HipHop Talks Podcast
Introducing "Hip-Hop Talks Podcast/Media'' - a captivating experience that immerses hip-hop enthusiasts in the boundless world of the genre and its cultural impact. Join hosts Shawn, Coop, and Adriel as they pay homage to the foundations of hip hop, from its origins to the present day with a diverse take on Hip Hop. Shawn, takes you through the boroughs of New York, while Coop provides a provocative, yet daring take on the South’s stake in the Hip Hop game. Adriel brings the unique perspective of Hip Hop through the lens of those that cling onto the lifeline and purity of Hip Hop. Combining their thoughts and views, is liken to your favorite superhero team assembling to lean into each other’s strengths. Through insightful conversations, passionate debates, and meticulous breakdowns, they explore the intricate fabrics of hip hop, including its powerful lyrics, infectious beats, mesmerizing breakdancing, vibrant graffiti art, skillful DJing, and electrifying MCing. "Hip-Hop Talks" is the ultimate destination for fans seeking to deepen their understanding and appreciation of this influential art form. Tune in and become part of the unified community that celebrates the timeless legacy of hip hop.
HipHop Talks Podcast
IF YOU'RE HEARING THIS, IT'S TOO LATE - Kendrick, Drake, 2Pac, Fugees, Larry June/2Chainz
Kendrick Lamar's Super Bowl halftime performance reignited debates over representation and the messages conveyed through hip-hop. Although his artistry shines, the choices made within the show, particularly the selection of songs, led to concerns about his catering to a broader audience unfamiliar with his work. The juxtaposition of a black empowerment message against a backdrop of dissing another artist raised critical questions about identity and intent in hip-hop while spotlighting the potential repercussions for future acts within the genre.
• Kendrick's performance as the first solo rap artist at the Super Bowl
• Setlist choices that raised eyebrows, including the absence of historically significant anthems
• The cultural implications of Kendrick's messaging versus personal vendettas in the industry
• A broader discussion on hip-hop's future opportunities on major stages
• Reflection on the need for representation and unity in the genre
Peace Kings, peace Kings. Welcome to Hip Hop Talks. What up?
Speaker 3:what up?
Speaker 1:Apparently, we're going to have to start whooping some other pods' ass the way the Kansas City Chiefs got their ass whooped in the Super Bowl.
Speaker 3:What's up, fellas? Man do not remind me of that Wax Super Bowl. Please don't remind me.
Speaker 1:We're going to have to talk about this WAC Super Bowl. Before we talk about this WAC Super Bowl, like share, subscribe to our page. I've been throwing a lot of viral vibes out lately getting prepared for Unwrapped with Coop. We have Miramate Music with me and Andrew. I know you and AG have been pulling up some of your station head stuff and kind of putting it back up for our YouTube fans and we got a lot of stuff coming. Click like, share and subscribe to all the things that we have.
Speaker 1:Don't pay attention to them other niggas talking shit. And let's talk about that WAC Super Bowl. Sean, I don't think it Okay. So here's the thing. I don't think it was WAC. I think it think it Okay. So here's the thing. I don't think it was whack. I think it was actually. First of all, kansas City was due Like they were due. It was time. You can't keep winning the way that they were winning the law and just say that you're not going to keep on getting by the hair of your chinny-chinny-chin. You're not like the three little piggies in this, motherfucker, okay. You're not like the three little piggies in this motherfucker, okay. No, you're not alright, even though sometimes Patrick Mahomes look like he built like one of the little piggies. You know what I mean. New name Patty Cake. Okay.
Speaker 3:New name is Patty.
Speaker 1:Cake.
Speaker 3:He look like it out there. His name is Patty Cake.
Speaker 1:Alright, he need to hit the gym in the offseason. This is probably the first time he probably felt the need to so season. This is probably the first time he probably felt the need to throw that ass up, but I think it was really just a culmination of that. I think, like the eagles were the superior team everywhere, except for quarterback and the quarterback isn't too shabby, you know and so they just got beat by the superior team. They've been, they've been the inferior team in a lot of these games that they've been winning. It really has been patrick mahomes that has been saving them and, like you, like you know, philadelphia was just like oh, we're not going to let him save you, we're going to play quarterback contained, we're not going to blitz. See, here's what they did. Everybody is so worried about what he does that nobody just sits there and lets him, like, make the mistakes. They sat there and played quarterback contained, didn't blitz, and went with a basic four-man front with a two-cover zone, and just didn't let anything happen. They just rushed the passer, they played old-fashioned football and hit him in the mouth and they were just about due for an ass-whooping and they got one.
Speaker 1:Now, I think this does end the GOAT debate, at least for now, because I mean he's got two bad, bad Super Bowl losses, one of them to Tom, but this one was pretty bad. I mean it's pretty bad when you get beat in the Super Bowl twice like this. Yeah, yeah, like Tom ain't get beat like this. Tom lost three Super Bowls. Like Tom lost three Super Bowls that he could have easily won. Like Tom could easily beat 10 and up, like easily. Like Tom is literally three or four plays from being 10 and up. So what were your thoughts on the game? Cause I know Sean don't want to talk about it.
Speaker 2:I mean I was smiling from ear to ear. You know, chiefs got blasted. As a Raiders fan it nothing brought me more joy than to see the chiefs get beat that badly. Only thing I was upset about I didn't, you know, win any money on the pools I had going. But at the end of the day, you know, I was mad when they scored the first touchdown. But I'm not going to lie, I was worried in the first play of the game, the pass interference call that they got. I was like here we go, the ref's cheating for them already you know what I'm saying Bad call out the gate in favor of the Chiefs. But after that things worked out how they were supposed to. So not an Eagles fan, but I was an Eagles fan for that day hey, hey, ag, I forgot you were a Raiders fan.
Speaker 1:So what downtrodden old whack ass quarterback is your team gonna take next year to try to, like, um, fill the gap? Um, is it gonna be Rodgers Russell Wilson? Which old whack quarterback Kirk? Cousins which old whack quarterback y'all taking EG.
Speaker 2:I hope that we can pull a magic hat out for the draft and still get Shador Sanders you know what I'm saying Deion's son. But I don't think that happened. We'd have to like make you probably have to give up Crosby to get move up the trade ranks, but I'm just hoping that higher. Where are you?
Speaker 1:all picking.
Speaker 2:I forgot, but no, I think we dropped down to like six or seven. Like I don't think it'll still be around Six.
Speaker 1:I think Shador might be there at six. I actually think Shador might be there at six.
Speaker 2:I don't think he'll still be around. He'll go top four or five, I believe. But what I do think it just you know some of those teams don't need QBs. But at the same time, like I don't think you leave him on the board but I'm hoping to your point where we hire Pete Carroll. You know Pete Carroll's on the old side of things, but you know I like him as a coach. But I hope the grand plan is not to have a reunion with Russ. That I don't want. Russ is washed up.
Speaker 1:Pete Carroll had to forfeit his social security to come back and coach. He was definitely sitting at home.
Speaker 2:We don't got enough time on this pod for me to talk about Raiders woes, so I'm going to just move on.
Speaker 1:Pretty certain he helped Moses write the 10th Commandment. I think 007 with the 199 super check Queens get the money. Time to put the beef to rest. What's next? What's next is new music. Life is beautiful, Larry. June 2, Chainz Alchemist. Sean, what's your early thoughts about this album? Is it the early album of the year? Is this a good start off our 2025? No, no, you didn't enjoy the project.
Speaker 2:It was okay.
Speaker 3:It was okay. Nothing for me to go crazy, yeah, just okay. 2 Chainz sound great, 2 Chainz sound great, 2 Chainz do sound great. It just was a snooze for me. Man tempo. The tempo was just so. It's too laid back.
Speaker 1:I'm not gonna lie it's too laid back.
Speaker 3:I listen to it three times. I listen to it three times just to make sure I wasn't bugging. You are, but go ahead.
Speaker 1:I might be, I might be.
Speaker 3:But I don't think it's not even close to being a contender album of the year. I mean, of course, it's only February, so we can't even talk about that at this point.
Speaker 1:You don't even think it's a good tone setter, pace setter. There weren't some moments from the project that you found yourself impressed? None of that there weren't some moments from the project that you found yourself impressed Like.
Speaker 3:None of that You're just like oh, it's just cool, it's a vibe, it's a vibe, it's some real silky, smooth shit. It's a vibe, it's a vibe, and that's the best way I can describe it. It's not, you know, blowing me away, pauls, it's more of a vibe, it's just a feel thing. It's a feel. It's in the middle, it's in the middle for me.
Speaker 1:Yeah, it's just a vibe. I mean, how would you rate the album then?
Speaker 3:I would give it a three and a half okay.
Speaker 1:AJ, what about you?
Speaker 3:this man. This is the tone.
Speaker 1:I feel like the first half of the album has some tempo to it, got some pace to it. You don't think the first half of the project got some pace to it. You don't think the first half of the project got some pace to it.
Speaker 3:It sounds too similar, bro. The tone just sounds too similar.
Speaker 1:So is it the production. Are you saying that Alchemist's production is the issue here?
Speaker 3:Yes, fascinating.
Speaker 2:AG, ag. That's why I love the album. I'm not mad at the three and a half. I think that rating is actually pretty decent. But what Sean said To me doesn't line up with the rating. You know what I mean, because he was talking about it like it was a two and a half. Really, it's not trash.
Speaker 3:It's a vibe.
Speaker 2:It's a vibe, it's just a vibe For the reasons you don't like it, the reasons I like it. I think you said laid back, but I would describe the production as plush sounding. When I put it on I was like this is some lavish sounding production from Alchemist Extravagant. I think it was perfect in 2 Chainz's wheelhouse. 2 Chainz is a star. You know what I'm saying, for you know, 2 Chainz is a star. That's mainly why I wanted to tap into the project to see what Chainz was going to do.
Speaker 2:But I actually think him and Larry June got like pretty good chemistry on these tracks, what I don't know. I have to go back and listen to it. I was asking myself did they have more chemistry than Chainz and Wayne when, when they did the uh collin grove you know two joint and from what I remember that was a very good project as well. It was very good. But um, I can't say without listening to it you know here recently which one is better. But I like the chemistry that chains and larry june had and I love the alchemist production on here like uh colossal. It's one of my favorites bad choices. The sample on that is one of my favorites and the title track Life is Beautiful. I mean they all play sound and records to me. You know what I'm saying. I think this was dope, but I'm not mad at the 3.5, though I think the 3.5 is, you know, respectable 3.5 to 3.75, but you giving it the same 3.5, AG 3.5 to 3.75, somewhere in that ballpark.
Speaker 2:But you know Sean's rating don't match his critique.
Speaker 3:How can you tell I'm a critique? It's my rating, it's my critique. If it matches to me, it matches to me. It sounds like you were talking about it doesn't matter how it feels to you. It doesn't matter how it feels to you, it doesn't matter how it feels to me.
Speaker 2:That's why it's mine. That sounded real crazy. Pause my critique.
Speaker 3:Not AG's rating, but AG's critique. Sorry, go ahead, coop. Sorry to disappoint your critique.
Speaker 2:Apologies, it's not the day. Sean, apologies, it's not the day.
Speaker 3:Sean To me, Me me, me, me me, you gotta be chill.
Speaker 1:I think the album okay. So I like the dichotomy of how the album was built, maybe more than some of the executions of the records, if that makes sense. I like the fact that if you listen to the project that well, on the first half of the album it's like 2 Chainz's mic and Larry June and Scotty picking up off of Chainz's vibe Mike and Larry June and Scotty picking up off of Chains' vibe. The second half of the project flips and Larry takes on the Mike role and Chains plays Scotty to Larry's Mike. And I do like how they switched up zones like that. It's like creating a matchup problem for the defense. When you're stepping out on the court it's like, oh, but watch us flip it on you.
Speaker 1:Chains' hook game on here is stellar. Chains's hook game on here is stellar. Chain's hook game on here is stellar. And I started thinking about Chain's and this is the highest compliment I think I can pay him. He might be the closest thing we have to a Method man in the South, because when he is on a group effort, when he is on a group effort, he's the best in those arenas and he's one of those guys that I feel like he's at his best actually, and he's more than capable of doing the solo mission, but there is just something about him when he's in tandem with somebody else and just when he's in a group effort, and that means he's one of the best team players in rap.
Speaker 1:And I think that means something like how about this? He, he and um, he. And he, in basketball terms, would be like, you know, a, a tim duncan, like somebody that it really doesn't matter who you pair him with. Like he, he's gonna shine and fundamentally do all the things that he normally does. That makes you like him as a player and succeed, and so that, for me, elevates the album.
Speaker 1:I feel like Alchemist did an okay job. I think he did a good job of trying to manage both of those worlds accurately. But there were some production missteps, but it was more on the engineering side. I think there was a transition on one of the records, from track two to three, where the transition in the break and going into the next record was just downright awkward and offbeat the way that the drop came in. So I think the Alchemist had more missteps than usual for a project of his caliber.
Speaker 1:But I'm I'm I'm with ag actually like I'm gonna give it a 3.75 because I thought about giving it a four, but I do think there are some production missteps and even though the chemistry is good, I do think there is some still some building blocks. Like you can tell from the way that they pass the mic off to each other that wayne and chains have been doing that for a long time. Larry and chains have been doing that for a long time. Larry and chains don't have that type of chemistry, but they do know how to create the same vibe, which means they do have the potential to do that in the future.
Speaker 2:Can I add to that? I'm glad. I'm glad that you pointed out how they switch roles is like which one was, you know, taking the wheel in the album? Cause I think that's a big deal that we really don't think about, because in any collaboration album, one person has to make the concession to say like yo, I'm riding shotgun on this Kind of like D Wade. You know, when LeBron came to Miami he said yo, if we're gonna win, you gotta be the guy I gotta fall back. Like you can go through anything.
Speaker 2:Watch the throne was like kanye, in his bag jay-z was riding shotgun, distant relatives nobs was riding shotgun to damian marley, like you know, um, the joint with uh future, uh, what a time to be alive. He was in the driver's seat, drake was riding shotgun. So one person always has to make that concession. But on this one I did notice that too, but that was dope that you pointed that out that they they kind of, you know, switched roles a little bit on the track list. And I just wanted to ask Sean this real quick you know, shout out to Alchemist. He did announce that Mobb Deep was in the process of taking P vocals and putting out a new Mobb album where him and Havoc was handling all the production, and Nas is involved in this project as well. So with Alchemist saying that and what he did on this album, does that make you nervous for upcoming? You know, I guess you can call it a posthumous Mob Deep album, you know, since Prodigy is no longer with us, does it make you nervous for that production?
Speaker 3:Not at all, because Havoc would be there. Anytime Havoc and Alchemist get in the studio together, they bounce things off of one another and they correct each other and it's a mob album you know, we have never had. We don't have any data to prove that Alchemist has dropped the ball with a mob album. He's always the little and he's going to tap into a different zone when he get into a mob album. He's always the little and he's going to tap into a different zone when he get into a mob album. This is a different tone. You're talking about Chains and Larry June, two MCs that really draw their words out. Right, they just laid back MCs. Now you're talking about someone like Pete God bless his soul attacked the mic. Chains attacking the mic, and now you got Nas involved. You're going to get some gritty stuff. You're going to get some old gritty stuff. Also, alchemist did really well with Black and White. You know what I'm saying? It's all about who the artist is. Alchemist knows how to switch it up, that's all.
Speaker 3:I'm not saying this is bad, I'm just saying it just tone, it's tone man. It's very laid back, which I'm cool with.
Speaker 1:Okay, speaking of laid back and cool Rock, marcy's got a new single produced by DJ Premier Armani Section AG. Quick thoughts on Armani Section.
Speaker 2:I like the track On its own merit. I like the sample that Primo uses for the scratches. The beat itself is, you know, primo's normal wheelhouse. It's nothing major but you know I can rock with it. It's a vibe. I'm not the biggest you know Rock Marcy fan, but at the same time I like this track. But you know, if we're doing comparative analysis and saying, okay, is this enough to be a track that lives on the Nas album, then no. But you know if I'm judging this in a vacuum. On its own merit, I like this track.
Speaker 1:Sean what about you.
Speaker 3:I like it as well. I like it. I think this is a good startup if Primo is starting to get into that ramp up phase as a producer, if you're ramping up for a Nas project or anything like that, I think this is continuing to sharpen that sword, if you will, to get ready. It's unfortunate because I think right now, fans are going to over-criticize anything that Primo does at this point, which is crazy because, you know, again you've got that Nas base. That is over-criticize anything that Primo does at this point, which is crazy because again, you've got that Nas bass that is over-critical when it comes to beats and when it comes to Nas himself. So I saw, I heard a lot of things about this song, about Primo's production. More than anything else, I think it's just a ramp up and I enjoyed it.
Speaker 2:And let's be for real. You know we come from the era where the top tier producers got A folders, b folders and C folders. You know what I mean. That A folder that Primo's doing is going to be for Nas, like you know.
Speaker 1:I know disrespect to Rob Marcy, but this is going to be a B folder joint so I don't think it's a B folderfolder joint, but I do feel like and this is my thought. When I heard the record I said this beat is good. This beat is better than most of what I've been hearing from him lately. But Nas probably said no to this beat and that's exactly how I felt about it. So I wouldn't necessarily call it a B-folder beat, but it is probably something I feel like about the um. You know the naz preem project is gonna get priority. It just is that's not even any sort of not knock the rock. You know what I'm saying. So it's like it shouldn't even be taken that way, but it's like it did come off to me like it's like oh no, this is a dope joint, this is a dope beat. It's probably something that naz passed on because he like we need something a little bit more, but it is good and Rock is always in pocket.
Speaker 1:Rock is really steady at delivering on the mic. You know he's one of those. He's got a classic cult following A lot of this independent East Coast. You know gangster rap, ethos, post-mod, deep. You know Rock is actually like the independent author of it you know what I'm saying and godfather of it in a lot of ways, and so he's in an important place in space in the game where even you know he can call on a premium. Get a beat like this, because I do feel like this is one of the better dj premiere produced tracks. Like, I like this beat more than the define my name track. You know what I'm saying. Production wise, I do, and so I do feel like there are some advantages to it. It does make me excited about what he's doing production wise for the, the upcoming Nas project, now officially, whenever that may be in 2028.
Speaker 1:So on to the last one. Drake and Party Next Door are supposed to be releasing an album at midnight AG. What are your expectations for this album? And does Drake need a major victory? Like, does Drake need a victory lap or does drake need, you know, like, what, what? What does drake need right now?
Speaker 2:I don't necessarily have expectations, but I think this is the the most fascinating part about it. Um, drake dig is dismantled by kendrick. Let's make no mistake about that. Um, drake the rapper might be done for now. You know what I mean. Quote, unquote um, but one thing about being versatile um, he could be knocked down by kendrick and fall onto a another bag and his r&b bag is pretty good and you got party next door standing next to you yeah. Then you got party next door with next to you, yeah. And then you got party next door with you for a collaborative album which you know.
Speaker 2:The cool thing now is the hate on drake, but if this was, this happened some years ago. It's a lot of anticipation swirling around this album. If you don't have, you know, um, the him losing the battle, uh, to go along with that, with that said, what I want to know is and I'm just asking, I don't know do you think that the guys who were talking about Drake and like he needs to get out of here and Kendrick killed him, and they were deciphering the Kendrick bars and lyrics, that after midnight they're going to try to get off smashing with their girl putting on that pnd and that that drake, you know the set of vibe because in my opinion that's like nasty work if you were saying that, like you know, drake need to get up out of here, but you tried to like set a vibe with your girl this is what people need this understand.
Speaker 1:Drake has been part of the music cycle for radio, for top 40. He's such a part of the cycle that people that even speak about getting rid of Drake aren't speaking realistically. He's made enough records right now that if he never recorded anything again, he'd still be in the cycle for the next 20 to 40 to 50 years, like most other artists that chart the way he charts. Think about it like you ever think about the fact that it's like. Think about songs that came out, guys, when we were literally like in elementary school and in junior high school, from artists like a mariah carey or whitney houston that's still getting played today. His career is more in that vein and that's the part of his career people don't want to acknowledge and so there is no getting rid of him. I think this is the appropriate fade and sidestep for him, because this is obviously not rap related. They're doing a very intelligent job about dropping it on valentine's day. It is party next door with him and so you know, party next door is kind of like the x factor in the ovo space. You know what I'm saying is kind of like the X factor in the OVO space. You know what I'm saying.
Speaker 1:It's like when Party Next Door dropped, it gathered so much attention just because of the rarity of the drop. So think about so. I even am sparked by the thought. It's like oh, like, party Next Door been doing a lot of work, it's just dropped the dope project last year. I ain't never seen a back-to-back year project from Party Next Door. There is some intrigue that's coming with that from the Party Next Door fan base. You get what I'm saying. They're like oh, back-to-back like that, oh, not that.
Speaker 1:That's by design, Coop, because no, it's strategic, it's smart, it's how the team works.
Speaker 2:What I was going to allude to, though, is, like, prior to this, for people who were a fan of P&D, we always had to wait on the drop. You know what I mean, but now Drake needs somebody to stand next to him at a time like this, and, like you said, it's a sidestep and a fade, so it's kind of super convenient that he's putting them out back to back, you know now. So I get that, but it's just kind of weird, you know. It's a very poetic thing, because so far gone dropped in 09 on valentine's day, and 15 years later well, 16 years later um, now he's dropping again on valentine's day, and people saying he's done, but it's been a long run hey, look here.
Speaker 1:But here's, here's where this album may be important for him. This might be the point in his career, you know? Hey, here's the reality of the matter. Mike got his fadeaway because he couldn't go to the hole like he used to, but he still needed to be able to score the ball at the same rate. So, like Drayton needs to develop some sort of fadeaway game.
Speaker 1:Right now, it's really what's going on, and whether he develops the fadeaway game or not is really going to determine how the rest of this really turns out for him in terms of his stature and how some things get remembered because of what kendrick has done and this is kudos to kendrick for this. This, this story gets told one or two ways from here. It's like, oh well, he was on top for so long and then that thing with kendrick happened and he was never the same, but it was great when it was great, or he's going to be able to recover and learn how to shoot the fade away, and so I think doing stuff like this with party next door is part about learning how to shoot the fade away. Now we about to see what the quality of that product sounds like, but, but I am encouraged by that Cause. I mean, I know some people aren't the biggest fan of Party Next Door, but I haven't found them to put out a poor product yet though.
Speaker 2:What you got. Sean, you think it's going to do numbers. I think it's safe.
Speaker 3:It's a safe way to go through Drake. You got to go this route because each time Drake and Party Next Door did anything together, it always been good. They got great collaborations out there. So this is the safe thing to go with right, Other than doing something with Future, who he's not with anymore.
Speaker 1:So if you're Drake.
Speaker 3:I would have preferred that as a surprise over this. I'm not a big party guy, party next door guy, but it's one of those things where Drake has to do this right now, because not only is partyter Next Door attached to it, the world is attached to it. They want to see what the numbers are going to look like. This might be one of the first times in his career that he will be scrutinized based on numbers. If he's not hitting a certain number, they're going to scrutinize him and say yo, he's over. They want to see this number at the end of next week. They want to see what this is going to attract. This is going to be a true-teller right here. This is important. I don't think it's going to derail his career or take him out of here. I think it's going to take him down a couple of notches if they don't do well number-wise. The big question mark is going to be what does Numa look like by the end of next week?
Speaker 1:I am encouraged by the fact that he actually wasn't petty and didn't drop anything, knowing that this was Kendrick's time for the Super Bowl and all that. That actually makes me encouraged and feel like there's good music on here. He didn't try to disturb Kendrick's party, which is something that you might try to use as a ploy when the quality of the product isn't there. The fact that he had a product coming and it's literally right after Kendrick's biggest moment of his career and he could have tried to be petty and interrupt the moment and he didn't makes me feel like there's something about this project that potentially is quality, though can tell you what the why.
Speaker 2:That decision was probably made because it wouldn't be fair to party next door, because he gets lost in the shuffle of the drake and kendrick battle and all the super bowl talking and even though he's a collaborator on this album, he's an afterthought he's still lost.
Speaker 1:He's still lost, he's still now AG. But I think that's a great point.
Speaker 2:But it's majorly lost if that happens. Think Ty Dolla $ign when Vultures was coming out and Kanye on one of his rants. Per usual Stuff like that, you get lost in the shuffle, ty. Huh, exactly Sorry. I'm sorry, go ahead AG.
Speaker 3:I'm sorry. I'm sorry to your original point. I just think that the scrutiny of this album, if it's not superior the scrutiny is going to be out of this world. The question is for both of you guys do you think that Party and Drake is going to get a fair Shake when it comes to the critics?
Speaker 2:This is what we gotta do. We gotta be consistent and hold some people accountable. I saw a tape on Twitter the other day when Ebro was Talking. I forget what the interview was or who he was talking to, but he said Drake was a quote on quote sickness. That's wild. We gotta start pulling the tape, man.
Speaker 2:The interview was or who he was talking to, but he said Drake was a quote-unquote sickness. That's wild. We got to start pulling the tape, man, because does Drake represent true hip-hop in its purest form? Absolutely not. You know what I mean? That's Kendrick. We've identified Kendrick as of the culture and then Drake, in a lot of ways, is not of the culture. But what we can't do is move the goalposts and call dude a sickness, when we heavily and I say we because everybody, ebro included heavily promoted his album, promotes the likes of Ice Spice and Simply Red and all that.
Speaker 2:If he is a sickness, then you were contributing to those symptoms of the sickness.
Speaker 1:Listen to me. I guarantee you Ebro wife got a Drake playlist and don't have a Kendrick playlist. Go ahead and bet that. Go ahead and bet that book.
Speaker 2:Yeah, we got to start pulling the tape and being consistent.
Speaker 1:Yes, he lost the battle.
Speaker 2:No doubt about that. No, he's not like tried and true hip hop, like Kendrick is, but man, man, we can't get up on the screen and lie to the people, man, like you know, I'm saying that's just not so.
Speaker 1:So, ag, when you're when you were saying that and when you're saying, are we gonna, um, not critique this album properly? And this is what I mean about learning how to shoot the fade away has been fade away out of this rap community into the larger community where most of your streams money, assets and equity belong anyway. It's not like if he fades from rap from a little bit, that's necessarily the worst thing for him professionally. So it's like if you're talking about somebody like Ebro and Budden critiquing him, well, yeah, they're probably going to do what they do with it, but the larger masses that have really, like, made him into the machine that he is are probably not and they're probably still generally excited about this project and some of the things that you just spoke of. I want to talk about when we actually talk about Kendrick's Super Bowl performance, because I do feel like there are some things at play that we need to start addressing and start asking ourselves some real questions, because I think we're asking ourselves some of the wrong questions about the Kendrick's Super Bowl performance.
Speaker 2:I think we're on the same page, coop. But before we leave this topic, I just want people to be consistent, man. No matter what side of the fence you stand on, just be consistent, man. No matter what side of the fence you stand on, just be consistent. Like you know, it'll be those hip hop fans and pundits that say this R&B album is trash or what have you, because he lost the battle and it's not going to be a rap album, it's going to be an R&B album. And hold on one second, cooper. I'm just saying that, like it'll be. Like. Well, I told you. You know what I'm saying. He was whack. Whatever he's doing, a sing-songy R&B, he's soft. But if those things are all true, which they are then how does that like make Kendrick's win as big as it is?
Speaker 1:I'm so tired of having this conversation, ag though, because it's like, well, what's wrong with those things? Because Kendrick, quite frankly, does a lot of sing-songy and voice-altering things with his voice. Oh no that's fine.
Speaker 2:But just on some hip-hop rap shit like people within the same breath say like this is the biggest win of all time, it's the bestest of all time, it's the worst loss of all time, it's the biggest opponent. But not try to give credence to that opponent being a formidable opponent. Know, I mean both things can't be true. He can't be a non-formidable opponent.
Speaker 1:it can't be the biggest winning opponent I beat. No, no, no, you're right. It can't be the biggest win of all time if the opponent's not gigantic right, we just got it.
Speaker 2:We just got to be consistent in how we talking out here.
Speaker 1:That's all I'm saying they can't, they can't, man, you know that, okay, okay. So G and I don't want to jump again. One of the things that is lacking that I keep talking about when it comes to Kendrick is that people lack clarity with how they audit circumstances when it involves Kendrick. This is another case of that. When it comes to him, it is like the rules are literally different. Things that are not okay are okay, and it's like if it wasn't okay before if it was hold on, if it wasn't okay before, then it's okay.
Speaker 1:Finally, when he does it. You get what I'm saying and there is something that is very like dangerous about that on a lot of levels.
Speaker 2:Well, to answer you, I think that's a different base and we'll touch on that a little bit later With the Super Bowl thing. But I think those are people that are coming in Because hip hop is, you know, broadened and expanded. And he has the most listeners On Spotify that any rapper's ever had 88 million now. Drake's peak was 86 million, right. So I think a lot of those people Are new inductees to listening to hip-hop. They were introduced to hip-hop through Kendrick and they're using these metrics, you know what I'm saying.
Speaker 2:No, I think they were introduced to that level of pure hip-hop by their introductory was Kendrick.
Speaker 1:That's why, kendrick, just dissing Drake, you mean yes, so Drake would be the.
Speaker 2:Right, but things are going to be a little skewed because everybody weighing in has not been fans of hip-hop and been in the culture long enough to have a really objective viable.
Speaker 1:I don't want to spend this too far, ag, because we've got to get off this topic and get to the music anniversaries. But everything that you're saying, by all rap terms and definitions and hip hop cultural definitions, is what we would call clout chasing. But we'll talk about it in a minute. Let's get to the actual music anniversary and get to the type of album that Drake needs to be making on February 13th. That is not going to happen. Look, I'm telling you what he needs to do, right.
Speaker 3:On February 13th 2015,.
Speaker 1:Drake released. If you're reading this, it's almost too late. It's almost too late now, sean thoughts on the album it's a great album was.
Speaker 3:I think this is one of the ones that people classic. Is it a classic? I was about to say that I think this is one of the ones that people will get closer to it. I don't see it as a classic, but I think this is the closest one. A lot of people have him at early in his career, that this is like if you don't have this is the one that's closest to an actual classic. I don't deem it as a classic. I deem it as a pivotal point for Drake. I think that's when the music was really starting to pivot very, very hard in hip-hop. He was at the forefront of that. Other than that, this is a dope album. I don't have it as a classic, though Cool, I'm not mad at anyone who calls it a classic.
Speaker 2:I just don't have it as a classic. This is definitely a classic moment because I think that, if I'm not mistaken, this is one of the first surprise drops in the streaming era that was this magnitude. It was either this or Beyoncé.
Speaker 3:It was this, remember, this was the pivot. This is when things started to like.
Speaker 2:So Beyonce might have been after that, but definitely a classic moment because I remember when it dropped I was at a sneaker event, a sneaker con in Charlotte, and then it dropped and everybody was just going crazy on their phones at the sneaker event so it was kind of wild. But as far as classic album, it has the elements of a classic album. But I can't consider it classic in good faith Because of the Quentin Miller Ghostwriting stuff surrounding the album. So that's the only thing that keeps me from calling it a classic. Can't do that in good faith with that scandal.
Speaker 1:Yep, I think the Scandal is the only thing that hurts it's classic status. Everything else about it is classic. It has the classic moment, it has the classic drop for its era. It has everything that a classic rap album actually has, except for the controversy surrounding the songwriting. So I would say the songwriting, so I would say how much do we want to hold that against him would determine its classic nature, in my opinion.
Speaker 1:And I'm not going to hold it against him to the degree because here's the reality of the matter too Well, he's already suffered from it, like it's already hurt him some. And, quite frankly, this is his last great album and so his critics can always say, and this is why he needs an album like this, post this album, cause all his real, real critics really say that Noah's catalog is like, yeah, but he hasn't made anything really great, has been great, has a mind blowing, has been breathtaking, since those allegations and a lot of people's estimation In terms of a full-length project or what you would deem some sort of full-length project, mixtape, album or whatever. And this album does kind of have that duality to it because of those allegations.
Speaker 2:Yes, oh, go ahead, charles.
Speaker 3:But this album also launched the Drake feature run as well, because his feature run on the heels of this album was getting ridiculous. He was going crazy on everything because there was a demand for him at that time when he had a demand for him as an artist, as a feature and as a collaborator after this album. That's when you started seeing Drake go into a whole different sphere of hip hop and it also made him a little bit more of a transcendent hip hop in the game as well after this album.
Speaker 2:That's why the controversy was around the Rico, the meat joint. That was around that same time. But let's oh, go ahead, goose, that's a super chance. No, no, we just got a couple super chats here.
Speaker 1:We got some super chats. Okay, go ahead, say what again? Mother with the 999. What's going on, fellas? Love the content. I've been listening to a lot of Jay-Z lately. Is it time to have the talk of all you want over Reasonable Doubt? If you take off Girls Like and Sunshine, that's a perfect album. You have to take off City Is Mine too, but we can definitely have the conversation. Everybody knows how I feel about 97-0.
Speaker 2:You cannot have girl, that's fan fiction stuff. Fan fiction get dangerous because we could make a lot of classic albums with fan fiction A lot.
Speaker 1:No, no, no, but he's not talking about adding stuff, he's talking about taking stuff off, take it, take it, that's just as important. No, no, no, but all I'm saying is I've always felt that way If you take three records off of all of them, it is as good as Reasonable. Doubt to me, but that is saying a lot that you still have to take three records off for it to be as good.
Speaker 2:But this way, if we narrow a lot of track lists down to 10 songs, we've got a lot of Illmatics running around.
Speaker 1:No, no, no, hold on, that's an 11 track album, but it's 11 rap songs too. It ain't like an intro or interlude or none of that. It's 11 rap songs if he takes those three records and it's 11 great rap songs. Guys. A lot of our great rap albums only have 11 great rap songs Greatest Adventure, slick, rick, criminal Minded, illmatics. You know what I mean.
Speaker 3:It's like I can do that to the pillage. Then Let me take off three songs off the pillage.
Speaker 1:Okay, how about this? How about this? I got a better idea. How about you? How about you just take the pillage? How about you just take the pillage? How about that?
Speaker 2:I got one better.
Speaker 3:How about, instead of five?
Speaker 1:songs, just no mics. How about, instead of that, we get those beats to inspect the deck? How about we do that? Let's do that.
Speaker 2:How about we do that Cool, I'll see you. When we did our Supreme show, you put it there that the pillage that Takao was better than the pillage. I saw that, which is not true.
Speaker 3:Did you see that this is grimy man? Coop is grimy.
Speaker 2:I want to let you know how petty I am. I was at work and I'm not allowed to be on the phone at work, but I need time to jump in the chat and be petty.
Speaker 1:I'm going to tell you what was crazy. I'm going to tell you how well I know you guys. I didn't even know that y'all were talking about the pillage because I couldn't have my headphones in, but I had a feeling y'all were going to talk about the pillage while I wasn't there, and so I had to put the comment in, because I know you all too. I was like you're probably talking about. I said they're probably talking about that Capadonna album they have no business talking about.
Speaker 3:Let me go ahead and let people know.
Speaker 1:And has fate would turn out. Guess what you guys were talking about when I'm putting this stuff in the chat.
Speaker 2:That was a wild shot in the dark, but you know me and Sean, so there you go know me and sean.
Speaker 1:So there you go. Terrible andrew's. Like they're really talking about the pillage right now. I was like that's terrible.
Speaker 2:I was like why are they doing that? Oh, real quick, while we I know we gotta read the super chat, but before my brain forgets, real quick, since we're on the woo, I still count that against drake on, if you're reading this too late for the ghost ride allegations. But we, that's what I'm talking about consistency. We all call Return to the 36 Chambers a classic album, knowing that GZA wrote it.
Speaker 3:Let's not do this tonight.
Speaker 2:I'm just asking questions, man Nope, okay.
Speaker 1:He wrote 75-80%. He didn't write the entirety of it, he did write the majority he probably wrote that much, I mean I mean, I have to be honest with you, I feel like dirty did the first four, five, six tracks and then the rest of it is the jizz, because it sounds like I'm just asking, because I very much consider that, um, pretty much a classic.
Speaker 2:but I take points off for Drake, but I think more so because that was trying to be hit. Well, no, he was credited, but we always knew that Jezza wrote for Dirty. I don't know, I'm just asking questions. Y'all put that in the chat. How y'all feel about that?
Speaker 1:I think we also hold on real quick, aj. I think we give Dirty a pass too, because it's like that is his big cousin. That's like OG Bobby Johnson teaching you how to rhyme still Like people forget. I think people forget Wu-Tang Clan were still like really young when they got put on too. It's not like old Dirty Bastard is like 29 years old when he made Return to the 36 Chambers Like no, he you know what I'm saying, and nobody that Dirty's the nicest lyricist of nothing either.
Speaker 2:So that's a fact. But, drake, if you're going around saying that you're the best, you're the nicest with the pen, it has to be your pen.
Speaker 1:Period 007 with the $4.99. If you're reading this, it was cool for the first six, seven tracks. Then it tails off. That's the issue with Drake no classic albums and ghostwriting.
Speaker 2:Is this the most he's ever rapped on one album? I think it is. I think it is as far as ratio of rapping to singing, I think this is the most he's ever.
Speaker 1:I'm about to say if you're talking ratio, because he's made projects that because of the length, where there's been more rapping on them. How about this? This is the rapping Drake that people do love, though Like on a hip-hop level, and I think that's why the ghostwriting allegations hurt so much, because drake the rapper this is might be his best rap stuff. I don't know.
Speaker 2:I know people that hated it in real time said that he was trying to be a little bit, you know, too hard, you know I think, I think take care.
Speaker 1:Take care is a better rapping version of drake, because it's a more authentic drake nothing.
Speaker 2:Nothing was the same. I think it a better rapping version of Drake because it's in a more authentic Drake. Nothing was the same. I think it's better rapping too.
Speaker 1:Yeah, right, but I'm just talking what some people say. Reasonhead499, do we take away from America's most classic status because Del the Funky wrote for Cube? You read my mind, ag, and Del the Funky is Ice Cube's cousin, just like the jizz is Dirty's cousin. A lot of people don't know that Dell is Cube's cousin when we're saying writing. If I'm not mistaken, the Dell and Ice Cube thing was writing together, not like Dell writing for Cube, if memory serves. Okay, we got a slide to the next classic rap album. The score by the Fugees came out 2013, 1996, guys, what are your reflections of the score AG? How is it going to be remembered?
Speaker 2:well, um, full disclosure. I was late to the fuji's party, right, you know I'm saying um, their first album was pretty underwhelming to me. And then, when the score initially came out, I had a friend that was in, I was in class with um I think it was ninth grade was just telling me, like yo, this is the best album I've heard in years, just like you know, going on and on about the album, you know it wanted me to listen to it, pass me the headphones, and I was like I'm cool on that, wasn't really a fan of their first album, whatever. And he just kept talking about it every day, talking about it. Then those singles started to roll out.
Speaker 2:You know what I'm saying. You know what I'm saying. You know Fuji Live, like ready or not, joints like that. And I was like okay, like these joints is crazy, and Lauren is going off. And then by the time you get around to Killing Me Softly, like you know, I'm full blown, like you know, calling the album a classic in real time. But you know I was late to the party, but, yeah, still in present day I think it's a Bob Mike classic, but I don't know for sure if it cracks my top five of 1996.
Speaker 3:Sean, what's your thought? I damn near agree with him In real time. I was surprised because when I was going back and looking at the stories, we're getting a lineup and everything. When I was going back and looking at the stories, we're getting a lineup and everything. But tonight I forgot this album actually came out in the first quarter of 96 because the carryover for this album was crazy throughout 96 because it was carried heavily by Lawrence performance. And when I went back and listened to the album again today, that's a few skips on the score. You can have a classic with a few skips. The highs are so high that you forget that it has skips on the score. You can have a classic with a few skips. The highs are so high that you forget that it has skips on the back end of it Because Lauren went crazy on Killing Me Softly. We love that song. That song was going crazy over the summer. That song was going into the summer of 96.
Speaker 2:And this album came out in.
Speaker 3:February and I honestly forgot about that. Ready or Not was a mega hit. It was going crazy throughout 96. But I think it covered up Pryor's Shout out to Pryor's. But it covered up how bad Pryor's was on this project. Ready or not refugees taking over the Buffalo. You talk about me, you talk about me, man. I'm keeping it funky, right. I mean hold on. First of all, you're both terrible Cool. This joint got some skips on it, and it is mainly because of Pryze.
Speaker 1:Hold on.
Speaker 1:Sean, first of all, I'm going to have to echo a lot of your sentiments. I'm going to say something that I've been saying for a long time and it used to get me crucified in 1996 when I say it. Do I think this album is great? Yes, do I think this album is a classic? Yes, do I think that this album is overrated? Yes, I do. This album has always been overrated, and I'm going to tell you exactly why this album is overrated.
Speaker 1:The greatness of Lauryn Hill is shown in multiples on so many ways on this album and it is so breathtaking to witness and we have never seen anything like it in hip-hop terms happen that that overshadows the mishaps and the missteps of this album. Sean, you were absolutely right. Every critique, sean, that you just gave about what's wrong with this album is spot on. The second half of this album is not anywhere as good as the first part of it. The first eight or nine records are all stellar. The rest of the album is not.
Speaker 1:Proz is the obvious weak link on here, and I hate to be the one to break it to people. Wyclef ain't too much better on here the fact that the biggest record on here Is a Roberta Flack cover, and it's not a rap record that rose them to stardom. The saving grace of this album On hip hop terms, guys, oh, every verse that Lauryn Hill Spits on this album would be a bar seminar. It is the best mic performance we have ever heard by a woman on the microphone. Since we've heard it and nobody's equal or duplicated it since including her. You want to know what my biggest fear was.
Speaker 2:That's why you want to know what my biggest fear was. I thought there While I was late to the party. You want to know what my biggest fear was? I thought there was going to be another Diggable Planets. I ain't going to lie, they were headed towards Diggable Planetsville.
Speaker 1:They was on Venus and Mars. Diggable Planets.
Speaker 2:Yeah, that's why I wasn't tapped in. I was late to the party because I was like man, this is just another Diggable Planet, but I was wrong.
Speaker 3:I love you.
Speaker 1:You weren't wrong. But here's the thing about it, that's what I'm saying Lauren's greatness in some hit records Fuji, la Ready or Not Killing Me Softly oh no, it took it. It took it there and it's a big selling album. It made stars out of all of them. But this is really just about Lauren's iconic nature. At the end of the day, the legend that is Lauren Hill as we know it not just in Black culture, because people need to understand this is like oh no, she's an iconic culture to people and this is where the icon shows her, like starts showing her iconic status for the first time and that's what the score is about. But the album itself, when you play it next to classic, other classic records, like think about this. You can't play this album next to moment of truth by gangsta or tell me it's all-time great rap album.
Speaker 2:Moment of truth hurts this album a lot because I think the versatility is what does it on this album it's, it's versatile and I'm gonna give it its versatility.
Speaker 1:But I also tell you, like the carnival bar, why clef is more versatile and maybe better produced it is you you hold the carnival pretty high.
Speaker 2:Sean does too. I I never.
Speaker 1:I like the carnival, but not like that I think the carnival is. I think the carnival is a borderline classic. It's a four and a half. It's pretty damn it's. It's pretty brilliant. It's pretty ahead of its time too.
Speaker 3:It is the Carnival Y-Club came through Carnival's pretty special, yeah, carnival's pretty special.
Speaker 1:He orchestrated Carnival really, really well. I'm not saying the beats are better than the beats on the score. I'm saying the production job overall might be better though In terms of putting the project together, because I think the score taught him how I think wyclef put the score together as an executive producer more than the rest of them, and I think he learned a lot from that process and that's why the carnival is better produced than the score yeah, the score gave them like it really catapulted and even how about this?
Speaker 1:Sometimes the source did get it right. When they gave this album four mics, I agreed with them. I was like, yeah, four mics.
Speaker 3:Yeah, they caught people off guard.
Speaker 1:But the four mics that it got. Oh no, it deserved those four mics. Now can some four mics grow into five mics? And this is what I mean about it being a classic and a hip-hop classic. Well, liquid Swords got four mics too. You think it's better than Liquid Swords? Hell, no, it don't hit in hip-hop terms like that, in terms of its classic nature. That's what I'm talking about.
Speaker 2:Agreed. Where do y'all have it in 96? Top 10 or not? Definitely not top five, but y'all got it, Montana no.
Speaker 3:Man, I didn't think so heavy bro, I had it top ten.
Speaker 1:I mean. So we got. It was written. Reasonable doubt. All eyes on me, Hell on Earth, ATLians, Muddy Waters, Illiduff, Half-Life, Iron man, the score being there, yeah.
Speaker 2:You didn't say Machiavelli. I got Machiavelli pretty high, got Machiavelli pretty high Machiavelli?
Speaker 1:Yeah, how about this? I think it's better than who is it? Yeah, it's better than Stakes is High by Daylong. If you told me that it was better than ATL Enz, I would you think it's better to get somebody that's acquainted with the hell on earth, the Muddy Waters, the ATLs, to tell you that the score is better.
Speaker 2:It's like nah, I don't think that I will put the score at the end of the top ten before I put in like Hardcore or Il Na Na, like. You know what I'm saying.
Speaker 1:I think they would get the buy-in.
Speaker 3:It's better than Hardcore and Il Nana though, because the Highs are much higher than Hardcore.
Speaker 2:And Lauren's better on the mic than both of them, and that's saying a lot.
Speaker 1:Way better. I mean Lauren, okay, so how about this? It's a top 10 album and she's a top 10 MC.
Speaker 3:Maybe top five that year.
Speaker 1:The only people that year that I know are better than her as emcees are Prodigy Nas and Jay, and I'm not even certain if you could convince me at the time that Jay was necessarily better than her right at that point in time.
Speaker 2:I think Redman will have a fighting chance.
Speaker 3:Redman will be there. I got to give you the goals too. Goals, no, it's not better than Lauren be there.
Speaker 1:I got to give you the ghost too. Ghost, ghost, ghost is not better than Lauren in 96. I don't believe it. Ray was still Ray, ray. I'll give you Ray. I'm not giving you Ghost in 96 over Lauren, though she was like that no.
Speaker 2:How many mics? No, I can't make the top 10. Scarface Untouchable. That was 96? Was that 96 or 97?
Speaker 1:I 10, Scarface Untouchable. That was 96? Was that 96 or 97? I think Untouchable's 97, AJ Scarface doesn't have a 96 rap album. There you go, Okay. Alright, staying on 96, right we're actually staying on the same day, which is actually about to make me ask you guys a question before we jump into it On the same day in 1996, tupac Shakur dropped his magnum opus. That is All Eyes On Me, guys, it's February 13th 1996. The biggest classic rap day in rap history, because what rap day has two classic albums of this stature?
Speaker 2:Tryman and Wu on the same day. Tryman who Wu-Tang on the same day. Try them, and who?
Speaker 1:Wu-Tang on the same day. Okay, so here's what I would tell you, ag, is that, even though it's not better, this Fuji's album and the lexicon of how people have carried it is held higher than Midnight Marauders is, and All Eyes on Me is definitely held higher than Enter, the Wu-Tang and Masked Lexicon. So that's what I mean.
Speaker 2:It's like I higher than Enter the.
Speaker 1:Wu-Tang and Mass Lexicon. So that's what I mean. I don't know if yes, all Eyes On Me is Tupac's biggest and brightest moment in selling out. You don't think that's bigger than Enter the Wu-Tang. It's definitely not even a conversation sales-wise, sales-wise. It's not even a conversation Sales-wise, it's a joke.
Speaker 2:Bigger, yes, but when you're talking classic talk, I think, a lot of people.
Speaker 1:If they form their top 10 hip-hop albums of all time, I think 36 would make more list than all eyes on me would it would, but more people are acquainted with all eyes on me and and this is one of the things that I've always said all eyes on me it's like, oh no, I'll put book one up against almost anything that's ever made that album's top ten to me, and so I do think that the first half of all, I do think book one of all eyes on me is as good as into the Wu-Tang book two has a couple skips, but book one's only blemish is what's your phone number?
Speaker 1:see, I see, here's the thing. What's your phone number fits the purpose of who he is, though I a part of the legend of him. That is a sex symbol, because all the girls in school love that record because, well, he was sexy to them and so, like, like, like, like the guy that was heartfelt and thoughtful, that I may have liked the thug and the gangsta, other people may have liked the girls didn't give a shit about that. They like the dude from I get around and what's your. You know what I'm saying. The phone's still trash, though.
Speaker 2:It's a Morris Day remake.
Speaker 1:You don't like the Morris Day remake.
Speaker 2:No, and I'm a Morris.
Speaker 1:Day fan.
Speaker 2:I'll mess with Morris Day, but no.
Speaker 1:That's not good. I thought it was dope.
Speaker 2:Put it like this the Morris Day. Yes, I love that Morris Day song, but as a hip-hop song to sample that, it came off real unorthodox to me.
Speaker 1:Okay so how about this? We let Puff get away with all that shit. A year later and nobody said a word. Pac was just ahead of the curve on using samples like that.
Speaker 2:It's how the sample's done, though it's just not what sample's how it's done.
Speaker 1:I mean, I feel you there but that's on the producer, not on Pac. If that's the case, because Pac ain't making a sample, yeah, if the producer thought that, I mean I ain't rhyming on that shit, but Pac was also known as a big Prince fan, which means he was probably a more Zayn the Kyle fan. So he probably did tell the producer to pull that sample, but the producer probably didn't treat the beat right.
Speaker 2:Now I will tell you this AG. That is the weakest beat between the two projects, I think that's the weakest song on All Eyes On Me period.
Speaker 1:There's a couple records on All Eyes On Me, book two, that I could argue with you about that, but I understand what you're saying. Fundamentally, what I'm saying is think about what All Eyes On Me and the score is in terms of record sales, notoriety, impact, cultural lexicon. It's like, as much as I love Midnight Marauders and Into the Wu-Tang, that's on some boom bap rap shit. The score in All Eyes On Me is on some global rap is taking over.
Speaker 3:It's musical, it has more music to it. Yeah, yeah.
Speaker 2:Yeah, more grandiose, more grandiose.
Speaker 1:Yeah, yeah, yeah, more grandiose More grandiose, yeah, yeah, yeah, I mean I mean grandiose can be, but the music is comparable to like, like the score. The score for those records that are on the first half are comparable to Midnight Marauders. For the records that are on the first half they are all eyes on me. Book one is comparable, like those 13 records that are on book one are comparable to the 11, 12 records that you're getting on Into the Wu-Tang, and they do do bigger numbers. So I'm saying it's conversational, but what about the actual album? As a matter of fact, guys, where do you? Guys have All Eyes On Me all time as a rap album? Is this a top 20 rap album all time for you? Yeah?
Speaker 3:Probably the top 25 for me.
Speaker 1:Where would you put it AG?
Speaker 2:It's definitely around. I think 25 is a little low. I think it does crack the top 20, but I have a hard time gauging that because it's not my favorite. I prefer Machiavelli, but I do recognize that All Eyes on Me is better. And then you got another group of fans that'll tell you that Me.
Speaker 1:Against the World is better.
Speaker 2:Pac has three definitive classics, but mine is Machiavelli. But I will recognize that objectively, all Eyes on Me is better.
Speaker 1:So let me ask you some questions. Do you think that All Eyes on Me is better? So let me ask you some questions. Do you think that all eyes on me is better than it's dark and hell is hot?
Speaker 2:objectively not. For me, that's a conversation. When I listen to them, both in present day, I feel like all eyes on me. Age better than the dark is dark and hell is hot.
Speaker 1:I agree, wow I agree with that too. I think all eyes on me better than it's dark and hell is hot, because I do feel like the age of it age better. I feel like it's it's two years older but it sounds fresher to me. Um, what about? What about the infamous by mob deep?
Speaker 2:That's hard for me to ask, because I prefer hello nerf over the infamous. But yes, uh, all eyes on me is better than the infamous.
Speaker 1:I mean, if I okay, so that that would put it closer to the top 15 for me, If you're telling me that it's better than the infamous, because I think that's closer to a time and I love the infamous but I'm a hell on earth guy.
Speaker 2:But the records on hell on earth is not big enough to go up against.
Speaker 1:They're not, because most of the records on the Infamous are literally East.
Speaker 2:Coast. That would be more of a question for.
Speaker 1:Sean than me. Think about it. You got a record like QU Hectic. That's like a street classic and QU Hectic might be like the 7th or 8th best record on that album. What?
Speaker 3:do you say, Sean, Maybe I'm bugging. I just think book two of All Eyes On Me brings it down a notch for me. I couldn't appreciate All Eyes. I'm going to be honest. 96, February I'm 15. I couldn't appreciate All Eyes On Me when I first heard it. I'm going to be honest with you. My go-to song on there was actually Can't See Me. I love going to be honest with you. My go-to song on there was actually Can't See Me. I love that song. To me, I thought that was the best song on that album. He killed that and the energy around that was crazy. I still listen to that song. I'm going to be honest with you, Kool Listening, knowing how you love this album, I had to go back and listen to it about two times today.
Speaker 1:Once on a plane, one in a gym. I love book one way exponentially more than I love book two. It's exponential, my love for book one.
Speaker 3:Give me book one and give me Can't See Me to finish out book one.
Speaker 1:Okay, so how about this? I've always said give me Can't See Me and Picture Me rolling and you can slide those over on book one and I think you have. How about about this? If you put me in picture, you put you can't see me and picture me rolling on book one. You have an easy top rap album to your to your point easy, like, easy, like. That album is as good as the chronic or doggy style at that point, yeah, absolutely but about book two.
Speaker 2:Book two is the reason why, head to head, I put Life After Death over All Eyes On Me. I think Life After Death is the best double album ever made, and head to head against Wu-Tang Forever, which is not fair group versus a solo. But I think that's a conversation based on preference because of this two on Wu-Tang Forever and book two on Pox. But just like book one is flawless on the pot, I think the first disc of Wu-Forever is flawless you think the first disc of Wu-Forever is flawless?
Speaker 2:flawless bro and once you get past the intro, which the intro knocks. But I think it's flawless bro a couple of things.
Speaker 1:First of all, I think the real gems that put Wu-Tang forever, even in the great disc conversation, double disc conversation is the special moments about disc 2, not disc 1 for me. I think disc 1 has some flashes, but I think the most memorable moments are on this too.
Speaker 2:But it makes this two more uneven, if that makes sense. The highs are so high.
Speaker 1:Okay. So here's the first thing Life After Death is better than All Eyes On Me, but also less contextualized. All Eyes On Me is 27 songs to Biggie's 22 songs, so it's five more songs. So if you actually pick the best 22 songs that Pac has and take the worst five songs off like when you take the what's your Phone number and half a book too off, that Life After Death All Eyes On Me conversation, if you're going song for song, like 22 to 22, is way, way, way closer than people are talking about too.
Speaker 1:For me, as much as I love woo and as much as I love wu-tang forever, those songs on all I mean are too big for wu-tang forever to compete with it. Because the best moments that are on wu-tang forever to me are on some rap shit, and it's on some rap shit that most people aren't going to hear, like bells of war, dog shit, the mgm, uh, uh, scary hours. Cash still rules. Older gods, older Scary Hours, cash Still Rules. Older Gods, older Gods is my shit. Rago Sanjiza, but I don't know. No, that's not messing. What got my mind made up. Hearts of Men, I Ain't Mad At you and America's Most Wanted with Snoop.
Speaker 2:It's big records. It's really Cuban Link's life. It's a.
Speaker 1:West Coast Cuban Link.
Speaker 1:yes, Book One of All Eyes On Me records it's really um, it's really cuban links, like you know as far as all the west coast cuban link, yes, but one of all eyes on me is very much like a west coast cuban link because it's like, oh no, everybody came out and showed their ass. He got one beat from quick. It might be the best beat on the whole first record. He got a couple beats from daz. The beats from daz are some of the best beats daz ever did yeah, my favorite joint is no More Pain as far as production. He got Timberland slash Devante.
Speaker 1:Timberland's drums. He got the best out of everybody on that project. It's special. I think it's a top 20 rap album.
Speaker 3:Alright, I'm going to stop calling you out on the page For all three of you any rap album. All right, I'm putting a poll on the page for all three. I'm putting a poll on the page for all three.
Speaker 2:Oh, the double albums.
Speaker 3:Yep. You guys came up with.
Speaker 1:For me, the double album conversation is about life after death and all eyes on me. It's no disrespect to Wu-Tang. I do not put Wu-Tang Forever in the same conversation with those two albums. I just don't Mitch Gordell with the $2 Super Chat. We give ODB a pass because Brooklyn Zoo exists and Shimmy, shimmy, y'all and Baby Come On.
Speaker 2:Dirty gets a lot of passes because on Shimmy, shimmy, y'all bro said the same verse verbatim twice in a row. We don't even talk about it, it's not what you do, it's how you do it.
Speaker 1:It sounds fly.
Speaker 2:I didn't even notice that until I was an adult.
Speaker 1:I'm going to tell you how funky it is. I'm going to tell you exactly how this happened in the studio. Rza was probably like yo, that shit sounds so good. Just say that again.
Speaker 3:and we're done.
Speaker 1:Just say that again and we're done. It's old, dirty Bastard, he's like. Of course I'm going to do that.
Speaker 2:R&B artists do it all the time R&B artists.
Speaker 1:Diana Ross made a whole iconic career off of doing it, seeing the same four to six, eight bar loops her whole fucking life Raising head with the 199. Foxy was better than Fuji's Lauryn Hill. Those are lies. Those are bald-headed lies.
Speaker 2:I preferred Foxy over Lauryn, but she wasn't as good.
Speaker 1:I prefer Foxy.
Speaker 2:Foxy is my favorite female emcee ever.
Speaker 1:Look here 96 Foxy, and I love 96 Foxy. Oh, 96 Foxy is all-time great. 96 Lauren is the greatest. The end, the end.
Speaker 3:The end. She's special man.
Speaker 1:Parents Hill, tv 199. First Super Chat Appreciate it. Jean Gray is in my top five female MCs. Agree, no, I don't agree. I don't even know if Jean would crack the top 10, but I think that's more about notoriety and material that people can digest. Yes, but she is nice. She's pretty wicked out there with it, though. Can't never sleep on Jean Grey, not at all. Any more super chats.
Speaker 1:We all cut up the slide to the next topic. Be good, be good, be good. Nothing like going from Drake to Tupac to Lauren. We just got all the bipolar motherfuckers up in here today and then we get to the king of the bipolars, kanye. You're on.
Speaker 1:Another Twitter rant by Kanye. Guys, let's see. Hold on, guys, because this is the only shit that I wrote down all week. Let's keep a rundown of what Kanye's Twitter rant consisted of. One I literally have it numbered off. One he declared himself a Nazi. This week, did you know? He declared himself a Nazi on this rant. It's ridiculous. Okay, he really needs to stop playing with a certain community. That he keeps on playing with, sorry, led to dilapidation some assets, some resources. Let's go to number two. He praised Adolf Hitler, which you know is okay if you're in Germany in 1935. Maybe not so much America in 2025. 90 years behind, maybe, on the rhetoric. Three release Diddy yes, because let's let some more baby oil using pedophiles run amok on the streets with millions of dollars they can actually run whole trafficking operations, which is probably what that ass is in jail for anyway. And number four declared dominion over his wife, who actually apparently today decided to separate from him. So so much for that dominion.
Speaker 3:They say that's not true.
Speaker 1:Oh, they say it's not true that she left them.
Speaker 3:Yeah, they say it's still together. That's what they say. Okay, so the enslavement.
Speaker 2:She look like she need help, Like she a sex slave or something like that, Between the two of them. You're saying it looks like she needs help. No, she needs like rescued, like saved from.
Speaker 1:I think some people Blink twice out.
Speaker 2:Right she be on the red carpet like this. I'm like looking for a blink. Everybody else looking at something else I'm watching Blink.
Speaker 1:He has professionally kidnapped this woman.
Speaker 2:We are pretty sorry about that. You named off a lot Coop. I named off what happened. Well, it got more sickening than that it did.
Speaker 1:I'm the stuff that's not going to get us flagged is what I want like for the merch he won't be making his money AG AG, but we should make ours.
Speaker 2:I'm just saying what he did to try to sell merch, that was the nastiest, that's one of the nastiest things I ever been able to see anybody do. That was just really disgusting on all levels. Are you surprised? Am I surprised?
Speaker 1:People are going to start listening to me A little bit. I'm a little surprised.
Speaker 2:You know, when people surprise you like you know, I know you could go low, but not that damn low Like I didn't.
Speaker 3:Yeah.
Speaker 2:That was different. That was different man.
Speaker 1:That's because I know the two of you have never done cocaine before this motherfucker's on cocaine. Bro has a whole daughter bro, you don't know what the fuck going on with you. I'm not being funny at all. You've never done drugs like that, so you don't understand what's going on with this fucking addict. That's a good one. You and never done drugs like that, so you don't understand what's going on with this fucking addict. That nigga man.
Speaker 2:You with Marcus Jordan, with the Lambo on the train tracks, but listen man Marcus probably in jail.
Speaker 1:Yeezy taught me, Ain't no telling nigga.
Speaker 2:Listen, man, kanye got a whole daughter man, it's like I just couldn't believe he took it there. And here's the thing I'm not going to like. I'm going to try to veil how I say this, but all that you know what I'm saying. The Nazi propaganda and stuff like that man, look, read the tea leaves man. He got back on Twitter. You know what I'm saying. He plugged certain folks that pushed that agenda anyway. His bread got up again when it was low and then they were reporting he was the richest. Like his bread got up again when it was low and then they were reporting, he was the richest. Rap like just, it just added up y'all the writing's right in front of you. You know I'm saying sometimes, sometimes you know you could get he's crazy on his own, but there's bigger things that play and like let's use the unstable black man, the puppeteer. You know I'm saying and and push these agendas is what I'm getting at.
Speaker 1:So so that's all I got to say about it.
Speaker 2:But it's disgusting on all levels. Whether he's being puppeted or he's not on his meds, or if he, like, realized he was saying it, I don't care how you slice it. It's probably one of the most disgusting displays I've ever seen.
Speaker 1:While we're worried about Drake's career. You know this is going on. You know we might be worried about the wrong person's career, just that.
Speaker 2:It's bigger than that at this point.
Speaker 3:I have nothing, we can move on.
Speaker 1:His career encompasses things that are beyond music. That's what I mean His entire, the entirety of his career. He has built an empire, guys Like an empire. He's an empire builder and an icon. He is a fashion icon. He is a music icon. He is a production icon. He's an MC Like. He's an icon in a few different realms and a few different spheres to people.
Speaker 2:We don't really use the word genius and icon too much. It goes to their heads and then stuff like this happens.
Speaker 1:I've been saying that. I've been the one saying that too. I've been saying it about the other guy that we're about to talk about in a minute. Sean, any parting shots before we get to the next set of crazy motherfuckers?
Speaker 3:I'm saddened man, Are you sad?
Speaker 1:I am because I'm mentally prepared to deal with this. I've seen this coming.
Speaker 3:I'm done with them.
Speaker 1:I told y'all it's over. I said it. I said it. Did I not say it last year that it was over? Yeah, I said that guy. I said it's done. I said that guy gone, it's over. Yeah, it was over, yeah, I said that guy man.
Speaker 1:I said it's done. I said that guy gone, it's over, yeah, it's over. How about this? The way that people talking about Drake right now is actually how they're supposed to be talking about Kanye, it's like oh no, you want to know it. It was a great run. Shut him out you should shut him out.
Speaker 3:You should shut him out.
Speaker 1:Yeah, run, shut him out. You should shut him out. You should shut him out. Yeah, look, how about this? What about Kanye's numbers? Kanye's numbers ain't what they need. That's what I'm saying. Drake ain't the thing here. Kanye's numbers are numbers that really then dipped and fell off the map in the streaming era. You get what I'm saying, not Drake, right? So on to some more press matters. Hold up 007 again with the 499. Kanye has a strong following in communities, in countries Surprised to not have seen him in Russia yet. He's in another realm and will never die. No, I'm not saying he will never die. I'm just saying the artist formerly known as Kanye West, as we know him, is like you know. We're going to be in remembrance of what he was, as a musician, as an artist. I don't think that guy is about to resurface in any sort of fashion other than in flashes, like he does on these carnival projects, or his wife would be flashing Moving on.
Speaker 1:Okay, first of all you have to put on clothes to flash first. Ag. She butt-ass naked from the jump. That's a good point. Got these hoes out here hoeing in public, knowing hoeing is a private institution. Outcast is up for the Rock and Roll Hall of Fame guys, along with some other notable names. Let me read out some of the other people that are actually eligible. First-time nominees are Chubby Checker, the Group Fish, billy Idol, black Crows, but other nominees Cyndi Lauper, oasis, mariah Carey guys I mean Mariah's getting in. She should have been in there.
Speaker 1:She should have been in there. Yeah, mariah getting in. I don't know how they missed the Mariah shit. See, when they start missing stuff like this. See, when I saw Mariah's name up there I said, okay, she messed it up for all the rappers. Yeah, you gotta go for it.
Speaker 1:She messed it up for all the rappers. It's like, oh, they ain't let Mariah in. Is Mariah in on first shot? Is this first shot for Mariah? They ain't let Mariah in. Like, is Mariah in on first shot? Is this first shot for Mariah? Has to be yes, yep, it better be. So I look at it like when I look at this list I say to myself Mariah's in, nobody else matters, and no.
Speaker 2:Outkast matters.
Speaker 1:No, they matter, but I mean Mariah's different. So Mariah's going to be the headliner of this. I think OutKast is getting in, though. When I look at this list, guys, don't you think that OutKast is getting? In it's going to be tough.
Speaker 3:It's going to be tough. This is a pretty good list.
Speaker 1:Okay. So here's what I would like If they do get in. I don't mind Andre playing the flute to start off the show, as long as the flute playing goes into Bombs Over Baghdad. It has to go into Bombs Over Baghdad. You're going to get your ass up here and rap I know, that's going to be the conference.
Speaker 2:I don't want no flute stuff, because this is acknowledging OutKast you got to let him play his flute.
Speaker 2:He might not show up, but that's the point, because this is acknowledging OutKast as the group and what they did. Andre did whatever he chose to do after the fact and he went on to do those things. So that doesn't need to be highlighted here, what this needs to highlight for them and Big Boy especially, because Big Boy's name gets left out a lot of stuff. It has to be acknowledged what they did as a group and that needs to be put on the forefront or whatever. Leave the flute at home. So yeah.
Speaker 3:No flute.
Speaker 1:That goes against the grain.
Speaker 3:And it's not about him, it's about Outkast. That's the point, I think, if the flute comes on stage, then it's to about him, it's about outcasts.
Speaker 2:That's the point, I think. If the flute comes on stage, then it's to be made by Andre not to these white people.
Speaker 1:May I grab that flute?
Speaker 2:you know what? I'm glad you said that Coop, because we're going to get to that later.
Speaker 1:I'm glad you're right, aj. Guess what we're going to get back to. Guess what we're going to get back to Mariah? Right, we're about to get back to Mariah. We're about to talk about Mariah. Yeah, we are. We're about to have another conversation, yeah, but I mean, but we all three for three. Outkast is getting in, I think. So okay, how about this? If Outkast gets in, what is their must go to performing song? What's the Outkast gets in? What is their must-go-to performing song Like? What's the Outkast go-to song Like? Is it Elevators or is it Bombs Over Baghdad? Those are the two that I think of. Neither, neither.
Speaker 2:I think it's Miss Jackson.
Speaker 1:Safe. You're going to get inducted into the Rock and Roll Hall of fame and do the baby mama drama song over bombs, over bags. That's their biggest record are you?
Speaker 2:sure, hold on, hold on, are you sure miss jackson's, their biggest record I don't know numbers wise, but I mean being living in real time like you was in atlanta what?
Speaker 1:So okay, so that's the thing, those of us down here, it's kind of like back to that ludicrous thing here. Like that was the record we were like. No, like so Fresh, so Clean was our record of those two. You get what I'm saying. Like it's so Fresh, so Clean. Clearly down here it's not even conversational. So y'all played Miss down in in other places around the country on the radio more than we played it down here because we were playing so fresh, so clean.
Speaker 2:I think miss jackson had a wider reach. You know I'm saying different audiences but if you're going for the rock element, then I'm with you on the bombs over baghdad. You want to rock and roll hall of fame stage, what I mean? Then yeah that aesthetically that would be a good one like how about this?
Speaker 1:if I were picking just quick set list for them? Well, I would actually give them their solo shot and I would let Andre do. Hey, y'all let big boy do the way you move and have them do bombs over Baghdad that's fair, because that was marketed as an outcast album yeah, that's how.
Speaker 2:I double albums. That's one that we don't bring up because we separate those a lot in our mind. But that was a double album, but one wasn't wrapped, but one wasn't wrapped.
Speaker 1:Yeah, but Big Boy's album's not good enough for it. I think to, maybe. How about this? Is it better than the Art of War by Bone? Yes, yeah, but where does it? Art of War was terrible though.
Speaker 2:No, it wasn't. Come on, dog, don't do that. It wasn't terrible. Shout out to Ms FB. Sean's thoughts and opinions are those of his own. Some of us like the Art of War. We listen to. You know all the Bone Thugs and Army stuff. He's 1999, you know All that stuff. People don't want to come up with all that. You're like yo, nah, that's Sean Hayden on Cleveland. Shout out to LB.
Speaker 2:True that Shout out to Bone though they secured Pac and big features and released that joint. You know what I'm saying. In 97, when they both were gone from us, that shit was me, that shit was me, that shit was me Sean.
Speaker 1:I hate her man. And now, the moment we've all been waiting for, kendrick Lamar's Super Bowl halftime show guys, or as I like to call it, the GNX Promo Fest. There are so many places to go with this AG. I know you have a lot of thoughts. I have a lot of thoughts. Are you okay if I start off?
Speaker 2:Go right ahead, follow me.
Speaker 1:Now let's musically discuss the performance and I'm just going to give my quick synopsis of it. Thought, musically it was a solid performance. I did feel like he missed some things. No records from good kid, mad city or to pimp a butterfly were played. Zero, those are the records his legend are built on. So I'm not okay. That is the since people want to talk about the numbers of the halftime show. That is like Prince and Michael Jackson pulling up and not doing some shit off the wall in Thriller and Purple Rain in 1999. You get what I'm saying. Like you, just don't do that Just for one, just for context. And don't do that just for one, just just for context, and don't tell me that it's okay. Your legend is built on those two records. At least a record or two from those albums should be big enough or strong enough to run into this. So I didn't like that.
Speaker 1:As far as the organization of the set list, when I look back on the actual set list, his voice did hurt him in this performance. His voice is his kryptonite. It was audibly difficult to hear some of the vocals. Stop giving him excuses and passes. For well, he's running and did that. Well, you're performing. That's part of it and that's part of why I question whether a high level rapper is ready to do this solo. Not about the capability, not about the records, not about the artists, mostly about the actual Singing and dancing since he was 12, and it's tough on him and he is out there sweating and breathing heavy and that's usher, so it's not an easy pull. So I'm not criticizing Kendrick when I am making that critique. That is really more about the art form and where we are in the art form and maybe how we can use this performance to see what vocally works for a rap artist in this solo space. Moving forward. I immediately thought when I heard him vocally I would have preferred LL got this opportunity, because LL's records with LL's voice just would have rang like really, really hard. Imagine LL doing rock the bells at the Super Bowl, just like vocally. Everybody would know the words to rock the bells for the rest of their life because L's voice is strong and built for the stadium like that.
Speaker 1:When people are talking about this message that he delivered, this message that he delivered, how can you deliver this black empowerment message and not deliver All right to us? It just literally makes no sense to me because you're putting this whole show together about you know Pretty much it's a. It's a black cultural appropriation statement about what's done to us systemically on a whole lot of levels, and you're not going to use your biggest record that actually expresses that, and in the, in the record that you have in its place now is a diss record, like we're talking about all this cultural progress that he did. I mean, you do understand that this whole show was centered around him dissing another man that is considered to be black, which is another thing that we're going to get into, because a lot of people don't consider him to be black and maybe that's where not like us really really comes from. Anyway, it's him actually using verbs of colorism and, dare I even say, some antisemitism.
Speaker 1:So there are a lot of things to unpack about this that I found to be problematic when I really sat back and thought about it, because once again, people are making it seem like he did it from the culture and I'm thinking like well, if he did it for the culture, why is this show centered around a diss record and not around All Right? Doesn't All Right fit more into the theme of what he was doing in terms of the message he was trying to convey and he left the record completely out. And so how is this such a big Black Power movement moment when it's centered around a diss record once again, guys, which is why the diss record is becoming more and more problematic for me. And then what does it say? And here's what I realized, and I've had people tell me this this week no, like people, there are people and I didn't know this.
Speaker 1:I really thought everybody knew who Kendrick was. They're like no Coop, this is his real coming out party. There was a lot of people out here that still didn't know who Kendrick was out party. There was a lot of people out here that still didn't know who Kendrick was and this record is his coming out moment. And I'm like, seriously, they're like, yeah, it's his coming out party and I'm like so there are people that really really think that it's his best record.
Speaker 1:And in a lot of ways, guys, I had to come to the terms and realize it is his best record, but that means he's not the greatest MC of all time. This can't be your best record. There can't be no goat talk with this being your best record. This is your album. Closer hold on. Think about this. We're celebrating Tupac's All Eyes On Me.
Speaker 1:This is like Tupac ending the Super Bowl show with Hit Em Up instead of Dear Mama, or Keep your Head Up, and you gonna try to make it seem like ending the Super Bowl show with hit them up instead of dear mama, or keep your head up, and you're going to try to make it seem like it's a black power moment.
Speaker 1:No, it's not. It's a Kendrick beating Drake moment and from that point it does feel kind of industry organized and playing guys like the way the records went, the G and X of the album, and not even getting in into Kendrick's background and even Kendrick's team, making this about Drake and about GNX and not making it an encompassing career moment. Think about all the old stuff that Kendrick's done that could be all getting big streaming numbers right now. Imagine if he just did a brief snippet of something off of Section 80. A record off of Good Kid Mad City, which supposedly, according to Apple Music, is the number one rap album of all time. Tell me how an album can be on a platform like Apple Music and be considered to be the number one rap album of all time by the metrics that they measure and the artist doesn't perform one record of it at the first rap solo Super Bowl performance ever. Tell me that I'm tripping about these gaps, ag, and tell me that there's not some colorism involved now, officially.
Speaker 2:No, I'm actually in alignment with a lot of stuff you said actually. Yeah, it's a lot to unpack. Where I'm going to start with is the track list. The track list. I'm surprised that the track list, you know, and Joe Budden even had to walk this back because he like shitted on the lead track list before he performed it. But me and my son and my daughter, we were sitting there watching it and we was going through like, yo, this is lining up, this is lining up, perfect. The lead track list is right. And I was literally shocked. You know that the track list is right and I was literally shocked. You know that the track list ended up being spot on.
Speaker 2:Um, the fact that he played euphoria was crazy. That was one of my favorite parts. So, um, I'm gonna start with the things I did, like some of the pros, the choreography. Choreography was dope. You know I'm saying the. You know the visuals of all.
Speaker 2:And one thing I don't think nobody's really pointed out, excuse me, is you. You said it coop, like Kendrick had to cover a lot of ground on the Superbowl. That takes breath control, rapping and stuff, and Kendrick's was not afraid to take hip hip hop back to what it was when we came up remember the mid eighties, where it was like you know, you had Kane and you had Heavy D and the boys were dancing was actually kind of cool. Everybody was dancing in their videos, they had backup dancers, they had routines, you know, kid and play or whatever. Then it was a certain point that cross where hip hop had to be so hardcore to be viable Right, but I like the fact that Kendrick's not afraid to get out there with his choreography uh, choreography and his dancers and then, you know, do dance steps with it.
Speaker 2:Like I was talking to one of my homies he said it made him think of, like Janet Jackson Rhythm Nation, like it's militant looking choreography to go along with it, and I actually thought that was dope. On the Super Bowl stage, you know, um, the uh, beginning with the GNX car with all the dancers coming out of it like you know what I'm saying, like 20 or 30 of them was coming out of the car. I thought that was a dope visual and that's probably something that they're going to take on the stadium tour, if I had to guess you know what I mean they should, they should, they should AG.
Speaker 1:but that's what I mean. And it's like oh no, this is the GNX show. This is about D&X. That's the thing he is the first solo rap artist to get. I'm going to get to that. I'm going to get to it. Look at what Usher just did, that's Usher. Usher ran through his whole catalog, dog.
Speaker 2:I'm going to get to that. A lot of you said it was right, but I think I'm going to take it a little bit deeper. Pause, one of the highlights of things I like when he did do not like us, the thing that's being mean the most when he looked at the camera to say drake, because I thought it was going to cut off at that part, right, um.
Speaker 1:but when you looked, at the camera when he said that was funny as hell, like that.
Speaker 2:That was hilarious. So that pretty much sums up the things I like. Now, as far as the cons of the performance, right, if we're thinking Super Bowl, super Bowl has usually been reserved for legacy acts until recently in the last handful of years or so. So you're talking about big stadium records that everybody from different walks of life really know and can sing along to. Granted, hip-hop hasn't had the time, the chance to really like be on that stage, but whether it was you too, bon jovi or you know whoever, these are songs that everybody knows in different cultures. Uh, who you know, genres, different walks of life, big records, usually reserved for legacy acts.
Speaker 2:Then I knew that Kendrick was in a different space, when not only is he not a legacy act because his discography, his catalog, is still cooking right now. So, as popping as he is right now, with all these listeners 88 million, or whatever the number is on Spotify and 133 million people watch the halftime show and set a record to Coop's point A lot of people still weren't familiar with him. And you know who he is as an artist and with a catalog as lyrical, as lyrically dense as his is, I don't know why you would shy away from your biggest records that majority of the fan base knows. Now I knew he was off to a different start when he started off. Uh, with bodies, an unreleased snippet from gna and no setting. Have I ever seen that work? I've been to a million concerts where artists say, yo, I'm gonna try something new that's coming out soon. What the audience don't care, I don't care how far it is, we don't know it, we can't. We're trying to listen, we're trying to tap into it. That never works. I've only seen it work one time in my whole life and that was when jay-z did iso at the bet awards. That was because instant song recognition for the michael jackson sample. I'm about to say that's the michael jackson loop and people went crazy. That's the only time I've seen that work. So when you're coming out acapella to a song that nobody really knows, that was a bold move and I think you were a little bit too big for your britches. You know, pause like thinking that you're more massive than what you are in the space. Now we got to figure out the demographic that's watching. You know, although it's mostly black players on the field, football is still most mostly watched by middle-aged white Americans, right, and for a hip hop show.
Speaker 2:It made me realize that the way Dr Dre and friends did it was about as perfect as you can get, because it gives you different looks. You got first. First of all, the chronic came out in 90, uh, 92, right, doggy style, 90, 93, you know. Then you got eminem, who was late 90s. You know all these people who were in their formative years then is the main target audience watching a super bowl, or middle age people who've lived their whole lives with these records. So they're still legacy artists. And you're getting the look of mary j blige, 50 cent kendrick, who was a nice added throw-in spice to that. You know what I mean. But it was a perfect blend with the medley of medley of uh superstars. But if you get one artist to occupy that stage, their catalog has to be so massive and genre breaking If you don't have nobody to come in and give you a break, which he did.
Speaker 2:He lacked the surprises. You know the surprise guests. You just had Sizz up there. If Samuel Jackson is your big surprise, I'm sorry. You could have kept that. You know the surprise guests. You just had Sizz up there. If Samuel Jackson is your big surprise. I'm sorry, you could have kept that If Mustard is your big surprise.
Speaker 1:You could have kept that If.
Speaker 2:Serena Kripwafen is your big surprise. I'm sorry you could have kept that.
Speaker 1:No, how about this? Okay so, ag. I hate to interrupt you real quick, serena K, but you just need some. No, how about this? Okay so, aj, I hate to interrupt you real quick. Serena crip walking being one of the bigger things talked about, is part of the problem.
Speaker 2:It is, and I'm definitely going to get there too. But that's not necessarily a loss for Drake because he can say, like yo, there's two chicks on the Superbowl stage at the same time that I smashed. Is that really a loss? Like Drake, you know what I'm saying If he, you know, they say she was a crip walking on his grave, but whatever, but I digress. But anyway, your catalog has to be like. I've heard different people Me and my girl was having a conversation.
Speaker 2:She was like yo, she was like I love that performance. It was great, you know, and I was like it was okay, it was a base hit. When the home run wasn't a strike. She was like no, I think he killed it for his intended audience. And that sent me spiraling down a rabbit hole because I was like okay, let's define what his intended audience is. That's why you're getting all these think pieces from the hip-hop heads about the sociopolitical messages and all this and that, Of course, we're going to say that it was the greatest thing. Whatever, because we're the hip hop heads, the audience that was watching the Superbowl. That's a different audience that is going to be over their heads. Us hip hop fans, like Big said, we never thought that hip hop would take it this far. We just happy that Kendrick up on the Superbowl stage and we like with our pom poms cheering, but did it translate to that other audience? Because they don't understand the lyricism, they don't get it, they're not tuned in with the records. So my thing I started thinking is there any? And this is not an indictment on Kendrick I started thinking is there any one solo hip-hop artist that could hold that stage for 13 to 15 minutes and they go over the way it's intended to go over?
Speaker 2:And the answer I came up with is probably no. I don't think jay could do it, like kanye too crazy, you know. I'm saying nobody called kanye's catalog could do it properly. Jay's catalog could do it ll. Ll would be a stretch, LL would be a stretch. I'm the biggest Nas fan in the world. But can Nas do it? Hell, no, I just don't.
Speaker 1:L's the only guy, l's the guy. To me, ll's a rock star too.
Speaker 2:But my thing is, I'm not trying to shit on hip-hop. It's not saying we're big enough, but for that, for you to translate on that stage to those different audiences.
Speaker 1:So so here's the reality of the matter. There is some over evaluation of kendrick's catalog in terms of his ability stadium flow, because here's the reality of the matter. He has to create these shows because the music doesn't have a stadium flow. That's why he makes it into plays, that's why he makes it into these thoughtful think pieces. But here's the reality of the matter. Sometimes you don't have to do always go back to this. What word said Erykah Badu? What good do your words do if they don't understand you when people are missing the point while the point is being made, has it? If the point has to be made after the fact, then that moment is not as big as people are making it out to be to be made after the fact.
Speaker 1:Sometimes, some sometimes, the identification of our blackness in these white spaces is as simple as wrapping your head with a fucking scarf while it rains, like prince did when he was performing. You get what I'm saying. There's something about that in our black culture that we forever and identify with. It's like, yeah, that fool did the whole show in the rain in his do-rag, and that meant more to black people than all of this other shit, because as soon as he did it, we understood it's like no, this nigga got a perm and it's wet outside.
Speaker 1:We know what happens, we know what time it is, and so for me, once again, it's overkill, it's overdone and not on top of that, it's the wrong songs, and this is the thing about it that I really take issue with. This is actually people actually propping kendrick up on a pedestal saying that he's doing this for the culture, when really, if you look at the set list and how he put it together, this is what drake would have done. If drake. This is the, the whole promotion of all of this and the g and x and of all of this. This is a drake move from Kendrick and nobody's even talking about it.
Speaker 2:And that's my last point that I, that I have to make, so, you know, piggybacking off of that. So the sociopolitical stuff, like you said, if it has to be talked about the next day, some people got it, some people didn't. But if you're hanging your hat on that, like saying like well, he got on that stage representing the culture, representing hip hop, and, you know, did stuff in front of the president or whatever, and got that message off, it's like OK, at what cost though? Because the talk the next morning isn't about that, isn't about that. What overshadowed. That is not like us, because if you're going to get that messaging off, then if I'm standing on that.
Speaker 2:I'm saying I'm not performing, not like us, because I don't want that to get my message to get lost. On the messy stuff number one and number two I want to prove my catalog can stand on its own without even having to play Not Like Us. But here's where the problem. Here's where the problem comes in. You said you alluded to it earlier who, when a song gets so big, it becomes more problematic for you. So I don't know what happened with the powers that be, but it damn near looks like I don't care what you do or what you say on the stage, but you're going to perform that record because that's why you're here.
Speaker 1:So it's almost like we're going to take care, and we're going to take care of whatever legal fees may come Right. So you.
Speaker 2:It almost damn near becomes a minstrel show type shit. Like nigga, you're going to tap, dance and do this song because that's what everybody's coming to see, the one. They don't understand your lyrics but everybody can sing a minor and you're gonna, like you know, key, uh, key in on that. Like when have we ever saw kendrick wear a chain that gaudy, like with the a for the a minor? Although it is a pg lane chain, the a is symbol. Symbolic for the a minor is the messages in there.
Speaker 2:And I'm looking at it like, okay, at one point, what point do you cut the cord on that song? Because, like joe bud, I love joe as an mc, not so much as a media personality but as an mc. What if they're booking him and say, nigga, you can't be booked unless you perform Pump it Up. You got to perform that song. You know what I'm saying. It's almost like they're going to know. Sean asked me. We had a conversation behind the scenes. He asked me do you think that Not Like Us is bigger than Kendrick himself? And I don't know. I couldn't answer that. I was basically like it might be not like us because everybody is so infatuated with like, do the song, do the song do?
Speaker 1:the song. That's what I mean. And so here's the thing. Sometimes, the greatest trick that the devil will play on you is, you know, making you think that you tap dancing for your people, when you were really tap dancing for him Right, because the message is lost and this has officially gotten to the point.
Speaker 1:Well, here's the reality of the matter. People talk about all these archetypes, all these things, the Uncle Sam, the blacks on top of the dark. There are certain things that I saw from the immediate contact of it, but I just knew that people weren't going to get it. But here's what you do you wash all of that away when you look into that camera and you smile and you go some sort of pedestal, when the reality of the matter is that all of this fame and notoriety is based on the fact that you dissed another black man. It's not a black history moment.
Speaker 2:It's not. It would hold more weight if you don't have that attached to it. People are talking about that the next morning as overshadowing it. What I don't like is that they teased it Like it was a point where they said no, here's the reality of the matter, ag.
Speaker 1:is that the most poignant thing that you actually said is the fact that it actually, when you look back at it, feels like that they may have told him oh, there is no, not performing this record, we don't care about those lawsuits, we're the NFL. We got billions of dollars to spend on drake and his team. Go ahead and do that, but you're doing that because you're not going to perform, because think about this do you really think that the nfl will let him perform a real black power anthem at the super bowl? Like all right?
Speaker 2:no, because you got to read the signs. Like trump took the um, the uh race right. Uh, get rid of racism out of the end zones. Before the you know what I'm saying the game even happened. So it's like that messaging gets lost on the messy stuff. And here's my part, here's my point. They teased it. It was a point where he was saying they want me to do their favorite song, but I don't know, because they might sue, which was a nice dig at Drake. But you're almost giving credence to the fact that I know what everybody has got their eyes on me for. And Kendrick is too talented of an artist and too dope of an MC to be defined by just this song. And if you keep on milking it, that's what it's going to be.
Speaker 1:Actually, ag, it's not. And so here's the thing. So these last few years when I've been telling people well, if you put his catalog album-wise it stacks up, song-wise does not stack up to the greats. If you put him in the verses with all these other guys with his records, no, it doesn't stand up. And so he is actually a victim of what his greatest trait has always been, and I've always said this his greatest trait is his album making ability, not his one-off song making ability. Not Like us might be his best one off rap song, it just happens to be a disc record Other guys. That's why I bring up LL. That's why I'm telling you it's like right now LL would blast this guy like on stage, like in a battle, because the better stage presence.
Speaker 2:He's one of the best performers we've ever seen.
Speaker 1:No, no, no, I mean, the records are more built for a Super Bowl Jingle in baby Rock the bells, you know what I'm saying. Like those records play better than Kendrick records, because you want to know why they're fun records. Kendrick don't make fun records and people have lived long enough with him.
Speaker 2:And then they've lived long with him where they know him and they don't know G and X like that, as popular as he is. But you know, I had this conversation with Sean the other day. Not um, what'd you told me? Nas like got at some point, got tired of performing ether and refused it. They would be chanting it at shows, and he said it just it was just sickening for him to perform it.
Speaker 1:He didn't want to do it, but here's the thing it wasn't a career defining moment for him.
Speaker 2:It wasn't Right, but you, it wasn't right, but you don't want it to become that. You know? That's my whole point. Like once, you keep sewing and sewing into it like people feeding that beast. I think kendrick can put himself in a dangerous space where he is just defined by that and he is too talented to be that we got super chats.
Speaker 1:mama, bear with this five. I'm happy to see the finest men talking hip hop together again. Thanks, mama, appreciate it. Double barrel $5. I think it's worth a rewatch. That was a great show. Take the audience out, watch for yourself. It's impressive. Shout out to y'all. No, I'm not saying that it wasn't impressive and you might've overrated the show once again, because all things with him get overrated and you're talking about all this black empowerment while he's dissing another black man and calling it a black history moment. It's like how's it a black history moment when it's all based around dissing another black man and tearing down another black man empire, quite frankly, in front of all the white people. It definitely got some minstrel show to it. Any more Super Chats? Oh, we got plenty more Super Chats. 007 with the 1999. Kanye could Nas could if he had Queens artists featured, including LL Ja Rule Because of his big hits, but nobody wants to see him. Nelly could barely. It could have been done creatively, but solely one rapper? Probably only Kanye.
Speaker 2:That was the crazy realization that I had. So that's not even an indictment on Kendrick. It's like hip hophop artists as a whole. It would really You'd have to be jaw-breaking. Kanye would be the guy if we're talking about the actual records, but ain't nobody calling his ass to get up on stage.
Speaker 1:I like the fact that he's still that dangerous Mad Max up in the building speaking of dangerous and people who don't know what they're talking about. Very much like kanye. Maybe he was scared to play his hits because he knows he don't have a single classic song. Okay, humble didn't hit.
Speaker 2:Dna did not hit my mom said they could have got kanye before this guy, my mom.
Speaker 1:when, when a grown man puts in parentheses, my mama could have said they could have got kanye before guy Bellbottom dot exposed himself. Bellbottom.
Speaker 2:Matter of fact, DNA and Humble were the best parts to me. I agree.
Speaker 1:Any more final thoughts about the Super Bowl show.
Speaker 3:AG, I want to say something because I wanted you guys to watch our clips, because I know y'all have strong opinions on all of this.
Speaker 1:Hold on real quick, sean, before you do. I'm just tired of people not holding him to the same standard we hold literally everybody else to Like. Really think about this. When he's saying not like us, is that a reference to Drake's Jewish heritage or Drake's whiteness or Drake citizenship? Think about the guy that's in office right now and be careful.
Speaker 1:What have I always been saying, guys, we, as black men, we tend to get in places of money and power and position Our thoughts and our ideals frighteningly line up to rich and powerful white men more than we'd like to agree with. And so for this guy that embodies the culture so much and represents the culture so much, he does understand he's having his biggest moment tearing down another man who is considered to be black by most people's estimations. Nobody's talking about that aspect of it. For your king, who's such the black power guy and the empowerment guy, and for the culture, it's like well, your whole rep right now is based on tearing down another black guy. We don't find that to be problematic at all. Or is Drake not black enough for us now in this community? And we're back to throwing the colorisms again, like I make a lot of Shalimar and like Howard Hewitt and Jody Wiley jokes and shit, but like, at the end of the day, you feel what I'm saying.
Speaker 2:His hair. Don't nap enough. What you got Sean.
Speaker 3:That's what Pusha said.
Speaker 3:Y'all finished, I just want to make sure I want to get mine off real quick so we can move on and get out of here. All great points. I get what both of you guys are saying. Here's the thing If Kendrick's, if his motivation was to show the world that he is the dominant dog, he had that stage, he did that Because no one can interpret outside of those who know his catalog and know what he's doing.
Speaker 3:No one can interpret exactly what happened on that stage. A lot of the complaints that we saw that we heard, that we read they were saying stuff about. They can't understand what he's saying because they don't even know exactly what's going on. They're not familiar with his catalog. So if he's not doing it for them and he's doing it for those who really know him he's doing it for himself, he's doing it for his camp. He accomplish all of that.
Speaker 3:The other side of that coin to me is this when you're on that stage, especially as an artist and I don't want to get into colorism or anything like that you have a responsibility because you don't know who's going to come behind you. You don't know what other hip hop artists that could come behind you, right, so you have to be able to have a certain decorum to show that particular audience because that's not your average audience, that Super Bowl audience that is not the average audience that listens to a Kendrick that listens to hip hop, that cherishes and values hip hop as we do. This is one of the first times, if not the first time, that you have a pure MC, a pure rapper, on a Super Bowl stage with a solo set. And he did it for Dolo. He didn't really bring out a bunch of artists out there to help carry the weight that comes along with being a Super Bowl performer. You guys named Usher, one of the greatest of all time, dr Dre, one of the greatest of all time, dr Drake, one of the greatest of all time. They were able to bring in different people that helped them facilitate their entire set. Kendrick didn't do that, so it did make it look like it was more about the Drake battle and game over and all of these different things. So again, if that was his intent, mission accomplished.
Speaker 3:But the other side of that is what are the repercussions for hip hop moving forward? Because if you say that you are hip hop and you say you're for the culture and you say that you're doing this for the rap. If you're doing this for the MC, doing this for pure hip hop, how does that impact those that may not even come behind you? Because, keep me in mind, look at all of the rhetoric that was shared after the Super Bowl, look at everything that was said in those comments after the Super Bowl, that was said in those comments after the Super Bowl. Does that give you any type of confidence that we're going to get an opportunity to have another hip hop act anytime soon, or anyone of that elk, of that Kendrick elk, of that elk that we can say, you know what, we are proud to have that individual or the individual roles on stage.
Speaker 3:Because now it puts us in a situation where you're having people talking a little bit louder, a little bit boisterous, and saying we don't want that anymore. That was buffoonery, because you're seeing that a lot. You're seeing prominent people in the media, prominent people in different places, saying we don't want that anymore because y'all bringing that beef to this stage and we want to hear music to make us dance, we want to groove, we want to have something to shout about, because this is a Super Bowl, this is a global thing, this is not an isolated hood thing. That's what they're saying. So if he was looking to accomplish all those things, he checked all the boxes that he wanted to accomplish. But it also hurt the opportunity for someone else to come behind him to be able to say you know what? We have another hip hop act that can come on the stage and represent hip hop and take us to a whole different level as well.
Speaker 2:That's what I want to say. That's a big fact, sean. You know if somebody.
Speaker 1:I think it's a wrap.
Speaker 2:I don't think there's no more hip hop acts. They probably won't give it to Taylor next year.
Speaker 1:Well, here's the reality of the matter, and so here's a better way of putting this, without making it about the beef, the catalog, kendrick or Drake. So, in public speaking, the first thing that you're taught is that you must know your audience and then address your audience. And so, for whatever rhetoric that's being espoused about this performance, for the positive, ask yourself was it being done for an audience that was going to receive the message when the message was being delivered? That makes the message inappropriate and that's a failure of the public speaker at hand and the performer at hand. And that's just it. At the end of the day, this wasn't the time for that, not because there's never a right time for it, but because the message wasn't going to be received because of the demographics.
Speaker 1:This show, more than any other show for entertainers, is about you literally entertaining people for about 15 minutes in between halftime. It's literally just about that. There are so many other formats and forms to make the social commentary. How about this? Other formats and forms to make the social commentary? How about this? Him doing this show better and properly could have set somebody up in the future future to actually have that moment. I feel like that moment has been taken now. We are not about to get that moment back anytime soon. You can't overdo it. You can't try too hard. You can overthink it.
Speaker 1:This is an entertainment show. This is why I keep going back to Usher. Last year that Usher performance was dope because guess what? Usher performed his biggest and best stuff. That's what the show is about. How do I put my biggest and best stuff into a short framework so these people see that I'm the motherfucking man. That's what the show is about.
Speaker 1:That's what Prince did. That's what the show is about. That's what Prince did. That's what Michael Jackson did. That's what Usher did. Stop trying to make it seem like Kendrick is above the fray of what these men chose to do because they understood the assignment, and don't make it seem like that it's okay to not understand the assignment. This was not the assignment. This was not the time. You're supposed to play your best shit and put hip hop on a further pedestal with this moment. Instead, you just made it about a disfew with Drake and GNX, and that's exactly how it's going to go down. Ain't nobody going to remember this black culture moment Like all these bougie ass Negroes is running around here saying this is some fucking bullshit.
Speaker 2:Because, like I said, the biggie lyric. We never thought that hip-hop would take it this far. We champion him because he's just on that stage doing it. But two quick points Usher to y'all's point. Usher's a legacy act. Although Usher's around our age group, maybe a couple years older than all of us, he's still a legacy act. Usher's been around for 20 plus years, so he's a legacy act doing his biggest hits that people are familiar with.
Speaker 2:One, two, like when you're, when you're an artist like kendrick who's still in the middle of the catalog I don't have, I don't care how big you are, sometimes that's not going to translate. If you can remember back a handful of years ago, the weekend set had the same issue. I remember people like who was that on stage? Like what was that he was doing? That looked weird, like who even was that? Because you got to look at who the intended audience is. They don't know who in the hell Weeknd is, even though he's a pop star. You know what I mean. So it has to translate. And then to the point of the message getting lost that you said.
Speaker 1:And then to the point of the message getting lost that you said no, I mean at the end of the day what I mean okay.
Speaker 2:So so understand, hold on, hold on. Let me let me finish real quick. Cool, this is just one last thing. So if he gets his point off about the you know, the black empowerment and all that with that stuff, cool, but leave it at that. Like putting the messy stuff with that overshadows it. Because I know people who are not hip-hop fans that had no clue. I hear patients in real time talking at work, talking about, like I didn't know, drake and kendrick lamar had a problem. Whoever these are, they're unfamiliar. So the talk is going to be like well, what this about? Let me dig a little bit deeper on. What's this issue? What's this problem? So nobody's talking about the powerful, important message, everybody's talking about the mess. So the mess could have been totally left out of it. But like to sean's point, and I'll end with this, if that was your goal to go out there and keep your foot on his neck and dig a few inches deeper for his grave then you did that here's my biggest problem.
Speaker 1:This is what I'm saying, ag, and we can leave it right here and we can slide and start to get out of here with the press. Play Drake. What's the one I'm saying? Drake has been the face of black music for the better part of the last 15 years. You all don't get to pull up and say that it's okay for Kendrick to talk this way and then all of a sudden well, you know, drake's mom was white. You know he's half Jewish. That hadn't been an issue for anybody for the previous 15 years. You get what I'm saying.
Speaker 1:Like nobody in the black community has raised issue about it. Nobody's raised issue about it. Have we had one conversation about Drake's white side, or Drake's Jewish side in hip hop terms? When does it become? When did it become a problem? And so now it's okay for Kendrick to say these things and do these things, and immediately, where black people go is well, you know Drake's really not black like that. You know he's half white. So was Obama, nigga, that didn't stop you from voting for his black ass, says the first black president. Right, you get what I'm saying. You see how we pick and choose our fruit, and that's the thing that's dangerous about what Kendrick just did. Because people identify him as some sort of cultural flag bearer. They try to make it seem like Drake's not black now, when the reality of the matter he's been the face of black music for the last 15 years and we have been letting him be the face of black music for the last 15 years until now.
Speaker 2:It's because what Kendrick raps about in his songs is what his listeners aspire to be, although they out about acting more like Drake. But real quick. One more thing I gotta say, because I see this a lot on Twitter With all the things that happened, I know it was a lot of messaging. Kendrick is very deliberate, very intentional, and a lot of stuff is double entendres, deeper meanings. But y'all on Twitter with the like koofy, like 10-4 hats on you know what I'm saying Taking these deep dives, y'all got to stop. Like they'll be doing something like yo did. You see Kendrick had the flare leg jeans on. That's symbolism, for if you're underage girl with Drake, then shoot your flare gun as a distress signal to let us know you in danger. Like they be doing shit like that. Y'all doing too much. Just stop, just, just, just stop. That's all I got to say.
Speaker 1:Couple super chats before we hit the press, play Web visibility with the file on a super chat. Is it true this was the most watched Super Bowl of all time? Yes, it was. It's also the most people that have existed on the earth right now too. Literally, it's gone up every year for the last four years.
Speaker 2:The halftime show. He did break a record for that for the most watched halftime show.
Speaker 1:Yeah, 1.5 million more than last year.
Speaker 2:I thought it was. Yeah, 133 is the number, I think.
Speaker 1:Yeah, 133 to 135, something like that. 007 with the 199 Super Chat. After all, this KDOT still hasn't cracked top 10. Some people are calling him the GOAT today. I disagree. I don't think. I mean he's not in my top 10 still, but I hear what people are saying. Raising Head, rename the song. They Don't have to Lynch Us. Oh, that's a real quick way to lose your Super Bowl slot. Raising Head, be like so, kendrick, just want to let you know you won't be performing at this Super Bowl, because we're about entertaining at the Super Bowl, because this is an NFL driven product. You'll not be messing with our sponsorship dollars to the tune of the billions of dollars that we make that was an NBA all-star halftime performance 10 out of 10.
Speaker 1:10 out of 10. It's NBA halftime Because the NBA can run the NBA.
Speaker 2:Right, that's the yeah, exactly, that's my point.
Speaker 1:That's my point Running on NFL, roger Goodell but the NFL.
Speaker 2:The NFL wanted to chuck a job and play, not like this.
Speaker 1:I'm not even fully convinced that he wanted to do it. Roger Goodell is playing golf with Trump right now. Probably okay.
Speaker 2:Are y'all convinced that he wanted to do that or was he made to do that? That's my biggest question.
Speaker 1:Both Because I don't think he is who people say he is any damn way. So he wanted to do it.
Speaker 2:I thought he would do it and cut it off damn way. So he wanted to do it. They wanted him to do it.
Speaker 1:That's what they did. And on to press play, on to somebody whose hip hop ear has gone underappreciated. I love how you guys decided to dedicate this week's press play to Irv Gotti. So I felt like when I was picking my press play that I feel like people only know Irv as a hit maker. And I just want to talk about a couple things before I talk about my press play so I can run through it relatively fast so we can get out of here.
Speaker 1:Irv was a head and Irv was a loyal dude. When I was going back through Irv's catalog, I said to myself had this dude actually allowed himself and made himself available outside of the Ja Rules, jay-z's and DMX's and Murder Ink and Rough Riders camps? Had he made himself available outside of those camps, he would actually be higher up on our producer list guys. But he was a loyal dude and really wanted his artists and his guys to shine. And so Irving did production for people that he really rolled with thick as thieves. But I tried to highlight some of what I felt like some of his better hip hop contributions that people might not be aware of. And so first one Time to Build Mike Geronimo. This is one of the maybe the most underrated posse cuts of the 90s. This is the first time I heard Ja Rule. This is one of the first times I had heard Jay-Z and remembered Jay-Z. This was my second time hearing DMX and so this was a special record.
Speaker 1:And Irv obviously, when you start going back and looking at the lineage, we had a relationship with Mike, geronimo and Ja and Jay and X was all coming up and the thing that they all had in common wasn't each other, but Irv. Think about that. Ja, jay and X are coming from three different hoods in New York that's Yonkers, brooklyn, queens but they're all getting down with Irv. Think about how special Irv is in that time to be able to roll through those areas, and roll Literally. Think about it. It's like well, you got up and comer from queens I ain't gonna say he's best in queens because he might not even be top five in queens and then jay you know, in brooklyn at the time everybody's looking at jay, maybe next to big and az and a couple other guys. And then you got x coming out of yonkers, who essentially put yonkers on the map outside of mary special record. Uh, we don't give a fuck. All flesh of my flesh, blood of my blood, with kissing styles.
Speaker 1:I actually thought this was the best pure hip hop record on this album and what a shock to find out that Irv is the producer of it. This is another joint that he gave the X. I realized something I think he loved X more than he loved Ja. I think he really wanted X in his camp and I don't know how that happened or what happened, and Def Jam just probably came and took him away, which might have gave Irv his clout. But everything I think that he ended up doing for Ja I think he originally intended to do for X he had so much love for X and gave X so much heat. I think X was the guy and I think Irv was the guy that really knew X was going to be the man, even in the time where he's seen jay and nas up close and personal.
Speaker 1:Next, I can't wait more old dirty bastard rhetoric. Old dirty bastard makes a lot of these shows. He's a special guy a lot of people don't know. On old dirty bastards album, nigga please I can't wait, it's produced by herb gatti. Guys, this is actually the best mic performance, in my opinion, on nigga please. Nigga please is a lot of rants, a lot of raves.
Speaker 1:it's a lot of old dirty bastard being old dirty bastard, but on this record he is actually rapping and I actually think it is the best actual rap song on nigga please. And it's produced by herb this was my sleeper pick. What's my name? By dmx. This might be my favorite x record post. It's Dark and Hell is Hot.
Speaker 1:I'm going to keep it brief with this. I think this record is good enough to be on. It's Dark and Hell is Hot. It was the reason that I bought. And then there was X, because I wasn't totally thrilled with the production on Flesh of my Flesh, blood of my Blood, even though I enjoyed the album. But when I heard this record it made me feel like he was getting back into his classic bag and for a lot of people. And then there was X is better than Flesh in my Flesh and Blood on my Blood according to some people. But this was a great lead off single and one of my favorite X records. And last but not least, I actually wanted to show some of his ability to make an R&B record but still make it hip hop, cause I think people still feel like when he was making hip hop records that he made him to R and B. I feel like this is the antithesis of that back in one piece with Aaliyah and X has a hip hop feel to it, even though it's an R and B record.
Speaker 1:And so it is a dope track, it's. It's one of my favorite records from that time. It was hip hop about Aaliyah that we liked and then embodied everything about DMX. That was hip hop that we liked, but it still came off smooth and it was a very surprised pairing of like good chemistry coming together, and so that's my press play. Rest in peace. Irv Gotti, the legend AG, you're up. Yeah, we actually had a couple of the same joint scoops.
Speaker 2:So I AG you're up. Yeah, we actually had a couple of the same joints, so I'm going to go through those pretty quickly. My first one was Time to Build as well. Oh, you did Time to Build.
Speaker 1:Yeah, I would have picked the other Mike Geronimo track.
Speaker 2:No, you're good, it's all good. The Time to Build is the first time that we see the group murder ain't featured, because or was the brainchild behind that group that never came to fruition. They are on a few tracks together, but we never got the album that we were promised to get during that time. Speaking of which, that double XL cover with Jay-Z, ja Rule and the X, and then the back cover with them holding the weapons behind their back, one of the most classic, iconic XXL covers ever. But yeah, this is the first time you hear all three of them together.
Speaker 2:My second joint is Can I Live? Can I Live by Jay-Z with the Isaac Hayes sample. Yo man, listen, this is like a top five Jay-Z song for me. The way Herb flipped the sample. This is like a top five Jay-Z song for me. Like the way Herb flipped a sample I remember watching.
Speaker 2:It was like a VH1 documentary, the Making a Reasonable Doubt, where it showed him on the you know what I'm saying on the drum machine, like making the beat. He was like redoing it for the show and it was like really dope. But what Jay did on this record I mean it's easily top five Jay. He went crazy on here Next. I mean it's easily top five, jake, he went crazy on here. Next joint I got is DMX's Darker Than Hell is Hot intros. I still maintain to this day that this is a top five hip-hop intro of all time. You know, and Irv is like the producer behind this record and I just remember being on my school bus hitting play on this album for the first time and that intro come on and just losing my mind.
Speaker 1:Quick question. Aj, Do you mean intro from the perspective of it actually being called an intro?
Speaker 2:Yes, yeah, because you got intros, the opening tracks, like yeah, like the intro stillmatic intro, dynasty intro, like that sort of thing. I will put this in the top five.
Speaker 1:I think this is better than the Dynasty intro, so I'm with you on the top five.
Speaker 2:It's up there. It's up there. I also had what's my Name? Quick story behind that, one of my favorite X records, but quick story that Irv always used to tell. When they laid that track he said it's like 30 dudes in the studio to tell um. When they laid that track, he said it's like 30 dudes in the studio, everybody's high-fiving and going crazy.
Speaker 2:And the ex come out to um the booth and he's looking at irv and irv is just sitting in his chair, like you know, saying no emotion, and you know he wants, like, like you said, coop. You know, uh, irv loved x. He wanted irv's approval more than anybody's. And he's like yo irv, what's up, like you know, like what's wrong with than anybody's. And he's like yo, irv, what's up, like you know what's wrong with you, what's up? And then Irv said he looked him in the face like yo, x, I ain't feeling it. And then, you know, irv said anybody else X would have just been like F you, I don't know about his business. But he was like, nah, your energy ain't there, like you know what I'm saying. So X went back and he said turn the beat back on, went back in the studio, back in the booth and that part at the beginning where he's like you think this is an effing game, like Irv said, he was looking at him, talking to him when he laid that part of the record Like. So that energy he brought was for Irv, not, you know, liking how he laid the record the first time, but the second time he laid it that was the keeper. So that's one of the dopest stories I think I've heard Herb tell was the making of that song and the last joint I got is the Pledge remix with Ja Rule, ashanti and Nas.
Speaker 2:When I first heard this record I thought it was super dope. I'm glad Nas didn't sign to Murder Inc. I did not want that to happen but it had the streets buzzing around that time and around this record collaboration. But it was an easy sell for me because so Many Tears just happens to be my favorite pop song. So when I heard the sample I was like you know, count me in.
Speaker 2:And oddly enough, ja Rule and his verse is this and DMX and Nas and his verse is throwing some, you know, residual shots at Jay after Ether beat out. You know TakeOver and Super Ugly. What do you say? How that other rapper feel to lose his whole gangsta. You know what I mean. And then, like I said, ja Rule had some lines for X, but that's my press play. I'll throw a quick bonus joint in there, since you know we had some of the same ones. Cool Um, uh, grand finale off belly. You know what I'm saying. That's one of the joints that I was uh, you know I wasn't really privy to that earth uh, did production on that, but that's a dope joint collab between Nas, uh, method man DMX and Ja Rule, the lead single off the belly soundtrack, and I think that joints fire.
Speaker 1:So, look, I specifically didn't pick can I live in the intro to it's dark and hell is hot, because I knew you would. Okay, yeah, I specifically I was like, let me go ahead and not pick those, because I knew yours was done before mine. I was like, well, I already know ag picked those two, right, yeah, that that's actually the reason that I picked time to build, because I'm like, well, well, I know he picked the intro to it's Dark and Hell is Hot and I know he picked Can I Live. I was like, maybe he didn't touch the Mike Geronimo stuff. Oh, I had to take it back. Maybe he touched the Mike Geronimo stuff. So that was my thought process, sean, what's up with yours? Yeah.
Speaker 3:So me I'm kicking off with Kill Em Ja and Jay. I thought this is one of the dopest beats that Irv came out with on. Vinnie Vettivici Got Jay on the hook. You got Ja going crazy on here. People be talking crazy about Ja, but Vinnie Vettivici had a lot of bangers on there. This is definitely one of them. Jay was killing that hook. It's murder. Jay X and Ja Again another joint offer Vini Vedevici Underappreciated album. People forget the legacy of Ja because of what happened to him.
Speaker 1:But Vini Vedevici, he was spitting like crazy and that album went platinum without any R&B singing.
Speaker 3:Yes, it did, yes, it did yes, it did my it did. Yes, it did, yes, it did. My third one. We here Now, another Jot joint Kicking it off Again. I went back and listened to Vinny Vettavici this week and Irv produced an entire album, and that is a big one. Now Production is on point.
Speaker 1:Jot is speaking. It's a good four-mic album.
Speaker 3:Definitely this is when he leaked for our myth Bleak, because Bleak was supposed to be coming out there at the Def Jam camp.
Speaker 1:Hold on, sean. Can I tell you a quick story? I met them when I was in high school. They came into the record store. They went on tour together, bleak when they hopped on the tour bus, you're right, bleak was the hottest rapper. But by the time they got off the tour bus, bleak had went gold, but Ja had went platinum and was approaching 1.5. And so by the time they're making it to Charlotte, ja is the star and Bleak did not like that shit. Like Bleak was ready, bleak tried to leave. An hour before the crew literally ignored Bleak. When Ja was ready to go, everybody went and jumped in the van and Bleak was literally in the record store talking shit to niggas. That's how the fuck we doing now. When that nigga ready to go, we leaving. That's what we doing.
Speaker 2:That shit live in front of us.
Speaker 1:Look, I seen Ja's come happen live in real time. You know what I'm saying. Like, like that day, from the way Bleak reacted, because Bleak was cool until he was ready to go, and then it was like, oh no, no, no, like, cause Jaws become the star. Jaws was the platinum artist on the bus. He a leapfrog.
Speaker 3:They had a song on that album together on Jaws album. That was also on Bleak's album. Song on that album. Together on Ja album. That was also on Bleak's album.
Speaker 1:If you go in the Manifest on South Boulevard in Charlotte, they got their shit signed up there with Memphis Bleak and Ja Rule on the same one. I'm the one that handed them their shit and helped them sign it.
Speaker 3:I'll be in Charlotte next week.
Speaker 1:Go in the Manifest. Most of that shit up on the wall in the back. I helped him put that together.
Speaker 3:That's dope, that's dope. Yeah, he leapfrogged, bleak, and so did Bean, sorry, ag.
Speaker 1:Bean's. Definitely that's got nothing to do with me.
Speaker 3:Has nothing to do with you. I also got Tales from the Dark Side with X. This was the single joint that X had on the Murderous album and that Murderous compilation another dope joint. People don't talk about the compilation.
Speaker 1:That's a dope project Because it didn't have dope rhymes. It had dope production though.
Speaker 3:Dope production, dope production. And he gave, like y'all said, how much he loved X. He gave X a solo joint on the Murderous album.
Speaker 1:Love.
Speaker 3:X and I finished it off with we Don't Give Up on the Murder Inc album, the Murderous album as well. Another joint, a lot of energy, a lot of this production went crazy and they all went crazy.
Speaker 1:I thought that was the best joint on there. That was the best joint on there. In my opinion, it was.
Speaker 3:Compilations and soundtracks. Man, I missed that Job. Versa in this joint is actually a quotable Job.
Speaker 1:Versa in this joint was a quotable. Darren Harris just said Manifest is closed now. Ah, shit. Well, I'd like to thank Manifest for getting me my copy of Dirty Minds hitting right there the other day. Prince Dad, I'd like Thank you, manifest. You did something for me, got my copy of Dirty Mind from.
Speaker 3:Manifest. That's my last one. I love that album. I'm going to listen to that album this week as well. As well as Beanie Baited Beachy. Rip definitely to Herb Gotti man. Loud voice, boisterous voice. So much contributions to hip-hop, to Jade, to X, to Ja, to so many others.
Speaker 1:If he's responsible for Ja, jade and X, I mean, it don't. That's heavy guys. Think about it. How about this Name another producer not name Dr Dre that's been responsible for three guys like that about it? How about this Name another producer not named Dr Dre that's been responsible for three guys like that?
Speaker 3:Exactly, exactly, pivotal, pivotal for those guys.
Speaker 1:Pivotal figures.
Speaker 3:Pivotal for those guys.
Speaker 1:Look, Def Jam not open for business today if Irv Gotti don't exist.
Speaker 3:He gave Jay that additional edge that Jay needed to have one foot on the street and one foot in the industry.
Speaker 1:And he gave Jay Can I Get A? Which is the real reason that Volume 2 went 5 billion times platinum.
Speaker 3:Easily.
Speaker 1:That was Jai's record first AJ that's the story that I like the most is how when Jay seen that Jai was selling records, he really wasn't tripping. But then he saw X sell those records and his ass was up in the office with Irv again. See, he had stopped kind of think about it. In 96, him and Irv is still tight because he's with Mike Geronimo in 95. He's doing Can I Live? In 96. In 97, jay slides over with Biggs Camp the bad boy In 98, x and Ja win. Ja sells 1.5 and then X does what he does. Keep in mind X does more in a week than Reasonable Doubt did in like a year. Jay is up in fucking Def Jam offices talking to Irv and walks out of the offices after he hears Can I Get it? Think about it. And this is some hustler shit. He didn't ask for it. While he was there, he waited until he left and was like hey, what you doing with that record? Let me get that record.
Speaker 2:Now you gotta respect it, because that's how he got the Annie record from kid Capri, like no one. Uh, yeah, kid Capri was playing at shows, it's a 45, king did the production, but you know he was like yo, let me get that, you know what I'm saying A record where you flip the Annie joint, like you know what I'm saying, and play it. A classic story about Old Boy and how that came about. Jay would de-bow you for a record in a minute if it came down to it.
Speaker 1:See, that's the thing. He was just charismatic. Even the way Irv tells the story it's like, oh no, he didn't de-bow him out of the record.
Speaker 2:That wasn't Jay's way, that's not how Jay does business. You ain't doing nothing with it. Let me get it.
Speaker 1:Right, he's like hold on, what's going on with Ja's album? Ja just dropped out. Hold on, when this going, what you doing? Let me get that. Let me get that. Come on, I'll let you folks. You know, I'm your folks, right? You know, we fam, we go back to even before this rap shit, come on on.
Speaker 2:But to be honest, you know Sean might not like this, but for every hit that Jay-Z took from somebody else, he probably gave away just as many to other people you know what I mean and helped him put them on Bleak's album, or whatever, you know what I'm saying.
Speaker 1:I don't agree with that because Jay's weakness is his hook writing and that's where hits are made. But I hear what you're saying though.
Speaker 2:Yeah, records that might have been supposed to be his, but he gave it to the team. No fast records, yeah, how about this? He?
Speaker 1:gave away a lot of great records, even if they weren't hits absolutely.
Speaker 2:Yeah, definitely. 50 used to do the same thing. What did he give away?
Speaker 1:Okay, first of all, let's not compare what Jay did to what 50 50 did. What 50 did was special in terms of the records he gave away.
Speaker 2:50, yeah, he's giving away magic stick. Like you know, I'm saying all the time what did you give away ag since you? Want that's a chick, that's on bleak's record anything was a joint that he gave to beans to put on, uh, the truth album that like to help boost the sales volume three, like he was giving away records. That's just being fair.
Speaker 1:I'm pretty certain when Beans is talking. How about this? When Beans said that whole 5, 6, 7 songs Cut the camera off.
Speaker 2:I don't want to look at this nigga, no more.
Speaker 1:Today is not the day you want to know it.
Speaker 3:No, no, no.
Speaker 1:Now's a good time to part ways. Make sure you click like and subscribe. Make sure you like share, subscribe to our tribe. Like, share. Subscribe to Mirror Music 99. Unwrapped with Coop is coming soon. We want to thank all of y'all for coming out this evening and remember these other podcasts. They not like us. They not like us. Wah, wah, wah, wah wah.
Speaker 3:Yo, quick shout out to I Am God, he has that release coming out next week. Yeah, yeah, city of Gods.
Speaker 1:City of Gods 217. We working out the details about getting him to pull up. Actually, you know what? Yo, I Am God's a real brother man Like you know. Uh, yo, I am god's a real brother man, like you know he got my math.
Speaker 1:I am god. Hit me up a couple days ago to check on me, like not even on some rap shit, like he just hit me up. He's like fam, how's you doing? Like you know, I mean like you peace, like he's like that. He's not just a great mc, he's like a solid brother like in life. I'm happy that I've gotten to meet him and build with him. This fucking project is fire and another album of the year contender for the second straight year from this guy. Wait till you hear this project. Super excited to be talking to him soon. Guys, we have to go to Chicago. The Chicago rap scene is popping too much for hip hop talks not to pull up. We need to put that on the agenda. They have some things that will be coming up soon. I'm going to let I Am God talk his shit because I don't want to let too much out the bag yet. But when he starts letting shit out the bag, we need to get on our fucking sleigh and bring our bag like we Santa Claus. You know what I'm saying.
Speaker 2:Shout out to LT too. Man, LT got some exclusives for us.
Speaker 3:Hold on.
Speaker 1:Hold on, mama Bear. Yes, that's unwrapped with coupe. That means no rubber, mama Bear, that means no rubber.
Speaker 2:Okay, so we got to go.
Speaker 3:Shout out to LT 8AM Exposure, Benny, all those guys over there. You too can get unwrapped with coupe exposure, Benny, all those guys over there.
Speaker 1:Appreciate the love you too can get unwrapped with Coop.
Speaker 3:Oh my goodness, yo man, make sure y'all take your vitamins. And independent selling with Messing With Coop, shout out to the Coop.
Speaker 2:Yo, what Hulk Hogan say is take your vitamins, say your prayers. Take your vitamins, say your prayers and mess with Coop.
Speaker 3:Yeah, take your vitamins, say your prayers and mess with Coop. On the rap with Coop.
Speaker 2:No, no, no, no, we got to go man.
Speaker 1:My sister interned at the CDC. I got people, I know people. You should get plugged to a player. Get plugged to a player.
Speaker 3:All right, we got to go, man. Yeah, last thing Shout out to all the viewers. Thank you all for popping up. We had a strong viewership tonight, strong comments tonight. We had a lot of folks Shout out to the other pods as well. We all push each other to be better and we had a show tonight. We were better. Shout out to those who probably don't have a job tomorrow going to Valentine's Day Look, look, look, that's all my homies this is what Sean meant to say.
Speaker 1:Shout out to all you broke-ass niggas with pretty women. You won't have pretty women by the time tomorrow's over. Nigga, what's your broke ass?
Speaker 3:Johnny dropping tonight. Tonight, shout out to AG, he's gonna listen to that joint tonight. I'm sure he cannot wait for it to come out. He cannot wait.
Speaker 1:Look here just know, just know, just know. All you woke niggas with your broke asses on Valentine's Day, I'm gonna pull up. I'm gonna pull up next to you playing this Drake and party next to him. Take your bitch.
Speaker 3:Shout out to my nephew Jordan which you won't have, which you won't have, Shout out to my nephew Jordan Tonight is Jordan's day.
Speaker 2:Jordan going to be feeling himself walking through the halls tomorrow. I already told him don't do too much at school tomorrow, kid.
Speaker 3:Hi your daughters.
Speaker 1:Shout out to Andrew.
Speaker 3:Shout out to Andrew Miriam Music for the dope graphics for the support all the time. Andrew's behind the scenes a lot guys. Andrew's the one that's pulling the strings behind. He's actually the glue to the group. He keeps us balanced more than anything. We got crazy personalities and Andrew is like that centerpiece to kind of keep the personalities in check.
Speaker 1:I know Andrew can't stand my ass, because Andrew won't hear from me for three days and he'll just get four videos from me at like 6.30 in the morning.
Speaker 3:We talked about that. We talked about that.
Speaker 1:I bet you did. He's probably like this motherfucker knows me since he was 15. He can't say hello with this. Shoot me four videos at 6.30 in the morning.
Speaker 3:Shout out to the Discord. Shout out to the chat. We have one of the loudest chats in the pod space. The chat people are crazy. They love us, they hate us, they mess with us and all that good stuff. So we appreciate the love in the chat as well as the hate as well as the threats. We appreciate all of it. So I think we got it and rest in peace, lovebug Starsky as well.
Speaker 1:Rest in peace. Lovebug Starsky, we might need to do a little vibe on that as well. A little short on that as well.
Speaker 3:We got some more stuff coming to Pipeline. So thank you all for the support. Unwrap is coming. Pause Mirror Music show is coming. You know AJ and I will be doing the actual Stoop Stories on YouTube. A lot of content coming y'all, so like, subscribe, share all that good stuff Yo yo yo, hold on.
Speaker 1:Michael Brown, I just gotta read this. You only taking teenagers playing that Drake and partying next door. Hey yo, listen, listen, shout out to my son Jordan.
Speaker 2:He got his braids tight and I told him don't do too much at school tomorrow. He going to be on one at school tomorrow. He's a big P&D fan, anyway. You know what I'm saying. So yeah, he going to be, I don't know. Like Sean said, hide your daughters tomorrow, man.
Speaker 3:Hide your daughters. Tomorrow Valentine Say shout out to my man as well.
Speaker 1:You woke, you're broken. Tomorrow, you got no hope.
Speaker 3:All right, vote for Coop in 2028, motherfucker, applebee is going to be lit tomorrow night. It's going to be crazy.
Speaker 1:The chili's going to be popping Four-hour wait.
Speaker 3:Your LP just texted me. He was like yo. Son be going to Chili's tomorrow night in San Francisco. Going to Chili's in San Francisco is crazy LP.
Speaker 2:Shout out to everybody going to Pizza Hut and getting their girl to HeartShake Pizza. Hold on LP, You're in Frisco.
Speaker 1:Shout out to everybody going to pizza and getting their girl the heart-shaped pizza. Hold on LP. You're in Frisco. Frisco might be the best food town in this nation. The plate might cost you $500 to get like a muffin.
Speaker 3:Tomorrow he's taking this shorty to Chili's. That's crazy, me too.
Speaker 1:That's nasty work LP Yo you know how expensive it is to eat in San Francisco. I'll be taking my girl to Chili's too, that's probably going to cost him $200.
Speaker 2:Come on the fajitas $200 for a Chili's plate is wild.
Speaker 3:Wild.
Speaker 1:Nigga, when you step into San Francisco, they charge you $25 to breathe.
Speaker 3:They're like we're going to need that. It is true it is expensive. You can't breathe here, cooper. Like give me the faj fajitas fam, yo peace, yo yo. Jonathan Coleman, I had Raising Cane's a couple days ago in Nolo, raising Cane's off the chain.
Speaker 1:Raising Cane's on the street.
Speaker 3:I'm sorry Raising Cane's on the street.
Speaker 1:It is yo I was look, look, my daughter took me on to get the chicken tenders.
Speaker 3:Dip yo, michael Brown. I was on Claiborne on Tuesday and I had all the grazing canes on Claiborne and the Magnolia projects on Tuesday Absolutely delicious, I'm not going to lie.
Speaker 1:You know where I'm going Taking my black ass to work. That's where I'm going. My black ass will be at work tomorrow. Where you at Work, nigga Making money. My black ass will be at work tomorrow. Where are you at Work, nigga, making money?
Speaker 3:Why are you spending money Right. How about you, aj, we gotta go, right you?
Speaker 2:two niggas need to go. Don't say anything else.
Speaker 1:You two don't say anything else. Cut the camera off. Cut the camera off.
Speaker 2:Cut the camera off right now.
Speaker 3:Cut it off right now. Yo peace. Had a rough day Sean.