volkswagen Jettas, that was ahood classic right there.
You know what I'm saying gottahave the Pathfinder, yeah,
nissan yo for sure, the 4Runner,the Toyota 4Runner.
Absolutely, I still ride a4Runner right now you know what
I'm saying no doubt, no doubtreal, real quick real quick

(05:00):
before we slide to the nextalbum.
This was the point where Istarted to put Ross over Jeezy
and Coop.
You being the down south guy,you know.
Did you feel the same way whenTrilla came out?
Because I think this is thepoint where he passed Jeezy in
my book?

Speaker 1 (05:19):
I don't think he passed Jeezy in my opinion until
God forgives him, I don't.
But I was more of a Jeezy in myopinion until God forgives and
I don't.
But I was more of a Jeezy fanearlier than a Ross fan and
became more of a Ross fan than aJeezy fan later.
I am a big fan of 103 by Jeezy.
I think that is Jeezy's lastgreat studio industry album and

(05:39):
so when you look at it early onit's like, well, early on
Jeezy's got 101, the Recession103, and Trapper Die 1 or 2, in
my opinion, and so I don't know,even if he took them over,
maybe in terms of notoriety hetook them over because this has
here I Am and Maybach Music andLuxury Tax, and so it's just

(06:01):
more of a coming out party forhim.
So he might have passed him innotoriety, but I don't think he
really passed him.
Until God forgives it, I don't.
But I'm also biased and I loveboth artists but was partial to
Jeezy first and Ross later.
I didn't really probably becomea fan of Ross until Deeper Than

(06:23):
Rap Trilla was dope to me, butit wasn't the album that made me
a fan.
Deeper Than Rap is what made mea fan.
Yeah, I'm with that and I stillthink God Forgives and I Don't
is his best project and I dothink that that's a classic.
I agree.

Speaker 2 (06:36):
Yeah, I agree, I agree with that.

Speaker 1 (06:38):
Yeah, let's slide to the next project.
Guys, boogie Down Productionslive hardcore, march 12th 1991.
Sean, this was a nice pull byyou.
I'm glad that we're actuallybringing this up.
What are your thoughts aboutlive?

Speaker 2 (06:54):
No, I'm just kidding.
No, look, man, when you thinkabout BDP, you think of KRS-One.
Of course, inside the Bridge IsOver.
All of that was on his live Ithink he played.
If I remember correctly, heplayed that song several times
during that live as well, notfor the actual album itself, but

(07:15):
just for the live itself.
He was also playing, of course,everything from South Bronx,
everything he was doing on there.
He was on the run.
This was when K at it, this iswhen he was the philosopher, the
teacher, all of the above.
He came off one of the biggestruns of a new artist coming out
and stomping all over Shan,shout out to Shan, queens, get

(07:38):
the money.
But it is what it is.
He ascended really fast justoff of that alone.
This, to me, was a cherry ontop, if you will, when it came
down to where he went fromcriminal-minded and then you
transition into this later on.
I think 91 when this came out.
91 was a lot of time.
So now you're talking about 91,on the cusp of a new wave of

(08:00):
hip-hop, and this was like thebook end to that 88, 89, 90hop
and this was like the bookend tothat 88, 89, 90 era.
And then you have this in 91,before you get to the new cuss
of hip-hop, and he did his thing, man.
So that's how I feel about it.
Like again, you know how I feelabout BDP, krs-one and
everything they did to Queens atone point.

(08:22):
Everything they did to Queens,you got to give respect to it,
though.
Got to give respect to it.

Speaker 1 (08:28):
Yeah, AG.
What are your thoughts?

Speaker 3 (08:32):
Hey, man, blastmaster KRS I mean this album and live
performance shows why he's oneof the best ever to do it.
You know, even if you don'thave KRS in your top ten, say
what you will like, he'sdefinitely one of the best
performers we've ever seen onthe mic.
You know he's the definition ofan emcee in that regard.
As far as controlling, you knowsaying moving the crowd, and

(08:56):
you know this is a testament tothat.
What I was kind of wondering, Idon't know for a fact, but was
this the first live album andrap that was put out, because I
can't think of any before it Ican't, I can't, I don't I want
to say hammer, did one.

Speaker 2 (09:16):
I'll get out my head, sean.

Speaker 1 (09:18):
But was it around the same time though it feels like
it might have been the same time, because it was I do remember
the hammer album you're talkingabout.

Speaker 3 (09:26):
I think it was roughly the same time because
this is 91, but maybe somebodyin the chat can fact check uh.
Somebody in the chat can uhfact check that for us.
But you know, I was justwondering that when we was uh
talking about this album, is itthe first you know live album,
um, by a rap artist that was putout, but you knowS-One is one
of the best performers.
Live there is Period.

Speaker 1 (09:52):
I'll tell you what.
It seems crazy to say this, butfor where we are in 2025,
krs-one is actually starting tobe underrated, guys, he's
actually starting to becriminally underrated.
And here's why Because if youactually look at his catalog,
like if you look at the BoogieDown Productions catalog, the

(10:13):
Boogie Down Productions catalogis enough to get him in top ten
consideration.
Then you actually have hisquote-unquote solo, solo work,
and to me, the Boogie DownProductions work is pretty much
solo work anyway.
You know what I mean, yeah, andso you look at well, what do
you want out of an mc?
Do you want longevity?
Because it's like, well, he'sgot that in spades.

(10:34):
Literally, the only guy thatrivals that still walking around
is ll um.
What do you want you?
Because, well, his peer groupare Big Daddy, kane, rock M and
Slick Rick and Cool G Rap.
It's like, how much more eliteof a peer group do you want for
Upper Echelon MC?
What would you like?
Would you like all-time greatstorytelling songs?

Speaker 3 (10:57):
Well, he has those he's got Love's Gonna Get you.

Speaker 1 (10:59):
You want all-time great albums?
He's got Criminal Minded and byAll Means Necessary.
You want just dope-ass raprecords?
He's got Sound of the Police,black Cop, step Into a World.
Aw yeah, mc's Act Like theyDon't Know.
Rappers Are in Danger.
Jack of Spades.
It's like he's actuallybecoming criminally underrated.

(11:19):
It's criminal minded that he'scriminally underrated.

Speaker 3 (11:22):
All-time classic rap songs and albums.
Yeah, he's got the voice.

Speaker 1 (11:26):
He's got the live performance.
Think about it he's goteverything.
So when you're saying AG, thefact that he's not considered by
some to be top 10 is the partabout it where it's like are we
tripping?
We might be tripping.

Speaker 3 (11:40):
Well, I'll go ahead and lump myself in that group
because I'm in that crowd.
Well, I'll go ahead and lovemyself in that group because I'm
in that crowd.
I don't have KRS in my top 10,but I think it would be a
travesty if you put themanything lower than 20.
You know, but for me is, atwhat point do we call longevity
too much?
Because we just got throughtalking about what Busta was
doing last week, you know, andputting out projects, and at

(12:00):
some point you got to hang it up.

Speaker 1 (12:07):
So KRS got like 25 or more albums, and kris's last
project was dope.
Though who want to be an mcthat?

Speaker 3 (12:10):
was actually, but would you agree that his catalog
is pretty top heavy?

Speaker 1 (12:16):
define top heavy.
What do you?
When you're saying top heavy,what do you mean?

Speaker 3 (12:20):
he has classics, no question about it, and those are
all-time great rap albums, butthe rest of it, a lot of the
latter stuff, is forgettable,and I mean that respectfully.

Speaker 1 (12:31):
How about this?
His top ten is as good asanybody's top ten this side of
Nas or Scarface or Jay.
It is Like his top ten, hisbest ten albums.
You can sit them next to Commonand Cube, I mean, because I
think you could say that about alot of other guys.
He's just been doing it longer,so he has more product that you
can say that about.

(12:52):
But if you want to talk aboutthe top-heavy stuff, it's like,
well, go look at like the fiveor six Boogie Down production
albums and his best four soloprojects and it's like, oh no,
that rivals anybody's 10 best.

Speaker 3 (13:05):
This side of the odds .
You know, I'm glad you, I'mglad you brought that up because
, like me and um, you know, oneof my friends was talking about
this before like when judgingthe goats, sometimes you have to
go to their not so favorablework because everybody's peak
stuff you can kind of like youknow it's interchangeable, if
you will.
You know all these classicsgoing around, so when I'm
somebody, let's pull out theirworst work, shout out to our

(13:27):
discord man.
Like our discord is always onfire, like today.
We was having a conversationabout Nas's catalog and where we
ranked, like you know, magictwo or streets, the cycle
untitled, you know the losttapes to something like that.
And I said I had magic 2 like13th in his catalog.
You know what I'm saying.
So who else you know what Imean has an album of that

(13:50):
quality as their 13th bestproject?
And not saying it's a bad one,but when we rate the bottom tier
of your catalog, if you will, Ithink that's a separator when
we're talking about the goats.

Speaker 1 (14:05):
Okay.
So I understand what you'resaying when you say that it's
like well at their worst, what'stheir batting average when
they're at their worst, and so Iunderstand that when you're
saying that.
But then there's stuff likethis let's take BDP's live
hardcore and then let's move on.
This is the worst Boogie Downproduction album.

(14:28):
You get what I'm saying.
It's like this is their week.
This is their low moment as agroup.

Speaker 3 (14:38):
Yeah, yeah, but you're right, koop, he is
underrated overall, like in thegrand scheme.
How about this?

Speaker 1 (14:45):
You all remember Blaze Magazine.
Oh yeah, blaze Magazine did atop 50 MCs in like what was that
?
1999?

Speaker 3 (14:53):
Yeah, it was 98 or 99 .

Speaker 1 (14:56):
Okay, so think about it.
That was 26, 27 years ago.
He was number two on that list.
When that list came out, as heshould be, he was number two.
It was rock him.
Biggie was third, yeah, fourth.
Ll was fifth, I think I forget.
I forget who was six.
I feel like ice cube might havebeen six.

(15:17):
Jay was seven.
Slick rick was eight.
No, jay was ninth.
They had nas at like 15.
It was, but.
But what I'm saying is is that,like, literally a quarter
century ago, no, jay was ninth,they had Nas at like 15.
But what I'm saying is that,literally a quarter century ago,
he was in conversation likehe's the greatest MC of all time
.
I don't think his catalog hasbeen that subpar that he should

(15:38):
slide to the back end of theback 20.
How about this, ag?
You have Kendrick and Jadakissahead of him, right?
Yes, explain to me your actual.
I know it's a personal thing,but do you have an objective
argument?
That's credible.

Speaker 3 (15:59):
Jadakiss would be harder to defend because, you
know, by definition he doesn'thave a classic album to the
people.
Like you know, I I considerkiss the game goodbye close to a
classic.
But um, for me, ranking him ashigh as I do, I think jada kiss
has been maintained a level ofexcellence for longer than krs1

(16:20):
has.
You know what I mean.
Although krs is still good,jada kiss has never took a dip
in 25 years.
You know what I'm saying.
So that would be myjustification for kiss, which is
harder to do, kendrick.
I think he's just had too manybig impact moments to not have
him ahead of krs, becausekendrick got classic albums too.

(16:42):
We got to call it what it isbut his impact in the game, I
think at this juncture, has beenbigger than KRS's.
So I think that would be thebuy-in for Kendrick.

Speaker 1 (16:54):
Okay, if I could give you a quick rebuttal before,
before we slap my rebuttal toboth of those would be is is
that well, jadakiss doesn't knowabout KRS's highs because he
hasn't made as many classicalbums as KRS, because KRS has
classic albums, not even close.
So he doesn't operate actuallyLike.
This is my thing with Kiss.

(17:14):
It's like well, you don'toperate, even though you operate
on the mic on the level of KRS.
Can't rate you ahead of KRSbecause KRS operates on the mic
like you do, operates livebetter than you do, and that's
saying a lot because this isdope live.
But he also operates in albummaking mode better than you.
And I would say he actually doesall of those things better than

(17:35):
Kendrick too, and that's why,and that's why I was asking you
that, sean, you have anything toadd?
For we go to the next one.
No, I'll smoke that I'm good.
Gangstar's Hard to Earn, march8, 1994.
Sean Hard to Earn, tell me yourthoughts.
Gangstar's second best album.
I think it is.

Speaker 2 (17:56):
I think it's either second or third.
I'm leaning more so.
Third Best album.
Third, I don't know manProduction.
Okay, hold on.
Hold on, explain yourself.

Speaker 1 (18:10):
Third, explain yourself to the people.
It could be second.
It could be second.

Speaker 2 (18:15):
No, no, I'm thinking, what about?
It makes it third to you, theproduction?
No, no, I'll go back to secondthe production no-transcript

(18:48):
that we are known Primo for atthis point here, and I felt that
Guru was so sharp on this one,this might see the totter in
between.
I wouldn't argue anybody to saythis is number one.
To be quite honest, Because nowI'm thinking about it, Guru.
So I'm back from three to one.
I'm thinking I'll get some ofthe apples mixed up.

(19:10):
Thinking in real time.

Speaker 1 (19:13):
First of all, let me know, let me tell you what you
did.
You went from one side of thebridge and then we pulled you
off and then you proceeded torun to the other side of the
bridge.

Speaker 2 (19:22):
I'm thinking in real time.

Speaker 1 (19:24):
He's covering all bases.
Covering all bridges too.
Something on the land.

Speaker 2 (19:29):
I don't know where it's going to land, but
something on the land.
If you cover all bases,something got to land.
But no, I think I would give itnumber two, because that's more
so because of the production.
I do think that Guru was reallysharp on here, but I think the
production for me the productionmight be some of the collective

(19:49):
of Primo's beats, like the bestthat I've heard in this one as
a collection.
I'm not talking about highsversus lows versus mids, I'm
talking about just steady Eddiethroughout the entire album.

Speaker 3 (20:03):
Go ahead Coop.

Speaker 1 (20:04):
I know you want to wax poetic about.

Speaker 3 (20:05):
Moment of.
Truth Go ahead.
No, I, I know you want to waxpoetic about Moment of Truth.

Speaker 1 (20:06):
Go ahead, I'm not even about to do that.
Here's what I would tell youHard to Earn is their second
best album, because these beatsare great, but these are what I
like to call cypher beats.
These beats are great to cypherto.
That was the error.
Yes, okay, these beats aregreat to cypher to.

Speaker 3 (20:27):
That was the error Right.

Speaker 2 (20:30):
You got some feel on here.
That's what I mean.
It's the ultimate cypher beat,ultimate cypher beat.

Speaker 1 (20:36):
That's what I would say before I wax poetic.
Go ahead, ag.

Speaker 3 (20:40):
I was just going to say I think it's close.
I personally have moment oftruth because, to what Sean was
saying, from the moment youpress play to the record ends,
moment of Truth is his magnumopus as far as Primo's concerned
, and I hope he tops that withhis Nas album, but that remains
to be seen.
But this album it's a closesecond.

(21:03):
But the Wicked and Mass Appealis two of the greatest hip-hop
songs of all time.
So the highs are extremely highon here.
But it's just like from.
You know, like Coop says, theend-to-end player Moment of
Truth edges it.
But this right here, anotherclassic in their catalog.

Speaker 1 (21:21):
Can I tell you all something, right quick.
I'm not as big as Dwick on it.
I'm not as big on Dwick aseverybody else is.
I don't think it's as all-timegreat as everybody else thinks
it is.
Mass Appeal is like that.

Speaker 3 (21:34):
Mass Appeal might be one of the greatest beats of all
time.
Oh yeah yeah, it's up there.
It's up there.
I mean, everybody loves Dwick.
That's the first time I'veheard anybody say that, even
Primo ranked it in his owncatalog.

Speaker 1 (21:48):
How about this?
It's one of those records thatI love it.
I don't love it the wayeverybody else loves it, the way
people respond when it comes on.
I don't respond that waynecessarily, you get what I'm
saying you like.

Speaker 3 (22:02):
Speak your Cloud.
That's my joint Speak yourCloud.
Speak your Cloud.
That's my joint Speak.

Speaker 1 (22:07):
Your Cloud's good.

Speaker 2 (22:08):
Hold on.

Speaker 1 (22:09):
Which one Hold on?
No, no, no, just To Get A Rep'snot on here.
No, no, that's on.

Speaker 3 (22:17):
Which is one of Guru's best storytelling tracks
ever.
I love Just.

Speaker 1 (22:20):
To Get A Rep.
That's a top 10-ish gangstarecord to me.
Yep, is this album a classicbefore we go to the next one?
Is it a classic?

Speaker 2 (22:29):
Yes, I think it is.
Let me ask you all this when doy'all hold Guru?
Where do y'all rank Guru?
It's in your top 20s, in yourtop-.
I don't want to answer thatquestion.
I don't want to answer that.

Speaker 1 (22:46):
We don't talk about that.
I don't hear Guru's name.
Sean, you want to know whatGuru might be the most difficult
MC to rate of all time?

Speaker 3 (22:51):
That's why I don't want to talk about it, man.

Speaker 1 (22:53):
Rest in peace.
To Guru man, it is so difficultto rate him appropriately
because he has so manyintangible qualities as an MC
that represent hip-hop properlythat he probably doesn't get his
just due.

(23:13):
But on the juxtaposition ofthat is the fact that there were
so many guys that did kind oflike, how about this?
Guru?
Very much content-wise, is verycomparable in Oz, yeah, yeah,
but he's not not on the mic, andI think that's the thing that
he suffers from is that for whathe provides content wise, yeah,

(23:34):
there is a Tupac in a nose, youknow, right in between that,
and so I think Tupac and Iactually have something to do
with him, probably not being asnotarized, because if those two
guys don't exist, his commentaryand his content probably shines
a little more, because he'svery much of that ilk in terms
of his social commentary,political, socioeconomic

(23:56):
analysis of black life, his hiphop roots, his educational and
fundamental speaking in terms ofyou understand every word that
is coming out of his mouth.

Speaker 3 (24:07):
Yes, yeah, you, you smoke that group.
You hit the nail on the headand I didn't want to do this.
But you're right, he is thehardest emcee to rank and if you
listen to some features onGangstar albums you can hear why
and the difference.
Like you said, he doeseverything, everything really
good, but just not good enough.
And I don't mean thisdisrespectfully, but it almost

(24:29):
comes off as like when he'srhyming next to somebody of that
elk that you know he's a goodstoryteller, but if you rhyme
somebody against next tosomebody else, that's a good
storyteller.
Guru almost comes off as basicand I don't mean that in a bad
way and you know his voice withthe monotone style which he
leaned into that.
But it's almost like you said,coop, he does everything well in

(24:51):
hip hop, but it's almost like Idon't know how many video
gamers we got out there in thechat Shout out to my son or
whatever, but you know you playa game and then you got you know
all the exclusive like skinsand stuff you have on the game.
But it's almost like Guru isthe default for a dope MC, if
that makes sense with theanalogy.

Speaker 1 (25:10):
You want to know what he is and, ag, you're right
about the analysis, he'sactually the definition of what
a B-list MC is, respectfully andI mean that in a respectful way
, Because here's the thing, AG,when you go to the storytelling,
we'll go to him versus scarfaceon betrayal, and it's like you

(25:31):
see the separation when he'snext to a scarface.
You see the separation,lyrically, when he's next to an
inspector, deck right, uh, oreven a crumb snatcher, or make
him pay.
Yes, you feel me.
When he's next to those guys,you realize no, he's dope enough
to be there, but he's not theguy.

(25:53):
How about this?
You want to know what wouldhave even been doper, I think,
if Guru, you know, if he wouldhave been the second hand in a
group and not the lead mc, like,imagine if he was with a q-tip
or if he, or if he was with aposse news.

(26:13):
You know what I'm saying yeah,like a complimentary piece yeah,
imagine if he was thealternative and not the lead
actor like like, rest in peaceto him, who just died.
In a lot of ways, you know whoguru is, he's our gene hackman.
In a lot of ways, like genehackman was never really the guy
, but he would always played animportant part in a lot of
important movies and a couple oftimes he had some moments,

(26:35):
moment of truth being one ofthose moments, um, unforgiving
being gene hackman's momentwhere you're like, oh man, this
guy is phenomenal.
But for the most part, but formost part, he was the supporting
actor to the lead.

Speaker 3 (26:47):
Yes, that's great.
I think the mid-90s evolutionof the MC hurt him Because by
standards in the early 90s Guruwas top tier.
That's fair.

Speaker 1 (26:59):
That mid-90s evolution hurt him.
How about this?
You say he was top tier.
Do you think he was better thanQ-Tip?
Because I would tell you no.

Speaker 3 (27:09):
No, q-tip had better style stylistically, but I'm
just talking about lyrically.
Straight down the middle he wasthe prototypical lyrical MC or
whatever.
And then the evolution of thatwhere Cats got more lyrical and
more braggadocious and have morestyle, more flavor.
I think, like I said, guru'sthe default.

Speaker 2 (27:31):
it's not that the default's bad, you know, I'm
saying it's just that everybodyelse got exclusive yeah, I mean
his style is the way he hisdelivery, because if you compare
his delivery to those who havevery similar, like GZA for
example, very similar monotone,but GZA went so deep his depth
was crazy.
I mean, go to Liquid Swords.

(27:55):
There's nothing that I don'tthink that Google could have
done to be able to handlesomething for Liquid Swords.

Speaker 3 (28:00):
Be honest yeah, like when you're doing create a
player or whatever, like we wastalking about NBA 2K, like you
can you know all the attributes,you can you know I'm saying
make them better, whatever.
But it's like guru, steadyeddie man, like he was.

Speaker 2 (28:15):
He was just you know the basics, like really good at
everything, but just not greatand let me ask you this real
someone, ask you this real quickCooper and AG, because he was
with Primo, one of the bestproducers of all time.
Top five maybe right, arguablytop five.

Speaker 1 (28:33):
No, he's top five.
Primo's still top five, Eventill this day.
Primo's top five.
Yeah, Primo's top five.

Speaker 2 (28:39):
If he had that in his arsenal, right, where would you
rank him amongst the artistswho rapped over Primo beats?
I mean, he can't.

Speaker 3 (28:50):
He's not going to crack top five.

Speaker 1 (28:52):
On his best day.
He's fourth because there's BigJ and Nas, so that's already
off the board.

Speaker 3 (29:00):
Primo did a lot of work with KRS.
We just got through talkingabout KRS.
He did.

Speaker 1 (29:05):
I'm a bluntunt Gettin' Smoked.
That's actually one of thefirst Primo beats Outside of
Gangsta.
He did MC's Act Like they Don'tKnow and Rappers Are In Danger.

Speaker 3 (29:17):
So he's fifth I might give him fifth at best Showing
him love.
I was about to say.

Speaker 1 (29:22):
Big L on Platinum Plus.

Speaker 3 (29:24):
Now it's a lot of rappers that sound better
because their voices cut throughthe track better than Guru, but
they don't have enough work.
With Primo, I would say that'sBig L.
I would say that's AZ.
Az sounds flawless over Primobeats.
Rakim sounds flawless on Primobeats.

Speaker 1 (29:40):
Hey, look here.
The Come Up by AZ is one of myfavorite A records.

Speaker 3 (29:45):
That shit is silky, I would love an AZ Premo album
just as much as an Izan Premoalbum.

Speaker 1 (29:53):
That's like a top 10 AZ record for me.

Speaker 3 (29:56):
But good question, sean, that's a very good
question it is an excellentquestion.

Speaker 1 (30:00):
All right To another legendary MC, more music
anniversary Scarface with theUntouchable March 11th 1997.

Speaker 2 (30:08):
Ace Mob.

Speaker 1 (30:09):
Right, I love this project, guys.
I think it really suffers fromthe fact that it came after his
best project, ag Take it Away.
That's it Like.
That's the problem when I goback and listen to this album,
because when this album came outI didn't love it, but I was
still playing the Diary when theUntouchable came out too.
That's how dope the Diary was.

Speaker 3 (30:29):
The Diary is unquestionably a classic.
This one I struggle withbecause I think it has classic
elements.
But when we talk about face, Ithink he has two in a possible.
I think the Diary and the Fixare the bonafide classics and I
think this is the possible.

Speaker 1 (30:44):
But like I said, this is the possible, not Mr
Scarface's back.
You don't think Mr Scarface'sback is a classic?

Speaker 3 (30:50):
when Mr Scarface's back was out I was a little kid
and he was my favorite rapperhim and Ice Cube.
But I don't consider that aclassic, being honest.
But yeah, man, the highs onhere is crazy, though, with Mary
Jane you know one of his bestsongs, smile with Pac.
The highs are crazy, but thisalbum was in heavy rotation when

(31:13):
it came out in 97.
For me, I love this album.
Personally, I would give itfour and a half mics for me.

Speaker 2 (31:23):
Wow, I hope it's at my high as well.
But I think about 97, and Ithink about the year of 97 was
really the year of the golden.
You know, the shiny suit erastarted out in 97.
And I think this album and somany other albums that were
really great, probably didn'tfit the aesthetics of 97
musically and this album kind ofstands out by itself.

(31:45):
You got Smile as an outlier.
Smile is a phenomenal record,one of the best records out
there, but you're talking abouta lot of glitz and glamour songs
in 97.
97 was really loud, a lot ofloud music in 97.
And this just wasn't that loud.
But to me I would give it afour and a half along.
Won't give it a classic, butfour, four and a half is

(32:07):
reasonable for me.

Speaker 1 (32:09):
So I think for me, in reflection, when I look back on
it, this is actually the startof one of the best rap careers
in history and nobody reallytalks about it because really I
personally am with you.
A lot of people from the eraprior to us think Mr Scarface is
back as a classic.
We were kids when it came out.

(32:30):
Much like you, I love Scarfaceand Ice Cube, mostly because I
was scared of them and thatexcited me.
Right, the booming voices likeman, this nigga, sound like he
might kill my whole neighborhood.
Cut that shit off.
But if you actually look atScarface's catalog, mr Scarface

(32:52):
is back.
Well, ag, I would tell youthat's four and a half.
I would tell you that the WorldIs Yours is probably his
weakest album from that era inthe 90s and that's probably a
four.
The Diaries of Five this isanother four and a half.
It's actually, if you look atit, it's the start to one of the
better rap careers in history.
And you didn't bring up theGhetto Boys albums.

(33:15):
Yeah, yeah, no, no, no we're noteven talking about that.
We're talking about his work asa solo artist, like as a true
solo artist.
If I'm not mistaken, Dr Dre dida track on here has Look Into
my Eyes on here.
There's a lot of heat on here,guys, and you want to know what
it really is.
And, sean, you were right, itwas because of the year that it
came out.
It's the most underrated rapalbum of 1997.

(33:36):
That's what it is.

Speaker 3 (33:38):
Did Dr Dre do Faith?
Who did Faith?

Speaker 1 (33:41):
I forget what record it is.
It's one of the records in theback, but Dre did a record on
here too, Like this album.
It had some pieces on here Likeit was really like his coming
out party Cause it went platinumbecause of the pocket and the
smile from a commercialstandpoint.

Speaker 3 (33:53):
Yes, yep.

Speaker 1 (33:54):
Yeah, that's what I mean Like people got acquainted
with it.
But when you people go back to1997, people always go back to
Well, we go back to Wu-TangForever, go back to Life After
Death, go back to, of course,puff Daddy and the Family.
Nowhere I'll go to Wyclef Jamesthe Carnival, but if you
actually look at Southern rap in1997, you're actually not going
to find a better product thanScarface's the Untouchables.

Speaker 2 (34:14):
You're not.
You're not, it's justaesthetically just didn't fit 97
.
97 was really taking a big turn.

Speaker 1 (34:22):
No, that's the thing about it.
If you actually listen to it,this is Scarface making it fit
for that era.
This is as much compromising ashe's doing.

Speaker 3 (34:33):
Other than the Fix, this is his most commercially
viable album.

Speaker 1 (34:38):
This and the Fix are his commercially viable products
.
You kind?

Speaker 3 (34:42):
of have to buzz in with Scarface at this point.

Speaker 1 (34:46):
You know what the fix is.
The fix is him just masteringwhat he had done on this album
years prior.
It has the same approach to theproject.
You know what I'm saying?
Yeah and to.
I think, well, ain't nothinking to the best classic
album that we're covering, ofall the classic albums that
we're covering Tupac's MeAgainst the World, on my

(35:09):
nephew's birthday, march 14th1995.
This is yours, coop.
Shout out to my nephew Judah.
I mean, you want to know what.
I realized this today, and Iknow that the production on
Machiavelli and on All Eyes onMe, book one and book two, is
superior to me against the world.

(35:29):
But when people are talkingabout Tupac and people are
talking about the artist, therapper, the actor, the man, the
icon, guys, this is the album,this is the icon moment, this is
the legendary moment, this isthe moment in time.

(35:51):
All Eyes on Me and Machiavelliare the moment after the big
moment happened.
This is the moment in hiscareer.
These are the songs, guys.
This is the writer at hiszenith.
What you're listening to on AllEyes on Me is the MC at his
zenith.
What you're listening to on AllEyes on Me is the emcee at his
zenith, the guy on All Eyes onMe and Machiavelli is the emcee
at his zenith.
The writer is at his zenith onthis project His best records,

(36:16):
his most heartfelt records, whathe's known for, the things that
put him in the conversation tobe the greatest emcee of all
time, the things that put him inthe conversation to be the
greatest MC of all time.
The things that he does not have, that other artists have, that
shit, that Big has, that shitthat Jay and Nas have, that
Rakim has, that KRS has, that hedoes not have, because he can

(36:48):
write a record that makes youfeel exactly what it is that
he's trying to make you to feel.
It's the hardest thing to do inhip-hop.
Nobody did it better and nobodydid it better on one album than
he did it on this album.
Two of his five best songs, inmy opinion, are on this album.
That's dear mama and so manytears that's not counting
temptations, that's not countingtemptations, death Around the
Corner.
Oh my God, the writing on hereis stellar.

(37:12):
When people talk about someNobel Peace Prize-winning worthy
writing, this is the album thatshould have got a Nobel Prize
for its writing, a Pulitzer forits writing, a Nobel Prize for
its writing, a Pulitzer for itswriting.
That's how heartfelt andtouching and conflicted and
young and ambiguous, like he'severything on this project.

(37:33):
There's a writer the emcee'snot there yet, the production's
not there yet, but where he is,as a writer, a songmaker,
literally makes up for all ofthat and transforms it into a
classic.
So for people that are sayingit's not a classic because of
their production, you're wrong.
For people that are saying thatit's not a classic because of
the lyricism, or what they quoteunquote is not classic bar

(37:54):
seminar lyricism you're wrong.
This is kind of like, actually,for the same year, this is very
comparable.
What he did on this album isvery comparable to the uh, the
team that akim carried to thechampionship that year.
He's 95, elijah on this album.
It's like, oh no, same year.
The team, the team ain't great,but that motherfucker is one of

(38:15):
the best motherfuckers thatever lived on this project you
feel what I'm saying.
Just like akim in thatpostseason.
For that postseason, it's like,oh no, he, no, he.
Just as good as kareem ever wasfor that postseason.
For that postseason, it's like,oh no, he, no, he.
Just as good as kareem ever wasfor that postseason.
As good as russell ever was, asgood as chamberlain shack.
Oh for, right there, because hetook a team that had no
business even making it to theconference finals, to another
championship.

(38:35):
That's who pak is on this album.
Does it have a business?
It has real.
It has no real business being aclassic, outside of the fact
that he is so fucking legendaryon there, guys, flawless.
He is so fucking legendary onthere, guys, flawless, he is so
legendary on there, it literallycarries the album into classic
territory the way that very fewartists have and the way very
few artists can Imagine.

(38:56):
If he would have had the beatsthat DMX had to, it's Dark and
Hell is Hot.
For me, against the world, it'dbe one of the five best rap
albums of all time.
It's crazy.
Those are my thoughts.
Your turn, go ahead.
I could talk about this albumall day.
I could talk about this albumall day.
This is the album that I playedon the city bus going from
school on the west side of townback to where we had moved to

(39:19):
the south side of town, and backand forth.
I can remember this was theproject.
He was going triple platinum injail.
Yes, he was in prison.
He was going triple platinum.
Every neighborhood, everybarbecue at night.

Speaker 2 (39:34):
This was it.
This album was rocking itspurest form.
This album was rocking itspurest form.
This was before the lore, thiswas before the noise, everything
that came along with him duringthe death row.
Think about it, god, this camein 95, right?
96 was the explosion, becauseeverything swirling around it,

(39:58):
you had all the news around him.
You had everything that washappening.
This was the beginning of thelegend of Tupac.
You got a song like Old School,where he's playing old day
having an old day.
Tune to the old school of hiphop, new York hip hop at that.
So you got Pac in his mostvulnerable moment because you
had the shooting.
You got shot.
You had the situation with thecops.

(40:18):
You had all these things goingon with him.
Like you said, coop, the penwork in his album is phenomenal,
because this is.
I always thought this was Pac athis most honest moment.
Honestly, I felt like this wasPac at his most honest moment,
all Eyes On Me, maybe a littlebit, you know, bloviated just a
little bit because thingsswirling around and then you

(40:40):
know the enigma of being withDeath Row.

Speaker 3 (40:42):
You got Row.

Speaker 2 (40:43):
Machismo right, Because now you got.

Speaker 1 (40:47):
The rap bravado is all eyes on me, bingo.

Speaker 2 (40:52):
Because I have to lean into it now.
I have to lean into it.

Speaker 1 (40:55):
I have to live it all the way out now.

Speaker 2 (40:57):
I have to take it all the way out.
But with this album and I thinkthe reason why this album is
not as lauded as you eloquentlyput it, Coop, is because you
have All Eyes On Me andeverything around it, Because
you have Machiavelli andeverything around it, All of the
noise and the storylines thatgoes along with those two albums
it really doesn't captureanything on this album right

(41:20):
here.
And this album right here isthe most purest form.
It's like Nas lost tape.
It's Nas' purest form.

Speaker 1 (41:26):
It's like Nas Lost.

Speaker 2 (41:26):
Tape is.

Speaker 1 (41:27):
Nas' purest form.

Speaker 2 (41:29):
His most vulnerable form he doesn't care about
skills.
He doesn't care about anythingelse.
This is my pen and me.
My pen, my paper and me, andthis is what this album was His
pen paper and himself.

Speaker 1 (41:41):
Think about this this album, actually, in terms of
who he is, doesn't have anycommercially viable singles.
If you actually look at it.
The record label didn't know,dear Mama was going to be that
you want to know how you know,they didn't know Because they

(42:03):
made Temptations the firstsingle.
They didn't know Dear Mama wasgoing to move like you want to
know how.
You know, they didn't knowBecause they made Temptations
the first single.
They didn't know Dear Mama wasgoing to move like that Angle
and I love Temptations, butTemptations isn't even I Get
Around or Keep your Hip, whichwas the previous album.
So this album wasn't even builtaround.
It's not like this album wasbuilt around bangers.
That's All Eyes On Me, all EyesOn.

(42:30):
Not like this album was builtaround bangers.
Right, that's all eyes on me.

Speaker 3 (42:32):
All eyes on me got the bangers.
Those are bangers, yeah, justfor days.
Banger after banger, afterbanger after banger.
These are the songs, guys.
These are the songs, man.
Listen y'all.
Y'all smoke that man.
Y'all.
Both said things that I thinkare like astute points, because,
sean, you said this is pock inhis purest form.
Think the same thing.
The perfect dichotomy of whopock was as a man is captured on
this album.
Astute points because, sean,you said this is Pac in his
purest form.
Think the same thing theperfect dichotomy of who Pac was
as a man is captured on thisalbum.
It's real polarizing and we getthat tug of war of who he is as

(42:54):
a person you spoke to.
Pac was the only person whocould make you feel things on a
certain level.
I remember when this album cameout I was 14 years old.
It came out the day before mybirthday.
You know what I'm saying.
I got this album and listen,man, like when I listened to Pac
.
I would listen to Pacdifferently than everybody else,

(43:15):
because most of the time youput on music it'll be in the
background.
You're doing something playingvideo games, hooping, whatever
outside with your people.
I would listen to Pac.
I would go in my room, cuteverything off and just zone.
You know what I'm saying when Ilisten to Pac.
You know what I mean, becausehe would tap into a different
part of my brain.
You know what I'm saying.
And it's just.

(43:39):
And Coop, you spoke to thesingles.
Oh, real quick.
Before that, sean, you spoke tothis as him in his purest form,
with the lost tapes.
Just, you know, no frills thisalbum was.
He didn't even get to promoteor put this album out.
It was sequenced and put outwhen he was in prison.
He didn't even get the finalsay on none of that right.

Speaker 1 (43:56):
I'm about to say, he didn't even sequence the album.

Speaker 3 (43:58):
Correct.
And then, to your point, coopwith the singles.
This to your point, coop withthe singles.
This joint went double, tripleplatinum.
While he was in jail On singleshe was not in one single video
Temptations not in the video,dear Mama not in the video.
And then, um, so Many Tears,not in the video.
And, coop, I thought you was inmy brain, man, when you said

(44:21):
two of the top five pop songs onthis record.
For me personally, I have twoof my favorite five pop songs,
two out of my five favorite popsongs on this record.
So Many Tears is my favoritepop song of all time, but coming
in my number fifth spot is If IDie Tonight, which I personally
think is arguably.

Speaker 1 (44:41):
Oh my God.

Speaker 3 (44:43):
I think that's arguably.
I know you say he's a better MCon.

Speaker 1 (44:48):
All Eyes on Me and Macklebelly.

Speaker 3 (44:49):
That's the best mic performance on me in the world
To this day, other than AgainstAll Odds.
Against All Odds is maybe theone I will put up against it.
But If I Die Tonight for me isPac's best mic performance as an
MC.

Speaker 1 (45:04):
Yeah, I feel the way about my block on the show
soundtrack that you feel aboutif I die tonight, because when I
look at the mic performance youwant to know what it is, I see
what the guy can be, and so Ithink that if I die tonight it's
the guy that's on Machiavellias an MC and that's the first
time that you hear it and Ithink that's why it stays with

(45:26):
you so hard, because you reallydon't hear that guy as an MC
again until Machiavelli.

Speaker 3 (45:32):
And people say Pac wasn't an MC, what he was doing
with all the P words and if Idon't like how you wove them
together, how about this?

Speaker 1 (45:40):
He used alliterations , particularly with the letter P
.
A lot Picture perfect.
I paint a perfect picture ofBar Mahochi's decision.
He did that all the time he did.

Speaker 3 (45:51):
He did that all the time.
That's what I mean.

Speaker 1 (45:54):
That's what I'm talking about when I'm talking
about well.
Guru was like that, but hewasn't like his AG.
It goes back to what you'resaying about being talented and
being gifted.
Well, Pac was gifted as awriter, the way literally only a
handful of people who have evertouched the microphone have
been gifted as a writer.
And when I mean the microphone,I don't mean the microphone in

(46:15):
a hip hop context.
Has a writer?
He, he, he.
He is as rare as it gets.
As a writer, he is one of thebest writers in the history of
music.
People have to understand this.
It's like Dear Mama as a song.
The only song that rivals itscultural importance is Fight the
Power by Public Enemy.
We can talk about where youwant to rank this song.

(46:38):
In terms of cultural relevanceand importance, it's only
rivaled by Fight the Power byPublic Enemy, which is literally
our black superhero theme musicsong Right.
Literally that's the only songthat competes with it on a
content cultural relevance level.
It's up there, man.
While he was on the verge ofgoing to prison.

Speaker 3 (47:01):
Super classic.
Everything about this is superclassic.

Speaker 1 (47:04):
It's not like his mother was in danger of dying.
That's what I mean about itbeing heartfelt.
It was actually his life injeopardy, not hers.

Speaker 3 (47:12):
And it was transparent.
The things that he was sayingon record wasn't even flattering
about his mama.
He put out there that she was acrack fiend, but it was a real
record.
You know what I'm saying.
The sacrifice and the strugglethat she had to make as a mother
, I mean, it's just heartfeltman.
Even if that's not your story,it still hits you right here.
You know what I mean.

Speaker 2 (47:34):
Not many artists can do it.

Speaker 1 (47:36):
No, no, scarface DMX.
Outside of that, everybody elseoperates on it Nas with Dance.

Speaker 2 (47:43):
I can't listen to that song.

Speaker 1 (47:46):
Okay, ghosts is up there.
Nas and Ghosts have momentswhere they shift into that
pocket.
Scarface and DMX live there alittle bit.

Speaker 3 (47:59):
DMX Scarface Pot, and we'd be remiss if we didn't say
Joe, joe Budman, Mood music,joe, yes, and we'd be remiss if
we didn't say Joe Joe.

Speaker 1 (48:06):
Budman Mood music, Joe.
Yes, not on the same level,though, in my opinion.

Speaker 3 (48:10):
But he's up there.

Speaker 1 (48:13):
For a moment in time.
Yes, yeah, so let's get tothese Super Chats and then we
can slide to the new music.
Let's start with Sean.
You want to pull them up for me, because they're way past
Queens, get the money.
Let's start with Sean.
You want to pull them up for mebecause they're way past Queens
, get the money.
We in the building 007.
What up?
00?
Sorry, I missed your call.
Busy week, kenny.
What up Kenny?

(48:33):
Hey, coop, moment of flutes.
First of all, go ahead and banKenny.
Go ahead and ban Kenny from thethread.
Go ahead and ban Kenny from thechat.
Go ahead and ban Kenny from thechat.
It's going to get you out ofhere.
You're not going to do thattoday.
Not going to do that today.
His behavior is wild.
We got any more super chats?
I feel like we got a couplemore.

Speaker 2 (48:54):
Did we miss some?
No, that was it Hold up.
Yeah, we got one more Double.

Speaker 1 (49:00):
Yeah, that's what I thought.
Welcome back Coop Wu-Tangforever.
What up fellas?
Oh my God.

Speaker 2 (49:05):
Double is a piece of shit, man.
Double is a piece of shit.
That is petty.

Speaker 1 (49:12):
You and Kenny.

Speaker 3 (49:13):
Double's ain't petty.
You gotta double man.
Double be always third.

Speaker 1 (49:18):
When you and Kenny come down here, I'm gonna put
you both off in the car.
I'm gonna let you off at 285 bySpaghetti Junction in Doraville
and let you all cross thestreet.
About 10 lanes of traffic inabout four bridges.
That's what I got.

Speaker 2 (49:33):
Yo shout out to Dub all the way from.

Speaker 3 (49:35):
Australia man Shout out to Dub man.

Speaker 1 (49:38):
Drop your ass off on Pleasant Hill, we'll see how you
do then.
Yo, we got new music in thebuilding.
We got a new Freddie Gibbstrack.
This sounds like a Lucy.
Is this a Lucy?

Speaker 2 (49:55):
Freddie Gibbs is crazy.
It's a Lucy.

Speaker 3 (50:00):
Real quick for all my Marvel fans.
Sean, I saw a comment on theYouTube of this and said that's
Luke Cage with Misty Knight andJessica Jones getting coffee.
But I said to watch it, towatch it a little more like
Claire, but that is wild.

Speaker 2 (50:14):
That is wild, go ahead, go ahead, yo, yo.
Y'all got me listening toFreddie Gills.
I'm being honest with you.
Both of you guys got melistening to Freddie Gills.

Speaker 1 (50:29):
Don't do this you don't like Freddie.

Speaker 2 (50:33):
I like Freddie, I like Freddie.
We had that debate aroundFreddie so y'all got me
listening to Freddie a littlebit more.
Freddie went crazy on thisjoint.
Freddie on the R&B track on theold school R&B track is golden
man, he doesn't miss Fire.
R&b track is golden man, hedoesn't miss.
He doesn't miss with these.
I mean he's talking aboutforget the big three.

(50:53):
He really want that smoke andit made me realize the
conversation we had a few monthsago was ahead of time.
Shout out to us for being aheadof time, because other people
are taking fragments of what wetalk about and make shows out of
it.
Shout out to them as well.
Thank you for the alley-oops.
People are taking fragments ofwhat we talk about and make
shows out of it.
Shout out to them as well.
Thank you for the alley-oops.

Speaker 1 (51:13):
I'm not shouting them out, fuck them.

Speaker 2 (51:16):
You got to give them love, man.

Speaker 1 (51:19):
You can show love on your side.

Speaker 2 (51:22):
It's confused.
Admiration it's confusedadmiration, that's what.
Don said it's confusedadmiration, but not confused
yeah it's confused, conf,confused admiration, that's what
Don said.
It's confused admiration, but,um, but no, it's confused.
Yeah, it's confused, confusedadmiration, um, but Freddie,
freddie went crazy on this andit made me realize y'all, y'all
are right.
I have to.
I concede to it.
You guys are right.

(51:42):
Freddie should have been in theconversation at some point.
Freddie probably should be inthe conversation, more so than
Big Sean was when Big Sean waspart of that.
Maybe that outside fourth man,because when I went back to
listen to Freddie's stuff alittle bit more, freddie's
catalog is right there.

Speaker 3 (52:02):
with the time coming around.
That's what I'm talking aboutVictory.

Speaker 1 (52:07):
AG.
We're getting time stamps forthis show, the time stamps for
this moment, the moment Seanadmits Freddie belongs.

Speaker 3 (52:18):
He showed Rick Ross some love.
He showed Freddie some love.
Do we got a Jay-Z segment wherehe can say something good about
Jay?

Speaker 2 (52:25):
That's probably not going to happen.
I won't, but we can get intothat later, but pause.

Speaker 1 (52:30):
There you go.
There you go, asking for Christto come back.
All right, you don't settle forPeter and Paul, okay.

Speaker 2 (52:36):
You guys are dead spot on, Because when I listened
to this song I had to go backand listen to some other songs
and he's smallest on R&B tracks.

Speaker 3 (52:45):
I need a whole album of that, bro, so hold on, hold
on.

Speaker 1 (52:48):
So hold on.
So can we just sidebar realquick and go into something
about the record.
So this is one of the beautifulthings about hip-hop, sean, and
I'm glad that you'rehighlighting.
And I think all three of usheard the same thing.
Freddie and I realize this.
Freddie comes from same placethat the Jacksons come from.
He comes from an old schoolMidwest R&B, soul and blues town

(53:13):
.
Freddie's on to something withthese R&B samples.
He sounds excellent on them.
He needs to explore this pocket.
It is rare that an artist is asgreat as he already is, is that
has the catalog that he alreadyhas, that you're at this point
in his career and you hearsomething from artists where
you're like hold on.
It's like I didn't know thatyour style fit with that cadence

(53:39):
and that rhythm and that tempo,but when those worlds seem to
mesh together it makes forexcellent rap music.

Speaker 3 (53:47):
For those who don't know, the sample sample of this
one is SWB's Anything.

Speaker 1 (53:52):
The Use your Heart joint yes, he needs to explore
this pocket was really mytakeaway from this song.
It's that literally theproducers.
He need about 20 of these andyou take the best five.

Speaker 3 (54:09):
Wait, he rapped over to.
I thought that was Kendrick.
Kendrick did the Use your Heartjoint.
Freddie got a joint over theretoo.

Speaker 1 (54:15):
I feel like Freddie did another SWV joint.
I felt like hold on what was hedid the Cupid joint.

Speaker 3 (54:21):
That was right.
And then the Tony, Tony, Tonyanniversary on the joint.

Speaker 2 (54:27):
But the Cupid joint was crazy, oh my goodness.

Speaker 1 (54:32):
But he snapped on these records, guys.
I remember when.

Speaker 3 (54:36):
Sean texted me when that Cupid joint was out with
you.
Only Die once came out.
And then Sean texted me.
Like yo, I see what y'all beentalking about.
It's pretty man, listen man.

Speaker 1 (54:46):
And while we're here, sean, we'd like to thank you
for coming around, because wehave been.
No, no, no, we are so AG knowsthis.
We are so tired of thesecommercialized guys Right that
are getting Freddy's due.
They don't rap like Freddy,they don't make songs like
Freddy, they don't make albumslike Freddy and people will just

(55:06):
be acting like Freddy just someunderground king and it's like.
It's like no fam he's.
He's arguably the best albummaker of this era.

Speaker 3 (55:13):
I think people just don't like him.
I think he suffered for thesame thing that um rappers like
T I like if people really didn'tyou know um Bob with their
personality, like they wish T I,which TI is beloved in a lot of
ways, but I just think the gameis another one who has a
stellar catalog that doesn't getthe credit that they deserve.
I just think a lot of things hedoes outside of the booth

(55:37):
hinder his overall placement.

Speaker 1 (55:39):
Yes, yes, but when I mean I don't know how to say
this, guys I mean correct me ifI'm wrong.
I'm going to run this off inorder for you.
Piñata, bandana, alfredo Soul,soul Slept Early, you Only Die
Once.

(55:59):
Almost classic.
Fuck how you feel about him.
Did you just hear the fivealbums that I just ran off that
he has released in succession?

Speaker 3 (56:11):
yeah the only one you didn't get in there is freddy,
which I think is his weakest one, but it's pretty good for
pinata, right I think it wasafter.

Speaker 1 (56:21):
I thought I think freddy's after I got put on the
freddy after pinata.
I didn't know about freddy tillafter pinata that's didn't know
about Freddie until afterPinata.

Speaker 3 (56:28):
That's why I said it.
I might be wrong, but it'sstill a solid album.
But it's not as good as therest of it.

Speaker 1 (56:31):
So Freddie's the only album on there of those six
albums.
It's not like a 4.25, guys,it's after.
It's after.

Speaker 2 (56:39):
Pinata.

Speaker 1 (56:41):
Pinata Freddie, mandana, alfredo.

Speaker 3 (56:42):
And then you go back even further.
You only live twice.
You only live twice.
That's a fire joint.
You know what I'm saying you?

Speaker 1 (56:47):
only live twice.
Got some shit on there.
Yeah.
Yeah, that's seven albums.
That are at least probablyfours.
Freddie might be a three and ahalf.
The rest of those are at leastfours.

Speaker 3 (57:00):
Of the modern era.
He is at the top of the listbro With a couple of fives.

Speaker 1 (57:06):
He got a couple of fives and a couple of 4.5 in the
last decade.

Speaker 3 (57:10):
It ain't too many people rapping better than
freddie man.
That's a con of what it is.

Speaker 2 (57:14):
I can't argue it.
I can't argue it.
I would have argued a couple ofmonths ago, but I can't argue
today.

Speaker 1 (57:19):
No, how about this?
He's been he.
He officially is at that levelto me as an artist where you, if
you're a hip-hop fan, should begenuinely excited when he's
dropping a project because hisresume says that he's going to
deliver.
How about this?

(57:40):
And I've said this to me in alot of ways he is the modern-day
Scarface to me.
He hasn't missed he doesn't missalbum the content of the
subject matter probably hurtsome of his uh trajectory in
terms of notoriety consistentlygreat, um, underrated beat
picker, underrated storyteller,like like all the things.

(58:02):
Like like consistently makesgreat projects.
In a lot of ways, he is themodern day scarface to me, and
also modern day scarface fromthe sense that it's like oh, I
don't care when he coming out orhow he coming out.
When he coming out, right there,right there, because he
deserves that, he deservespeople to be like front and
center when he drops a project,because he puts together a full
project like so so separately soso separately in any other, in

(58:26):
probably any other year outsideof the year that it came out,
probably would have been albumof the year 83 was too strong,
but so, so separately the deluxeversion was crazy.

Speaker 3 (58:35):
But and people gonna think this is, like you know,
sacrilegious to even say thisbut the pocket that freddie gets
in on these r&b I don't know ifyou call them like you know, I
guess full r&b loops.
You know I'm saying, but not,they're really, they're not
doing too much with the R&Btracks.
You know what I'm saying.
They're not messing with themtoo much, he's just blowing over
them and, like you said, thatcollision course of his style,

(58:57):
coop, the pocket that he gets inon these R&B tracks is like Nas
, and people are going to sayit's sacrilegious to say this.
But Nas, when he gets on abreakbeat, like I mean, it's
like yeah, the perfect.

Speaker 1 (59:12):
It's like Jay-Z over a Diana Ross or fucking Angela
Wimbush.

Speaker 3 (59:16):
Angela Wimbush.
Yeah, there you go, yeah.

Speaker 1 (59:19):
It's like certain people have pockets.
When you hear them over thatshit, it's like no, if you stay
right there, you'll win.
You know, that's what I'msaying.
Here's the thing about it.
You usually find these thingsout about your emcees early.
It is so rare to hear somebodythat we're acquainted with
Freddie already, and so to hearthis pocket from him at this

(59:41):
stage in his career is almostlike damn Scary.
You really haven't been gettingenough credit.
What up, Jarv?

Speaker 3 (59:51):
It's scary.
It's scary for real it's scaryfor real.
We get an album with 10 to 12of those.

Speaker 1 (59:57):
My god that's what I said.
I don't even need 10 to 12 ofthose.
Get 20 of those loops.
Keep the 5 best records.
The first at your you know, doit how you want what we got
Steel Bangles.
One day it'll make sense.
First at your you know.
You know, do it how you want it.
We got Steel Bangles.
One Day It'll Make Sense.
Short EP affiliated with MassAppeal.
Got the Nas feature on there.

(01:00:19):
Yeah, what do we think aboutthe project guys?
What were your thoughts aboutthe project Sagey?

Speaker 3 (01:00:29):
I mean it's some smooth music.
Not overall, not really my cupof tea.
This is more of a compilationrecord.
Steel Bangles is a producer anda DJ from London, signed to
Massville, india, and he has alot of artists on this EP, but
I've only listened to theproject once.
But you know some smooth ridemusic.
The one with Nas nas, though,I've had on repeat like this is

(01:00:50):
the first nas verse we've gottenin 2025, you know, and it's
typical nas.
You know I'm saying over thisbpm poignant verse, super dope.
But to me the highlight of thetrack is the guy singing the
hook.
I don't want to mispronouncehis name.
It's um, uh, what's his name?
It's called sid um sriram.
Is that how you pronounce it?
Sorry if I'm butchering hisname?
It's what's his name?
It's called Sid Sriram.
Is that how you pronounce it?
Sorry if I'm butchering hisname, but yo, he killed the hook

(01:01:14):
on here.
Man, like that's the Nas versusfire.
But to me the hook was thehighlight of the record.
Man, it was dope.

Speaker 1 (01:01:23):
When I heard the project that I immediately
thought to myself they didn'tmake this for old niggas like me
.
I'm sending this to my daughter.
That's exactly what I did.
As soon as I sent it to her,she said what is this?
I said it's some new shit.
I said you love this shit,don't you?
She said it's banging.
That's what I think.
I think that the hip-hop worldthat we grew up in and the hip

(01:01:48):
hop world that my daughterexists in, oh no, this fits into
her pocket, more to our pocket.
But I knew that when I heard it.
Um, I actually enjoyed theproject.
Overall.
I found the production to betop tier.
It gave me some uh, dj KhaledUK vibes to it in terms of how
he mixed, matched and piecedtogether Thought.

(01:02:09):
The production was stellar,slightly repetitive the Nas
versus Stellar.
Saying the Nas versus Stellaris literally like asking
questions that Ghostface askedon Force Chamber why is the sky
blue?

Speaker 2 (01:02:23):
Why did Judas?

Speaker 1 (01:02:24):
grab the Romans while Jesus left.

Speaker 3 (01:02:28):
One of the best verses of all time.

Speaker 1 (01:02:30):
People are like man, it's a great verse from Noss.
No shit, what exactly did youthink was going to happen as
opposed to what could havehappened?
Let's start weighing it on thescale.
It's like well, there'sprobably like a 75% to 85%
chance that the verse is goingto be great.

Speaker 3 (01:02:52):
Well, no, I'm going to push back on that Coop,
because a lot of times whenrappers of Nas' caliber get on
artists like this that's not aswell-known in our sphere,
they'll phone it in.
Sometimes you know what I'msaying, but this is mass appeal
with mass appeal, Nas is you?

Speaker 1 (01:03:09):
know what I'm saying ahead of mass appeal A couple
things.

Speaker 3 (01:03:12):
Mass appeal Right so he's not going to phone it in.
So yes, it is a Nas-Stellaverse, which is like he don't
put out no BS.

Speaker 1 (01:03:21):
Like he's been on fire for the last five years.
Well, the last time that hephoned anything in is when
Kanye's punk ass had him rappingin the backseat of a car that
was nine years ago, right.

Speaker 3 (01:03:32):
We heard an echo right after that and we heard
what it sounded like when hedidn't phone it in.

Speaker 1 (01:03:39):
That's the last time something got phoned in it's
been almost a decade since thefirst guy phoned in.

Speaker 3 (01:03:47):
Don't ever get caught phoning it in from the backseat
of a car.

Speaker 1 (01:03:49):
That's wild it's wild that you would ask that man to
do that.
It's crazy.
It's even crazier that heactually did it for you.
That means he actually likesyour ass.
I would have been like.

Speaker 2 (01:04:02):
So this is where I say fuck you right, get me out
of here, right aboard mission.
This is me hitting the ejectbutton.

Speaker 1 (01:04:11):
Yeah, this motherfucker's crazy right.
Go, go, go, gadget.
The fuck out of here.

Speaker 2 (01:04:16):
Click now 2019.

Speaker 1 (01:04:17):
Kanye looks same yeah , wow anyway so in news, drake
made a long-ass statement.
Somebody read the long-assstatement.
It's a long-ass statement.

Speaker 3 (01:04:33):
Oh my God, I got it right here, I'll read it.
It sounds like an Aubreybreakup letter.
It says you know, I grew upnon-confrontational and always
treated this game as a sportwhere my pen won gold, but my
these days the podium has beenhard for all of us to ignore.
I understand that this nextchapter may leave you feeling

(01:04:54):
uneasy, but I hope you see myhonesty as clarity, not charity.
That answers some questions,especially about the unanswered
texts you've been sending youread it like.

Speaker 2 (01:05:07):
You read it in that fashion, which is crazy no, no,
no, what's crazy.

Speaker 1 (01:05:14):
No, no, no.
Here's what's crazy.
What you just read is crazy.
What the fuck was that?

Speaker 3 (01:05:20):
what the fuck?

Speaker 1 (01:05:20):
I don't know what Burl's talking about, man, I
don't know if I had, first ofall, if you would have given me
my jacket, my leather jacket.
This would be the point in themovie that I get home and I burn
the coat.
That's right, frank Lucas, burnthe coat.
Those are my thoughts.
It's like if I had an OVO coat,I would burn the coat.

(01:05:41):
Right now I would burn the coat.
This is ridiculous.

Speaker 3 (01:05:45):
It's a lot of red flags, though.
What are you talking about?
It's a lot of red flags though.

Speaker 1 (01:05:48):
What are you talking about?
No, no, no.
This is giving Jay-Z afterEther.
All right, that's what it'sgiving.
It's giving Jay-Z after Ether.
It'd be worse.

Speaker 3 (01:05:56):
I don't like him saying I mean granted by the.

Speaker 1 (01:06:00):
It sounds like the Frank Ocean coming out letter,
Like what the fuck is this?
Or like what are you doing?
Yeah, but that's crazy, thatwas crazy.

Speaker 3 (01:06:08):
What is it what I will say?
Drake, by like normal standards, might be non-confrontational
because he's very collaborative,but he does like to provoke
niggas.
Let's be for real one, and Idon't like it where he said I
always treated this game as asport, where my pen won gold.
Bro, your pen has been inquestion for the last like what?

(01:06:30):
Seven, eight years.

Speaker 1 (01:06:31):
I don't know.
All I know is, if you keep thisshit up, I'm going to start
listing the records and startoff by saying it you can't have
ghostwriters and say your pinwon gold on the podium.

Speaker 3 (01:06:40):
You can't do that, can you?

Speaker 2 (01:06:42):
You can't say that you can't say that right.
He's spiraling to the pointwhere it's already been corny
and now you're doing this.
You're overdoing it.
At this point you got to sitdown, you got to leave it alone.
Like, just put out music.
We don't want to see tweets, nomore.

Speaker 1 (01:07:04):
I bet he said that.
He said he was going to makeyou feel uneasy, yes.
First of all, hold on realquick Mad.

Speaker 2 (01:07:17):
Max Max in the building.

Speaker 1 (01:07:18):
I'm not, no, no, no, listen.
I'm not Mad Max.
I'm not slandering Frank Ocean.
You remember that punk-assletter?
You don't want to read thatlong-ass diatribe?
Get your ass on YouTube andmake a 30-second statement.
Shut the fuck up.

Speaker 2 (01:07:31):
Cause I love that song man, that song he had, and
when he wrote that letter I waslike yo.
I can't listen to this song nomore because he's talking about
Yo man All right.
Don't get us.
I should have known.
I'm like yo, dude's like yo,you with a new feel.
I'm like yo.

Speaker 3 (01:07:51):
Just say pause and move on.
You'll get us demonetized.
But anyway, yeah, this is kindof wild man and who's been
sending them texts they evenleaving on read.
I don't know what the hell he'stalking about.

Speaker 1 (01:08:04):
Is he talking?

Speaker 3 (01:08:04):
about a girl.

Speaker 1 (01:08:05):
Is he talking about a guy?

Speaker 2 (01:08:06):
Both.
He's talking about both, so itis just like the Frank.

Speaker 1 (01:08:11):
Ocean letter for defense ref.

Speaker 2 (01:08:14):
This is Dre.
He got to stop, is he?

Speaker 3 (01:08:16):
talking about somebody in the industry that he
was cool with at once Joe Kanye, like whatever, Like I doubt
Kendrick is texting him likethat.
Who is he talking?

Speaker 2 (01:08:25):
to Kendrick might be texting him.
I've heard Kendrick is a texteris he talking to Kendrick?

Speaker 3 (01:08:28):
might be texting him.
I've heard Kendrick is a texter.
I've heard he's a texter.
I've heard he's a texter.
Oh man, that's crazy.

Speaker 1 (01:08:39):
Kendrick's sending boogeyman selfies.
Definitely not making any moneyoff this episode whatsoever
after this.
I'm pretty certain.
All right, so any finalthoughts off this episode
whatsoever after this segment?
I'm pretty certain.
Just took all that off theboard, Alright, so any final
thoughts about this statement?
Statement sucks.
Yay or nay on the statement.

Speaker 3 (01:08:56):
I mean, I don't know if this is a rollout to his new
album, but if so, bro, just stoptalking and put out music.

Speaker 1 (01:09:02):
Isn't he re-rolling out the P&D album just like who
knows what they're doing?
This is just all veryconvoluted for me At this point.
You want to know, I neverthought I would say this.
I'm too old for this shit,drake.

Speaker 2 (01:09:12):
Get off my lawn.

Speaker 1 (01:09:13):
Get off my lawn.
Get off my lawn, get off mylawn and don't come back until
you got some new shit.

Speaker 3 (01:09:19):
But it's the same thing you did early on before
the.

Speaker 1 (01:09:21):
You know what I'm saying the beat off a year ago
like he was making, um you know,ig posts like this man.

Speaker 2 (01:09:34):
Anna may fought back harder than this.

Speaker 1 (01:09:35):
No, no, she did actually moving, moving on don't
know what else to tell youdon't know what else to tell you
, all right, so, um, it appearsthat you know, during the LA
Lakers game last week, inbetween quarters, that LeBron
James you know, the most famousbasketball player on Earth, one

(01:09:59):
of the most famous people onEarth approached ESPN frontman
Stephen A Smith and had someless than stellar things to say
to Stephen A Smith and had someless than stellar things to say
to Stephen A about Stephen A'scommentary about his son, and
issued some communicable threatsto Stephen A about what he

(01:10:20):
should and should not doinvolving his son.
What are you guys' thoughtsabout this, in terms of an
athlete the stature of LeBron,who is essentially the
figurehead in his sport,stepping to Stephen A, who is
the figurehead in the media thatis wild, in public front row at

(01:10:45):
a Lakers game for publicconsumption, knowing that, quite
frankly, to quote the late GregTupac, that all eyes were going
to be on them?

Speaker 3 (01:10:54):
You should see him looking around at the cameras
after this.
The cameras.

Speaker 1 (01:10:58):
Who, which one?
Both of them, probably both ofthem.
Lebron, you can see him lookingat them seeing if the cameras
was catching it when he did it.
Definitely a planned chin check.
It was definitely a playingchin check.
Definitely was an ambush, ablitzkrieg.

Speaker 3 (01:11:10):
I'm going to say this man, you want to go first.
Sean, no boy, please, please.
I see it from both sides.
I'm a father of two children,you know, and it's easy to get
defensive over your kids, but Idon't like it.
Like for one was.

(01:11:33):
It was planned, as you can see.
Once he saw him it was on site.
I'm gonna go up and talk to him.
I hope everybody gets this toknow that I'm standing up for my
son.
What have you?
Um, a lot of it.
Lebron could be a diva.
A lot of stuff he does can befor show, can be for the cameras
.
Um, but even in the fact thatyou say you're defending your
child, right, if you have a kid,just for us, normal folk that

(01:11:56):
have you know that are not, youknow, megastars or whatever you
have a kid that's in school orwhatever they're getting bullied
, are you going to like, go upto the school and go up to the
bully at the lunch table infront of God and everybody else
and say don't be bullying mybaby and all this other stuff,
this hell.
No, if you're a good parent,you won't do that because that
puts a big ass target on yourkids back, right?

(01:12:19):
So I don't agree with LeBron,because LeBron is kind of proven
Stephen A's point in all this.
In my opinion, by doing that,he could have hit him on the
side like yo.
I don't like what you said orwhatever, but I think the point
that a lot of people are missingin this whole coverage of this
Stephen A didn't say anythingbad about Bronny.

(01:12:40):
He was talking about theposition, the compromising
positions that his father wasputting him in.
So he was saying like hey, ifyou want to do right by your son
, stop doing what you're doing.
He didn't say nothing bad aboutBronny.
For LeBron to get pissed offlike yo that's my effing son.

(01:13:01):
Like whatever, like you know,of course, nobody wants to be
told how to parent.
I get that, but I just don'tlike the fact that LeBron keeps
putting Bronny in thesesituations and then ends up
having to get him out of thesesituations that he put him in.
Like LeBron is the one that saidthat Bronny was better than

(01:13:23):
half of the NBA.
He got him called up to theleague, got him drafted, got him
playing when he should be backin the g league like steven,
they said.
And now you got to defend thisbecause you created this monster
and then people are coming backsaying like yo, but why is he
getting so much criticism as a55 overall pick?
Well, he's getting the praisetoo, because the one bucket that

(01:13:46):
he did score I saw that shit onsports center all day long the
day he did score.
I saw that shit on SportsCenterall day long the day he did
score two points who else youknow scored a two-point bucket?
And they ran that onSportsCenter all day long.
You know what I'm saying?
A lot of stuff, even the King.
I love King Griffey Jr.
Like now I'm finding out thatLeBron flew King Griffey and his
dad to be at the game wherethey had that moment and it
wasn't a natural thing.

(01:14:07):
Like a lot of this stuff iscontrived, bro.
Like you know what I'm saying,it's very contrived and it's
nasty work.
You know what I mean.
So it is not to hate on LeBron,but as a parent dog, like he
got to stop putting Bronny inthese situations and just let
Bronny live, because you got tolet him be his own man.
You can't come to his defensein every situation and now

(01:14:30):
you're making it look like he'sabove reproach, above criticism
or whatever, because LeBronhimself he's the most criticized
athlete ever and he doesn'tdeal with criticism
Self-inflicted.
Some of that is self-inflicted.
Yeah, he's projecting, likethis comment, that Drake did
that.
Lebron is known for doing thata lot.

Speaker 1 (01:14:52):
Frequently.
Let's get to a few super chats.
Right, quick, sean, and thenyou can jump in, if that's cool.
Absolutely, kenny Castro flutesold separately.
Okay, told you the band, that'sa good one, that's a good one,
you like that?
Yeah, yeah, kenny, definitelyblocking your ass when the show
is over.
Kenny Double barrel.
Nah, you don't plead with me asa father F that.

(01:15:16):
Okay, mad Max Pressing StephenA Smith does.
What, though?
Tell Bron, I said it's a dookiebar, like son from the wire.
If he stepped to me about it,he gonna end up in a vacant that
look, corny and steven a smith,don't talk, don't talk tough
after right.

Speaker 3 (01:15:33):
And that's corny too.
Steven, a need to stop doingthat too, because if you ain't
said when he was right there infront of you didn't know it was
going to pot and say it or it upbig facts sean, what are your
thoughts about the dichotomy of,like all the things that
involve this, because I feellike there are a myriad of
things going on here.

Speaker 2 (01:15:48):
Yes, I want you to be as brief as possible.
As a father of a daughter,13-year-old daughter, who's
getting into basketball now, Ican certainly understand the
anxiety that comes with that.
You know critique, you knowwanting your daughter, your kid,
to do well, you know me being aformer basketball player
certainly nowhere close tobronze status in no capacity at

(01:16:11):
all, but just me having anxietyof seeing her play on the court
and I'm like damn, I wish I wasthere to kind of like jump in
her body, falls and just, youknow, get her to do things that
I would do in that in thosemoments.
So, as a father, I canunderstand that connection
because you don't want anyone toover critique your kid based on
what you don't want anyone toover-critique your kid based on
what you don't want your kid tobe exposed to.
But at the same time you gotyour kid in the NBA.

(01:16:34):
He's not above criticism.
And this all was fashioned inmy opinion was fashioned for
LeBron, because he wanted theadditional accolades that came
with playing with your son,having your son on, like you say
, he flew out of King Griffey Jrand his father to come out
there and watch them play.
So it could be some connectivetissue there and he's the only

(01:16:56):
NBA player that played with hisson and all of these things, and
it became to.
We got to a point where we knowBronny shouldn't be out there.
We know that it's not, it's not, it's not a secret.
We know that it's not, it's not, it's not a secret.
But the dichotomy to that isthe fact that you got Stephen A,
who has been critical of thatentire process, but not
overcritical.

(01:17:16):
He's been very measured, if youwill, when it came to his
critique on that situationitself.
Not only that, the fact thatBraun came in the middle of the
game to try to check him whileyou know, while he noticed all
this crowding around, and youknow cameras are around.
Are you doing that for Bronny orare you doing it for yourself?
Because then you heard him saysomething to Richard Jefferson

(01:17:39):
when he was talking about youknow he shouldn't say that about
me, so never.
What is really about Bronny?
He made it about you to putStephen A on blast because you
know this is going to gettraction.
Now the prop move to putStephen A on blast because he
wanted to get traction.
Now the flip side to that isStephen A taking this and
running with it.
Now he's dressing in all black.
Death row, look, death row,look.

(01:17:59):
He's going to all these places.

Speaker 1 (01:18:00):
Not death row.

Speaker 2 (01:18:01):
He's Queens, get the Money.
Look at him, man, looking goofy.
But he's out here nowgallivanting and now he has a
lot to say about it.
But he didn't have anything tosay in the moment.
But I can understand he wasshocked in the moment, probably
because he was like, oh, thisguy just pulled up on me and was
like yo, keep my Yo 6'9" dudelooking down on you like Hold on

(01:18:23):
, hold on.

Speaker 1 (01:18:24):
And Stephen A, not a short dude, stephen A about 6'2.
Yeah, yeah, he's not a smallguy.

Speaker 2 (01:18:29):
I mean, he's not a short guy.
Yeah, so I would have scooped aslammer.
If that was me who would havekilled my face, I would have
scooped a slammer man.
Go deal with the you knowconsequences later.

Speaker 1 (01:18:37):
I'm definitely gonna go Tonya Harden on him and hit
him with a lead pipe in the kneeand take him out you'd be in
them stands.

Speaker 3 (01:18:44):
Stephen know all our injuries and ailments that
LeBron got.
I'm going straight for one ofthose, yeah.

Speaker 2 (01:18:51):
Yeah, lebron is a retired man.
He needs to be.

Speaker 1 (01:18:53):
I think there are a few things going on here.
First of all, I'd like to sayat the height of the beef, they
started Death Row East.
So I'm expecting some Death RowEast t-shirts Come out very,
very soon.
Expecting some Death Row Eastt-shirts soon.
Who banging on the Lakers fromQueens?
But let's unpack a couple ofthings seriously.

(01:19:15):
First of all, I'm a parent andI'm the worst type of parent,
Like my daughter hides thingsfrom me because she knows when
it comes to her, it's just whoop, a nigga ass on sight.
I don't really care If you'rebullying my kid.
No, I'm not going to come up tothe school and bully your kid.
I'm going to find a parent.

(01:19:37):
I'm going to whoop their ass,probably in front of people.
I'm that parent.
I literally told my daughterone time when she was actually
having a bullying issue.
I said no, she's like are yougoing to come to the school?
I said no, no, no.
I said I'm about to ride aroundthe neighborhood and find out
where their parents live.
I said I'm about to go fuckthem up and I meant that shit
and I went looking too.
So I'm that kind of parent andso I get it.

(01:19:59):
When you love your kid.
You know what I'm saying.
Here's something that LeBronneeds to learn, that I had to
learn.
What's for you may not be foryour kid, Stephen A Smith has
actually been more than patientand kind to you, because here's
the reality of the matter.
Your kid was a high schoolfreshman who had a heart

(01:20:21):
condition and almost died on thecourt.
Just him being here is ablessing.
Now, when he comes back, heaverages roughly four or five
points a game.
That is not enough to draw theire of NBA scouts.
Draymond Green was the 38th pickin the second round.

(01:20:42):
He was the Big Ten player ofthe year.
You feel what I'm saying?
Your son has gotten a path thatvery few people have gotten,
especially in the blackcommunity.
Listen to this Stephen Aactually been giving you a pass,
because very few black peoplehave had the clout, the cachet,

(01:21:06):
to be able to walk their soninto something as prestigious as
the NBA the way LeBron just did, and that just what happened.
But also, too, the job of ajournalist is to provide fair
and unbiased critique, and thisis what I mean about Stephen A
being nice AG.
Sean, let's keep it real.
He's not even ready for the GLeague yet.

(01:21:29):
He's not, it's not even readyfor the G League yet he's not.
It's not like he was at USC.
He wasn't in the SEC that we'reseeing this year.
He's not with a traditional ACCteam power.
He was in USC.
Usc is known more for theirhistory of women's basketball
players, a la Cheryl Miller,than their men's team in Juju
right now.
So he wasn't at a prestigiousmen's institution.

(01:21:52):
He wasn't even the best playeron that team.
No Right, most of the peoplecoming out of the Pac-12 right
now that are the best players ontheir team aren't getting
drafted, right.
Yeah, that's, a lot of peoplecould have had that spot, and so
he is extremely fortunate.
He does not deserve to be inthe NBA or in the G League.
And here's where LeBron isreally at fault.

(01:22:13):
Listen to what I'm about to say.
Nigga, you ain't nowhere nearretiring the nerve of you
rushing this process, knowingyour old ass ain't going nowhere
.
You got a lot of nerve rushingthis process and then screaming
on this man in front ofeverybody when you're not going
anywhere.
Sean ag, have you been watchinglebron play basketball?

(01:22:34):
He's not going anywhere.
He's like this should be brawnysophomore year of college right
now.
Yeah, he should be averagingabout 10 to 15 points and
showing pro scouts if he's readyand if not, waiting one more
year and guess who's still gonnabe playing in the nba next year
?
Yo daddy, who's been sitting uphere turning up on everybody

(01:22:55):
about you, when the reality ofthe matter is, is that we need
to be turning up on him?
You rushed this whole processinstead of letting your son
actually develop into an NBAproduct and talent.
You got it.

Speaker 2 (01:23:11):
This is your fault.

Speaker 1 (01:23:12):
No, we get on the AAU teams and the schools and all
the money and all the NIL andall this, that and the other.
Here is a man that literallyrushed his kid's process, just
so he can say I played an NBAson with my game.
You may have just ruined hiswhole shot at having a
legitimate NBA career, just soyou can say that you played a
game with him and your black assis not retiring.

Speaker 3 (01:23:36):
That's the bullseye, Coop.
You said it right there, Justso he could say that I played
with my son because let's keepit a thousand LeBron is doing
all that and you brought up theheart condition with him when
that shouldn't have rushed himto the NBA because he might have
needed more recovery, or whathave you.
Here's the thing, Coop, and yousaid it.
Lebron did this, so he couldsay that.

(01:23:59):
Because, in the grand scheme ofthings, this does nothing for
Bronny.
If nothing, it adds to LeBron'slegacy, because LeBron knows
that when you look at my career,you can say well, he had the
longevity, so you know he playedat a high level for so long he
was able to still play on a teamwith his teenage son when he

(01:24:20):
got in the league.
Because years from now, we'renot going to remember Bronny's
stats or what he did or what hedidn't do.
All we're going to know is thathe played with his father.
But that speaks more toLeBron's greatness than if
whether if Bronny is ready ornot.
But how about this?

Speaker 1 (01:24:35):
What if he would have actually gotten two more years
of professional college ball andhelp and maybe worked himself
into a late first round, earlysecond round draft pick and then
, when his father is probablyabout to retire in a couple of
years, actually then play withhim draft pick and then, when
his father is probably about toretire in a couple of years,
actually then play with him.
Then he ruined his son's careerand now he's screaming on
somebody.
Man, you ain't about to, youain't about to pull up on me and

(01:24:56):
score courtside and scream onme.
I don't give a fuck if you a lalaker, la faker.
Six, nine, five, nine.
You about, you about to get.
Let me introduce you to acouple things.
It's called 3845FN57.
Listen.

Speaker 3 (01:25:14):
I'll answer that question for you because you
asking LeBron to be patient andwait for that to take place, he
didn't want to risk that.
This is the same person wholeft Cleveland to go to Miami to
form a super team, when youcould have said, okay, stick
around and wait for Cleveland tobe patient, to get better and
get better, which you know whatI'm saying.

(01:25:35):
Whatever, he rushed thesituation for what it could do
for him to advance him further.
Let's just call it what it is.
I got one question before wemove on.

Speaker 1 (01:25:46):
How does this look to the media?
Mike's kids were better.
Mike's kids were better, bothof them.

Speaker 3 (01:25:51):
Both of Mike's kids were better.

Speaker 1 (01:25:53):
Watch Mike's kids play.

Speaker 3 (01:25:54):
But, marcus, putting the Lambo on the train tracks
right now is keyed up.

Speaker 1 (01:26:00):
Now he was entitled to.
They had the body cam footage.

Speaker 3 (01:26:03):
You said I'm Michael Jordan's son.
They was like who.

Speaker 1 (01:26:08):
I'm pretty certain he put a kilo of cocaine on the
train tracks and sniffed it, Brosaid with a straight face.

Speaker 3 (01:26:14):
I'm in no way inebriated.
I could drive.
Your Lambo is on the tracks.
My guy Like no, you cannotdrive.
But let me ask y'all this IfLeVar Ball does that in defense
of like LaMelo or anything likethat, what is the media saying
about him?
Versus lebron gets a pass forhow he rode up on steven a,

(01:26:36):
because I know, first of all,we're killing lavar.

Speaker 1 (01:26:39):
you know I'm saying kids that can play.
Lavar actually called this shotright when lonzo was coming out
.
Lonzo was like lavar wasliterally telling people his
youngest brother gonna be betterthan him.
And he was right.
Levar actually had pro-talentedkids, no like.
Lonzo Ball like people forgetLonzo Ball.

(01:27:01):
Before these injuries and stuff, oh no, he was moving into
all-star point guard level play.
Lamelo is an all-star LikeLaVar, got sons that can play
NBA basketball.
Two of his sons Likethose—Lonzo and LaMelo deserve
to be in the NBA Right.

Speaker 3 (01:27:21):
And Jello deserves to be at Def Jam.

Speaker 1 (01:27:24):
When both of them—yes , he deserves to be at Def Jam,
because Def Jam fucking sucks.
That's why he deserves to be atDef Jam.
You deserve what you put out ofme.
You fucking suck and your labelfucking sucks.
You all deserve each other,whoa.

Speaker 3 (01:27:41):
Sucks.
But yeah, man, I just don't,I'm not sparing anybody in 2025.
I don't have time for this shit, yeah people only get outraged
what they you know what I'msaying.
They pick and choose what theyget outraged about how LeVar
Ball was moving, how you knowSean, you know T Morant, you
know what I'm saying.
So it's like how they move getshated on a lot and LeBron's

(01:28:03):
getting a lot of passes in themedia for how he handled this
situation or whatever.

Speaker 2 (01:28:07):
This is more about LeBron's legacy than it is about
LeBron's gameplay.
This is another notch in hislegacy to say that he was the
first NBA player to have his sonplay basketball with him.

Speaker 3 (01:28:23):
That doesn't help your legacy, then that don't
make you the GOAT.

Speaker 2 (01:28:27):
But it's all about right now how you did that
invisible resume.
This is part of that invisibleresume.

Speaker 1 (01:28:33):
Actually, you know, he does a good job of not
showing his ego.
This is one of those timeswhere it's like he couldn't hide
his ego.
Couldn't hide, it, couldn'thide it.
He couldn't hide it, becausenow he's His want Like how about
this Desperation?
No, it's not.
You know.
Here's a part of LeBron wenever talk about in relationship

(01:28:54):
.
Like people understand, mikewas media savvy.
Mike's a country boy fromWilmington, north Carolina.
Mike don't like the attention,lebron likes the attention guys.

Speaker 3 (01:29:09):
He likes the attention.
Right, that's exactly attentionguys.
He likes the attention.

Speaker 1 (01:29:12):
That's exactly what I was thinking too, AG.

Speaker 2 (01:29:13):
I'm just not even going to say it like that,
because it ain't like that butit's like oh no, you are the
dude, you do be the dude, youare the dude.

Speaker 1 (01:29:23):
You are dancing in all the videos.

Speaker 3 (01:29:26):
You are dancing in all the videos.
Watch the video again.
He's looking around to see ifthe camera is catching it.

Speaker 1 (01:29:31):
That is you in the video saying take that, take
that.
That is you.
You do love the attention, youknow you do.
And so that part of him thatloves the attention it showed
itself and it's funny, like youknow.
It's kind of, like you know,like most great men, his love
for his children is his Achillesheel and it's showing his
weakness in his love for hischildren, like his weaknesses

(01:29:53):
are shown, he thinks that it's astrength and he actually thinks
that he did something.
By what he did to Stephen ASmith.
It's like no, fam, you didn'tdo nothing.
You're just showing that you'rean egomaniac and your ego is a
little bit more out of controlthan we realize, because your
team and you have done such agood job of suppressing that
diva that you really are to thepublic, but if you're Bronny,

(01:30:15):
you're sick.

Speaker 3 (01:30:15):
You really think Bronny went up to him after that
and said thanks, dad, yeah.

Speaker 2 (01:30:20):
He probably be like appreciate you, thank you dad?

Speaker 3 (01:30:22):
I don't think so.
If I put myself in Bronny'sshoes, I think I'm embarrassed.

Speaker 2 (01:30:27):
No, because remember, he tweeted.
He tweeted something about thatsituation, did he?

Speaker 3 (01:30:32):
Yeah, nah, lebron got into his account.

Speaker 2 (01:30:36):
Look here.
Look here, If I'm Bronny.

Speaker 1 (01:30:40):
Bronny, take advantage of the amenities.
Find you some IG models?
Slide in a DM.

Speaker 3 (01:30:45):
Say you can fuck with a ball player.
Tonight you can fuck.

Speaker 1 (01:30:47):
NBA ball player tonight.
You can fuck a James tonight.
Yeah, that's what Thomas reallydo.
He do he's hoes.

Speaker 3 (01:30:56):
Let's keep it real.
Speaking of which, he probablymad he on the same team with his
pops, because pops probablyblocking on the road.
You know what I'm saying.

Speaker 1 (01:31:05):
Definitely play a Hayden.
Definitely play a Hayden.

Speaker 3 (01:31:08):
Nah play a Hayden Nah Brody.
Come on the show.
You're in a safe space.
Tell your truth.
Yeah, we got.

Speaker 2 (01:31:14):
you Tell your truth.

Speaker 1 (01:31:19):
He probably like you need to work on your game.
He probably like you need tostop texting women other than my
mama.
Nigga, stay out of my business.
Sorry, that's more cool.

Speaker 2 (01:31:27):
That's more cool.

Speaker 1 (01:31:30):
That's all cool Ron.
I don't give a fuck.
Look here, I talked to Kobeonce.
I don't give a fuck, he ain'tsafe, ain't nobody safe?
Kobe wasn't safe.
I talked to Kobe in OrangeCounty, california, when Kobe
was Kobe.
Nobody is safe, no one is abovecriticism.

Speaker 2 (01:31:48):
No one is above criticism no one is above
criticism and I want to ask youguys this, because kind of
transitioning over to just fromthe way we critique fans and
those in the media, like we are,we critique artists.
Are we over-critiquing them orare we giving our real
assessment from our viewpoint,from our lens?

(01:32:10):
Is there a place where you canover-critique someone in their
body of work?

Speaker 1 (01:32:16):
Yes, I think you need to be careful about what you
call yourself if you do that.
That's why, even for thecritique and the criticism that
I've had for Kendrick, I try tocircle back around with actual
facts.
That's why, even for thecritique and the criticism that
I've had for Kendrick, I try tocircle back around with actual
facts.
That's why it's like I'd belike oh see, see, that album did
suck.
Because you like this album andthis album is good, because I

(01:32:39):
want you to understand that thatwasn't me being personal.
My actual critique was that itsucked and nobody wanted to
admit that it sucked.
But it can come off like it'spersonal, like I have a bias and
I can understand that part ofit, and really what happens is
that our biases start to show.

(01:33:01):
Here's where my bias starts toshow when it comes to Kendrick.
When it comes to Kendrick, oh no, I very much thought that he
was on a trajectory To be a topfive, all time great MC and then
he stopped and then he droppeda whack ass album and I was very
displeased with that Because Ihad, as a journalist, written an

(01:33:25):
article in 2016.
Saying this guy is damn neartop ten right now and I have not
liked the trajectory of itpretty much until this past year
, and so my bias might be that,journalistically, I wrote
something nine years ago.
I did not feel like the artistwas holding up their end of the

(01:33:47):
bargain and so, if you want tocall me biased based on
something that I wrote, holdinghim so high and me feeling like
that, I didn't like, don't situp there and tell me that I'm
taking the shit personally.
It's like I'm actually onlytaking the shit personally in
relationship to some shit that Iwrote.

Speaker 3 (01:34:06):
I'm taking what I wrote personally about him like
you was upset with yourself forbeing wrong in that moment
correct.

Speaker 1 (01:34:13):
I'm more upset with myself than I am with him.
I want to be.
I want to be right, which meansI wanted mr morale and the I
want to be right, which means Iwanted Mr Morale and the Big
Steppers to be better than allof y'all did, because it would
have submitted my article as ajournalist, because I would have
been able to pull up and say,oh no see, this motherfucker
took five years off, but he'sstill that guy that I was

(01:34:36):
talking about in this articlefive years ago, which is why I
wrote the article, thinking thathe was capable of something
like that.
That's where my bias lies.
My bias don't lie in the factthat I got something personal
against him, but we all have ourbiases.
I'll tell you something that Isaw when Griselda was really
like peaking.
Out here, a lot of people weredoing pods and a lot of black
men our age were taking issuewith them, calling out young

(01:34:59):
boys as shooters.
You know what I'm saying andit's like oh no, that's your
trauma from your hood experience.
This is entertainment.
These niggas are not activelyhiring niggas to go shoot.
You want to know why?
Because I'm seeing them onstage with niggas every night,
performing, making money onInstagram, like literally all

(01:35:20):
the time.
This is when they were grinding,grinding and doing shows like
almost every night, and so I sawbias from people that were
trying to make a name forthemselves based on their trauma
from what they had seen in ourcommunity and projecting that
onto Griselda's music andspending.
I literally watched the guy onetime spend more time
highlighting the fact that theywere talking about the young

(01:35:41):
boys and shooters than actuallyreviewing the project and
talking about the music.
That's a bias.
Saying somebody's shit sucks isnot a bias.
Saying that your kid can't playbasketball is not a bias.
It might just be what it is.
Mr Moran on the Big Steppers isnot a good album.
Bronny is not a NBA readybasketball player.

(01:36:01):
These are not biases.
These are critiques thatjournalists are supposed to give
Unbiasedly.
If your kid can't play, yourkid can't play.
If the album fucking sucks, thealbum fucking sucks.

Speaker 3 (01:36:15):
Stop making it personal because stop making it
personal for the journalistbecause you didn't hold up your
end of the bargain yeah, andthat's the problem that's caused
with all this coop because,like you said, now that he's
approached stephen a smith, likeif somebody has those same
sentiments, then they're goingto question themselves if they
should.
Even well, espn might haveeverybody bought anyway, where

(01:36:37):
they can only say certain thingsbut still yet they don't feel
like they could tell you knowwhat they see as the truth is
factual, because there'll berepercussions behind that.

Speaker 1 (01:36:48):
How about this?
Instead of stepping to StephenA Smith, why don't you spend
that time working on your son'sfirst step?
He's 6'2".
People who are 6'2 in the NBA.
They have to use their speedand their quickness.
He doesn't seem to have anexplosive first step.
That's what great guards have.

(01:37:08):
If you want to take theircritique.
It's like you shouldn't reallybe stepping to Stephen A Smith.
You should be working with yourson on his game.
You are the second greatestbasketball player that ever
lived, in my opinion.

Speaker 3 (01:37:19):
But that ego.

Speaker 2 (01:37:20):
He thinks that's disrespect, saying he's the
second best out of everybody whoever played because they're
working so hard to be ahead ofjordan that they're losing the
sight of everything that'saround them.

Speaker 1 (01:37:30):
That's just how it's always been, and that's why he's
trying to win what?
Here's what it is, michaelMichael Jordan has won the
electoral college vote and hekeeps trying to win the popular
vote.
And it's like that's not enoughto get you elected, nigga, ask
Hillary and Kamala and whateverDemocrat that keep getting their
ass whooped.

(01:37:51):
Yeah, that popular vote, shitain't enough.
You know what you need, nigga?
You need rings.
You're four-6.

Speaker 3 (01:38:01):
The rings and things you sing about.
Bring them out.

Speaker 1 (01:38:04):
You're 4-6.
You're 4-6.
He's 6-0.
Nobody gives a shit about yourson making it to the league when
you're 4-6 versus he's 6-0.
You're trying to add stuff intothe argument when the thing,
man, you need to make the mainthing, the main thing.
You average less than a pointin the fourth quarter against
dallas for four straight games.
That's what the thing is.

Speaker 3 (01:38:24):
Your son making it to the league was never the thing
for us and somebody just need totell his ass, you know, like
nigga, that ain't it yeah, notto answer your question too,
sean, about do we critiqueartists too hard, I think you
know like I would say yes too,because for me, at the end of
the day, I'm just a fan of thisman, I think, once you you know

(01:38:48):
we come in here every week andwe talk about music.
But I think that it's like itbecomes too much when you go
from a fan critiquing music to acritic, a self-proclaimed
critic, critiquing music.
You know I'm saying you're nota fan of it anymore.
You're just listening to stuffto kind of like, you know, pick

(01:39:11):
out certain things or whatever,give a critique, you stop,
you're not a fan anymore, sonothing will ever grab you or
make you gravitate to it becauseyou're not going into it with
that earnest approach that youdid when you was a fan of the
certain art.
You know what I mean, and atsome point or another all three
of us have rapped, all three ofus have performed or whatever.

(01:39:32):
I think to properly critiquesomething you have to at least
have done it on some level andtried your hand at it to be able
to critique somebody else at it.
You know you don't have to beas good as that person per se,
but I think you at least have toknow what you're critiquing.
You know what I mean.
That's why I have a problemwith you know analytics guys

(01:39:54):
that never played hoop orsomething like that that want,
like you know, talk about.
You know how somebody's playingin um in the game of basketball
.
Steven a's played on some level.
You know I'm saying so.
He knows the game of basketballand he has a right to critique
it.
Is he lebron james?
Hell, no, but he is veryfamiliar and very knowledgeable

(01:40:16):
about the game, so I think thathe has a right to do so.
But I think when that line getsblurred between you, when
you're a fan of whatever artform to your self-proclaimed
critic and that's what you like,hang your hat on I think that's
where it gets dangerous.
You know what I mean, becauseyou'll never really give
something that earnest approachyou would as a fan of whatever

(01:40:38):
art it is that you're givingyour opinion on.

Speaker 2 (01:40:41):
No doubt we got a bunch of super chats.
We appreciate the super chat.
We appreciate the love in thechat.
It's great that we don't havebots in the chat because we can
communicate with you all and getreal information in real time.
Shout out to the real people inthe chat and not the bots that
we had.

Speaker 1 (01:41:01):
Where the super chat's at Pull them up.

Speaker 2 (01:41:04):
Let me see, here we go.

Speaker 1 (01:41:06):
Mad.

Speaker 2 (01:41:07):
Max.

Speaker 1 (01:41:08):
Oh my God, Max is a bot.
Stephen A Smith does what Tellhim?
I said no, no, no, we read thatone.
Sean Did that one.

Speaker 2 (01:41:18):
Here we go, more Mad Max.
We read that one.

Speaker 1 (01:41:21):
Sean Did that one.
Here we go.
More Mad Max.
Where was that?
Hold on Mad Max.
Stephen A Smith was on Guillorylike Martin when he lost his.
I'm not reading Mad Max.
Shit, Mad Max is wild Mad Maxis wild.

Speaker 3 (01:41:38):
Sean had the graphic of that Max.
Yeah, Mad Max is wild.
Sean had the graphic of Mad Max.
Yeah, we know.

Speaker 1 (01:41:43):
He said Queen soft as charm and we might have to
bring KRS back out.
Okay, let's not take shots atQueens.
All right, we're not startingno turf war up here on Hip Hop
Talks, all right.
Jj Designs, ji Designs what'sup?
Y'all Thoughts on Dolce'slatest songs and comments.
Actually, andrew and I actuallydid a full episode on Mirror

(01:42:04):
Music that was released onTuesday, where we actually gave
a review of Alligator Bites,never Heal, which won Best Rap
Album for Grammy, and reviewedthe two songs that she's
featuring right now Anxiety, andthe other one is skipping me
right now, but check it out onMirror Music full content and
breakdown.
That's what we got all thethings for.

(01:42:26):
So shout out to Mirror Music,andrew.
Like, share, subscribe.
Ji Designs All right, andreShashir what up?
Dre?
Dre is one of the OGs.
Dre has literally beenfollowing me on podcasts for the
entire five years that I'vebeen on podcasts.
Andre Shashir was following mewhen I was still doing Facebook
and IG lives, before I was evenon YouTube.

(01:42:47):
This week makes my fifth yeardoing podcasts.
Shout out to Andre.
Used to be a huge Bron fan, buthe's a diva now.
Always been a diva, it's justharder to hide it.
Always been a diva, it's justharder to hide it.
See, this is why Big said keepyour family and business
completely separated.
Money and blood don't mix liketwo dicks.

(01:43:10):
Find yourself in seriousbecause it brings out the
emotional side of you, yourvulnerabilities and weaknesses,
showing.

Speaker 3 (01:43:19):
It's like an exposed nerve.

Speaker 1 (01:43:22):
He bought his son into his business world.
It's an exposed nerve.
It's like that scene in theGodfather where he's talking to
the guy and Sonny is talking andhe cuts him off.
He's like, oh, you know my kids, they got this shit.
They talk when they shouldlisten.
You know what I'm saying.
I've spoiled thesemotherfuckers.
You know what I'm saying?
That moment of vulnerability iswhat got his ass shot.

(01:43:45):
You feel me?
Yeah, that's how it is when youbring your kids into the fray.
These things LeBron is goingthrough are self-inflicted
wounds.
He don't need to be screamingat nobody.
Yeah, he's just larger thanlife, so don't nobody want to
check his ass.
Facts, that's all it is.

(01:44:07):
He's larger than life, sonobody wants to check him.
The foundation of what he'sbuilt, everything's built off of
him.
He's made everybody multimillionaires around him.
Who's going to tell this nigga?
No Cool.

Speaker 3 (01:44:26):
Double barrel.
Ag likes KRS-One more than heliked braun.
That's not saying no, that's.
That's not true.
I ran, I rate braun eithersecond or third, all time behind
mike and kobe.
You know I'm saying I might putbraun third on one day, second
on another day, but krsOnedoesn't crack my top 10, so that
would be false dub.
I do not like KRS-One more thanI like LeBron.

Speaker 1 (01:44:44):
Okay, lebron's been to 10 finals in 22 years, right,
right.
Yeah, magic went to 8 in hisfirst 10, so even when people be
putting him ahead of Magic, I'dbe kind of looking Dingle 9 in
13 years, 9 finals in a 13, whenpeople be putting him ahead of
Magic.

Speaker 3 (01:45:01):
I'd be kind of looking Dingle Dingle, Nine in
13 years, Nine finals in a13-year season, and his losses
are only to Isaiah Jordan, Dr Jand Bird.
That is nothing to sneeze at.
He is five and four in thefinals and those are his four
losses.
Yeah, Magic is that guy.
And y'all stop putting Stephover Magic for all-time point

(01:45:21):
guards too.
That's not a conversation.
It's not a conversation.

Speaker 1 (01:45:25):
Magic is number two.
Magic is the second greatestplayer that ever lived, in my
opinion, personally, I ain't madat that.

Speaker 3 (01:45:33):
I ain't mad at that, mad Max.

Speaker 1 (01:45:36):
Magic is my number five.
Yeah, lebron liked theattention on some female-ish
though Grown man acting like adiva, like his name's, sasha
Fierce.
See, this is why we got towatch Mad Max.
Mad Max, mad Max, be crazy,it's going too far Beyond.
Pj Wilson, don't spend this allin one place, okay.

Speaker 2 (01:45:54):
Okay, appreciate you, bro, thank you Appreciate you.

Speaker 1 (01:45:59):
I'm going to catch the martyr to the art center and
then try to figure out how I'mgoing to get back home.
That's where the $10 is goingto get me Make it to the art
center, be able to buy a fan outthe machine for $2.
After that, I got to figure outhow the fuck I'm getting home.

Speaker 3 (01:46:12):
That was real when your mom used to tell you that
You'd come back.
You know what I'm saying.
For real broke and you didspend it all in one place.
You'd have hell to pay.

Speaker 1 (01:46:22):
Yeah, I can remember getting on the martyr with my
mom, when the martyr was only aquarter, though, so you know,
yep, all right, so our headlineris Albums After Beef.
Sean, we're going to let youkind of take the lead on this,
seeing how Drake's been talkinglike a battered and abused
ex-wife and Kendrick has beenout here tap dancing on his ass,

(01:46:46):
and they both are releasingposthumous diss beef time
projects the re-release of GNX,the re-release of the Drake and
Pratty next door.
Sean, I'm just gonna be honestwith you.
I'm so sick of this shit.
These niggas are doing too much.
They're on my goddamn nerves.
Have fun taking over thissegment.
I'm about to drink this petiteVerdot and enjoy this cigar

(01:47:09):
while you talk Real quick.

Speaker 3 (01:47:10):
We've got to mention in the new music section that
Playboy Cardi got an album I AmMusic to Drop tonight that got a
Kendrick feature on there, soI'll be interested to see what
Kendrick says on that feature AG.

Speaker 1 (01:47:22):
I did not mean to forget that, but subconsciously,
probably because I am sick ofthis shit and I'm officially
tired of it and over it, Iconveniently skipped over that,
thank you for highlightingPlayboi Cardi and yet another
Kendrick verse.
That's probably going to besending more subliminals about

(01:47:45):
Drake to start up some moreconversation, for some more
bullshit that I don't want totalk about.
So niggas can send some moreemotional, ass, ambidextrous,
ambiguous messages that I don'twant to read.
So niggas can keep rapping overrepetitive ass beats that I
don't want to read.
So niggas can keep rapping overrepetitive ass beats that I
don't want to hear anymore.
Just yes, all of it.
All of it, sean.

(01:48:05):
I'm sorry for interrupting.
Go ahead, let's go have fun.

Speaker 2 (01:48:08):
So, fellas, I wanted to get y'all's thoughts on that,
because we've been talkingabout, you know, the Kendrick
and Drake beat stuff was goingon for a while.
We were actually about to comeon the year mark when the actual
song was released.
That sparked everything, andwe've had conversations behind
the scenes, differentconversations.
One of our first conversationswas about how, you know, these

(01:48:31):
artists have to be careful aboutwhat they release after the
beat, because if you release thewrong project, if you release
the wrong song, it could derailyour career or it can stifle
your career.
So I wanted to talk about thatreal quick on just not so much
as the Kendrick and Drake thing,but just other battles that
we've seen in the past where wehad other rappers who actually

(01:48:53):
released music or released analbum on the brink or even the
aftermath of the beef.
And one of the things that cameto mind when I was thinking
about this was you guys alwaystalk about Ice Cube and Death
Certificate, and this came offthe heels of him leaving NWA and
having that beef with NWA.

(01:49:15):
Although Death Certificatewasn't the first album that he
released after the departurefrom NWA, although Death
Certificate wasn't the firstalbum that he released after the
departure for NWA.
It was more so his response toNWA when they started talking
crazy about him.
And in the aftermath of thatbeef, he dropped Death
Certificate.
And we know what DeathCertificate was Classic, right,

(01:49:42):
and if he would have missed out,nwa probably would have had
more traction but got a littlebit more um, more room to
actually really shit on him.
But because death certificatewas such a great album and you
got no vaseline on that samealbum, it all connected because
he made the right step.
So I wanted to use that as as agauge for other albums that
came for those who had missed upand those who actually had

(01:50:03):
success.
So, with that being said, Iwanted to bring forth the first
one let's talk about.
One of the biggest beefs thatactually came out was Ja Rule
and 50.
And Ja Dropping, bloody Ma'am.
So, ag, biggest beef thatactually came out was Ja Rule
and 50.
And Ja Dropp and Bloody my Eye.
So, ag, tell me about what youthink about Ja's move with

(01:50:26):
Bloody my Eye.

Speaker 3 (01:50:29):
That's an underrated album.
I'll be honest.
That album was really good, butit's one of those things like
if a tree falls in the forestand nobody's there to hear it,
it doesn't make a sound, youknow.

Speaker 2 (01:50:41):
Woo.

Speaker 3 (01:50:41):
Fars, fars.
I've never, up until that point, I've never seen somebody with
so many fans, and so you knowbig of a following.
Just pack up and leave themhigh and dry.
Like you know what 50 did to JaRule.
It has been studied.

(01:51:02):
I ain't gonna say it needs tobe studied.
It has been studied.
But all all of uh, ja Rule'sfans became 50 cent fans
overnight.
That's the tidal wave that 50cent was.
And Ja's approach to get backto the grit the same grit that
we heard on Vidi Vidi Vici likewas the right move, it was the

(01:51:22):
right response.
But it just kind of it was likefor nothing, almost you know
what I mean Because the peoplewasn't receiving.
It's like Jay said, we don'tbelieve you need more people,
kind of thing.
Like he didn't have enoughpeople in his corner still at
that point to back that album orhis response record, clap Back

(01:51:43):
for it to gain any traction.
But the album itself I enjoyedthe album.
I think the album is reallygood.

Speaker 2 (01:51:52):
Well, you said cool.

Speaker 1 (01:51:55):
That album is just okay, but AG makes some very,
very good points.
Here's what happened.
You know, vinny, vinny Viciactually has some ready to die
to it.
The artist is still rougharound the edges, but you can
hear a hit maker in there, butyou can hear somebody that's
tied to the streets as well.
Here's the thing Because Jayhad the commercial success so

(01:52:21):
heavy in front of him andbecause DMX had the street
success so heavy in front of him, it really sent him over into
left field with that R&B shit.
And 50 is somebody See, 50 issmart, 50 is a thinker.
And he realized it's like oh no, he's's like this guy went too
far left.

(01:52:41):
He ain't made enough shit forthe streets.
I can beat him by taking itback to the streets, so blow my
eyes.
A dope album, clap back, is agreat, great, great, great
record that nobody talks about.
They don't talk about itbecause when he had already lost
all his credibility because hetried to go too far left and he
got no more for a nigga that wassinging hooks and for his rap

(01:53:04):
skills and his rap skills wasabove average he was a dope ass
mc and people forgot that.
But most of all, he forgot thatand it was too little, too late
, and so in in a lot of ways,blood in my Eyes actually sounds
better than Vinny Vettivici ina lot of ways, but it's all lost

(01:53:24):
on the ears because really,blood in my Eyes is something
that he should have releasedafter Vinny Vettivici, not after
a battle to maintain thatcredibility, so somebody like a
50 would have never came for himto begin with.

Speaker 3 (01:53:36):
And nobody was saying it was a return to form or
anything.

Speaker 2 (01:53:40):
Nobody cared, because by the time he got to return to
form it was on this album righthere.
This was on the second albumwhen he did the Rule album, but
by that time it was like we'renot checked out, now it's too
late, so now you can't recover,so now he's in a bad spot and

(01:54:00):
not to be funny.

Speaker 1 (01:54:01):
and he had a reason to be feeling himself.
He was feeling himself a littlebit too much.
I remember them Ja Rulearticles when he was going
double, triple platinum.
Oh no, he was talking abouthimself in the same vein as Jay
and Tupac and Nas and BMX.

Speaker 3 (01:54:14):
No, he was talking about himself that way.

Speaker 1 (01:54:18):
You want Tupac, you got two pop.
I seen that shit, so you know,50 seen it, 50 seen it up close.
I seen it from a distance, like, oh, that is not going to play
well in the streets, and 50already knew it.
And 50 took advantage of thefact he just knew what other
street niggas knew.
It's like, oh no, that shitain't going to play well in the
streets.
In the streets, nigga, you'reup here singing songs with J-Lo
talking about it must be that.

(01:54:39):
That is not about the play inthe streets.

Speaker 3 (01:54:41):
The greatest trick that 50 ever pulled is he did
the same exact thing and got allJa Rule's fans that was jiving
with the singing.

Speaker 1 (01:54:50):
And I used to say that.
But here's one thing that wemissed.
He took Ja's style, but 50 madesure he kept the street ethos
to it and I'll give you anexample of it.
21 Questions is from a jailcell.
He kept the visual streetbecause he knew what he was

(01:55:10):
doing.
Yeah, yeah, he did it and hedid it better.

Speaker 3 (01:55:16):
It just is what it is .
He made it fly.

Speaker 1 (01:55:19):
He made it flyer Like the video the stunt 101, that's
the same video from.
Fucking.
What's that?
Fucking Cadillac Tassone, thefucking two-way shit.

Speaker 3 (01:55:30):
Oh yeah.

Speaker 1 (01:55:31):
Stunt 101 is just that video on steroids.
He just took it and he's likeno, I'm going to do what you do.

Speaker 2 (01:55:40):
I.
He's like no, I'm going to dowhat you do, I'll just do it
better, yeah, yeah, so it was amisstep.
It was a misstep by Ja.
It was a misstep by Ja, butcool.
I want to swing this one backto you though the chronic.
The chronic came off the heelsof Dre's departure from Eazy-E,
if you will, and he had to landsomewhere.
And he had to land somewhereand he landed with the Chronic.

(01:56:02):
Was that one of the biggestways to actually resurge
yourself after breaking up froma legendary group and having
some beef and some malice withone of the most iconic figures?
Rest in peace, eazy-e, in theWest Coast.

Speaker 1 (01:56:18):
Okay.
So the Chronic is an easy top10 rap album.
If you told me it was thegreatest rap album of all time,
I wouldn't argue with you.
It's in that conversation.
It's one of the best rap albumsof all time.
It's one of the most importantrap albums of all time,
Production-wise you name it.
It has everything that thegreatest rap album of all time
should have.
But this is why history is soimportant.

(01:56:41):
People forget the moment intime.
Dr Dre's not the greatest rapproducer of all time.
When the Chronic comes out,that would be Marley Ma.
Okay, it's 93.
No, no.

Speaker 3 (01:56:52):
This is 92.
Late 92.

Speaker 1 (01:56:56):
Late 92.
Yeah, Now people need tounderstand this and I'm pretty
certain that it happened thisway.
I think Deep Cover comes outbefore.
No, Vaseline.

Speaker 3 (01:57:08):
I don't know about that.
I think no Vaseline came outfirst.

Speaker 2 (01:57:11):
No Vaseline came out first.

Speaker 1 (01:57:13):
Yeah, it's close.
It's close.

Speaker 3 (01:57:16):
I would check the stats and see yeah, somebody in
the chat check when the um thedeep cover soundtrack came out,
but I'm pretty sure that wasafter um death certificate I
feel like it's deep cover andthen no vaseline, because death
certificates nine late nighthold on death certificates 93
right no death certificates 91no america 99.

Speaker 1 (01:57:38):
Ooh okay.
So how about this when noVaseline is probably making the
rounds, deep Cover's coming down, but Dre don't have it like
that.
In 92, guys Like no Vaselineended NWA Nobody.
How about this?
The Chronic is one of the mostunexpected classic rap albums of

(01:58:01):
all time.
Nobody outside of Californiaknew that the Chronic was coming
out, nor did anybody care,because Ice Cube had ruined them
.
Niggas, yes, they were ruined.
Yeah, and people forget this.
The first single off theChronic is Dre Day, there you go
, that's it.

Speaker 3 (01:58:18):
It's not, let Me Ride .

Speaker 1 (01:58:19):
It's not, let Me Ride , it's not nothing but a shit
thing.

Speaker 3 (01:58:22):
It's Dre.

Speaker 1 (01:58:23):
Day because he had to reestablish his credibility in
the streets before he could godo all this other gangster shit
that they talk about on theChronic.

Speaker 2 (01:58:32):
Let's talk about this point.

Speaker 1 (01:58:36):
There is no talking this gangster shit without
settling what Ice Cube did toyou on no Vaseline.
And he didn't go to and he didthe smart thing.
He didn't go for Ice Cubebecause that would have been
career suicide for him.
He ain't doing that, that's agood point, but he addressed the
point that Ice Cube addressedon no Vaseline.

(01:58:56):
Easy fuck you niggas out ofyour money.
Easy fuck us out of your money.
Right, eazy fucked us out ofour money.

Speaker 3 (01:59:01):
Here's the thing, Coop.
It's a video and I don't knowthat before that, if it ever was
a video for this track and hehad the homie rest in peace.

Speaker 1 (01:59:10):
that played Eazel making the caricature of Eazy E
and I remember him being a youngkid laughing like yo, I love
Easy, but this is funny Like youknow what I mean.

Speaker 3 (01:59:21):
He clowned Easy.

Speaker 1 (01:59:22):
But here's what I'm saying, though he had to clown
Easy, because Cuba just got doneclowning all of them.
There is no, the chronic don'twork if he don't set the record
straight.
Yep, so he has to.
So actually people don'tunderstand this.
Dre Day is actually no VaselinePart 2.

Speaker 3 (01:59:40):
Yeah.
And let's not forget the straysthat Luke caught too.
Yeah.

Speaker 2 (01:59:45):
Luke's been the nobless.
Luke's kissed up.
Buster, buster, buster.

Speaker 1 (01:59:52):
Thought I was sleazy.
Thought I was a mark because Iused to hang with easy Animosity
.
Made you speak, but you spokehey yo Dre what up.
Check this nigga off, Loke.
If it ain't another ho, then Igots to fuck with gap teeth in
your mouth.

Speaker 2 (02:00:10):
Oh, this shit was wild.

Speaker 3 (02:00:13):
At that time you couldn't have a gap tooth in
school because we was likesaying that to people at school.

Speaker 2 (02:00:18):
That predated pause got to for school because we was
like saying that to me forschool.

Speaker 1 (02:00:22):
I predated pause.
No, I'm telling you like someof the coldest shit that I've
heard as a kid was Snoop wastalking about what he said and
we're going to creep the SouthCentral on a street knowledge
mission.
I was like when I heard that, Isaid that's gang shit.
I was like I'm not from Cali,that's gang shit.
They about to bang on theseniggas.
I said I'm excited.

Speaker 2 (02:00:39):
That shit is crazy.
It's different.
It was played on MTV all daylong.

Speaker 3 (02:00:49):
That took this track to another level, because it was
a single and it was a video andit was catchy Bow wow, wow,
yippee, yo, yippee yay.

Speaker 1 (02:00:57):
Dog and the motherfucking bow wow, wow,
yippee, yo, yippee, yay, dog,and the motherfucking, yeah, wow
, wow, yes, I mean the levelthat not like us is now.

Speaker 3 (02:01:05):
For what?
Yeah, that was.

Speaker 1 (02:01:07):
That was not like us in 92, if that makes sense see,
this is what I'm saying, though,like dre day was playing.
This is what I mean about.
It's different, and you can'tget these moments back when the
streets talk.
Oh no, I know, dre Day wasplaying every day in Compton
because it was playing every dayon Memorial Drive on the east
side of Atlanta.
We ain't even from Cali.
We didn't get down the way Caliniggas get down.

Speaker 2 (02:01:29):
That's how hard that shit was.
It was everywhere.
It was all on the east coast,it was everywhere, everything's
response was tough.

Speaker 3 (02:01:41):
It everything's response was tough.
But if the album isn'tcomparable, you know what I'm
saying if it's not comparable tothe Chronic, I actually think
Real Motherfucking Jesus isbetter than Dre Day, if we're
just talking about a record in avacuum the beat's better that's
one of the best beats ever thebeat's better, the beat's better
.
The full project wasn't better.

Speaker 1 (02:01:58):
I think that's what Sean's alluding to, the only
thing you're beating the Chronicwith is Doggy Style Paid in
Full.
It Takes a Nation IllmaticPurple Tape you ain't beating
the Chronic.

Speaker 2 (02:02:09):
That goes back to this topic, because now you're
talking about the Chronic andthen he immediately released
Doggy Style in the middle of allof that.
So not only did Dre land it theright way once, he did it twice
in the Miss.
Z battle.

Speaker 1 (02:02:25):
But, sean, you do bring up a very valid point
about the Chronic.
The legend of the Chronic isbuilt on the back of a diss
record.

Speaker 3 (02:02:33):
That's where the momentum started.

Speaker 1 (02:02:35):
That's where the momentum started.

Speaker 3 (02:02:37):
But strategically it makes sense, because the last
time we hear from Dre is withthe group NWA.
So what better way toreintroduce yourself to the
world than to?
You know what I'm saying.
I got a problem with dudes.

Speaker 1 (02:02:50):
You know what I'm saying?
I'm not NWA, no more.
See okay, ag.
What I'm trying to say is thatand this is where things are
different oh no, there was noother way.
The Chronic wasn't getting playif he didn't address that
situation.
You were from Compton, you werefrom the group called Niggas
with Attitudes there will be noIce Cube dropping no Vaseline

(02:03:11):
and any of you niggas notaddressing it.
You gotta set the tone.

Speaker 2 (02:03:15):
And then you would think about it the niggas who?

Speaker 1 (02:03:18):
didn't address it, careers was over.
The niggas who didn't addressit, careers ended.
Eazy and Dre and all the onesthat addressed it.
Their careers continued on Redand yellow never addressed it
gone.

Speaker 2 (02:03:26):
Gone.

Speaker 3 (02:03:27):
I think that was that era.
I'm glad we're speaking aboutthat, because if you got
demolished in the diss track inthat era, it was no coming back
for you.
Your career was done.

Speaker 2 (02:03:40):
You was a pariah in the hip-hop community.
But see that goes back to ourtopic, because it's saying what
does that misstep look like foryou?
Because not only did Dre dropDre Day, he dropped a video, the
video actually was a lengthyvideo because remember the
original, the premiere of thevideo, it was a lot of different
stuff tied into it.
It was a commentary, it was himpulling up to the office.

Speaker 3 (02:03:59):
And the Sleepy with the Jerry Heller and all that.

Speaker 1 (02:04:04):
Yes, which was great.
But also, too, he also let youknow what the album was going to
sound like too.
When I think about that video,you know what I think about.
I think about the beginning ofthe video where Dre opens up
that denim, jean jacket and he'swearing a Parliament Funkadelic
shirt.
He's letting you know what thealbum is going to sound like too
, because he's wearing theparliament shirt.

(02:04:25):
Most of the samples on therecome from Bootsy Collins and
George Clinton.
It was all parliament Correct.
So he set the stage not onlywith the diss record, down to
the t-shirt that he wore tointroduce and snoop like it was
perfect it was a monster Verystrategic, very strategic.

Speaker 3 (02:04:42):
This is what I mean.

Speaker 1 (02:04:43):
So how can you be so quick to be like?
Not Like Us is a top five dissrecord.
It's like nigga.
I don't even know if Dre Day isa top five diss record.
We just spent 15 minutes waxingpoetic about the video, the
song, the importance of it in inrelationship to the chronic,
and this is what I keep ontrying to say Not Like Us
doesn't have a chronic behind it.

Speaker 3 (02:05:01):
It doesn't have a no.
D-nex is not the chronic by nomeans no, no, no, that's what
I'm saying.

Speaker 1 (02:05:07):
It's not the same and for those of us that have lived
through some of these things,it's like no fam, it's like you
had to have been there.
We have been through this shitbefore yeah, we've been here
before.
We've been here before lookhere like the chronic is what
made me realize hip hop was real, because I was very clear that
I was listening to somethingevery day in my neighborhood
that sounded and acted likenothing like my neighborhood.

(02:05:29):
Like that shit do not soundlike Decatur.
You know what I'm saying, buteverybody in.

Speaker 2 (02:05:34):
Decatur was playing it, it was transcending, it was
transcending, it wastranscending.
My mom still says to this day,my mom still says to this day
was playing it, it wastranscendent, it went everywhere
, it was transcendent.

Speaker 1 (02:05:43):
My mom still says to this day.
My mom still says to this day Idon't like rap, but I like Dr
Dre and Snoop Dogg.
Yeah, she do.
My mom still like Dr Dre andSnoop Dogg.

Speaker 3 (02:05:50):
She probably was a Pogman fan, right Bingo.

Speaker 1 (02:05:54):
My aunt Sonia.
God rest her soul.
Six's mom was the ParliamentBootsy Collins fan.
Her big sister was theParliament Bootsy Collins fan.
She grew up listening to it.
Absolutely yes.

Speaker 2 (02:06:03):
Think about how culture came from the Funkadelic
era.
That was the groove era for us.
That's when we were dope.
We felt we were the dopesthuman beings on the planet.
In the Funkadelic era You'retalking about old school soul
train era.

Speaker 1 (02:06:19):
Bootsy Collins, I'm going to make you feel like that
.
You can have any woman that youwant any girl look, man, you
think that you can do a Kiacocaine, play the guitar and get
any woman you want after you'veheard Bootsy Collins.
I didn't even know it waspossible.
Bootsy, I'd like to thank youfor taking me to the mothership.

Speaker 2 (02:06:40):
Yes, Cool AG.
My nickname when I was a littleboy was Bootsy.
They called me Bootsy.
They used to have me dance.

Speaker 1 (02:06:48):
Bootsy, come here and do a little dance From your
behavior behind the scenes.

Speaker 2 (02:06:52):
I used to come here and do a little dance for the
people.
I'd come in there and do somelittle weird shit.

Speaker 1 (02:06:57):
I can actually see that I can actually see that.
I can see that.
No, that makes sense to me whatwe got.

Speaker 2 (02:07:10):
What's next?
So the next one I want to talkto y'all about, because I want
to skip over a couple of them,because I really want to get to
another one that I think thechat would love.
I want to start with you, AG,because this one is like near
and dear to all of us and thisis really the Nas and JB and the
aftermath after Ether, afterSteelmatic, after Blueprint.

(02:07:31):
You know J went with Blueprint2.
Nas went with God's Son andLost Tapes, and Blueprint 2 was
the first time that Jay actuallygot critical feedback on an
album during his run.
You're talking about from what?
96 up until 2002, where Jaynever received a lot of bad

(02:07:53):
feedback.
Although Volume 3 wasn't thebest best, he still got like
four and a half to four, I think, four to four and a half mics
Volume 3 got four mics.

Speaker 3 (02:08:02):
I believe Four mics.

Speaker 2 (02:08:04):
So he still didn't get.
No one really said the albumwas bad in the media, but
Blueprint 2 was the first timethat people were saying, yeah,
he's slipping.
So he misstepped with Blueprint2.
But Nas came through withGossip, one of Coop's favorite
songs, which you guys know whatthat is, we know what it is.

(02:08:26):
One of the best songs that everbeen made that ever came out.
They're shooting Major.
Look, you got lost taste whenhe's true to form.
If Nas would have missed and Iwant to set this, I want to ask
you guys both this question IfNas would have missed out think
about Jay being Thanos with thegauntlet right and Nas was the

(02:08:50):
final stone for him to get If hewould have got the final stone
where he beat Nas in a battle.
Jay is the undisputed goat ofall time.
You can't dispute it.
You can't dispute it, you can'targue it, you can't say
anything about it.
That's a fact.
That's a big fact.
He has all these stones in hisgauntlet, Taking out Prodigy and
Nas at the same time.

(02:09:12):
He's unstoppable.
He's unstoppable, but he didn'tget it and he misstepped and
lost the stone with blueprint 2because he misstepped off that.
So, fellas, what do y'all thinkabout blueprint 2?

Speaker 1 (02:09:27):
godson and stillmatic in that relation, go ahead so
this is why, okay, so everythingthat you're talking about about
keeping him from the infinitystone that's why I tell
everybody that I'm so high on KD.
The difference between LeBronbeing mic level is actually KD.
Kd going to Golden State ispreventing LeBron from getting

(02:09:51):
the Infinity Stone like you'retalking about.
That's the consolidation ofLeBron's power being prevented.
If KD doesn't go to GoldenState, lebron is 6-4, not 4-6.
Then he gets to say, yeah, thatguy went to 6, but I went to 10
, and we got the same number ofrings and I played longer and I
got the scoring record.
These moments in history matterand that is why Nas' victory

(02:10:15):
over Jay is the greatest victoryever in rap history.
It prevented the consolidationof power because and I've always
said this to people oh no, nasis the greatest MC of all time.
But if we're talking peak, it'sRakim's peak and Jay's peaks.

(02:10:35):
Those are the highest mountainsto climb.
In terms of a peak, a five-yearwindow.
Oh, and jay was at the peak ofhis window when he got tooken
down.
It was an afterthought thatthis was happening.
When he dropped the takeover,people thought it was over for

(02:10:57):
real.
That's how serious you had tohave been there.
People talk about Jay now theytalk about Jay the legend, the
icon.
That's cool.
We were there in real time forthe ascension.
Y'all know what it was like forJay in 2000 and 2001.
He was the fucking man.

(02:11:17):
It did not matter if 2001.

Speaker 3 (02:11:18):
He was the fucking man, it did not matter.

Speaker 1 (02:11:20):
It did not matter if you thought Nas was the better
MC.
It did not matter.
If he was the better MC, it didnot fucking matter.
This is the most importantmoment in the trajectory of
history because without thismoment of history, jay is
unquestionably the goat.
It's not a question that he'sthe goat if he wins this battle.

(02:11:40):
Correct.
It's the consolidation of powerand, unlike most people, I
think people are a little toohard on Volume 3.
Volume 3 is uneven, but there'ssome good stuff on there.
Blueprint 2 is not good it is.

Speaker 3 (02:11:55):
There's some good stuff on Volume 3.
I tell Sean this all the time.
I know we're talking aboutafter the beat, but I'm glad you
brought up the power vacuumcoop.
Blueprint 2, the firstBlueprint for me in my all-time
list jumped Jay from number fourto number two.
Prior to Blueprint I had himbehind Nas Pac and Big.

(02:12:16):
Then that jumped him all theway up to number two for me.
But you know.

Speaker 1 (02:12:25):
I personally still have him somewhere between four
and seven, but objectively I'veplaced him at two pretty much
since the Blackout.

Speaker 3 (02:12:32):
Oh gotcha.
But how you deliver after atrying moment like that speaks
volumes, because the diss trackif you win a battle, it's almost
like that's half the story.
But you gotta seal the deal.
You know what I mean and I I'vesaid it on this show a lot of
times, like when people weresaying that this was um kendrick

(02:12:55):
and drake was the greatest rapbattle of all time.
I'm'm like how can it be whenNas and Jay has Steelmatic and
Blueprint as classic albums withtheir diss tracks?
And then we saw what they wereable to do after the fact.
So let's see how this plays outeven further.
What Drake and Kendrick areable to do after the fact and

(02:13:17):
Nas delivered God's Son is ahell of a victory lap.
And you know, to keep hismomentum going before he got to
God's Son a year later.
Matter of fact, nas wasn't oneto put out albums back to back
like that.
Let's keep it real.
The only reason why Nostradamuscame out so quick is because
those leftover tracks from the IAm Double album and he had to
get them out.
But Nas knew he had to deliverto the people quick because he

(02:13:42):
had the hot hand with stillmatic.
He threw out lost tapes outthere, said yo, these tracks are
already classic.
I'm gonna put them out there tothe people and then spin the
block again with my victory lapwith godson.
Another arguable classic album,right that's his best free
album run Right.
And then Jay you know Jayunder-delivered with the

(02:14:02):
Blueprint 2 because he wastrying too hard.
We just got through talkingabout LeBron trying too hard to
beat a goat right.
That exposed Jay in a sensewhere he was like trying to
over-rap the guy that would likeswag his way through stuff and
stuff he was trying too hard.
Meet the Parents is him tryingtoo hard.

Speaker 1 (02:14:23):
So, ag, I'm glad that you're bringing that up.
What happened is that, and thisis how you know, nas won the
battle.
If you go listen to the music,the roles got reversed.
If you go listen to the LostTales and to God's Son in terms

(02:14:44):
of Nas' mic performance.
It's as easy and as comfortableas he sounds on the mic.
Of all his early micperformances Bingo, where has
Jay on the other side actuallysounds his most pressed Like?
Jay's thing was always that hewas talking to the hustler.
He made the shit sound cool.
It didn't sound as cool anymore.

(02:15:04):
He sounded pressed.
Meanwhile the other guy isdropping a single and think
about this.
This is what I'm saying.
Made you Look is probably hisbest single.
He never sounded so comfortableand at ease on the mic Now
let's get it all in perspectiveFor all y'all.
Enjoyment.
A song y'all can step with.
When the fuck did he ever startoff a song like that?
He's usually so intent andintense in starting off a song

(02:15:28):
by making his mark.
He never starts off a rap songeasy.

Speaker 3 (02:15:32):
Let's get it all in perspective.
Not even joints like Quick toBack Down with Lil Jon.
People don't talk about thatrecord for whatever, but listen
to how he starts out.
First off, I'm Nas.
I'm a Braveheart veteran andy'all already know who I'm
better than.
He was just every chance he waskicking Jay's back in.

Speaker 1 (02:15:50):
I tell people this man you're a slave to.
A page in my rhyme book is theslickest one-liner in the
history of rap.

Speaker 3 (02:15:59):
The fact that it made you look as a diss song that
nobody acknowledges is really adiss song is crazy.

Speaker 1 (02:16:05):
I've always told people you're a slave to a page
in my rhyme book.
He's going all the way back tothe Dead President.
Sample your best song.
Got my DNA on it.
That's what he's saying.
When he's saying that you're aslave to a page in my rhyme book
, as in your best shit, likeyour manifesto song, it's built

(02:16:25):
on some shit that I wrote first.

Speaker 3 (02:16:28):
Right the delivery you know.
And God's Son is a classicalbum and he dropped one of his
best songs ever, made you lookas a top five non-song.
I don't care, you know, arguewith the wall, like so.
That's how you follow up.
Winning a battle you have toseal the deal Right.
And one thing about it I mean Iknow, Sean, you prepped a lot

(02:16:50):
of people, a lot of differentbattles for this topic, but one
thing you'll notice the peoplewho win the battle always
usually seal the deal based offthat momentum.
And the person who loses thebattle, it's a little bit hard
for them to find their footingafter that loss because they're
putting out these duds ormisstep albums like.

(02:17:11):
None of these examples I can gothrough where the person who
lost the battle followed that upwith a classic.
You don't have that.

Speaker 2 (02:17:20):
So, Coop, can you think of anybody because I'm
thinking about the South as wellCan you think of anybody who
may have lost the battle andcame back and really got it back
on track?
I don't want to think of Jaywith Black Apple, and it was
after that was removed, afterthat was removed.

Speaker 3 (02:17:41):
That was removed that was about 12 months removed
from the moment he had tostumble around a little bit.

Speaker 1 (02:17:49):
I will say this Big took a lot of shots in between
Ready to Die and Life AfterDeath and still made Life After
Death, and so Life After Deathwould be the album that I would
go to, because a lot of peoplefelt first of all ain't no
feeling, ain't no feeling.

(02:18:09):
And I don't, unless you're fromNew York Pac was the man in 95,
96, 97, if you're not from NewYork.
And so for Big to take all thepock shots and hit them up and I
fucked your bitch and all thatstuff and still make life after
death is the only thing that Ican think of.

(02:18:31):
But even then it felt like thatbattle was rooted in something
that was so much more deeperthan a rap battle.
You really got the impressionthat things went battle.
You really got the impressionthat things went wrong.
You really got the impressionthat she might have did some
shit that she shouldn't have did.
To get back at Big it's toopersonal.
You seen the nigga Suge postingpictures of Misa and Justin and

(02:18:52):
shit like that.
It's like, nah, this shit waspersonal.
It was personal.
Misa's chilling at Suge's house, faith is going to see Tupac
they're running in the samecircles, guys.
There's something about thatthat feels personal.
But Big is the only one that Icould go to and be like.
Well, big made life after death, even with Pac talking all the
shit that he talked.

Speaker 3 (02:19:11):
I agree, Coop.
But what makes me not count,that is because Big never
officially engaged.

Speaker 1 (02:19:21):
There's a lot of engagement.
There's some rules toengagement.
Brooklyn's Finest is someengagement.

Speaker 2 (02:19:27):
Long Kiss.

Speaker 1 (02:19:27):
Goodnight is some engagement.

Speaker 2 (02:19:29):
It's slick talk.

Speaker 1 (02:19:30):
There's some engagement.
I've got some problems with mywife.

Speaker 3 (02:19:35):
What Jay say on Dear Summer.
If it ain't directly at me, Idon't respect it.
So I think it was a lot of subsand Big was very clever.
Hold on.

Speaker 1 (02:19:46):
But Jay said that, but Jay also said to all y'all
the cat's throwing shots atJigga you only get half a bar
Right.

Speaker 3 (02:19:53):
It'd be convenient to say it.

Speaker 1 (02:19:55):
It's convenient to say it when Pac's the man and
you're coming up and then youbecome the man and it's like, oh
, y'all can get half a bar.
That's why Jay only got.
Oh, the Hawaiian Sophie guy.
It's like, yeah, you're not onNas' big level yet.
Go, step to the side and comeback when you got it Right.

Speaker 3 (02:20:11):
I just think the big argument holds more weight if he
would have went and directlyresponded.
But he handled it in his ownfashion.
It's definitely rules ofengagement there, but it wasn't
enough.
Put it this way what Ma Big didon Drop A Gym on him was more
direct than anything Big everdid.

Speaker 1 (02:20:30):
Yeah, but how about this, though too Big, was more
in Drake's position where it'slike, well, he had the boot camp
click situation, he had the Rayand Ghost situation.
He had the Ray and Ghostsituation he had Nas the Rooter
Damager.
The Nas, the J Roo shit.
Like you know, kicking the door, kicking the door is actually
one of the greatest diss recordsof all time, because what Drake
was trying to do is actuallywhat made people kick in the

(02:20:52):
door.
It's like oh no, it's like youwant some?
The kick in the door is whowants some?

Speaker 3 (02:20:57):
Come get some Nas you want some.

Speaker 1 (02:20:58):
Come, get some.
J Rue D&D, your little bootcamp.

Speaker 3 (02:21:01):
Masterful what Drake tried to do on Family Matters.
Kicking the door is my favoriteBiggs song and he's going crazy
at Nas.
Nas is my favorite MC.

Speaker 1 (02:21:10):
I mean if we're talking for three verses.
If we're talking three verses,kicking the door might be Big's
best mic performance.
This goes out for those thatchoose to use this perspective.

Speaker 2 (02:21:22):
It might be.

Speaker 1 (02:21:24):
Fuck that.
Why try Throw bleach in?

Speaker 3 (02:21:26):
your eye.
Now you're brailing it.

Speaker 1 (02:21:29):
In 88, sold more powder than Johnson.

Speaker 2 (02:21:32):
Johnson Told to feel like Bronson Vigilante, you want
to get all the time you need tohave.

Speaker 1 (02:21:37):
Ain't no other king in this rap thing, feel like
Bronson Vigilante.
And Primo was funky on the beatman Ain't no other king in this
rap thing.
They sibling Nothing but mychildren.
One shot, they disappearing.
They still using that line tothis day.

Speaker 3 (02:21:46):
They all crummy shit.

Speaker 1 (02:21:48):
Took home ready to die.
Listen, study.
Now they on some money shitSuccessful out the blue.
They lightweight, fragile.
My nine mils make white shake.
That's why my money never funny.

Speaker 2 (02:22:00):
And you still recruiting Stupid Shit.

Speaker 1 (02:22:06):
That's what I'm saying.
How can you hear Big on kickingthe door and tell me that hit
him up is better as adisrespected?
How can you hear Big on kickingthe door and be like your rain
on the top was short, likeleprechaun?

Speaker 3 (02:22:17):
I think people respect more saying names, like
if a name is not said, peopledon't respect it as much, I
think that's the buy-in Names.

Speaker 2 (02:22:25):
add more punch, because that's what people want
Sensationalism.

Speaker 3 (02:22:31):
If I catch a flight, it's going to be direct.
I mean, that's what we're doing.
You shouldn't have to decipherwho I'm talking about.

Speaker 2 (02:22:38):
Exactly Yo, 17-year-old Sean, this bad boy.
The first line 17-year-old Seansaid was here we go here we go.
Yo, I was like bad boy, bad boy, what you going to do when I
put a lot of things?
Yo, I ain't going to get intothat, but that was the 90s.
Shout out to 17-year-old SeanBugging out, did you just?

Speaker 1 (02:23:00):
shout out the 17-year-old version of yourself
on this podcast.
He really did Coop.

Speaker 3 (02:23:06):
He really did.

Speaker 1 (02:23:07):
Did you catch that AG ?

Speaker 3 (02:23:11):
I'm used to Sean doing stuff like that.

Speaker 2 (02:23:12):
If it's Sean talking to Sean.

Speaker 1 (02:23:13):
We're not talking about Sean Carter.
We're talking about Sean doingthe show, 17-year-old.
Sean 40-something-year-old Seanis talking about 17-year-old
Sean.
That's crazy.
That's crazy.

Speaker 2 (02:23:23):
That was crazy.
So, ti, I asked you about TI.
We'll wrap this up so we canget to our press play and get up
out of here.
Shout out to the chat man Again.
Sub, subscribe all of thosethings, share, like all of those
things.

Speaker 1 (02:23:40):
Andrew is right.
You have also shouted out thesix-year-old version of yourself
dancing to Bootsy on the show.
I'm going to need you to letthe formative year version of
yourself You're old nigga.
Let that shit go.

Speaker 2 (02:23:53):
You're old.

Speaker 3 (02:23:54):
Let that shit go.
Sean is in his personal endgame.
He's time traveling back.
Look at that.

Speaker 1 (02:23:59):
Right Sean's.
Like I'm in my third person bagon Hip Hop Talks tonight.
Shout out to 17-year-old me,6-year-old, me.

Speaker 2 (02:24:04):
Shout out to 50-year-old me in the military
and back to the future, nigga.

Speaker 1 (02:24:08):
Shout out to these guys, man.

Speaker 2 (02:24:12):
Shout out to those guys Boy yo.
I want to ask you this, becausewhen Lil Flip, I'm going to
laugh because Lil Flip was trash.
But Lil Flip, when he was goingat TI and there was a lot of
noise around TI being the kingof the South and I'll be honest
with you, for me being on theoutside, I did not look at TI as

(02:24:33):
being the king of the South.
I didn't even like him sayingthat, I didn't like that at all,
but I didn tia as being theking of the side.
I didn't even like him sayingthat, I didn't like that at all,
but I didn't know who was theking of the side, just like him
saying it and I don't know whoit was.
But when flip um threw him outthere and then tip came back and
released king, that's so muchfrom that, from atlanta, someone

(02:24:58):
who was in the mix of all ofthat where did that take you
automatically?
Did you feel like that's whenhe actually ascended to being
the king of the South or beingthe person that he was
projecting to be?

Speaker 1 (02:25:12):
Okay, so I'm conflicted about this.
First of all and I stillmaintain this TI is the best
rapper to ever come out of thecity.
I don't care what anybody say,I don't want to hear that Andre
3000 stuff because Tip got Kingand Paper Trail and Trap Music
no.

Speaker 3 (02:25:30):
Urban Legend stuff too.

Speaker 1 (02:25:33):
I love Urban Legend.
Urban Legend is a personalfavorite of mine.
I probably listen to certainrecords on Urban Legend more
than I listen to certain recordson Trap Music, even though I
think Trap Music is the betteralbum.
And so TI is the best rapper toever come out of Atlanta.
Atlanta is the mecca forSouthern hip hop and so in terms
of all time great Southernemcees, I have him extremely
high.

(02:25:53):
Has him, scarface Wayne tip.
At this time I actually had himahead of Wayne.
Only due to his legal troublesdo I feel like Wayne is ahead.
My only problem with him callinghimself King of the South is
that he did it in a time where Ifeel like Scarface had reached

(02:26:17):
a status of an icon and a legendin this business and in his
region, that he was actuallythat guy when TI was saying he
was that guy.
And so when you're talkingabout the little flip thing,
that really didn't resonate withus here in Atlanta, we expected
Tip to do what he did to flip.

(02:26:39):
Yeah, for us down here, hiscrowning achievement beef wise
isn't what he did to flip.
It's actually what happened toshawty low here in atlanta,
because shawty low from the westside, just like tip from the
west side and not to get toodeep into it.
As far as the streets isconcerned, shawty Lowe was

(02:27:01):
considered to be morewell-connected than Tip.
Some people say Shawty Lowe wasthe man on the West Side.
And so when Shawty Lowe poppedup questioning Tip's street
credibility on his side of townand in the city and Tip
responded with paper trail theway that he did, that's when he

(02:27:22):
became king to us down here,because his integrity and his
street credibility had beenchallenged from somebody in the
city who we knew and respectedin the streets, not on some rap
shit.
And the way that he respondedin the streets and on the mic.
Because I tell, tell people, oh, paper Trail might be his third
or fourth best album, but ifyou actually want to talk about

(02:27:43):
mic performance, the writingmuch like Tupac on Me Against
the World, oh no, that's why Ipicked I'm Illy as my bar
seminar.
You actually, I mean, I didn'twant to tell you this, Sean, you
actually got a piece of itwrong, because he's actually
this in shawty low at the end ofum, I've been all around.
He called him homie low, notshawty low, that's what they're

(02:28:07):
saying he's calling him homielow.
He's talking about shawty low.
Yeah, you ain't even made itfar as dc homie low.
I'm getting treated like a guy.
He pretty much saying like youtalking this shit in the city,
understand, I'm the man in thecity and the man everywhere else
, you still a local nigga.
So when he addressed Shawty Lo,what up, what's happening?
What up, what's happening isprobably the most underrated

(02:28:28):
diss record to ever come out ofthis region and what's happening
is kind of like Snoop Dogg'sPimp Slack.
It's an all-time great dissrecord that nobody talks about.
But that's when he actuallybecame king-king down here to us
.
It's like because hiscredibility was in question down
here and he responded in kind,the way a fucking champion does.

(02:28:48):
It is very like.
It's like remember when MJ wasdown 0-2 to the Knicks and
they're like how's Mike going torespond?
It's like going to ball so hardat university for the next four
games.
Or when LeBron was down 3-1.
That's what it was like whenShawty Lowe was coming for tip
inside the city.
Y'all outside the city ain'thearing that and feeling that.
We inside the city like, oh myGod, like this nigga, shawty

(02:29:10):
Lowe was popping up and talkingcash shit about tip and this is
after all of.
Y'all are looking at tip likethe man.
This is, after all of.
Y'all are looking at Tip likethe man.
He's doing the Destiny's Childthing.
He's doing Dale Earnhardt Jrwith the Chevy stuff.

Speaker 2 (02:29:22):
Y'all are seeing all that we in the city.

Speaker 1 (02:29:25):
This nigga from his own neighborhood.
Like neighborhoods and hoodsthat Tip was shouting out when
neighborhoods of Shorty Low usedto hustle through.
You feel me, that shit was areal problem for Tip in this
city when he handled.
That is when he became king tous here.

Speaker 2 (02:29:40):
Wow, okay, that makes sense then.

Speaker 1 (02:29:43):
So it was Lil Flip to us was like oh, like the nigga
from Houston.
It's like only nigga we respectfrom Houston is Scarface.
Next, this Shardy Lowe shit's aproblem, nigga, you got to
handle this West Side shit.
You got to handle this WestSide shit.
Ain't nobody from yourneighborhood, nigga from the
neighborhood talking about you.
He's saying you ain't from thewest side.
He's saying that's your grandma, my house, and you got bust
here.
Streets would like to know.

Speaker 3 (02:30:04):
So y'all hold that more than y'all hold that higher
than the Luda battle with TI asfar as the streets go.

Speaker 1 (02:30:10):
Yeah, yeah, ask anybody asked anybody plugged
into the street and hip hop sideof Atlanta the shorty low thing
.
Anybody plugged into the streetand hip-hop side of Atlanta.
The Shawty Lowe thing was thething, the Luda thing and the
Flip thing was the thing toy'all.
The Shawty Lowe thing was thecity thing Because you can't be
the man out here when you're notthe man in your city, let alone
the man on your side, and so hehad to lay claim to his side.

Speaker 3 (02:30:32):
Yeah, that's more street where the Luda battle was
, more so on.
Who's better at the time?

Speaker 1 (02:30:36):
Yeah, that's a who's better on the mic thing, that's
rap stuff, right that's rapstuff.
You're king of the south ShawtyLow.
You ain't even king of theneighborhood Right.

Speaker 3 (02:30:46):
Gotta take care of home first.

Speaker 1 (02:30:49):
That's why can't be no simping and you're pimping at
home.
Because here's the thing.
Shawty Low, like a lot ofpeople down here, criticize
urban legend for sounding toEast Coast, to New York.
That's when the problem started.

Speaker 3 (02:31:02):
He was running into the Jay-Z of the South, thing at
that time, and that's when theneighborhood started taking
shots.

Speaker 1 (02:31:08):
That's why you got to be careful about that shit down
here.
That's interesting.

Speaker 2 (02:31:13):
I want to ask that from you because I was an
outside looking in.
I knew some guys from the Mactown, from Macon, georgia.
They were like yo Shorty Lowewas more dangerous to pop me to
TI than Luda or Lil Phillip oranybody else.
Was because Shorty Lowe had thestreets on his side.

Speaker 1 (02:31:32):
Right.
So what is it?
So think about this how are yougoing to open up and start a
club crucial on the west side,when you got beef with another
king on the west?
You get what I'm saying.
That shit was bad for hisbusiness too, for his expansion
and stuff.
A lot of the stuff that he'sdoing business wise with Killer
Mike, a lot of him being able toplug into the mayor.

(02:31:52):
It's like no, no, no, no.
Charlie Lowe was shutting downhis traction in the city in
terms of what he was trying tobuild out.
It was hurting hisentrepreneurship, because the
streets is like you're going tolet this nigga talk to you this
way, fam Right.

Speaker 2 (02:32:05):
That makes sense.
That makes sense, AG.
I didn't have anything fromWest Virginia so I'll.
I couldn't put.

Speaker 1 (02:32:16):
That is wild.

Speaker 2 (02:32:17):
My bad, that was uncalled for.

Speaker 3 (02:32:19):
My diss track to you is coming soon, though, so we'll
put that together.
You've seen my bar work.

Speaker 2 (02:32:26):
A little bar coming off from AJ.
Them bars are crazy.
Yo, let's get into the pressplay.
Fellas Cool, kick us off man,get your press play.
Well, you know, first of all,you all did a tribute press play
fellas Coop, kick us off manWith your press play.

Speaker 1 (02:32:39):
Well, you know, first of all, you all did a tribute
press play.
My first thought was well, I'dlike to do a tribute to Coop and
Coop's rap career, but that'scoming soon.
Instead, I chose somebody alittle greater than me and I
chose to pick my five personalfavorite Tupac songs.
Because I listened to MeAgainst the World today and it
just got me to thinking aboutPac and how legendary and iconic

(02:33:01):
that he really is, and so Ijust wanted to give Pac some
love today.
Anybody that knows me, I knowall y'all joke like about the
whole Tupac thing and all ofthat, but he is actually one of
my greatest inspirations as anartist, as a black man, as a
thinker.
Think he should be hip-hop'slogo, should we ever have one,
and I wanted to pay homage tohim by going through my five

(02:33:23):
favorite tupac songs.
I'm a content guy, so if youwere expecting to see picture me
rolling or ambitions as a rider, or, uh, all all about you and
how do you want it like, I loveall those records.
That's not what I listen to pocfor.
With that being said, I'm goingto my.
I'm going to start in reverse,sean.
I'm going to start with mynumber five, which is actually

(02:33:44):
going to be my block off theshow soundtrack.
A lot of people have heard metalk about this record.
I talk about this record allthe time because of all of his
brilliant and classic records.
I think this is the recordthat's been the least heard
because it's on the showsoundtrack.
This is the Tupac the Tupacthat's on my block.

(02:34:05):
That's the Tupac that Biggieand Nas looked up to.
And when I think of Tupac, hehas a rhyme on there where he
says can't explain what attractsme to this dirty game.
Rhyme on there where he sayscan't explain what attracts me
to this dirty game.
Gold chains, some extra changein the street fame.
And I think that encompasseshis perspective of what he was

(02:34:27):
as an artist.
He wasn't the businessman thatJay is.
He wasn't the technician on themic that Rakim was.
He was somebody that reallyloved hip-hop guys.
You know what I'm saying.
It's like he really loved theculture, he really loved black
people and I hear that guy thatloves hip hop and loves his
culture and loves his people onmy block.

(02:34:47):
It's my personal favorite Tupacsong, but I got it at number
five on this list.
Number four is Keep your Head Up.
I think Keep your Head Up ishis coming out party.
Quite frankly, as an artist, Ithink he's always talked with
depth.
I think this is where thecontent driven artist met the

(02:35:07):
hit maker for the first time andcreated something like.
All of his records after this,I feel like, are extensions of
this.
I ain't mad at you, you know,like, like those records in that
vein.
They come from this record.
I think this is the recordwhere he found himself as an
artist as in like oh no, I canstill have a message and make

(02:35:30):
people sing along and make a hitand sell the records and sell
out the show.
So I think this is a veryimportant record to his career.
My number three is I ain't madat you.
I know there are a lot ofrecords that are bigger and
bolder on all eyes.
On me, I still think this mightbe the best record on all eyes
on me, because this is what Imean.

(02:35:51):
This is Tupac, not death rowTupac, but Tupac, tupac on the
Death Row album, and I thinkthat if he would have been
blessed with better productionlisten to what I'm about to say,
ag, because you're going tolove this.
Imagine, because to me I ain'tmad at you.

(02:36:11):
Content wise belongs on meagainst the world.
Imagine if he had productionlike the production that Daz
gave him on I Ain't Mad At youfor Me Against the World.
That's why when I tell peopleit's like oh no, I Ain't Mad At
you is a Me Against the Worldtrack.
Imagine if he had that type ofproduction on Me Against the
World.
That's a top five rap album.
I Ain't Mad At you would be myexample, given of that record,

(02:36:36):
of what Me Against the World.

Speaker 3 (02:36:38):
I never thought of that, but it's very much in that
vein.

Speaker 1 (02:36:41):
We was once.
Two niggas of the same kindQuit the holla at a hoochie with
the same line that's Me Againstthe World, Tupac.
You was a little smaller but youstill roll.
Got stressed to YA and hit thehood swole.
Remember when you had a JerryCurl?
Didn't quite learn Off theblock with your Glock tripping
off, collect calls to the tipsaying how you changed.

(02:37:02):
Oh you a Muslim now.
No more dope games.
Be coming home, just got bail.
Want to go to the mosque?
I want to chase tail.
Seems I lost a little homie.
He's a changed man.
Hit the pen and now no sin.
And it's the game plan.
That's not death row Tupac,that's a Tupac.

Speaker 3 (02:37:19):
That's what I'm saying.

Speaker 1 (02:37:21):
That guy with great production.
He's the best MC.
Yeah, he is.
That guy behind greatproduction is the best MC, and I
ain't mad at you.

Speaker 3 (02:37:31):
Let's give some respect to Johnny J, though man
Johnny J was doing his thing,johnny.

Speaker 2 (02:37:35):
J.

Speaker 3 (02:37:35):
Here's the thing.
This is no disrespect.

Speaker 1 (02:37:36):
Johnny J was doing his thing, man, johnny J, okay.
So here's the thing.
This is no disrespect to JohnnyJ.
Johnny J is great.
Tupac is one in a million guys,and so he deserves one in a
million.

Speaker 3 (02:37:48):
You gotta match levels.

Speaker 1 (02:37:50):
He deserves one in a million productions.
So no, it's like if we'retalking producers, it's like no,
he deserves Dre, he deservesCrane, he deserves Q-Tip and
Pete Rock and DJ Quick and Large.
He deserved those guys all thetime, all the time.
No disrespect to Johnny J.
Yeah, number two, most people'snumber one, dear Mama Might be

(02:38:13):
the best rap song of all time.
I don't know what else to tellyou we could.
They should teach how aboutthis?
Lupe should be teaching classesabout Dear Mama.
Fuck all that scientificrhyming breakdown shit.
Teach a class about Dear Mama.
Yeah, fuck all that scientificrhyming.
Teach a class about.

Speaker 2 (02:38:30):
Dear Mama.

Speaker 3 (02:38:31):
No, I'm serious.

Speaker 1 (02:38:32):
Fuck all that scientific rhyming.
Teach a class about Dear Mama.
Teach a class about dear mama.
Teach a class about somethingabout that that really matters
but you can't.

Speaker 3 (02:38:38):
You can't teach emotion actually see?

Speaker 1 (02:38:42):
here's the thing you can't teach emotion, but you can
get people to understand thedepth of emotion, right?
Yeah, it's true, it may not besomething that people can
replicate, but you can getpeople to understand it, which
means it needs to be taught.
Yeah, yeah, and number AG.
You and I have the samefavorite Tupac song that's so
Many Tears.
I'll never forget the firsttime I heard so Many Tears I was

(02:39:04):
chilling.
On the west side of Charlotte.
I was at my mom's friend'sBetty Jean house Another hood
little neighborhood, littleChinese spot around the corner,
little liquor store around thecorner typical neighborhood shit
.
One of the niggas outsidebought a boombox and he was
grilling on a little cheap assgrill.
The first thing that he cut onwhen he cut on the boombox was
so many tears.

(02:39:25):
I was sitting inside watchingRap City.
So many tears was playing.
But here's what bought meoutside.
The niggas outside was talkingabout Tupac and how much they
love Pac.
These was OGs.
You know what I'm saying.
These wasn't like young dudes,these was dudes like in their
40s and 50s, talking about howreal Pac was and how much they
loved Pac.
And so Many Tears was therecord that they was playing
that night Because they was likePac, speaking for the Gs.

(02:39:46):
You know and these was old dudesin my neighborhood I'm like 13
years old at the time Brothersoutside like 40, 50 years old.
You know they sitting outsidesmoking weed drinking 40s
smoking Newports, you know yournormal hood shit in the early
90s.
But Pac was that dude, even tothe OGs, and that's what I
remember about so Many Tears.
He wasn't just the man to ourgeneration, he was the man to

(02:40:07):
the generation that waspreceding us, like they played
his shit, yeah.
And so I always remember beinglike in the neighborhood and on
the block and the OGs playing somany tears.
It's like we was playing it,but the OGs had really lost a
lot of dudes in the neighborhood.
You know what I'm saying.
They really felt that recordand related to that record.
And now I look back to thepeople that I lost now that I'm

(02:40:29):
like like, because now I'm atthe age, now that them dudes was
when I went and chilled on theblock with them that night, you
feel what I'm saying.
I think about all the peoplethat I lost now and it's like,
oh no, I see why they felt thatrecord so much, it's very, very
real, flawless record, dope topfive too.

Speaker 2 (02:40:48):
Can't go wrong with Pop.

Speaker 1 (02:40:50):
Never go wrong with Pop man, if not for this Nas run
still deserve some GOATconsideration.
Seriously, that's what I meanabout this Nas run still deserve
some goat considerationSeriously.
Yeah, that's what I mean aboutthis Nas run and I don't want to
hold it to wrong that's whythis Nas run is so important.
It's like, oh no, if you toldme before this Nas run that Pac
was still your goat.
It's like oh, no, no, no, I caneat it.
Not mad at that at all.
You deserve that.

(02:41:11):
I ain't mad at you.

Speaker 2 (02:41:15):
Pun intended, pun intended, ag what you got, man
yo, for mine I wanted to.

Speaker 3 (02:41:19):
We lost one of our greats last week.
Roy Ayers.
Rest in peace.
And I mentioned on the showlast week that one of my
favorite just songs of any genreof all time is Everybody Loves
the Sunshine, and it's just oneof those feel good records.
I don't care if you're in a badmood, you hear that joint.
Come on, man.
It's like it's one of thosenights to just bring a smile to

(02:41:39):
your face.
And I wanted to honor roy airsby some of my favorite hip-hop
songs that sampled orinterpolated that particular
song.
Everybody loves the sunshine.
So to kick it off, I got jaycole rags to riches off his
debut mixtape, the come up youknow what I'm saying when he

(02:42:00):
took the sample of the beat andyoung Jay Cole was doing his
thing.
He's not the lyricist Jay Colethat we know now, but this is
still a dope track.
So that's my first joint.
Second joint, coop, I believeyou'll like this one is Lost
Souls by Tupac and the Outlawsoff the gang-related soundtrack
by Tupac and the Outlaws off thegang-related soundtrack.
Now, one thing about this Idon't think this song gets

(02:42:21):
talked about enough.
But here's the kicker.
Pac has so many gems onsoundtracks.
I'm just thinking in real time.
I think he has the bestsoundtrack catalog there is.
As far as you take it pullingtheir soundtrack records, I
think Pac might be number one.
Ag, you're right, he's got painto pour Soundtrack records, I
think it might be number one AG.

Speaker 1 (02:42:39):
You're right.
Yeah, nobody.
He's got pain to pour out alittle liquor on one soundtrack,
that's enough Right.
That's enough.

Speaker 3 (02:42:46):
Yes, and that's what I was about to say.
You talked about your two topfive songs.
Pain would be number two on mylist and that's off a soundtrack
.
So there you have it.
But the game and and part ofthat reason why he has so many
dope soundtrack songs becauseyou know, let's be honest, he
was starring in a lot of thesemovies, he's on the soundtrack,

(02:43:06):
very, very talented brother, youknow.
So that's another one thatinterpolates.
Uh, everybody loves thesunshine with the hook on that
one.
Um, number three a couple weeksago we waxed poetic about
naughty by nature, so offpoverty's paradise I got the
song sunshine by naughty bynature.
So I talked about on that showthat naughty by nature doesn't

(02:43:27):
get enough love, so I wanted togive them some love in my press
play with that record.
And to number four, thank you,and the number four, I got a
song of the same name,ironically that we talked about
the anniversary of it today,scarface Sunshine, which is one
of my favorite records on theUntouchable.

Speaker 1 (02:43:46):
Hey, can I tell you something?
When I saw that you were doingthe Royal Airs tribute, that was
actually the song that Ithought of, because I was like
oh no, sunshine's on theUntouchable too.

Speaker 3 (02:43:54):
I'm a Scarface guy.
You probably would have beendisappointed if I didn't pick
this one.
I'm a Scarface guy.
You probably would have beendisappointed if I didn't pick
this one.

Speaker 1 (02:43:59):
Actually, when I saw that you were doing Roy Ayers
and that we were covering theUntouchable, I'm like well, aj's
picking Sunshine which you did100%, 100%, had to do it.

Speaker 3 (02:44:08):
And last but not least, more recently, common and
Pete rocked.
This is one of the no punintended, but shining moments
off the Auditorium, volume 1.
Sorry, no pun intended, butShining Moments off the
Auditorium, volume 1.
Sorry, when the Sun ShinesAgain.
That's one of the best songsoff that album and, if I'm not
mistaken, I think it gotnominated for a Grammy.
It didn't win, but I think itgot nominated.

(02:44:29):
But yeah, that's the last one Igot in my press play.
One of the Honor Roy airs withthose hip hop songs that sampled
Everybody Loves the Sunshine.

Speaker 2 (02:44:37):
That's dope bro, dope fellas.
Mine was more.
I wanted to slow it down alittle bit this week because I
wanted to pay homage to DwayneWiggins.
Rest in peace to the legend manfrom Tony Tony Tony.
God bless his family, those whoare impacted and who are
affected by his passing.
That's Rafael Sadiq's olderbrother correct, that's his

(02:45:00):
older brother, yep.

Speaker 1 (02:45:03):
That's his older brother, the original Tony.

Speaker 2 (02:45:05):
The original Tony the founder yeah, the founder of
the group Correct, the founderof the group Open as five.
Phenomenal musician.
Had a chance to see them inconcert about two years ago in
Columbia, south Carolina man, atthe Township Auditorium, very
intimate setting.
Had a chance to really vibe outwith those guys Very, very good

(02:45:27):
, great concert and just had achance to just see him man in
action before his healthdeclined.
So my old day to him is justsome of the songs that he penned
from Tony, tony, tony.

Speaker 1 (02:45:41):
Whatever you.

Speaker 2 (02:45:41):
Want Love Whatever you Want.
I love that record.
When you hear that song liveand you hear the instrumentation
, this guy was a true musician.
He done a lot for Beyonce, forDestiny's Child.
You read some of those stories.
You're like damn, he neverasked for anything in return.
He just did some great thingsfor people.

Speaker 1 (02:46:03):
Just real quick, sean .
I think people forget this.
He's the musician in the family.
Rafael Sadiq has the voice andthe writing ability.
He has the voice and thewriting and usually when you
have the voice and you're thewriter, you're going to be more
notarized, but he is themusician.
So all those funky ass groovesthat you're hearing, all those

(02:46:24):
guitar licks.
And most of their hits Arefamous for the guitar licks
that's the guy playing theguitar.
Those are his riffs and thoseare original riffs.
Those aren't samples.
That's him playing the guitar,Accomplished music.

Speaker 2 (02:46:41):
I seen it live Coop a couple years ago, accomplished,
and his pin game is crazy, sothe songs I selected are his pin
game.

Speaker 1 (02:46:52):
Yeah, I was about to say, and he co-wrote most of
these hits with his brother andwrote a lot of these.

Speaker 2 (02:46:57):
Whatever you want is one of those that he wrote, and
my five are the ones he wrote,and whatever you want is one
that he wrote.
Yep, lay your head on my pillow, come on.

Speaker 1 (02:47:10):
This is their banger.

Speaker 2 (02:47:12):
Banger.
He's the lead musician on thisjoint.
Just me, and you Think aboutthe sound that it came from.

Speaker 1 (02:47:21):
This might be my favorite, Tony.

Speaker 3 (02:47:23):
Tony, Tony record.

Speaker 1 (02:47:24):
I was about to say that's, yeah, that's on my
favorite five Tony, Tony, Tonyrecords.

Speaker 2 (02:47:28):
Yeah, me and you is my shit.
This anniversary, banger afterbanger after banger.

Speaker 3 (02:47:34):
We just talked about this with Freddie.

Speaker 2 (02:47:36):
Yeah, come on, you want to know look here.

Speaker 1 (02:47:41):
You want to know who they are.
They're very much Freddie Gibbsof like R&B bands for their era
, because it's like people be.
How about this?
Give me Jodeci, and I'm biasedbecause we knew them in my
family and they are fromCharlotte, north Carolina but
outside of.
Jodeci.
I'll take Tony outside ofJodeci.
I'll take Tony Outside ofJodeci.

Speaker 2 (02:48:02):
Jodeci was everything .

Speaker 3 (02:48:06):
You know what I'm saying?
Jodeci man, they do the spit,the game for you to the ladies
back.
Then you just play the record.
You didn't have to say nothing.
Say nothing.

Speaker 1 (02:48:15):
Tony, tony, tony did the same thing.
They just did it the old schoolway.
They actually are the extension, sean, of the Isley Brothers,
of the old days, of that classicsoul and actual making love
songs.
Like think about this.
These songs that you're naming,these are love songs that don't
get made anymore.

(02:48:35):
It's our anniversary, made forme and you.

Speaker 3 (02:48:37):
They were dignified.
Tony, tony, tony was on somecourtship records.
Jodeci told you what it reallywas, what kind of time.
Yeah, yeah.

Speaker 2 (02:48:50):
This was an impeccable list Sean those five.
There are not many groups thatcan go into the studio, lock
them in and then come out.
No help, no engineer, noproducer, no outside
interference.

Speaker 1 (02:49:03):
Okay, but here's where they had Jodeci beat.
Oh no, they could do the slow,funky love song stuff, but they
could kick the tempo up.
Let's get down.

Speaker 2 (02:49:16):
Yes, if I had no loop , if I had no loop.
If I had no loop.

Speaker 3 (02:49:21):
That used to ring off everywhere.

Speaker 1 (02:49:23):
If I had no loop was the damn.
It never rings in SouthernCalifornia.
It's their first single.
They got banged up y'all.

Speaker 2 (02:49:29):
I could have gone so many different ways with this,
because the bass is out of thisworld.
You're talking about truemusicians, and to watch them
play as musicians play inconcert it takes it to a
different level.

Speaker 1 (02:49:45):
I can remember when they dropped Sons of Soul, my
Aunt, wanda, bought the albumand I used to play and I asked
her why she liked them and shesaid they play instruments the
way the bands that I grew up onplay instruments.
I'll never forget when she toldme that, because I was probably
about 10 when that album cameout and I asked her why she

(02:50:06):
loved them so much.
She's like they playinstruments.
She's like they play real livemusic.
Now this is 10 year old me thatdoesn't understand the
difference between somebodyprogramming stuff on a beat
machine and somebody playinglive.
But then I got a little bitolder and I was like this is
what my own Wanda was talkingabout.
They were that.
They were that deal, sean.
You're right.
They were probably better livebecause of that than they even

(02:50:29):
were in studio, which is sayinga lot, because you just named
some very, very, very classicrecords.

Speaker 2 (02:50:33):
Facts.
Absolutely.
That's my press play.
Rest in peace to duane wiggins,a freaking legend, you know.
Yeah, rest in peace, duanewiggins two pops.
Cool yeah, big's mom, violettawallace, who was led to rest
yesterday, um andy Stone lastweek.

Speaker 1 (02:50:58):
You know, faith did a real classy thing that nobody's
talking about.
So we can talk about it rightquick and then leave it like
this she was awarded Big'sestate and she split it with
Big's mother when she didn'thave to, at her own volition,
because she wanted his mother totake part and take place in his

(02:51:22):
legacy.
And so her name and us knowingher name and being familiar with
her name all these years has alot to do for with the fact that
, well, all the projects thathave involved big, well, they've
had to run through her.
That's because Faith made surethat it was that way and Faith

(02:51:42):
didn't have to do that.
So on a day like today whenwe're talking about disc records
and talking about some of thenefarious things that have
happened, understand there aretwo sides to every coin and we
need to shout out Faith forincluding Mrs Wallace in her
son's estate, so that we're allacquainted with the woman who

(02:52:03):
birthed arguably the greatest mcof all time, because we're not
as acquainted with her andfamiliar with her.
Faith doesn't include her, andso we do need to shout out faith
for that.
We know who miss wallace isbecause of faith, not because of
big.
We didn't know who Miss Wallaceis Because of Faith, not
because of Big.
We didn't know who she was whenBig was alive.
We know about her because Faithhas included her in his estate.

(02:52:24):
So shout out to Faith.

Speaker 2 (02:52:26):
Absolutely, absolutely, and we had another
super chat came through.

Speaker 1 (02:52:33):
Okay for Mad Max, that's not a real super chat.
Okay, it's not a real superchat.
It's a terroristic threat.

Speaker 2 (02:52:40):
Shout out to Double man.
Double, always showing love.
He's dope.
I'd say Blueprint 2 overBlueprint 3.
Blueprint 3 has no B-sides.
Blueprint 3 was.

Speaker 1 (02:52:52):
Okay, first of all, double.
You're shady and apparentlyyour ears are like Stevie
Wonder's eyes.
That's what I'm going to tellyou your ears are like Stevie
Wonder's eyes.
That would make you HelenKeller.
That would make you HelenKeller.

Speaker 2 (02:53:08):
Have a good week.
Cut a double.
We just got flagged.

Speaker 1 (02:53:14):
It's not just.
Apple man Definitely just callone of our biggest contributors
helen keller.

Speaker 2 (02:53:20):
definitely not making any money definitely not making
any money for the 20 super chatand salute.

Speaker 1 (02:53:26):
We appreciate you bro , we're gonna need all the super
chats we can get.
We won't be making many moneyoff the views from the show.
Youtube's gonna be like thisnigga said helen keller, kevin,
because we are beyond media.

Speaker 2 (02:53:37):
Call a daredevil that's crazy.
You know we appreciate all ofyou guys.
Thank you all for pulling uptonight.
You know we had triple digitsall night, um, but you guys
realized we were.
We were popping on and weappreciate you all.
Your beyond media just gave usa $20 super chat.

Speaker 1 (02:53:59):
We'll need all the money we can get.

Speaker 2 (02:54:01):
We got to be cool, we got to be cool.

Speaker 1 (02:54:05):
We're definitely going to be needing the money to
pay some of these states offfor slander and defamation.

Speaker 3 (02:54:18):
GM James probably going to get us taken off the
YouTube airwaves.

Speaker 2 (02:54:22):
That's going to happen For real.
First of all, hold on.

Speaker 1 (02:54:27):
Maya the prophetic asked a very poignant question
that I do feel I need to answer.
Stevie Wonder's lately, orJodeci's lately, understand, I'm
from Charlotte, but I'm notstupid.
That's not a conversation.

Speaker 2 (02:54:40):
I don't do that to me because you're not.

Speaker 1 (02:54:42):
No, no no, I'm from Charlotte, but I'm not stupid If
we're picking a song thatStevie Wonder did and whoever
covered the song after Stevie.
Understand the answer to thequestion is Stevie and that's no
disrespect to any of thoseartists.
None of those artists areartists, including Jodeci.
All four members.
Look here, I'm from Charlotte,north Carolina.
I will take Stevie Wonder overall four members of Jodeci.

(02:55:05):
It's like, if you tell me it'slike Coop, you can't have Jodeci
, but you can ask Stevie.
It's like go ahead, tell theniggas I said goodbye.
Tell the niggas I said goodbye,be like I see you at the
chicken coop and that Mr C's onthe south when it was there.
Peace, nigga, I'm taking.

Speaker 2 (02:55:20):
KC Nah.

Speaker 1 (02:55:21):
Sean Nigga, you can take KC, kfc, I don't care.
High C Nigga, cv, all right, Icare what you say Far, but
frequently oh come on man Bringthem niggas.

Speaker 3 (02:55:37):
Yo, let's get out of here before he shout out
19-year-old Sean, or however oldhe was when he was listening to
that Trading all them niggasfor TV.

Speaker 2 (02:55:45):
Oh, that's what my wife said.
All right now, now, now, now.

Speaker 1 (02:55:53):
If you want to keep Bobby Womack punk trifling ass
instead of KC.
Bobby Womack ain't shit, assinstead of KC.
Bobby Womack ain't shit but KC.
I don't receive it.

Speaker 2 (02:56:02):
I'm taking KC Straight up and down
K-C-I-Z-K-F-C.
I saw when he actually got intothe.
He's in a hospital right now.
You say he has a KC.
Yeah, kc, praise't seen KC,yeah, kc, he's gonna take KC

(02:56:24):
from God damn.

Speaker 1 (02:56:27):
KC.

Speaker 2 (02:56:28):
Of all time.

Speaker 1 (02:56:31):
Yeah, I know some things you don't know about KC,
so you know.

Speaker 2 (02:56:34):
Oh yeah, I was in the KC concert too.

Speaker 1 (02:56:37):
You know what I'm saying you know what I'm saying,
you know what I'm saying.

Speaker 2 (02:56:40):
He got on his bodyguard's shoulder, literally
on his shoulder, walking throughthe crowd and I was like that's
the best.
So since I'm giving out Atlanta, Look, look, look, real quick.

Speaker 1 (02:56:55):
So since I gave you an Atlanta history lesson, Let
me give you a Charlotte historylesson.
Right, quick.
The group is called Jodecibecause it's JoJo Devontae and
KC Dalvin wasn't in the group.
You want to know why Dalvinwasn't in the group?
Because KC was beefing with himabout a girl and pulled out a
gun on him.
This is when they were in highschool.
This is before Jodeci existed,so Jodeci was actually three

(02:57:17):
members and it wasn't until KCstopped the beef about the girl
that it all stopped.
But KC been a crazy nigga fromday one, and this is from our
cousins that went to high schoolwith him.
It's like well, he pulled a gunon Dalvin, so that was a little
bit of a problem with Dalvinjoining the group because KC
didn't want Dalvin to be part ofthe group.
Devontae had to convince KC Ineed Dalvin in order for this
shit to work and it's only whenDalvin became a part of the

(02:57:39):
group that they took off withKC's crazy gun-toting ass, long
before y'all knew who Jodeci wasBeen a crazy nigga from day one
.

Speaker 3 (02:57:48):
History, lesson over.

Speaker 1 (02:57:49):
Glad you learned some more about the west side of
Atlanta and the east side ofCharlotte.

Speaker 2 (02:57:54):
Hey, ask Mary, ask Mary and Kase.
Kase and KC got into a fight.
I mean, kc was wild man.
Shout out to KC, kc, he's mynumber one R&B singer of all
time.
Personally, I'm a person Numberone.

Speaker 1 (02:58:13):
Vocally, he's up there.
Vocally, he's up there as avocalist.
He's up there.

Speaker 2 (02:58:18):
Yeah, we appreciate y'all.
Thank y'all so much.
Thank you for the super chats,thank you all for hopping in the
chat.
We still got triple digitstonight.
We got a guy out here, fellas,and in part of words, people
should be showing some loveright now.
In part of words, anythingPeace, and love to everybody,

(02:58:39):
man.

Speaker 1 (02:58:40):
Anything.
So much to me, Ooh yeah.
Nothing more precious than toraise a family.

Speaker 2 (02:58:51):
You got Ill City.

Speaker 1 (02:58:53):
In your mind Ill City what up?
Appreciate the support from thecity of God.
What?

Speaker 3 (02:58:58):
up Appreciate the support for the city of.

Speaker 1 (02:59:00):
God, what up?
Ill City?
Hold on real quick.
Sean, I Am God texted meyesterday.
The homie Rufus is about todrop his project.
We need to get plugged intothat and pull him up soon.
We need to make plans to go toChicago this summer.
Shout out to Ill City.
Shout out to I Am God.
People under the stairs, allthem, people, everybody out

(02:59:23):
there.
We need to pull up there.
I told I Am God, we're comingthis summer.
We need to come.

Speaker 2 (02:59:27):
We do, we do, we got to go there.
We got to go to Vegas becausewe still got a guy out there who
wants to help him with theproduction of his album, the A&R
of his album.
So shout out to him as well.
So we got some work to do.

Speaker 1 (02:59:39):
First, of all, if we go to Vegas, I'm going to tell
you, like JaJar Gabor told allyour folks no pictures please,
no pictures please.
If you go to Vegas, no pictures.
You haven't seen me in Vegas,okay, okay.

Speaker 3 (02:59:55):
There's ATL Coop.
There'all got me thinking manLove you For Life might be my
favorite R&B song of all time.

Speaker 1 (03:00:00):
Love you, for Life is up there.

Speaker 3 (03:00:02):
No off, there it might be.
It might be my favorite of alltime All my life, all my life.

Speaker 2 (03:00:08):
What are we talking about?

Speaker 1 (03:00:11):
What about us?
My heart belongs to you, myheart belongs to you might be
the best start off to rmb Iwanted to propose.

Speaker 2 (03:00:24):
At 17, all my life came out.

Speaker 1 (03:00:25):
I'm like I need to get married I need to get
married.
I didn't want to do that.
I didn't want to do that.
That's crazy.

Speaker 2 (03:00:31):
All my life came out I'm like yo, I'm gonna marry you
.
I'm 17 years old.
I need to figure this outbecause I just hurt his soul.
I just hurt all my life.
I have my best basketball gameafter listening to all my life.

Speaker 1 (03:00:46):
Sean's talking about basketball, All right it's time
to go.

Speaker 3 (03:00:48):
It's the basketball game.

Speaker 1 (03:00:49):
Thank you, guys for coming out to Hip Hop Talk.
Click like and subscribe to thepage If you'd like to hear more
stories from Sean about hisbasketball career.
Don't subscribe to our page.
Shut up, Run nigga.
This is me blinking twice,Shout out to Dawn from Envogue.

Speaker 2 (03:01:07):
Shout out to Dawn from Envogue.
Yeah she fell on hard timesright Hard times man.
I hope she can bounce back andget back in the track.
Dawn from Envogue fell on hardtimes.
Yeah, she was living out of hercar for the past couple of
years now.

Speaker 1 (03:01:20):
Okay, I got a friend with a pole in the basement.
Oh, oh, yeah, all right.

Speaker 3 (03:01:26):
Cut the stream you got the stream.

Speaker 2 (03:01:30):
Unless we're going to do it.

Speaker 1 (03:01:32):
Unless we're going to do it.

Speaker 2 (03:01:33):
Like subscribe share.

Speaker 1 (03:01:35):
Don Don Don.
This basement is a thousandsquare feet.

Speaker 3 (03:01:41):
No, who can be wearing a robe in the basement,
bro?
It's cold down there.

Speaker 2 (03:01:46):
It is cold in here we can keep our ass cold.
Don's locked up in the Brooklynbasement.
Don Don, we're going to have aconversation.

Speaker 1 (03:01:57):
We're going to have a conversation about
compensation're going to have aconversation about compensation,
conversation about compensation, upon your arrival, that's
insane, that's insane Peacey'all.

Speaker 2 (03:02:09):
Yo tell a friend, tell a friend, man, Share us.
Don you call me girl.
You get plugged to a player.
Girl, Neil, when I see you I'mgoing to Shout out to Andrew the
producer, Shout out to TriBoogie, Shout out to LP, Miss LB
, Double CLF, Poets, everybody,we appreciate y'all, we love

(03:02:33):
y'all.
Thank y'all so much.
Tell a friend to tell a friend,no bots tonight.
We about to hit 1,000 views ina night with no biz-ots.
So we out of here, Peace.

Speaker 1 (03:02:45):
Love you Don.