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Speaker 1: The volume.

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Speaker 2: If Drake dm me die slowly, I mean I wouldn't

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Speaker 2: get depressed.

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Speaker 3: But you know I locked my doors.

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Speaker 4: You would lock your doors. You would go down stairs

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Speaker 4: and check to see if the door was locked. Why

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Speaker 4: Drake see Iceman was outside? What's up with your man off?

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Speaker 1: I like it? Dying slower pussy Yeah.

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Speaker 4: Yeah, yeah, yeah, all you niggas that was talking ship

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Speaker 4: all year, clapping for that bullshit rhetoric that they was

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Speaker 4: pushing about me.

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Speaker 1: Yeah, die slow. We got to see all your niggas fail.

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Speaker 1: But what is that? What does that mean? It means slow.

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Speaker 4: I hope your next show don't work out either, That's

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Speaker 4: what you don't. Drake is not hoping that Ebro is

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Speaker 4: putting to the ground next. You know that he's not.

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Speaker 4: He's not that type of person. But he's saying do slow,

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Speaker 4: like yo, yeah, your ca career wise, but we got

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Speaker 4: some ship for you. One could take as a threat

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Speaker 4: and maybe yeah, rose Berg, I didn't like that, and

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Speaker 4: then like Roseberry pumping out, I would take that as

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Speaker 4: a threat. You should toe like, come on, man with

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Speaker 4: the bullshit he was. I didn't like that. I didn't

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Speaker 4: like that, and I fuck with people.

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Speaker 2: I didn't like that he was making a joke based

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Speaker 2: off the lawsuit that Drake, I get it.

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Speaker 3: He's saying he bring I mean swings.

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Speaker 4: Okay, so yeah, but just it was it was that

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Speaker 4: coming out next see.

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Speaker 1: Someone saying we got some ship for you, Well, you.

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Speaker 4: Can probably get like like, yo, it's a threat.

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Speaker 3: Oh someone could if you wanted.

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Speaker 4: If you like that doing that, I was like, come on, man,

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Speaker 4: you know that's not Drake is not going to do

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Speaker 4: anything to eat bro.

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Speaker 3: No, of course not.

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Speaker 2: But that's why you shouldn't say we got some ship

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Speaker 2: for you unless you can do it.

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Speaker 4: Yeah, but we got some shift for you can be

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Speaker 4: a bunch of things. It could be I got you,

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Speaker 4: I got to I got you on a song. I

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Speaker 4: got some balls about you on the song. I got

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Speaker 4: some you know, some some info that I heard about

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Speaker 4: you from some women that you may have dated before.

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Speaker 1: It could be a lot of things.

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Speaker 4: It don't mean that I'm going to show up to

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Speaker 4: your house with the with the owls and fucking and

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Speaker 4: bring a harm, bodily harm to you.

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Speaker 3: Like they don't mean that, bring the potters.

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Speaker 1: It don't mean that. It just means we got some

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Speaker 1: ship for you.

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Speaker 2: Do you think this is a bit hypocritical of what

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Speaker 2: you just said about Wile. Why should Drake give so

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Speaker 2: much power to these people on the internet discussing him. No,

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Speaker 2: he's just he's not to the point that you say,

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Speaker 2: die slower, pussy, we got something for you in the DMS,

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Speaker 2: and you're worth a billion dollars in the biggest artists,

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Speaker 2: second biggest artist in the world. To me, that's he's

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Speaker 2: letting people on the internet get get to him. If

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Speaker 2: he didn't care, he wouldn't.

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Speaker 1: No, no, no, this is somebody.

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Speaker 4: Somebody died, somebody that was the program director of a

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Speaker 4: radio station in New York City.

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Speaker 1: I was pushing over a decade.

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Speaker 4: Yeah, but they've been pushing a rhetoric about him based

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Speaker 4: on a song that came out last year. Hebro has

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Speaker 4: been very vocal about that. He said a lot of

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Speaker 4: things about Drake over the past year. I mean, we

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Speaker 4: can go down a clip of things that Nebro said

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Speaker 4: about Drake.

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Speaker 2: Listen, I don't watch every single Ebro show to know

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Speaker 2: every bad thing he said about Drake. But I also

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Speaker 2: think the level that Drake is at can go to

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Speaker 2: your point of what you made with Walle.

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Speaker 3: It's people on the end, and that there's no power.

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Speaker 2: Even when Flex was trying to beef with Drake and

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Speaker 2: Drake was on stage of the Garden saying Hot ninety sen,

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Speaker 2: they were playing Drake, you know, fifty times a day.

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Speaker 2: It didn't affect his It's not like he got blackballed

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Speaker 2: from Hot ninety seven. It's not like they stopped playing

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Speaker 2: his music, which affects your livelihood. You know what they

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Speaker 2: were beefing with with Drake. Flex is beefing with Drake

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Speaker 2: and had to play ten Drake songs in a sect like.

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Speaker 4: Yeah, but you But here's the thing where because you're

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Speaker 4: asking for Drake to, you know, be the bigger person,

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Speaker 4: you're asking him to I'm just making a point off

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Speaker 4: the way. So he wanted he actually laugh at this. Yeah,

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Speaker 4: sometimes he wanted to play petty. Sometimes he goes he

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Speaker 4: gonna be petty. Sometimes yeah, career exactly. So sometimes I'm

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Speaker 4: gonna say die slow a pussy. Sometimes I'm gonna say that,

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Speaker 4: I'm gonna be in the studio. I'm gonna here that

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Speaker 4: you just lost your show got canceled, and I'm gonna

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Speaker 4: be like, oh shit, he was talking so much about

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Speaker 4: me this ship.

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Speaker 1: Let me send him a nice little message.

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Speaker 2: I just and I'm not saying this about Drake. I

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Speaker 2: think it's the overall internet now. When drill music and

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Speaker 2: streamers all like connected and they started using drill slang

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Speaker 2: and metaphors in real life is when things got weird,

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Speaker 2: like smoking on packs and like all it's like, you know,

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Speaker 2: it's actually like really about like murder, right, Like yeah,

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Speaker 2: they're saying that on Twitter.

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Speaker 3: Those guys are actually doing it.

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Speaker 2: That's when things when anyone felt like they could say

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Speaker 2: anything on the Internet, like die slower pussy.

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Speaker 3: I just I think that's a wild thing to DM somebody.

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Speaker 1: I just do. I just do.

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Speaker 2: And I think everyone is speaking like they're all drill

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Speaker 2: rappers no matter who you are. People feel like that's

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Speaker 2: just acceptable of vernacular now to say certain threats that

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Speaker 2: have a meaning of actual violence, like we smell around

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Speaker 2: that pack tonight, Like wait, you know that derived from

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Speaker 2: someone that was murdered, right.

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Speaker 3: I just think it's people.

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Speaker 2: Talk crazy and dms on streams on Twitter like it's nuts,

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Speaker 2: the things that people are saying to each other with ease,

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Speaker 2: and they're not even I'm not saying this about drink

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Speaker 2: and not even like that mm hmm, Like, listen, do

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Speaker 2: we joke around this and that. I don't use certain

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Speaker 2: words because I'm not prepared to. I'm thirty five years old.

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Speaker 3: I don't want any violence.

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Speaker 1: Even when I was cut Homie off in traffic, I

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Speaker 1: just with stair straight.

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Speaker 3: I want to fight.

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Speaker 2: I'm past that point in my life, so I don't

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Speaker 2: speak that way. I'm not going to threaten someone that

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Speaker 2: way unless we're going that way. So I don't know.

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Speaker 2: I just think everyone on the in and out easily

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Speaker 2: just says shit that has power behind it if you

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Speaker 2: think about what you're saying.

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Speaker 1: But do you do you understand why Drake said that?

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Speaker 1: I don't know.

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Speaker 2: I mean, did Ebro call him put a fhile? I

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Speaker 2: don't know if someone called me a pedophile?

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Speaker 1: Yeah?

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Speaker 3: Probably in my head, I probably. I probably hope that their.

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Speaker 1: Career he called them a sickness.

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Speaker 2: Oh yeah, I did see the sickness part, and I

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Speaker 2: did see Ebro try to clean clean that up, saying

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Speaker 2: that his fans were the sickness or whatever. Drake has

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Speaker 2: every right to feel that way. I just think everyone

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Speaker 2: is just talking too crazy. In the last two or

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Speaker 2: three years, you talking.

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Speaker 1: Way, I get crazy, too crazy?

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Speaker 5: I feel like I'm not mad at Drake for being petty,

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Speaker 5: because whenever shit happened to somebody at him, did me wrong,

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Speaker 5: I'm always the first to say, ooh, God, don't play

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Speaker 5: about me, So I know how it is to feel

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Speaker 5: that way. But words do mean things, so you can

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Speaker 5: say he didn't mean it like that.

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Speaker 1: He just meant his career should die. But die slower.

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Speaker 5: Pussies like words have meaning and words have power, so

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Speaker 5: they do.

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Speaker 4: He sat back and listened to a lot of words

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Speaker 4: about him over the last Yes, that's fine.

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Speaker 1: Is That's what I'm saying. That slow.

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Speaker 2: I've never been in that situation, so I'm really honestly

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Speaker 2: not here to judge how he reacted to it because

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Speaker 2: I've never been in a position Drake has been in

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Speaker 2: and been called a pedophile. Yeah maybe I would react worse.

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Speaker 2: I don't know, but a lot just a wild thing

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Speaker 2: to say to somebody. Yeah it is, You're right, I'm

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Speaker 2: not saying it's not.

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Speaker 1: I like it though. That's what I'm saying. I like it.

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Speaker 4: God saw you niggas my faux fold. Make sure all

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Speaker 4: your kids don't.

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Speaker 2: Grow you didn't tell your lady uber driver.

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Speaker 3: You'll throw on that funk flex this morning.

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Speaker 1: No, I did not.

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Speaker 4: But for all of those who I've not heard, Ebro

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Speaker 4: in the morning show has come to an end.

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Speaker 2: Yes, Ebro show consists of him, Peter Rosenberg, and Laura Styles,

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Speaker 2: all friends of the show. I mean, congrats on a

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Speaker 2: crazy run. Ebro was what program director for twenty years

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Speaker 2: and then on air for ten.

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Speaker 1: I always loved their show.

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Speaker 2: I think Rosenberg is one of the few people that

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Speaker 2: actually gave a fuck about hip hop.

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Speaker 1: At a radio station.

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Speaker 2: And Laura always an amazing personality and was the best

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Speaker 2: feeling because and it's gonna samosogynistic, but.

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Speaker 3: I'm just being truthful.

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Speaker 2: Sometimes they just throw a woman into a radio show

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Speaker 2: because they need a woman. Laura Styles has been a

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Speaker 2: part of this culture and loves hip hop and is

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Speaker 2: knowledgeable about hip hop. That's what made her role so

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Speaker 2: much better. That they weren't like, yeah, let's just get

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Speaker 2: a chick that's attractive and you know she can be

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Speaker 2: like haha, Like Laura was like really really contributed all

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Speaker 2: the time, and it was amazing.

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Speaker 1: I always loved their show.

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Speaker 2: I know they got a lot of shit because they

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Speaker 2: made a lot of enemies, but their numbers were always.

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Speaker 1: Really good with the enemies that they make.

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Speaker 2: I mean they're back and forth with which has always

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Speaker 2: been in radio, but they're back and forth with power

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Speaker 2: when power was capitalized radio beef.

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Speaker 1: Oh yeah.

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Speaker 2: And you know, hebro sometimes rubbed certain like when he

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Speaker 2: had I think it was Kodak Black when you tried

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Speaker 2: to get in the rap. Like there's there's been moments

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Speaker 2: where they've rubbed people the wrong way. But I think

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Speaker 2: that's what radio is supposed to do to some degree,

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Speaker 2: as long as you're being somewhat respectable. But congrats on

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Speaker 2: a crazy run, Like I think that's amazing. But I

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Speaker 2: also feel like it was good for them, Like I

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Speaker 2: even hit Pete, you know, just send sent them a text,

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Speaker 2: thank god this is over. Like radio needs to adjust

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Speaker 2: and pivot to the times, and of course they were

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Speaker 2: trying to do it with you know, YouTube and Breakfast

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Speaker 2: Club is a perfect example of how you do pivot

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Speaker 2: and that's why they're in the Radio Hall of Fame.

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Speaker 3: But it was, come on, man, you have to revamp.

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Speaker 2: Like as much as I thought Charla Mane and Heavy

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Speaker 2: should have stayed because of what they built there, I

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Speaker 2: also think new Blood is important and pivoting is important

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Speaker 2: because radio, for the most part, if you think about it,

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Speaker 2: when we were growing up, they treated radio like clubs,

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Speaker 2: like we're changing the name every year. Yeah, like people

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Speaker 2: talk about stars generational run, which it was that was

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Speaker 2: one year. Like usually, unless it's an Angie Flex big

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Speaker 2: boy radio, people leave like this.

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Speaker 3: This changes.

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Speaker 2: DJ's change, everything changes, and New York radio has been

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Speaker 2: not stagnant by any means, but it's been the same

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Speaker 2: fucking people forever. So I think it's beautiful that Flex

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Speaker 2: took over the split.

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Speaker 1: New Blood. Flex is just cleaning house so he could

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Speaker 1: take every fucking slot.

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Speaker 4: No, no, no, To be fair, Flex said he's only only

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Speaker 4: taken over today, just feeling it, just feeling in today.

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Speaker 4: We don't know what tomorrow looks like for the radio station.

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Speaker 4: But I mean Flex did take over today, another familiar

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Speaker 4: voice and familiar you know personality.

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Speaker 2: I did not listen, but I just don't know what

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Speaker 2: Flex's morning swag would be. Flex is amazing for evenings.

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Speaker 2: I love a bomb on my way over to the GW. Yeah, Like,

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Speaker 2: I think that's great. Screaming is great at that time.

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Speaker 2: What is Flex morning swag? Like?

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Speaker 4: I don't know, man, maybe he got into you know

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Speaker 4: R and B bag I didn't. I didn't listen to it,

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Speaker 4: but maybe he got into a little more R and

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Speaker 4: B heavy for the morning commute. But either way, I

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Speaker 4: do think that you know, we spoke to Pete a

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Speaker 4: few months ago, he came by. He gave us a

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Speaker 4: little insight on things.

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Speaker 2: Yeah, it's shifting, only a shock to them the way

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Speaker 2: it was a shock to all of us.

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Speaker 1: Yeah.

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Speaker 2: And I also don't think it really has anything to

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Speaker 2: do with numbers because the end of the day, yeah,

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Speaker 2: YouTube numbers are super important, but the real radio charts

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Speaker 2: are what radio advertisers are looking for, what program directors

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Speaker 2: are looking at, and hot and breakfast club like month

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Speaker 2: to month it switched.

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Speaker 1: It's not like.

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Speaker 2: It the way we see breakfast club dominating in the digitals,

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Speaker 2: it's not that way on the radio. So it's not

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Speaker 2: like they were failures by any mean. I just think

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Speaker 2: this new company that bought it from MS doesn't give

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Speaker 2: a fuck about hip hop. I think they're just trying

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Speaker 2: to shap like the way Elon when he bought Twitter,

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Speaker 2: turns and X fired everyone on fucking staff and like,

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Speaker 2: you know what a I is gonna run this year?

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Speaker 2: I see what our overhead is I see what we're making. Sorry, guys, Ibro,

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Speaker 2: you've been here for twenty years, so your salary is

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Speaker 2: a certain thing.

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Speaker 1: We're not paying that anymore. Like, That's what I think.

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Speaker 2: And MS I think was more of a still a corporation,

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Speaker 2: but more of a niche corporation than I forgot this

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Speaker 2: one that bought it.

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Speaker 3: Man, they don't give a fuck about hip hop.

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Speaker 1: So you don't think this has anything to do with

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Speaker 1: the radio RICO.

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Speaker 3: I don't know.

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Speaker 2: I don't think Ebro, Rosenberg and Laura specifically, I know,

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Speaker 2: I don't think any of them are involved in any

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Speaker 2: RICO activity whatsoever. Do I think even though people have

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Speaker 2: been giving me shit of like I'm on my canvas

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Speaker 2: own shit, Like, where's the evidence that shit is still coming?

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Speaker 1: Pause?

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Speaker 2: And I think a lot of the shifts we've been

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Speaker 2: seeing across the board, not just with Hot ninety seven

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Speaker 2: but other radio stations, I think there's a trickle down

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Speaker 2: connection to some of it, where budgeting may may land

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Speaker 2: when things start to go to shit. So I don't

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Speaker 2: think directly, but I think their overall bottom line no

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Speaker 2: longer is caring about growing the Hot ninety seven brand.

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Speaker 4: What is going on in the hot ninety seven because

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Speaker 4: we've seen Summer Jam significantly downsize and it hasn't been

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Speaker 4: as you know, let's say star studied, as it's usually

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Speaker 4: been throughout the years.

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Speaker 1: Well, I mean I think that has that's is it music.

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Speaker 2: That's fastoral culture, where you know, Summer Jam is a staple.

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Speaker 2: And I think didn't we talk about this with with

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Speaker 2: Pete when he was here. They're competing with people that

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Speaker 2: have fuck you money, whereas you know, Summer Jam isn't

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Speaker 2: backed by Verizon, where Verizon can just start a fucking

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Speaker 2: festival tomorrow and get Bad Bunny as a headliner.

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Speaker 3: Like they're they're a small fish in a big pond.

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Speaker 2: Now that festival culture is a thing and fans only

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Speaker 2: have so much money per month, and what I'm what

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Speaker 2: do you think I'm gonna go to Rolling Loud or

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Speaker 2: summers yea, if I have fifty five dollars this month,

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Speaker 2: where do you think I'm gonna go?

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Speaker 1: Yeah?

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Speaker 2: I think I'm gonna go to fucking City Field and

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Speaker 2: see all the Rolling Loud acts, or I'm going to drive.

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Speaker 3: To Long Island to see the Summer Jail.

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Speaker 1: They can't compete.

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Speaker 4: Well, I do think that things do need to change.

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Speaker 4: Change is good obviously, you know, even even with radio,

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Speaker 4: it comes a time where you have to shift things

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Speaker 4: and change with the times and the culture. I don't

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Speaker 4: know what this looks like for how nineties haven't moving forward,

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Speaker 4: but it is a real thing now. I mean, not

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Speaker 4: as many people listen to radio as before.

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Speaker 1: We all are our own DJs.

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Speaker 4: To a certain extent. Now music comes out, we create

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Speaker 4: our own playlist. So I mean, maybe maybe you listen

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Speaker 4: to radio for you know, some of the commentary and

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Speaker 4: some of the you know, the personalities that there, but

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Speaker 4: as far as the music and this is what you know,

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Speaker 4: radio is all about the programming.

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Speaker 1: I think.

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Speaker 4: I just think people just are tired of hearing the

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Speaker 4: same old shit over and over when it comes to radio.

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Speaker 1: I think people want to hear most of the things

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Speaker 1: that they like.

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Speaker 4: Uh. They don't want things to be programmed and fed

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Speaker 4: to them. I think people want real good music. They

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Speaker 4: don't want to They don't want the radio to tell

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Speaker 4: us or the ky to or curate a playlist and say, hey,

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Speaker 4: this is what we want you to listen to all

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Speaker 4: day on loop. I just think people moved away from

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Speaker 4: radio and started listening to their own music and their phones.

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Speaker 1: I mean radio is still super super important.

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Speaker 2: Of course, there's been a decline and you know people

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Speaker 2: talk radio our age have you know, typically go more

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Speaker 2: to Bluetooth and their iPhone and want to play the

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Speaker 2: stuff that they want to play without commercials, this and that.

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Speaker 2: But radio is still very much a thing of Middle America.

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Speaker 2: And again when I say Middle America, I don't actually

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Speaker 2: mean Middle America. Middle America can be in North Jersey,

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Speaker 2: it can be in Long Island. Middle America still does

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Speaker 2: get in their car and just they're not as invested

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Speaker 2: as we are. Where it's like I want to hear

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Speaker 2: this song, that I want to hear this song, that

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Speaker 2: I want to hear this song. Some people just get

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Speaker 2: in their car and want to hit a button and

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Speaker 2: fucking drive. That's still a huge part of the consumer.

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Speaker 2: I just don't know what's going to happen in the

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Speaker 2: next forty years when all the kids younger than me

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Speaker 2: are now the adults driving their kids to school. I

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Speaker 2: don't know if they're gonna be the people they just

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Speaker 2: want to hit one button in drive. Oh no, So

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Speaker 2: they need to make shifts for what's going to happen

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Speaker 2: in the next forty fifty years now with radio. In

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Speaker 2: my opinion, and again, I'm not even gonna speak as

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Speaker 2: an expert because I don't know what that shift is ever,

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Speaker 2: really don't. I don't know enough about the radio business

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Speaker 2: to know how they should pivot. But it is clear

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Speaker 2: that change is coming. As important as they still are

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Speaker 2: and will remain to be important, they got to change something.

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Speaker 2: And I guess I view this more as a media

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Speaker 2: personality than I do a fan. If I'm ero Laura

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Speaker 2: and Pete, what else is there for me to do here?

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Speaker 2: What's left here? If this company has no interest in

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Speaker 2: growing this brand or letting us do anything, why am

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Speaker 2: I here?

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Speaker 1: Yeah? So, I'm sure.

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Speaker 2: Yeah, it's probably sad that, you know, they've been there

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Speaker 2: for so long and that's been such a big part of.

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Speaker 1: Their long How long were they on the radio?

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Speaker 3: He got there when I was a senior, he was

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Speaker 3: seven eight.

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Speaker 2: Ebro's been there since I was born. Laura got there

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Speaker 2: after Kate Fox left. I'm not sure which year that

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Speaker 2: that was, maybe like twenty twelve, thirteen, fourteen some over there,

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Speaker 2: But Laura's been there for a minute.

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Speaker 1: But what more is there to do?

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Speaker 6: Here.

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Speaker 2: Yeah, like, of course we all have bills, so yeah,

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Speaker 2: I'll keep it. D what am I doing? Nothing's going

385
00:16:36,760 --> 00:16:39,640
Speaker 2: to change here if if the people that bought it

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Speaker 2: are not interested in that. So if I'm then your

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Speaker 2: good rinning. It's been a good run. Let's keep our

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Speaker 2: brand going. Like they still have their own show like

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Speaker 2: Ebra in the Morning, they can take and do. They

390
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Speaker 2: could still stay as a crew, like their numbers even

391
00:16:55,200 --> 00:16:58,360
Speaker 2: on the audio podcast side are good. Like I would

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Speaker 2: just move on and keep the show. I mean, if

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Speaker 2: that's what the three of them want to do. Laura

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Speaker 2: may want to do her own thing, Ebro may want

395
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Speaker 2: to just focus on Apple, Pete may just want to

396
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Speaker 2: go wrestling. I don't know what I'm saying. The three

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Speaker 2: of them still have a show that they can continue on.

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Speaker 2: They don't have to stop just because Hot doesn't want to.

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Speaker 4: Well, thank you to Ebro, Lauren and Pete for you know,

400
00:17:17,600 --> 00:17:23,080
Speaker 4: the years of radio and entertainment, great interviews, and we

401
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Speaker 4: just have to wait and see they where they end up.

402
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Speaker 1: But I'm sure we'll see Laura, Ebro and Pete again.

403
00:17:29,840 --> 00:17:30,040
Speaker 3: Yeah.

404
00:17:30,080 --> 00:17:34,160
Speaker 2: I mean they all alluded to that in there, like yeah,

405
00:17:34,720 --> 00:17:37,760
Speaker 2: tweets and everything, just a change. Change is good, change

406
00:17:37,760 --> 00:17:38,439
Speaker 2: is inevitable.

407
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Speaker 1: What do we think?

408
00:17:41,119 --> 00:17:42,920
Speaker 2: And this isn't even local because I still feel like

409
00:17:42,960 --> 00:17:47,159
Speaker 2: Hot ninety seven is still a nationwide brand even though

410
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Speaker 2: it's not like a breakfast club that's syndicated in Iowa

411
00:17:51,040 --> 00:17:52,720
Speaker 2: like it is. But Hot ninety seven is still a

412
00:17:52,840 --> 00:17:56,240
Speaker 2: national brand because it's hip hop. What is the next

413
00:17:56,280 --> 00:17:58,840
Speaker 2: move because none of the streamers, the streamers of the

414
00:17:58,840 --> 00:18:01,680
Speaker 2: streamers like that's where radio and they're always like, let's

415
00:18:01,680 --> 00:18:03,320
Speaker 2: get new blood in there. Like all the new blood

416
00:18:03,680 --> 00:18:06,080
Speaker 2: that would be good may not want to go at radio,

417
00:18:06,240 --> 00:18:07,840
Speaker 2: like they have their own thing, whether it be podcasts

418
00:18:07,840 --> 00:18:10,600
Speaker 2: and streaming like Twitch. I don't know if those people

419
00:18:10,800 --> 00:18:13,880
Speaker 2: that would revamp it would have any interest in going

420
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Speaker 2: to do that, but they need somebody.

421
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Speaker 1: Yeah, it can't be flex. It can't be flexed.

422
00:18:20,720 --> 00:18:23,399
Speaker 4: No, and it won't be flex. I mean, this is

423
00:18:23,400 --> 00:18:25,600
Speaker 4: how the flex is. He's saying that, you know, he's

424
00:18:25,640 --> 00:18:27,720
Speaker 4: not going to be the permanent replacement. He was just

425
00:18:27,760 --> 00:18:31,639
Speaker 4: taking over today. But yeah, I don't know, man, I

426
00:18:31,640 --> 00:18:33,560
Speaker 4: don't know. I do I do. I think that this

427
00:18:33,600 --> 00:18:36,760
Speaker 4: is the sign of things to come. I think there's

428
00:18:36,760 --> 00:18:39,320
Speaker 4: more changes that will happen I think that you know,

429
00:18:39,359 --> 00:18:41,919
Speaker 4: there's changes that have already happened before. This's is just

430
00:18:41,960 --> 00:18:44,840
Speaker 4: another one on the list, and I just think that's

431
00:18:44,880 --> 00:18:46,399
Speaker 4: the time we in man. I think things are changing,

432
00:18:46,440 --> 00:18:47,080
Speaker 4: things are shifting.

433
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Speaker 1: I heard I heard a rumor.

434
00:18:50,320 --> 00:18:53,359
Speaker 2: Because of their their privacy, I will not say what

435
00:18:53,400 --> 00:18:54,960
Speaker 2: it is, and I hate being this person, but I

436
00:18:55,000 --> 00:18:58,080
Speaker 2: heard a rumor of who they chose for that morning slot,

437
00:18:58,680 --> 00:19:00,320
Speaker 2: and it's the best move they could have ever made.

438
00:19:01,320 --> 00:19:03,800
Speaker 2: When I was told who they picked, I was like, Oh, yeah,

439
00:19:04,080 --> 00:19:07,040
Speaker 2: this is going to keep Hot ninety It's the perfect person.

440
00:19:07,240 --> 00:19:12,080
Speaker 3: To keep that ship moving. Good morning, speedy, No, not sunny.

441
00:19:12,960 --> 00:19:14,640
Speaker 2: But I know a lot of people have complained over

442
00:19:14,640 --> 00:19:16,680
Speaker 2: the years that there's not a lot of New Yorkers

443
00:19:16,760 --> 00:19:20,800
Speaker 2: left at Hot or at Power. And when you have

444
00:19:20,880 --> 00:19:24,440
Speaker 2: a New Yorker that's relevant, that's funny, that can revamp

445
00:19:24,520 --> 00:19:26,720
Speaker 2: something and as a creative fucking mind and has a

446
00:19:26,760 --> 00:19:29,880
Speaker 2: cult following, yeah, that's going to keep the Hot ninety

447
00:19:29,880 --> 00:19:33,440
Speaker 2: seven ship moving if he takes that offer. It was

448
00:19:33,480 --> 00:19:35,440
Speaker 2: when I heard that because I was I wasn't thinking

449
00:19:35,480 --> 00:19:36,919
Speaker 2: too much of it, Like I didn't spend my weekend

450
00:19:36,920 --> 00:19:38,720
Speaker 2: wondering who what ninety seven was going to replace with

451
00:19:38,920 --> 00:19:42,200
Speaker 2: but when I heard it on Sunday, I said, oh, genius, can.

452
00:19:42,119 --> 00:19:42,760
Speaker 5: You cover your mouth?

453
00:19:42,840 --> 00:19:49,240
Speaker 1: Fucking genius? Leap it ah.

454
00:19:49,720 --> 00:19:52,240
Speaker 2: I thought it was perfect. I thought it was a

455
00:19:52,240 --> 00:19:57,840
Speaker 2: home run, local innovative. Yeah, grew up on radio, but

456
00:19:57,960 --> 00:20:03,200
Speaker 2: has clearly isn't a completely different worlds Like I thought

457
00:20:03,240 --> 00:20:05,680
Speaker 2: that was, Oh, yeah, you guys may have a fighting

458
00:20:05,760 --> 00:20:08,560
Speaker 2: chance now, yeah, I'm interested. You just had that reaction though.

459
00:20:08,480 --> 00:20:10,760
Speaker 5: That no, it's no, it wasn't a barterer. I said, interesting,

460
00:20:11,280 --> 00:20:13,520
Speaker 5: It was just more me processing it and thinking about it,

461
00:20:13,560 --> 00:20:14,760
Speaker 5: and you've had time to think about it.

462
00:20:14,800 --> 00:20:15,160
Speaker 1: I haven't.

463
00:20:15,200 --> 00:20:18,040
Speaker 2: So yeah, those Speedy would be great, But I think

464
00:20:19,160 --> 00:20:22,720
Speaker 2: that was just a joke. I think Speedy enjoys his

465
00:20:22,720 --> 00:20:26,440
Speaker 2: his life of one interview on his time, because that's

466
00:20:26,440 --> 00:20:30,600
Speaker 2: what I think people don't understand. Like, yes, everyone has

467
00:20:30,600 --> 00:20:33,520
Speaker 2: full time jobs. I'm not saying a cushy radio gig

468
00:20:33,560 --> 00:20:36,159
Speaker 2: when you're on the air for just four hours is

469
00:20:36,800 --> 00:20:39,720
Speaker 2: not the life. But you take a morning gig on

470
00:20:39,760 --> 00:20:43,240
Speaker 2: a radio station, that's your life though, Like you can't travel,

471
00:20:43,320 --> 00:20:47,480
Speaker 2: you can't like even like when when Dame was you know,

472
00:20:47,640 --> 00:20:51,600
Speaker 2: jokingly giving Charlotte and all them shit, I felt attacked too.

473
00:20:51,640 --> 00:20:53,400
Speaker 2: When Dane was saying it. Dane was like, y'all live

474
00:20:53,440 --> 00:20:56,280
Speaker 2: in this fucking box. Y'all even have a window. Like

475
00:20:56,440 --> 00:20:58,560
Speaker 2: when Dane was attacking them, I was like, God, damn it,

476
00:20:58,600 --> 00:21:01,439
Speaker 2: this has hurting me too. He's like, y'all don't even

477
00:21:01,560 --> 00:21:03,040
Speaker 2: y'a don't even get to go out and live. But

478
00:21:03,080 --> 00:21:05,960
Speaker 2: like you've been in the same place. So like that's

479
00:21:06,000 --> 00:21:08,200
Speaker 2: when in my nature for the first time, I wanted

480
00:21:08,160 --> 00:21:09,640
Speaker 2: to defend Charlotte, like, fuck you, dame.

481
00:21:10,200 --> 00:21:13,320
Speaker 3: We have a life. You don't have dreams.

482
00:21:13,520 --> 00:21:17,640
Speaker 1: I go outside perspective, you know, saying I don't even

483
00:21:17,640 --> 00:21:18,640
Speaker 1: got a window.

484
00:21:18,400 --> 00:21:22,360
Speaker 2: Like damn, but I feel them and like, granted, it's

485
00:21:22,400 --> 00:21:24,800
Speaker 2: still a dream to have this kid, because you could

486
00:21:24,800 --> 00:21:28,720
Speaker 2: say that about shit sound engineers, Like I'm sure there's

487
00:21:28,760 --> 00:21:31,720
Speaker 2: been times like I've watched Guru pivot to do stuff

488
00:21:31,760 --> 00:21:33,240
Speaker 2: that he wants to do, But there was a time

489
00:21:33,560 --> 00:21:35,280
Speaker 2: when I've heard him and just Blaze talk about like

490
00:21:35,520 --> 00:21:40,800
Speaker 2: we were working on beans Freeway, Jay Cam. We literally

491
00:21:40,920 --> 00:21:44,520
Speaker 2: lived in baseline. I used to go street to change clothes.

492
00:21:44,560 --> 00:21:46,159
Speaker 2: They used to get a hotel across the street just

493
00:21:46,200 --> 00:21:49,600
Speaker 2: to shower. He's like, we had no life like we

494
00:21:49,640 --> 00:21:50,760
Speaker 2: literally lived in a dark room.

495
00:21:50,800 --> 00:21:52,119
Speaker 1: People don't talk about that part of it.

496
00:21:52,160 --> 00:21:53,960
Speaker 4: Like when you so baked into the culture in a

497
00:21:54,000 --> 00:21:58,240
Speaker 4: position like radio or something like that, or podcasting, you know,

498
00:21:58,320 --> 00:22:01,719
Speaker 4: it becomes a thing where it has to weekly yally,

499
00:22:01,760 --> 00:22:03,040
Speaker 4: you know what I'm saying. You have to do this

500
00:22:03,119 --> 00:22:05,639
Speaker 4: thing and you have to be on air. It's a

501
00:22:05,640 --> 00:22:08,119
Speaker 4: blessing and it's a privilege to have, you know, that

502
00:22:08,200 --> 00:22:12,119
Speaker 4: position and to you know, kind of be in a

503
00:22:12,200 --> 00:22:14,919
Speaker 4: spot where people look to you on their morning communites

504
00:22:14,960 --> 00:22:17,479
Speaker 4: and things like that. But there's a thing of you know,

505
00:22:17,600 --> 00:22:20,359
Speaker 4: it can box you in and keep you from growing,

506
00:22:20,440 --> 00:22:22,879
Speaker 4: and other opportunities that may come your way you have

507
00:22:22,920 --> 00:22:26,399
Speaker 4: to turn down because it just you know, it doesn't

508
00:22:26,400 --> 00:22:29,520
Speaker 4: coincide with your schedule for radio and things like that.

509
00:22:29,600 --> 00:22:30,920
Speaker 1: So it's not an easy thing.

510
00:22:31,000 --> 00:22:31,119
Speaker 2: Man.

511
00:22:31,160 --> 00:22:34,000
Speaker 4: We take for granted, you know, like you said, how

512
00:22:34,000 --> 00:22:36,560
Speaker 4: people have to put their lives kind of on the

513
00:22:36,600 --> 00:22:38,399
Speaker 4: back burner a little bit, their personal lives on the

514
00:22:38,440 --> 00:22:41,320
Speaker 4: back burner when they have these you know, these positions

515
00:22:41,320 --> 00:22:44,040
Speaker 4: in our culture. So to have something like you know,

516
00:22:44,080 --> 00:22:46,199
Speaker 4: Ebro in the morning for so many years and that

517
00:22:46,240 --> 00:22:49,600
Speaker 4: team to be dedicated to doing that for so many years.

518
00:22:49,680 --> 00:22:52,240
Speaker 4: It's not a small thing, man, that's like a really

519
00:22:52,320 --> 00:22:55,000
Speaker 4: big deal. And you know, they should be proud of

520
00:22:55,040 --> 00:22:57,560
Speaker 4: what they did, what they accomplished, what they've given us.

521
00:22:58,480 --> 00:23:00,280
Speaker 4: And I'm sure again that there'll be a part of

522
00:23:00,320 --> 00:23:03,480
Speaker 4: whatever change is coming, whatever change is happening. I'm sure

523
00:23:03,480 --> 00:23:06,640
Speaker 4: that all three of those individuals will land on their feet.

524
00:23:06,920 --> 00:23:09,400
Speaker 2: Yeah, No, absolutely, though I am jealous of radio people.

525
00:23:09,920 --> 00:23:13,159
Speaker 2: They get commercial breaks, music breaks. Yeah, we gotta fuck that.

526
00:23:13,280 --> 00:23:15,880
Speaker 3: Yeah, but we're just talking fucking yeah.

527
00:23:15,880 --> 00:23:17,240
Speaker 1: But it's four hours.

528
00:23:17,280 --> 00:23:17,560
Speaker 3: I know.

529
00:23:17,920 --> 00:23:20,320
Speaker 2: And they've all moved to long form interviews as well,

530
00:23:20,400 --> 00:23:23,280
Speaker 2: so they are podcasters. Yeah, Breakfast Club has one podcast

531
00:23:23,280 --> 00:23:24,760
Speaker 2: of the year for the last thirty years, I believe.

532
00:23:24,840 --> 00:23:26,520
Speaker 3: Yeah, so like you know, they're a podcast the.

533
00:23:26,560 --> 00:23:33,240
Speaker 1: Last how many years? Thirty? Yeah, Charlemagne's contract is ending. Yeah,

534
00:23:33,320 --> 00:23:34,720
Speaker 1: which is a good segue.

535
00:23:35,359 --> 00:23:37,960
Speaker 2: Well, not Charlemagne's per se if it's the Black Effect

536
00:23:38,720 --> 00:23:41,880
Speaker 2: Network signed with iHeart for five years. I think that's

537
00:23:41,880 --> 00:23:45,200
Speaker 2: separate of Charlemagne's contract with Breakfast Club. But I could

538
00:23:45,240 --> 00:23:48,440
Speaker 2: be wrong or they run coincide either way. But he

539
00:23:49,040 --> 00:23:50,720
Speaker 2: was up there with with Dolly. I forgot what platform

540
00:23:50,720 --> 00:23:51,040
Speaker 2: they were on.

541
00:23:51,040 --> 00:23:51,720
Speaker 3: Shout to Dolly.

542
00:23:53,000 --> 00:23:56,399
Speaker 2: And they asked December twenty twenty five, the contracts up,

543
00:23:56,400 --> 00:23:58,320
Speaker 2: which you're about to do? And Charlemagne did a great

544
00:23:58,400 --> 00:24:00,720
Speaker 2: job of just dancing around the questioning shit I would do.

545
00:24:01,000 --> 00:24:03,600
Speaker 2: Not judging him for it, but I think with the

546
00:24:03,640 --> 00:24:06,879
Speaker 2: news on Friday of the iHeart and Netflix deal, I

547
00:24:06,880 --> 00:24:10,320
Speaker 2: don't think Black Effect is going anywhere. I think Black

548
00:24:10,320 --> 00:24:13,560
Speaker 2: Effects will be staying with with iHeart. I think that's

549
00:24:13,800 --> 00:24:18,200
Speaker 2: Charlemagne's home base. That's Black Effects home base. New partnership

550
00:24:18,200 --> 00:24:22,080
Speaker 2: with Netflix. Why would you leave? Where would you go

551
00:24:22,400 --> 00:24:24,800
Speaker 2: with all those shows when you have something like a

552
00:24:24,840 --> 00:24:27,720
Speaker 2: Netflix partnership coming up with iHeart? And Yeah, I mean,

553
00:24:28,280 --> 00:24:30,480
Speaker 2: I know, last time I said Darling, I got killed

554
00:24:30,480 --> 00:24:33,320
Speaker 2: because I didn't know Darling was like an insult. But

555
00:24:33,400 --> 00:24:37,119
Speaker 2: Charlemagne is also Iheart's Darling. I mean that as a compliment, Like,

556
00:24:37,160 --> 00:24:39,320
Speaker 2: I think Charlamagne can go up to iHeart and get

557
00:24:39,359 --> 00:24:42,240
Speaker 2: whatever the fuck he wants, like they love him because

558
00:24:42,240 --> 00:24:45,639
Speaker 2: he's always delivered for the last however many years. So

559
00:24:46,560 --> 00:24:49,720
Speaker 2: I think whatever Charlemagne wants with this new Netflix deal,

560
00:24:49,760 --> 00:24:50,080
Speaker 2: he'll get.

561
00:24:50,359 --> 00:24:51,640
Speaker 3: So I don't think he'll leave it all.

562
00:24:52,200 --> 00:24:57,159
Speaker 4: Well, you're thinking about upgrading your phone? Rory because I

563
00:24:57,200 --> 00:25:00,399
Speaker 4: saw your phone and I was gonna ask. I know

564
00:25:00,440 --> 00:25:02,800
Speaker 4: you feel like you want the new iPhone seventeen. I

565
00:25:02,920 --> 00:25:04,919
Speaker 4: never told a soul about that. Yeah, but listen, did

566
00:25:04,960 --> 00:25:06,560
Speaker 4: you know that it's designed to be the most powerful

567
00:25:06,600 --> 00:25:07,080
Speaker 4: iPhone ever?

568
00:25:07,680 --> 00:25:08,159
Speaker 1: I didn't.

569
00:25:08,400 --> 00:25:10,440
Speaker 4: And did you know that if it's traffic, they'll come

570
00:25:10,480 --> 00:25:11,280
Speaker 4: to you?

571
00:25:11,280 --> 00:25:13,160
Speaker 1: No? See, did what you do is? I got good news.

572
00:25:13,200 --> 00:25:14,840
Speaker 4: When you order a new phone on Labe with Bootsmobile,

573
00:25:14,800 --> 00:25:17,000
Speaker 4: they'll send an expert to your home or right here

574
00:25:17,000 --> 00:25:17,560
Speaker 4: to the studio.

575
00:25:17,600 --> 00:25:18,280
Speaker 1: Rory got new.

576
00:25:18,280 --> 00:25:18,919
Speaker 3: Boost was like that.

577
00:25:19,040 --> 00:25:19,679
Speaker 1: Yeah, they'll give you.

578
00:25:19,760 --> 00:25:21,560
Speaker 4: A new iPhone seventeen Pro and they get you set

579
00:25:21,600 --> 00:25:23,399
Speaker 4: up on a boost Mobile plan within minutes.

580
00:25:23,520 --> 00:25:24,760
Speaker 3: No hassle, no hassle.

581
00:25:24,840 --> 00:25:27,480
Speaker 4: Vis bootmobile dot com to get started. Delivery available for

582
00:25:27,520 --> 00:25:30,080
Speaker 4: select devices purchased at boostmobile dot Com.

583
00:25:30,200 --> 00:25:30,640
Speaker 1: Terms apply.

584
00:25:33,080 --> 00:25:33,159
Speaker 2: No.

585
00:25:35,000 --> 00:25:37,680
Speaker 4: All right, Well we got some new music over the weekend, Rory. Yes,

586
00:25:37,720 --> 00:25:41,520
Speaker 4: it was good good music Friday, Good good music Friday.

587
00:25:42,280 --> 00:25:43,520
Speaker 4: Remember good music Fridays.

588
00:25:44,000 --> 00:25:44,800
Speaker 3: I was at that jam.

589
00:25:44,920 --> 00:25:46,400
Speaker 1: Yeah, great Fridays.

590
00:25:46,920 --> 00:25:50,680
Speaker 4: We got a NAS and DJ premiere album. Yes, after

591
00:25:50,800 --> 00:25:55,200
Speaker 4: years of you know, the culture kind of talking about

592
00:25:55,200 --> 00:25:57,840
Speaker 4: it and wanting it, we obviously knew that it was

593
00:25:57,880 --> 00:26:00,800
Speaker 4: happening this year and we finally got it over this weekend.

594
00:26:01,680 --> 00:26:03,240
Speaker 1: Rory called me, well, you text me.

595
00:26:03,320 --> 00:26:05,560
Speaker 3: I text you yesterday, I text me Sunday Sunday night.

596
00:26:05,880 --> 00:26:10,200
Speaker 2: I asked for a specific person's opinion on it, because

597
00:26:10,200 --> 00:26:11,399
Speaker 2: that person is who I look to.

598
00:26:11,520 --> 00:26:12,840
Speaker 1: I'm not going to say because some people a gonna

599
00:26:12,840 --> 00:26:13,679
Speaker 1: ask like, well, what was his opinion?

600
00:26:13,720 --> 00:26:14,359
Speaker 3: And we're not doing that.

601
00:26:16,160 --> 00:26:18,920
Speaker 2: Yeah, I was curious what someone we were veer in

602
00:26:18,960 --> 00:26:22,120
Speaker 2: the hip hop world what they thought of it, and

603
00:26:22,440 --> 00:26:26,000
Speaker 2: their review was very similar to what I saw on

604
00:26:26,440 --> 00:26:30,560
Speaker 2: the timeline and what I was texted a bit that

605
00:26:30,640 --> 00:26:37,240
Speaker 2: some people were underwhelmed by some of the production. And

606
00:26:37,520 --> 00:26:39,479
Speaker 2: this is why I'm glad I don't really look at

607
00:26:39,520 --> 00:26:42,440
Speaker 2: the timeline before listening to a project.

608
00:26:42,880 --> 00:26:44,880
Speaker 1: Did I feel like every beat.

609
00:26:44,760 --> 00:26:48,440
Speaker 2: Was nas is like or Second Childhood or Devil's Pie

610
00:26:48,440 --> 00:26:52,800
Speaker 2: And no, But clearly Nas had a lot of shit

611
00:26:52,800 --> 00:26:55,080
Speaker 2: to get off his chest. Because I need one of

612
00:26:55,119 --> 00:26:57,720
Speaker 2: those like Twitter pages that has the stats of rapping

613
00:26:57,720 --> 00:27:00,240
Speaker 2: and how many words that's like the most rap I

614
00:27:00,280 --> 00:27:02,800
Speaker 2: think I've ever heard, Like the most words I've ever

615
00:27:02,840 --> 00:27:03,760
Speaker 2: heard on a Na's album.

616
00:27:03,760 --> 00:27:04,520
Speaker 3: I mean that in a good way.

617
00:27:04,640 --> 00:27:06,880
Speaker 2: NAS had a lot of shit to say and get

618
00:27:06,880 --> 00:27:10,920
Speaker 2: off his chest. I don't know if the Premiere beats

619
00:27:11,320 --> 00:27:14,159
Speaker 2: that you guys were looking for are set up for

620
00:27:14,240 --> 00:27:16,080
Speaker 2: an artist that has a vision like that at that

621
00:27:16,160 --> 00:27:18,760
Speaker 2: current moment. I just don't know if you're going to

622
00:27:18,800 --> 00:27:21,000
Speaker 2: get in New York state of mind when Nas is

623
00:27:21,000 --> 00:27:23,840
Speaker 2: in a different mind. Like if NAS was on there

624
00:27:24,480 --> 00:27:28,399
Speaker 2: kind of given regular NAS flow sixteen hook whatever, I

625
00:27:28,400 --> 00:27:30,399
Speaker 2: could be like, yeah, I would like a NAS's like

626
00:27:30,480 --> 00:27:33,959
Speaker 2: in this mix. But he just had so much to

627
00:27:34,040 --> 00:27:36,880
Speaker 2: say that was so important that Premiere could have played

628
00:27:36,920 --> 00:27:41,240
Speaker 2: him fifteen NAS type beats and he could have went, nah,

629
00:27:41,800 --> 00:27:44,080
Speaker 2: I want this one with a wider landscape where I

630
00:27:44,119 --> 00:27:46,720
Speaker 2: can talk more. And that's what I took from it.

631
00:27:46,960 --> 00:27:49,040
Speaker 2: As I can totally understand somebody that just wants to

632
00:27:49,080 --> 00:27:52,239
Speaker 2: bang some Premiere and Nas in their car. I'm with you,

633
00:27:52,560 --> 00:27:54,880
Speaker 2: I get it. I don't think if there's anything wrong

634
00:27:54,920 --> 00:27:58,000
Speaker 2: with judging this album on the production side. Music is

635
00:27:58,040 --> 00:27:58,560
Speaker 2: to be judged.

636
00:27:58,600 --> 00:28:01,360
Speaker 3: It's your opinion. I just don't think that was NAS's vision.

637
00:28:01,400 --> 00:28:04,119
Speaker 2: I don't know if Pream should get that flack because

638
00:28:04,119 --> 00:28:05,920
Speaker 2: you don't know what was happening in that studio.

639
00:28:05,960 --> 00:28:07,840
Speaker 3: Pream could have played one hundred bangers for him.

640
00:28:07,880 --> 00:28:10,680
Speaker 2: He was like, Nah, I think I want these more

641
00:28:10,680 --> 00:28:13,400
Speaker 2: simplistic pullback beats so I could talk the shit I'm talking.

642
00:28:14,480 --> 00:28:17,120
Speaker 2: That's that's what I thought of the criticism. I personally

643
00:28:17,119 --> 00:28:19,160
Speaker 2: really like every time I listen to what I catch

644
00:28:19,160 --> 00:28:22,440
Speaker 2: more it's a very very intricate NAS album.

645
00:28:22,440 --> 00:28:24,760
Speaker 3: The shit was like a book, the.

646
00:28:24,760 --> 00:28:27,960
Speaker 2: Shit that they give NAS like koofy Nas that this

647
00:28:28,000 --> 00:28:31,720
Speaker 2: is that to me, like he was, it was a dissertation.

648
00:28:31,840 --> 00:28:34,040
Speaker 1: Was a fucking ted talk, And I mean that in

649
00:28:34,080 --> 00:28:34,600
Speaker 1: a good way.

650
00:28:35,119 --> 00:28:37,360
Speaker 2: Like even when people gave four forty four some shit,

651
00:28:37,400 --> 00:28:39,600
Speaker 2: even though I think those no id beats are fucking crazy,

652
00:28:40,360 --> 00:28:43,480
Speaker 2: when they gave four forty four shit On the production side,

653
00:28:43,640 --> 00:28:45,200
Speaker 2: it was like, well, Jay had a lot to say,

654
00:28:45,240 --> 00:28:46,400
Speaker 2: so clearly no idea.

655
00:28:46,240 --> 00:28:47,560
Speaker 3: Is pulling back on some of these.

656
00:28:48,080 --> 00:28:49,800
Speaker 2: Yeah, he's me mixed on top of the shit for

657
00:28:49,800 --> 00:28:52,880
Speaker 2: a reason because what he's saying is more important than

658
00:28:52,960 --> 00:28:55,880
Speaker 2: what you're listening to production wise. But again, I'm also

659
00:28:55,880 --> 00:28:59,520
Speaker 2: one of those people that pick production over lyrics anything. Yeah,

660
00:28:59,560 --> 00:29:04,360
Speaker 2: I've heard shitty rap songs with good production. I'm sorry,

661
00:29:04,960 --> 00:29:07,600
Speaker 2: rap songs with shitty lyrics and good production that I've liked.

662
00:29:07,600 --> 00:29:07,920
Speaker 1: I don't know.

663
00:29:07,920 --> 00:29:10,360
Speaker 2: If I've heard production I hate in good lyrics and

664
00:29:10,400 --> 00:29:12,520
Speaker 2: then like, I'm gonna listen to that aguin. Yeah, production

665
00:29:12,640 --> 00:29:14,239
Speaker 2: is always number one for me, even though words are

666
00:29:14,240 --> 00:29:17,320
Speaker 2: so important. But yeah, if NAS had all this to say,

667
00:29:17,360 --> 00:29:22,040
Speaker 2: then you're gonna get like a clean canvas, not a

668
00:29:22,160 --> 00:29:22,760
Speaker 2: Nass like.

669
00:29:22,800 --> 00:29:23,640
Speaker 3: Type of canvas.

670
00:29:23,800 --> 00:29:26,080
Speaker 1: You're not gonna get a New York state of mind canvas.

671
00:29:26,480 --> 00:29:27,800
Speaker 1: I'm on the other side.

672
00:29:28,160 --> 00:29:31,120
Speaker 4: I was a little underwhelmed by the album only because

673
00:29:31,200 --> 00:29:36,320
Speaker 4: I think after getting six Nas hit boy albums and

674
00:29:36,560 --> 00:29:38,680
Speaker 4: the music finally get into a space where because for

675
00:29:38,800 --> 00:29:41,360
Speaker 4: years people have given Nas slack, like, you know, his.

676
00:29:41,360 --> 00:29:44,120
Speaker 1: Production is lack less. I always disagree with while they

677
00:29:44,160 --> 00:29:45,600
Speaker 1: put that on Nas, I don't know, but whatever.

678
00:29:47,320 --> 00:29:51,960
Speaker 4: So this album, I was expecting the music to kind

679
00:29:52,000 --> 00:29:53,520
Speaker 4: of come again, coming off of all of the hit

680
00:29:53,560 --> 00:29:56,800
Speaker 4: boy stuff. I was expecting the music to be a

681
00:29:56,840 --> 00:29:59,800
Speaker 4: little different than what they gave us. I wasn't expecting

682
00:29:59,800 --> 00:30:02,120
Speaker 4: it to me exactly what hip Boy and NAS did,

683
00:30:02,160 --> 00:30:06,200
Speaker 4: because this is obviously prem and Nas. But it wasn't

684
00:30:06,440 --> 00:30:11,120
Speaker 4: to me. The music wasn't you know, lyrically, Nas is

685
00:30:11,160 --> 00:30:13,680
Speaker 4: going to be Nas on every track. He's gonna do

686
00:30:13,720 --> 00:30:15,680
Speaker 4: what NAS does, so I'm not never worried about that,

687
00:30:15,840 --> 00:30:17,560
Speaker 4: but I think the music on a lot of the

688
00:30:17,600 --> 00:30:21,920
Speaker 4: tracks didn't carry NAS's lyrics as much as they could. Up.

689
00:30:21,960 --> 00:30:27,000
Speaker 2: Were you expecting more of the Ransom premiere album that

690
00:30:27,040 --> 00:30:30,360
Speaker 2: came out in October at the reinvention? We're expecting more

691
00:30:30,360 --> 00:30:33,520
Speaker 2: of that type of prem.

692
00:30:32,440 --> 00:30:33,000
Speaker 1: I'm not saying.

693
00:30:33,040 --> 00:30:37,120
Speaker 4: I'm not saying I expected that type of prem again

694
00:30:37,160 --> 00:30:39,360
Speaker 4: because the artist is different. So you know, the producer

695
00:30:39,400 --> 00:30:42,400
Speaker 4: has to kind of cater to whatever artists they're working with.

696
00:30:42,480 --> 00:30:45,880
Speaker 4: But you know, this album, the music, to me, is

697
00:30:45,960 --> 00:30:49,920
Speaker 4: not as strong as I would have hoped it to be. Again,

698
00:30:50,040 --> 00:30:53,320
Speaker 4: Nas lyrically is always in shape. He's always talking, you know.

699
00:30:53,680 --> 00:30:55,680
Speaker 4: Now he got real slick shit to talk about, you know,

700
00:30:55,960 --> 00:30:57,440
Speaker 4: opening casinos and things like that.

701
00:30:57,520 --> 00:30:58,920
Speaker 1: This whole language is different now.

702
00:30:59,560 --> 00:31:04,200
Speaker 4: Just the music didn't really keep me in and grab

703
00:31:04,280 --> 00:31:05,600
Speaker 4: me the way I thought it would.

704
00:31:05,360 --> 00:31:06,080
Speaker 1: Have been, you know what I mean.

705
00:31:06,160 --> 00:31:08,880
Speaker 4: Like, this is something that people have been asking for

706
00:31:08,880 --> 00:31:13,000
Speaker 4: for years between Nas and Premiere, so when we heard

707
00:31:13,000 --> 00:31:15,120
Speaker 4: that they were finally doing it, we was all excited.

708
00:31:15,640 --> 00:31:17,240
Speaker 4: I just think that it didn't live up to now.

709
00:31:17,280 --> 00:31:20,040
Speaker 4: If we got this album before we got all of

710
00:31:20,080 --> 00:31:23,000
Speaker 4: the hit Boy albums.

711
00:31:23,040 --> 00:31:24,280
Speaker 1: Maybe I feel a little different.

712
00:31:24,720 --> 00:31:27,680
Speaker 4: But coming off of all of those hit Boy records

713
00:31:27,680 --> 00:31:29,960
Speaker 4: and that music being what it was and as strong

714
00:31:30,000 --> 00:31:33,240
Speaker 4: as it was, to this was kind of underwhelming because again,

715
00:31:33,240 --> 00:31:37,120
Speaker 4: well I'm only judging you off of your last.

716
00:31:36,160 --> 00:31:38,560
Speaker 2: And obviously with the hip boy when you get records

717
00:31:38,560 --> 00:31:40,680
Speaker 2: like The Cure where Nas is just saying crap. I

718
00:31:40,720 --> 00:31:42,760
Speaker 2: think it was on King Disease three, like he was

719
00:31:42,800 --> 00:31:46,080
Speaker 2: rapping rapping on hit Boy shit, for sure, but I

720
00:31:46,120 --> 00:31:48,000
Speaker 2: think it was more of a balance of production and

721
00:31:48,080 --> 00:31:50,200
Speaker 2: pulling back a bit on the rapping because of the production.

722
00:31:50,840 --> 00:31:53,600
Speaker 2: I think he enters this one with the opposite thought

723
00:31:53,680 --> 00:31:56,440
Speaker 2: of just getting everything he had to say, which I'm

724
00:31:56,440 --> 00:32:00,360
Speaker 2: fine with because we have those six hit Boy albums

725
00:32:00,360 --> 00:32:02,200
Speaker 2: that are kind of in the other vein. But I

726
00:32:02,200 --> 00:32:05,520
Speaker 2: feel like on Pause tapes you get the no supreme feeling.

727
00:32:05,520 --> 00:32:07,959
Speaker 2: I think people wanted mad Man. I think you get

728
00:32:08,040 --> 00:32:11,680
Speaker 2: it like it's a balance. I just don't know if

729
00:32:12,960 --> 00:32:17,040
Speaker 2: I don't know if people should judge this album this

730
00:32:17,200 --> 00:32:20,520
Speaker 2: quickly based off who these two people are.

731
00:32:20,680 --> 00:32:21,440
Speaker 1: A slow burn for you.

732
00:32:22,080 --> 00:32:24,640
Speaker 2: I think people should give it another chance because I

733
00:32:24,640 --> 00:32:28,400
Speaker 2: don't think it was designed to be the blow your

734
00:32:28,400 --> 00:32:32,360
Speaker 2: ears into another stratosphere on the first listening, while we

735
00:32:32,400 --> 00:32:35,480
Speaker 2: all waited at Thursday at midnight to just get in

736
00:32:35,520 --> 00:32:36,560
Speaker 2: the car and play it.

737
00:32:36,640 --> 00:32:39,560
Speaker 3: I don't think that was what they were going for.

738
00:32:39,840 --> 00:32:40,479
Speaker 1: I think it's more.

739
00:32:40,640 --> 00:32:42,320
Speaker 2: I think this is something you need to listen to

740
00:32:42,400 --> 00:32:44,280
Speaker 2: more and like appreciate more.

741
00:32:45,160 --> 00:32:46,440
Speaker 1: I appreciate it. I just can't.

742
00:32:46,680 --> 00:32:49,520
Speaker 2: The music to me is just not what they don't think.

743
00:32:49,520 --> 00:32:52,200
Speaker 2: I don't have my critiques, like you know shit. I

744
00:32:52,280 --> 00:32:54,760
Speaker 2: started at My Life is Real obviously at midnight, but

745
00:32:54,840 --> 00:32:56,479
Speaker 2: I wanted to skip to number three in New York

746
00:32:56,520 --> 00:32:59,120
Speaker 2: State of Mind Part three. Do I think that holds

747
00:32:59,200 --> 00:33:00,800
Speaker 2: up against New York State to Mind Part one and two?

748
00:33:00,800 --> 00:33:02,640
Speaker 3: Absolutely not. I don't.

749
00:33:02,640 --> 00:33:02,920
Speaker 1: I don't.

750
00:33:03,000 --> 00:33:06,200
Speaker 2: That's I don't think you should. I don't dislike the song.

751
00:33:06,520 --> 00:33:10,640
Speaker 2: I just like the title. Okay, I can't understand that.

752
00:33:10,640 --> 00:33:11,800
Speaker 2: I don't dis like the song at all. It's not

753
00:33:11,840 --> 00:33:14,400
Speaker 2: a skip for me. I just disliked the title. I

754
00:33:14,400 --> 00:33:16,400
Speaker 2: think scratching in all that stuff, you could have just

755
00:33:16,400 --> 00:33:18,200
Speaker 2: scratched something else in and it still would have been

756
00:33:18,200 --> 00:33:18,920
Speaker 2: an amazing song.

757
00:33:19,360 --> 00:33:22,360
Speaker 4: Like I just need we need more drums, We need

758
00:33:22,360 --> 00:33:25,160
Speaker 4: more drums again, That's why I think nows one like

759
00:33:25,160 --> 00:33:26,120
Speaker 4: a clean slate.

760
00:33:27,000 --> 00:33:30,040
Speaker 2: I have drums, though, Listen, I'm always Ava as much

761
00:33:30,080 --> 00:33:32,840
Speaker 2: as I love Griselda and a lot of that sound,

762
00:33:33,000 --> 00:33:35,040
Speaker 2: and they still have drums. But I was still one

763
00:33:35,040 --> 00:33:36,520
Speaker 2: of those like, Yo, I love that hip hop is

764
00:33:36,520 --> 00:33:38,120
Speaker 2: still happening, but can we get drums back?

765
00:33:38,360 --> 00:33:41,440
Speaker 3: I like drums, Yeah, I hate that drums.

766
00:33:41,120 --> 00:33:44,840
Speaker 2: Has become extinct in the quote unquote underground hip hop shit,

767
00:33:44,840 --> 00:33:46,680
Speaker 2: like everybody just wants to wrap over a fucking sample

768
00:33:46,720 --> 00:33:49,360
Speaker 2: and some keys somebody at a fucking snare. So I

769
00:33:49,400 --> 00:33:53,360
Speaker 2: feel you, especially Preme drums, because Preme drums are shit,

770
00:33:55,040 --> 00:33:57,600
Speaker 2: probably the most iconic drums in hip hop history. Like,

771
00:33:57,640 --> 00:33:59,080
Speaker 2: of course you want Preme drums. So I hear you

772
00:33:59,440 --> 00:34:02,360
Speaker 2: not mad at that. Yeah, I just don't. I just

773
00:34:02,360 --> 00:34:03,120
Speaker 2: don't know if that's what no.

774
00:34:04,160 --> 00:34:04,600
Speaker 1: I get it.

775
00:34:04,720 --> 00:34:06,520
Speaker 4: We wasn't in the studio when they created it, but

776
00:34:06,600 --> 00:34:08,160
Speaker 4: you know, this is what they gave us, so we

777
00:34:08,160 --> 00:34:10,319
Speaker 4: can only go for what the final product sounds like.

778
00:34:11,040 --> 00:34:13,440
Speaker 4: But for me it was a little a little underwhelming.

779
00:34:14,239 --> 00:34:17,200
Speaker 4: But again, you know, I'm this is like childhood shit

780
00:34:17,320 --> 00:34:19,759
Speaker 4: for me to finally get a nodge and DJ from

781
00:34:19,800 --> 00:34:22,120
Speaker 4: my album so I'm happy that we got it, but

782
00:34:22,200 --> 00:34:24,920
Speaker 4: it just didn't live up to my expectations of what

783
00:34:24,960 --> 00:34:27,759
Speaker 4: I thought it would sound like. But not saying it's

784
00:34:27,760 --> 00:34:30,120
Speaker 4: a bad album, it just didn't live up to the

785
00:34:30,120 --> 00:34:31,759
Speaker 4: expectations that I had for No.

786
00:34:31,920 --> 00:34:33,440
Speaker 2: And again, I want to make clear when I saw

787
00:34:33,440 --> 00:34:36,600
Speaker 2: everyone critiquing it, it wasn't a bunch of people hating

788
00:34:36,960 --> 00:34:38,920
Speaker 2: like it was. It was music people really telling their

789
00:34:38,960 --> 00:34:40,879
Speaker 2: opinion on it. Wasn't one of those like just hate

790
00:34:40,920 --> 00:34:44,560
Speaker 2: trained things. So I can appreciate people disliking the project

791
00:34:44,680 --> 00:34:46,680
Speaker 2: and give their reasons. I saw a lot of like

792
00:34:46,880 --> 00:34:49,560
Speaker 2: song breakdowns per rating each one, I was like, well,

793
00:34:49,600 --> 00:34:50,719
Speaker 2: how could you be mad at that person?

794
00:34:50,800 --> 00:34:52,440
Speaker 3: That's not hate, Yeah, that's just their opinion.

795
00:34:52,520 --> 00:34:55,200
Speaker 2: Yeah, So that I was at least happy to see

796
00:34:55,200 --> 00:34:58,600
Speaker 2: that any critiques and negative comments about it came from

797
00:34:58,600 --> 00:35:00,480
Speaker 2: a place of somebody that was actually trying to listen.

798
00:35:00,760 --> 00:35:02,719
Speaker 3: Now, somebody was just like that, oh shit, though, you.

799
00:35:02,680 --> 00:35:04,319
Speaker 1: Know what, you can't you can't talk to those people.

800
00:35:04,320 --> 00:35:06,719
Speaker 4: Those people are gonna they're gonna trash anything that didn't

801
00:35:06,760 --> 00:35:07,759
Speaker 4: come out when they were born.

802
00:35:07,840 --> 00:35:08,719
Speaker 3: So yeah, they trashed it.

803
00:35:08,719 --> 00:35:11,319
Speaker 2: At eleven fifty nine, he refreshed ain't it out yet,

804
00:35:13,280 --> 00:35:16,680
Speaker 2: But also on Friday, congrats again to our brother Conway.

805
00:35:16,760 --> 00:35:21,160
Speaker 2: You can't kill God with Bullets out now eighteen records

806
00:35:22,360 --> 00:35:28,000
Speaker 2: right an hour exactly. I mean, I like, I don't

807
00:35:28,000 --> 00:35:30,040
Speaker 2: know at this point, Conways the same shit we say

808
00:35:30,080 --> 00:35:32,960
Speaker 2: about Gibbs, Like just the gsography at this point is

809
00:35:33,040 --> 00:35:34,880
Speaker 2: kind of untouchable.

810
00:35:34,880 --> 00:35:35,120
Speaker 1: For me.

811
00:35:35,160 --> 00:35:37,800
Speaker 4: This is one of Conway's best at I'm top to

812
00:35:37,840 --> 00:35:41,359
Speaker 4: bottom on the same side, still rapping at a very

813
00:35:41,400 --> 00:35:43,760
Speaker 4: high level. Not many people can rap better than Conway.

814
00:35:44,600 --> 00:35:48,240
Speaker 4: But what I told him last week listening to it,

815
00:35:48,280 --> 00:35:52,640
Speaker 4: the music on this album, he stepped it up, you know,

816
00:35:52,680 --> 00:35:56,160
Speaker 4: on the production side, the music side, getting more into

817
00:35:56,200 --> 00:35:58,320
Speaker 4: like you know, he's not not too many features. A

818
00:35:58,320 --> 00:36:00,640
Speaker 4: lot of the songs is just him by myself doing

819
00:36:00,640 --> 00:36:04,360
Speaker 4: the hooks everything. Uh So to see Conway evolve in

820
00:36:04,440 --> 00:36:07,640
Speaker 4: that aspect of his of his craft is dope.

821
00:36:08,520 --> 00:36:10,160
Speaker 1: But yeah, I love this album. This is one of

822
00:36:10,239 --> 00:36:13,200
Speaker 1: my favorite favorite Conway albums for sure. It's up there

823
00:36:14,000 --> 00:36:15,000
Speaker 1: with my personal Fit.

824
00:36:15,000 --> 00:36:16,839
Speaker 2: It's up there with Lulu, with Me the Alchemist One

825
00:36:17,480 --> 00:36:20,239
Speaker 2: God Don't make Mistakes, It's up there yeah as well. Yeah,

826
00:36:20,280 --> 00:36:24,200
Speaker 2: I think him and West have have a really good

827
00:36:24,280 --> 00:36:31,479
Speaker 2: quality of topping their previous work constantly, Like every time

828
00:36:31,520 --> 00:36:33,560
Speaker 2: I think this is my favorite West Side Gun album,

829
00:36:33,680 --> 00:36:36,000
Speaker 2: he puts out Prey for Paris, Like yeah, it's just

830
00:36:36,080 --> 00:36:41,280
Speaker 2: every time they find new ways to make straight wrapping

831
00:36:41,560 --> 00:36:44,840
Speaker 2: interesting again and again. I think production wise to this,

832
00:36:45,000 --> 00:36:46,960
Speaker 2: these are some of my favorite beats that that that

833
00:36:47,040 --> 00:36:49,800
Speaker 2: compa absolutely so I can't say it helps to have

834
00:36:49,840 --> 00:36:51,440
Speaker 2: a few Justice League records on it too.

835
00:36:51,520 --> 00:36:53,359
Speaker 4: Yeah, you know what I'm saying, Kim be mat that'll help.

836
00:36:53,440 --> 00:36:56,279
Speaker 4: That will help any artists, any project. I love that

837
00:36:56,320 --> 00:36:58,920
Speaker 4: you put on this ship though. Yeah, yeah, absolutely, I

838
00:36:58,920 --> 00:37:01,280
Speaker 4: thought that was great.

839
00:37:02,360 --> 00:37:05,080
Speaker 2: What was the the slick Rick? We actually we're just

840
00:37:05,080 --> 00:37:08,080
Speaker 2: talking about this week, the Fates Black movie. When you

841
00:37:08,080 --> 00:37:11,520
Speaker 2: perform with Beyonce at the garden. Yeahbody click, Rick came

842
00:37:11,560 --> 00:37:15,520
Speaker 2: with all came George, How long has your relationship been

843
00:37:15,560 --> 00:37:19,239
Speaker 2: so close that way? Because Yeah, when he pulled up

844
00:37:19,239 --> 00:37:21,759
Speaker 2: and just was taking all the jewels, I was gonna

845
00:37:21,800 --> 00:37:24,960
Speaker 2: come like he was gonna come with.

846
00:37:25,040 --> 00:37:31,920
Speaker 1: All his didn't say nothing. I didn't say yeah. I

847
00:37:31,960 --> 00:37:33,560
Speaker 1: tried to say I know.

848
00:37:33,520 --> 00:37:34,160
Speaker 4: What he was doing.

849
00:37:34,200 --> 00:37:34,960
Speaker 1: That's something like I'm not.

850
00:37:37,480 --> 00:37:38,960
Speaker 6: You know what I mean, But I didn't know he

851
00:37:39,000 --> 00:37:41,080
Speaker 6: was gonna slide through, you know what I mean. I

852
00:37:41,080 --> 00:37:44,480
Speaker 6: don't know if that's you know what I mean, because

853
00:37:44,480 --> 00:37:46,880
Speaker 6: I reached out to him and I was like, yo,

854
00:37:47,080 --> 00:37:50,000
Speaker 6: because I had a bag for him to be like, Yo, listen,

855
00:37:50,120 --> 00:37:53,040
Speaker 6: I'm going on this stage with Beyonce. Yeah, you know

856
00:37:53,080 --> 00:37:56,360
Speaker 6: what I mean the garden, Yo, Rick, let me just

857
00:37:56,440 --> 00:37:58,640
Speaker 6: hold something whatever, whatever the case may be, this and

858
00:37:58,680 --> 00:38:01,240
Speaker 6: that the third, but you know that's his surprize possession.

859
00:38:01,280 --> 00:38:04,480
Speaker 6: So yeah, at first, I don't know. I don't know

860
00:38:04,520 --> 00:38:06,800
Speaker 6: if I didn't think he was gonna come, you know

861
00:38:06,840 --> 00:38:11,800
Speaker 6: what I mean. So I didn't know he was gonna

862
00:38:12,080 --> 00:38:16,239
Speaker 6: slide through whatever the case may be at the venue. Yeah,

863
00:38:17,080 --> 00:38:20,080
Speaker 6: So I'm like, I'm like, I'm like, I'm like, you know,

864
00:38:20,160 --> 00:38:22,040
Speaker 6: so I wasn't even thinking about it, Like we didn't

865
00:38:22,040 --> 00:38:23,480
Speaker 6: even talk about it no more, because I think he

866
00:38:23,520 --> 00:38:26,000
Speaker 6: might have told me, like y'all said something in whatever

867
00:38:26,040 --> 00:38:28,840
Speaker 6: case may Anyway, he was like, I didn't think what's happening.

868
00:38:29,400 --> 00:38:34,160
Speaker 6: So when I'm near, you know, be back there, you

869
00:38:34,160 --> 00:38:37,080
Speaker 6: know me Beyonce, this and that the third and then

870
00:38:37,080 --> 00:38:40,040
Speaker 6: all of a sudden, like you know, he came out

871
00:38:40,080 --> 00:38:40,640
Speaker 6: of nowhere.

872
00:38:41,160 --> 00:38:44,360
Speaker 1: She on stage doing her ship. Yeah, you know, he

873
00:38:44,400 --> 00:38:44,759
Speaker 1: came out.

874
00:38:44,800 --> 00:38:47,879
Speaker 6: He came to me at the at I think while

875
00:38:47,920 --> 00:38:49,000
Speaker 6: that ship was on, while.

876
00:38:48,800 --> 00:38:51,160
Speaker 1: She was doing that, the record was clean.

877
00:38:51,880 --> 00:38:55,480
Speaker 6: Yeah, it was like he just he was like he

878
00:38:55,800 --> 00:38:57,720
Speaker 6: had he had his little bag and he just started

879
00:38:57,719 --> 00:38:58,560
Speaker 6: throwing ships on me.

880
00:39:01,320 --> 00:39:03,600
Speaker 1: Like I just got heavier and heavy and heavier.

881
00:39:04,440 --> 00:39:07,799
Speaker 6: It was like it was like it was like the

882
00:39:07,920 --> 00:39:11,840
Speaker 6: power of bridge, Like, oh ship.

883
00:39:12,920 --> 00:39:15,120
Speaker 1: So I walk out.

884
00:39:15,239 --> 00:39:19,000
Speaker 6: I'm walking out and and all of a sudden, the

885
00:39:19,120 --> 00:39:23,360
Speaker 6: verse just left me and left. I'm like, but my

886
00:39:23,440 --> 00:39:26,839
Speaker 6: part is getting ready to come, and I'm getting ready,

887
00:39:26,880 --> 00:39:28,360
Speaker 6: you know, I'm getting ready to get ready to go.

888
00:39:28,719 --> 00:39:32,480
Speaker 6: So I'm like, I'm like, oh ship, I asked my manager.

889
00:39:32,520 --> 00:39:35,719
Speaker 1: I say, yo, what's what's what's what's the fun? What's

890
00:39:35,760 --> 00:39:38,080
Speaker 1: the ship? What's what's the first ball? I just need

891
00:39:38,080 --> 00:39:39,120
Speaker 1: the first ball. That's all I need.

892
00:39:39,160 --> 00:39:41,920
Speaker 6: The first ball. I couldn't get it. I couldn't get it.

893
00:39:42,160 --> 00:39:45,240
Speaker 6: So I'm like, oh Ship, see you on fucking stage.

894
00:39:48,680 --> 00:39:52,799
Speaker 6: I'm like, oh I can't go over for the thirty

895
00:39:53,680 --> 00:39:57,200
Speaker 6: O my god, and just either get boot or or

896
00:39:57,400 --> 00:40:02,160
Speaker 6: just like don't go. I'm like, oh ship. So I'm

897
00:40:02,200 --> 00:40:06,920
Speaker 6: like it's coming, Like she's getting closer, getting closer, getting closer,

898
00:40:07,239 --> 00:40:08,839
Speaker 6: so I start walking up, walking up.

899
00:40:09,640 --> 00:40:13,080
Speaker 1: Shits gone, so all I can see is like it's

900
00:40:13,280 --> 00:40:13,839
Speaker 1: slow motion.

901
00:40:14,000 --> 00:40:16,879
Speaker 6: I saw just Dame Dash's face when he looked at

902
00:40:16,920 --> 00:40:19,400
Speaker 6: me from the side, because niggas ain't seen me with

903
00:40:19,440 --> 00:40:25,080
Speaker 6: all that ship on. He just looked at me and said, oh,

904
00:40:25,120 --> 00:40:27,320
Speaker 6: I ain't even hear him. I just read his mouth

905
00:40:27,960 --> 00:40:33,680
Speaker 6: like oh shit boom like and I'm like, the steps

906
00:40:33,760 --> 00:40:35,680
Speaker 6: is right there, nigga, just go.

907
00:40:36,280 --> 00:40:38,880
Speaker 1: I sit on and got it and I'm like, oh ship.

908
00:40:38,920 --> 00:40:41,600
Speaker 1: But when it came, it was god.

909
00:40:42,120 --> 00:40:44,319
Speaker 6: He just it was just like I think he just

910
00:40:44,360 --> 00:40:48,200
Speaker 6: like kicked me or slapped me foul. I just sit

911
00:40:48,280 --> 00:40:52,360
Speaker 6: back in there and it just came.

912
00:40:53,080 --> 00:40:55,600
Speaker 1: I said, Joe, and I just flowed that ship.

913
00:40:55,880 --> 00:40:58,400
Speaker 6: When she seen me with all that shut up, she

914
00:40:58,640 --> 00:41:02,440
Speaker 6: was like, yeah because we dv herschel you know it

915
00:41:02,480 --> 00:41:03,120
Speaker 6: was regular ship.

916
00:41:03,280 --> 00:41:07,000
Speaker 2: Yeah, she's seen that, like he can performed. I was

917
00:41:07,000 --> 00:41:07,560
Speaker 2: the craziest.

918
00:41:07,600 --> 00:41:11,080
Speaker 1: He was like, oh ship this nigga one of the niggas. Yeah, yeah,

919
00:41:12,040 --> 00:41:13,479
Speaker 1: that jewelry was. I was great.

920
00:41:13,520 --> 00:41:15,120
Speaker 4: I was at the show that night and when you

921
00:41:15,239 --> 00:41:17,840
Speaker 4: came out, we didn't know that that was slick Rick jewelry.

922
00:41:17,960 --> 00:41:19,680
Speaker 1: We just thought that was ghost on his bullshit.

923
00:41:20,120 --> 00:41:22,680
Speaker 4: I'm throwing everything on the night when Fade the Black

924
00:41:22,760 --> 00:41:25,640
Speaker 4: came out, we just saw Rick putting it. I was like,

925
00:41:25,680 --> 00:41:29,719
Speaker 4: oh that that was crazy. Yeah, because when you came

926
00:41:29,719 --> 00:41:32,239
Speaker 4: out with the role, but that was Tony Stars. We

927
00:41:32,239 --> 00:41:33,680
Speaker 4: don't know w ghosts got all this.

928
00:41:33,719 --> 00:41:35,560
Speaker 1: Ship from the garden.

929
00:41:35,840 --> 00:41:38,160
Speaker 6: That might have been one of the best times, probably

930
00:41:38,200 --> 00:41:42,000
Speaker 6: the best time without the clan that that I ever had,

931
00:41:42,040 --> 00:41:44,399
Speaker 6: like on stage, like like as Father was like hearing

932
00:41:44,480 --> 00:41:48,080
Speaker 6: the raw from the crowd that summertime that we couldn't

933
00:41:48,080 --> 00:41:50,239
Speaker 6: believe y'all that because I was cool. I'm like, yo,

934
00:41:50,360 --> 00:41:53,320
Speaker 6: because Jay didn't even let Sean Paul do his ship.

935
00:41:53,440 --> 00:41:56,200
Speaker 1: Nah, I'm like, man, niggas you're calling me.

936
00:41:56,280 --> 00:42:00,680
Speaker 6: Yeah, it's like yo, So just me up there just

937
00:42:00,719 --> 00:42:01,240
Speaker 6: to get ahead.

938
00:42:01,239 --> 00:42:03,279
Speaker 1: And but that was so beat with his girl.

939
00:42:03,520 --> 00:42:06,879
Speaker 4: That was so crazy because that when that record came out,

940
00:42:07,080 --> 00:42:08,120
Speaker 4: everybody loved that record.

941
00:42:08,160 --> 00:42:11,440
Speaker 1: That was like a case that I gave it to slave.

942
00:42:12,120 --> 00:42:15,200
Speaker 6: I remember what the slave because I was in Miami

943
00:42:15,280 --> 00:42:20,880
Speaker 6: doing pretty Tony and my man down there, uh uh

944
00:42:21,520 --> 00:42:24,160
Speaker 6: Tom of Rock he got the DJ TOIM of Rock.

945
00:42:24,239 --> 00:42:25,480
Speaker 1: Yeah he got.

946
00:42:25,280 --> 00:42:28,640
Speaker 6: He he said, Yo, I got this joint for you, Beyonce,

947
00:42:28,840 --> 00:42:31,360
Speaker 6: joint anything, Beyonce, give it to me, you know what

948
00:42:31,400 --> 00:42:34,560
Speaker 6: I mean? Boom, and I heard that it was over?

949
00:42:35,080 --> 00:42:36,880
Speaker 6: That was that was it. I'm like, oh, I'm demo

950
00:42:36,920 --> 00:42:40,640
Speaker 6: when this ship wait just tomorrow boo? Did that ship

951
00:42:40,960 --> 00:42:42,920
Speaker 6: when laid it down came out?

952
00:42:43,480 --> 00:42:46,319
Speaker 1: What? Yo? I sent it straight to Slave and Slave

953
00:42:46,400 --> 00:42:47,080
Speaker 1: was the one that did it.

954
00:42:47,560 --> 00:42:50,719
Speaker 6: I remember, Yeah, you know what I mean, But I

955
00:42:50,719 --> 00:42:52,680
Speaker 6: didn't know he had because he wasn't doing it. Yeah,

956
00:42:52,920 --> 00:42:55,439
Speaker 6: and then he tried to play his ship afterwards and ship,

957
00:42:55,480 --> 00:42:57,040
Speaker 6: I guess that might have been his ship.

958
00:42:57,080 --> 00:42:59,879
Speaker 1: It would I don't know whatever whatever he could be lying.

959
00:42:59,880 --> 00:43:05,919
Speaker 1: I don't know. Anyway, it ain't work video any word.

960
00:43:07,480 --> 00:43:10,800
Speaker 2: Even if that was never the official remix, that's that

961
00:43:10,880 --> 00:43:13,239
Speaker 2: was the official remix for sure. So how quick like

962
00:43:13,280 --> 00:43:15,279
Speaker 2: how quickly did Slick Rick ask for his jelry back?

963
00:43:15,280 --> 00:43:18,359
Speaker 2: Because I would have exited like right Nigga had left

964
00:43:18,360 --> 00:43:19,680
Speaker 2: and I would have heard.

965
00:43:19,600 --> 00:43:20,359
Speaker 1: On for a little bit.

966
00:43:20,840 --> 00:43:23,880
Speaker 6: Man, listen, man, I was grateful he came to do

967
00:43:23,920 --> 00:43:26,399
Speaker 6: what he what he He just did what he did,

968
00:43:26,760 --> 00:43:29,919
Speaker 6: and I got that stage. I went back to the room. Yeah,

969
00:43:29,960 --> 00:43:34,040
Speaker 6: that was it, yo, looking ship that nigga back.

970
00:43:35,520 --> 00:43:37,480
Speaker 1: That was it? That moment was like that was it?

971
00:43:37,560 --> 00:43:40,319
Speaker 4: Because I mean, I'm guessing that's the only time y'all

972
00:43:40,360 --> 00:43:44,200
Speaker 4: ever performed that record together. Yes, like to be in

973
00:43:44,280 --> 00:43:46,520
Speaker 4: the garden that night and see that because nobody was

974
00:43:46,560 --> 00:43:50,160
Speaker 4: expecting that ship was in.

975
00:43:50,440 --> 00:43:53,000
Speaker 1: And I forgot my ship. It felt magical. It was

976
00:43:53,080 --> 00:43:54,120
Speaker 1: like you knowing.

977
00:43:53,880 --> 00:43:56,640
Speaker 4: That that was even crazy because looking back you came

978
00:43:56,680 --> 00:43:57,479
Speaker 4: out and it was like.

979
00:43:57,400 --> 00:44:02,520
Speaker 6: That's that's that's God, yo, bro. I was scared, you

980
00:44:02,560 --> 00:44:05,360
Speaker 6: know what I mean? I was tremendously scared just to

981
00:44:05,360 --> 00:44:08,680
Speaker 6: go up on that stage and just be like, uh,

982
00:44:08,760 --> 00:44:09,920
Speaker 6: y'all and just be stuck.

983
00:44:09,920 --> 00:44:12,520
Speaker 1: It would have been time for a snick of something.

984
00:44:12,760 --> 00:44:13,680
Speaker 1: Now you want to get away?

985
00:44:15,840 --> 00:44:18,439
Speaker 2: Yeah, speaking of snickers and kick Cass who was talking

986
00:44:18,480 --> 00:44:20,640
Speaker 2: off Mike so Malt told the story when he met

987
00:44:21,400 --> 00:44:24,360
Speaker 2: Styles people the first time and when he met somebody

988
00:44:24,360 --> 00:44:27,080
Speaker 2: that he idolized legend that they was exactly who they

989
00:44:27,080 --> 00:44:31,040
Speaker 2: thought they were. Right during COVID, DJ Premier put you

990
00:44:31,120 --> 00:44:34,240
Speaker 2: and I on text message to do an emotional Oranges

991
00:44:34,280 --> 00:44:36,640
Speaker 2: record where you had done two verses and I was

992
00:44:37,160 --> 00:44:41,160
Speaker 2: going to bring a certain amount of money cash to you.

993
00:44:41,239 --> 00:44:43,799
Speaker 2: This is at the height of the fucking pandemic. You

994
00:44:43,840 --> 00:44:47,080
Speaker 2: text me back and said, nah, god, I got diabetes.

995
00:44:47,120 --> 00:44:53,720
Speaker 2: You're not getting near medure?

996
00:44:53,920 --> 00:44:59,400
Speaker 1: Was me said, you said, I still speak to you

997
00:44:59,480 --> 00:45:01,200
Speaker 1: this day. Oh okay, giving.

998
00:45:01,080 --> 00:45:03,560
Speaker 2: Him the cash And eventually when I get that record

999
00:45:03,600 --> 00:45:06,280
Speaker 2: back from Universal, we putting that ship out that remixedge

1000
00:45:06,280 --> 00:45:06,680
Speaker 2: Oh so I.

1001
00:45:06,600 --> 00:45:08,239
Speaker 1: Did the record. Yeah, you did two verses on it.

1002
00:45:08,280 --> 00:45:08,400
Speaker 5: Oh.

1003
00:45:08,640 --> 00:45:10,840
Speaker 2: You actually asked Premier about it at Barclay's like a

1004
00:45:10,840 --> 00:45:12,560
Speaker 2: few weeks ago. He had called me. He was like,

1005
00:45:12,680 --> 00:45:14,480
Speaker 2: ghast wants to put that ship out. I'm like, so

1006
00:45:14,520 --> 00:45:17,080
Speaker 2: do I We got to vers hold on you when

1007
00:45:17,120 --> 00:45:18,600
Speaker 2: we get off mic, remember you.

1008
00:45:18,840 --> 00:45:21,640
Speaker 6: So that was also because I remember Premiere did have

1009
00:45:21,760 --> 00:45:24,439
Speaker 6: me yes something like that, and that was with my group.

1010
00:45:24,520 --> 00:45:25,319
Speaker 1: Yeah, oh my god.

1011
00:45:25,400 --> 00:45:27,040
Speaker 2: Yeah, put us on a text and I'm going to

1012
00:45:27,080 --> 00:45:29,040
Speaker 2: give you the bread and she was like, nah, god,

1013
00:45:29,040 --> 00:45:29,680
Speaker 2: you're not getting here.

1014
00:45:29,920 --> 00:45:34,480
Speaker 4: I probably probably this was like the height of the pandemic, right,

1015
00:45:34,520 --> 00:45:37,080
Speaker 4: nobody was no, exactly.

1016
00:45:39,040 --> 00:45:40,960
Speaker 1: A man, I ain't wanna go nowhere.

1017
00:45:41,840 --> 00:45:44,719
Speaker 6: Hell yeah, I'm I was holding my Breath'd be like, yo,

1018
00:45:45,000 --> 00:45:47,240
Speaker 6: if you're showing it to breath every five minutes.

1019
00:45:47,280 --> 00:45:48,279
Speaker 1: I was like trying to.

1020
00:45:48,280 --> 00:45:53,560
Speaker 6: See if I hold my ship thirty seconds, then if

1021
00:45:53,560 --> 00:45:55,080
Speaker 6: I if I hold it for thirty something like that,

1022
00:45:55,400 --> 00:45:55,839
Speaker 6: I'm good.

1023
00:45:55,880 --> 00:45:57,520
Speaker 1: I'm good. I'm good.

1024
00:45:58,560 --> 00:46:01,600
Speaker 6: I'm doing that on the time. I want you the

1025
00:46:01,640 --> 00:46:04,120
Speaker 6: bathroom mid three o'clock in the morning to you pay

1026
00:46:04,200 --> 00:46:09,799
Speaker 6: some life yea, all that ship. Yeah, alright, I'm good.

1027
00:46:10,040 --> 00:46:12,840
Speaker 6: Y'all go back to sleep, nigga.

1028
00:46:13,360 --> 00:46:13,960
Speaker 1: Hell then