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Speaker 2: to Jenkins and Jones on the Volume Podcast Network. It

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Speaker 2: is Thursday, November second, and we didn't have a countdown

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Speaker 2: today for Amazon ant, which is messing me up. Jackson, Jackson,

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Speaker 2: you have to count us into the podcat cast every

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Speaker 2: time now five. Yeah, do it now, Just do it now, Yeah,

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Speaker 5: Okay, I'm like leading you guys off of it.

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Speaker 6: Okay, you're right, this is our or three two one

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Speaker 6: and we're lying.

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Speaker 2: Well, leave that whole thing and please Welcome to Jenkins

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Speaker 2: and Jones on the Volume Podcast Network. It's Thursday, November two.

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Speaker 2: We got a lot of big news and fun stuff

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Speaker 2: to talk about today, uh, including rehashing some old arguments

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Speaker 2: thanks to some new evidence that has been presented to

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Speaker 2: us on the internet. Very excited for that. Yeah, oh

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Speaker 2: we're gonna be talking about it. But first, as always,

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Speaker 2: Jenkus and Jones hosted by a Dragonfly Jones A K. Tyler.

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Speaker 7: Hey, everybody good?

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Speaker 2: Was that? Through Jenkins aka John was that bub I'm

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Speaker 2: GUARDI b aka Mike, mother fucking Mike, mother fucking Mike,

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Speaker 2: coming to you, fucking Mike and produced by the lovely

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Speaker 2: and talented Jackson Stafon. My goal is to keep adding

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Speaker 2: intro elements until one day all we do is just

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Speaker 2: get on and record the intro for thirty minutes and

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Speaker 2: then say bye, and then.

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Speaker 3: We've success successfully either you or we have successfully made

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Speaker 3: the intro fun. We hated the fucking intro starting it

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Speaker 3: was the worst part.

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Speaker 2: I suggested to y'all that you do the white people

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Speaker 2: voices because I know that nothing makes you guys happier

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Speaker 2: in your deepest part of your heart.

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Speaker 7: It's one of my few joys in life.

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Speaker 2: I won't disagree. I won't do like you said, you

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Speaker 2: hated doing the intro. So the goal was how do

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Speaker 2: how do I get it so that they get to

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Speaker 2: do the white guy voices and say motherfucker in the intro.

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Speaker 2: And then as soon as that happened, now we're good.

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Speaker 2: You know what I mean, we're looking forward to it.

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Speaker 3: It starts to show off exactly how it always should

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Speaker 3: have started off.

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Speaker 2: All right. I think this pod cast was universally of

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Speaker 2: the opinion that James Harden had run out of wiggles,

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Speaker 2: And it turns out he had an emergency stash of

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Speaker 2: wiggles in the closet case of an emergency, and he

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Speaker 2: successfully wiggled his way not only out of Philadelphia, but

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Speaker 2: for like the third consecutive time, fourth consecutive time, to

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Speaker 2: the exact franchise that he wanted to go to. James

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Speaker 2: Harden is a clipper, gentlemen, your instant reaction to the

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Speaker 2: Big Trade.

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Speaker 4: I I just, you know, I thought that, you know,

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Speaker 4: KG gave us something profound saying that you don't get

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Speaker 4: infinite wiggles. But I feel like we might need to

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Speaker 4: do some reclculation or some recalibration on the wiggle theory now,

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Speaker 4: because this motherfucker bro he gets what he wants every time.

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Speaker 7: It's remarkable.

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Speaker 4: Honestly, you know, we all thought that this was past

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Speaker 4: the time where it was like, nah, you might have

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Speaker 4: to rough this south.

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Speaker 7: The Marcu's not there.

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Speaker 4: You stunk it up in the playoffs, bro, Like, you know,

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Speaker 4: it's really not a good look.

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Speaker 7: And that's what the Clippers were saying.

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Speaker 4: Like the Clippers were drawing a hard line at Norman Powell, Bro, Like,

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Speaker 4: that's how low this dude's stock.

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Speaker 3: Was, you know, normally bucket though, niggah, yo, that's a

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Speaker 3: line to draw, you feel me?

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Speaker 7: Yeah? Yeah?

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Speaker 4: But and Terrence Man and they did keep Man too

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Speaker 4: so but but it was like, bro, like, I think

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Speaker 4: a lot of us were just kind of like, I

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Speaker 4: don't know how this is gonna end. But Harden was

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Speaker 4: dead ass seriously committed to not playing until he got moved.

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Speaker 7: And you know, he pulled another wiggle out the wiggle

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Speaker 7: my show.

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Speaker 4: But to to to the point of his wiggles, all

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Speaker 4: of his wiggles, all of.

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Speaker 2: Them becoming uncomfortable. We got we got I'm starting to

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Speaker 2: wig his way out.

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Speaker 7: That's what it's alluded to, Bro.

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Speaker 3: Stop wiggle another doctor John no more wiggles?

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Speaker 2: Is he not no more?

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Speaker 7: Way out.

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Speaker 2: I don't want to hear it anymore. Factor fiction did

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Speaker 2: he or did he not wiggle his way out? Fact?

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Speaker 2: I just go I'm tired of that.

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Speaker 4: KD k D and Kyrie didn't even know he wanted out,

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Speaker 4: like he told us he wanted out at a fucking

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Speaker 4: kids camp. And in China he is wiggling bro, There's

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Speaker 4: no other word for it.

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Speaker 8: He is not.

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Speaker 7: In another world, he is wiggling dog.

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Speaker 4: But but I think I think that's something that needs

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Speaker 4: to be considered when we're reevaluating the wiggle equation here

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Speaker 4: is that all of his wiggles have come at the

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Speaker 4: hands of Daryl Moore right like he will get his

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Speaker 4: way out. He'son Morey ship him out. He got back

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Speaker 4: to Philly, you know Va Morey, and then Morey shipped

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Speaker 4: him out again here. So maybe you only maybe you

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Speaker 4: only get a certain amount of wiggles with different gms,

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Speaker 4: different front offices, because maybe you have infinite wiggles with

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Speaker 4: one guy, because you know, him and Maury have had

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Speaker 4: like a very kind of symbiotic relationship where I feel

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Speaker 4: like Maury latched to latched along too Harden as more

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Speaker 4: than just him as a player, as like a basketball philosophy, right, Like,

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Speaker 4: you know, Maury's always been the guy that you know,

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Speaker 4: the corner three is worth more. You know, shooting forty

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Speaker 4: percent from three is worth more than fucking shooting you know,

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Speaker 4: sixty percent, you know, and the paint, the numbers will

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Speaker 4: eventually overcome that. He's always been a guy who never

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Speaker 4: really liked hy you know, he had fucking Pj's playing

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Speaker 4: the five, you know that that post. He's always been

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Speaker 4: a three and D guy. So he's kind of attached

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Speaker 4: too hard in a way that was deeper than just

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Speaker 4: him being a hooper, is like a basketball philosophy, Like

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Speaker 4: he wanted to prove that he's the smartest guy in

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Speaker 4: the room, and it's just kind of you know, you know,

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Speaker 4: pushing you know, basketball for it and such. So you know,

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Speaker 4: that's kind of where the whole wiggle conundrum is with me.

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Speaker 4: I think that you know, he had infinite wiggles with

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Speaker 4: one guy. I don't know if he has any more

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Speaker 4: wiggles now, though.

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Speaker 3: I think KG was insinuating like he may have a

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Speaker 3: this may be his last wiggle. The next wiggle may

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Speaker 3: be the wiggle out side of the league. So I

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Speaker 3: don't think he was saying like he didn't have any

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Speaker 3: more options after that. You know what I'm saying, like

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Speaker 3: he was he had to stay where he's at. He's

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Speaker 3: he's fucking himself up in this moment. I think he's saying,

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Speaker 3: if he keeps moving in this way, you're gonna be

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Speaker 3: out of the league, well before you should be out

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Speaker 3: of the league. You feel me, So I feel like,

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Speaker 3: you know, I think I'm not using that word anymore.

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Speaker 3: I think I think this is his last that word. Okay,

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Speaker 3: I think I think after that, if he keeps moving

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Speaker 3: in this way, you don't.

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Speaker 2: Think James Harden has I mean, because he didn't half

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Speaker 2: wiggle this. This was a full wiggle. This is what

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Speaker 2: I'm saying.

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Speaker 3: But I don't know the biggest wiggle he ever wiggled.

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Speaker 3: Like man, this is a master crazy. Also, people pointed

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Speaker 3: out he had three phones. I find it depressing being

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Speaker 3: on one phone too much. I think he's like running

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Speaker 3: from something that he shouldn't be running from. I think

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Speaker 3: it's rooted in the fact he has three fucking phones.

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Speaker 3: Maybe some of his unhappiness is there.

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Speaker 2: You know, he has a regular phone, He has a

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Speaker 2: phone for tampering with vagina, and he has a phone

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Speaker 2: for tampering with NBA teams, like he needs three phones.

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Speaker 4: Yeah, I'm sure that he got a phone for the

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Speaker 4: homies ladies in the phone for work, for sure.

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Speaker 3: The notifications would be crazy on that ship, you know

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Speaker 3: what I'm saying. It just seems like it would be

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Speaker 3: I don't know, it seems to be hard to manage.

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Speaker 6: He can't understand the lifestyle of someone like the Goat

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Speaker 6: and the NBA Lebron. We also can't understand the lifestyle

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Speaker 6: of someone who's the goat wiggler like he's got he's

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Speaker 6: got three phones. We'll never be able to know what

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Speaker 6: he's going through. He mastered the art of the wiggle.

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Speaker 6: How can we question.

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Speaker 2: I'm just just there's too many of that word. I

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Speaker 2: just can't John's developed, John's discovered a new phobia physically.

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Speaker 3: It makes me feel nasty on my inside, like my back.

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Speaker 2: I feel it, you know what I'm saying. It's like

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Speaker 2: how shark feels like if it comes off a pancake,

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Speaker 2: you know, like she has that thing where like if

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Speaker 2: you see a picture of bone marrow, or you see

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Speaker 2: like all the little bubbles, the bubbles. Yeah, yeah, I

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Speaker 2: have that. Yeah, but you have. Macares gets it to me,

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Speaker 2: like when.

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Speaker 3: People like scoop it out and you see like the

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Speaker 3: little the pattern of macro and cheese on the right.

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Speaker 2: Yeah yeah, where does that come from? Where does that

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Speaker 2: come from? Yeah? Like where does that phobia come from?

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Speaker 3: I think people say that phobia comes from like that

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Speaker 3: would decide if something was like, uh, would get you

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Speaker 3: sick or not? You know what I mean, Like back

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Speaker 3: in the day, that's like we would see that and

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Speaker 3: it makes you feel like Okay, I shouldn't touch that.

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Speaker 3: I feel it's just like left over from old times,

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Speaker 3: like all ways of deciding if something was a sickness

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Speaker 3: or not.

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Speaker 6: So so you're saying that if you see that pattern

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Speaker 6: and like don't and it makes you sick, that means

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Speaker 6: that someone and someone long long ago probably wiggled their

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Speaker 6: way out of being poisoned.

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Speaker 2: Yeah.

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Speaker 3: I don't know if necessarily poisoning. I think it's just

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Speaker 3: like don't ingest that.

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Speaker 2: It stops you from eating like rotting animals and stuff

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Speaker 2: like when we were cave man, I get it. Yeah. Yeah,

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Speaker 2: So it's an anti scavenging talking about wiggling, and that

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Speaker 2: is really fucking me up. Dog, we got genuinely.

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Speaker 3: Like it's leaving the skull at this point, like it's

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Speaker 3: my skin. My facial skin is floating. That's what it

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Speaker 3: feels like.

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Speaker 2: It's okay, so let's talk about the real rivalry.

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Speaker 3: No.

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Speaker 2: First of all, we'll talk ab basketball a little more.

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Speaker 2: What how do y'all feel about the Clippers. I don't

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Speaker 2: understand this move for the Clippers what what soever? I

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Speaker 2: just completely do not understand it. Do you think this

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Speaker 2: makes them better or more likely to win a championship?

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Speaker 2: I mean, I think it'll make it more likely that

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Speaker 2: they have fun highlights in the regular season, But how

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Speaker 2: do you feel this impacts of Clipper season?

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Speaker 4: It's one of those moves that I think makes them

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Speaker 4: better but doesn't raise their ceiling if you follow me,

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Speaker 4: like I think a lot of us, you know, especially

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Speaker 4: during our season PREV, we were like, you know, we

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Speaker 4: think that people are long on the Clippers, and we

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Speaker 4: were like, I think they're a thirty right, Like I

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Speaker 4: still think that that's you know, they're about a third seed,

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Speaker 4: and I think maybe you know, the Western Conference Finals

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Speaker 4: is about the ceiling for them, And I don't think

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Speaker 4: Heart and Change is that, you know, I do think

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Speaker 4: he makes them better. But like I said, I don't

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Speaker 4: think he raises their ceiling.

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Speaker 3: I don't know if he makes them better. Like I

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Speaker 3: feel like the pieces they lost were solid pieces. I

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Speaker 3: don't think they needed hard in it any way, you

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Speaker 3: know what I'm saying. I don't you know, so like

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Speaker 3: I mean, you say make it, say the same thing

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Speaker 3: you said, they don't make it better.

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Speaker 2: But I just don't know it's necessary.

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Speaker 3: I think also what he brings as far as like

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Speaker 3: the volatility could make them worse. You feel me like,

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Speaker 3: I think there's a better chance of them being worse

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Speaker 3: due to this trade than with the prior people they had,

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Speaker 3: So I don't think it's I don't understand the reasoning.

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Speaker 3: I know he's a big name, you know what I'm saying,

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Speaker 3: and he's been successful at times in his past, but like,

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Speaker 3: this doesn't help you in the playoffs. He doesn't have

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Speaker 3: a history that, hey, this is a guy you need

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Speaker 3: in those big moments. He had some decent moments last year,

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Speaker 3: so I won't take that from him. But yeah, I

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Speaker 3: just don't feel like I think I feel like this

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Speaker 3: was unnecessary. It didn't make them better, but it can

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Speaker 3: potentially make them worse because of what comes with James Harden.

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Speaker 2: It is interesting to me. Someone pointed it out that

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Speaker 2: they have completely reassembled almost the all CIF High School

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Speaker 2: awards list from two thousand and seven through two thousand

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Speaker 2: and nine with Kawhi, PG, Harden, and Russ, Like those

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Speaker 2: were the four best high school basketball players. So like,

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Speaker 2: maybe maybe Jerry West is just a really big fan

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Speaker 2: of high school basketball in southern California and he's like

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Speaker 2: remembers how row these dudes were fifteen twenty. I don't know,

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Speaker 2: but it was kind of funny. It was like that

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Speaker 2: was basically the that was the whole list of Southern California. Ironically,

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Speaker 2: Kawhi like way below, you know, I mean, Russ wasn't

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Speaker 2: the most hyped recruit either. But anyway, I don't know,

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Speaker 2: Uh I would I don't know enough about gambling to

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Speaker 2: know this. Maybe Jackson can answer it. Jackson, can you

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Speaker 2: short things in in gambling the way that stock market?

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Speaker 6: You cannot short things in gambling without having a personal

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Speaker 6: position on something as well, Like you couldn't you couldn't

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Speaker 6: bet against just the Clippers in this case where if

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Speaker 6: you had some if you like got the Clippers, bet

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Speaker 6: the Clippers win the title before this trade happened. Now

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Speaker 6: they have much better odds, and you had the matter

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Speaker 6: are much worse.

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Speaker 5: Yeah, you know what I mean.

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Speaker 6: If you had them that much worse, theoretically short, you're

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Speaker 6: pause of your own yourself, right, chatting over someone else.

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Speaker 6: But you can't just like I mean, in some cases

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Speaker 6: you can, like if someone is an overwhelming favor, you

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Speaker 6: can theoretically bet against the field, but like or bet

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Speaker 6: for the field.

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Speaker 5: But in this case, there's no real.

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Speaker 2: Yeah, because I don't know if y'all saw this, but

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Speaker 2: like the Draftking sportsbook now has the Clippers the third

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Speaker 2: to win the NBA title behind this.

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Speaker 6: I got that wrong. I apologize. I messages you that's start.

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Speaker 6: They're actually fifth to win the title, third in the West.

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Speaker 2: That still seems incredibly optimistic to me.

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Speaker 3: I thought there's stock dropped. I mean, well, I thought

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Speaker 3: I thought they were good. Their odds were worse after

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Speaker 3: they got hard.

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Speaker 2: Is that not true? Okay? I read something.

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Speaker 6: Somebody Currently the draftings current odds as of this moment

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Speaker 6: are the Celtics for the very slight favorite at plus

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Speaker 6: three ninety bucks or plus four hundred nuggets plus five hundred,

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Speaker 6: So those three based like heavenly the top three Sons

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Speaker 6: at plus seven hundred, and the Clippers and Warriors are tied

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Speaker 6: at plus twelve hundred.

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Speaker 4: I mean, the biggest jumping odds from all of this

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Speaker 4: is Tyree Maxy's most improved player odds. He was plus

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Speaker 4: fourteen hundred before this rain. Now he's plus two hundred.

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Speaker 4: Like that is a fucking lead, bro. Like they know that.

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Speaker 4: You know, he's gonna have that ball in his hands.

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Speaker 4: He's gonna, you know, really be out there getting those minutes.

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Speaker 2: So I was about to say, he just got the

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Speaker 2: Jay Gatsby green light, bro, Like that light is never

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Speaker 2: turning off. He can shoot as much as he wants

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Speaker 2: to shoot for the Yeah, uh okay, let's talk about

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Speaker 2: the Woj Sham's aspect of this. I believe Woj intentionally

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Speaker 2: waited until Shams was asleep to break this news. That's

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Speaker 2: what I believe. It was ten o'clock or something on

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Speaker 2: the West coast. It was one am on the East coast,

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Speaker 2: and he had him for like a good twenty minutes,

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Speaker 2: which you thought he might have been. You know, Shams

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Speaker 2: is trying to give him his AARP card and shuffle

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Speaker 2: him off to the home man, but Woj still has

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Speaker 2: a fastball bro. I don't know. I think the block

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Speaker 2: is still Woch.

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Speaker 7: He won his corners back. I mean, well, we all

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Speaker 7: know that that Wold just tied in with.

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Speaker 4: The with the front offices, with the suits, and Sham's

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Speaker 4: is with the ags, right, so I'm guessing that the

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Speaker 4: Sixers just willed and dealed without fucking, you know, telling

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Speaker 4: Harden's agent probably right, like that's how you know Wolj

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Speaker 4: got the heads up there, So I mean, I mean,

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Speaker 4: but that's how it is, right like the trade season,

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Speaker 4: you know, the trade deadlines.

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Speaker 7: That's when kind of Woj kills shit.

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Speaker 4: Free agency is when Shams is out there killing because

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Speaker 4: he's getting the word back from Agenc on where guys

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Speaker 4: are going.

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Speaker 7: So you know he'll he'll get his lock back. Don't worry,

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Speaker 7: We'll see.

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Speaker 2: We shall show. See. We got a special request to

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Speaker 2: bring back a segment that I think all of us

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Speaker 2: forgot about. But that was funny. The Jenkins and Jones

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Speaker 2: body language detectives, fellas. Have we looked at the have

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Speaker 2: we analyzed the film of the Russ and Hardened reunion

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Speaker 2: in the Clippers locker room? And if so, what can

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Speaker 2: the detectives tell.

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Speaker 7: Me, Oh, I think that you know, Russ was happy

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Speaker 7: to see him.

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Speaker 4: I think that their homies, I think that they're so

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Speaker 4: tight that it wasn't like a big deal to see

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Speaker 4: the homie, you know what I mean. It was like,

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Speaker 4: oh wait, you've been like they were probably texting that

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Speaker 4: very morning or some shit. You know what I mean,

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Speaker 4: Terence Man, Bro, he was That's the one we need

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Speaker 4: to look at. That dude was sluck like, Bro, my

364
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Speaker 4: minutes are gone. It's over for me. Like that's the

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Speaker 4: body language we need to analyze there. That boy looked

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Speaker 4: like he was going through it. He looked at hard

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Speaker 4: and like Harden was a reaper.

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Speaker 7: Bro.

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Speaker 2: Yes, not you, no.

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Speaker 8: No, they promised me you wouldn't be here. Oh shit,

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Speaker 8: all right, Halloween night.

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Speaker 2: We did get the slender Man Championship between KD and Wemby.

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Speaker 2: Uh man, I'm so excited about this fucking rookie, Bro.

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Speaker 2: But KD gave him, gave him as welcome to the

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Speaker 2: NBA night, would you agree, Tyler?

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Speaker 7: Yes, it was. It was a master class.

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Speaker 4: Like you know, for all the hype that's been circulating, Wemby,

378
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Speaker 4: which is very much well deserved, never seen anything like him.

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Speaker 7: I mean we and he's an alien.

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Speaker 4: We have to remember that, you know, Kd's a fucking

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Speaker 4: alien too, and he is a more polished alien, right,

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Speaker 4: He's an alien who's been doing this shit, you know,

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Speaker 4: on a professional level for like fifteen fucking years now.

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Speaker 4: And there was some very teacher, you know, student moments there,

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Speaker 4: like like at the beginning of the game, there's a

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Speaker 4: sequence where you know, Wimby's driving left, you know, Kat's

387
00:18:07,720 --> 00:18:10,000
Speaker 4: ding him up. He picks his dribble up and k

388
00:18:10,160 --> 00:18:12,399
Speaker 4: D knew exactly where he was gonna pick his dribble up,

389
00:18:12,440 --> 00:18:14,800
Speaker 4: like his hand was there before Winby even you know,

390
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Speaker 4: went through the motion clean strip right because you know,

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Speaker 4: if anybody knows how a seven foot wing is gonna move,

392
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Speaker 4: it's Kevin fucking Durant, right, Like that was some blind

393
00:18:23,240 --> 00:18:26,360
Speaker 4: folded sensation shit. Then there was another move when when

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00:18:26,440 --> 00:18:28,800
Speaker 4: KD was coming down and he went right and hit

395
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Speaker 4: a base line jumper right in Winby's face, right, and

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Speaker 4: it was just beautiful because he did like ace, It

397
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Speaker 4: wasn't a step back, it was a side step that

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Speaker 4: that that that gave him some vertical space and he

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Speaker 4: kind of separated himself for az oddly, so he knows that,

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00:18:42,359 --> 00:18:44,280
Speaker 4: you know, as well as Winby moves, he's still a

401
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Speaker 4: seven foot five guy who's gonna have to make up

402
00:18:46,040 --> 00:18:48,159
Speaker 4: some space vertically and then make that leap, which is

403
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Speaker 4: tough for you know, a six foot five got to

404
00:18:50,280 --> 00:18:52,560
Speaker 4: do let alone seven foot five guy, and KD got

405
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Speaker 4: that bucket, which is probably only KT's probably the only

406
00:18:54,720 --> 00:18:56,520
Speaker 4: guy in the league who could hit that bucket over Wimby.

407
00:18:56,720 --> 00:18:58,440
Speaker 4: So it was it was interesting, man. Like I said,

408
00:18:58,440 --> 00:19:00,240
Speaker 4: it was two aliens going at it, and we or

409
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Speaker 4: the more seasoned alien given some teachable moments to the

410
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Speaker 4: to the young pot of wine.

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Speaker 2: There y'all know, I didn't watch the game. What was

412
00:19:06,359 --> 00:19:06,840
Speaker 2: the numbers?

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00:19:08,000 --> 00:19:09,000
Speaker 7: Kd's numbers?

414
00:19:09,240 --> 00:19:14,840
Speaker 2: Yeah, yeah, yeah, I'm sorry. Everybody stopped.

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00:19:17,119 --> 00:19:20,880
Speaker 6: Six points on twelve nineteen shooting and seven assists, and.

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00:19:20,800 --> 00:19:22,919
Speaker 2: We were they were they guarding each other most of.

417
00:19:22,920 --> 00:19:24,919
Speaker 5: The game, not most of the game. They had some

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00:19:25,200 --> 00:19:26,000
Speaker 5: switch but.

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Speaker 3: In the moments you just saw what time it was.

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Speaker 3: You know what I'm saying, somebody's been playing for damn

421
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Speaker 3: near twenty was like most.

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Speaker 5: Of the first quarter, Wemby wasn't guarding KT.

423
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Speaker 6: And then it was the moment that Tyler's talking about

424
00:19:34,359 --> 00:19:35,560
Speaker 6: was right at the end of the quarter. It was

425
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Speaker 6: like a buzzer beater at the end of the first quarter,

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00:19:37,400 --> 00:19:39,359
Speaker 6: and I was I was like, Katie, you know, he

427
00:19:39,400 --> 00:19:42,520
Speaker 6: wanted that so bad. Yeah, the moment he gets this

428
00:19:42,600 --> 00:19:44,520
Speaker 6: other alien on the switch, he's like, I'm gonna go

429
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Speaker 6: classic baseline fadeaway jumper right in his face.

430
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Speaker 3: Right.

431
00:19:49,200 --> 00:19:52,320
Speaker 1: Wemby did still have eighteen points, eight rebounds of four blocks,

432
00:19:52,359 --> 00:19:53,119
Speaker 1: but he also.

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Speaker 7: And had had had the had had the put back

434
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Speaker 7: on a very crucial bucket.

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00:20:00,520 --> 00:20:03,000
Speaker 2: Lad, So let's talk about that insane ending for sure,

436
00:20:03,040 --> 00:20:05,680
Speaker 2: like one of the funniest endings to a basketball game

437
00:20:05,720 --> 00:20:07,440
Speaker 2: that you'll ever see at the NBA level.

438
00:20:07,960 --> 00:20:08,880
Speaker 7: Yes, so, so.

439
00:20:10,359 --> 00:20:13,680
Speaker 4: The Spurs never led in this game until they got

440
00:20:13,720 --> 00:20:17,160
Speaker 4: the bucket that put him up with one second left, right,

441
00:20:17,240 --> 00:20:21,679
Speaker 4: So they they they were they never led, and fucking

442
00:20:21,880 --> 00:20:25,200
Speaker 4: you know, there was a sequence where where they needed

443
00:20:25,240 --> 00:20:29,200
Speaker 4: three and there was a miss three and Wimby swoops

444
00:20:29,200 --> 00:20:30,400
Speaker 4: in and gets the put back.

445
00:20:30,720 --> 00:20:33,600
Speaker 7: He gets the put back. Box him out too, That's

446
00:20:33,600 --> 00:20:34,239
Speaker 7: all I was gonna say.

447
00:20:34,320 --> 00:20:36,480
Speaker 4: KD did not box him out on that, right, So,

448
00:20:36,920 --> 00:20:40,840
Speaker 4: and then they got the d bounds to KDKD gets trapped,

449
00:20:41,000 --> 00:20:43,960
Speaker 4: he Keldon strips the fuck out of KD. Might have

450
00:20:44,000 --> 00:20:45,600
Speaker 4: got away with a foul to a little face rake

451
00:20:45,680 --> 00:20:46,240
Speaker 4: for sure.

452
00:20:46,800 --> 00:20:48,600
Speaker 1: But he for sure went up his forearm to get

453
00:20:48,600 --> 00:20:48,920
Speaker 1: the ball.

454
00:20:48,960 --> 00:20:51,439
Speaker 4: But yes, yes, but it was it was just it

455
00:20:51,480 --> 00:20:53,480
Speaker 4: was some muscle game ship there too, like like there

456
00:20:53,520 --> 00:20:55,920
Speaker 4: was a point where where where Kelton's and KD both

457
00:20:55,960 --> 00:20:57,760
Speaker 4: both had both their hands on the ball and Kelden

458
00:20:57,880 --> 00:20:59,720
Speaker 4: just muscled that man for that ship right and got

459
00:20:59,720 --> 00:21:00,679
Speaker 4: the win a bucket.

460
00:21:00,720 --> 00:21:02,840
Speaker 7: So incredible, crazy fucking ending there.

461
00:21:03,400 --> 00:21:05,879
Speaker 1: It's pretty tough to lead a game for forty seven

462
00:21:05,920 --> 00:21:07,639
Speaker 1: minutes fifty eight seconds.

463
00:21:09,280 --> 00:21:12,919
Speaker 2: This booker back not booking, wasn't it? Okay?

464
00:21:13,000 --> 00:21:15,359
Speaker 1: No, And they just said today there's not a timetable

465
00:21:15,359 --> 00:21:16,560
Speaker 1: for his return either.

466
00:21:17,640 --> 00:21:21,120
Speaker 2: So we'll see what about Bradley, We'll see he wasn't

467
00:21:21,119 --> 00:21:21,640
Speaker 2: out there either.

468
00:21:21,960 --> 00:21:23,760
Speaker 5: Similarly, like this is.

469
00:21:23,640 --> 00:21:29,280
Speaker 3: What we talked about though, Okay, yeah, it's wait, Bradley's

470
00:21:29,320 --> 00:21:31,840
Speaker 3: is a back injury, a back that makes sense, Okay, Okay,

471
00:21:32,080 --> 00:21:33,360
Speaker 3: book is a foot right.

472
00:21:35,960 --> 00:21:41,480
Speaker 2: Let's talk about your boy, Chris Broussard's star turn on

473
00:21:41,920 --> 00:21:42,560
Speaker 2: all the time.

474
00:21:43,000 --> 00:21:46,000
Speaker 4: Why I just want I just want to know why,

475
00:21:46,640 --> 00:21:49,200
Speaker 4: Like it was just so how did we get there

476
00:21:49,960 --> 00:21:52,200
Speaker 4: from discussing James Harden going to the Clippers.

477
00:21:52,200 --> 00:21:55,120
Speaker 2: Bro For people who did not see the clip, Chris

478
00:21:55,240 --> 00:22:00,080
Speaker 2: Broussard yesterday, in discussing the value of James Harden to

479
00:22:00,200 --> 00:22:03,280
Speaker 2: the Clippers use the R slur that we don't use anymore,

480
00:22:03,800 --> 00:22:06,840
Speaker 2: and then tried to back his way out of having accidentally,

481
00:22:06,880 --> 00:22:11,639
Speaker 2: you know, accidentally use it on live national television by saying,

482
00:22:12,720 --> 00:22:17,040
Speaker 2: my cousin is as my cousin is a you can't

483
00:22:17,080 --> 00:22:20,240
Speaker 2: forget that my cousin is developmentally disabled and we just

484
00:22:20,520 --> 00:22:23,080
Speaker 2: put him. I think the phrase he used was we

485
00:22:23,280 --> 00:22:26,200
Speaker 2: just put him down, but he meant that he had

486
00:22:28,280 --> 00:22:30,640
Speaker 2: He said, we can't say put him down.

487
00:22:30,840 --> 00:22:31,080
Speaker 7: He did.

488
00:22:34,160 --> 00:22:41,479
Speaker 2: We tried to like that. It was it was a

489
00:22:41,560 --> 00:22:45,639
Speaker 2: tough clip, and it's objectively, it doesn't make sense to

490
00:22:45,880 --> 00:22:52,040
Speaker 2: invoke your cousin in such a way. I don't like.

491
00:22:53,119 --> 00:22:55,359
Speaker 2: I always felt the same way when white people would

492
00:22:55,359 --> 00:22:56,800
Speaker 2: say the N word and then be like, I have

493
00:22:56,880 --> 00:22:57,600
Speaker 2: black friends.

494
00:22:57,680 --> 00:22:57,840
Speaker 7: Yeah.

495
00:22:57,920 --> 00:23:00,720
Speaker 2: He basically said that. He basically said friends use that

496
00:23:01,359 --> 00:23:04,440
Speaker 2: you refer to your friends and saying like, you know

497
00:23:04,480 --> 00:23:04,920
Speaker 2: what I mean.

498
00:23:05,760 --> 00:23:08,960
Speaker 3: I don't know, bro, it was just your cousin gave

499
00:23:09,000 --> 00:23:10,600
Speaker 3: you the past to use that word.

500
00:23:10,720 --> 00:23:14,399
Speaker 2: Is that what you're trying to say. You couldn't use it?

501
00:23:14,480 --> 00:23:17,720
Speaker 2: That was that was just last words. You can't, he

502
00:23:17,800 --> 00:23:18,760
Speaker 2: whispers in his ear.

503
00:23:19,080 --> 00:23:22,280
Speaker 7: You can use your word. I don't know if you

504
00:23:22,280 --> 00:23:22,800
Speaker 7: can say that.

505
00:23:22,880 --> 00:23:27,360
Speaker 4: But uh, bick right new it was gonna be some bullshit.

506
00:23:27,760 --> 00:23:28,639
Speaker 7: But I just don't even know.

507
00:23:28,680 --> 00:23:30,640
Speaker 4: I just don't know how you even go there from

508
00:23:30,680 --> 00:23:33,320
Speaker 4: just a basketball discussion to it just insulting your your

509
00:23:33,359 --> 00:23:35,880
Speaker 4: your fucking you know, your coworkers intelligence period, Like it's

510
00:23:35,920 --> 00:23:38,040
Speaker 4: just basketball, dude, you don't need to say fucking Nick

511
00:23:38,080 --> 00:23:40,560
Speaker 4: Wright was developmentally disabled for his opinion on the Heart

512
00:23:40,600 --> 00:23:41,240
Speaker 4: and Trade like that was.

513
00:23:41,240 --> 00:23:43,600
Speaker 2: He didn't say nick Wright was? He said, I thought

514
00:23:43,640 --> 00:23:44,600
Speaker 2: you said Harden.

515
00:23:44,480 --> 00:23:46,280
Speaker 7: Was No, no, no, no, I don't know.

516
00:23:48,200 --> 00:23:51,919
Speaker 4: He said he's nick Wright said, well, Christomas are misinterpreted

517
00:23:51,920 --> 00:23:53,600
Speaker 4: when nick Wright said, and he said, you're saying that

518
00:23:53,600 --> 00:23:56,240
Speaker 4: that that he can be Houston rockets hard here are

519
00:23:56,280 --> 00:23:57,240
Speaker 4: you our word?

520
00:23:57,320 --> 00:23:59,359
Speaker 2: No? No, no, he said, he said, he said he.

521
00:23:59,440 --> 00:24:02,480
Speaker 2: I thought he said he is. I thought he was

522
00:24:02,520 --> 00:24:06,360
Speaker 2: talking about Nick right too. Really, hold on, I got

523
00:24:06,359 --> 00:24:07,320
Speaker 2: to pull that up, bro.

524
00:24:10,960 --> 00:24:15,840
Speaker 3: He seemed not developmentally disabled, like developmentally disabled, I thought

525
00:24:15,880 --> 00:24:19,280
Speaker 3: he said, that after to correct they're talking about Harden,

526
00:24:19,880 --> 00:24:22,480
Speaker 3: and so it makes sense like that he would call

527
00:24:22,680 --> 00:24:26,200
Speaker 3: Harden that even though that's ext like it's it's still

528
00:24:26,240 --> 00:24:28,080
Speaker 3: wrong to call hard in that, you know what I'm saying,

529
00:24:28,119 --> 00:24:31,800
Speaker 3: like even developed development disabled talking about how he operates

530
00:24:31,880 --> 00:24:32,920
Speaker 3: or him not wanting to.

531
00:24:32,840 --> 00:24:35,960
Speaker 2: Be somewhere developmentally disabled in that way, it's not that's

532
00:24:36,040 --> 00:24:38,720
Speaker 2: almost worst, like you know, you know what I mean,

533
00:24:38,760 --> 00:24:40,479
Speaker 2: Like that's almost worse to me. It's like how when

534
00:24:40,520 --> 00:24:42,920
Speaker 2: we were young, and if you thought something was bad

535
00:24:43,000 --> 00:24:45,359
Speaker 2: or dumb, everyone would say that's gay. It would be

536
00:24:45,440 --> 00:24:48,280
Speaker 2: like saying that's homosexual, like it's not a one for

537
00:24:48,400 --> 00:24:49,399
Speaker 2: one synonym.

538
00:24:49,880 --> 00:24:52,280
Speaker 6: He was definitely saying it about Harden, he said, because

539
00:24:52,320 --> 00:24:55,200
Speaker 6: that is the man.

540
00:24:56,200 --> 00:25:00,280
Speaker 5: Is the man, not are is the is the man?

541
00:25:00,520 --> 00:25:03,000
Speaker 6: Ursler because he thinks he's gonna go back to being

542
00:25:03,080 --> 00:25:07,440
Speaker 6: Houston James Harden in the clipp Okay, okay.

543
00:25:07,840 --> 00:25:12,760
Speaker 1: It's still crazy, no no, no, So Jackson and John

544
00:25:12,800 --> 00:25:13,400
Speaker 1: are good with it.

545
00:25:13,359 --> 00:25:19,480
Speaker 3: Now we knew what it was, y'all wouldn't be the

546
00:25:19,520 --> 00:25:21,399
Speaker 3: ones that'd be doing with it in this situation?

547
00:25:21,600 --> 00:25:23,680
Speaker 2: Are you calling me developmentally.

548
00:25:24,560 --> 00:25:29,159
Speaker 5: Outrageous?

549
00:25:29,480 --> 00:25:33,119
Speaker 4: It's just and the conversation around it was terrible, of course,

550
00:25:33,480 --> 00:25:36,720
Speaker 4: because you have all the fucking literal Larry's and semantic

551
00:25:36,720 --> 00:25:39,399
Speaker 4: Samon's story. Well, it is a technical term, bro, Like,

552
00:25:39,720 --> 00:25:42,240
Speaker 4: that's not how language works, dude, Like fucking imbecile and

553
00:25:42,280 --> 00:25:45,240
Speaker 4: moron and idiot were all technical medical terms at one time,

554
00:25:45,280 --> 00:25:47,400
Speaker 4: and language involves and then all revolves around in ten

555
00:25:47,560 --> 00:25:50,000
Speaker 4: like it goes back to how when when Phil Jackson

556
00:25:50,040 --> 00:25:52,920
Speaker 4: called like bronze circle his posse and black people are like, bro,

557
00:25:53,520 --> 00:25:55,320
Speaker 4: that is the way a white person who doesn't like

558
00:25:55,320 --> 00:25:57,600
Speaker 4: black people speaks about black people, right, and people are like,

559
00:25:57,600 --> 00:25:59,439
Speaker 4: oh that stuff and why and white people were shouting

560
00:25:59,480 --> 00:26:02,280
Speaker 4: us down about that ship. And then you know, lower behold,

561
00:26:02,520 --> 00:26:04,679
Speaker 4: you know this motherfucker shows his cards years later that

562
00:26:04,720 --> 00:26:06,800
Speaker 4: he's really, you know, one of those dudes we tried

563
00:26:06,800 --> 00:26:07,560
Speaker 4: to tell y'all he was.

564
00:26:07,640 --> 00:26:10,840
Speaker 2: So he was a white dude from Montana who likes

565
00:26:11,160 --> 00:26:13,680
Speaker 2: to pretend he's part Native American. This is what Yeah,

566
00:26:13,720 --> 00:26:18,480
Speaker 2: he revealed himself to be. Yeah uh yeah. You know

567
00:26:18,560 --> 00:26:21,760
Speaker 2: it's a tough clip. And again, I just don't understand

568
00:26:22,720 --> 00:26:26,320
Speaker 2: bringing your like we talked about that though, and like

569
00:26:27,800 --> 00:26:31,439
Speaker 2: we've all had friends do that, right, Like oh my,

570
00:26:31,760 --> 00:26:33,880
Speaker 2: But then they usually end up using the slur too,

571
00:26:33,920 --> 00:26:35,359
Speaker 2: like if it's the f slur of the arts er.

572
00:26:35,400 --> 00:26:38,359
Speaker 2: I've heard both those like oh no, my cousins, you

573
00:26:38,400 --> 00:26:42,960
Speaker 2: know whatever, that's not a reason oh my aunts or whatever,

574
00:26:43,119 --> 00:26:45,960
Speaker 2: like that's not a reason to my cousin.

575
00:26:46,080 --> 00:26:52,680
Speaker 4: Vinnie defense the two youths, right, yeah, man, I like.

576
00:26:52,680 --> 00:26:55,680
Speaker 2: John's idea that at the funeral, like you know, after

577
00:26:55,720 --> 00:26:59,520
Speaker 2: the funeral was over, the lawyer pulled the state lawyer

578
00:26:59,520 --> 00:27:02,720
Speaker 2: pulled them into the back room and divving up the inheritance.

579
00:27:02,720 --> 00:27:04,840
Speaker 2: And then he turned to Chris Bussard and said, and

580
00:27:04,920 --> 00:27:10,000
Speaker 2: you get permission, you get the pass.

581
00:27:15,359 --> 00:27:17,120
Speaker 3: I don't see the point of like you're talking about

582
00:27:17,160 --> 00:27:20,520
Speaker 3: a basketball player. It's never that and and you and

583
00:27:20,600 --> 00:27:23,320
Speaker 3: you get that like on like bro, you tweaking.

584
00:27:23,560 --> 00:27:25,560
Speaker 2: Uh. I mean even if we're like.

585
00:27:26,119 --> 00:27:29,240
Speaker 3: Just off camera having that conversation, you go there, like, come.

586
00:27:29,119 --> 00:27:31,280
Speaker 2: On, bro, just call him a fuck nigga. You ain't

587
00:27:31,280 --> 00:27:32,040
Speaker 2: got to go that far.

588
00:27:32,400 --> 00:27:37,360
Speaker 7: You you wilding my boy. You know what I'm saying.

589
00:27:37,400 --> 00:27:38,280
Speaker 7: Fuck nigga's right there.

590
00:27:38,320 --> 00:27:43,600
Speaker 9: But anyway, all right, we uh, this is like an

591
00:27:43,600 --> 00:27:46,000
Speaker 9: honorary midweek dookie byt of the week. But we had

592
00:27:46,000 --> 00:27:50,560
Speaker 9: a red siren Dabo meltdown. Uh, And I know we

593
00:27:50,600 --> 00:27:52,600
Speaker 9: never want to let a Dabo melt down run a waist,

594
00:27:52,680 --> 00:27:56,480
Speaker 9: but this one was especially special because some dude asked

595
00:27:56,520 --> 00:27:58,520
Speaker 9: him if he thought he was overpaid.

596
00:27:58,440 --> 00:28:01,240
Speaker 1: For being a four and four football coach, given that

597
00:28:01,280 --> 00:28:03,679
Speaker 1: he's a public employee and he's making quite a bit

598
00:28:03,720 --> 00:28:05,639
Speaker 1: of money. I actually think that's a fair question. We

599
00:28:05,680 --> 00:28:09,679
Speaker 1: expect journalists to figure out what people's taxpayer money are

600
00:28:09,680 --> 00:28:12,120
Speaker 1: going to, et cetera, et cetera. And as Tyler pointed

601
00:28:12,119 --> 00:28:15,119
Speaker 1: out before we started recording, Dabo always has opinions on

602
00:28:15,160 --> 00:28:18,000
Speaker 1: how much everyone else is making, et cetera, et cetera.

603
00:28:18,119 --> 00:28:22,119
Speaker 1: But he flipped the fuck out over this question to

604
00:28:22,200 --> 00:28:25,960
Speaker 1: the extent that there are multiple viral clips of his response,

605
00:28:26,400 --> 00:28:30,320
Speaker 1: one of which he's saying, I've never been unsuccessful at

606
00:28:30,320 --> 00:28:34,280
Speaker 1: anything in my laugh, and then another he suggests he

607
00:28:34,320 --> 00:28:38,280
Speaker 1: did the full on baby tantrum. Well maybe you should

608
00:28:38,280 --> 00:28:43,200
Speaker 1: put your resume in and do it. Good luck to you, Tyler.

609
00:28:46,800 --> 00:28:49,360
Speaker 2: Like it was a curse word. Bro, you might need

610
00:28:49,360 --> 00:28:50,640
Speaker 2: to scrape with that man, Tyler.

611
00:28:51,920 --> 00:28:57,080
Speaker 3: Yeah, right right, tell your name broking down on Tyler's worldwide.

612
00:28:57,120 --> 00:28:57,600
Speaker 2: But go ahead.

613
00:28:57,920 --> 00:29:00,520
Speaker 4: Yeah, you know, you know I'm a very It's very

614
00:29:00,520 --> 00:29:02,720
Speaker 4: clear I'm someone who does not like Dabble. So I

615
00:29:02,720 --> 00:29:04,920
Speaker 4: love seeing him, you know, being put under the microscope

616
00:29:04,960 --> 00:29:06,400
Speaker 4: like this, because, Bro, you always got your hand in

617
00:29:06,400 --> 00:29:09,040
Speaker 4: other motherfucker's pockets. Like you're always telling these kids, you

618
00:29:09,080 --> 00:29:11,240
Speaker 4: know that you know they shouldn't take these nil deals.

619
00:29:11,280 --> 00:29:13,280
Speaker 7: You don't want kids transfer, you don'tant kids doing what's.

620
00:29:13,080 --> 00:29:15,560
Speaker 4: Best for them, Like let's talk about your motherfucking work

621
00:29:15,600 --> 00:29:17,760
Speaker 4: performance output for your salary and shit, like, let's have

622
00:29:17,840 --> 00:29:20,040
Speaker 4: that discussion since since you want to be mister fucking

623
00:29:20,200 --> 00:29:22,880
Speaker 4: hr office with everybody else old the goddamn time. But

624
00:29:23,960 --> 00:29:26,000
Speaker 4: I just don't like Dabble, Dude, I just do not

625
00:29:26,160 --> 00:29:28,680
Speaker 4: like I. And the reason being is, like I said,

626
00:29:28,720 --> 00:29:32,760
Speaker 4: he is just someone who who just seems to be

627
00:29:33,040 --> 00:29:37,040
Speaker 4: rooted just so adamant in maintaining the exploitive system of

628
00:29:37,040 --> 00:29:39,240
Speaker 4: the NC double A. He is he and and the

629
00:29:39,280 --> 00:29:41,240
Speaker 4: thing is, we didn't even ask him for this shit.

630
00:29:41,280 --> 00:29:42,800
Speaker 4: We didn't know that that this was where he stood

631
00:29:42,880 --> 00:29:45,680
Speaker 4: until he he was the one volunteering how his feelings

632
00:29:45,680 --> 00:29:47,360
Speaker 4: on this ship. I'm sure there's plenty of other coaches

633
00:29:47,400 --> 00:29:49,480
Speaker 4: out there will feel like him, But you know he's

634
00:29:49,480 --> 00:29:52,320
Speaker 4: some motherfucker who decided to go frontline and be the

635
00:29:52,360 --> 00:29:55,600
Speaker 4: hater against you know, players getting uh, players getting the transfer,

636
00:29:55,640 --> 00:29:57,720
Speaker 4: players getting in the nil deals. I just don't like

637
00:29:57,800 --> 00:29:59,720
Speaker 4: the motherfucker. He just he doesn't seem to have the

638
00:29:59,800 --> 00:30:02,360
Speaker 4: kids best interest at heart. And I knew that for

639
00:30:02,480 --> 00:30:05,760
Speaker 4: sure when he let those motherfuckers at the White House. Sir,

640
00:30:05,880 --> 00:30:09,160
Speaker 4: that bullshit ask McDonald's spread.

641
00:30:08,720 --> 00:30:09,480
Speaker 7: To his kids.

642
00:30:09,520 --> 00:30:13,320
Speaker 4: After that championship, you got Trevor fucking Lawrence, who very

643
00:30:13,320 --> 00:30:15,960
Speaker 4: well could be the best quarterback prospect of all time

644
00:30:16,000 --> 00:30:18,360
Speaker 4: in high school, just leads you to a championship, and

645
00:30:18,360 --> 00:30:21,080
Speaker 4: that motherfucker's eating a room temperature fish fil a and

646
00:30:21,120 --> 00:30:23,960
Speaker 4: you stood for that fucked half o, Doug.

647
00:30:24,360 --> 00:30:26,280
Speaker 7: I cannot rock with that dude at all.

648
00:30:26,360 --> 00:30:30,440
Speaker 2: Man, you a fish fil a fano at you. It's

649
00:30:30,480 --> 00:30:33,200
Speaker 2: the thing, not the White House.

650
00:30:33,440 --> 00:30:35,920
Speaker 4: You're not at the White House after you win a

651
00:30:35,960 --> 00:30:38,720
Speaker 4: college football fucking championship, right.

652
00:30:39,400 --> 00:30:42,040
Speaker 2: I like McDonald's chicken nuggets and French fries as much

653
00:30:42,040 --> 00:30:43,560
Speaker 2: as the next human being. But if I win a

654
00:30:43,680 --> 00:30:46,000
Speaker 2: national championship, but I get invited to the White House,

655
00:30:46,040 --> 00:30:47,520
Speaker 2: I take two days out of my life to go

656
00:30:47,560 --> 00:30:49,600
Speaker 2: out there and you put some cold McDonald's on the

657
00:30:49,600 --> 00:30:51,560
Speaker 2: fucking table of the Lincoln Room.

658
00:30:53,720 --> 00:30:56,480
Speaker 4: Fucking William Henry Harrison's portrait is just looking on and

659
00:30:56,520 --> 00:30:59,960
Speaker 4: everyone in discuss this was at America Envision.

660
00:31:01,320 --> 00:31:09,240
Speaker 2: Martin van Buren will not stand for this shit. All right,

661
00:31:09,280 --> 00:31:11,760
Speaker 2: before we get out of here, it is time for

662
00:31:11,800 --> 00:31:15,040
Speaker 2: our weekly Wednesday this week in Hippitie Hop segment with

663
00:31:15,160 --> 00:31:19,120
Speaker 2: Dragonfly Jones, and it's a real doy.

664
00:31:19,440 --> 00:31:20,120
Speaker 7: It's a doozy.

665
00:31:20,400 --> 00:31:22,840
Speaker 4: Okay, we are a week behind scheduled, so we'll be

666
00:31:22,880 --> 00:31:25,360
Speaker 4: discussing something that happened on October twenty second.

667
00:31:25,360 --> 00:31:26,680
Speaker 2: But the NBA fucked us up.

668
00:31:26,760 --> 00:31:28,840
Speaker 4: Yes, yes, the NBA preview kind of made us friend

669
00:31:28,840 --> 00:31:32,360
Speaker 4: short on time last week. But and this week in

670
00:31:32,480 --> 00:31:36,160
Speaker 4: Hippitie Hop. On October twenty second, twenty twelve, Kendrick Lamar

671
00:31:36,240 --> 00:31:40,120
Speaker 4: released his major label debut, Good Kid Mad City, cultivating

672
00:31:40,160 --> 00:31:42,640
Speaker 4: quite the buzz. After his very well received previous projects

673
00:31:42,640 --> 00:31:46,240
Speaker 4: Overly Dedicated in twenty ten and Section eighty in twenty eleven,

674
00:31:46,280 --> 00:31:49,640
Speaker 4: Anticipation for Good Kid Mad Cities, released in twenty twelve,

675
00:31:49,720 --> 00:31:52,760
Speaker 4: was sky high, and Kendrick over delivered a critical and

676
00:31:52,800 --> 00:31:55,920
Speaker 4: commercial success. This album was extremely well received by fans

677
00:31:55,920 --> 00:31:59,600
Speaker 4: and critics alike, and touted by many publications such as Time, BBC,

678
00:31:59,720 --> 00:32:02,280
Speaker 4: pitch Fork, and Spin as the top album of the year.

679
00:32:02,640 --> 00:32:05,960
Speaker 4: After putting independent label TDE on the map, Kendrick sided

680
00:32:05,960 --> 00:32:08,400
Speaker 4: a joint venture in March to twenty twelve with Interscope

681
00:32:08,400 --> 00:32:10,920
Speaker 4: and Aftermath. He now had the backing and budgeting of

682
00:32:10,960 --> 00:32:13,320
Speaker 4: a major label, and with his newly acquired salary cap,

683
00:32:13,400 --> 00:32:16,040
Speaker 4: Kendrick was able to assemble murderous role of producers for

684
00:32:16,160 --> 00:32:19,920
Speaker 4: his major label debut, Where's The majority of Overly Dedicated

685
00:32:19,920 --> 00:32:22,640
Speaker 4: and Section eighty were produced by in house TDE producers

686
00:32:22,960 --> 00:32:26,120
Speaker 4: sound Wave and THCHC. On Good Kid, Mad City, we

687
00:32:26,200 --> 00:32:29,400
Speaker 4: had just blaze hit Boy Pharrell and of course Kendrick's

688
00:32:29,400 --> 00:32:32,560
Speaker 4: mentor and godfather of Compton Rapped Doctor Dre on the boards,

689
00:32:32,560 --> 00:32:35,240
Speaker 4: all ending their talents to provide the lush soundscape for

690
00:32:35,280 --> 00:32:39,360
Speaker 4: this remarkable album. Ever the consummate artist, however, Kendrick was

691
00:32:39,360 --> 00:32:42,120
Speaker 4: not satisfied with this album just sounding incredible on the surface.

692
00:32:42,160 --> 00:32:44,840
Speaker 4: He wanted to say something deeper as well. With Good Kid,

693
00:32:44,880 --> 00:32:47,800
Speaker 4: Mad City, Kendrick Lamar puts his own unique and personal

694
00:32:47,840 --> 00:32:51,200
Speaker 4: spin on an age old philosophical debate that of nature

695
00:32:51,240 --> 00:32:54,480
Speaker 4: verse nurture, the debate which poses a question as old

696
00:32:54,480 --> 00:32:57,680
Speaker 4: as humanity itself. Are we intrinsically wired to be the

697
00:32:57,720 --> 00:33:00,880
Speaker 4: way that we are or does our environment determine our character, traits,

698
00:33:00,880 --> 00:33:03,760
Speaker 4: and behavior. We can examine the iconic album cover that

699
00:33:03,840 --> 00:33:05,760
Speaker 4: Kendrick shows to use for Good Kid, Mad City as

700
00:33:05,760 --> 00:33:08,760
Speaker 4: a glamory, glaring example of this conundrum. On the Good

701
00:33:08,840 --> 00:33:11,040
Speaker 4: Kid Mad City cover, there is a picture of baby

702
00:33:11,120 --> 00:33:13,480
Speaker 4: Kendrick sitting in a kitchen with his uncles in late

703
00:33:13,520 --> 00:33:16,760
Speaker 4: nineteen eighties Compton. Upon deeper inspection of the cover, you

704
00:33:16,800 --> 00:33:19,720
Speaker 4: will notice that Kendrick's baby bottle is on the kitchen table,

705
00:33:19,800 --> 00:33:21,800
Speaker 4: right next to a forty ounce bottle in what appears

706
00:33:21,800 --> 00:33:24,040
Speaker 4: to be a jar of moonshine. The uncle, who is

707
00:33:24,080 --> 00:33:26,840
Speaker 4: holding baby Kendrick in his lap, is securing baby Kendrick

708
00:33:26,920 --> 00:33:28,960
Speaker 4: with one hand and thrown up crip with the other.

709
00:33:29,360 --> 00:33:31,520
Speaker 4: And this photo, baby Kendrick is staring directly into the

710
00:33:31,560 --> 00:33:34,200
Speaker 4: camera with a wide eyed curiosity that has commonplace in

711
00:33:34,240 --> 00:33:37,000
Speaker 4: baby pictures. We, however, cannot see the eyes of his uncles.

712
00:33:37,160 --> 00:33:39,160
Speaker 4: The eyes of his uncles have a black strip across them.

713
00:33:39,200 --> 00:33:41,360
Speaker 4: In the same fashion that you would see placed on

714
00:33:41,360 --> 00:33:44,600
Speaker 4: criminals and accomplices in a true crime documentary. This cover

715
00:33:44,640 --> 00:33:47,000
Speaker 4: sets the tone for Good Kid Mad City, a concept

716
00:33:47,000 --> 00:33:50,760
Speaker 4: album utilizing a nonlinear storytelling approach. Good Kid Mad City

717
00:33:50,800 --> 00:33:53,800
Speaker 4: is a coming up age story where context clues such

718
00:33:53,800 --> 00:33:56,320
Speaker 4: as Kendrick and his friends listening to Jeezi's two thousand

719
00:33:56,360 --> 00:33:58,760
Speaker 4: and five Thug Motivation album tell us that this is

720
00:33:58,760 --> 00:34:01,240
Speaker 4: the story of a younger teenage Kendrick, who is going

721
00:34:01,280 --> 00:34:03,680
Speaker 4: to provide the listener with a bird's eye view as

722
00:34:03,680 --> 00:34:06,640
Speaker 4: he navigates through pivotal situations that molded him into the

723
00:34:06,640 --> 00:34:09,200
Speaker 4: man he is today. Long story short, the premise of

724
00:34:09,200 --> 00:34:11,040
Speaker 4: Good Kid Mad City is this, Kendrick goes to see

725
00:34:11,040 --> 00:34:13,879
Speaker 4: a girl gets jumped by her brothers, His homies come

726
00:34:13,920 --> 00:34:15,560
Speaker 4: and invene him, and one of his friends gets killed

727
00:34:15,600 --> 00:34:17,600
Speaker 4: in the process. But to rewind and get to the

728
00:34:17,600 --> 00:34:20,520
Speaker 4: specifics on Good Kid Mad City, Kendrick takes us with

729
00:34:20,600 --> 00:34:22,319
Speaker 4: him through this particular day in his life where all

730
00:34:22,360 --> 00:34:26,000
Speaker 4: this transpires in his comments the stomping Grounds after sneaking

731
00:34:26,000 --> 00:34:29,240
Speaker 4: off with the keys to his mother's minivan. This, however,

732
00:34:29,320 --> 00:34:31,160
Speaker 4: is not some care free joy right that Kendrick is

733
00:34:31,160 --> 00:34:34,120
Speaker 4: taking the listener. On just about every destination in this

734
00:34:34,200 --> 00:34:36,799
Speaker 4: journey that we are accompanying, Kendrick on is perilous and

735
00:34:36,880 --> 00:34:40,239
Speaker 4: serves as somewhat of a symbolic battlefield of ideals and morality.

736
00:34:40,520 --> 00:34:42,959
Speaker 4: The album opens with Kenjick pondering if taking a trip

737
00:34:42,960 --> 00:34:45,760
Speaker 4: to see Sharen, the aforementioned girl who he is romantically

738
00:34:45,760 --> 00:34:47,960
Speaker 4: interested in, is worth the risk that comes with possibly

739
00:34:48,040 --> 00:34:51,200
Speaker 4: running into her affiliated brothers. There we have Kenjick pondering

740
00:34:51,239 --> 00:34:54,239
Speaker 4: temptation versus rationality. Later in the album, he embarks on

741
00:34:54,239 --> 00:34:57,120
Speaker 4: a home invasion with Jay Rock on Money Trains, and

742
00:34:57,200 --> 00:34:59,960
Speaker 4: on that song he's going back and forth with contemplace

743
00:35:00,200 --> 00:35:03,600
Speaker 4: and rationalizing the circumstances where it's understandable and acceptable for

744
00:35:03,680 --> 00:35:05,880
Speaker 4: the have nots to take from the halves. There's the

745
00:35:06,000 --> 00:35:08,239
Speaker 4: art of peer pressure, where Kendrick ponders the power of

746
00:35:08,280 --> 00:35:10,239
Speaker 4: group thinking it miss he himself is a victim of

747
00:35:10,239 --> 00:35:12,560
Speaker 4: it at times. At the end of Dying of Thirst,

748
00:35:12,600 --> 00:35:14,640
Speaker 4: he and his friends run into an older church going

749
00:35:14,719 --> 00:35:17,319
Speaker 4: lady who sells them on the virtues of redemption and

750
00:35:17,360 --> 00:35:20,880
Speaker 4: forgiveness over revenge. On Good Kid, Mad City, Kendrick didn't

751
00:35:20,920 --> 00:35:22,840
Speaker 4: just take us through the backstreets of Compton. He composed

752
00:35:22,840 --> 00:35:25,160
Speaker 4: one of the greatest coming of age stories in music history.

753
00:35:25,480 --> 00:35:27,520
Speaker 4: Good Kid, Mad City holds the distinction of being the

754
00:35:27,600 --> 00:35:30,800
Speaker 4: longest charting album in rap history on the Billboard two hundred,

755
00:35:30,840 --> 00:35:33,080
Speaker 4: having never once left the top two hundred since it's

756
00:35:33,080 --> 00:35:36,040
Speaker 4: released one eleven years ago, a testament to his quality

757
00:35:36,080 --> 00:35:38,799
Speaker 4: and timeless subject matter. And Kendrick tackled all of these

758
00:35:38,880 --> 00:35:42,200
Speaker 4: timeless existential questions while riding in his mama's minivan and

759
00:35:42,239 --> 00:35:45,080
Speaker 4: smoking blacks with the homies while listening the Jezy. So

760
00:35:47,520 --> 00:35:50,000
Speaker 4: you know, I know that it's kind of a running

761
00:35:50,080 --> 00:35:52,000
Speaker 4: joke on Twitter that people say an album is classic

762
00:35:52,080 --> 00:35:54,239
Speaker 4: or trash like the first ten minutes of hearing it,

763
00:35:54,840 --> 00:35:57,080
Speaker 4: But my first time listening to Good Kid Math City,

764
00:35:57,120 --> 00:35:57,680
Speaker 4: I knew, bro.

765
00:35:58,200 --> 00:35:59,719
Speaker 7: I was like, this is special.

766
00:36:00,120 --> 00:36:02,240
Speaker 4: I was like, this is a very very special album

767
00:36:02,280 --> 00:36:05,840
Speaker 4: because it was like it wasn't something that blindsided you,

768
00:36:05,840 --> 00:36:07,360
Speaker 4: because it was like a slow simit there right, Like

769
00:36:07,400 --> 00:36:11,520
Speaker 4: overly Dedicated was really good. Section eighty was incredible, right,

770
00:36:11,520 --> 00:36:14,640
Speaker 4: and it was right and it was like on overly Dedicated,

771
00:36:14,800 --> 00:36:17,359
Speaker 4: you know, you saw the insight there. You saw how

772
00:36:17,360 --> 00:36:20,000
Speaker 4: he was being, you know, vulnerable with with the listeners.

773
00:36:20,040 --> 00:36:22,920
Speaker 4: You know, you heard songs like Ignorance's Bliss, where he

774
00:36:22,960 --> 00:36:26,279
Speaker 4: took us through the the mind of a gang banger

775
00:36:26,280 --> 00:36:28,239
Speaker 4: who was like reluctantly, you know, putting in work and

776
00:36:28,239 --> 00:36:30,480
Speaker 4: stuff like that. And then on Section eighty it's like

777
00:36:30,560 --> 00:36:33,680
Speaker 4: the artistry kind of blossomed a bit right. And then

778
00:36:33,800 --> 00:36:36,359
Speaker 4: on Good KND Mad City, it's like the artistry and

779
00:36:36,400 --> 00:36:39,480
Speaker 4: the insight and the vulnerability it just all came together perfectly,

780
00:36:39,840 --> 00:36:43,239
Speaker 4: you know. So it's it's a classic album to me.

781
00:36:43,320 --> 00:36:45,919
Speaker 4: I think it's the best rap album of the twenty tens.

782
00:36:45,960 --> 00:36:48,040
Speaker 4: I know people are probably gonna say Beautiful, Dark, Twist

783
00:36:48,080 --> 00:36:50,280
Speaker 4: the Fantasy, but I go Good Kid, Mad City.

784
00:36:50,320 --> 00:36:51,680
Speaker 7: It is just a phenomenal piece of work.

785
00:36:51,680 --> 00:36:56,600
Speaker 3: To me, I feel like overly Dedicated was him trying

786
00:36:56,600 --> 00:36:59,160
Speaker 3: to make music that people like. I feel like Section

787
00:36:59,280 --> 00:37:02,640
Speaker 3: eighty was making music that he liked. I feel like

788
00:37:02,719 --> 00:37:05,200
Speaker 3: Good Kid Mass City was where he added the cinematic

789
00:37:05,280 --> 00:37:07,480
Speaker 3: part and he was telling his story. And I think

790
00:37:07,600 --> 00:37:10,480
Speaker 3: that's been even though his music has changed out, each

791
00:37:10,520 --> 00:37:13,520
Speaker 3: album has been extremely different, they've all had that.

792
00:37:13,600 --> 00:37:14,279
Speaker 2: I think felt like he.

793
00:37:14,280 --> 00:37:16,600
Speaker 3: Finally figured out his style on Good Kid, Mad City,

794
00:37:16,960 --> 00:37:19,520
Speaker 3: and regardless of if he changed how the music sounds.

795
00:37:19,880 --> 00:37:23,440
Speaker 3: That same recipe has continued throughout all of his albums,

796
00:37:23,640 --> 00:37:25,879
Speaker 3: But I didn't what's interested about like Good Kid Mass

797
00:37:25,880 --> 00:37:27,920
Speaker 3: City is like when you like you heard it, I

798
00:37:27,960 --> 00:37:28,839
Speaker 3: was like, wow, like.

799
00:37:28,840 --> 00:37:32,120
Speaker 2: This is It's a perfect album. You know what I'm saying.

800
00:37:32,160 --> 00:37:34,680
Speaker 3: The first time you hear it, it grips your soul.

801
00:37:34,880 --> 00:37:35,440
Speaker 2: You know what I mean.

802
00:37:35,520 --> 00:37:38,319
Speaker 3: As a kid who grew up in the fucking suburbs,

803
00:37:38,600 --> 00:37:41,120
Speaker 3: you know what I'm saying. Like that that you know,

804
00:37:41,320 --> 00:37:44,279
Speaker 3: I could feel exactly what the well, I could feel

805
00:37:44,280 --> 00:37:46,160
Speaker 3: what he felt, you know what I'm saying, Like the

806
00:37:46,640 --> 00:37:49,040
Speaker 3: it was, it was, it was, it was you know,

807
00:37:49,480 --> 00:37:52,480
Speaker 3: you could use this. It was just so it touched

808
00:37:52,480 --> 00:37:54,960
Speaker 3: everybody that listened, you know what I'm saying. And the

809
00:37:55,040 --> 00:37:59,120
Speaker 3: fact that he's continue to do that over the last

810
00:37:59,160 --> 00:38:05,239
Speaker 3: what thirteen years and also gotten better at it as

811
00:38:05,280 --> 00:38:07,799
Speaker 3: well over the time, I feel like Good Kid mass

812
00:38:07,800 --> 00:38:10,600
Speaker 3: City was, like, I mean, one of the best rap

813
00:38:10,640 --> 00:38:13,279
Speaker 3: debuts I've ever experienced in my lifetime, you know what

814
00:38:13,280 --> 00:38:13,560
Speaker 3: I mean.

815
00:38:13,840 --> 00:38:15,319
Speaker 2: But I think his best.

816
00:38:15,000 --> 00:38:19,160
Speaker 3: Work is his most recent album, you know, I mean personally,

817
00:38:19,360 --> 00:38:21,160
Speaker 3: And I was like, how do you you know? How

818
00:38:21,200 --> 00:38:23,239
Speaker 3: do you what do you do after Good Kid Mad

819
00:38:23,239 --> 00:38:25,960
Speaker 3: City will fucking a musical genius will find a way,

820
00:38:25,960 --> 00:38:28,680
Speaker 3: And that's Kendrick, you know what I mean. But yeah,

821
00:38:28,719 --> 00:38:31,520
Speaker 3: I think I think Good Kid mass City was the

822
00:38:31,560 --> 00:38:34,719
Speaker 3: first time that we saw, like, you know, Kendrick as

823
00:38:34,760 --> 00:38:37,600
Speaker 3: a whole, Like I feel like I love Section eighty.

824
00:38:37,640 --> 00:38:39,799
Speaker 2: I've listened to that probably more than anything else.

825
00:38:40,120 --> 00:38:40,560
Speaker 7: You feel me.

826
00:38:40,600 --> 00:38:42,239
Speaker 3: I mean, I just think it's just where we found

827
00:38:42,360 --> 00:38:45,400
Speaker 3: him making music like that. He wanted to make you

828
00:38:45,440 --> 00:38:47,800
Speaker 3: know what I'm saying. But I think good Kid Mascity

829
00:38:47,840 --> 00:38:49,160
Speaker 3: is where he all he put it, He put it

830
00:38:49,200 --> 00:38:51,359
Speaker 3: all together, and he's used that same recipe since.

831
00:38:51,760 --> 00:38:51,960
Speaker 7: Right.

832
00:38:52,080 --> 00:38:57,439
Speaker 2: I personally think it's the greatest rap album of all

833
00:38:57,520 --> 00:39:01,120
Speaker 2: time as a work of art, Like, I don't think

834
00:39:01,160 --> 00:39:05,840
Speaker 2: there has ever been a story told or a level

835
00:39:06,000 --> 00:39:14,200
Speaker 2: of artistic achievement in a body of writing in rap man.

836
00:39:14,239 --> 00:39:16,840
Speaker 2: I would put it really up there with almost anything

837
00:39:16,840 --> 00:39:20,160
Speaker 2: else in music. Y'all know. I was a lit major

838
00:39:20,239 --> 00:39:24,400
Speaker 2: and a big James Joyce fan. His novel Ulysses was

839
00:39:24,480 --> 00:39:27,719
Speaker 2: like what made him sort of an all timer. Write

840
00:39:27,760 --> 00:39:32,720
Speaker 2: It's it's this book about book One day in Dublin,

841
00:39:32,840 --> 00:39:37,080
Speaker 2: Ireland in the early you know, nineteen hundreds and chapter

842
00:39:37,200 --> 00:39:41,680
Speaker 2: by chapter employees all these different literary devices, and you know,

843
00:39:41,719 --> 00:39:43,400
Speaker 2: that's sort of the idea of it is like if

844
00:39:43,440 --> 00:39:46,440
Speaker 2: you drill in, it's it's told in parallel to the

845
00:39:46,480 --> 00:39:49,239
Speaker 2: story of the Odyssey. So that's the idea behind it

846
00:39:49,280 --> 00:39:51,360
Speaker 2: is one day in the life of this city could

847
00:39:51,360 --> 00:39:54,279
Speaker 2: be as big of an adventure as Odyssey. Wright And

848
00:39:54,360 --> 00:39:57,040
Speaker 2: are you a James Joyce fan too, Tyler, what's happening?

849
00:39:57,640 --> 00:40:01,080
Speaker 2: I'm familiar with his word Okay, cool col so you know,

850
00:40:01,520 --> 00:40:05,480
Speaker 2: good kid. Mad City to me, similarly is like, and

851
00:40:05,800 --> 00:40:08,120
Speaker 2: we've discussed this, like I never really can have a

852
00:40:08,160 --> 00:40:11,480
Speaker 2: great understanding of what rap music from Long Beach or

853
00:40:11,520 --> 00:40:14,880
Speaker 2: Compton sounds like to people outside the city because the

854
00:40:15,239 --> 00:40:19,160
Speaker 2: adress the intersections in those albums are intersections that I

855
00:40:19,200 --> 00:40:22,920
Speaker 2: know right. So to me, there's that extra level of

856
00:40:22,960 --> 00:40:25,560
Speaker 2: groundedness of like the picture that I have is very

857
00:40:25,600 --> 00:40:29,480
Speaker 2: clear when he's sort of describing what a house party

858
00:40:29,480 --> 00:40:31,520
Speaker 2: in this area looks like, whatever, you know what I mean.

859
00:40:32,520 --> 00:40:34,799
Speaker 2: But I think if you listen to it, if you

860
00:40:34,880 --> 00:40:36,560
Speaker 2: listen to the beginning of the album and the end

861
00:40:36,600 --> 00:40:39,080
Speaker 2: of the album, you also it is also a cycle.

862
00:40:39,120 --> 00:40:42,040
Speaker 2: You can also start it over at the end of

863
00:40:42,040 --> 00:40:44,400
Speaker 2: the last album, and because of the story is not

864
00:40:44,440 --> 00:40:47,640
Speaker 2: told in a linear way, it can repeat itself, which

865
00:40:47,680 --> 00:40:50,640
Speaker 2: is obviously also part of the message of the album.

866
00:40:50,680 --> 00:40:54,680
Speaker 2: But I think it's like you could send fifty New

867
00:40:54,760 --> 00:40:58,440
Speaker 2: Yorker writers to Compton, California for ten fucking years and

868
00:40:58,480 --> 00:41:02,880
Speaker 2: they could not right you a better description of life

869
00:41:03,560 --> 00:41:06,920
Speaker 2: in Compton or in North the North Long Beach area

870
00:41:08,320 --> 00:41:12,280
Speaker 2: than Kendrick did on an album that is also super

871
00:41:12,400 --> 00:41:15,880
Speaker 2: fucking entertaining to listen to. But you know, like I

872
00:41:16,120 --> 00:41:19,799
Speaker 2: think I'm Dying of Thirst is up there with the

873
00:41:19,840 --> 00:41:24,400
Speaker 2: best songs. I mean, it's it's just again like usually

874
00:41:24,400 --> 00:41:27,520
Speaker 2: when you talk about someone wrote something great in music,

875
00:41:28,000 --> 00:41:30,200
Speaker 2: you're expecting the music to not be as good as

876
00:41:30,200 --> 00:41:31,840
Speaker 2: the writing. And I think that, to me is what

877
00:41:31,840 --> 00:41:34,759
Speaker 2: was so exciting about the about that album. It also

878
00:41:34,960 --> 00:41:38,960
Speaker 2: was so good that I basically let it kill physical

879
00:41:39,000 --> 00:41:41,120
Speaker 2: media for me, Like I think that was the last

880
00:41:41,160 --> 00:41:44,120
Speaker 2: album that I went to a record store and bought

881
00:41:44,120 --> 00:41:47,160
Speaker 2: a CD and then I literally didn't leave the parking lot,

882
00:41:47,239 --> 00:41:50,040
Speaker 2: like I just put it in the CD player and

883
00:41:50,080 --> 00:41:52,200
Speaker 2: listened to the entire thing like in the parking lot,

884
00:41:52,239 --> 00:41:54,880
Speaker 2: and I don't think I bought in that way, like,

885
00:41:54,880 --> 00:41:57,000
Speaker 2: oh shit, this album's coming out on Tuesday, I have

886
00:41:57,040 --> 00:42:00,560
Speaker 2: to go get get it in person. I just I'll

887
00:42:00,560 --> 00:42:05,120
Speaker 2: never forget sitting in my Honda Civic, you know, in

888
00:42:05,200 --> 00:42:09,399
Speaker 2: the Target parking lot, popped that thing open and listen

889
00:42:09,440 --> 00:42:11,360
Speaker 2: to the whole thing. I cried at it, you know,

890
00:42:11,640 --> 00:42:14,279
Speaker 2: on on Dying of Thirst, Like, I mean, I really

891
00:42:14,360 --> 00:42:18,400
Speaker 2: I think it's it's so hard because it's like musical

892
00:42:18,400 --> 00:42:20,520
Speaker 2: achievements and that's not what I'm not trying to get

893
00:42:20,560 --> 00:42:22,279
Speaker 2: into argument about whether it's the best album of all

894
00:42:22,320 --> 00:42:24,400
Speaker 2: time or not. But like to me, I just I

895
00:42:24,400 --> 00:42:26,399
Speaker 2: don't know what you could make that would be better

896
00:42:26,440 --> 00:42:30,080
Speaker 2: than that as a whole album, like from start to finish,

897
00:42:30,160 --> 00:42:33,759
Speaker 2: as one product, I think that it's the best thing ever.

898
00:42:34,880 --> 00:42:39,400
Speaker 4: It's it's such an incredibly honest album. You know, Kenjick

899
00:42:39,600 --> 00:42:42,400
Speaker 4: kind of found that minute, like you know, twenty twelve

900
00:42:42,719 --> 00:42:44,040
Speaker 4: was kind of it was.

901
00:42:44,080 --> 00:42:45,640
Speaker 7: It was the peak of the blog.

902
00:42:45,400 --> 00:42:49,239
Speaker 4: Era where the normal, everyday, non threatening, non gangster raffer

903
00:42:49,360 --> 00:42:52,359
Speaker 4: was flourishing, right, and you know that was something new

904
00:42:52,400 --> 00:42:54,680
Speaker 4: that that that we hadn't really quite seen be at

905
00:42:54,680 --> 00:42:56,000
Speaker 4: the forefront of music. You know, it was kind of

906
00:42:56,040 --> 00:42:58,719
Speaker 4: ushered in by Kanye kind of Drake and and that

907
00:42:58,800 --> 00:43:02,000
Speaker 4: Ilk and you know, usually you know before that, it was,

908
00:43:02,040 --> 00:43:03,040
Speaker 4: you know, you had to be a tough guy. You

909
00:43:03,040 --> 00:43:04,719
Speaker 4: had to be a gangster really really to to kind of,

910
00:43:04,760 --> 00:43:06,400
Speaker 4: you know, really be a superstar in this ship. And

911
00:43:06,560 --> 00:43:07,920
Speaker 4: Kinchrick was like in the middle of that ship, he

912
00:43:08,000 --> 00:43:10,320
Speaker 4: was like, you know, I'm a kid from Compton who's

913
00:43:10,360 --> 00:43:12,239
Speaker 4: not out here thuging, but my homies are, you know

914
00:43:12,239 --> 00:43:14,200
Speaker 4: what I mean. And I think that's very relatable. I think,

915
00:43:14,560 --> 00:43:16,480
Speaker 4: like none of us on this Powder Street dudes, but

916
00:43:16,520 --> 00:43:18,400
Speaker 4: I know we all got like homies who are out

917
00:43:18,440 --> 00:43:21,600
Speaker 4: there all right, you know. And and you know, on

918
00:43:21,680 --> 00:43:23,640
Speaker 4: Black Boy Fly when he talks about how jealous he

919
00:43:23,680 --> 00:43:25,360
Speaker 4: was of Aaron Aflalo when he watched him hoop in

920
00:43:25,400 --> 00:43:26,960
Speaker 4: high school, he was like, this dude is gonna make

921
00:43:26,960 --> 00:43:28,719
Speaker 4: it out of here. And I might not like, you know,

922
00:43:28,760 --> 00:43:30,920
Speaker 4: you didn't see that that type of honesty and rap

923
00:43:30,920 --> 00:43:35,160
Speaker 4: because game through a game two and because it's like,

924
00:43:35,160 --> 00:43:37,720
Speaker 4: you know, the anti don't be hating, you know, mantra

925
00:43:37,880 --> 00:43:40,080
Speaker 4: of the ethos of rap. You know, you want to

926
00:43:40,080 --> 00:43:42,440
Speaker 4: see a rapper admit that, right, So it was it

927
00:43:42,520 --> 00:43:45,040
Speaker 4: was just very honest, very vulnerable.

928
00:43:45,160 --> 00:43:47,400
Speaker 7: And you know, one of.

929
00:43:47,400 --> 00:43:50,959
Speaker 4: The discussions with that other guy who dropped his album, Drake,

930
00:43:51,280 --> 00:43:53,080
Speaker 4: was you know, the lack of growth, right, and when

931
00:43:53,080 --> 00:43:55,200
Speaker 4: we had a whole discussion on that. Not to rehash points, right,

932
00:43:55,360 --> 00:43:58,560
Speaker 4: but but you know, like I said, I think people

933
00:43:58,960 --> 00:44:01,320
Speaker 4: people have a positive connotation of growth. They want to

934
00:44:01,320 --> 00:44:03,439
Speaker 4: see someone develop and become a better person, and they're

935
00:44:03,440 --> 00:44:05,560
Speaker 4: not seeing that in tracks album. And I don't think

936
00:44:05,560 --> 00:44:07,359
Speaker 4: that that's necessarily what people are looking for. People are

937
00:44:07,360 --> 00:44:09,680
Speaker 4: looking for new perspectives. You should not have the same

938
00:44:09,719 --> 00:44:12,480
Speaker 4: perspective at thirty five that you had a twenty two, right,

939
00:44:12,600 --> 00:44:14,759
Speaker 4: And Kendrick's music has given us a new perspective. Just

940
00:44:14,800 --> 00:44:17,839
Speaker 4: about every time he came out, like you know, good kid,

941
00:44:17,840 --> 00:44:20,520
Speaker 4: Mast City, he was like, you know, the the underlying

942
00:44:20,600 --> 00:44:21,880
Speaker 4: theme was I got to make it out of here,

943
00:44:21,920 --> 00:44:25,160
Speaker 4: you know. Then to Pimple Butterfly. After he achieved, you know,

944
00:44:25,160 --> 00:44:27,560
Speaker 4: phenomenal success off the album, you know, becomes a millionaire

945
00:44:27,560 --> 00:44:31,000
Speaker 4: moves out. It's a vivor's guilt, right, and then you

946
00:44:31,000 --> 00:44:34,000
Speaker 4: know with Damn, it's it's like, you know, I'm trying

947
00:44:34,000 --> 00:44:35,480
Speaker 4: to save my people, but I don't know if I'm

948
00:44:35,480 --> 00:44:37,319
Speaker 4: built for this, you know, I'm reaching back like you

949
00:44:37,360 --> 00:44:38,840
Speaker 4: heard me doing on the Pimple Butterfly.

950
00:44:39,000 --> 00:44:40,800
Speaker 7: But this shit is hard, y'all. It's a heavy burden

951
00:44:40,840 --> 00:44:42,000
Speaker 7: the bear. And then on Mister.

952
00:44:41,840 --> 00:44:44,560
Speaker 4: Morale, he's like, why did I even try to burden

953
00:44:44,560 --> 00:44:47,040
Speaker 4: myself with trying to save everybody? You can't do that shit,

954
00:44:47,280 --> 00:44:48,560
Speaker 4: you know, he was like, I'm just going to be

955
00:44:48,600 --> 00:44:50,960
Speaker 4: a reclusive with my family and worry about saving them

956
00:44:51,000 --> 00:44:52,160
Speaker 4: about me and mine. And you can look at the

957
00:44:52,160 --> 00:44:54,319
Speaker 4: album covers. The album covers tell tell that story too, right,

958
00:44:54,480 --> 00:44:56,520
Speaker 4: Like on the Pimple Butterfly, you know, he got all

959
00:44:56,560 --> 00:44:59,080
Speaker 4: the homies in front of the White House right on Damn,

960
00:44:59,160 --> 00:45:00,839
Speaker 4: you can see him just look, can stress the fuck

961
00:45:00,880 --> 00:45:03,719
Speaker 4: out in that picture, right And on Mister Morale, he's

962
00:45:03,760 --> 00:45:06,080
Speaker 4: he's with his wife, he's with his newborn. He's holding

963
00:45:06,080 --> 00:45:07,799
Speaker 4: his newborn with his wife in the same room, and

964
00:45:07,840 --> 00:45:10,200
Speaker 4: he's got like a a Jesus crown of thorns on, like,

965
00:45:10,400 --> 00:45:12,319
Speaker 4: you know, this is who I'm going to put it

966
00:45:12,360 --> 00:45:14,120
Speaker 4: all on the line for here my family, you know

967
00:45:14,160 --> 00:45:17,000
Speaker 4: what I mean. So, so that's something I've always appreciated

968
00:45:17,040 --> 00:45:19,440
Speaker 4: about Kendrick's music, Like I said, Bro, we just want

969
00:45:19,440 --> 00:45:21,520
Speaker 4: to hear new perspectives. I don't want to hear a

970
00:45:21,640 --> 00:45:23,880
Speaker 4: thirty five year old family man Kendrick, you know, rapping

971
00:45:23,920 --> 00:45:25,680
Speaker 4: about you know, still being a Compton thug and like

972
00:45:25,680 --> 00:45:27,080
Speaker 4: he was doing unoverly dedicated.

973
00:45:27,520 --> 00:45:30,440
Speaker 3: Well, even if you don't completely agree with like his

974
00:45:30,560 --> 00:45:33,719
Speaker 3: stance on certain things, you still appreciate the music. So like,

975
00:45:34,160 --> 00:45:36,520
Speaker 3: it's not like we have to agree with what you're

976
00:45:36,520 --> 00:45:37,480
Speaker 3: talking about all the time.

977
00:45:37,520 --> 00:45:38,000
Speaker 2: You know what I'm saying.

978
00:45:38,040 --> 00:45:40,080
Speaker 3: I think a lot of the shit out here in

979
00:45:40,160 --> 00:45:42,680
Speaker 3: rap I don't necessarily agree with you know what I'm saying,

980
00:45:42,719 --> 00:45:45,000
Speaker 3: But I can appreciate the music, you know what I'm saying.

981
00:45:45,000 --> 00:45:47,040
Speaker 3: I can appreciate how it's in the art of it.

982
00:45:47,080 --> 00:45:49,719
Speaker 3: You feel what I'm saying. But yeah, I mean I

983
00:45:49,760 --> 00:45:51,640
Speaker 3: think I think that's what's been special by him too,

984
00:45:51,760 --> 00:45:53,960
Speaker 3: is like you know, like you said, he's he's he's grown,

985
00:45:54,160 --> 00:45:57,439
Speaker 3: but it's it's still remained solid, good music the entire time.

986
00:45:57,680 --> 00:45:59,560
Speaker 3: And even like the sound has changed, you know what

987
00:45:59,560 --> 00:46:03,239
Speaker 3: I'm saying, perspective, the sound has changed like this, like

988
00:46:03,320 --> 00:46:07,360
Speaker 3: this this turn with Missus Morale, like I've never seen

989
00:46:07,560 --> 00:46:09,880
Speaker 3: an album like like you know what I'm saying, like

990
00:46:10,239 --> 00:46:11,600
Speaker 3: done in the way that he's done it.

991
00:46:11,600 --> 00:46:13,120
Speaker 2: You feel me. I think the closest thing I've seen

992
00:46:13,120 --> 00:46:13,440
Speaker 2: to that is.

993
00:46:13,440 --> 00:46:15,920
Speaker 3: Probably Salons as far as the art, you know what

994
00:46:15,960 --> 00:46:19,080
Speaker 3: I'm saying, that's done alongside the album of the visuals.

995
00:46:20,040 --> 00:46:22,080
Speaker 3: But yeah, man, I think you know that's what makes

996
00:46:22,160 --> 00:46:22,720
Speaker 3: them special.

997
00:46:22,800 --> 00:46:25,960
Speaker 2: So I think to to Tyler's point, just to go

998
00:46:26,040 --> 00:46:28,520
Speaker 2: back to the uh to good Kid mat City for

999
00:46:28,560 --> 00:46:30,960
Speaker 2: a second, I think the Art of Peer Pressure is

1000
00:46:31,000 --> 00:46:38,040
Speaker 2: the best song about what actual game life is like

1001
00:46:38,440 --> 00:46:41,520
Speaker 2: that like that, it's like that there's for every like

1002
00:46:41,560 --> 00:46:44,120
Speaker 2: you like. Like you said, he's describing himself growing up

1003
00:46:44,160 --> 00:46:48,920
Speaker 2: in Compton, right, we just had Black trayon very similar thing.

1004
00:46:49,000 --> 00:46:52,160
Speaker 2: His family had an involvement that he was kept outside of.

1005
00:46:52,280 --> 00:46:55,160
Speaker 2: But that but that connection is still there. I have

1006
00:46:55,200 --> 00:46:59,279
Speaker 2: other friends from Compton with the same story. The Art

1007
00:46:59,280 --> 00:47:03,239
Speaker 2: of peer Pressure is for every one dude who is

1008
00:47:03,280 --> 00:47:05,839
Speaker 2: sixteen and who has made the decision this is what

1009
00:47:05,840 --> 00:47:08,440
Speaker 2: I'm doing with my life. There are ten people who

1010
00:47:08,480 --> 00:47:12,239
Speaker 2: are just friends with him at school, who are on

1011
00:47:12,320 --> 00:47:15,520
Speaker 2: the fringes of who accidentally end up hanging out with

1012
00:47:15,560 --> 00:47:19,440
Speaker 2: their friends. And you know, I'm just I'm just hanging

1013
00:47:19,440 --> 00:47:22,240
Speaker 2: out with the fucking homies right now, and some stupid

1014
00:47:22,239 --> 00:47:25,359
Speaker 2: shit happened like that, Like that is the that song

1015
00:47:25,480 --> 00:47:29,759
Speaker 2: is a documentary about being a teenage kid, you know

1016
00:47:29,760 --> 00:47:32,879
Speaker 2: what I mean. Like everyone relates to that, Like John said,

1017
00:47:32,920 --> 00:47:34,760
Speaker 2: like if you are a white kid in the suburbs

1018
00:47:34,760 --> 00:47:39,000
Speaker 2: in Illinois, you relate to I feel separate from the

1019
00:47:39,040 --> 00:47:41,400
Speaker 2: world in some way. I'm just discovering what I know

1020
00:47:41,440 --> 00:47:44,279
Speaker 2: about myself. But when I end up in a car

1021
00:47:44,600 --> 00:47:47,680
Speaker 2: or a truck with my three friends, but we accidentally

1022
00:47:47,680 --> 00:47:51,560
Speaker 2: did some really stupid shit, you know. Yeah, and that

1023
00:47:51,719 --> 00:47:54,040
Speaker 2: song to me was like, like, you know, you talked

1024
00:47:54,040 --> 00:47:55,640
Speaker 2: about the blog era of stuff, like I was so

1025
00:47:56,480 --> 00:47:59,480
Speaker 2: unaware of like larger musical trends or something. I just

1026
00:47:59,680 --> 00:48:02,080
Speaker 2: it was music was just something I listened to. But

1027
00:48:02,120 --> 00:48:05,360
Speaker 2: that's so right that, like that song was the first

1028
00:48:05,360 --> 00:48:08,880
Speaker 2: time you were like, oh, someone actually put words to that,

1029
00:48:09,320 --> 00:48:13,000
Speaker 2: you know. And again, like you mentioned, all three of

1030
00:48:13,080 --> 00:48:15,440
Speaker 2: us have friends that were, you know, more heavily involved

1031
00:48:15,480 --> 00:48:18,480
Speaker 2: in street stuff or whatever than the three of us were, obviously,

1032
00:48:18,520 --> 00:48:21,600
Speaker 2: but we have that in my family. Like that's part

1033
00:48:21,600 --> 00:48:24,280
Speaker 2: of why my grandpa moved from New Jersey to southern

1034
00:48:24,280 --> 00:48:27,960
Speaker 2: California after World War Two. Was he had brothers who

1035
00:48:27,960 --> 00:48:32,400
Speaker 2: were caught up in the Italian version of gang life,

1036
00:48:32,440 --> 00:48:35,359
Speaker 2: right like in New Jersey. And it similarly was like

1037
00:48:35,880 --> 00:48:37,799
Speaker 2: started off on some goop. You know, this is my

1038
00:48:37,920 --> 00:48:42,560
Speaker 2: cool friend. Like you're fifteen or sixteen, you want powerful masculinity,

1039
00:48:42,600 --> 00:48:44,560
Speaker 2: you want to feel like you're powerful and all that stuff,

1040
00:48:44,600 --> 00:48:46,080
Speaker 2: and you get caught up in that stuff, you know,

1041
00:48:46,239 --> 00:48:49,399
Speaker 2: like and I don't know, there are parallels of that

1042
00:48:49,400 --> 00:48:53,120
Speaker 2: that are cross cultural that I think Kendrick did a

1043
00:48:53,120 --> 00:48:56,960
Speaker 2: better job of laying that fact bear than I would

1044
00:48:56,960 --> 00:49:01,960
Speaker 2: really ever expect person who had friends who were in

1045
00:49:02,000 --> 00:49:04,200
Speaker 2: the mob, or a black person who have friends who

1046
00:49:04,239 --> 00:49:06,640
Speaker 2: are in a gang to be able to actually like

1047
00:49:06,840 --> 00:49:08,839
Speaker 2: lay that out in the way that he did it,

1048
00:49:08,880 --> 00:49:10,799
Speaker 2: you know, in that song and on that album. So

1049
00:49:10,800 --> 00:49:14,279
Speaker 2: but it's like every song on that album, the first

1050
00:49:14,280 --> 00:49:16,319
Speaker 2: time you listen to it was so hard not to

1051
00:49:16,400 --> 00:49:18,920
Speaker 2: run it back. It was so hard to like, no,

1052
00:49:19,080 --> 00:49:21,360
Speaker 2: let me listen to this whole thing, because it's giving

1053
00:49:21,400 --> 00:49:26,279
Speaker 2: you more ideas and craftsmanshit per song that you would

1054
00:49:26,360 --> 00:49:28,879
Speaker 2: usually almost expect to see from an album. When you're

1055
00:49:28,880 --> 00:49:33,160
Speaker 2: talking about popular music, I'm not talking about underground intelligence.

1056
00:49:33,160 --> 00:49:35,000
Speaker 2: You're talking about an album that, like you said, was

1057
00:49:35,120 --> 00:49:38,439
Speaker 2: the longest charting album. And then again, and I don't

1058
00:49:38,440 --> 00:49:41,200
Speaker 2: mean to harp on Drake, but this is like comparing

1059
00:49:41,280 --> 00:49:44,279
Speaker 2: like the best rock songwriter to Weezer or something. It's like,

1060
00:49:44,520 --> 00:49:47,480
Speaker 2: this is an artist who's chosen to develop from project

1061
00:49:47,560 --> 00:49:50,480
Speaker 2: to project, but it's still at the top of the charts.

1062
00:49:50,520 --> 00:49:52,759
Speaker 2: Like that's what to me is so special about him

1063
00:49:52,760 --> 00:49:53,840
Speaker 2: as a writer.

1064
00:49:54,000 --> 00:49:57,160
Speaker 4: Purely as a writer, Yeah, yeah, He's Kenchik has always

1065
00:49:57,239 --> 00:49:59,120
Speaker 4: kind of been that foil for Drake in that argument

1066
00:49:59,160 --> 00:50:01,000
Speaker 4: of of well, oh, you know, the guy wants to

1067
00:50:01,000 --> 00:50:02,400
Speaker 4: make kids, he wants to be at the top of

1068
00:50:02,440 --> 00:50:04,200
Speaker 4: the game. What you want him to wrap about, Well,

1069
00:50:04,239 --> 00:50:06,359
Speaker 4: Kendrick is at the Kendrick is number two bro behind

1070
00:50:06,440 --> 00:50:08,400
Speaker 4: Drake as far as you know, the biggest rappers in

1071
00:50:08,400 --> 00:50:10,640
Speaker 4: the world. And then the subject matter is just on

1072
00:50:10,680 --> 00:50:14,360
Speaker 4: the opposite end of the spectrum, right at J Cole too. Yeah,

1073
00:50:14,400 --> 00:50:16,440
Speaker 4: J Cole too, right, Right, that's the big three of

1074
00:50:16,760 --> 00:50:20,720
Speaker 4: their error, you know, Drake, Kendrick and jco I'm curious

1075
00:50:20,719 --> 00:50:23,360
Speaker 4: about you, though, Jackson. You were like, what sixteen seventeen

1076
00:50:23,360 --> 00:50:25,759
Speaker 4: when this drop, Like I always I'm always curious on

1077
00:50:25,920 --> 00:50:28,960
Speaker 4: where on on how an album impacted teenagers.

1078
00:50:29,000 --> 00:50:31,960
Speaker 7: I feel like that's a good litmus test on rap albums.

1079
00:50:32,239 --> 00:50:33,680
Speaker 7: How did it I love this album?

1080
00:50:33,960 --> 00:50:36,920
Speaker 6: It was like, yeah, it was twenty twelve, right, so

1081
00:50:36,960 --> 00:50:40,759
Speaker 6: I was I was sixteen, So it was the back

1082
00:50:40,760 --> 00:50:42,720
Speaker 6: half of high school and the start of college.

1083
00:50:42,760 --> 00:50:42,960
Speaker 7: For me.

1084
00:50:43,200 --> 00:50:44,440
Speaker 5: That's really where I remember it more.

1085
00:50:44,480 --> 00:50:46,719
Speaker 6: Even though it came out and I was in high school,

1086
00:50:47,080 --> 00:50:50,319
Speaker 6: I remember freshman. That's my lasting memories of it are

1087
00:50:50,320 --> 00:50:52,560
Speaker 6: from freshman year of college. That was like the only

1088
00:50:52,640 --> 00:50:56,239
Speaker 6: thing that people were playing. It didn't matter when what

1089
00:50:56,360 --> 00:50:59,200
Speaker 6: other music was being released. It was just like only

1090
00:51:00,640 --> 00:51:03,239
Speaker 6: get Bad City. And so for me, like it, I

1091
00:51:03,280 --> 00:51:07,960
Speaker 6: mean having talk about an opposite growing up experience from

1092
00:51:07,960 --> 00:51:10,200
Speaker 6: what Kendrick was describing. So it's not like I was

1093
00:51:10,239 --> 00:51:13,040
Speaker 6: like relating to the actual like story he was telling,

1094
00:51:13,400 --> 00:51:16,160
Speaker 6: but it didn't matter. Like That's what I think it

1095
00:51:15,920 --> 00:51:20,239
Speaker 6: was cool about that is that to Mi's point, to

1096
00:51:20,280 --> 00:51:22,879
Speaker 6: the point, you guys were all all describing like it's

1097
00:51:22,920 --> 00:51:29,040
Speaker 6: the most profound, like beautiful rap story and the story

1098
00:51:29,040 --> 00:51:30,520
Speaker 6: of this kid growing up in this place that none

1099
00:51:30,560 --> 00:51:31,960
Speaker 6: of us could really at least where I was from,

1100
00:51:31,960 --> 00:51:33,799
Speaker 6: and all my friends none of us could really relate to,

1101
00:51:33,880 --> 00:51:36,120
Speaker 6: but it still had It had this power of being

1102
00:51:36,160 --> 00:51:40,000
Speaker 6: able to like be this so overwhelmingly popular album while

1103
00:51:40,000 --> 00:51:43,040
Speaker 6: also being this very very deep story that wasn't just

1104
00:51:43,080 --> 00:51:47,440
Speaker 6: about like thug in or like girls or like anything

1105
00:51:47,560 --> 00:51:51,480
Speaker 6: like traditional like rap and hip hop is more often about.

1106
00:51:51,520 --> 00:51:54,160
Speaker 6: So for me it was it definitely like all of

1107
00:51:54,200 --> 00:51:56,160
Speaker 6: my friends are listening to it. Definitely in high school,

1108
00:51:56,160 --> 00:51:58,880
Speaker 6: but I especially remember it it was the only.

1109
00:51:58,680 --> 00:52:01,440
Speaker 5: Thing that people were listening to. It was like like

1110
00:52:01,440 --> 00:52:03,560
Speaker 5: when people would like put on music for a course

1111
00:52:03,600 --> 00:52:05,440
Speaker 5: of like five hours over the course of the night,

1112
00:52:05,480 --> 00:52:06,439
Speaker 5: it was like three.

1113
00:52:06,520 --> 00:52:08,600
Speaker 6: It was just like the whole album was played like

1114
00:52:08,640 --> 00:52:10,080
Speaker 6: three times over the course of the May.

1115
00:52:10,440 --> 00:52:10,640
Speaker 7: Yeah.

1116
00:52:10,719 --> 00:52:13,799
Speaker 4: Yeah, it had stay in power and for because you know,

1117
00:52:14,000 --> 00:52:17,080
Speaker 4: it was kind of pre streaming of it, like twenty

1118
00:52:17,120 --> 00:52:20,279
Speaker 4: twelve weren't heavy on streaming like that, and he gave

1119
00:52:20,320 --> 00:52:22,080
Speaker 4: his album some years to breathe. We didn't get to

1120
00:52:22,120 --> 00:52:24,680
Speaker 4: Pimp a Butterfly un till twenty fifteen, right, So that

1121
00:52:24,760 --> 00:52:27,040
Speaker 4: album for sure had some stampower. And also that Jay

1122
00:52:27,160 --> 00:52:29,919
Speaker 4: rock Verst on Money Trees. Good god, oh my god.

1123
00:52:30,000 --> 00:52:31,640
Speaker 4: I think I think that is the best feature verse

1124
00:52:31,680 --> 00:52:32,960
Speaker 4: of the two thousand Tents. Like I said, I think

1125
00:52:32,960 --> 00:52:34,480
Speaker 4: this is the best rap album of the two thousand Tents,

1126
00:52:34,560 --> 00:52:36,640
Speaker 4: and I think that Jay Rock Versus the best feature

1127
00:52:36,680 --> 00:52:37,680
Speaker 4: of that decade.

1128
00:52:37,360 --> 00:52:40,000
Speaker 2: As well, when it's so far going drop that dropped,

1129
00:52:40,040 --> 00:52:40,719
Speaker 2: like like.

1130
00:52:43,080 --> 00:52:45,359
Speaker 3: Yeah, yeah, So I'm feeling like the last album that

1131
00:52:45,400 --> 00:52:47,480
Speaker 3: really had staying because that's a that's the one I

1132
00:52:47,520 --> 00:52:50,719
Speaker 3: can remember prior to Kendrick Rogers was like kind of

1133
00:52:50,719 --> 00:52:52,640
Speaker 3: listened to like, Wow, this is I've never heard anything

1134
00:52:52,680 --> 00:52:54,160
Speaker 3: like this, and this is before it actually this is

1135
00:52:54,160 --> 00:52:56,719
Speaker 3: when it was underground and you could download it for

1136
00:52:56,760 --> 00:52:58,799
Speaker 3: free before he signed the cash Money and all that

1137
00:52:59,160 --> 00:53:01,960
Speaker 3: feel me so like the last album and that I think,

1138
00:53:02,040 --> 00:53:05,960
Speaker 3: I like, really really really set with set with like

1139
00:53:06,160 --> 00:53:08,480
Speaker 3: in like where you have months of sitting with an album,

1140
00:53:08,920 --> 00:53:10,440
Speaker 3: might be that album, you know what I'm saying. I

1141
00:53:10,440 --> 00:53:13,879
Speaker 3: know you just really said with Renaissance a lot. There's

1142
00:53:14,000 --> 00:53:15,880
Speaker 3: very few albums that I've set with like that. Like

1143
00:53:16,239 --> 00:53:18,520
Speaker 3: we were set for three months maybe like a few weeks,

1144
00:53:18,560 --> 00:53:24,920
Speaker 3: like I think, uh, knowledge and and uh what's what's it?

1145
00:53:25,120 --> 00:53:27,799
Speaker 3: No no worry fact Yeah, yeah, no worries. I said

1146
00:53:27,800 --> 00:53:29,319
Speaker 3: I said with that about a month. But I mean

1147
00:53:29,360 --> 00:53:31,160
Speaker 3: like I'm talking about like back in the day where

1148
00:53:31,160 --> 00:53:33,600
Speaker 3: you would play an album for fucking three to six

1149
00:53:33,680 --> 00:53:35,400
Speaker 3: fucking months, and that was you know what I'm saying.

1150
00:53:35,719 --> 00:53:37,680
Speaker 3: I think that's the last album that we really did

1151
00:53:37,680 --> 00:53:39,680
Speaker 3: it with that, and I think that's probably before streaming,

1152
00:53:39,680 --> 00:53:40,439
Speaker 3: so that makes sense.

1153
00:53:40,920 --> 00:53:43,799
Speaker 2: Yeah. The the other thing I would say, you know,

1154
00:53:43,840 --> 00:53:45,799
Speaker 2: the writing, is that the writing is good enough that

1155
00:53:45,840 --> 00:53:47,880
Speaker 2: you can listen to it that many times, right, Like

1156
00:53:47,920 --> 00:53:49,480
Speaker 2: that's that. I think that's a big part of the

1157
00:53:49,480 --> 00:53:51,359
Speaker 2: staying power. But then it's still like, like we said,

1158
00:53:51,360 --> 00:53:55,000
Speaker 2: an enjoyable album to listen to. I know that, like

1159
00:53:55,560 --> 00:53:58,680
Speaker 2: because I was pretty deep into my career at this point.

1160
00:53:58,840 --> 00:54:01,200
Speaker 2: You know, I was five or six years into being

1161
00:54:01,239 --> 00:54:04,320
Speaker 2: a sports writer. This album hit teenagers in Long Beach

1162
00:54:05,080 --> 00:54:09,719
Speaker 2: like a fucking haymaker bro. I mean, I like, we

1163
00:54:09,760 --> 00:54:13,759
Speaker 2: had a kid, unfortunately you know, who was shot and

1164
00:54:13,880 --> 00:54:17,120
Speaker 2: killed not too long after the album came out, and

1165
00:54:17,160 --> 00:54:19,920
Speaker 2: everyone who knew him the song. I'm not great with

1166
00:54:19,960 --> 00:54:22,279
Speaker 2: song titles. I did a little bit of research so

1167
00:54:22,320 --> 00:54:24,279
Speaker 2: I could say the other stuff. But the song that

1168
00:54:24,360 --> 00:54:26,120
Speaker 2: you know, the one in front of the gun lives forever,

1169
00:54:26,640 --> 00:54:27,160
Speaker 2: the song.

1170
00:54:27,000 --> 00:54:29,960
Speaker 7: With that line, Yeah, that's money. Tre yeah, yeah, oh.

1171
00:54:29,960 --> 00:54:32,960
Speaker 2: Yeah, money Tree, thank you. I mean, like people listen

1172
00:54:33,040 --> 00:54:34,920
Speaker 2: to that song seventy times in a row after this,

1173
00:54:35,360 --> 00:54:38,239
Speaker 2: I mean like it was the whole album though, because

1174
00:54:38,320 --> 00:54:40,160
Speaker 2: kids were on Black kids were on Twitter at this point.

1175
00:54:41,280 --> 00:54:43,600
Speaker 2: I would just go on Twitter and every basketball player,

1176
00:54:43,600 --> 00:54:46,200
Speaker 2: every football player in Long Beach was just posting lyrics

1177
00:54:46,400 --> 00:54:48,759
Speaker 2: from that album for like months, Bro. I mean it

1178
00:54:49,120 --> 00:54:51,960
Speaker 2: was like and and like, like you said, John, I

1179
00:54:52,000 --> 00:54:55,000
Speaker 2: hadn't really thought of it, but I mean definitely Drake

1180
00:54:56,120 --> 00:54:59,000
Speaker 2: has had similar like length of runs with albums, but

1181
00:54:59,040 --> 00:55:01,799
Speaker 2: it's it's very rare, you know, for that to happen

1182
00:55:01,840 --> 00:55:04,319
Speaker 2: with kids, just because everything is so shrunken down now.

1183
00:55:04,400 --> 00:55:06,880
Speaker 2: But man, that album came out ten years ago. It

1184
00:55:06,880 --> 00:55:09,560
Speaker 2: feels like it was like thirty years. I mean, everything

1185
00:55:09,640 --> 00:55:11,160
Speaker 2: is just so good today.

1186
00:55:11,280 --> 00:55:13,840
Speaker 3: And that's the thing about Kendrick's music and great artists,

1187
00:55:13,880 --> 00:55:16,279
Speaker 3: where like the album is just as good as it

1188
00:55:16,360 --> 00:55:18,040
Speaker 3: was and when the first dropped. And I think that's

1189
00:55:18,040 --> 00:55:21,279
Speaker 3: what we can't say about Drake, you know what I'm saying, Like,

1190
00:55:21,480 --> 00:55:24,000
Speaker 3: and it's that I'm not anti Drake, Like you know

1191
00:55:24,040 --> 00:55:26,000
Speaker 3: what I'm saying, Like, what Drake has done has been

1192
00:55:26,040 --> 00:55:27,799
Speaker 3: special over the last few years, you know what I'm saying,

1193
00:55:27,800 --> 00:55:29,719
Speaker 3: not last few years over his career, the last years

1194
00:55:29,719 --> 00:55:32,080
Speaker 3: has been that's good. But I think that's the main

1195
00:55:32,120 --> 00:55:35,600
Speaker 3: difference when we're talking about the top people of this era.

1196
00:55:36,080 --> 00:55:38,120
Speaker 3: You know what I'm saying is that, you know, Thoset

1197
00:55:38,120 --> 00:55:41,160
Speaker 3: out of those three, you know, his music just hasn't

1198
00:55:41,440 --> 00:55:43,240
Speaker 3: you know, hasn't grown.

1199
00:55:43,280 --> 00:55:46,440
Speaker 2: And I don't know, I don't I'm not going back.

1200
00:55:46,480 --> 00:55:47,560
Speaker 2: Are you going back to listening so far?

1201
00:55:47,600 --> 00:55:47,759
Speaker 9: Going?

1202
00:55:48,880 --> 00:55:48,920
Speaker 2: No?

1203
00:55:49,200 --> 00:55:51,960
Speaker 7: Not really. I have those moments about once or twice

1204
00:55:51,960 --> 00:55:52,840
Speaker 7: a year, you know where.

1205
00:55:53,200 --> 00:55:57,680
Speaker 4: Yeah, yeah, yeah, but I mean it's incredible, like every time,

1206
00:55:57,960 --> 00:55:59,719
Speaker 4: it's incredible, Like it's said with me for like, bro,

1207
00:55:59,880 --> 00:56:01,520
Speaker 4: like when I first heard that, I had never heard

1208
00:56:01,640 --> 00:56:02,200
Speaker 4: music like that.

1209
00:56:02,480 --> 00:56:04,480
Speaker 3: Yeah, I mean, you can't take that away from him.

1210
00:56:04,520 --> 00:56:07,680
Speaker 3: I'm like, Yo, this is something very different, you know

1211
00:56:07,680 --> 00:56:08,240
Speaker 3: what I'm saying.

1212
00:56:09,560 --> 00:56:11,440
Speaker 2: I think it was. It was it October, very October's

1213
00:56:11,480 --> 00:56:12,799
Speaker 2: ver on the one before that what was it.

1214
00:56:12,760 --> 00:56:14,960
Speaker 7: Called, before that come back seasons?

1215
00:56:14,960 --> 00:56:16,319
Speaker 2: Before that come back season. Yeah, I went up.

1216
00:56:16,320 --> 00:56:18,440
Speaker 3: I went to revisit that cause I'm like, yo, but no,

1217
00:56:18,600 --> 00:56:20,840
Speaker 3: this album was different from that album. This album was

1218
00:56:21,080 --> 00:56:22,920
Speaker 3: extremely special in the fact that it was a different

1219
00:56:22,920 --> 00:56:25,200
Speaker 3: type music that I never heard, you feel me, So

1220
00:56:25,280 --> 00:56:28,000
Speaker 3: there's something really special about it. But yeah, it's just

1221
00:56:28,080 --> 00:56:30,359
Speaker 3: you know, when you look at Kendrick shit, you can

1222
00:56:30,360 --> 00:56:32,600
Speaker 3: go back and listen to every fucking thing and it

1223
00:56:32,680 --> 00:56:34,480
Speaker 3: is just as good and just as impactful.

1224
00:56:34,840 --> 00:56:35,359
Speaker 2: You know what I'm saying.

1225
00:56:35,360 --> 00:56:38,160
Speaker 3: When you're telling he's like literally telling timeless fucking stories

1226
00:56:38,160 --> 00:56:40,600
Speaker 3: and his in his in his Uh, you know you

1227
00:56:40,640 --> 00:56:42,719
Speaker 3: got like, like Mike said, you got to compare it

1228
00:56:42,760 --> 00:56:45,680
Speaker 3: to like literary like you know what I'm saying. Pieces

1229
00:56:45,719 --> 00:56:48,480
Speaker 3: you feel me like it's it's bigger than just music,

1230
00:56:48,640 --> 00:56:51,480
Speaker 3: and I think you know that's what makes Kendrick truly special.

1231
00:56:51,719 --> 00:56:53,799
Speaker 3: Like I feel like Kendrick and good Kid Mas City,

1232
00:56:54,440 --> 00:56:57,760
Speaker 3: Like if you're a rap historian or a music historian,

1233
00:56:57,760 --> 00:56:59,319
Speaker 3: you're bringing that shit up. You know what I'm saying.

1234
00:57:00,040 --> 00:57:02,600
Speaker 3: Hundred hundred fifty years from now speaking about it, like

1235
00:57:02,640 --> 00:57:06,239
Speaker 3: similar to how me being in like music appreciation and

1236
00:57:06,280 --> 00:57:08,800
Speaker 3: crying listen to Dido's lament, you know what I'm saying,

1237
00:57:08,880 --> 00:57:11,200
Speaker 3: Like you can listen, you can bring up money trees

1238
00:57:11,480 --> 00:57:12,959
Speaker 3: or you know what I'm saying, Like.

1239
00:57:13,280 --> 00:57:16,000
Speaker 2: And it be like this is this is music perfection.

1240
00:57:16,400 --> 00:57:17,880
Speaker 2: You feel me in this in a similar way.

1241
00:57:17,960 --> 00:57:20,800
Speaker 1: So all right, that's all the time we got Tyler.

1242
00:57:20,840 --> 00:57:22,280
Speaker 1: Thanks for the Hippity Hawks segment.

1243
00:57:22,720 --> 00:57:27,080
Speaker 9: I think I teased the new rat versus Squirrel video

1244
00:57:27,200 --> 00:57:29,240
Speaker 9: that drops and we didn't get a chance to get

1245
00:57:29,280 --> 00:57:29,480
Speaker 9: to it.

1246
00:57:29,520 --> 00:57:32,440
Speaker 1: So Saturday we're gonna do uh.

1247
00:57:31,960 --> 00:57:32,760
Speaker 7: Go, do your homework.

1248
00:57:33,040 --> 00:57:36,320
Speaker 4: This is gonna be a very fucking serious discussion here.

1249
00:57:36,880 --> 00:57:46,000
Speaker 2: To be sweat again. We'll see y'all on Saturday. Bye bye.

1250
00:57:47,400 --> 00:57:48,040
Speaker 4: The volume