A Deep Dive into Hip-Hop's Ever-Changing Landscape

Have you ever wondered if hip-hop still holds its ground in today's ever-changing music landscape? Join myself, Ron Brown, LMT, the People's Fitness Professional, and my dynamic co-host Mikey Fever as we welcome Trev, also known as Cool Ass Trev, to an insightful episode where we tackle the evolution of hip-hop. We explore the energy and impact of artists like Bobby Shmurda and Casanova, and debate whether the genre still meets the high standards of lyricism and commercial success that it once did. Trev provides a unique perspective on how true hip-hop lyricists and dedicated artists keep the flame of hip-hop burning bright, even as the industry constantly evolves.

From the iconic contributions of Styles P and Nas to the rise of sub-genres like trap, drill, and emo rap, our conversation spans the rich history and diverse future of hip-hop. We highlight the persistent influence of hip-hop on style, culture, language, and education, while also debating the merit of past and present MCs. Ron and Mikey reflect on the uniqueness of legendary artists like KRS-One, Nas, and Slick Rick, and how their pioneering styles paved the way for contemporary acts such as XXXTentacion and Juice WRLD. This episode reaffirms hip-hop's timeless essence and its indispensable role in shaping today's world. Don't miss this engaging discussion that celebrates the enduring power of hip-hop.

Transcript

Speaker 1: 0:00

What's going on, everybody? It's Ron Brown, lmt, the People's Fitness Professional, alongside my co-host, mikey Fever, and this is a New Yorker's Perspective. Right now, we got Trev in the building. Cool ass, trev. Cool ass, trev, cool ass Trev. Let's talk. Hold on a second, all right, I'm just making sure I got my gunshots and all that.

Speaker 3: 0:18

Not Trev, not cool Fred. I'm here on a Tuesday night, I'm chilling, I'm good. What's going on? A&r Trevor, make a good.

Speaker 2: 0:29

A&R man. You think I make a good A&R. Let me tell you, if they had A&Rs I would definitely try to apply for it. I would definitely do that job, but none of this shit right here. I think I probably would have signed Bobby Schmurda.

Speaker 3: 0:44

You would have signed Bobby Smurda, you would have.

Speaker 2: 0:46

Yeah, because when that hot nigga came out, I really felt it.

Speaker 3: 0:51

The energy.

Speaker 2: 0:53

Yeah, but at the time I probably would have did the old school 10-day contract Okay. You could just tell that he really wasn't a rapper, so I would definitely have signed him to like some probation, every type of deal Like three, six three singles. Yeah, something like that. Yeah, like crazy. He would have been on like catch or something.

Speaker 3: 1:16

Yeah, he's an entertainer. The energy he bought like he's. He's very animated on camera.

Speaker 2: 1:21

Yeah, cause him, him, casanova. I think he was another one that got lucky, but that's a story for another time.

Speaker 3: 1:30

That's good.

Speaker 1: 1:32

Yeah, let's talk about it. We got.

Speaker 2: 1:36

Hold on, y'all. Let me just shake the mic.

Speaker 1: 1:37

Today's topic is top five of the 2000 and is hip-hop relevant in these days and times? I want to go with. Is hip-hop relevant in these days and times? I'm going to go with. Is hip-hop relevant in these days and times? I'm going to let y'all know before we go into it. Shouts out to all of those who download on Spotify and what is it? Itunes iTunes.

Speaker 3: 2:02

All of those who are streaming the platform appreciate it.

Speaker 1: 2:06

Yo, thank you. Our downloads are going up every week, it look like. So you know what I mean. That's good, you know. Keep downloading. Yeah, keep downloading. I guess you guys like the content. That's what's up Today. Like I said, top five that are alive 2000s. And is hip-hop relevant in these days and times? Now, first off, I want to ask we already spoke about what hip-hop really is right in episodes prior. Now we got Clip in the building. Hold on one second. Yo yo yo. What's going on? Clip, I like that. Get in there.

Speaker 3: 2:47

Clip, get in there, get in there so.

Speaker 1: 2:52

Love Yo. So, like I was saying, top five 2000s and is hip hop relevant? And we spoke some time ago, or podcast prior, about what podcast really is. I mean, what podcast? What hip-hop is? You know the four or five elements with the knowledge, the knowledge component added to it, that would make it five elements. And, um, you know how it started and you know, um, uh, trevor said it took kind of took a I don't want to say it took a nosedive, but it was taken away from the people, if you will, for lack of a better term during around the 80s and such. So we spoke about that last podcast but we want to talk about is hip hop relevant in these days and times, with the standards being so low, the lyricism is not as as it was before and or the the emphasis placed on lyrics is not like it was, and you know that's. Let's talk about it. Is hip hop relevant nowadays?

Speaker 2: 3:58

Well, let me, can I start real quick? Fellas, because I want to.

Speaker 2: 4:01

I want to walk back something I said last week real quick fellas, because I want to um, I want to walk back something I said last week and, um, I can't believe. Well, I can't say it verbatim, but I said something too. I think hip-hop is like like, uh, it's not dying, but it's, it's moving. And I had to. I'm walking it back because there's still true hip-hop lyricists and artists who really believe in the craft Outside of what's being promoted. Hip-hop is still alive and thriving. I gotta say that I gotta walk it back because it's still alive and thriving.

Speaker 2: 4:34

When I think about hip-hop, I look at Styles. I think Cleps you said Styles is in your top five, right? I believe? Who said Styles? It was Styles? Okay, yeah, you said Styles is in your top five, right? I believe who said Styles? It was him? Okay, yeah, you said Styles in the top. And when I look at him, he is hip-hop. I don't care what he does, hip-hop is still. He's still punk.

Speaker 2: 4:57

And I think about Nas and, real quick, before I get into it Hit-Boy and Big Hit I love that album with them and alchemist check that out. Um, but yeah, hip-hop is definitely thriving. We still got artists that still believe in it and ain't going to conform to the bullshit that they see right now. So I had to walk back. That um quote I said last week.

Speaker 2: 5:21

But yeah, yeah, hip hop is definitely relevant. You see it everywhere. Hip hop will never go, nowhere we will leave, but hip hop will be here forever. And that's the truth, because I watched this fucking show on Disney Lele that girl Lele with my daughter and everything is rap with this. But it's unfortunate that it's always black people and they can rap. But this girl is actually a real artist. She's young. But hip-hop is definitely relevant and it's unfortunate we may not capitalize off it like we should have. It should have been more billionaires and millionaires from hip-hop, but unfortunately not because of circumstance and and lack of knowledge at the time. But definitely, hip-hop is definitely relevant and I don't think that's going to ever go anywhere Because hip-hop brings, everything revolves around hip-hop, no matter what you do Style, culture, language, education it's all hip hop, it's everywhere. So it's definitely relevant to my you know for me.

Speaker 1: 6:31

So would you to to rebuttal what you say, what you, what you're saying? Now I heard all of that right At the same time. As far as like sales, it's on a decline. That's one. Two the craft is not respected as it was, as it was before. Now I know back in the days you still had whack mcs and you had dope mcs, but now at least the whack mcs were like being called out and they weren't really taken seriously like that.

Speaker 2: 7:01

You know I'm saying now so yes what what wackum sees, would you say we had as far. Now I'm just saying because I see your face, I see you hold on. Now I'm just, you know, I just want to say, like you, right, wrong, but what would it? Because? What wackum sees we?

Speaker 1: 7:21

we, we have I'm gonna be honest with you, just, it's just a question. I mean what time period? Because you had a lot. I'll start off with Young MC. Let's start off with him.

Speaker 2: 7:35

Wow, he went all the way there. Okay, I really didn't listen to Young MC, so you just wanted to know.

Speaker 4: 7:43

Okay.

Speaker 2: 7:44

I thought you were going to say something like Humpty.

Speaker 4: 7:47

Nah Shock G was fire.

Speaker 3: 7:50

Humpty had bars. Yeah, bars made him the producer Shock.

Speaker 4: 7:53

G was fire.

Speaker 2: 7:55

I was like but it's just a costume that made it. Oh no, I can't fuck with. But you know what I'm saying. Pop came from Humpty. You know what I?

Speaker 4: 8:02

mean yeah, shock G was fire. I can name a lot. Some people would say Silk the Shocker Master P. Some people would say Silk had bars.

Speaker 3: 8:14

Silk had bars Yo.

Speaker 1: 8:15

Mike.

Speaker 4: 8:19

I'm gonna keep it a buck. I like Silk, but I know a lot of people that consider him to be one of the worst rappers ever.

Speaker 3: 8:25

I think his delivery was good.

Speaker 2: 8:26

I agree with Clips.

Speaker 4: 8:28

You know what I'm saying A lot of people. When MC Hammer was popping, people were shitting on MC Hammer. Vanilla Ice was popping when we were shitting on Vanilla Ice.

Speaker 2: 8:38

Yeah, y'all want a truth moment. I was really fucking with them too when they was on the war shows. I would definitely dance in my living room.

Speaker 4: 8:47

So good.

Speaker 2: 8:49

Rap was literally that was on the war shows. They wouldn't even let Will Smith and Jazzy Jeff on the war shows.

Speaker 3: 8:58

The Grammys, they boycotted it.

Speaker 4: 9:00

I know some people that didn't like Rex and the Facts outside of that one record.

Speaker 2: 9:04

I hated Rex and the Facts. To be honest with you, I hated them niggas.

Speaker 4: 9:07

I didn't, I loved them, but I mean you know that song.

Speaker 2: 9:12

I hated it. They definitely stole Pumps and the Bump that was before Pumps and the Bump.

Speaker 1: 9:17

That was before Pumps and the Bump Somebody?

Speaker 2: 9:19

stole it. I ain't like to say nothing. I'm not worried to mother Hammer's over after that.

Speaker 4: 9:29

I mean we had whack. We had whack, it was whack. Music in every area. It was good artists in every area. Hip hop was whack in every area. I mean it's just part of the culture. I mean you know everybody ain't going to hit. I know people that felt bounce effects was whack, but you know it's.

Speaker 2: 9:44

When you actually listen to them, they really are. They really had great production when you think about it, because they sample those beats and it was like, oh okay, this is hard Mom's skinny bump. They wasn't saying shit.

Speaker 3: 9:59

They had a different. Yeah, they came with something different back then. It was about being unique. I think what we all can agree on is that these new artists are not unique. Everyone sounds alike.

Speaker 2: 10:10

Exactly.

Speaker 3: 10:11

The same cadence, the same flow. Sound like Batman forever on these beats when you hear these drill kids, young kids.

Speaker 1: 10:18

Listen, the older people bang on the young kids. I'm not banging on them, I like what's his name B. The older people like bang on the young kids. I like what's his name the B-Kid. I like K-Flop, I like the B-Kid, b-love or whatever his name is, I like B-Love and I like U's G's, I like U's.

Speaker 3: 10:39

G's I'm not banging on them. Ron, I get it. Ron be doing his 30 dance. That's why you know Ron be.

Speaker 4: 10:46

I mean for me it's like it's music right. So music goes through its phases. So when we was coming up, a lot of the older generation didn't like our music either. You know what I'm saying.

Speaker 3: 11:01

So I can't hate them you could understand what they were saying. You could understand what they were saying. We could understand what they're saying.

Speaker 4: 11:07

The youth now understands everything that's being said. You gotta understand like they relate to it. So just because we don't connect with it, don't mean that they don't. The younger kids connect with it. They know what's being said, they know the word.

Speaker 2: 11:19

They know it word for word okay what if we print out lyrics from what they say and read it out?

Speaker 4: 11:28

Here's the thing. This is what we got to stop doing. When it comes to the youth, right In their hip-hop, we got to stop putting our standards on their standards, because their standards is not our standards. Right, you got to let them enjoy their music for their era, just like we enjoyed our music for our era, because we're gonna keep looking like old haters if we just don't let them live and let them rock.

Speaker 4: 11:56

It's like you ain't even know this music just because she's listening to it Like this is what she's into. You know what I'm saying. You know what I'm saying. If it's not for me, cool, it's not for me, I ain't going to knock it. It ain't for me. Now, if it was an artist from my generation and they made some nonsense, I'm going to call them out because you know that you come from this era where we wasn't making that nonsense. That's true.

Speaker 2: 12:18

You know what I'm saying. They said Nas had fell off.

Speaker 3: 12:25

I never felt that way, but I get it. People had issues with the Nostradamus album. To me, the album was ahead of its time, very much so it was ahead of its time. People didn't understand the context. They were still looking for Illmatic You're never going to get Illmatic.

Speaker 4: 12:37

You can't get that one time.

Speaker 1: 12:40

I think, Nas's album, Nas's album Das Son was underrated too.

Speaker 4: 12:45

I think all of Nas' albums are underrated if you take the time, if people take the time to sit and really listen to the albums yeah, instead of skimming through and looking for the hottest beat no.

Speaker 3: 12:55

Street Disciple was dope. Street Disciple was something different To me. All of Nas' albums are dope, you understand. I just think, like you said, you got to sit down and listen to it. You got to understand his music, you got to really open up your mind.

Speaker 1: 13:06

What would? Have been an album he made with Damian Marley, though.

Speaker 3: 13:10

I love that album.

Speaker 4: 13:11

I love that album.

Speaker 2: 13:12

I never, really I never heard that album.

Speaker 3: 13:14

I'm going to be honest with you. It's a dope album, man. It's a dope album, but I don't think hip hop is dying.

Speaker 4: 13:22

I think hip hop is going to be here. When it comes to hip hop, hip hop just goes. Hip hop goes through different phases and different eras Since its inception. It's been here for 50 years, right? Is there issues in hip hop that I don't like? Yeah, of course, but there's a lot of things in hip hop that ain't going away. You can't turn on the TV or turn on the radio and look at any advertisement without hip hop being broadcasted.

Speaker 3: 13:46

Yes, it's a marketing. It's used as marketing. It's here Everything is influenced by hip hop Now.

Speaker 1: 13:51

See, now this was. This was actually a trick question, cause I wanted to see how you guys were going to answer this. Now, hip hop or rap You're talking about.

Speaker 2: 14:05

Hip hop is going gonna be here. Hip-hop is here forever. The culture of hip-hop, rap is on. It is is probably gonna die off. Yeah, because I feel like, like he's like clip said, we can't, you know, put our standards on the young dudes or the young artists, but we consider that rap. Some people say that's a form of hip-hop because it's new, just like how when it was new to our parents, it's that form. But we can have this argument forever. You don't know what he's saying. He's saying something, but we definitely did have different sounds because we had different messages coming out of different states, different boroughs. We definitely had the X-Clan.

Speaker 2: 14:50

We definitely mixed in with the KRS Boom Bap. He was much more than a teacher because he went to Boom Bap at a certain point. Then Nas hit the scene. You had the storyteller with Slick. Rick Nas is one of the best storytellers as well, so it goes into that. It's just now that we don't hear a difference. It's like yo, what are y'all doing? Everything, literally. We can literally say everything literally sounds the same when you turn on the radio.

Speaker 4: 15:23

I can say this Hip hop now has reached a point where now we have sub-genres of the culture. Now we have music that's in sub-genres. So now, where we grew up, you got to remember. We grew up where hip-hop was basically new, so everybody was just throwing stuff at the wall and we soaked it all in and then we stuck to what we like and other stuff we strayed away from. You know what I'm saying? Where in this era they got subgenres. You got trap, you got drill, you got boom bap, you got. You know what I'm saying. You got speed rap, you got emo. There's so many different sub genres of what's in hip hop now because it's so big.

Speaker 1: 16:10

But emo, what is emo, though?

Speaker 4: 16:12

Emo is like that. It's like, it's like, it's like how can I say it? It's like the music is like very melodic and very depressing.

Speaker 1: 16:21

Like XXXTentacion, XXXTentacion, that guy yeah.

Speaker 4: 16:24

XXXTentacion. Textacion that guy, yeah, xxxtentacion. What's the other guy? Juice WRLD? Yeah, but you know who ushered that in of emo rap, drake is considered emo rap to a certain degree was it Joe Button it was Joe Button yeah, joe Button was definitely emo too at a point, because when he had that mood music, yeah, that

Speaker 3: 16:43

was the mood music. I'm not going to lie. Those mixtapes were dope bro.

Speaker 2: 16:46

They were dope Joe was fire to me, joe was fire to me. I loved his transition. Bro, the first considered emo. We didn't know what it was.

Speaker 4: 16:57

It was just him yeah.

Speaker 2: 16:59

It wasn't no label on it, he just called it mood music because that was the mood he was in, because he was high and depressed and ready to die.

Speaker 4: 17:08

We had East Coast rap, West Coast rap. You had Southern Atlanta rap, and then you had Florida bounce and then you had Louisiana bounce and then you had the Midwest with Bone and Chicago and Twisted and all that it was. It was, it was region. It was our era was called region-based music. This era it's genre-based hip-hop. You get what I'm saying. So it's like like me, growing up, I was more, I grew up on the east coast. I really wasn't. I heard East Coast music all the time. I loved it, but I didn't want to hear it every day. So I would be. I would go listen to a bunch of West Coast music because it was so different from everything else that was coming out on the East Coast. I step outside the East Coast. I'm going to hear Nas. I'm going to hear Wu-Tang. I'm going to hear Maz. I'm going to hear Wu-Tang. I'm going to hear all this all the time. That's cool, I love it, but I want to hear some Snoop. I want to hear some DJ Quick.

Speaker 1: 18:09

Sometimes I want to hear you know, yeah, I was having an accrual conflict.

Speaker 4: 18:14

Sometimes I want to hear hey, in the Middle of the Barn and all of that. You know what I'm saying. Me, when I hear something over and over, and, over and over again, I get annoyed. After a while, like all right, we know the song is fire, but let me go listen to something else and get another feel, you know what I'm saying? Or a vibe, or energy. I was even listening to Bay Area music, which is totally different from Southern California music.

Speaker 3: 18:41

Yo, do you remember that album from the West Coast? I fell in love with this album Damu Riders and Rip Riders. That album was tough, bro. That's it.

Speaker 2: 18:49

Javi Am I.

Speaker 4: 18:50

Damu Riders Sippin' on the cocoa Damu Riders South Central Cartel. I'm just gonna click with E-40, be legit in all of them. Yeah, power of love you know what I'm saying.

Speaker 1: 19:05

Yeah, that 40, be Legit and all of them. Yeah, power of Love. You know what I'm saying? That was fire. That was a fire album. A lot of those dudes were super fire.

Speaker 4: 19:11

Goody Mob was the whole Dungeon family at that time to me was the greatest in the South. And then Master P came with his movement. Cash Money came right after them. Then you had Trick Daddy pop on the scene with, with, with the slip and slog movement, like pastor troy. Pastor troy was the. He was the original crunk man before little john you know, what I'm saying. So it's like we, we get these coats, we get this, we get these elements.

Speaker 2: 19:38

I remember when bone came out and everybody was like I might want to hit after that now, they were tough, they was fire cousin who was like the number one fan and knew they shit word for word, when I could only get at least three words out of him. First I was like yo, and he knew them word for word. I was like wow, and he was from. He wasn't even from the Midwest, he was like from down south but he loved him. Like he was down south but he loved it. He knew all that bullshit. I'm like how?

Speaker 3: 20:10

Your Harlem guys had somebody too man on the underground doing their thing, gangsta Lou and them and Mobstyle, yeah, mobstyle let's talk about Mobstyle since we're there.

Speaker 1: 20:20

Yeah, I want to talk about all these rappers Mobstyle who was dope. My favorite rapper in Mobstyle was Pretty Luke.

Speaker 4: 20:27

Pretty Tone, pretty Tone, pretty Tone, all day.

Speaker 1: 20:32

All day. Pretty Tone was nice Pretty Tone.

Speaker 2: 20:34

Pretty Tone just had the swag with him, yo, and you know what's crazy, because I be bumping into them niggas now. Yeah.

Speaker 1: 20:43

Gangsta Luke be be on 145th Street All the time, all the time.

Speaker 2: 20:49

Pretty Tone don't look nothing like what he say. He look like no more. He don't look nothing like his name.

Speaker 4: 20:53

He old skinny with the glasses.

Speaker 2: 20:56

They look crazy, but I gotta respect them because that album is 60. I got that album on my iPod. You can still hear the crackling and the beat. That's how.

Speaker 3: 21:12

You had that in Brooklyn. We had Half a Mill.

Speaker 4: 21:14

Yeah, Half a Mill was my guy. What's it called? What's it called Projects Albany, Albany? Yeah, Half a Mill fire.

Speaker 1: 21:21

We had Half a Mill? Is Half a Mill affiliated with AZ?

Speaker 3: 21:26

Yeah, yeah, he rapped with them with the first. It was a long story.

Speaker 4: 21:30

That whole situation is a touchy story bro, it is touchy, but he was affiliated with all of them. Yeah, man, it was nice too bro.

Speaker 1: 21:39

Yeah, all them dudes was nice. What you think about E-Moneybags?

Speaker 4: 21:44

though. E-moneybags was fire, royal Flush was fire. Yeah, royal Flush. What's my other guy? Not Moneybags, it's another one. Oh, mike Geronimo. Mike Geronimo was fire. We had. Everybody wasn't mainstream. So we got to remember this too. Like we came up in an era where most of us we was getting our hip hop from the streets OC, we got OC. We wasn't getting our hip hop from radio, like that was one faction of it, but a lot of our hip hop that we grew up on came from the streets. It came from street DJs and we that's how we. That was our culture in New York City. You know what I'm saying. So this generation, they're getting their music from the internet.

Speaker 3: 22:30

That's their. You gotta be in the streets, the streets is their internet.

Speaker 4: 22:34

You know what I'm saying. So it's a different dynamic. So I try to understand the youth and give them I give them grace because they didn't grow like my man was telling me the other day. He was outside washing his car in Brooklyn playing Illmatic Young kids pulled up on him and said what are you listening to? Because that sounds dope. And he said what? Y'all don't know what this is. And he's like no, he's like stop playing, y'all gotta know what this is. And he was like. He really was like we don't know what that is, what is that?

Speaker 2: 23:04

he's playing filmatic a lot of them, niggas, was born in 94 when they came out some of these kids was born in 2000 right so we gotta remember this too.

Speaker 4: 23:18

They were born in 2000. They have no clue about hip hop, probably before 50 Cent, right we forget that time goes on.

Speaker 2: 23:27

Yeah, they have no clue about hip hop, probably before 50 Cent, right, we forget that. Time goes on. Yeah, we feel like just this conversation lets you know that hip hop is relevant and, like you said, kids was born in 2000. And when you just hear shit, we really forget that Because we're so like the 90s and the early 2000s. And then we cap off, forget that Because we're so like, all right, the 90s and the early 2000s, and then we cap off at that. And then after that, that bounce shit and then that Atlanta shit, we started to be like, nah, I'm going to go back.

Speaker 2: 23:56

It's true, we had to rewind and forgot that life moved on, Time will always go on and people are still being born. I got kids. My son was born 2010, and my daughter was born 2019. They're not going to know who nobody is if I don't say listen to this. And I think that's our problem, because we stopped time and time kept going.

Speaker 4: 24:22

Think about this. I posted this on my Facebook earlier today. The Carter Lil Wayne's Carter came out 16 years ago Damn. Carter 3 came out 16 years ago, so Lollipop and a million and all of that was 16 years ago.

Speaker 3: 24:42

It was crazy. It was 16 years ago. When that beat dropped. Crazy about that. It was 16 years ago 16 years ago, when that beat dropped, people lost their minds bro.

Speaker 2: 24:49

It was 2008, bro Think about that when you say that he did a show recently, maybe like about two months ago he was. He was, somebody brought him out on the show and nobody knew a milli, none of them songs from that album that he really like. That was like boom, and I was like like that's when I, that's when it hit me like oh shit, they are really, it's really somewhere else with they just don't know think about a kid that was born in 2000 and think about how they look at KRS-One.

Speaker 4: 25:24

Krs-one to them is like us talking about Duke Ellington. Yeah, you got to really sit back and think about that, right? Because when we was kids in the 80s and all of that and we learned about Duke Ellington and all of that that was in the 40s- Right, yeah, but you know what?

Speaker 3: 25:41

We appreciated it too, because I'd be catching myself with my ipod.

Speaker 4: 25:44

we appreciate it because, because growing up, we were taught them at an early age, so we understood that and the music was still being played amongst our grandparents and all this other stuff. So we, we were, we were, we were. It was accessible to us and we we had a little bit more open mind. We didn't have the internet, we didn't have nothing to compare it to. This is just what we had, right. So bit more open mind. We didn't have the internet, we didn't have nothing to compare it to. This is just what we had, right. So now, when I talk to a kid that's 16 years old, that means you was born in 2008.

Speaker 3: 26:14

Yeah.

Speaker 2: 26:16

Started life basically at that point yeah.

Speaker 4: 26:19

You was born in 2006. In 2008 you were born. How can I be mad at you if you don't know who Tupac is?

Speaker 3: 26:29

Yeah, yeah, he died in 95.

Speaker 4: 26:32

Damn, I mean 96, right, he died in 96. He died in 97. One of them is me right, so think about that. Those two died in 96, 96, 97. You were born in 2008 yeah, you way way off. Why would you? Why would a 16 year old kid know about big pun jay-z? Like, how would you know about? You wouldn't know about all of that, unless someone around you was playing it consistently in your life.

Speaker 3: 27:03

You know what they won't get to experience when you used to go on the block. You get that CD, you hear that DJ clue. That was a feeling you knew.

Speaker 4: 27:10

Here's the thing, but we didn't get to experience the early days of hip hop before us.

Speaker 2: 27:17

Exactly, we didn't get the park jams. Yeah, we got block parties but we didn't get those park jams. The park jams was a mixtape.

Speaker 4: 27:24

Yeah, we didn't get the scene. Wait, hold on.

Speaker 1: 27:27

I think I saw park jams, though I think I did In Colonial in the back, like in the basketball courts, they had jams.

Speaker 4: 27:34

You might have saw it in part of a block party, right yeah, but we didn't get the scene.

Speaker 1: 27:39

Our neighborhood was lit up neighborhood was lit up.

Speaker 4: 27:42

We didn't get to see the early stages. We sort of we're the children of the first generation of hip-hoppers.

Speaker 2: 27:49

If we talk about you said mixtapes, about a clue tape, now let's look at clue tapes right Now, the mixtape. If you go back and look at the mixtape, I could say let's give credit to Kickapree, yeah, who had to literally go to where it was popular, where it was a crowd of people and sell a mixtape and literally had to say, all right, I'm going to go to the ruck up, I'm going to hope to sell my tape. And if it wasn't for, you know people going to say you know he's a writer or whatever. But if it wasn't for Outpost saying that I bought a mixtape, it wasn't even a mixtape, it was a blend tape from Chicken Wings. Wow, typically for me, that's where I would think the mixtape thing came to fruition.

Speaker 4: 28:38

The hustlers made the mixtape pop.

Speaker 2: 28:40

Exactly, you had to go to the rooftop. We couldn't go there.

Speaker 3: 28:44

Don't forget Brucey B yeah.

Speaker 2: 28:49

Well, ron G was in Polo Grounds. Yeah, doo Wop from the Bronx. Who else? You literally had to go to school and sell your tape and become something. If it wasn't for the streets, there wouldn't be no hip-hop.

Speaker 3: 29:08

That's a fact, man.

Speaker 4: 29:10

You said Clue, and you said that's our park, jam right there you could put the Kid Capris, the Ron G's, the Doo Wops, the S&S and all of them. Those were our, those were our. How can I say it In that them, those were our, those were our. How can I say it? In that time, those were our DJ academics and Charlemagne's and all of that. That was our outlet to get the music.

Speaker 1: 29:35

If you want to mention, if you want to say those were our Charlemagne's and DJ academics, you got to mention DJ Red Alert.

Speaker 4: 29:43

You have to. Red Alert was here. You have to, that's a fact. But Red Alert was our radio DJ.

Speaker 2: 29:48

But I think you got to mention Ed Lover Dr Dre. Yeah, ed Lover Dr Dre is definitely in there as well.

Speaker 4: 29:57

Ed Lover was our first for our generation. We didn't grow up on Mr Magic, not at all. Right, that's not our era. We know who he is because we're students of the culture, but we didn't grow up that Mr Magic. We was a little bit born too late for the Mr Magic era. We came in when Red Alert was on Hot 97, ed Lover was on Hot 97,. Ed Lover, dr Dre, lisa G was on Hot 97. Dr dray, lisa g, was on hot 97 oh, damn lisa hot 97.

Speaker 4: 30:29

Enough was on hot 97 back then, too quiet as cap right. Um, and then we had uh, remember we had that was our only radio station, we didn't have no power 105, but be doing them.

Speaker 3: 30:42

Stretch your arms strong.

Speaker 4: 30:43

That was Hot 97. And that was a bunch of flavors on Sundays. So we only had one hip-hop station, 98.7,. They may play a little hip-hop, I guess, at night, every once in a blue moon, but that was an R&B station.

Speaker 2: 31:00

And, real quick, we forgot about Ralph McDance because he was oh right, Ralph McDaniels.

Speaker 4: 31:06

He was our YouTube.

Speaker 2: 31:08

He was academics.

Speaker 1: 31:10

Chuck Chillout. Who's that right there, chuck Chillout?

Speaker 3: 31:13

Chuck.

Speaker 4: 31:14

Chillout. He was our MTV before we had KB. Ralph McDaniels was our YouTube at the time. He was the one that was breaking all the hip-hop videos for us that we that wasn't getting played on MTV.

Speaker 2: 31:28

Right, he made it to where you like.

Speaker 3: 31:30

Bobby Simmons Yo.

Speaker 4: 31:35

Like for us growing up, we I would for us. Who was Donnie Simpson? Donnie Simpson.

Speaker 2: 31:42

Tigger.

Speaker 4: 31:43

Tigger, you know what I'm saying, and before Tigger know what I'm saying. And before Tigger it was Joe Claire in Big.

Speaker 2: 31:46

Lass Joe Cleesey yeah you're right, you know what I'm saying. So like what's the other nigga name, hitch from the street. Yeah, we had Hitch from the street going around doing the colleges and shit. He was the first one to really do the touring. Well, not no Fab Five, freddy, I'm sorry.

Speaker 1: 32:10

Yo, I met Fab Five Freddy. I gotta tell his story. Fab Five Freddy is a crazy dude. Yo, he is hip-hop. Yo, me and Knowledge Eternal bumped into that dude around the World Trade Center. We said what's up, Fab Five Freddy? He looked at us like Like you dudes, Like yo, Damn. We didn't even do nothing to the dude, we just said it. He was probably hot, Probably was hot.

Speaker 3: 32:38

I think it's more manly.

Speaker 1: 32:39

He was probably hot.

Speaker 3: 32:40

Yo, I got one more thing. You see, we spoke about all these guys Like that was our time. We forgot that when we was coming up, the best DVDs director was Troy Reed. Documentaries bro.

Speaker 4: 32:51

That was in the 2000s. Remember? Troy Reed came popping in the 2000s. We was already like 2019 by that time. Yeah, he definitely had the DVD game on Smash. We're not going to say he didn't. He gave us the street tales with the magazines and all of that and that's cool. But from the 90s, you got to remember it was a shift from pro-black hip-hop to straight street. Yeah, it was. It was a real quick shift. It happened from 91, from 89 to 91. It was pro-Black medallions, all this. 91 came and the chronic dropped and everybody went straight hook.

Speaker 1: 33:33

You know what it is. I think could you attribute that to the crack era.

Speaker 3: 33:37

Yeah.

Speaker 4: 33:38

Yeah, of course you got to contribute to that, because the crack era was affecting us.

Speaker 2: 33:43

Everybody wasn't on that knowledge shit after a while, that knowledge shit, that was their story. You know what I'm saying. When NWA came out, that was their story. When Nas came out, that was their story. When Nas came out, that was his story. When Jay came out, he told you everything about the streets, everything. So we all had a story at the time. So it blended in with each other and nobody hated, because we could all stand in a circle with everybody and talk about, because we all came from the ghetto for one.

Speaker 4: 34:13

That's number one.

Speaker 2: 34:15

All raised the same way. You know what I mean, even though we wasn't all raised the same. So you had your ex-clans, you had your BDPs, you had your tribes, and then you had your Nas, who was influenced by the street and the knowledge.

Speaker 4: 34:30

You're right. And if you look at the journey, it was okay. It was hip-hop. Okay, we trying to be rap, we're partying, doing this and that. And then it shifted to oh, let's use hip-hop to talk about the movie. You know what I'm saying? Motivating our people to do something better, cool. But this is all happening during the crack era. They were making crack as whack records in the 80s. In the 90s they were making yo, I don't want to sell crack, but I got to sell crack because I got to survive out here.

Speaker 3: 34:58

But to save sex records too.

Speaker 4: 35:01

I got to sell these drugs. I don't want to sell it. Most of the rappers was rapping about not wanting to sell drugs, but we got to sell drugs because this is our only way to survive.

Speaker 1: 35:11

Wait, I want to address the chat real quick. I don't mean to cut you off. Clip. Hold that thought please, because I'm sure it's on point Now. Check this out. Nwa was the beginning. I don't know. I can't read the name, I can't see the name.

Speaker 3: 35:23

It wasn't the beginning of the name NWA was not the beginning of the name.

Speaker 4: 35:28

Nwa was not the beginning of the name. They made records like Same Gang.

Speaker 2: 35:32

Exactly, and then you had Self Destruction on each side.

Speaker 4: 35:36

I got people in the chat they clearly told everybody this is what lifestyle is like in California. If you were not from Southern California, LA, you can't say that that was the beginning of it, because that was a reflection of what was going on in their neighborhoods.

Speaker 3: 35:51

Exactly.

Speaker 4: 35:55

You can't say that until it's beginning to end, because they told their story of the California way.

Speaker 3: 36:00

Boys in the hood.

Speaker 4: 36:02

It was so real for them that they kept telling everybody that it was real and nobody took it serious until the riots.

Speaker 1: 36:09

Right, yeah, rl Ralph. I guess that's Ralph Lauren. I don't know. Polo Kings, rl Ralph Lauren. I guess that's Ralph Lauren.

Speaker 3: 36:13

I don't know, polo Kings.

Speaker 1: 36:15

But Polo King, Once Woo dropped and Nas it was up. I'm a Mobb Deep fan in 95. It was lit. That's a fact. 95 was the best year in hip-hop.

Speaker 4: 36:29

It didn't grab its place towards nothing. Because, the same rappers on the East Coast, you wasn't giving that same energy to Coogee Rap who was rapping.

Speaker 2: 36:36

Because the same rappers on the East Coast, you wasn't giving that same energy to Coogee Rap, who was rapping about the same thing NWA was rapping about. Sure was.

Speaker 3: 36:41

I'm not gonna lie, Mobb Deep had.

Speaker 4: 36:44

You took Coogee Rap's lessons, as it was not to do, but the content was still the same as NWA. Coogee Rap was running around talking about shooting mob bosses and all types of being violent and all this type of stuff. You can't be picky and you can't be selective with this. This was the West Coast participating in hip-hop culture created in the East, and they told their story and we didn't adapt to it right away because we were from New York. We didn't understand what the gangs was like over there fighting Bloods and Crips, because we wasn't from that.

Speaker 3: 37:22

That was Tim Dogg's fault.

Speaker 4: 37:25

No, it wasn't that. We just couldn't relate. And then we started realizing yo, it get real. Over there, they dying left and right over there. It's a real thing. They're not glor about it, they're not glorifying it, they're telling you that this is a real thing. That's going on out here.

Speaker 2: 37:39

Hey yo, you know what's crazy? Because let me tell you a little history on Tim Dogg. He used to work for the Metro North before he was a rapper.

Speaker 3: 37:47

Oh word.

Speaker 2: 37:48

Yeah, he used to work for the Metro North. As a matter of fact, his name is in the Metro North book as being an employee. He lived a few blocks over from me. I didn't understand him when he did that fucking competition. I love the song, but he was wild.

Speaker 1: 38:11

He lives in California right now.

Speaker 2: 38:13

Probably does because of the weather. He died. He must have recently. Probably does because of the weather, but he died.

Speaker 1: 38:17

He must have recently died. Tim Dogg died. If he is dead, he definitely lived in California. Hold on, let me see. First of all, when Tim Dogg came out with that song, I was on it heavy.

Speaker 4: 38:31

For no reason. You don't even know why. You're just singing it. You ain't even know why.

Speaker 1: 38:34

I'm going to tell you why. I was on it. Because he was from the Bronx and he was saying Compton.

Speaker 4: 38:40

But you've never been to Compton, so why did you like think about that mentality, bro? Bronx, bro, I'm rocking with the Bronx. I'm a New Yorker for life but I was never one of the New Yorkers that would just hate on a region I've never been to Like. Why am I I don't know these people to say fucking.

Speaker 1: 38:56

Oh yeah, he did die. Oh no, so hold on.

Speaker 2: 38:58

No, he did not die. He was trying to beat taxes. He had like a tax problem.

Speaker 1: 39:02

No, he's dead. He's dead. He died in 2013, and he died in Atlanta. I thought it was. I'm sure he lived in California for some time. He lived in California for a minute. Yeah, he did.

Speaker 2: 39:17

But I do know before he died in 2013, right, there was a report that he had died earlier than that, but it was found out he was just trying to beat Because he didn't pay taxes or some shit like that for a few years and tried to fake it. He did some wild shit the same way he did Fuck Compton. He was basically.

Speaker 3: 39:37

Fuck the IRS.

Speaker 2: 39:40

He was an ill dude.

Speaker 4: 39:43

Back to the statement. Like I was saying, we went through these errors and then in the 2000s came the drug dealers was like, yeah, I'm a drug dealer, I sell drugs, I get money, and y'all broke right. And then, towards the mid, I'll say the usher of the Lil Wayne era we started glorifying being drug addicts Because he ushered that. He ushered it in on another level. It wasn't like we didn't have drug users.

Speaker 1: 40:14

Well, Jews wasn't really talking about it like that, though. No, it wasn't like we didn't have drug users. Well, Jews wasn't really talking about it like that, though.

Speaker 4: 40:16

No, it's not like we didn't have drug users in the culture. We always had people using drugs, right. So we're not saying and act like that didn't exist. But a rapper that got that big to just say, yeah, I'm out here just doing interviews with a double cup Just just some rappers was getting high. We knew that behind the scenes off camera and all of that yeah, he get high since the 80s.

Speaker 4: 40:43

Yeah, come on now listen the first, listen your man. What's? What's my man name? It's B no, not Busy B, chris Blow, oh, melly, mel, right, be um curse. Blow yes, everywhere. Uh, oh, right more about. You know like to stay away from cocaine and he was sniffing coke while he made that record what a hypocrite in a studio like this why yo I'm gonna.

Speaker 1: 41:13

I'm going to tell you this my dad, he made a track called Everybody is a Puffin talking about smoking cigarettes, and how bad the whole record was like don't do it, don't hurt yourself, right? He'd play it right While smoking a cigarette. So you know.

Speaker 4: 41:33

Like it's the most. Sometimes I think we get old. Sometimes I think we get caught up in our childhood with hip-hop and we forget that, yo, we had our flaws too back then.

Speaker 3: 41:44

Of course.

Speaker 4: 41:46

We had our whack shit too back then. We don't like to talk about our whack shit, but we had a lot of it too. Go, ninja, go, ninja Go from Little Ice, little Ice, ninja Turtle movie. Raven-symoné put out a whole rap album in our era fam.

Speaker 3: 42:02

Yeah, I didn't buy it. I didn't even know.

Speaker 2: 42:09

But you got a point. And back to Raw's wag rappers, because we had niggas like Lil Zayn. Oh, the fake 2-Pi, I would point. And back to Raw's Whack Rappers because we had niggas.

Speaker 3: 42:15

like Lil Zayn, I live life as a celebrity.

Speaker 1: 42:20

I made my. I forgot about that. I live life as a celebrity.

Speaker 4: 42:24

I'm like, what is he doing? He has smiles and South Star why we keep acting like they didn't exist.

Speaker 3: 42:30

I'm not gonna lie, they was running BET at one point.

Speaker 4: 42:33

They had that one record that was on BET. Crazy, but we had. What's my man name?

Speaker 1: 42:40

Tracy Lee was kind of whack.

Speaker 4: 42:41

Everybody in the club getting tipsy. Jake Horn we had Jake Horn.

Speaker 2: 42:47

Tracy Lee was not whack.

Speaker 4: 42:49

Tracy Lee was dope. Tracy Lee was fire.

Speaker 2: 42:51

His album was fire, actually His album was real To hold his own that nobody knew on a track with yeah, he went crazy with Big. Yeah, he went crazy, but if you watch D-Dot on fucking my expert opinion, d-dot said it himself he played Tracy Lee's. What's that? I forgot the name of the song Biggie.

Speaker 4: 43:19

Hurdy.

Speaker 2: 43:21

And was like yo. Your man is nice, but I'm about to I'm going to kill him on this. It was the same track, but he's like yo. Big respect to them. You know what I mean.

Speaker 3: 43:32

I got to listen to that dude. I forgot about Lil Sean. No, back to them. You know what I mean. I just Think about Little Sean.

Speaker 4: 43:36

No, think about this. As much as people be fretting on Will Smith, he would be considered super corny in this era.

Speaker 3: 43:44

He sure was.

Speaker 4: 43:46

He was a superstar, but for music first. You the first rapper with a Grammy bro.

Speaker 2: 43:56

No, no, no, but he wasn't a superstar then. He just made a lot of money.

Speaker 4: 44:00

His albums were selling through the roof back then.

Speaker 2: 44:03

He did go triple platinum.

Speaker 4: 44:04

Yeah, rappers wasn't going triple platinum and all that back then, like that.

Speaker 3: 44:09

Let's not lie we all bump Summertime. When we hear that we still get hype, when we hear that Summertime was a classic record.

Speaker 2: 44:14

Now, before that, go back to Jazzy Jeff and Fresh Prince.

Speaker 4: 44:19

Yeah, we was rocking brand new funk. I believe I could beat Mike Tyson.

Speaker 2: 44:23

If you go to brand new funk play that rock You're going to go? Wow, we can have a block party and play that shit. I'm pretty sure the young nigga's gonna try to steal that beat. Yeah, you wanna know who was the wack rapper. I know what it is. Jim Jones was wack on his first album.

Speaker 4: 44:44

Jim Jones was wack now, but that's me taking it from him.

Speaker 3: 44:48

He stepped up. He stepped up man.

Speaker 4: 44:52

He stepped up because you got used to him, because he's been in your face.

Speaker 1: 44:55

He's running out of things to talk about.

Speaker 4: 44:57

He's been running things to him. All he talks about is the block.

Speaker 2: 45:01

That's where he be at. Nigga, he a lobby boy.

Speaker 3: 45:05

He know how to pick beats, so I give him that.

Speaker 4: 45:08

If you push your 50, you 49 years old. Talking about you, a lobby boy, bro. What are we talking about here? And I'm not hating on Jim, but what I'm saying is none of us ever looked at.

Speaker 3: 45:18

Jim as an elite lyricist? No, never did. He just don't make music.

Speaker 4: 45:22

He makes catchy music, but we never looked at him as a top tier MC.

Speaker 1: 45:26

Let's talk about top five in the 2000s though.

Speaker 2: 45:31

I'm going to be honest with you Top five is what Lyrical. I'm going to be honest with you Top five is what Lyrical Lyrical.

Speaker 4: 45:38

Lyrical In the 2000s.

Speaker 1: 45:39

Let's go the whole package Alright so the 2000s.

Speaker 4: 45:45

The top five in the early 2000s was Hove. Eminem 50 Cent.

Speaker 3: 45:53

Ludacris.

Speaker 4: 45:53

I don't know about that man, eminem 50 Cent Ludacris. I don't know about that man. Ludacris was killing everything moving in the early 2000s. Are we going from 2000 to 03? I'm going to 2000 to probably about 08.

Speaker 3: 46:10

I'm going to go from 02. If you're going to really do it technically, I'm going to go from 2002. Technically, I'm going to go from 2000 to 2003. For me was Prodigy.

Speaker 4: 46:23

That H&I C album was crazy it was, but he wasn't the top, he wasn't to the top. He was. Hold on, you got breaking up the internet was breaking up.

Speaker 2: 46:37

Hold on, you're breaking up the internet was breaking up.

Speaker 3: 46:39

All right, now it's better. It's better. All right, let me go. It was Prodigy X 50, nas, and I'll throw for his moment. I would say Beanie Siegel.

Speaker 2: 46:55

In 2000?

Speaker 3: 46:56

Yeah, I can say Beanie Siegel In 2000?

Speaker 4: 46:57

Yeah, I can't give X that, no more. I mean, I'll be honest with you. By the time X came out, the third album, I was done with him. I'll be totally honest with you.

Speaker 2: 47:05

I got to you know what?

Speaker 1: 47:06

Yeah, there'd be someone with Flesh of my Flesh, Blood of my Blood, 2000.

Speaker 2: 47:18

That that was 98, 98. Okay, but you gotta look at it that that went into 2000 because that he had that run. He did. No, he did. He definitely had the run out with two albums back to back and went number one. So, yeah, 98, I'm giving him that. He did that in 98, I'm giving that. We got ho, we got I got Nelly and you got X. For me it's X, and you're right, you gotta bring Luda, because Luda was killing yo. I'm gonna say Luda slash TI.

Speaker 4: 47:50

I feel like TI came a little bit later, like towards the mid, but I do give him his credit credit because he's up there. That's a fact. I got 50 there because 50 did a head spin that we've never seen before.

Speaker 3: 48:03

Yeah, he had a crazy run 50 came out.

Speaker 2: 48:06

He really annihilated the mixtapes. He got shot and slept on the floor in the studio, woke up, wrote rhymes, rhyme. So yeah, let me um take ludacris and t out, because 50 cent 2000 was crazy yo, but dipset had a run in it they had a huge run.

Speaker 4: 48:26

they was right on the dipset I mean, it was right under eugene with their run got to give them that credit. So I'm not going to take nothing away from them. But as far as the numbers, as far as so I feel like Dipset had the impact street level Roz right, More so street than commercial. They had commercial hits but Gio, they was everywhere. They was across the globe. It was ridiculous. Every project they dropped was going platinum Right, it was crazy. They was on. Every project they dropped was going platinum.

Speaker 2: 48:55

Yeah, that's a fact. It was crazy, they was on tour with mixtapes First, was on tour with mixtapes.

Speaker 3: 48:59

Yeah, that's a fact.

Speaker 2: 49:03

Yayo was on the run Banks was just coming up. He was retarded. He walked all day.

Speaker 4: 49:14

I would say I'm with you, I'm with you a thousand percent. I would say if we're going to do 2000s, you got to do it every five years because it was changing every five years. It was changing quick in the 2000s right. So after that, after the 50 cent run, you had the TI Jeezy, lil Wayne, kanye West.

Speaker 1: 49:34

Yeah, alright, I'll give you that. That's perfect.

Speaker 3: 49:40

Yeezy was killing them.

Speaker 4: 49:41

So we can't leave Kanye. Kanye Impact was too crazy for his time. Ti and Yeezy they set a whole new. They brought on a whole new sound for Atlanta.

Speaker 3: 49:54

That's a fact, right? People forget TI's first album, though, who? I'm Serious, I'm Serious it was fire. That album was hot bro.

Speaker 4: 50:04

It was fire. I give credit to anybody that was doing their numbers right. So you had sneaky little artists that popped in and popped out, but for the most part because even Houston from 2004 to 2006, houston had a wave, yo, you know who named y'all missing right now. Who? Mike John.

Speaker 3: 50:25

Fab Fab had a wave.

Speaker 4: 50:28

See, the thing with Fab was, fab was smoking hot, but Fab's albums didn't get celebrated like that.

Speaker 2: 50:37

The album that really got celebrated was the one that sold on 9-11, with Mariah Carrey and Jay-Z.

Speaker 4: 50:42

That was his first solo album. That album was tough. He was known to have the fire singles. Right Fab would come in give you a fire single that would smash stuff.

Speaker 3: 51:02

He'd get out of the way, come back, give you a fire single that'll smash stuff.

Speaker 2: 51:04

Now he'll get out the way. Come back, do some more fire singles, get out the way. And we say mixtapes he had. Really, you know, he will go back in the lab and bust out a wild mixtape and and will go crazy because when he started that soul tape shit, yes, boy, he brought the mixtapes back into effect. I could say and he was late 2000s with that, I'd say 2010.

Speaker 4: 51:20

Yeah, fab was fire though we ain't gonna take nothing away from Fab, fab was super fire, but I just feel like Fab's biggest record is the record with Tamiya.

Speaker 1: 51:29

Yeah, it is.

Speaker 3: 51:30

Right.

Speaker 1: 51:31

But yeah, when that came out and went, what 2004?

Speaker 4: 51:35

Maybe, but yeah, when that came out and went, what 2004? 2004, maybe 2003? 2002.

Speaker 1: 51:39

Yeah, so that's why I mentioned his name.

Speaker 4: 51:41

Yeah, it was 2001 because it was on the album, but it just didn't have Tamia on it. It had Ashanti on the album.

Speaker 3: 51:49

That's a fact. You know who blew the opportunity in the mid-2000s? I thought who was nice was Young Buck for Southern Dude, oh man.

Speaker 4: 51:59

He went platinum. He just got caught up with that, you know he got caught up with that.

Speaker 1: 52:02

He's a funny guy. I'm so into you. That came out in 2003.

Speaker 3: 52:07

I thought Buck was like I'm like yo, this dude is nice bro. Now I'm like no.

Speaker 4: 52:10

Buck was crazy. Buck did his numbers on G-Unit. It was one point where people were saying Buck was the best member in G-Unit, he was making the best music.

Speaker 2: 52:20

At one point, buck was hungrier at one point, and I think, what happened with him is he got money, he got fame and he lost sight of just the hunger. Like 50 Cent said, I got to help this nigga pay his taxes. He just lost that thrill, that hunger for it. Because even when he had that mixtape right before he got off G-Unit, that mixtape that 50 Cent put out with all of them, I forgot the name of it.

Speaker 3: 52:50

Was it Clean?

Speaker 4: 52:51

Up man Buck was showing out what's my man's name Vitae. No, my man from Louisiana, I was on G-Unit.

Speaker 3: 53:00

Oh.

Speaker 2: 53:03

Terminator on site Trevor no not Terminator on site.

Speaker 4: 53:06

It was a night Kid, kid, kid, kid and Buck was going crazy on that.

Speaker 2: 53:12

And damn, and Buck was like Buck was retarded when they were saying Buck had left and they said, damn, what's next? Because I used to play that shit, like my man used to play that shit at the end of the night when they were smoking weed, or after, you know, on fucking on a PlayStation. That's how crazy it was.

Speaker 4: 53:32

Remy would have been the number one rap chick if she didn't get locked up.

Speaker 3: 53:35

Cool Remy.

Speaker 4: 53:36

Remy. She was coming. She had that smash hit record. Whatever she had the smash hit record with Ne-Yo. Nicki Minaj wasn't even out yet she had the smash record with Ne-Yo that took off. That killed them. Then she got locked up and did a damn near 10-year bid. She would have been the top chick because Kim was fading, yeah, foxy was fading and Eve was going to marry her billionaire. It was literally Mia X wasn't doing no more rap like that. So she was literally the chick that was getting already and she was already the chick that was getting respected from all the dudes.

Speaker 1: 54:18

Right, so let's talk about this again. So, like you had a perfect list, can uh say the names in that top five, two thousands?

Speaker 4: 54:27

from the 2005 for the for order for 2000 to 2000, I guess five all right. So for me it was, it was eminem, yeah, it was hove, yeah it was uh 50 cent.

Speaker 3: 54:42

It was Hov.

Speaker 4: 54:43

Yeah, it was 50 Cent, perfect. I say Ludacris, and if you want to be, you got to throw Nelly in there.

Speaker 1: 54:51

Nelly, I just don't like Ludacris, bro. I bought those albums. Yo, if I buy your album and it's not hitting like that, I hate it which album Chicken and Beer was tough.

Speaker 3: 55:02

Chicken and Beer was fire. Chicken and Beer was fire. We got them done.

Speaker 1: 55:05

What was the first album, the first and second albums, back to the.

Speaker 4: 55:08

First Time. Fire Back to the First Time was fire.

Speaker 1: 55:13

Nah, I didn't like it man.

Speaker 4: 55:15

Man, go back and listen to. Back to the First.

Speaker 1: 55:17

Time that joint was fire.

Speaker 4: 55:19

Go back and listen to it now. I'm not like Meek Mill.

Speaker 1: 55:21

Meek Mill's album and shit is trash man you bought. Who album Meek Mill's?

Speaker 2: 55:28

Let me tell you, Meek Mill had one hot album to me and it was a five-piece that he did because he did a joint with Chris Brown, I can't remember, but he had like five songs. That was fire and I'm like damn, they said got one.

Speaker 4: 55:46

He made fun of himself when he changed his rap style.

Speaker 2: 55:49

Yeah, he wilded out.

Speaker 4: 55:51

He started yelling on everything. That's when people know like dog, why are you yelling? We liked you when you was just rapping. You don't have to yell, just rap.

Speaker 3: 55:59

I forgot one dude from Philly too. We got a shout out to the street dudes. We had to do a street level one. This dude I used to like in Philly that I used to rap crazy with Cicero Cicero was fire.

Speaker 4: 56:09

Cicero, Actually I'm from the Philly era, the major figures, you know what I mean. I have Lava and all of them. That was my era of Philly that I loved. As far as hip hop, street hip hop, shall I say. It was a state property major figure era for me Dutch and Spade and all of them, dutch and Spade.

Speaker 3: 56:32

In Brooklyn we had News, remember News.

Speaker 4: 56:35

News was fired.

Speaker 2: 56:38

News wasn't he supposed to be with, like DJ DJ.

Speaker 3: 56:42

Yeah.

Speaker 4: 56:43

News. And my man, what's he supposed to be with like DJ, dj, yeah. News. And my man, what's? The Gravy was fired too.

Speaker 1: 56:47

Gravy Red Café I came up with them and French Montana.

Speaker 3: 56:50

Yeah, French and French.

Speaker 2: 56:52

Now Red Café, Red Café, yeah.

Speaker 4: 56:56

Ghost Rider Extraordinaire. Exactly, I'm still waiting for Red Café and the Fabulous collab album. I really could never get it, but that album is so fire. I was waiting for a Fab and Paul Kane album.

Speaker 3: 57:07

Never got it. Wow, Paul Kane.

Speaker 2: 57:10

Yeah, I feel bad for Paul Kane. I'll be saying that.

Speaker 1: 57:12

The Kane and younger generation Envy Kane is hot right now.

Speaker 3: 57:18

They love him.

Speaker 1: 57:20

Envy Kane is fire, he can really rap Listen to that dude.

Speaker 4: 57:26

Wow, I mean we had a lot of fire back in the day. I mean there was a lot of fire in that early 2000s era. It was the mixtape era, where everybody was making a name for themselves. It was a new era of everybody trying to make a name for themselves in the street life.

Speaker 3: 57:41

Uncle Murda was my dude on the street. Uncle Murder was my favorite.

Speaker 2: 57:43

I really liked Joe Budden when he came out. I'm not even going to hold you that song. 10 Minutes is one of my favorite joints. If I ever see it, I'm going to tell you that's my favorite shit you got 10 Minutes was crazy.

Speaker 4: 57:59

The thing with Buttons was this Buttons was fire, but Buttons he hindered his run when he went at G and it wasn't like he wasn't better than them. Lyrically it was. You don't have the machine behind you the way they do, so you're not going to win this game.

Speaker 2: 58:14

You know what? Joe was on the radio on Hot 97, because Hot 97 was going through changes and they was looking for different co-hosts. So I think Joe was really. I remember he was in the mornings.

Speaker 2: 58:30

With Ms Jolton yep, right, and then he would be doing that morning show and then be dissing G-Unit by like 12 o'clock and the next day got a diss record out and then come back to the radio in the morning and promote the diss record Like yo listen to my shit. But I think he was already transitioning into radio before they said nah, we're going to go somewhere else with you.

Speaker 4: 58:51

He had a knack for it. It was like he figured out what his knack was when the records weren't selling anymore. He was like, alright, let me go shift over here and figure out, because remember he was doing Joe Button TV, which was blogging for everybody was doing it.

Speaker 2: 59:06

He was so high in there because he literally went from music to the radio, to the internet, to podcasting, to that reality shit, like he was really. Like you said, he introduced the heavy to the world, because I remember a video one time I'll never forget this video, when he was walking through his kitchen and I was just like yo, who is this joint? The way, the angle was.

Speaker 3: 59:36

I ain't see it. I remember that.

Speaker 2: 59:37

I was like what's he? Doing and I couldn't describe fast enough. I just kept trying to find, like yo, what is. I remember I remember that trampoline. Exactly In the kitchen. You know what I'm saying Crazy.

Speaker 4: 1:00:00

That early 2000s era. Now back to what I was saying about the kids. They don't know that early 2000s era. They don't even know what was going on in that era. That's crazy. Live through it. So if you didn't live through it, you can't really understand what it was like to experience that. We can tell kids about the 90s all day long. They will never understand a world without cell phones. They don't understand what it was like to maneuver outside without cell phones.

Speaker 2: 1:00:36

They don't know what privacy is.

Speaker 4: 1:00:38

Exactly. That concept doesn't make sense, Bro. We didn't have all of this. We couldn't look. We had to go to a library or somebody who had a computer With dial up To even get on the internet.

Speaker 2: 1:00:51

And the dollar had to have at least 15,000 minutes.

Speaker 4: 1:00:56

It was a point in time when you wasn't taking calls After 9 o'clock. Before 9 o'clock. Call me after 7. Taking calls after 9 o'clock.

Speaker 3: 1:01:02

Before 9 o'clock yeah, call me after 7. Call me after 7 call me after 9.

Speaker 4: 1:01:06

I can't you're wasting my minutes. I can't do that.

Speaker 3: 1:01:10

I remember one time Ron and I was up in Harlem went by that old DVD spot like. This is the spot right here. If you went to all the best DVDs it's on 6th, 7th Ave and 135th oh, you talking about.

Speaker 1: 1:01:26

Blackstar yeah, yeah, yeah we went over there.

Speaker 3: 1:01:32

I'm like yo if you were not. I just come from Brooklyn all the way up to Blackstar.

Speaker 4: 1:01:38

Blackstar had all the the drug dealer DVDs and all that.

Speaker 3: 1:01:44

DVDs. Yo, bro, they didn't understand how it was back then and you know, as time goes on, everything evolves and changes. But you had to be there, as you said, to live it.

Speaker 4: 1:01:54

Yeah, you had to be there Like I can't. I could tell a kid or a young kid or a young girl, young adult, everything that was going on back in that era. They won't get it and some of them would be like, damn, I wish I was out there with y'all because it sounded like it was crazy. And I'm like it was. Even when I try to tell them how the culture of hip-hop and the music and how it reflected on people outside the feeling it gave everybody. It was a different feel. I remember the first time I heard Benjamin's and I heard it outside.

Speaker 2: 1:02:28

I was in junior high school. I was in like sixth or seventh grade when that shit hit.

Speaker 4: 1:02:37

I remember when I first heard when DJ Hollywood and, and, and, and, and and the veterans made the Harlem version to the Benjamins get your groove on, stop playing. And get your groove on, stop playing. Harlem was in a frenzy with the Benjamins yo, I wish I would.

Speaker 2: 1:02:59

I wish I was old enough to go to the tunnel to experience that.

Speaker 4: 1:03:02

I've been there one time.

Speaker 2: 1:03:04

I've never been there. I really like.

Speaker 4: 1:03:09

I wasn't supposed to be in there, but that shit was. Zoo ain't the word bro.

Speaker 3: 1:03:16

I heard Brooklyn was wild in there.

Speaker 4: 1:03:18

Unisex bathrooms Bro.

Speaker 3: 1:03:26

I heard stories. Man, that's a piece of my cousin.

Speaker 4: 1:03:33

At least 15 people. It was me cleaning something like that.

Speaker 3: 1:03:36

I heard the bathrooms were going down.

Speaker 1: 1:03:39

We're older now, but back in the days we were younger, we weren't really able to go into the tunnels and the rooftops and all of that. We missed a lot of bullshit, though.

Speaker 4: 1:03:51

I've been in the tunnel one time and I was with my older cousin and we had to pay the balances to let us in there Take that. But it was wild in that moment, like you had to be and you had to be ready to fight. It was like going to Skate Key in the Bronx waiting for something to pop off, but this was all the barrels in the tunnel y'all went to Skate Key.

Speaker 2: 1:04:17

Yes had to. You're talking about Allentown, you had to.

Speaker 4: 1:04:24

You couldn't be from where we from If you ain't go to Skate Key. I don't know if Brooklyn Y'all had your own skating rink and all that over there. Empire.

Speaker 3: 1:04:32

Skating.

Speaker 4: 1:04:33

I wasn't going to Manhattan and the Bronx.

Speaker 2: 1:04:37

Now there was that Skate Key and then, like the new Skate Key, or 138th, was a different animal because it was like the little tunnel for when For teenagers.

Speaker 4: 1:04:49

It was a tunnel for teenagers.

Speaker 2: 1:04:50

Yeah, I stopped going because niggas come back to the block. Yo, we just got J's, or next week we going to get to. I said, oh, I'll see y'all when you come back. It was a regular thing.

Speaker 4: 1:05:01

We had to go to the deep. We go to the key. There's got to be at least 20 to 25 of us going to the key together because it would get crazy. And then, oh man, dudes used to get punched just for being there. Like, why are you there? Take that what it was a zoo. These kids talk about ops. You can talk to your ops on the phone. We didn't know who these dudes was, we just in here.

Speaker 2: 1:05:28

You just had to fend for yourself.

Speaker 4: 1:05:30

Yeah, we just in here. I don't know what projects these, I don't know what block these dudes is from.

Speaker 3: 1:05:37

My spot was like going to club Exit and Speed. Oh, Exit and Speed was crazy.

Speaker 4: 1:05:42

Yeah, yeah, yeah, that was the 2000s. That's when we all was like 20.

Speaker 3: 1:05:47

I got a story to tell. Yo man, I got caught up in a melee in there, man, we parted the club seat like it was the Red Sea. The crowd chairs were flying the bouncers. They gave us the business that night, bro, I was fighting bouncers. They gave us the business that night, bro, I was fighting bouncers. Bro. You know, like you can't get in, you got Tim's on, like what you mean you can't get in.

Speaker 4: 1:06:06

That was the New York City lifestyle back then. If you're going out, if you're going to a party like we had certain clubs in certain places If we go there, you know you got to go there prepared. You could just go there and chill, you could try, but somebody will bump into you, somebody will just look like they want to press try you, and you just had to be on edge at all times crazy because there's nowhere to go right now for these kids that's why they wilding out in the streets niggas can't say yo, let's go to such and such Sunday they did that on purpose.

Speaker 4: 1:06:42

New York City did that on purpose. They want to Remember there's laws in place for them to build a jail in every borough.

Speaker 3: 1:06:51

Yo, I seen that today bro.

Speaker 4: 1:06:52

They doing this on purpose, because they want these little kids to wild out so they can lock you up. Remember, a lot of these kids live in the projects. Once you got that jail record, you cannot go back to the projects Once you got that jail record.

Speaker 2: 1:07:03

you cannot go back to the projects, right? And then the laws are different with the time, so they're going to hit you on your friends here. Take 20,. Sit your little ass down.

Speaker 4: 1:07:11

Yeah, and while you are locked up and all y'all getting locked up, we just going to gentrify your neighborhood and by the time you come home, what you thought was popping is over.

Speaker 1: 1:07:23

Oh yeah, neighborhood. And by the time you come home, all of what you thought was popping is over.

Speaker 4: 1:07:25

Oh yeah, they're going down south, or they're shipping everybody upstate.

Speaker 2: 1:07:30

Either way. If you go upstate, there's racism there. If you go down south, you can carry a gun. They're going to shoot the shit out of you over there.

Speaker 4: 1:07:38

Exactly the attitude is If you really pay attention to what the politicians in New York is doing, they're trying to really shut down hip-hop.

Speaker 3: 1:07:48

Slowly the culture of it. They're trying to shut down the culture of what hip-hop was Right.

Speaker 4: 1:07:54

They're trying to take hip-hop and commercialize it for their white corporate establishments and make money off of it, but they don't want to take what comes with hip-hop.

Speaker 3: 1:08:04

Right, they not like us. Yo. This is why, nypd, we bringing back house parties, bro, remember that Biggie video.

Speaker 2: 1:08:13

I'm not going to a house party. At 42 years old, I'm not going to a house party.

Speaker 3: 1:08:17

We going to find a brownstone and we going to make it a house party. That's a good idea, brownstone.

Speaker 1: 1:08:21

I'm going to make it a house party.

Speaker 4: 1:08:22

That's a good idea though Brownstone, Get a brownstone. The grill in the back. I'll go to a function where we adult and we can drink conservatively without the drama.

Speaker 3: 1:08:33

I don't even do that, I don't even go out like that Last time. I went out. I went to the lounge. It felt awkward in there, bro. I'm like what's going on in here?

Speaker 4: 1:08:44

First off, the energy ain't even the same as it was when you went out before Everybody like this in there. It's not even just that, it just don't feel the same. You know what's crazy? It's the coach doing that. It's funny, man, you're out of one drink.

Speaker 2: 1:08:58

Say that again. You're breaking up Cleps Make sense.

Speaker 4: 1:09:04

But outside of that, the culture of hip-hop.

Speaker 2: 1:09:06

You said what you was breaking up.

Speaker 4: 1:09:09

What was that last thing you said about going to the parties when they paid?

Speaker 2: 1:09:13

time I said going out to drinks costs like $30. Man listen Going to lunch costs $30. Everything is like $30.

Speaker 4: 1:09:20

If you go to McDonald's right now and get a regular meal that is like 12 13, that same meal when we was coming up was 2.99 well, you know, that's how they keep us on the rat race.

Speaker 1: 1:09:32

You know. Inflation, you know, and they try to drive up the prices, jack up the prices. So you're working, working, working and producing, you know? Um, that's just how it is. So I don't know if y'all know about the GDP and all of that, yeah, how they keep us zombies and all of that. That's why it is smarter to, kind of like, leave New York. Honestly, you know, leave the. I don't know how it is in Jersey and all that. Look at that Texas.

Speaker 4: 1:10:00

So it's similar, but it's a little bit better than New York. I can tell you that it's less of a rat race.

Speaker 2: 1:10:06

I think Texas is a good state because if you got a couple of dollars for the rich, I know the tax laws is a little different for them. I see a lot of them migrating down there and I know it's because they're saving money.

Speaker 4: 1:10:21

Also the money that you spend. The type of property you get down there is ridiculous, like a million-dollar home in Houston Texas.

Speaker 2: 1:10:31

It's wild.

Speaker 4: 1:10:32

It's like a $20 million home in New York.

Speaker 1: 1:10:35

Yeah.

Speaker 4: 1:10:35

You know what I'm saying. Like the amount that you're paying in your rent right now, you could get a five-bedroom house in Texas.

Speaker 3: 1:10:45

Exactly.

Speaker 1: 1:10:46

Now I'm trying to figure out where they're going with this in New York.

Speaker 2: 1:10:50

They're not going nowhere.

Speaker 4: 1:10:51

They're trying to make New York Dubai fam. You can't tell. They're building up a whole new beach downtown. Yeah, yeah, they're building a whole new beach downtown On the Hudson River. It was disgusting the Hudson River.

Speaker 3: 1:11:02

It was disgusting. The Hudson River yeah, they're building a beach, bro.

Speaker 4: 1:11:08

They're trying to make this the biggest tourist attraction in America, in America, right, it was already the biggest tourist attraction in America, but now they realize they can get more money from all these tourists Because they lost a lot of money over these years, especially during the COVID era. They lost a lot of money over these years, especially during the COVID era. They lost a lot of money. So everything is going to be inflated in New York because they're trying to make all of that money back times 10.

Speaker 4: 1:11:26

New York, but you know who I blame? It's the Democrats. I don't care what nobody say. Look at all the Democratic states. I don't pick sides, I'm not a Republican either, but look at the Democratic states California, new York. Look at how expensive it is to live in these Democratic states. For no apparent reason, we don't get our money's worth. You don't pay the people enough to what it costs to live. The average American makes $50,000 a year. The average american black, white, spanish, don't matter the average american makes fifty thousand dollars a year. At most you might top at 70, 75, right? So, people, that's getting six figures. You're not considered. You're technically considered upper class. You're not even middle, because middle class, what 50,000 used to be was middle class.

Speaker 1: 1:12:37

That's considered poor now Yo Yo.

Speaker 4: 1:12:42

You remember when you went with $600?

Speaker 3: 1:12:45

I do yeah, early night.

Speaker 2: 1:12:48

I be telling my mom's like, listen, the rent I'm paying you wasn't paying. You be asking for you. Ask me if I got it, you just like it's arm and a leg.

Speaker 4: 1:13:04

And what are we getting with the money that we paying for this rent?

Speaker 2: 1:13:07

What exactly?

Speaker 4: 1:13:07

are we getting?

Speaker 2: 1:13:08

You're getting fiends in your building.

Speaker 4: 1:13:12

You ain't getting no laundromat in your building. You ain't getting no gym in your building. You ain't getting no security guards, you ain't getting no cameras in your building. What are we paying all this money for in New York, right, like, let's really think about it. I moved to Jersey when I first, when I first moved to Newark, right, when I moved to Newark, new Jersey, at one point in time I lived there. I don't live there now, but when I was there, I was in a high rise building, all glass, security at the front. I had a store in the building, literally a convenience store in my building, a gym, a gym, laundromat, parking space. I was paying $8.75 a month. Damn, what year was that? That was like seven years ago. Okay, right, I was paying $8.75 a month.

Speaker 2: 1:14:08

In New York, those same amenities is costing you five bands.

Speaker 1: 1:14:12

And they be trying to promote it like yo, this is a deal. Yo, I was paying when I was last time I lived in the Bronx. I was paying around about $1,000 something and I thought I was killing it and uh, until the summertime came around and and and shit was like body central, crazy bodies all over the place. I was like yo, let me get out of here, man, it's ridiculous.

Speaker 4: 1:14:40

Yo you paying the, the rent that we pay if you go to North Carolina, virginia, anywhere past the Mason-Dixon line, bro, the space that you get, the peace of mind that you get the parking space, you get your own parking space. You ain't never got to circle or block, you ain't got to do none of this, never. But back to do none of this, never. But back to what I'm saying. All of this is they're trying to strip New York of our hip-hop culture. When the last time you seen hip-hop promotional ads, remember it started when they started telling us we can't put up no street advertisements for our music yeah, no posters, no stickers. No, our music For our artists no posters, no stickers, no flyers. Well, that's how you see hand-to-hand flyers.

Speaker 2: 1:15:29

Nah, you don't see them flyers? No more, you don't handle them. They're on Instagram now, and everything is brunch.

Speaker 4: 1:15:38

Everything is brunch or a day party. The nightlife in New York is trash.

Speaker 2: 1:15:41

right now it's dead Because we got older, we tired. You gotta call me before this. I need a nap, I need this.

Speaker 4: 1:15:52

We used to have regular clubs and now they trying to make everything into a strip club. That's not our culture. Strip club culture was never New York City culture. Now we got Appies. For me growing up I remember dudes that used to go to strip club. We used to be like you're a perv, yeah Right. We used to look down at that up here, right For up north. That wasn't our culture. We looked at people that was going to these strip clubs Like you, a perv. Like you out here paying for play Right? Are you out here paying for play Right, the South? That was their culture. Strip clubs was their thing.

Speaker 2: 1:16:26

Music played.

Speaker 4: 1:16:28

Yeah, that's where their music played, that's where they hung out. That was basically like their juke joints. In the modern era we had nightlife, we had clubs. We got clubs. I'm going to this club. It will be a point where you believe this club, we're going to go head to this club. It'll be a point where you believe this club, we're going to go head to this club. Then we're going to go to this club. We don't have that in New York, no more. I'm going to go to this bar. I'm going to go to this bar. Then we go to this bar or this lounge or whatever. That's what that is now.

Speaker 3: 1:16:53

We have after-hour spots now.

Speaker 2: 1:16:56

After-hour spots always exist, I would never in my life do an after-hour spot ever.

Speaker 3: 1:17:01

No, that's where it goes down at yo.

Speaker 2: 1:17:04

I know that's why I'm never going back. My man took me to one that I never even knew was an after-hour spot. I felt like I got to ring a bell, say the code word. I felt like I was in life with Eddie Murphy, like knocking at the back door, like shit, like that. I was like, nah, I'm never doing this again. And I was like, nah, I'm never doing this again. And I'm super duper tired and the sun is coming up. I'm like, nah, I'm never getting out.

Speaker 4: 1:17:26

That's what you know. I'm too tired, I'm out, I'm going to my bed. Man, this is too much, especially if you're driving. I got to go find a parking space. I don't know how to do this.

Speaker 2: 1:17:43

I'm going to sit out here and drive around the block till somebody decide they want to leave. Yeah, the last time I did that I was like nah, this ain't it, I'm cool with a regular spot the after hours nah, fam, like a bottle of liquor was crazy. I said, nah, I'm good.

Speaker 4: 1:17:56

I'm not paying $300 for this bottle, and the same bottle costs $40 at the store. I'm not doing this, it never made sense Yo.

Speaker 1: 1:18:04

So, to wrap it up, hip-hop is still relevant. We have the top five of the 2000s, even though I disagree with Ludacris. But you're right though, ludacris was fired back. I mean, he was coming out, hit after hit, he was everywhere, he was everywhere.

Speaker 4: 1:18:21

I mean I get it, you might not have to. I mean, you know you might not like him and that's cool. I'm not saying you had to like him. I'm just saying we got to look at it. We can't remove his impact because his impact and technically we can throw a little John in there if we really want to get technical.

Speaker 2: 1:18:37

But you also got to look at Ludacris, because look at the machine. He had to look at Ludacris, because look at the machine he had. Def Jam was wow, when Lior and Kev Liles was with it and they had Rockefeller Rough Rider, they was going dumb.

Speaker 3: 1:18:54

I know like Murder Inks, we gotta give it to.

Speaker 4: 1:18:56

John who signed Ludacris, though A lot of people don't know who signed Ludacris the one and only Scarface, it was.

Speaker 2: 1:19:02

Scarface, it was Scarface.

Speaker 4: 1:19:03

It was Scarface. Remember Scarface was part of Def Jam South. Remember His first office he signed was Ludacris Right.

Speaker 1: 1:19:14

So you know Hi Good one Good one Good podcast today. That was peace brothers. Thank you for joining us this evening. Thank you to the viewers for chiming in on the chat. We'll be back tomorrow at 7 o'clock with the Brother Sharif. Thursday evening. We got Tiffany. We're back with Tiffany and the sister right.

Speaker 3: 1:19:39

Ayaba the leukemia. Leukemia, I'm talking about the African sciences, Sciences, spiritual practices and all that. So stay tuned for that. Stay tuned, Peace y'all.

Speaker 1: 1:19:51

Peace and brush your teeth.

Speaker 3: 1:19:52

Peace Yo, peace Yo yo. It was stupid, peace yo.