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Conversations About The 10 Greatest Stories In Hip Hop History · The Breakfast Club

• 0:01
  Speaker 1: Wats up and welcome back to another episode of No
• 0:04
  Speaker 1: Sinners Podcast with your host. Now, fuck that with your
• 0:07
  Speaker 1: load glasses malone Great of an extented amount or intensity
• 0:18
  Speaker 1: considerably above the normal or average. One more time, nigga
• 0:25
  Speaker 1: great of an extent of an extent amount or intensity
• 0:31
  Speaker 1: considerably above the normal or average Great the etymology means
• 0:41
  Speaker 1: big and massive. Saw an interview on drink excuse me
• 0:48
  Speaker 1: on drink Chans for Tony Ye Yo and one of
• 0:54
  Speaker 1: the questions was asked to someone about their favorite rapper
• 0:59
  Speaker 1: and the whole answer back ice Cube, and Yo says
• 1:08
  Speaker 1: to him, shout out to Tony Yo Yo, what a
• 1:10
  Speaker 1: big dog. Tony Aal says Cube not fucking with Big.
• 1:18
  Speaker 1: And I heard that, and I thought to myself, Cauz like,
• 1:22
  Speaker 1: I'm not mad at no New York nigga not really thinking,
• 1:26
  Speaker 1: Cube with a whole career is not better than Big
• 1:28
  Speaker 1: with two records because Cube had excuse me, because Big
• 1:31
  Speaker 1: had two phenomenal motherfucking records, ready to die life after
• 1:35
  Speaker 1: death for phenomenal joints. But after that, he says something
• 1:40
  Speaker 1: to the equivalent of Cube ain't a better storyteller than Big.
• 1:48
  Speaker 1: That's where I got a motherfucking problem. That's where I
• 1:53
  Speaker 1: got a motherfucking problem. Dog, Like, what are we really
• 1:57
  Speaker 1: fucking talking about? Cube is not a better storyteller than Big.
• 2:01
  Speaker 1: So I asked a couple of my partners that's on
• 2:03
  Speaker 1: the island, shout out to all my partners in New York.
• 2:06
  Speaker 2: You know what I mean.
• 2:07
  Speaker 1: I call them niggas the Islanders because it's like they
• 2:11
  Speaker 1: kind of have this restricted view of hip hop as
• 2:13
  Speaker 1: the creators, which I respect.
• 2:14
  Speaker 2: I'm not tripping.
• 2:15
  Speaker 1: That's how we feel about gang banging. You feel me,
• 2:17
  Speaker 1: so I could relate. But then I do expect that
• 2:20
  Speaker 1: times for them niggas to really see shit for what
• 2:23
  Speaker 1: it is. And I realized in their mind that they
• 2:27
  Speaker 1: had the same feeling about Big. And that's not to
• 2:31
  Speaker 1: say much notorist. Big is a fucking terrific storyteller, like
• 2:36
  Speaker 1: fantastic storyteller, like this nigga is incredible, but Ice Cube
• 2:43
  Speaker 1: Couzin is on another level. And I'm talking to Charlotte
• 2:46
  Speaker 1: Mane and Charlet Magne is telling me BIG's catalog is
• 2:49
  Speaker 1: all stories, and I'm like, you obviously haven't heard ice
• 2:52
  Speaker 1: cues catalog because you just wouldn't have said that you
• 2:55
  Speaker 1: know what I'm saying. So I took it upon myself
• 2:59
  Speaker 1: to compile a list, do some homework over a couple
• 3:02
  Speaker 1: of days, compiling lists and start figuring out, damn.
• 3:08
  Speaker 2: What are the ten greatest stories in hip hop?
• 3:12
  Speaker 1: That would be a real way to get into this,
• 3:16
  Speaker 1: like to really take it well because as a certain
• 3:20
  Speaker 1: place in brand, you know what I mean, when you
• 3:22
  Speaker 1: like an artist dog, that's a preference. And you could
• 3:26
  Speaker 1: say best, best is a preference, Better is a preference.
• 3:29
  Speaker 1: Great its measurable. Great is measurable because it's not like
• 3:35
  Speaker 1: better or best. Great means there's analytics to back this
• 3:39
  Speaker 1: shit up. So I took the time and I start
• 3:43
  Speaker 1: going through joints and I was like, okay, let me
• 3:45
  Speaker 1: look through these joints. So as I remember going back
• 3:49
  Speaker 1: through records jamming, I was jamming for hours, jamming for hours,
• 3:52
  Speaker 1: and I came up with a few things. Before I
• 3:57
  Speaker 1: get into the ten greatest stories in hip hop history,
• 4:01
  Speaker 1: I'm gonna talk about some that deserved just a quick conversation.
• 4:06
  Speaker 2: All the storytelling by Outcast. That's a fantastic story.
• 4:11
  Speaker 1: I used to love her by Common even though it's
• 4:13
  Speaker 1: a way of him shitting on gangster rap and West
• 4:16
  Speaker 1: Coast Hip hop. It's a fantastic story. Shout out to
• 4:18
  Speaker 1: Common six in the Morning by Ice Q. While I
• 4:23
  Speaker 1: might not have it as the greatest, it's probably the
• 4:25
  Speaker 1: most impactful. It's shape gangster rap the way we know
• 4:28
  Speaker 1: it today. As far as West Coast Hip hop goes
• 4:30
  Speaker 1: with storytelling. One of the songs in here is actually
• 4:34
  Speaker 1: a direct descendant of ice T six in the Morning
• 4:37
  Speaker 1: Shout out to the O G.
• 4:41
  Speaker 2: Love's Gonna Get You by BDP.
• 4:43
  Speaker 1: That deserves an honorable mention because that's a fantastic story.
• 4:48
  Speaker 1: Kick Push by Lupe Fiasco barely missed it. That's a
• 4:52
  Speaker 1: fantastic story. Louis my man and this is what he does.
• 4:56
  Speaker 1: He's a fantastic storyteller as well. Paul Revere by the
• 5:01
  Speaker 1: Beastie Boys. I don't think it gets credited as the
• 5:04
  Speaker 1: story it is, but it's a dope ass story. Jen
• 5:10
  Speaker 1: and Juice and Murder Was the Case is tied. Now
• 5:13
  Speaker 1: this is the thing. While Murder Was the Case is
• 5:16
  Speaker 1: a story that's really popular and spawned the whole album.
• 5:20
  Speaker 1: I understand because they didn't necessarily decide to push.
• 5:23
  Speaker 2: It across the world.
• 5:24
  Speaker 1: It was something that took a life of its own right,
• 5:27
  Speaker 1: and Jen and Juice it should be top five, except
• 5:31
  Speaker 1: most people don't know Jen and Juice is actually a story. Yes,
• 5:36
  Speaker 1: Jen and Juice is a story. You hear the hook
• 5:39
  Speaker 1: and you jamming, and you're saying the words, but you
• 5:41
  Speaker 1: don't know you're you're listening to a story of a
• 5:44
  Speaker 1: day with Snoop Dogg going into the night.
• 5:47
  Speaker 2: Right.
• 5:47
  Speaker 1: Shout out to Tonight because I genuinely believe DJ Quick
• 5:50
  Speaker 1: Tonight's inspired Jen and Juice. Now let's get to the shit.
• 5:57
  Speaker 1: Add number ten on the Top ten Hip Hop's Greatest story, Boys.
• 6:06
  Speaker 2: In the Hood.
• 6:08
  Speaker 1: By Nwa, written by Ice Cube, delivered by Eaze. I
• 6:15
  Speaker 1: don't got to tell you how great of a story
• 6:18
  Speaker 1: the song Boys in the Hood is. You know the
• 6:20
  Speaker 1: fucking song, You know the fucking story right, What it did,
• 6:27
  Speaker 1: how it impacted hip hop. It launched the career of Nwa.
• 6:31
  Speaker 1: That's NWA's first hit. That's the reason why people started
• 6:36
  Speaker 1: giving Nwa a chance. It's one of the only two
• 6:40
  Speaker 1: records that ever charged for Nwa as far as the
• 6:42
  Speaker 1: big charts even go batting straight out of counter it
• 6:47
  Speaker 1: launched Eazy E into stardom. Easy was somebody who didn't
• 6:52
  Speaker 1: rap before that. He took on that song and it
• 6:55
  Speaker 1: changed him into a star, and NWA had a star
• 6:59
  Speaker 1: to you know wrap. They group around before Cube came
• 7:02
  Speaker 1: into his own. When Cube was just a writer in
• 7:04
  Speaker 1: a dope MC you know what I mean, easy E
• 7:07
  Speaker 1: was their star. Because of Ice Cube's pen and Boys
• 7:11
  Speaker 1: in the Hood. Obviously, everybody started to figure out how
• 7:15
  Speaker 1: dope of a rider Ice Cube was.
• 7:18
  Speaker 2: Because of Boys in the Hood, the.
• 7:20
  Speaker 1: Word got around that Ice Cube was a fantastic motherfucking writer.
• 7:25
  Speaker 1: It lost Doctor Dra into a gangster rap producer. Once
• 7:28
  Speaker 1: that happened, Doctor Dre didn't look back until Doctor.
• 7:32
  Speaker 2: Dre Presents Aftermath.
• 7:34
  Speaker 1: Doctor Dre was committed to that hardcore style because of
• 7:38
  Speaker 1: the success of Boys in the Hood. It's arguably the
• 7:45
  Speaker 1: biggest NWA song. Fuck the Police may be the most impactful,
• 7:50
  Speaker 1: but I don't think everybody knows the lyrics to Fuck
• 7:52
  Speaker 1: the Police. I think they know the movement that is
• 7:55
  Speaker 1: Fucked the Police. They may have heard the hook and
• 7:57
  Speaker 1: the beat, but they don't know the words. Straight out
• 7:59
  Speaker 1: of Camp obviously is a really special joint. But man,
• 8:03
  Speaker 1: I cannot tell you how many motherfucking kids under the
• 8:06
  Speaker 1: age of twenty know Boys in the Hood. Mind you,
• 8:10
  Speaker 1: Boys in the Hood is a direct descendant of six
• 8:14
  Speaker 1: in the Morning, So that's Ice Tea's influence on ice Q.
• 8:21
  Speaker 1: The ironic part about the whole conversation is the song
• 8:24
  Speaker 1: wasn't written for NWA or Easy. It was written for
• 8:28
  Speaker 1: a New York crew called HBO Homeboys, only they did
• 8:33
  Speaker 1: not like the song. They turned down a song that
• 8:36
  Speaker 1: ended up being generational, defining them. Niggas is not popping
• 8:42
  Speaker 1: because of that shit. You cannot turn down the winners.
• 8:45
  Speaker 1: I'm sure they didn't know, but I bet you they
• 8:47
  Speaker 1: know now. Number nine slick Rick's Children's Story. Slick ricks
• 8:59
  Speaker 1: Children's Story. Y'all all know this motherfucking song. Everybody remember
• 9:05
  Speaker 1: this song when they was a fucking kid. It's self produced.
• 9:09
  Speaker 1: Slick ricked himself produced. That's something we don't glowed enough
• 9:13
  Speaker 1: about when you know hip hop artists produced their own
• 9:16
  Speaker 1: shit and the records that are successful. It spawned one
• 9:21
  Speaker 1: of the greatest R and B hits to come out
• 9:23
  Speaker 1: of LA a number one song, This Is How We
• 9:25
  Speaker 1: Do It by Montel Jordan because it was such a
• 9:28
  Speaker 1: dope break and such a dope melody that slick Rick
• 9:31
  Speaker 1: made it turned Montel Jordan's song into an even bigger song.
• 9:35
  Speaker 1: It's the motherfucking story that keeps song giving. Something else
• 9:42
  Speaker 1: I don't think people realize about the children's story is
• 9:47
  Speaker 1: if you listen to the lyrics, the little boy was
• 9:50
  Speaker 1: surrounded and that ended his glory. And that's the way
• 9:54
  Speaker 1: Rick had to end that story. He was only seventeens
• 9:56
  Speaker 1: in a mad man's dream. The shot that cops shot
• 9:59
  Speaker 1: the still hear him scream they shot the nigga after
• 10:04
  Speaker 1: he dropped the gun. So in theory is one of
• 10:07
  Speaker 1: the first motherfucking records that we can identify as somebody saying, hey,
• 10:12
  Speaker 1: the police ain't right. This comes out before in wa
• 10:15
  Speaker 1: There's another song on my list that actually brings up
• 10:18
  Speaker 1: police brutality and excessive force too, But you know it
• 10:21
  Speaker 1: don't get enough credit. But we'll talk about it when
• 10:23
  Speaker 1: we get to there. What the fuck kind of story
• 10:28
  Speaker 1: is that? To tell your nephews and nieces remember about
• 10:33
  Speaker 1: this slick Rick story, because this is something a story's
• 10:35
  Speaker 1: telling his nephews and nieces before a bad time, and
• 10:38
  Speaker 1: they sound like they was four Rick. We gotta talk
• 10:41
  Speaker 1: about that. That's a fucking crazy story to tell. Somebody
• 10:44
  Speaker 1: four or five, and the kids shipped off the shit too.
• 10:51
  Speaker 1: They thought this motherfucker was crazy. They was calling him,
• 10:54
  Speaker 1: where Rick, Uncle Riggy is weird?
• 10:58
  Speaker 2: Rick?
• 10:58
  Speaker 1: You can't be telling the motherfucking kids kind of stories
• 11:00
  Speaker 1: at that age, man, Like, I get it. We as
• 11:03
  Speaker 1: black people in America. You know we're gonna have to
• 11:05
  Speaker 1: deal with some shit. But that's a crazy, bad time story, Nigga.
• 11:08
  Speaker 1: Most people is telling people about you know, singing people
• 11:11
  Speaker 1: marry go rounds and lovbiards and shit. And you telling
• 11:14
  Speaker 1: motherfucking story about kids and motherfucker's getting killed and shit
• 11:17
  Speaker 1: by the police getting shot.
• 11:20
  Speaker 2: We gotta talk about that, big Dog.
• 11:23
  Speaker 1: Number eight is one of the most underrated stories in
• 11:27
  Speaker 1: disrespect the stories in the history of hip hop. Number
• 11:30
  Speaker 1: eight is Through the Wire by Kanye West. Through the
• 11:34
  Speaker 1: Wire by Kanye West self.
• 11:37
  Speaker 2: Motherfucking produced.
• 11:38
  Speaker 1: I don't got to tell you about the production of
• 11:40
  Speaker 1: Kanye West because we had already heard it before that.
• 11:43
  Speaker 1: But we were introduced to Kanye West, the motherfucking rapper,
• 11:48
  Speaker 1: This motherfucker rapping the story of his personal tragedy as
• 11:53
  Speaker 1: it happened, a wreck at three am in LA while
• 11:57
  Speaker 1: working on music, falling asleep on the wheel getting into
• 12:00
  Speaker 1: a car accident that fucks him up. I think he
• 12:03
  Speaker 1: had to be you know, let like they had to
• 12:05
  Speaker 1: get him out the car through the jaws of life
• 12:07
  Speaker 1: at three in the morning. The motherfucking ended up at Cedars.
• 12:10
  Speaker 1: Side nine word was when Couz was in the hospital,
• 12:14
  Speaker 1: he started writing lyrics to this song, like like when
• 12:16
  Speaker 1: he came out of his coma, and I think either
• 12:18
  Speaker 1: his face had the surgery like the.
• 12:21
  Speaker 2: Inside scope was.
• 12:22
  Speaker 1: Cuz was starting to figure out the song, like he
• 12:24
  Speaker 1: already knew he was gonna flip through the Fire by
• 12:26
  Speaker 1: Shaka Khan to make this song, so they said when
• 12:29
  Speaker 1: they came to the studio. When it came to the hospital,
• 12:31
  Speaker 1: Cuz had like some ideas already for lyrics. He recorded
• 12:37
  Speaker 1: the song only two weeks after. That's why if you
• 12:39
  Speaker 1: listened to Through the Wire, Cuz barely can open his mouth.
• 12:46
  Speaker 1: As I said, before he samples Shaka khns Through the Fire.
• 12:50
  Speaker 1: Shaka Khan wouldn't even clear the motherfucking song until she
• 12:53
  Speaker 1: saw that video. That video was one of the most
• 12:56
  Speaker 1: brilliant and creative things I've ever saw in hip hop.
• 12:59
  Speaker 1: If we're keeping it, that's that video was crazy make
• 13:01
  Speaker 1: sure you check that shit out. That shit was unfrecking believable,
• 13:05
  Speaker 1: and Shaka Khan wouldn't clear it until she saw the video.
• 13:09
  Speaker 2: She ended up regretting it.
• 13:10
  Speaker 1: This shit talking about how he did the vocals, but
• 13:13
  Speaker 1: he did Shakakana favorite because that shit is paying. And
• 13:15
  Speaker 1: whoever wrote that song for Shaka Khan they getting paid
• 13:18
  Speaker 1: because I know for sure of them niggas they make
• 13:20
  Speaker 1: no money. I'm willing to bet that was no publishing
• 13:23
  Speaker 1: to get on that song. I've never heard a story
• 13:28
  Speaker 1: in hip hop that turns such tragedy in a triumph.
• 13:32
  Speaker 1: It's funny because that's one of the lyrics to the song,
• 13:34
  Speaker 1: but I never heard that. Like a lot of hip
• 13:36
  Speaker 1: hop stories that sad end on a sad note, this
• 13:39
  Speaker 1: is one of the few that took a real underdog story,
• 13:42
  Speaker 1: a sad story and he.
• 13:44
  Speaker 2: Won at the end.
• 13:45
  Speaker 1: And in real life, the whole time Ya was trying
• 13:51
  Speaker 1: to convince Rockefeller that he was going to be a
• 13:54
  Speaker 1: successful rapper, this was the song that proved it. I
• 13:57
  Speaker 1: don't even think Rockefeller believed in it right when they recorded,
• 14:00
  Speaker 1: but they put it out and then everything worked out.
• 14:03
  Speaker 1: So shout out to Yan for that but yeah at
• 14:05
  Speaker 1: number eight through the wife Kanye West.
• 14:08
  Speaker 2: Respect that as a story. It is number seven.
• 14:14
  Speaker 1: My favorite artist in the history of artists, Scarface. I
• 14:18
  Speaker 1: Seen a Man Die, Scarface, I Seen a Man Die.
• 14:24
  Speaker 1: I don't know if you know the song I never
• 14:26
  Speaker 1: seen a man cry till I Seen a Man Die.
• 14:29
  Speaker 1: That's actually the title of the song because I've seen
• 14:32
  Speaker 1: a Man die.
• 14:34
  Speaker 2: It's one of.
• 14:34
  Speaker 1: Scarface's only two top forty records. This is the song
• 14:38
  Speaker 1: that launches Scarface into solo.
• 14:40
  Speaker 2: Start n O Joe on the beat.
• 14:43
  Speaker 1: Mike Dean, Mike Dean changes his abject Mike Dean changes
• 14:47
  Speaker 1: his trajectory. You know a lot about Mike Dean now
• 14:50
  Speaker 1: because he works with Kanye, and Scarface is another person
• 14:53
  Speaker 1: that produced on a song that really doesn't get enough
• 14:55
  Speaker 1: credit as a producer. So shut out to Face for
• 14:58
  Speaker 1: that production, right if you heard Share so Many Tears.
• 15:05
  Speaker 1: I don't have to explain to you how touching the
• 15:07
  Speaker 1: song is.
• 15:09
  Speaker 2: Just go listen to it. Dog.
• 15:11
  Speaker 1: It's sad like that's a sad story where the dude
• 15:13
  Speaker 1: dies in the end and regrets his circumstances. That's mostly
• 15:16
  Speaker 1: how sad stories end in hip hop. It inspires shed
• 15:21
  Speaker 1: So Many Tears by Tupac. If you go look at
• 15:24
  Speaker 1: the Outlaws, the Outlaws have interviews where they say Pac
• 15:29
  Speaker 1: was listening to Shed so Many Tears, and after that
• 15:31
  Speaker 1: he went to the studio to write Excuse Me. He
• 15:34
  Speaker 1: was listening to I've Seen a Man Die, and he
• 15:36
  Speaker 1: went to the studio to write Share so Many Tears,
• 15:40
  Speaker 1: which ended up being one of PAC's greatest songs in
• 15:42
  Speaker 1: Los Angeles.
• 15:43
  Speaker 2: That launched him.
• 15:44
  Speaker 1: Like all of my older homies, all the gang members
• 15:46
  Speaker 1: before that, they might have played Pac a little bit
• 15:49
  Speaker 1: when I get around you, I mean maybe a little
• 15:51
  Speaker 1: bit of Dear Mama maybe, but Dear Mama's after, you know.
• 15:56
  Speaker 2: Not so much.
• 15:57
  Speaker 1: Keep your head up. Like niggas respected it as a kid.
• 15:59
  Speaker 1: I washed it because that shit was fire. But she
• 16:02
  Speaker 1: had so many tears. Is when my big homies and
• 16:04
  Speaker 1: a lot of g niggas I know started really playing
• 16:06
  Speaker 1: Tupac religiously.
• 16:09
  Speaker 2: And it's probably the saddest story in hip hop.
• 16:13
  Speaker 1: How a nigga get out of prison during seven years
• 16:17
  Speaker 1: and getting to some shit, end up back in prison
• 16:20
  Speaker 1: and commit suicide. And it's crazy because I think, I mean,
• 16:26
  Speaker 1: Scarface is like one of the niggas like Edgar Allan
• 16:28
  Speaker 1: poecuz of hip hop, like that nigga shit is so heartfelt.
• 16:32
  Speaker 1: And as I was talking to Charlemagne about Scarface, he said, Mans,
• 16:37
  Speaker 1: other people have never touched you like Scarface, and that's
• 16:39
  Speaker 1: what makes Scarface brilliant, like his richness, his texture as
• 16:43
  Speaker 1: a storyteller. He's for sure my favorite guy of all
• 16:46
  Speaker 1: the guys in the world right but again, it's like
• 16:50
  Speaker 1: he has the work to back it up. I've seen
• 16:52
  Speaker 1: a man die as One of the most popular stories
• 16:55
  Speaker 1: in hip hop history at number six is the message
• 17:00
  Speaker 1: Grandmaster Flash and the Furious Five. It's the birth of
• 17:05
  Speaker 1: conscious rap. This is the first conscious rap song. It's
• 17:13
  Speaker 1: another sad story where somebody ends up dying at the
• 17:16
  Speaker 1: end and them niggas end up going to jail. And
• 17:19
  Speaker 1: the crazy part is the owner of the label, Sylvia Robinson,
• 17:23
  Speaker 1: is the only person who believed in the song.
• 17:25
  Speaker 2: Mind You.
• 17:26
  Speaker 1: Nobody else from Grandmaster Flash and the Furious Five is
• 17:30
  Speaker 1: on the song, but Melly Mail and the producer Duke Booty.
• 17:33
  Speaker 2: That's the only people on the song.
• 17:35
  Speaker 1: Melli Mail didn't even like the song because at that
• 17:37
  Speaker 1: point hip hop was all about partying. Like I always
• 17:41
  Speaker 1: tell y'all. The hop is a party. The hop was
• 17:44
  Speaker 1: the way they used to The hop is like my
• 17:45
  Speaker 1: father and them used to call a dance. H we
• 17:47
  Speaker 1: going to a hop. Hip is a is a cool thing.
• 17:51
  Speaker 1: So hip hop is where it came from. So hip
• 17:53
  Speaker 1: hop was about you know, partying and being both for
• 17:57
  Speaker 1: about making yourself.
• 17:58
  Speaker 2: Why are you so fresh? Why you so ooh?
• 18:00
  Speaker 1: Until the message came out, the message birth dealing with
• 18:05
  Speaker 1: the struggle completely different. You know what I'm saying not
• 18:09
  Speaker 1: to mention most people don't know, but it was written
• 18:11
  Speaker 1: as a theme to the nineteen eighty New York City
• 18:13
  Speaker 1: Transit straight like this was hip hop breaking barriers. Then
• 18:18
  Speaker 1: the message is a fantastic It's probably the second greatest
• 18:22
  Speaker 1: story to ever come out of hip hop. So even
• 18:27
  Speaker 1: though people didn't believe that this was going to be
• 18:29
  Speaker 1: the wave of hip hop, Melly Mal and Duke Booty
• 18:32
  Speaker 1: took a chance ended up birthing a genre. That's why
• 18:35
  Speaker 1: what Melly Mail has, what he has to say about
• 18:37
  Speaker 1: eminem or any other rapper, I just listen. Even if
• 18:40
  Speaker 1: I don't agree, I'll just disagree. You know, Mail, I
• 18:43
  Speaker 1: don't know, but I put respect on the shit. Melly
• 18:45
  Speaker 1: mall talking about because he birthed the genre of conscious rap.
• 18:49
  Speaker 1: There is no NAS without Melly Mail. There is no
• 18:53
  Speaker 1: motherfucking Tupac without melly Mail. There is no conscious rap
• 18:58
  Speaker 1: without fucking Melly Mail. Ice Que may check yourself from
• 19:04
  Speaker 1: the Message, which is another fantastic story that we don't
• 19:07
  Speaker 1: really give credence to. Can't Nobody Hold Me Down? By
• 19:11
  Speaker 1: Puff and motherfucking Mace is a flip of the Message
• 19:16
  Speaker 1: that was a smash hit record. Coyner Rayge just flipped
• 19:19
  Speaker 1: it last year and made players and that Motherfucker was
• 19:24
  Speaker 1: a number one smash, a huge record. It's just levels
• 19:28
  Speaker 1: not to mention. This is most likely one of the
• 19:31
  Speaker 1: most important, if not the most important, reason that the
• 19:35
  Speaker 1: Grand Master Flash and Furious Five were the first hip
• 19:38
  Speaker 1: hop act inducted into the Rock and Roll Hall of
• 19:41
  Speaker 1: Fame in two thousand and seven.
• 19:43
  Speaker 2: And it's most likely because of the song the Message.
• 19:48
  Speaker 1: So it's weird that they didn't want to fuck with
• 19:50
  Speaker 1: the song, but this song is probably the primary reason.
• 19:54
  Speaker 1: No disrespect to the rest of their work. The rest
• 19:56
  Speaker 1: of they work get off too, but this particular song
• 19:59
  Speaker 1: is a gang changing song and it birth I don't
• 20:03
  Speaker 1: like You don't get Kendrick Lamar without the fucking message.
• 20:07
  Speaker 2: So shout out to mail. Shout out to Duke.
• 20:11
  Speaker 1: At number five. We right back with my boys, Scarface
• 20:14
  Speaker 1: mind playing tricks on me by the Ghetto Boys. The
• 20:19
  Speaker 1: reason I give Scarface so much created is Scarface wrote
• 20:22
  Speaker 1: three of the four verses. It was a Scarface solo song.
• 20:30
  Speaker 1: Jay Prince thought it was a good idea and he
• 20:32
  Speaker 1: thought it could break the Ghetto Boys. Jay Prince was right.
• 20:34
  Speaker 1: Shout out to Jay Prince that motherfucker don't be missing.
• 20:38
  Speaker 1: It's the first song in hip hop to address mental health.
• 20:42
  Speaker 1: Right now, all these motherfuckers is crazy on mental health.
• 20:45
  Speaker 1: You hear all these motherfuckers talking about anxiety and all
• 20:48
  Speaker 1: this shit, and.
• 20:49
  Speaker 2: This is the first song.
• 20:51
  Speaker 1: See it comes across as guilty conscious for being this way,
• 20:54
  Speaker 1: but really it's a take on anxiety back in nineteen
• 20:57
  Speaker 1: ninety fucking one. Most people don't know Scarface wrote this
• 21:02
  Speaker 1: song because he's been through a lot of traumatic shit.
• 21:04
  Speaker 1: There was a time Scarface tried to kill himself and
• 21:06
  Speaker 1: got put into a like an asylum. At least that's
• 21:10
  Speaker 1: what I heard. Like, Scarface is a deep person, and
• 21:13
  Speaker 1: when you border that type of deepness. I'm sure it's
• 21:16
  Speaker 1: dangerous and it probably could be dangerous to your health
• 21:19
  Speaker 1: and to your livelihood. So Scarface is brilliant at a cost,
• 21:23
  Speaker 1: Like he don't go to these places for free. This
• 21:26
  Speaker 1: shit cost him sometime before, I would imagine, because there's
• 21:29
  Speaker 1: no way you could be that fucking deep because and
• 21:32
  Speaker 1: not been to those places where you thought about, you.
• 21:35
  Speaker 2: Know, ending life.
• 21:39
  Speaker 1: Mind playing tricks on Me is just a simple old
• 21:41
  Speaker 1: expression from Southerners, you know what I mean, when something's
• 21:44
  Speaker 1: going on and they're like, I'm tripping. Most people don't
• 21:49
  Speaker 1: know it was self produced. Scarface produced mind playing tricks
• 21:52
  Speaker 1: on Me. It's another thing again, Scarface is such an
• 21:56
  Speaker 1: underrated talent in music, and that's saying a lot of
• 21:59
  Speaker 1: Scarf gets a lot of props, but he deserves a
• 22:02
  Speaker 1: lot more props. Shout out to n O Joe, shout
• 22:04
  Speaker 1: out to Mike Dean. But they will tell you that
• 22:06
  Speaker 1: Scarface was just as vested in the production. That's why
• 22:09
  Speaker 1: right now, when that motherfucker jump on stage to do
• 22:12
  Speaker 1: a show, that motherfucker jump up there with a guitar
• 22:15
  Speaker 1: and be playing that motherfucker. This song established the South
• 22:20
  Speaker 1: in the gangster rap realm this single song to the
• 22:25
  Speaker 1: rest of the country. I'm sure the South had more
• 22:28
  Speaker 1: songs before this, but this was the first time to
• 22:31
  Speaker 1: the rest of the country, the South planet their flag like,
• 22:34
  Speaker 1: oh we hear this is the real the South got
• 22:37
  Speaker 1: something to say moment shout out to our cast, shout
• 22:39
  Speaker 1: out to Dre but ghetto boys. Mind Playing Tricks was
• 22:43
  Speaker 1: the first time that the South put they motherfucking flag
• 22:47
  Speaker 1: in the sand in the West, the Midwest, and the
• 22:49
  Speaker 1: East collectively and said the South got something to say, and.
• 22:52
  Speaker 2: Everybody decided to fucking listen.
• 22:57
  Speaker 1: Kid Cuddy personally says it inspired day and Night. So
• 23:04
  Speaker 1: just like Scarfaces, I've seen a man die, inspire Tupacs
• 23:09
  Speaker 1: shed so many tears, mind Playing Tricks on me inspire
• 23:13
  Speaker 1: Kid cut He's day and Night. And I really don't
• 23:15
  Speaker 1: fuck with Cutty's music, but that's that might make me
• 23:19
  Speaker 1: have to listen to it a lot more times because
• 23:20
  Speaker 1: I've heard it enough times and I.
• 23:22
  Speaker 2: Do see the correlations.
• 23:24
  Speaker 1: But if that's true, man, shout out to Cutty, because
• 23:26
  Speaker 1: that's ill as fuck.
• 23:27
  Speaker 2: You flip the shit out that that's player. I fuck
• 23:30
  Speaker 2: with that.
• 23:35
  Speaker 1: At number four and a lot of motherfuckers it's gonna
• 23:38
  Speaker 1: hate this. It's stand by Eminem. I mean, everybody fucking
• 23:44
  Speaker 1: knows stand. The term stand is so popular the term
• 23:49
  Speaker 1: may have escaped the popularity of the song because a
• 23:51
  Speaker 1: stand is how you talk with somebody who's just stalking you.
• 23:54
  Speaker 1: That's in addition to the culture niggas is calling each
• 23:58
  Speaker 1: other stands, that nigga's a stand because you are a
• 24:00
  Speaker 1: stalker or you are a groupie to something somebody else
• 24:04
  Speaker 1: is doing. The motherfucker had a clean version to the
• 24:08
  Speaker 1: lyrics and it still got over censored. Certain words got
• 24:12
  Speaker 1: oversensured because that's how scared and fearful they were of what.
• 24:16
  Speaker 2: Eminem's and fluid could be with his lyrics.
• 24:20
  Speaker 1: It's most likely Eminem's greatest song. Eminem got number one songs.
• 24:25
  Speaker 1: I'm sure Stan didn't chart number one, but there's probably
• 24:29
  Speaker 1: no greater hip hop contribution than Stan. Shout out to
• 24:33
  Speaker 1: all the rest of the dope records. But Stan is
• 24:36
  Speaker 1: that shit, and it's self fucking produced. Nobody talks about
• 24:39
  Speaker 1: his self produced. He did that with forty five King.
• 24:42
  Speaker 1: Shout out to forty five King because he's another motherfucking
• 24:45
  Speaker 1: want to do your homework on forty five King forty five,
• 24:47
  Speaker 1: King is Crazy. Eminem mixed the song hisself. That motherfucker
• 24:56
  Speaker 1: mixed the song himself with Dre back then he's still
• 25:00
  Speaker 1: mix the song itself. That's pretty dope. Doctor Dre and
• 25:03
  Speaker 1: Philip Atwell directed the video. And when I tell you
• 25:06
  Speaker 1: they got that video right, man, I can't stress it enough.
• 25:09
  Speaker 1: Doctor Dre is another god to me who directs music
• 25:12
  Speaker 1: videos that don't get enough credit.
• 25:14
  Speaker 2: Doctor Dre actually also.
• 25:16
  Speaker 1: Directed None but the G Thing, two iconic videos standing
• 25:21
  Speaker 1: None but the g Thing, but again Eminem at number four,
• 25:25
  Speaker 1: you Feel Me with stan as one of the top
• 25:28
  Speaker 1: ten greatest stories in hip hop history. Number three, we
• 25:33
  Speaker 1: right back to the East Coast and this is the
• 25:35
  Speaker 1: greatest story ever told from a New York MC. Just
• 25:40
  Speaker 1: a Friend by biz Mark rest in Peace. That's right,
• 25:45
  Speaker 1: Just a Friend by biz Mark, rest in Peace. That
• 25:48
  Speaker 1: was one of the earliest times we learned about skeezers
• 25:51
  Speaker 1: at a high level through hip hop.
• 25:54
  Speaker 2: Just a Friend by biz Mark.
• 25:57
  Speaker 1: For some reason, New York don't respect what biz Mark
• 26:00
  Speaker 1: due as an MC. Even though his style burst old
• 26:04
  Speaker 1: dirty bastard. His style is influential with buston rhymes. But
• 26:08
  Speaker 1: you know again, the biasness of what you think a
• 26:11
  Speaker 1: punchline is versus the ability to deliver a message and
• 26:15
  Speaker 1: get it across. Biz Mark at number three with Just
• 26:19
  Speaker 1: a Friend is the third greatest story ever in hip
• 26:23
  Speaker 1: hop history. It's self produced with Karma. Shout out to
• 26:27
  Speaker 1: Karas Carmen o' get no credit. Biz Mark DJ helped
• 26:30
  Speaker 1: on it as well. I think the video was produced
• 26:35
  Speaker 1: by Bennie Madena, who later on goes to do Fresh
• 26:38
  Speaker 1: Prince of bel Air. I'm sure y'all heard of that
• 26:40
  Speaker 1: show before once or twice. This is one of the
• 26:43
  Speaker 1: earliest times someone in hip hop sang their own hook.
• 26:47
  Speaker 1: And when everybody I heard everybody was in the studio
• 26:49
  Speaker 1: there was like, Man, you're gonna let be a single
• 26:51
  Speaker 1: hook on this motherfucker.
• 26:52
  Speaker 2: He like, man, this shit feel good.
• 26:55
  Speaker 1: Like biz is not credited with his creativity, Like I
• 26:58
  Speaker 1: heard somebody call him a one hit wonder, and I
• 27:01
  Speaker 1: get it because if they're talking about Billboard charts, maybe
• 27:04
  Speaker 1: that's a conversation. But within the culture, Bier's got a
• 27:07
  Speaker 1: few joints, vapors being another one. But again, we live
• 27:10
  Speaker 1: in the word world, so we live in a weird world.
• 27:15
  Speaker 1: The fucked upest part about the ideas. Biz never made
• 27:18
  Speaker 1: a dime off the record.
• 27:19
  Speaker 2: Now.
• 27:20
  Speaker 1: I'm not sure if it's the sample, I'm not sure
• 27:22
  Speaker 1: if the label's holding the asset. But Biz and the
• 27:24
  Speaker 1: producers never made a single cent off the record sales,
• 27:28
  Speaker 1: royalties or publishing. They had to go tour for that money,
• 27:33
  Speaker 1: all Rob Peter biz Man. Nobody beats the biz Dog,
• 27:36
  Speaker 1: like y'all niggas is tripping. Respect the Big, Respect the Nods,
• 27:40
  Speaker 1: respect the Killer, ghost Face Killer, respect the Ray.
• 27:43
  Speaker 2: But let's be for real, man.
• 27:45
  Speaker 1: It's the fucking biz Dog, just a friend nigga like
• 27:48
  Speaker 1: stop front like this shit ain't the one like you.
• 27:51
  Speaker 2: I don't give a fuck.
• 27:51
  Speaker 1: How many metaphors and similar as you put in your
• 27:54
  Speaker 1: fucking wraps. When the message gets across, that's what this
• 27:57
  Speaker 1: shit is about. At number two, today was a good
• 28:03
  Speaker 1: day by ice q This is why I laugh when
• 28:07
  Speaker 1: people tell me Big is a better storyteller than ICEQE.
• 28:12
  Speaker 1: You can prefer big stories, you can.
• 28:14
  Speaker 2: Say they're better. I'm not even mad at that.
• 28:16
  Speaker 1: If you like them better, fine, But when we're talking
• 28:18
  Speaker 1: about sheer greatness, today was a good day. It's possibly
• 28:23
  Speaker 1: the greatest story in hip hop ever. Like, people of
• 28:28
  Speaker 1: all ages know today was a good day. People know
• 28:31
  Speaker 1: what happened to him when you got him on the court.
• 28:35
  Speaker 2: When you got him on the court, it was trouble.
• 28:37
  Speaker 2: You know what he did Right now? Motherfuckers is still debating.
• 28:41
  Speaker 2: What's he playing a game of twenty one? I seen
• 28:43
  Speaker 2: this shit the other day on Twitter.
• 28:44
  Speaker 1: Mother was like, well, he got a triple double playing
• 28:46
  Speaker 1: twenty What he just say that in the song.
• 28:51
  Speaker 2: Diddy, I don't know shit. Old on they did Ice Cubes.
• 28:55
  Speaker 1: I think, Get me on the court and I'm trouble
• 29:00
  Speaker 1: last week, fuck around and got a triple double. He
• 29:05
  Speaker 1: was a good day and everything. Get hold of there though,
• 29:14
  Speaker 1: and everything is all right. I got a beat.
• 29:17
  Speaker 2: From Kim and she can fuck all night haul.
• 29:21
  Speaker 1: The homies and I'm asking y'all which point which part
• 29:25
  Speaker 1: are y'all playing basketball? Get me on the court and
• 29:28
  Speaker 1: I'm trouble last week? Fuck around and got a triple double.
• 29:33
  Speaker 1: Freaking niggas every way like MJ. And he's talking about
• 29:36
  Speaker 1: Magic Johnson nigga, now Michael Jordan, the original MJ Nigga
• 29:43
  Speaker 1: produced by DJ Pool. So again, when I tell you,
• 29:46
  Speaker 1: ice Cube is possibly, in arguably the greatest storyteller in
• 29:50
  Speaker 1: hip hop. They did go right Friday, which is another
• 29:52
  Speaker 1: ice Cube story. Then he wrote number ten on the
• 29:55
  Speaker 1: list right, which is boys in the Hood. I'm not
• 29:58
  Speaker 1: even talking about the fact we had to mention. He
• 29:59
  Speaker 1: wrote check yourself, which is another story. This is how
• 30:02
  Speaker 1: popular ice Que stories are. This story was unique for
• 30:06
  Speaker 1: ICEQ because this is when he's finally winning. Like a
• 30:09
  Speaker 1: lot of ice Q's music was angry and problematic because
• 30:13
  Speaker 1: he was going through it seeing stuff in this community.
• 30:15
  Speaker 1: He didn't like falling out with friends, getting at the points,
• 30:19
  Speaker 1: but this one was when he finally was winning, which
• 30:23
  Speaker 1: is the same story behind Friday.
• 30:25
  Speaker 2: The Hood wasn't always bad.
• 30:27
  Speaker 1: He wanted to show people that niggas still get it
• 30:29
  Speaker 1: on and have a good time. There are bloggers who
• 30:36
  Speaker 1: to this day research to try to figure out the
• 30:39
  Speaker 1: day that today was a good day. They're trying to
• 30:42
  Speaker 1: figure out the good day that this shit happened on,
• 30:44
  Speaker 1: and they have done work. They have came up with
• 30:48
  Speaker 1: two days, January twentieth, nineteen ninety two, or November thirty
• 30:52
  Speaker 1: of nineteen eighty eight.
• 30:53
  Speaker 2: This is how fucking awesome.
• 30:56
  Speaker 1: The story of today was a good day prim exactly
• 31:00
  Speaker 1: like Big has a fantastic story.
• 31:01
  Speaker 2: What I got his story to tell?
• 31:03
  Speaker 1: Right And people spent a lot of time trying to
• 31:05
  Speaker 1: figure out which one of the Knicks players wives did
• 31:08
  Speaker 1: he sleep with or girls that he slept with, and
• 31:10
  Speaker 1: end up.
• 31:10
  Speaker 2: Finding out its Anthony Mason. Rest in peace to Anthony.
• 31:12
  Speaker 1: Mason's this is not this is what's been happening with
• 31:17
  Speaker 1: Cube the whole time. Right now, they're still telling stories
• 31:20
  Speaker 1: saying how did he get a triple double in the
• 31:22
  Speaker 1: Game of twenty one? Right now this is a question,
• 31:26
  Speaker 1: So it's not just one question, it's multiple questions about
• 31:29
  Speaker 1: this song. Fast forward to twenty fourteen. They struck a
• 31:35
  Speaker 1: deal with Goodyear Blimp for a motherfucking a.
• 31:39
  Speaker 2: Charity called a Place call Home that looks out for.
• 31:41
  Speaker 1: Urban kids coming up in the streets, trying to get
• 31:44
  Speaker 1: them a place together to chill and hang and get
• 31:46
  Speaker 1: their shit on. And they did a deal with the
• 31:49
  Speaker 1: good Year Blim and it read ice cubes of pimp
• 31:54
  Speaker 1: Like that type of iconic shit don't happen from hip
• 31:58
  Speaker 1: hop's stories.
• 32:00
  Speaker 2: That's how iconic today was a good day.
• 32:02
  Speaker 1: I don't give a fuck if you think the game
• 32:05
  Speaker 1: is about punchlines as symblies and all that. The game
• 32:08
  Speaker 1: is about motherfuckers getting the message. You could be as
• 32:12
  Speaker 1: weirdy as you won't if motherfuckers don't get the message.
• 32:14
  Speaker 1: And when it comes down to getting the message, today
• 32:16
  Speaker 1: was a good day. It's probably the message that everybody understood.
• 32:22
  Speaker 1: And it's still number two. That's the fuck that part.
• 32:26
  Speaker 1: Even with all this discussion, it's still number two. The
• 32:32
  Speaker 1: greatest story in the history of hip hop is Regulating.
• 32:40
  Speaker 1: Regulate by Warren G and Nate Dog. Regulate by Warren
• 32:46
  Speaker 1: G and Nate Dog. Everybody knows the story of regulating.
• 32:55
  Speaker 1: Everybody we could talk about, Oh well, I feel like
• 33:00
  Speaker 1: Warren G.
• 33:01
  Speaker 2: You know the way he shut the fuck up.
• 33:04
  Speaker 1: They introduced Nate DOGG as a singing component that changed
• 33:08
  Speaker 1: the face of hip hop from that point on with
• 33:10
  Speaker 1: how we.
• 33:11
  Speaker 2: Did records, with the singing, back and forth with the vocals.
• 33:14
  Speaker 1: It's levels, it's self produced by Warren G. Self produced
• 33:20
  Speaker 1: by Warren G. It launched the career of Warren G
• 33:24
  Speaker 1: and Nate Dog. When Death Row. When Warren G couldn't
• 33:27
  Speaker 1: get on with Death Row, he made a fucking song
• 33:31
  Speaker 1: that was so big that he created his own lane.
• 33:36
  Speaker 1: It turned Nate Dog from some niggas singing on hooks
• 33:38
  Speaker 1: song Droctor Dre and Snoop album into Nate dog that
• 33:41
  Speaker 1: we know.
• 33:43
  Speaker 2: That's the reason we know Nate Dogg is because of.
• 33:45
  Speaker 1: Regula at the highest level, not glasses glasses nose, motherfucking
• 33:49
  Speaker 1: Nate Dog from all the death Row shit and all
• 33:53
  Speaker 1: the motherfucking Doggies damn shit. But the rest of you
• 33:56
  Speaker 1: motherfuckers know Nate Dogg because of Regulator. And I don't
• 33:58
  Speaker 1: got to tell you it's confortble well, this is the
• 34:01
  Speaker 1: single song that launched his career. That single song saved
• 34:10
  Speaker 1: death Jam. Death Jam up to that point had never
• 34:14
  Speaker 1: had a song that charted as high as Regulate.
• 34:17
  Speaker 2: Now.
• 34:18
  Speaker 1: I don't want to talk about commercial fuck all that,
• 34:20
  Speaker 1: but listen to the point of this. All of those
• 34:22
  Speaker 1: records from death Jam that go back from eighty to
• 34:25
  Speaker 1: nineteen ninety fucking four had never been as high on
• 34:29
  Speaker 1: the chart as Regulate. So some niggas from the West
• 34:32
  Speaker 1: came in and saved the pride and joy of East
• 34:35
  Speaker 1: Coast hip hop death Jam one fucking song.
• 34:41
  Speaker 2: One fucking song.
• 34:47
  Speaker 1: Death Row don't get enough credit because it did come
• 34:49
  Speaker 1: out on Above the Rim soundtrack as well.
• 34:51
  Speaker 2: And it did well. It did fucking well.
• 34:54
  Speaker 1: Right, But this song had to be so hot that
• 34:57
  Speaker 1: mind you, it pushed Afro Puff the number two, which
• 35:00
  Speaker 1: is another classic hip hop song, but it had to
• 35:03
  Speaker 1: come second to regulate, not to mention cuz it's the
• 35:08
  Speaker 1: first single on the above the Rim soundtrack. S WV
• 35:13
  Speaker 1: is on that soundtrack. WV was an established success. Their
• 35:17
  Speaker 1: song is not the first single. H Town is an
• 35:20
  Speaker 1: established success. This song is not the first single. Dog
• 35:24
  Speaker 1: Pound is out right. They're still figuring it out right,
• 35:28
  Speaker 1: but this is the year before the next album come out.
• 35:31
  Speaker 2: But Warren g is in front of them with this song.
• 35:34
  Speaker 2: Second to None.
• 35:34
  Speaker 1: Had a hit already, but their song wasn't the first single.
• 35:39
  Speaker 1: Pac with Thug Life had a single on here. That
• 35:44
  Speaker 1: song wasn't motherfucking the first single.
• 35:49
  Speaker 2: I'll be sure.
• 35:50
  Speaker 1: Who is an established success. It's on this motherfucking project.
• 35:54
  Speaker 1: But that song wasn't the first single.
• 35:58
  Speaker 2: You know what.
• 35:58
  Speaker 1: The first motherfucker is single was from the motherfucking from
• 36:01
  Speaker 1: the motherfucking the bud.
• 36:02
  Speaker 2: The Rim soundtrack. You know what I mean? Two seconds
• 36:04
  Speaker 2: to think about it.
• 36:08
  Speaker 1: The first single is regulating, So I don't give a
• 36:11
  Speaker 1: fuck when you have these conversations and you start talking
• 36:16
  Speaker 1: about your preference. Man, it's hard to have these conversations
• 36:19
  Speaker 1: if everybody gonna talk about they prefer their preference. DUBC
• 36:23
  Speaker 1: The Shadiest One is possibly the greatest storytelling album of
• 36:26
  Speaker 1: all time.
• 36:26
  Speaker 2: It's my favorite. It's one of the best ones.
• 36:28
  Speaker 1: But I'm not gonna argue with it against certain things
• 36:31
  Speaker 1: that have performed.
• 36:32
  Speaker 2: At the highest level.
• 36:33
  Speaker 1: I can tell you what I prefer Tonight by DJ Quick.
• 36:39
  Speaker 1: It's one of my favorite stories, just like Compton by
• 36:44
  Speaker 1: DJ Quick. It's one of my favorite stories. But I'm
• 36:47
  Speaker 1: not gonna compare it to Beiz Marquis just a friend.
• 36:53
  Speaker 1: I'm not gonna do that. Not when we're talking about
• 36:57
  Speaker 1: something we can have a conversation about. I don't gotta
• 37:00
  Speaker 1: like something because you don't have to like something to
• 37:03
  Speaker 1: understand his greatness.
• 37:05
  Speaker 2: This is silly.
• 37:06
  Speaker 1: Everybody in their motherfucking mother knows today was a good day.
• 37:10
  Speaker 2: Is it not lyrical enough for you? Like? What kind
• 37:12
  Speaker 2: of dumb assh are you talking about? Like this shit
• 37:14
  Speaker 2: be stupid.
• 37:16
  Speaker 1: There's greatness and then there's not greatness. It's as simple
• 37:19
  Speaker 1: as that greatness is. When it's quantifiable. We could talk
• 37:24
  Speaker 1: about preference all day. I prefer this. I prefer this.
• 37:29
  Speaker 1: That don't mean something is greater.
• 37:32
  Speaker 2: In and out.
• 37:33
  Speaker 1: Listen, five guys makes a better burden than McDonald's. But
• 37:38
  Speaker 1: five guys ain't greater than McDonald's.
• 37:40
  Speaker 2: It's just not true.
• 37:43
  Speaker 1: Y'all gotta start having these conversations from places that exist
• 37:47
  Speaker 1: just out of yourself. Hip hop is a representation of us.
• 37:51
  Speaker 1: I was talking to one of my little partners, my
• 37:53
  Speaker 1: little putner Real feel Me from out of DC, and
• 37:55
  Speaker 1: he was like, well, you know, there's no way nobody
• 37:57
  Speaker 1: gonna give prosecute over motherfucking Biggie. And I'm like, you
• 38:03
  Speaker 1: don't have to take props away from Biggie to give
• 38:05
  Speaker 1: him the cue. You can honestly just tell the truth.
• 38:07
  Speaker 1: That don't change the fact that motherfucking Big was the guy.
• 38:12
  Speaker 1: I'm not gonna honor the conversation of.
• 38:14
  Speaker 2: Who's a better artist. That's just ridiculous.
• 38:17
  Speaker 1: Big didn't even have enough albums, you know what I
• 38:19
  Speaker 1: mean for us to see his full potential. We can
• 38:22
  Speaker 1: just enjoy what he's done. It's like arguing if bo
• 38:25
  Speaker 1: Jackson is the greatest running back, he don't have the
• 38:27
  Speaker 1: career enough to motherfucking quantably. You know, we can't quantify
• 38:31
  Speaker 1: he don't have enough motherfucking seasons.
• 38:35
  Speaker 2: You can't compare.
• 38:36
  Speaker 1: This motherfucker to Emmy Smith. Emmis Smith carried a fucking franchise.
• 38:41
  Speaker 1: Some of these conversations. And it ain't just about sales,
• 38:44
  Speaker 1: It ain't just about chart positioning, but those things matter
• 38:47
  Speaker 1: because that's how people find a song. That's how people
• 38:51
  Speaker 1: find the song. If you have a fantastic story that
• 38:54
  Speaker 1: only three people have heard versus somebody who has a
• 38:57
  Speaker 1: fantastic story that thirty million people have heard, it don't
• 39:01
  Speaker 1: matter how much you preferred the story of that three
• 39:04
  Speaker 1: people heard. Greatness is being there's somebody at the park
• 39:08
  Speaker 1: probably better than Michael Jordan, there's somebody probably at the
• 39:11
  Speaker 1: park better than Lebron James.
• 39:12
  Speaker 2: That don't change Lebron James. It's the greatest small ford
• 39:14
  Speaker 2: in the history of basketball.
• 39:16
  Speaker 1: I don't get how you don't get these conversations when
• 39:19
  Speaker 1: we're talking about great things like you don't have to
• 39:21
  Speaker 1: be skewed.
• 39:22
  Speaker 2: It don't have to be biased.
• 39:24
  Speaker 1: And it's weird when I hear people say that my
• 39:26
  Speaker 1: generation or people my age can be biased. Everybody above
• 39:29
  Speaker 1: thirty five grew up. If you in LA. You grew
• 39:32
  Speaker 1: up off of East Coast hip hop. When you first
• 39:35
  Speaker 1: heard hip hop, most likely it came from somebody from
• 39:37
  Speaker 1: the East Coast. Most likely it probably was LF fucking
• 39:39
  Speaker 1: cool JA. If you was born in eighty two, most
• 39:43
  Speaker 1: of the hip hop you first heard was gonna be
• 39:45
  Speaker 1: LLL fucking cool Jay, maybe run DMC. You heard jay
• 39:48
  Speaker 1: Z as much as you heard everybody else. You heard
• 39:50
  Speaker 1: Big as much as you heard everybody else. Because in
• 39:52
  Speaker 1: Los Angeles they play everything. During the East Coast West
• 39:56
  Speaker 1: Coast supposed war, they played Biggie Biggie Steel had the
• 39:58
  Speaker 1: number one record at all the radio stations in LA.
• 40:01
  Speaker 1: Because it was never a real ward. This is not
• 40:04
  Speaker 1: the island, bro, this same New York. This ain't over there.
• 40:07
  Speaker 1: They play all the shit here. We well vested in
• 40:10
  Speaker 1: the fucking culture. We hear everything. We got out cast
• 40:13
  Speaker 1: early first album, we got Big, first album, we got
• 40:19
  Speaker 1: ll all the albums. One of the earliest radio stations
• 40:23
  Speaker 1: in ll Cooch that got played on was KD. So
• 40:25
  Speaker 1: we grow up with an understanding of hip hop that
• 40:29
  Speaker 1: most people stuck on the island, as I say, half
• 40:31
  Speaker 1: island fever. They don't have you guys only know what's
• 40:35
  Speaker 1: going on on the island. You don't know what's happening
• 40:39
  Speaker 1: off the island.
• 40:40
  Speaker 2: You just don't know. You just don't know. And I'm
• 40:43
  Speaker 2: not mad at.
• 40:43
  Speaker 1: You, but you motherfuckers can't talk hip hop with the
• 40:46
  Speaker 1: motherfuckers that grew up off the island.
• 40:48
  Speaker 2: Because we heard it all. We heard the shit that
• 40:51
  Speaker 2: was little in New York. Y'all don't know shit about
• 40:54
  Speaker 2: the shadiest one shit.
• 40:58
  Speaker 1: So it's weird when you start comparing motherfuckers with the
• 41:01
  Speaker 1: greatest stories in the history of the genre to motherfuckers
• 41:07
  Speaker 1: you just like, respect the big but it's just levels.
• 41:10
  Speaker 1: Respect the nas cuz, but it's levels respect the ghost
• 41:14
  Speaker 1: face cuz.
• 41:14
  Speaker 2: But it's levels.
• 41:15
  Speaker 1: When you're talking about a motherfucker that got some of
• 41:18
  Speaker 1: the most popular stories in the history of the fucking world.
• 41:23
  Speaker 1: It's one thing motherfucking to like, you know. It's one
• 41:28
  Speaker 1: thing to like a rapper. It's another thing to know
• 41:30
  Speaker 1: doctor Seuss. It's another thing. Ice Cube is the motherfucker
• 41:33
  Speaker 1: Shakespeare is shit. This is how much motherfuckers know his stories.
• 41:38
  Speaker 1: They gotta get y'all shipped together. Man, good looking out
• 41:45
  Speaker 1: for tuning into the No Seller's podcast. Please do us
• 41:48
  Speaker 1: a favorite, subscribe, rate, comment, and share. This episode was
• 41:51
  Speaker 1: recorded right here on the West coast of the USA
• 41:54
  Speaker 1: and produced by my homeboys A King for the Black
• 41:56
  Speaker 1: Effect Podcast Network and now hard Radio.
• 42:00
  Speaker 2: Yeah.