Best of Rory & Mal: Week of 4/14

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
The volume.

Speaker 2 (00:05):
Rebmies.

Speaker 3 (00:06):
Yeah, I'm all, I'm Rory, and we are starting for
the first time the best of the week.

Speaker 2 (00:12):
Knew Rory and mall because they need more. Yes, Rory and.

Speaker 3 (00:15):
All all of our amazing moments. We understand people are busy.
If it gets to those weeks. On Sundays, you can
come right here and get the best of what happened
from this entire week Monday through Sunday. The best of us, Yes,
the best of the best of me, the best of me. Yes,
because two of us pressure bus pipe exactly every Sunday.
Best of us, best of us, best of Rory mal

(00:36):
best of us, the best of us. We'll give you
the best of us. Yeah, mom, only the best. This
is only for the best, for the best.

Speaker 2 (00:42):
Peas drop that beat.

Speaker 3 (00:46):
So yeah, Carry Elson was on the Breakfast Club, and
of course they brought up the infamous Carry Hilson Beyonce.
But that's been like kind of a myth that's never
really been addressed for over a decade. I feel like
now the Turning Me on remix where Carrie Hilson had
the bars, because you're turning me off. Your vision cloudy
if you think that you're the best. You can dance,

(01:07):
you can sing, but you need to move it to
the left, to the left.

Speaker 2 (01:12):
Coincidence, right, I think so.

Speaker 4 (01:15):
I think the fuck not you trick ass.

Speaker 2 (01:17):
I think they were that's how you feel about Carrie.

Speaker 4 (01:20):
No, that's a that's a meme. Sorry, I think the
funk not you trick as, which is a meme, not Carrie.

Speaker 2 (01:25):
Sorry, but carry Elson said it's a regret. Oh is it, Carrie?
Do you regret that.

Speaker 3 (01:32):
I'm not gonna let y'all do that, because yes, that
was a big pivot in her career.

Speaker 5 (01:36):
I thought it was. I thought, I mean, naturally, you know,
I understand how fan bases turned and you know, you
go to anybody going at you know, Beyonce, this is
how it probably would turn out for you, especially if
you're an artist.

Speaker 3 (01:49):
Well, you couldn't really clock fan bases at that time.
It was and everything was on the internet. So the
myth really became that like Beyonce had some like New
Orleans creole voodoo that just stopped her career at that time.
That's what the fans think. But I'm sure there was
some stuff behind the scenes, like let's not act like
artists don't do that when they have power to shut
certain shit down.

Speaker 5 (02:09):
I can promise you Beyonce didn't have anything shut down
for curriers.

Speaker 3 (02:12):
Oh, I don't think Beyonce did either. But I'm not
saying people close to Beyonce didn't.

Speaker 5 (02:17):
I mean, I don't know, Mat. I think people put
too much into that.

Speaker 3 (02:19):
Publicists used to have a lot of power. Let's not
act like back in the day publicists. We're not right
next to the fucking CEO of the label. As far
as who could push what button? I could see a
publicist doing that shit.

Speaker 2 (02:31):
All right, you want to play.

Speaker 6 (02:34):
As far as that's with anything, though, when you have
when you're as successful as Beyonce was in O nine,
and I would have to Josh, can you look up
what if Beyonce's was out during nine?

Speaker 4 (02:43):
If you say, oh, if you if the team.

Speaker 6 (02:46):
Goes, oh, if you work with this person, I won't
work with this person when it comes to I mean,
we won't work with you anymore, whether it comes to producers, songwriters,
anybody like.

Speaker 4 (02:55):
Yeah, it starts a lot of.

Speaker 3 (02:56):
The reference tracks and all those ideas you were being
sent in the fucking boat load of CDs slows up.

Speaker 4 (03:01):
Oh that was single Lady's time clipped, hang it up,
flat screen.

Speaker 3 (03:08):
Let's not act like Kerry Nilson was not at least
a big factor at that time. And first of all,
that record did work outside.

Speaker 2 (03:16):
Of the disc record like.

Speaker 6 (03:17):
The remix didn't even work, like nobody really pay in
the remix though the turn of Me on regular song
was the big.

Speaker 3 (03:23):
One and everyone was remixing it. That was one of
the remixes that I think stood out. And let's not
act like Carry wasn't with pold Doon at the time,
who was one of the biggest producers in R and
B and pop, who I do not think gets his flowers.

Speaker 2 (03:35):
He needs to be up there.

Speaker 3 (03:36):
I wish he did a verses so people like could
realize what his catalog is like. Poladn was one of
the best of that era. So she went on to say,
but that's not the way people would think, because that's
a song I actually didn't write. Those are not my words.
If you weren't around for that era. Esther Dean, who's
one of the greatest writers of our generation, was writing
a lot of the hits at that time, especially with Polo,
and she wrote a lot of stuff for Carry. So

(03:59):
she was suggesting everyone was mad at me, but I
didn't write it, Harry, If it worked, would you be.

Speaker 2 (04:05):
Saying this like that kind of be my my only
issue with carry here. If that would have worked.

Speaker 5 (04:11):
And like and Carrie became bigger as a result of that, right.

Speaker 3 (04:13):
Yeah, if it worked the way we saw a fifty
disc job and it was like it went crazy, would
fifty come be like? Not even right, wangster, that was
someone else. No, it didn't work. So now you're going
back to a regular thing within pop music. Esther was
writing for everyone at that time you recorded it. Yeah,
probably a bunch of takes found the one you liked

(04:35):
the best with the picture. I understand that you were
being pressured by the producer and your team and all that,
but you have the final say. Even with the pressure,
which I get, you still have the final say. I
appreciate that you're coming back and saying yo, I regret that.
I'm fine with you saying you had pressure from your team,
But don't be like.

Speaker 2 (04:50):
Oh, it wasn't even me. I didn't even write it. Yeah,
I mean saying it.

Speaker 5 (04:53):
Yeah, But again, I like you know the way you're
posing question. If it worked, would she be saying is
she wouldn't need to be saying if it worked.

Speaker 3 (05:01):
If someone brought that up, let's say, in this hypothetical,
we're not even going to go with that it destroyed
Beyonce's career, because that's a joke even in hypothetical. But
let's say it made carry bigger and she was doing
her legacy tour. Shit, sat with Charlemagne and he was like, yo,
that time when you dis Beyonce, that was kind of
like launched you to the next level. Do you think
she would have went it was CRAZYU I didn't even

(05:22):
write that. No, she'd be like, yeah, that time was nuts.
I was a little nervous, like we were dissing someone
that was so big.

Speaker 2 (05:28):
Yeah, she would have went that route.

Speaker 6 (05:29):
Of course, she would have still said she regretted it though,
because whether it worked for her or destroyed her career,
it was lean because Beyonce hadn't did anything to her.

Speaker 2 (05:36):
Yeah, it was a woman grow.

Speaker 5 (05:39):
Yeah, as a person, you grow and you mature, you older,
you look back at a lot of shit like that
was so unnecessary.

Speaker 2 (05:44):
Like yes, I mean, I'm.

Speaker 5 (05:46):
Not saying she would have said, you know, I didn't
write it and all of that, but I'm sure she
would have still you know what fifteen years later, sixteen
years later, I'm like that, I don't think she would
still be standing on that bar, like yeah, I said it,
Like no, that would just be absolutely crazy for how
to do that.

Speaker 3 (06:01):
Yeah, And I mean a lot of stuff she put
on Polo, like I don't know if this is true.
My album wasn't Now Yes, it was like, you're not
coming out if you didn't do this. I made that mistake,
which again maybe this did happen behind closed doors, but
I also don't think a producer like Poles down that
it already had so much results, was like you have
to dis Beyonce or we're.

Speaker 2 (06:18):
Not putting you out.

Speaker 3 (06:18):
That someone had the talent of carry Hilson and had wrecked,
Like I find that a little odd too. But then
Esterdine had came out went on ig and said, you know,
I'm not going to read the entire thing, but more
or less that she didn't feel great about it either,
because you know, it's not against women empowerment sticking together.

Speaker 2 (06:35):
But she said she wrote like four or five verses
to that.

Speaker 3 (06:38):
Submitted all of them wasn't even there and that's the
one they picked. So like, what do you want from me.
I gave you a bunch of different versions. That's the
one you picked. Then, carry Hilson replied and said, don't
say co wrote everything on there except for three lines
that weren't even part of the disc I wrote. You
wrote the entire thing, So what is Esterdin' supposed to?
It's still co written. Yeah, but I've never seen someone

(07:01):
publishing away from themselves.

Speaker 5 (07:02):
Car Yeah, but all of this is like, I get
people still talking about that it's Beyonce. I get it,
But it's been fifteen sixty years, man, Like, do people
even really care about this shit still?

Speaker 4 (07:15):
Carrie cares?

Speaker 3 (07:16):
It's still brought up in the a niche community of
of music lovers.

Speaker 6 (07:21):
Every time Carrie Wilson opens her mouth. Krrie Wilson, Carry
Hills said, Carrie, I'm thinking about see her.

Speaker 4 (07:29):
I'm sorry.

Speaker 6 (07:29):
Anytime Carrie Hilson opens her mouth, people are reminded, like
damn that voodoo really worked every single time. It's always
brought up every single time she's in any interview, comments everything,
so she knows, she knows it's a big thing.

Speaker 4 (07:41):
It sucks because it would have nice.

Speaker 6 (07:42):
It would have been nice to see her have a
career like she had a career, but to have like
a longer career. But then again, who's to say if
she didn't this Beyonce, that she wouldn't have went away anyway?
We always say oh yeah, like people even when people
and this is not no, I don't even actually I'm
even gonna say that, but there are people that have
died that people are like, oh, she would have been
the biggest thing, And it's like, you don't know that.

(08:03):
We've had so many pop girls that were huge and
then we never heard from them again.

Speaker 5 (08:07):
Yeah, people love doing that though Yo, so and so
didn't die, this person win the Blue. It's like, fim,
it's a lot of dudes that still allow from the
era that ain't shit.

Speaker 4 (08:16):
Ain't shit And there was that guy, a lot of.

Speaker 2 (08:18):
Trash music, trash albums, trash.

Speaker 5 (08:20):
It's like, so we're not going to just make it
seem like that person would have been on top or
it's just like I hate when people do that. That's
just like a talk because you can't prove it because
the persons no longer hear unfortunately.

Speaker 2 (08:30):
But I mean Carrie had Knock You Down with Neil
and Kanye, like.

Speaker 3 (08:33):
I thought that record was no she has some Carry
Jlson has some pretty Girl Rock was fire, she had
some records.

Speaker 2 (08:38):
Yeah, but one could make the case that it just
was never the same after that. Yeah, I get it,
I understand. I think it's cool that you're owning up
to it and regretting it. I think that type of
topic is fun.

Speaker 6 (08:49):
Do you think so as far as the stir d
because Carrie's thing is like this sixteen years like this
has been a long time.

Speaker 4 (08:56):
White like you could have been came out and say, oh,
ain't right that I wrote it.

Speaker 6 (09:01):
But I mean, I guess the owner still falls on
Kirie because you knew what that was about when you
went into the studio and you laid that track down,
whether you wrote it or not.

Speaker 3 (09:08):
So and I feel like, and again no disrespect to
Carry Jilson. I think Esther Dean is like, that's the
record you're talking about, Like, look at my catalog?

Speaker 2 (09:19):
You think I even think about that remix?

Speaker 1 (09:22):
It all?

Speaker 2 (09:23):
When I have drop It Low Super Bass Love, Suicide, Another.

Speaker 5 (09:26):
Life, nor Carry Wilson have records.

Speaker 3 (09:28):
Now I'm saying from Esther Dean's side, like, do you
think Esther Dean is thinking about that fucking remix? But's
Diamond record.

Speaker 2 (09:34):
Yeah, that's the Dean.

Speaker 5 (09:35):
I mean, if you know, you know a lot of
people don't know who Ester Dean is. And you know,
like I said, a lot of new people outside and
you know they don't know. But if you know Ester Dean,
you know she has hits. She's written some of the
biggest records that we have that we've heard. So, I mean,
I just don't I just don't like people bringing up

(09:56):
like because I know Carrie obviously she doesn't do a
lot of interviews and doing Breakfast Club, Like you kind
of figured they are going to bring that up.

Speaker 2 (10:04):
But I know she wants to get past that, like
she has to be tied of that just hanging over her.
Oh for sure, Like you know what I'm saying.

Speaker 5 (10:10):
It's just like, yeah, she said it, and you know whatever.
You know, maybe she wanted to back and well she
probably didn't want to back and forth with Beyonce. What
that would have been probably worse.

Speaker 3 (10:20):
Yeah, And also if you're submitting three different ideas like
Esther was probably just trying shit in the boost and
sent it to Polo. Yeah, it's like all right, if
you want to go this route is what that's not
her fault if you're submitting a bunch of stuff and
you guys decided to pick to this one, like there's
a bunch of different ideas. And as the road rude
boy that year, I don't think she was gave a fuck.

Speaker 5 (10:37):
Yo at all.

Speaker 2 (10:40):
Facts wrote sex Therapy.

Speaker 4 (10:42):
And back to the Crib. Remember y'all don't remember back
to the Crib.

Speaker 3 (10:45):
One of the rapist hooks of all time. Yeah, I know, yeah,
that's what Esther should be coming to the podium for.

Speaker 2 (10:50):
This is Beyonce. She don't even know that we're going
back to the crib. Yeah. It was a wild time, man,
you know what I'm saying.

Speaker 4 (10:56):
She wrote sex Therapy.

Speaker 6 (10:57):
That's one of my favorite songs in the world, Like
top fifty favorites in the world. She wrote sex Therapy
by Robin Think. Oh, that's a classic.

Speaker 5 (11:05):
Yes, indeed, is not tripping about nothing. She's good, she's comfortable.

Speaker 3 (11:10):
Yeah, and I mean shit, some of the biggest Chris
Brown records ever. That was the one two punch was
Hurt and Chris.

Speaker 6 (11:16):
But damn invented head by Chris Brown. Y'all, wasn't there
back back in them days, invented.

Speaker 2 (11:21):
Head to marriage You was you was fourteen years old.

Speaker 4 (11:25):
When invented had came out? I think I was around fourteen. Actually, yeah,
all the ninth.

Speaker 5 (11:29):
Grade, fourteen years old. You ain't know nothing about No.
Sit at the head of the class. That's what you
do and do your goddamn homework.

Speaker 6 (11:36):
No, Carrie Hilton Trey songs and usher, I'm about to
reinvent sex.

Speaker 4 (11:40):
Carrie got him like, what's next?

Speaker 1 (11:42):
What?

Speaker 4 (11:43):
You were thirty and I'm gonna make it my duty
to have you so woozy. You think I invented X?

Speaker 2 (11:47):
Please?

Speaker 4 (11:48):
Y'all wasn't outside?

Speaker 2 (11:50):
Yeah, you wasn't outside. You was nine years old. It
was a definition of what talking about. Who wasn't there?
You were not outside.

Speaker 4 (11:59):
I was on Facebook.

Speaker 6 (12:00):
We in the lyrics because that was back before your
parents was on Facebook. Your parents wasn't on Facebook. So
my old Facebook statuses are insane.

Speaker 2 (12:08):
Talking crazy you.

Speaker 5 (12:10):
You would have been one of them girls that was
on I G Live and they father come in the
room with the belt, start tearing that soup. You would
have definitely been one of them little girls. I can
see the marriage getting ass beat on IG Live.

Speaker 3 (12:20):
I can see it saying you invented sex when your
parents are it's impossible.

Speaker 2 (12:24):
No, they invented you with sex, know, they invented sex. Kids.
Shut off your face, try poked.

Speaker 4 (12:32):
Kids trying to get poked.

Speaker 5 (12:37):
Well like in you know, true fashion, true true white
people fashion. Ory, I had to make y'all white rapper?

Speaker 2 (12:43):
Yeah, Mount Rushman, what about what about us guys?

Speaker 5 (12:46):
Like, actually we can't talk about rap. What I was
talking about the white rappers? So they made white and Range.

Speaker 2 (12:55):
A bunch of faceless redacteds.

Speaker 5 (13:01):
All right, So this is mount Rushmore obviously, Eminem recipes
Mac Miller.

Speaker 2 (13:06):
Is that Paul wall it appears to be and Russ.
I feel bad for the guy that had to sculpt
Russ's hair.

Speaker 5 (13:14):
Just like it was a he had leaving conditioner in
his hair right there. That's a that's a good leaving.

Speaker 2 (13:21):
I don't know if Paul wall is on the white
rapper Mount Rushmore.

Speaker 3 (13:26):
Again established what Mount Rushmore's well, the ones that kind
of you know, laid the foundation for the the foundations
for the white rappers.

Speaker 4 (13:37):
So you would take Paul wall off before Russ if
we're talking about laying foundations.

Speaker 5 (13:42):
Yeah, I mean, I wouldn't say I'm not. I didn't
say I wouldn't take Russ off either. But just looking
at that, I mean Mac is still too young.

Speaker 2 (13:51):
The only case I would make for Mac.

Speaker 3 (13:56):
Was defining the generation of the new white rapper where
it went outside of Eminem. It was kind of corny
for it was mc search and Beastie Boys, which was cool, they're.

Speaker 2 (14:06):
Base and ship.

Speaker 3 (14:07):
Then it was like corny for a while, then it
was just Eminem and then Mac action like that whole
time came and I think Mac defines that era. So
I think it's a forefather of the new white rapper.

Speaker 2 (14:20):
Maybe maybe changing forefathers.

Speaker 3 (14:23):
Yeah, I mean a lot of white rappers that are
like really established and have credibility, because if we're just
going forefather ship, it's got to be m mc search.
We can't put I guess all the Beastie Boys, And
this is gonna sound crazy, and I'm not trolling Vanilla Ice.

Speaker 2 (14:43):
I'm dead. Hmmm. Yeah, I don't know about Vanilla Ice.

Speaker 3 (14:49):
Why how is he not one of the forefathers of
white rap. You could say it's corny, you can hate it,
you say it was bad for hip hop, But know
how is that not a forefather of You're right, forefather?

Speaker 2 (14:58):
You're right?

Speaker 3 (14:59):
You.

Speaker 2 (15:00):
You would have to. You would have to have Vanilla. Iusta,
you would have to.

Speaker 3 (15:02):
I think you could put LP up there, even from
like the label side rapper side, like LP define underground,
this is.

Speaker 2 (15:09):
This is, this is a I don't know.

Speaker 5 (15:11):
I might be swinging for the fence here, but Marky
Mark and the Funky Bunch. You gotta put Markey Mark
up there. Man, I'm sorry, his brother more popular. I mean,
he was in one of the biggest groups ever. But
I mean we're not gonna act like Marky Mark didn't
have some I mean it was a house of Pain.

Speaker 2 (15:29):
Oh, house of Pain definitely has to be a Yeah,
it was a lot of groups.

Speaker 4 (15:33):
Wait, Marky Mark is Mark Wahlberg.

Speaker 6 (15:36):
Yes, no, he's Markie Martin. I knew no listen, I
knew listen did you ever use a land? I knew
that Mark Wahlberg used.

Speaker 4 (15:47):
To be a rapper. I also had heard of Marky
Mark and the Funky Bunch. I never put together that
that was the same Mark.

Speaker 5 (15:53):
Yeah, it's Mark Wahlberg, the legend, that's the legendary Mark Wahlberg.

Speaker 6 (16:00):
The funny shit is I'm looking at like the Marky
Mark and the Funky Bunch bunch, Like I'm looking at
the wild Side tape or whatever it is, and I
was about to say, this man is in white, he mixed,
and then I look and it's Mark wom.

Speaker 2 (16:11):
Mark Wahlberg, the legend.

Speaker 5 (16:13):
Absolutely, that is actually fucking.

Speaker 3 (16:15):
Hilarious naming your group the Funky Bunch after you were
just arrested for racial slurs in Boston, Massachusetts. Where do
you get the balls to call yourself to have the
word funk in anything that you do?

Speaker 4 (16:28):
Kid Rock Ki, I was gonna say, if we're just
going off facts.

Speaker 2 (16:33):
Or not feelings, do you have a case.

Speaker 5 (16:35):
Kid Rock might need to be up there. He might
need to be on the mount rushmore of white rappers.

Speaker 3 (16:40):
I completely forgot about House of Pain. That was a
great pick, but again, these are all groups like even
just put them like small as one of the heads.

Speaker 2 (16:49):
Yeah, you gotta just pick you know who, you know
the head. But it was just like us as whites
to change the rules and put fifteen of us up there. Yeah, yeah,
got the new mountain. Yeah, you get a new mountain.
More mountains.

Speaker 3 (17:05):
Outside of that, I don't know. It was white rappers
were weird up until recently. It wasn't really a thing.

Speaker 6 (17:13):
They're not still weird. There ain't gonna be white rappers
out here. There's a lot of white rappers now active.

Speaker 3 (17:20):
Now.

Speaker 4 (17:20):
Yeah, who's action?

Speaker 2 (17:22):
Jack Carlow had the biggest.

Speaker 4 (17:23):
Year of any rolling Jack Yeah, Jack Russ.

Speaker 1 (17:26):
Yeah.

Speaker 2 (17:27):
McLamore had a great time. Whether he liked it or not.

Speaker 4 (17:29):
Yeah, but they had like a little two year, three
year run.

Speaker 3 (17:32):
Action Bronson yellow Wolf at a time, MGK, I mean
post Malone doesn't consider himself a rapper unless it's convenient.

Speaker 2 (17:40):
Yeah, so oh oh god.

Speaker 4 (17:42):
So I happened to click on because he came on
after Meg last night. But I was like going to sleep,
but I just happened to click on it, and I'm like, who.

Speaker 6 (17:48):
Is this bare my ass country ass man on my
This post a legend.

Speaker 4 (17:54):
Okay, he came out with a beer. I had some
tight le vis. I said, okay, I get to it.

Speaker 2 (17:59):
Let's get right to it. We're gonna get right in
to the set. Oh, I forgot our guy Vini Pass
that you said I don't listen.

Speaker 5 (18:06):
To You don't listen to Vinnie Pass. You don't know
nothing about Vinnie Pass.

Speaker 2 (18:11):
But it's logic up there. No after his new sound.
He's gonna be up there. Wait, well, wat is logic
not on the Mount Rushmore? Who would you.

Speaker 4 (18:20):
Take out to put logic there?

Speaker 2 (18:21):
As far as rape just rapping, you're.

Speaker 6 (18:25):
Gonna take You're gonna take Paul Wall out to put
logic there. The South gonna shoot. The South might actually
come find.

Speaker 3 (18:30):
I might actually shoot you. We just don't mind the
internet going. That's the people shamp right there. I'm saying,
we just don't about rap though what that mean? Logic
could rap better than.

Speaker 5 (18:39):
A lot of these dudes on his Mount Rushmore, is
what I'm saying.

Speaker 2 (18:42):
I would take any Paul Oh but logic even if
you walked in there and just started the freestyle.

Speaker 5 (18:52):
It's hard to take poor Wall off the Mount Rushmore, though.

Speaker 2 (18:54):
It's hard. He again in that transition, I guess where's
what Sparks at?

Speaker 1 (18:59):
Though?

Speaker 4 (19:00):
College Park?

Speaker 2 (19:02):
We gotta give Bubba Sparks, where's my where's my white ID?
My actual idea? I got to turn that over.

Speaker 3 (19:08):
We gotta give Family's finest Bubba Sparks Deliverance.

Speaker 2 (19:12):
One of the greatest records ever, one of the greatest videos.
Who We got to give Bubba Sparks some love man,
make me every character from the Bubba Sparks Ugly video.

Speaker 5 (19:22):
Come on, man, Bubba Sparks legend. Yeah, Sparks rap legend. Man,
come on, we can't do that. We gotta give Bubba
Sparks his flowers.

Speaker 2 (19:30):
Man, we can't do that. Yeah, with you there, I'm
definitely with you.

Speaker 1 (19:32):
There.

Speaker 2 (19:33):
Are we allowed to play a snippet of the new
Logic is on?

Speaker 6 (19:36):
We can't play ship, We can't play none. We already
got we got another copyright strikes into our email.

Speaker 3 (19:41):
Well, you guys know, I think Logic is the front
of the show. I actually think he's a good guy.
I've enjoyed speaking to him. I enjoyed speaking to him afterwards.
I've said to his face, and his music is not
for me. Doesn't mean you can't like someone as a
person if you're not just there for all their music.
This is my first time actually being upset at Logic. Well,
I wish we could play this snippet he's in his

(20:01):
Playboy CARDI Travis Scott era now and I just don't.
I just don't think the streets need that. M I mean,
if it makes you happy, do it makes you happy?
But I'm not here to stop you with your musical dreams.
You're independent, do whatever the fuck you want to do.
You're rich, you're apparent. The world is your oyster. I
didn't hear it, but oh my god, I think he's trolling.

Speaker 2 (20:19):
He has to be. This has to be a joke,
all right. So we just came back in.

Speaker 3 (20:23):
Because I wanted Mall to hear the snippet so he
could react to it properly. It slaps, but I just
don't need it from Logic.

Speaker 5 (20:30):
Well, first things first, the last time I remember Logic
saying he was retiring from Megan music.

Speaker 2 (20:34):
Yeah, but every rapper says that he's put out three
albums since the Yeah, okay, so let's start there. Yeah,
I don't.

Speaker 5 (20:44):
Again, we're just going off a snippet that twelve seconds.

Speaker 2 (20:48):
You think the began has changed some boom back. No,
I want to hear is gonna come in. I want
to hear what he's rapping like. I assume it's going
to be in that flow for the remainder of the song.
But I don't know. Maybe he's getting.

Speaker 5 (20:58):
Barlow because you could get balls off on that, or could.

Speaker 3 (21:01):
This be like some logic conspiracy way to show how
easy making that type.

Speaker 2 (21:06):
Of music is now. I could see Logic doing that
as well. That's why he's one head.

Speaker 5 (21:09):
When he's one of those guys, he'll definitely show you
how it is.

Speaker 2 (21:13):
To me, he tricked the Wu Tang to get back together.
Anything is possible. Yeah, I don't know, man.

Speaker 5 (21:18):
I just think Logic is just one of those guys
that's just so musically inclined and talented that you know
he's gonna try things, and you know sometimes it's gonna
land sometimes or not. But I do want to hear
that record, like I want to hear if he's actually
rapping going on that record.

Speaker 3 (21:31):
I see what you're saying, because I also it's going
to piss all of our listeners off. I agree Logic
is extremely talented, even if it's not for you. You
cannot say that that person right there is not talented.

Speaker 2 (21:39):
Absolutely.

Speaker 3 (21:40):
Why are talented people regurgitating other bullshit? You're talented, you
don't need to do that. If you weren't talented, I
get it ride a wave. Why would a talented person
need to do that?

Speaker 2 (21:52):
Talented?

Speaker 3 (21:52):
That would be my issue with Logic and this, So
that's my issue, and I'm not comparing Kanye in logic
at all. But when Kanye's with Yea was just riding
the wave of the sound, I was going down, like,
you're a genius, why are you doing this? That's that's
where I think it's kind of weird. But I don't
people show how easy it is to make.

Speaker 5 (22:09):
That see logic doing that though, to make a point
in just showing how easy it is to mimic that
sound and try to recreate.

Speaker 2 (22:15):
It in his own way. But listen, I want to hear.
I want to hear a song. I can't. I can't
off a snippet.

Speaker 5 (22:20):
I can't kill logic and say he's he tryn't sound
like Playboy, Card and all these guys.

Speaker 2 (22:24):
I gotta hit a record and we can get off this.

Speaker 3 (22:27):
But they did a trap mount Rushmore as well, which
at Gucci, t I, g Z and Yogati, and initially
everyone's was upset about Future not being there.

Speaker 6 (22:38):
I don't think about future, and I think trap. But again,
I'm not for the soft so I'm not the right
person to talk about.

Speaker 3 (22:43):
I mean, he's in that category, but I feel you
he's like right after I think the trap ship. But
he definitely has trap elements for sure. If you called
him a trap riber, I wouldn't be like no, but
I mean yeah, as far as the forefather Ship, I.

Speaker 2 (22:58):
Mean yeah, it's kind of I think they kind of
nailed it. I'm not mad at that. I'm not mad
at Gucci, t I G. And Yogatti.

Speaker 5 (23:04):
If you, if you are gonna take somebody off and
add a future, then it would probably Yogatti. Yeah, but
I'm not mad at I'm not mad at this quort though.
As far as track Rushmore, no, I'm not mad at that.

Speaker 3 (23:17):
Yeah, that one didn't have as much like outrage because
everyone from the South was like, yeah, this is perfect,
We're amazing.

Speaker 2 (23:26):
Yeah, this is perfectly nailed. We've never made a mistake
or a bad music opinion in our.

Speaker 5 (23:31):
Entire honorable mention for trapped Rushmore, Uh titty boy to change, Yeah,
have him on there.

Speaker 1 (23:36):
I'm with you.

Speaker 3 (23:37):
Yeah, I'm definitely with you, And I mean new generation
Doug has to be there too, absolutely, But I again,
not my Rushmore. He would be for the next generation
for sure.

Speaker 6 (23:46):
Doug said, I'm gonna pull up, eat on that pussy
and dip you love you felt that that niggas a genius.

Speaker 5 (23:53):
All right, man, all right, baby, d what you're going through? Right,
what you're going through?

Speaker 2 (24:00):
We hit were you? We here to listen to you?

Speaker 1 (24:02):
A right?

Speaker 2 (24:03):
He had a little food set and left, Yo, like
what's up? Baby?

Speaker 7 (24:06):
Like?

Speaker 2 (24:06):
Yo, he's a genius?

Speaker 1 (24:07):
What man?

Speaker 2 (24:08):
Because he got that off and just left and he
did it in a minor this it's a lot there.
I sort of got my brain. I don't know, and
that's how it happened. My brain was not even and
that's way more layer than I thought exactly, and that's
how hell he did not know that a minor right.

Speaker 5 (24:27):
Right, I got you, I was I got you. I
know what you were saying, but I got you. No,
she don't want to go out. She don't want to
stand up for more than twelve minutes.

Speaker 4 (24:40):
And I'm about to freeze my eggs.

Speaker 2 (24:42):
He abouts to do?

Speaker 4 (24:43):
What freeze my eggs?

Speaker 2 (24:44):
Maybe?

Speaker 6 (24:46):
Maybe what I have to I'm a woman that wants
to have kids of this thirty work two weeks until
thirty one years old. But that's still your eggs start
dying at twenty five. Yeah, that's something.

Speaker 2 (24:57):
Don't your eggs daddy?

Speaker 4 (24:58):
Period?

Speaker 6 (24:59):
Yes, you lose them and I'm not getting anymore. So yeah,
I have to start thinking about that freezing my eggs.
Anything can happen to they tell me how, like how
many you have? Every No, you have to I would
have to go get that checked out. And I'm really
not really for them to go up in there yet,
but yeah, we can probably get them frozen.

Speaker 2 (25:15):
Do you think you know the person you're gonna have
kids with like you met?

Speaker 4 (25:18):
I used to think so, but no, not anymore.

Speaker 2 (25:20):
Okay, what about you you freeze your sparm?

Speaker 4 (25:24):
Well, when do y'all fertilize my egg?

Speaker 2 (25:26):
Sorry?

Speaker 6 (25:26):
So that did the last longer when you fertil So
when I go to freeze my eggs, fertilized eggs tend
to last longer and do better.

Speaker 4 (25:34):
So like with whe of y'all fertilized, like half of.

Speaker 2 (25:36):
Them when you like put it back in. Would we
be the father?

Speaker 5 (25:39):
Yes, you think that I would give you Maybe then
you think that I would let you take my sperm
and fertilize your egg.

Speaker 6 (25:47):
First of all, you got like five more years left
before like you start giving your kids at risk for
autism and stuff like you have to freeze that sack, brother, Yeah,
like you, the older men are the less healthy, the
kids are likely to be I'm saying, so, come.

Speaker 2 (26:02):
On, we can have a kid, little pot baby. That
just sounds like a terrible idea. It's a black mirror episode.

Speaker 4 (26:10):
That is a terrible That is definitely a black mirror episode.

Speaker 2 (26:13):
Oh my god, imagine that.

Speaker 5 (26:15):
You imagine the headlines if I donate my sperm the
baby's eggs, Like, can you imagine that?

Speaker 3 (26:22):
First of Reddit would go crazy? First of them would
be a little different Reddit just for that.

Speaker 5 (26:26):
Your peach bleak, first of them all kind of like
I didn't we didn't even have sex that you just
gave us sperm.

Speaker 2 (26:32):
That's like the president, Like, what type of shit is that?

Speaker 3 (26:36):
Then you have a kid Like yeah, I know some
people that have like packs with their friends, like platonic friends.

Speaker 2 (26:44):
Yeah, I had one before that. She wouldn't have a baby, dag,
you broke the pack? Wait, what was the age for
the pack? Like if we're both.

Speaker 5 (26:54):
If because she's I think like four years younger than me.
So at the time she was like when she was
third five, which or thirty, and I was I would
have been turning thirty four thirty five. She's like, would
you have a kid? I was like yeah, And then
like two years later she had a kid.

Speaker 2 (27:12):
Broke the pack.

Speaker 4 (27:13):
She thought about that shit a little long.

Speaker 2 (27:15):
How long are you gonna give her too? Until she
turned thirty five? That's what she was saying. Okay, gotcha.

Speaker 5 (27:19):
She had introduced the idea of it, and I was like, yo,
we like super cool?

Speaker 2 (27:24):
Like I was like, yeah, why not?

Speaker 7 (27:26):
What?

Speaker 2 (27:27):
Oh?

Speaker 3 (27:28):
This is where I wish we had another mic. Maybe
Page or Josh could just yell what traits do you
think the baby would take from each of these? Do
you think this would be a well meshed baby as
far as how they act?

Speaker 5 (27:41):
If I was to donates from the babies A yeah,
oh no, that baby would be lit h.

Speaker 2 (27:45):
I think you guys would balance each other out well
for the child. Yeah, yeah h that baby. No, baby's rare.
I'm not. I'm gonna be a like absent father.

Speaker 6 (27:51):
She's no for sure, no, no absent mother. No, no, no, no, no,
we both can't be absent baby d somebody has to be.
You're not a big family, That's what I thought about.
You do too, Like Rory, you got a big family.

Speaker 2 (28:04):
You do too. You are one of your sisters every day.
I don't know what you got.

Speaker 6 (28:08):
Four hundred of the motherfuckers though true, and your nephew
is so well raised, he's amazing.

Speaker 2 (28:13):
Like, but what that gotta do with you taking this kid?

Speaker 5 (28:16):
Nah?

Speaker 1 (28:16):
I ain't doing that.

Speaker 4 (28:17):
What nah, I'm not the primary parent. You the primary parent?

Speaker 2 (28:20):
How you the one that's carrying baby?

Speaker 4 (28:23):
Yeah, for nine months and then for eighteen years.

Speaker 2 (28:25):
It's not you, hell Na. That that's how it works. Yes,
that's crazy American. You're going to carry the seed for
not much and then be like, Yo, I'm cool.

Speaker 3 (28:35):
But what's so funny about the scenario is you guys
are planning to abandon your child. Not that not that
I understand that people people abandon their kids, but when
shit happens, you'll be like, all right, he didn't want
that baby. The shit happened, so hee, you guys are
going to science. But look how a child to ben abandoned.
But look how it starts.

Speaker 2 (28:53):
I am donating. I am the donort. That's a personal
donation though yeah, it's.

Speaker 5 (28:57):
Yeah, it's I am depositing into baby these account yes
of her egg.

Speaker 2 (29:03):
Right she then carries, Yeah, she carries the egg.

Speaker 5 (29:07):
She can't just leave the egg once it has You
make more money than.

Speaker 4 (29:10):
Me, Like in a child, you gotta do it or
I would lose because you make more.

Speaker 2 (29:13):
Money than me. No, we know, we don't got to
go there.

Speaker 3 (29:15):
Don't imagine a woman went to a sperm bank with
the intention to abandon her child.

Speaker 2 (29:21):
Want to have it, but I want to I just
want to have it, but I don't want it. They're
gonna be like, no, it's just like, are you a
surrogate for a surrogate for a surrogate.

Speaker 6 (29:30):
There's a difference between being you don't abandon but not
the primary parent, like when it comes to like when
the kid wants something that it needs to go to
daddy first.

Speaker 5 (29:39):
All right, So here, here's here's what we do. If
it's a girl, you have to keep it because I can't.
I can't raise a woman.

Speaker 4 (29:46):
I would not want my daughter raised by you, so agree.

Speaker 2 (29:48):
Waita, what that means? You just said you can't raise
the girl because.

Speaker 5 (29:53):
I would have to kill one of these little wyans
out here.

Speaker 2 (29:54):
I don't want to do that.

Speaker 5 (29:56):
That's the only reason. So you want to raise one
a Waiian? Yeah, yeah, yeah, it's definitely raising a y
n for sure. But if it's a boy, I'll take it.

Speaker 2 (30:04):
I'll raise them.

Speaker 3 (30:05):
What's funny, is I think he'd get all his violence
from Demeras, I'd be more scared of his mother's side
in a situation like to make an irrational impulse decision
to murder me, I'm definitely going with Demeris' acide.

Speaker 2 (30:17):
Yeah, so you have to raise it.

Speaker 5 (30:18):
If it's a girl, cool, I think that should be
a thing anyway.

Speaker 4 (30:23):
No, girls need their fathers.

Speaker 5 (30:24):
Girls absolutely, But I'm saying, like, if y'all, if the
parents break up, split, like you know, we get separate households,
we don't live together. I think that if it's a daughter,
she should still have a bond and a life with
the father, but primary residence who raises her I think
should be the mother in if it's a boy, I

(30:45):
think he should live under his dad's roof.

Speaker 6 (30:48):
Girls the age twelve through a seventeen need to be
with their fathers twelve th every day to be with that.

Speaker 4 (30:55):
Yes, they need to be with their fathers.

Speaker 2 (30:57):
Damn like parenting.

Speaker 6 (30:59):
Yeah, what do you mean why? That's when they need
you all the most. That's when they need you all
the most. That's when they need to be reassured the most.
That male attention they need the most.

Speaker 5 (31:09):
No, but you still I'm not saying like the father
is completely I'm saying, as far as live in the house.

Speaker 6 (31:14):
You ever seen a thirteen year old girl argue with
her mother? That should have shaked the shake the neighborhood.

Speaker 2 (31:19):
You've got to have a twin sister. You think I've
never seen the thirteen exactly?

Speaker 1 (31:25):
Are you?

Speaker 3 (31:25):
Yeah?

Speaker 2 (31:25):
You had to grow up fast.

Speaker 6 (31:27):
Like if your daddy would have been off that stuff,
your sister would have left and went with him immediately.

Speaker 4 (31:32):
I'm telling you she would have asked her she's been gone.

Speaker 2 (31:36):
Yeah, it did.

Speaker 5 (31:37):
It is a point where mothers and daughter's clash.

Speaker 4 (31:39):
Yeah, the teenage years is tough.

Speaker 5 (31:41):
As soon as your first period. Soon does that first
period happen?

Speaker 2 (31:45):
That's it.

Speaker 5 (31:46):
It's over now. It's like two women fighting for like.

Speaker 2 (31:50):
I've seen it.

Speaker 5 (31:51):
Just tell me what trees, who.

Speaker 4 (31:53):
Got who got the smarter mouth, who got a bigger attitude?

Speaker 5 (31:56):
Who had a last that last last that left the
last word? Yo, you don't want to know how many
times my house shook up and down for the last one.
I'm like, why don't y'all both just shut the fuck up,
Just both of y'all shut the fucking I'm fourteen, Like
both of y'all shut the fuck up, like just let it,

(32:16):
let it go, Like, yeah, it's crazy, that's that's a
real thing.

Speaker 6 (32:19):
I don't know what it is about teenage. It's like
we just become monsters. My mother's thing used to be
the maor like okay, okay, she's like the Maris. I
would have got say okay, one more.

Speaker 2 (32:28):
Mother, Yeah, y'all want that last last?

Speaker 5 (32:31):
You know how many battles I've seen over the last
I'm like, yo, we talking about a box of cereal.
This started at a box of cereal and now all
the way here, like what.

Speaker 2 (32:41):
Are we talking about?

Speaker 3 (32:42):
Then raising a teenage boy, you have to think factoring
all the towels that you can crack in half.

Speaker 2 (32:47):
By the end of the week, it's gonna be fucking everywhere.

Speaker 3 (32:50):
That was like if you want a quiet house with
dirty towels or a loud one with you know, a
tampon or two.

Speaker 5 (32:56):
Now, me and my mom used to always like our
thing was always like just me, like coming in the
house late after a while, like that was moment like
I was just started hanging out in the streets.

Speaker 4 (33:06):
Like you've been a whore.

Speaker 5 (33:07):
No, But it wasn't even that it was like literally
just being outside like with the with the homies, Like
we going to Brooklyn, were going to Queens and we're
taking the train.

Speaker 2 (33:15):
It's two in the morning. My Mom's like, Yo, what
are you how you think it was coming here? Three?
Four in the morning? Like what's it's like?

Speaker 5 (33:21):
Yo, we would do I'm not saying nothing wrong with it,
but looking back, I understand why my mother was so, Yeah,
it's crazy. You know what it is to be on
the train at three in the morning as a sixteen
year old black kid.

Speaker 4 (33:31):
Yeah, and she can't sleep, Like as a parent, you
can't sleep.

Speaker 2 (33:34):
Yeah, that was my thing.

Speaker 5 (33:35):
That was my and then the girls, you know, come
bring the girls to the house.

Speaker 2 (33:39):
That was the thing. But my mom think it was
better than bringing the boys to the house. So you
know what I'm saying. That was just like it was
just that part.

Speaker 3 (33:46):
So we decided what we're gonna do depending on if
it's a boy or girl. With that agreement, Let's say
we get to fifteen and a transition wants to happen.

Speaker 2 (33:58):
Does the household can't help you? So can't you? You
can't help like transitions from boy the girl. I knew
we were gonna take that out anyways? Did you keep
it on me? Okay? Do you guys back of it?
I got it's why?

Speaker 4 (34:15):
Because why?

Speaker 2 (34:16):
Because he was sitting right there? Okay?

Speaker 3 (34:21):
Do we have names that we can agree on? We
already know where the boy or the girl is staying.
Do your boy names?

Speaker 2 (34:26):
Yeah? I got boy names. What's your boy names? I
think I want a junior.

Speaker 4 (34:34):
Not naming my kids Jamaal, but it's spelled Jamil.

Speaker 2 (34:36):
I'm not doing why. He's Muslim? You take.

Speaker 5 (34:43):
Taking shahta? Yeah, raise a Muslim baby.

Speaker 2 (34:46):
Yeah, I could see. I can see you turning Muslim.
She needs one month with Kevin Gates. Get it right, Kevin.
Kevin got Britney Drape.

Speaker 6 (34:53):
I might be the only person. I might be the
only person ever stressed Kevin Gates. Kevin wouldn't trust me
out I was stressed.

Speaker 1 (34:58):
Kevin.

Speaker 2 (34:58):
He seems like your type. I don't mean the in
a bad way. I'm serious. He's a challenge.

Speaker 4 (35:03):
I love a challenge.

Speaker 6 (35:04):
Yeah.

Speaker 2 (35:05):
I would argue all fucking death.

Speaker 5 (35:08):
Yeah, Kevin Gates and Damaris, Yeah, that's an argument waiting.

Speaker 2 (35:11):
Do you have girl names?

Speaker 6 (35:13):
Uh?

Speaker 4 (35:15):
She gave us girl names before Alexandra or Anastasia.

Speaker 2 (35:21):
Maris.

Speaker 3 (35:25):
No, you don't know, you do not like I could
still be a junior jamis junior and it's like what
girl like the unisex name.

Speaker 2 (35:34):
We saw the smith do it. Look how that turned
out creative kids to creative kids.

Speaker 6 (35:38):
Absolutely, we're gonna have a kid that talks too much.
Two podcasters can't have a kid kid won't shut the
fuck up.

Speaker 5 (35:44):
Funny because it's funny, because I mean, Rory knows, I
only talk here. Yeah, I only talk here. I don't
talk to nobody outside of the ship. I talked to
the same four people every day, probably outside of these waves.

Speaker 2 (35:56):
Because I have a word count, like a Twitter word count,
and it usually ends here. Yeah, go home and be quiet.

Speaker 3 (36:00):
Yeah.

Speaker 5 (36:01):
I told him my nephew, like, he's one of the
four people to speak to every day, and he's one
five nine.

Speaker 2 (36:10):
Nine.

Speaker 5 (36:10):
Damn, he's one of the people I told every day,
a nine year old told to nobody funck y'all.

Speaker 2 (36:17):
Right by proxy just to godfather just how yeah?

Speaker 6 (36:24):
Absolutely nah, because if he go broke, you go broke too.
I need somebody that's not connected. What you mean, I
need somebody. We can't all have the same No, No,
because if we get canceled because Rory can't stop mentioning
the goddamn didn't know, did Godfather?

Speaker 2 (36:39):
I never referred to him as that, neither one.

Speaker 5 (36:41):
Goddamn the goddamn keep coming up here buying up all
the good Christians. Man, Yo, Jamarics is fucking crazy.

Speaker 4 (36:52):
Bleep just bleep, bleep it off. I'm sorry, but yeah,
what was the voicemail?

Speaker 2 (36:57):
No, we got him right. I told him to go
to Columbia. Are you know what I mean?

Speaker 5 (37:01):
To just get you some bullshit luggage, man, don't worry
about it. Go to Target or go to what's the
other not Target? Uh, Walmart, TJX, TJ Max.

Speaker 3 (37:13):
Target probably have some expensive luggage, though, I mean, just
get you some you know, just black, something durable. This
is not an ad, but tell volume the OS one
away luggage is affordable and great.

Speaker 2 (37:22):
Yeah. Absolutely, I've ran my away luggage into the ground
over the last five years. Away a w A y. Yeah.
Create code just for the fun of it. Yeah, just
for the fun of it. Cretit code. These are the
ads that work when.

Speaker 4 (37:36):
You say we'll leave an Amazon link in our desription.

Speaker 2 (37:39):
Yeah, man, just go do that. Go to Columbia.

Speaker 5 (37:41):
Dr take you about, you know, a thousand dollars spending
cash if you have, if not, five hundred dollars a due.

Speaker 2 (37:47):
Just have fun for like four days. Just journal out there. Yeah,
just get your mind right. You know what I'm saying.

Speaker 5 (37:52):
Make sure you know, like I said, keep yourself protected
and have fun. Man, enjoy yourself. All right, all right,
well it's been good talking to you guys. Now it's
time for me to shut up for the rest of
the evening.

Speaker 3 (38:03):
P Is there like an AI program that we can
see what the baby would look like between Mall and Demaric,
because I mean, to me, that's that's peg.

Speaker 2 (38:10):
I was thinking that.

Speaker 5 (38:10):
Yeah, I was thinking, yes, that what you were thinking,
Peach over there in your little layer.

Speaker 2 (38:14):
They chant be and Mall looking like, see, that's racist,
that is racist.

Speaker 6 (38:20):
When my face was chunkier and they said me, I
look like a female Mall, We don't look like I'm
like mau literally has a twin.

Speaker 4 (38:25):
I look nothing like her.

Speaker 5 (38:26):
Yeah we don't, we don't look like. That's just them
being racist, But it's all good.

Speaker 3 (38:34):
What is going on with my expert opinion? No barbershop,
I have been just because you know, love the show.
Fuck with math. I've just been paying attention to what's
going on. We're not here to judge. We understand how
fucking crazy it is to try to keep a podcast
business going.

Speaker 2 (38:52):
But where does this leave the show?

Speaker 1 (38:56):
In the hands of the owner? Okay, in the hands
of the owner. I don't have a lot of information
as far as like where it's going to go. I
found out a lot of things in real time with
everybody else. I knew the lights were off, Okay, I
went to we went to do an episode. I'm the
one who called him and told him the lights were off,
So you know that's jacked up. I told him to

(39:17):
fight for the shop, not because not because the aesthetic
is so needed, but because I felt the way it
was done was dirty. I don't think you should let
people get away with the bullshit, so you should. You
should fight for the shop. But you know that the
the spot isn't the spot, isn't the show, the voices

(39:39):
of the show, the energy is the show. You guys,
you two could pick up go someplace else and be
still be Rory and mall you think what I'm saying,
Like when you left when it was Joe Budden and
then next thing is Rorian Mal, You're still Rory and mall.
My expert opinion will be my expert opinion no matter
where it is. It's not. I don't don't like the

(40:00):
I I don't like the fact that all the business
is on Front Street. But that wasn't my call either.
So we'll see what happens, like well, we'll see what
shakes out. People are hitting me up for answers that
I I'm kind of watching with everybody else, like, yeah, man,
can you see what's going on? Yeah, I'm looking right now.
It's crazy. You some pop, It's nuts. You see this ship?

Speaker 2 (40:21):
Wow?

Speaker 1 (40:22):
Fuck did you see?

Speaker 2 (40:23):
So you and Math haven't had any personal conversations at
all about it.

Speaker 1 (40:26):
We spoke. We spoke months ago, and we knew that
the landlord was like being a little moving from shaky.
You see him walking by looking in, like when we're
filming an episode, but dozens of people walk by and

(40:47):
look in you see a barbershop with a bunch of
bright lights, you know what I mean, and microphones. Of
course you stop and what the fuck is that? So
I didn't pay attention to everybody, didn't even know what
he looked like. And I stayed out of the business
part of it. Like if I'm not involved, if I'm
not directly involved, if I can't help in any way,
shape or form, I'm not injecting my injecting myself into

(41:11):
anybody's situation, especially when it comes to finances. Those are
your pockets. You spend your money, You do what you do.
I don't want to know how much you're making. I
don't want to know. I'm from Queen's All I care
about is my bread. I don't need. I don't want
any of yours. I need all of mine. That's that's
the philosophy. And I'm I'm not here to pocket check
or pocket watch you and under any circumstances. So as

(41:34):
far as as far as like the the being he
did tell us when you know, Homeboy was trying to
after the light thing. Homeboy's trying to kick us out,
blah blah blah. Well he needs barbers in his hand,
is no. But he told us all the same stuff
that he said online. So yeah, we had that conversation.

Speaker 5 (41:57):
But wait, the landlords that he needs barbers in the show.

Speaker 1 (42:03):
I'm not saying anything that's not already. Yeah, of course
there's something in the contract that says you have to
have barbers in the chair, or it's like a sub
section where it says you can use it for other purposes, right,
but the main thing is the barbers. And I can
understand that if I'm a landlord and on the spot
and I walk by, you know, three or four days

(42:24):
out of the week, and the shutters are down and
the lights are off, and this is my place, I
want to see it active. In moving, you don't want
your building looking like it's abandoned.

Speaker 3 (42:33):
Basically, I mean, if the agreement, though is per month,
I owe you this, what I do with it is
kind of none of your fucking business.

Speaker 1 (42:39):
Unless there's a suspicion that you're doing something.

Speaker 2 (42:42):
Illegal, okay, which obviously was not happening.

Speaker 1 (42:46):
That if we're selling drugs or camera bruh, you might
have just did something with that.

Speaker 2 (42:51):
We ain't thinking about that. You what do you think
RFK was there for?

Speaker 5 (42:57):
Wow?

Speaker 2 (42:58):
Wow, Okay, the suspicion started.

Speaker 1 (43:04):
It's been so been sold on camera. Absolutely not when
I'm around, right when I'm around. So you know, some
shit makes sense, some shit just doesn't. I didn't communicate
with him because I wasn't asked to, and it's it's
not it's not my it's not, for lack of a

(43:24):
better term, it's not my place.

Speaker 3 (43:26):
Okay, but is that something you at least check in
with him on of like the status of like what's happening?
Or you have so many resources. I couldn't see why
math would hit you to be like, yo, this is
what's going on. Is there something you can.

Speaker 2 (43:38):
Help out with that never happened? Okay?

Speaker 3 (43:41):
I just feel like somebody like you would be the
first call with the resources that you have and could
provide just keep that moving.

Speaker 1 (43:49):
But that never happened. We are where we if that
was the case, I don't think we you know, if
he had asked and I and I could figure it out, yeah,
of course I would. When if you ever asked me
for something, I say not, go fuck yourself. Never or
like didn't even answer the phone for you. Never, Like
if I'm not answering the phone, I excuse me. If
I'm not answering the phone, I'm busy as fuck. I

(44:09):
am like working going albums with like an icon, so
like my days are jumbled up, and if we're not
filming the show, then I have things that I definitely
need to put my attention to but juggling wasn't a problem.
And anybody calling me for anything, it's nothing to be like,
oh okay, I got you. But like you know, if

(44:29):
I don't have it, if I can't help you, I'm
not going to pretend I can.

Speaker 3 (44:35):
Well, you think there's a window with this shit, because
I mean, the podcast world is so unpredictable with fans, algorithms, everything,
with the steam that y'all had, you know, being one
of the top shows, is the window small to come back?
Just the way shit operates and how quick everyone moves.

(44:57):
How quick do you think you guys need to come back?

Speaker 1 (44:59):
It's not risk free, right, I'll give you that. I'll
say that it's not. I can't. I don't have a
because they also say absence makes the heart grow fonder,
you know, And we were obviously providing something that you know,
was different from our peers. We don't do what Rory
and Mal do. We don't do what Joe Budden does,
we don't do what Drink Champs does. Not not in
the same way, We're all doing something different. Your voices

(45:22):
are unique. Again, wherever Rory and Mal go, it's rorya Mal.
You can't duplicate the voices right wherever my expert opinion goes.
It's my expert opinion. You can't duplicate the voices. You
can't duplicate the energy. So if people miss that, then
there's always going to be a window for something that
somebody misses, you know what I'm saying. But maybe the

(45:46):
main eyes of like maybe I heard that.

Speaker 3 (45:49):
Sorry the to the casual fan come we were having,
Like there's podcast that I'll watch all the time, and
if I start clicking other shit and somehow they get
out of my algorithm, it's not at the top of
my mind because it doesn't pop up. I just think
that's how we're kind of trained with everything. Now I've

(46:11):
fallen off with podcasts not because I dislike them, it's
because with all the busy shit I'm doing during the day,
sometimes my algorithms is what's going to be the thing
that I clicked that day for sure?

Speaker 2 (46:22):
So I mean that that's where I think not a
window would be small.

Speaker 3 (46:26):
Because you guys have already built a core fan base
that's always going to be there, like you knowsbers on that. Yeah,
it's incredible, Like so you guys were the only podcasts that.
I don't want to say late to the party because
it sounds like disrespectful, but it's not. When everyone the
podcast boom hit, everyone tried to do a podcast and
they all failed. You guys were the only ones that
came in after like the core and and passed us

(46:49):
like what you mean? Yes, the only one And to
me that was like.

Speaker 2 (46:53):
The most unique shit ever.

Speaker 3 (46:54):
When Mad launched, I was like, ah, this is a
really good conversation, but this is when everyone has a
fucking podcast because they saw what the rest of us
were doing. Yeah, we're the only ones post boon that
actually stayed. So I do think, of course, no matter what,
there's the window is open. Yeah, but there's magic with
because we've been through it, so you know, there's no

(47:14):
judgments on this side. We have a little therapy session.
What have these ups and downs been like with people
leaving the show?

Speaker 2 (47:22):
Messiness?

Speaker 3 (47:22):
New podcasts every single day they're talking more about what's
going on with the cast rather than the actual show.

Speaker 2 (47:29):
What has that been like?

Speaker 3 (47:30):
Because you've been I feel like the only one from
the original cast that's I'm not even the original cast.
Oh yeah, I guess you're right.

Speaker 1 (47:39):
Yeah, No, I'm second generation at best, I'm not even
original cast, and I think that I think there might
have been an iteration between the first and the second.
I might be third. But the question is, what has
it been.

Speaker 3 (47:52):
Like for yeah, navigating with you know now that we
have bag Fuel them leaving the Space Go situation, Like
there's been a lot of drama with that show, and
who are we to fucking speak we've had the same
type of ship, but.

Speaker 2 (48:07):
That I don't know if we had the same type
of ship.

Speaker 3 (48:10):
Public breakup in public and like they, I mean even
everybody is part of our breakup was on their show,
like we've.

Speaker 1 (48:19):
Had Yeah, how about that?

Speaker 4 (48:22):
How is that?

Speaker 3 (48:23):
Ben?

Speaker 2 (48:23):
Because I mean, I know you still have a great relationship.

Speaker 3 (48:25):
With the guys at bag Fuel, and I don't know
your situation with Space Ghost, but how have you navigated that?
Because we'll get to in the divorce. But I still
I still love Savon. But you know, it's weird.

Speaker 1 (48:37):
Nothing nothing is weird for me. It is it's going
to sound very anti climatic. I'm chilling. Okay, I'm really
I'm chilling. I don't have any beef with anybody. I
don't have no smoke with nobody. Me and math is
still in business. Me and s so will cool me
and can of cool me and space are cool. These

(48:57):
these people were mentioned and didn't do anything to me,
you know what I mean. And I also live by
a very specific philosophy. My father told me a long
time ago. If you didn't disrespt, violate somebody's kids, violate
somebody's wife, send somebody to jail, to take somebody's life,
it's not that serious. You can work it out. You

(49:19):
can figure out a way to coexist with that other
person on the other side of that thing. Money loss,
you can give it back. Food going, you can give
it back like tom going. You can. You can make amends,
you can. You can figure that shit out. Only four
unforgivables with the ones are just named, and none of
that happened in any of these situations. Nobody did anything

(49:39):
to anybody that's so crazy you can't get back right.
And when I when it's not that I can't, I
don't have it's hard for me to put energy into
be friction like whatever you want to call it. It's hard.
I don't.

Speaker 2 (49:59):
It don't have to necess to be a beef.

Speaker 5 (50:00):
But outside of those four things, there's things that people
can do that would definitely warrant you never fucking with
them again.

Speaker 1 (50:07):
Sure, but even that doesn't come with any anger, It
doesn't come with any balance, It doesn't come.

Speaker 2 (50:12):
With any like.

Speaker 1 (50:13):
I'm not looking for And if it's not that, then
what if it's not that, If I'm not looking for
you to actively harm you, it's not beef. I don't
understand what we're arguing about it. Like we we disagree fundamentally,
we're not seeing eye of eye creatively, we go our
separate ways. When I see you out, Yo, what up?

(50:33):
How's it going? What's popping? You didn't do nothing to me?
Like nothing crazy? And if he did something, I got
it back. So what we talk about you are never
gonna my other philosophy in this business. You'll need me
before I need you. It's always been true. Every year
of my career. It's been true. Anyone who's ever tried
to do me dirty has had to spin the block

(50:54):
or look for the better, look for the another me,
and end up with the t move version always been hilaried.
I don't, I don't even It's to the point where
I don't even trip anymore. So I and I don't
have that situation. Now, I don't I don't know this landlord,
you know what I mean? Whatever he did, I don't
know the business. I wasn't there when the paperwork was signing,
the contracts was signed for me to jump in now

(51:15):
and go hold on, wait a minute, d what about
this part? I look stupid doing that right?

Speaker 3 (51:20):
Like?

Speaker 1 (51:20):
Whatever he whatever he signed the least I didn't know
it was a I didn't know he was subleasing. I
didn't get in bay Math owns the shop. Okay cool,
he doesn't own the shop. Okay cool, but he's sub cool.
Like what part of finding that out? Yeah? What part
of finding that out changes anything?

Speaker 3 (51:40):
That I have to do?

Speaker 1 (51:41):
My job is to show up, be me, talk about
the things I know, research the things I don't, and
keep the keep the show, keep rep the show, rep
the energy, the rep the spot. We're out a crew.
We're not a gang.

Speaker 2 (51:57):
You know what I'm saying?

Speaker 1 (51:58):
With my family with people, we work together and it's
a good look and we all do great work together.
And as long as it's that I learned late in
my career on some source magazine and shit, I learned
very late in my career, way later than I should
have you can't get but so attached to something that
does not belong to you in facts, bad idea and rory.

(52:22):
You may remember there was a time when I was
just Mecca from the source. That was my whole. I
was in people's phones.

Speaker 2 (52:28):
That was literally the synth, like that was the full name.

Speaker 1 (52:31):
Nobody knew my last name. Fuck that Mecca from the
source for everybody, regardless of where I wrote what I
That's how hard I was with that brand. When I
got offered other spots, I debted it because I felt
like you were insulting me. How dare you question my
loyalty to what I'm doing? Fuck out my face to
think at my jump ship. Fuck I look like to you,

(52:52):
I smell you know what I'm saying. I got angry,
like to the point where you think that of me,
You think I would actually do some shit like that.
Oh when the story started making wild moves and I'm
in the back going no, what the fuck?

Speaker 3 (53:07):
No?

Speaker 2 (53:08):
Oh my god?

Speaker 1 (53:09):
And he did it anyway. It's not mine, it's not mine,
doesn't belong to me, it's not my say, it's not
my call for me to sit here and scream at
the top of my lungs. Get all upset and get
an altar over somebody else's decision. It's crazy.

Speaker 5 (53:25):
Yeah, it's great, I mean, but I mean, at the
same time, you know that, I think that it is
some sort of communication that should be had so that
you not blindsided when you don't have to know the
exact details of everything. But if you're saying you found
out about it when I found about it out about shit.

Speaker 1 (53:39):
That's a problem to me. Finding me finding out ain't
the issue. Him telling everybody is is pretty much the
the cornerstone of the gripes, right, That's where all the
smoke you me and him telling the public, right right?
Could I stop him from doing that? He never asked me,

(54:01):
He never told me he was going to do that.
He didn't tell any of it. I can't speak for
any of us. I know he never told me. I
found out he was online like everybody else. I'm getting
my phones blowing up, yo, you see your man. I
got a lot of who were talking about Rory like
I got a song? What do you mean? No bust cool?
What motherfucker? Who?

Speaker 2 (54:21):
No math is?

Speaker 1 (54:22):
Okay, I'll go look. I went and looked. Oh ship
well right, m hm, oh run that back but what
am I supposed to do about it? You know what
I mean? Like I get upset, get mad get excited,
his his shop, his show.

Speaker 5 (54:41):
Yeah, but I mean, but you've also dedicated a lot
of you know, sweat equity to the brand.

Speaker 1 (54:46):
That's worth, that's worth whatever it's worth. And I did that.

Speaker 2 (54:49):
It's a worth to it.

Speaker 1 (54:50):
Though I did that because of me, you.

Speaker 2 (54:52):
Know, for sure, absolutely, But I'm just saying.

Speaker 5 (54:54):
Like I just I just thought that there would be
some type of communication between you and math to where
you would at least not be blindsided by some of
the things you're hearing him say publicly. I thought that
you would know, you would would at least know what
was going on a little bit, maybe not exactly what's
in the place.

Speaker 1 (55:10):
I knew a little bit about what was going on,
Like I said, I knew the landlord was acting a
little shaky. I knew I was the first one to
find out the lights was off, and I kind of figured,
I don't know if he actually yeah, he told us
that the landlord was out to a victim, but I
didn't realize it would get it wasn't in that order,
like the lights off as the last thing. Oh shit,

(55:32):
the lights are off called him, told him, Hey, I
don't know how we're going to do this episode. The
lights is off. You might call somebody. I don't know
what's been happening, Like I had new episode today, all right,
going to the studio, gotta do X, Y, Z, A,
B and C. Let me know what's happening. Next time
we need to come to a show, I'll pull up
into my part. But outside of that, no one's obligated

(55:57):
or entitled to anything. One's entitled to any defgregation. Anybody's
obligated it. It's not frowned upon when it happens.

Speaker 3 (56:05):
Yeah, from a leadership standpoint, maybe it would be better
and behoove the staff to know everything that's going on
just for the show. But I see what me's saying,
because like that's a drastically different situation than ours, where
you're sitting behind expenses. We have a contract that is
based off everything that is spent here, that we need
to see this and that that's in a contract. It
was started from anception together with sweat Equity. It's it's

(56:29):
drastically but him being second third generation of that, like, yeah,
if that was the case, like when I've been hired
to do stuff.

Speaker 2 (56:37):
I know this is what it is and ain't my
fucking business.

Speaker 3 (56:40):
Like, as long as you have my check every month,
there's not really much I can say here yeah, nor
do I want to, because it's not my show. I'm
paid to show up, to do this at the best
of my ability and grow the show the best way
I can.

Speaker 1 (56:53):
I got I would get yeah, but you.

Speaker 2 (56:56):
Yeah, but how you but you?

Speaker 3 (56:59):
But mecs But I mean that back to your source
comparison to like I remember when Seife left Hot ninety
seven when he had that revelation, like, oh, I put
my life into this logo and then realized I was
expendable and they did not give a single fuck about me,
even though I was the most senior person in there
as far as years, and I was fighting for a
logo that did not give a fuck up, Like why

(57:21):
would I even do that?

Speaker 2 (57:21):
I'm not sure.

Speaker 1 (57:21):
Just showed up, it's not sure in my morning.

Speaker 3 (57:23):
Show and went the fuck home and not even fought
with Breakfast Club and like, no, you don't care about
this logo.

Speaker 1 (57:29):
You get caught up. You get caught up. You you
want First of all, when I was at the Source,
bro that was the Bible. Yeah, grew up on that sagazine. Yeah,
fucking that's like the perfect word. Who wants to let
that go? Who wants to see that ruin? Who wants
to see that tarnish? When it's literally your dreams? I
was writing about hip hop as a hip hop head

(57:53):
in the hip Hop Bible. Every day you had to
tell me to go home, you know what I mean?
Like I was in the office all the fucking time.
I had a toothbrush in that bitch like I was there. Type.
I wear glasses now because I stand in the screen
for way longer than I should have, way longer. It

(58:14):
was healthy, ninny of glasses, Like I did that because
of my love for this place. But it doesn't belong
to you. Every career I've ever worked with, every artist
I've ever helped foster and get a shit back on
track or put this album together, whatever, whatever, When it
comes time for them to make the decisions that they
want to make, you have to remember it's not yours.

Speaker 2 (58:35):
Right, you can see the.

Speaker 1 (58:39):
Red flags can look like a fucking parade in China.
You can see it a mile away. You can scream
at the top of your fucking lungs bro what they
want to do, they're going to do, and that goes
for anything that you are not directly in control of,
and you are disrespecting them by assuming that you have

(59:02):
more say or you have any say over their shit.

Speaker 3 (59:04):
Yeah, but also from and I'm not making this a
Math specific thing because I know nothing about his leadership.
I'm outside looking in with that though, Like, if you
have people that are leaving, you are also responsible for
the chemistry of that show as a co host, so
you do have to deal with the decisions that the
leader does make. Like when Esson Hedegen left, I'm sure
the interviews in the beginning were a little different because

(59:27):
part of that show was gone. A chemistry was gone. Sure,
like how you guys played off each other. Who's asking
specific questions, Like you have a very specific set of questions.
Math has a very specific like that's why the show
was so great, so many different perspectives.

Speaker 2 (59:40):
As a leader, I do feel like you should keep
your team.

Speaker 3 (59:45):
At least involved in some of what's going on with
that info because they also are going to have to
move this show with the decisions that you make and
just showing up and me like, oh, they're not here
and now I got to figure this out. Wish I
would have known.

Speaker 1 (01:00:03):
I'm past that point in my in my career. Not
not trying to sound like mister cool, but if I'm
being honest, I've been in places with high turnover. You
know what I mean. I know what that's like. It's
not pleasant. I thought that team put numbers on the
board in a real way. Me as so heinikn Math,

(01:00:26):
Bigger Space Ghost. That was the unit that Eminem shouted
out first rapper to ever like big us up just
out of nowhere. Hey, those guys know what the fucking
that was amazing. Shout out to m for that that was.
I never forgot that that was the unit that put
numbers on the board. Now in the units changed, is

(01:00:49):
beefing about it gonna make it? Gonna change that I
tried to have. I tried. I tried to and this
story is out. I tried to set up up the
dinner for all of us to sit down and air
out our agreements. Its big I had the spot in
little Italy. We were all supposed to meet ups. Heineken
Space goes me Bigger Math. We're all supposed to sit

(01:01:11):
down and have the conversation it did not happen. Why
math said he wasn't going, and again this is public information.

Speaker 2 (01:01:19):
Yeah he said it.

Speaker 1 (01:01:21):
He said he wasn't going.

Speaker 2 (01:01:24):
His decision to make is his. But I get it.
But leadership as well. Again outside looking at my pops.

Speaker 1 (01:01:28):
My pops told me one time, when when the results
don't change, the why is irrelevant.

Speaker 2 (01:01:35):
Yeah, that's fun fair.

Speaker 1 (01:01:36):
I stopped asking.

Speaker 2 (01:01:37):
I don't know. I don't even want to know at
this point. Yeah, like, fuck it, let's move on.

Speaker 1 (01:01:42):
If I found out, would it changed something?

Speaker 3 (01:01:44):
Right?

Speaker 1 (01:01:44):
Why won't you cut a second? It's gonna make him
pop up? I'm like, I'm talk him into it. He's
grown man, right.

Speaker 2 (01:01:50):
Yeah, I still suffer from that.

Speaker 3 (01:01:52):
I've gotten better in my thirties, but I'm definitely one
of those people that harps on the why and it
never really changes once I know the why.

Speaker 5 (01:02:00):
Mm hmm.

Speaker 2 (01:02:01):
But yeah, one of those people that like, I.

Speaker 3 (01:02:03):
Need to know why, the same way that the stereotype
is nots picks bad beats. I think that's a stupid
stereotype that hip hop has just taken on.

Speaker 5 (01:02:13):
I don't know if he was like, but he wrapped
on a lot of bad beasts though.

Speaker 3 (01:02:16):
Yeah, he's had a thirty year career. It's gonna fucking happen.
And he put out an house once a year.

Speaker 1 (01:02:21):
He also he also okay, he also.

Speaker 4 (01:02:29):
Take your time.

Speaker 1 (01:02:29):
This is weird. No, it's weird to say. I interviewed him,
and I asked him about that, about the beat selection. Yeah, actually,
actually he's one of my cover stories, one of my
proudest moments.

Speaker 2 (01:02:39):
This was the source.

Speaker 1 (01:02:40):
Yeah, yeah, many moons ago, sitting in the Spotted Pig,
his restaurant. We were like upstairs where no one was
me and him and Gabe from Death Cham Gabe. Yeah,
for real, insane human being. I asked him why he
did that?

Speaker 2 (01:02:56):
Why did you pick bad beasts?

Speaker 4 (01:02:59):
Yeah?

Speaker 1 (01:03:00):
I don't remember the exact way, the way I had to.
I had to. I'm in a room I can't be
I can't be biased, and I'm from Queens. You know,
this is like the guy. If I don't ask this question.

Speaker 2 (01:03:12):
You're not asking any question.

Speaker 6 (01:03:13):
You know.

Speaker 2 (01:03:13):
I ask that one.

Speaker 1 (01:03:14):
Everybody else is at the office. What the fuck did
you do? I'll never get another story again in my life.
I'll never get a feature again in my life. So
I asked him, and his answer surprised me two questions.
I asked him that His answer surprised me. One I
asked him, like, why he got married at the time
he was married to Kelly Kalisa. He just wanted and
he said, all my heroes have been married men. Everybody
I've ever looked up to it has have been married man.

(01:03:37):
Besides the fact that I think my wife was made
for me, all my heroes in life have been married men.

Speaker 2 (01:03:42):
Respect.

Speaker 1 (01:03:42):
I was like, okay. He started like rattling Malcolm ICs
blah blah blah. Oh man, okay, got it. The beats thing.
I was like, you know, the story is you pick
bad beats. What's up with that? And he goes, I
want people to pay more attention to what I'm saying.
Then what the beat sounds like? You can't ever think

(01:04:04):
that I don't get offered or every beat under the
sun from every producer under the sun. And that kind
of gave him like a little side eye, and he said,
think about it. I always give you one. I know
what you want. Every album, I give you at least
one or two. I make it a point to do that.
But I don't want to beat. He basically said, I

(01:04:25):
don't want to beat to be more important than what
I'm saying. So I'm not picking like the Superhillis beats,
but I do that when it's time to and he
starts rattling off his albums and he's naming the tracks
on those albums where the beat is crazy and he's
going crazy. He was like, but I'm not going to
do that like every time, and whether you believe him

(01:04:48):
or not, whether you believe him or not is irrelevant.

Speaker 5 (01:04:52):
Yeah, I mean, I'm not mad at that, because again,
I never thought that NAS's beats were you know, every
track on every album was terrible, but there was some
joints like to me, you know, the the battle with
him and Jay to this day, I think Ether is
one of the worst.

Speaker 2 (01:05:08):
Beats on disagree there.

Speaker 3 (01:05:10):
Ever, that the fact that he's on there going at
Jay kind of to what he gets overlooked, and that's
what he's what he's saying. If you go to YouTube
now and just type in ether instrumental without Knaws on it,
you would be like, what the fuck did this guy
even here in that studio?

Speaker 2 (01:05:25):
How did this even make it?

Speaker 3 (01:05:26):
Onto adapt Yeah, like it's not finished, But to Brown,
he didn't keep He has also beat for in that
moment is like, why did you how did you plan on?

Speaker 1 (01:05:39):
That? Look fits right into the answer that he gave.

Speaker 2 (01:05:42):
It was effective.

Speaker 1 (01:05:44):
He's after he said that his whole career just kind
of like shifted over a little bit. His whole discography.
You look at it way different. You look at the
songs where he's really saying some ship and those beats
are kind of not the greatest that he could have found.
But his whole thing to me was do you really
think I don't get those beats? First? You think they
don't send those to me? Yeah, but I'm just at

(01:06:05):
least producers. I definitely think he does.

Speaker 5 (01:06:08):
But I love Nas one of the you know, one
of my hip hop heroes, but he's absolutely insane for
passing on some of the shit that I know he's
hurt like and didn't be like nah, but you know
what I'm saying, I really want to get off on
this one because what I'm saying is gonna overshine.

Speaker 2 (01:06:23):
Did you think the hate Me and Now beat was fire?
It wasn't terrible. That's a great beat, Yeah, it wasn't.

Speaker 3 (01:06:29):
Nas got killed for doing that, Like he can't win
for losing if he went even I'm on the side
of you owe Me as Fire, but Nas got killed
for that. Anytime he's went the route of the beats
that people want him to do, he gets killed for it.

Speaker 5 (01:06:42):
Yeah, but I think he got killed more for you
owe Me because you owe me as incredible the hook
and then genuine it was just too much. It felt
too industry, shiny two record two record industrys like.

Speaker 2 (01:06:52):
Five ondres like in that hook, like.

Speaker 5 (01:06:54):
Y'all made this and said like, oh we got radio
with this, like and I hate when rappers do that.

Speaker 6 (01:06:58):
But that's not fair because Jay did that a lot too,
and he's don't getting killed for every rapper does that.
Jay got killed for what I was young. So yeah,
Jay got killed.

Speaker 2 (01:07:07):
For a lot of joints. I mean most of volume money.

Speaker 3 (01:07:09):
Got killed for Sunshine. He had this, this shiny, great
record record. I love the record, but he got killed
for that.

Speaker 5 (01:07:19):
Every rapper has to have, especially then, and you have
to have that moment where it's like, Okay, I'm in
the music business now I have to kind of like
adhere to what the labels are saying they want.

Speaker 1 (01:07:29):
And they need his answer, his answer for doing his
answer for uh owe me? When I asked him was.
I wanted to show them that I can do what
they do while they can't do what I do. I
wanted to go in their world and show them I
can do this whenever I feel like it, and you
can't come in my world and do what I do.
But your ship is so easy and this is so candy.

(01:07:50):
I can go over here whenever I want walking your world,
wipe my feet on your on your on your carpet,
and then walk right back out, and you can't follow
me and go do the stuff I do again. His
the interview put a lot of things in perspective for me.

Speaker 3 (01:08:03):
Yeah, And I mean even with that, let's go with
NAS's Prime ninety four to two thousand and two, Illmatic.
It was written, I am Nostradamis still Madict god Son. Yes,
you can say Nostradamis wasn't the one, even though I
think comparing to NAS's catalog, yes it's not it, but
it's better than half of every rappers first project. Ever,
Where are their bad beats in those? In everything I

(01:08:24):
just named Wow ninety four to two thousand and two,
Tell me where there's bad beats?

Speaker 1 (01:08:31):
Well, you can't. You can't even start with the first
one that was the first super producer album that was
like the original experiment, A bunch of super producers get
together with this fucking prodigy and put together a perfect album.

Speaker 2 (01:08:43):
It was written starts with the message I don't have the.

Speaker 1 (01:08:47):
I don't have the slan de fit was written at
other people seem No, I don't. I don't get it.

Speaker 2 (01:08:51):
I think I can make a case it's better than nomadic.

Speaker 1 (01:08:53):
I've heard that argument before. I don't agree.

Speaker 2 (01:08:55):
I heard that it has more replay val.

Speaker 3 (01:08:57):
Maybe it's just because illmatic on is like Thriller, heard
it so many times that you don't always.

Speaker 1 (01:09:01):
Go back for whatever reason. I like, what did I say?

Speaker 2 (01:09:05):
I'm not mad argument, but it's not better than it?

Speaker 1 (01:09:07):
Yeah, I don't agree, but not even doing that, I
get it.

Speaker 3 (01:09:12):
I am starts with New York State of Mine, Part two,
which I could argue is better than the first one.

Speaker 2 (01:09:16):
Then to hate Me now it.

Speaker 3 (01:09:17):
Had it has nass like on there, like, what are
we talking about with nas and bad beats? He said,
this is a stereotype that hip hop took on, and
because it sounded cool, everyone kept going with it.

Speaker 7 (01:09:26):
I don't know about that, because he knows, he knows
he's because it's been a stigma. But people always say,
but nobody, nobody gives me the beats that are bad.
What's a bad beat on Stillmatic?

Speaker 2 (01:09:38):
You're the Man? Was probably the best beat of that year.

Speaker 3 (01:09:40):
Now, But you know what, though, because second Childhood is
one of the best beating I can staying.

Speaker 2 (01:09:45):
With Mechas saying though in that in him asking NAS that.

Speaker 3 (01:09:48):
Got Yourself agaud Now that you're running up for the titles,
I could hear the beat and I'm like, if I
didn't hear NAS rapping on that, what I love that
beat though?

Speaker 1 (01:09:56):
And here we go.

Speaker 2 (01:09:58):
You see what I'm saying.

Speaker 1 (01:09:59):
The ceiling is different when you start comparing when you
have a rapper who you can only compare to himself.

Speaker 3 (01:10:04):
Okay, but what is a rapper's job when they go
into the studio. It is to produce the best song
that they can make. So if this is what brings
out the best, NOAs and I can say this song
is incredible. My ears for hip hop is for the
final product of the song. I'm not listening to got
Yourself a Gun and going you know what, I love this,

(01:10:25):
but let me just go listen to the instrumental and
decide this is okay. No, Nas took that beat, put
his foot in it and created an amazing song. But
that's the point of a rapper.

Speaker 1 (01:10:34):
I think that's one of the ones where he was saying,
I always give you one. I think that's one, like
you're naming.

Speaker 3 (01:10:40):
The ones though he got yourself a gun smoking, you're
the man, rewind one mic second child destroying, rebuild the
flyest rule, name a bad beat.

Speaker 2 (01:10:50):
Again. I get what I'm saying, but everyone needs to
stop saying about Nas.

Speaker 5 (01:10:54):
I get what you're saying, But there are some of
those beats a right, put it like this if you
run those off, right, But then be like, let me
hear the shit you turned down when he was making
this album.

Speaker 1 (01:11:03):
Oh, I mean, but that's like yo, you like then
again like the difference, And we're not in the studio
to know exactly which ones he's talking about it.

Speaker 2 (01:11:12):
But to me, that's something that you can't prove.

Speaker 3 (01:11:14):
And it's like, but on that beat we love, maybe
NAS wouldn't have done what was supposed to be done
on that beat.

Speaker 1 (01:11:20):
I only I only I asked the question because of
the stigma. I only back it up because he acknowledged it.
But I again, I only think he acknowledged it because
he understands that we're comparing him to him. Yeah, he's
he's in different airspace. Jay is only whack when you
compare him to J. You can't compare it Ja to
the landscape and say he's whack. Okay, well what about this, dude?

(01:11:41):
I mean you know, I mean, when you when you
start running into the artist where their name alone ends
the argument which is which is? I hear that a lot,
But what do you think about this? I mean, I'm
not Nas, but when you start hearing I mean, I
ain't Jay. I mean, but that's J. When you start
here and that ship where we're now only comparing them

(01:12:03):
to them, you don't compare them to anybody else. So
NAS's lackluster facade stigma is because they're comparing everything to him.
They want more. And when he switches the tone, when
it's no longer the gritty, grimy sound of Illmatic and
it's the slick sound of it was written. Ah, come on, man,

(01:12:25):
come on, what you doing? Which they want him to
follow up a classic? But then when when you have
the generation that came in under under it was written, Well,
then the next one sounds kind of, ah, come on,
bring track masses back.

Speaker 2 (01:12:38):
What you doing? Yeah, bring Primo back?

Speaker 1 (01:12:41):
What you're doing? How come you never did the album
with prem You know, all that shit catches up and
that builds the stigma. But the fact that he acknowledged
it tells me that he knows he's turned down some ship. Yeah, absolutely,
in order to give us the joint City's given us.
But I don't I don't disagree with you.

Speaker 2 (01:12:58):
Starts with get Down.

Speaker 1 (01:12:59):
I love that.

Speaker 2 (01:13:01):
Yeah, he j is on that album, but.

Speaker 1 (01:13:04):
That's one of the ones. He actually named that one.
He's like, think about it, this one, this one. As
you're rattling the more off I'm remembering him saying that one.

Speaker 2 (01:13:14):
This one like what I love that I can beat
in the studio.

Speaker 3 (01:13:18):
Probably not, but NAS's vision of that of what he
was going to do with the kids on the hook
and the message.

Speaker 2 (01:13:22):
Yeah, that beat fits what he was supposed to do
and classic song.

Speaker 1 (01:13:25):
And he also wanted you to hear what he was
going to say. That's one of those message records.

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