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#1996 The Score · Hip-Hop Now Podcast

• 0:02
  Speaker 1: Welcome to Jipop Now. Potts. If you from the future,
• 0:09
  Speaker 1: you know what to do. Show as out of our
• 0:11
  Speaker 1: past life, So disrespect the leg hip hop is say
• 0:18
  Speaker 1: to today. Let's get right into the business. What up, y'all?
• 0:24
  Speaker 1: I am your host Vegas and this Hip Hop Now
• 0:27
  Speaker 1: podcasting podcast specifically designed to key you caught up on
• 0:31
  Speaker 1: all things hip hop music and culture that happened throughout
• 0:35
  Speaker 1: the week. But this is a bonus episode nineteen ninety
• 0:39
  Speaker 1: six thirty year anniversary, a number of classic albums dropping
• 0:43
  Speaker 1: nineteen ninety six, and and as you said, with a couple,
• 0:45
  Speaker 1: we have adult one for you today. First and foremost,
• 0:48
  Speaker 1: I want to shout out all of those who've been
• 0:50
  Speaker 1: listening to this podcast if you have for ten years.
• 0:54
  Speaker 1: Twenty twenty six is the tenth year anniversary of Hip
• 0:58
  Speaker 1: Hop Now podcast in audio form, So you're not gonna
• 1:02
  Speaker 1: find no what you will find Younger Vegas on the internet.
• 1:06
  Speaker 1: But don't don't listen to him. Okay, he don't know nothing,
• 1:10
  Speaker 1: but big shout out to you, shout out to everybody
• 1:13
  Speaker 1: watching on YouTube. Subscribe if you want to know how
• 1:17
  Speaker 1: to become a member. The link is in the description
• 1:20
  Speaker 1: of this episode. But with every album that we're reviewing
• 1:24
  Speaker 1: from nineteen ninety six, I have to bring a guest
• 1:28
  Speaker 1: on so we can fan out, talk about the album,
• 1:31
  Speaker 1: talk about the time, and have a very special guest today.
• 1:35
  Speaker 1: You see her, she going, you know, her lighting's better
• 1:39
  Speaker 1: than Mine's my two day break but whatever Angelic could
• 1:43
  Speaker 1: beIN a how you doing welcome?
• 1:47
  Speaker 2: Thank you, my brother. I am doing well.
• 1:50
  Speaker 3: I'm excited to talk to you about this album and
• 1:53
  Speaker 3: I'm excited to talk about nineteen ninety six.
• 1:56
  Speaker 1: Yeah, no doubt. And if you're wondering who's this well,
• 1:58
  Speaker 1: I mean she right, DJ, she host? What else she
• 2:03
  Speaker 1: do like? She do everything? Man did everything? Okay, I
• 2:06
  Speaker 1: tried to be like her, but first and foremost, she's
• 2:11
  Speaker 1: a hip hop head. So we want to talk about
• 2:15
  Speaker 1: this album, The Score, which dropped in nineteen ninety six,
• 2:18
  Speaker 1: as I said, February thirteenth, to be exact same day
• 2:23
  Speaker 1: as Tupac's All Eyes on Me. Which's interesting, okay considering
• 2:30
  Speaker 1: the content. Also one hour and seventeen minutes in length,
• 2:35
  Speaker 1: seventeen songs with you know, a couple of skits hearing,
• 2:37
  Speaker 1: and some of the skits are within the song. So
• 2:41
  Speaker 1: it was the nineties. What you wanted. There's always skits.
• 2:44
  Speaker 1: But Angelica. Prior to the Score dropping, the Fuji's had
• 2:51
  Speaker 1: another album, right, a debuted album, because the fuji Is
• 2:55
  Speaker 1: really only they only had two albums. Now I think
• 2:59
  Speaker 1: about it blended on reality in nineteen ninety four. What
• 3:04
  Speaker 1: were your thoughts on the Fujis back then before we
• 3:09
  Speaker 1: got the score? Were you a fan of them that
• 3:12
  Speaker 1: album or were you just like some of us where
• 3:16
  Speaker 1: we heard the vocal remix and was like, oh, that's hot.
• 3:20
  Speaker 2: Yeah, well, Melissa, listen when I heard that, I because
• 3:25
  Speaker 2: this is what was really interesting.
• 3:27
  Speaker 3: And you'll have to corroborate my timeline, but you know,
• 3:34
  Speaker 3: their debut album had all of the sort of vestiges
• 3:39
  Speaker 3: of the sound right before it was going to change. Right,
• 3:43
  Speaker 3: So sonically, you know, with Ready to Die, which comes
• 3:47
  Speaker 3: out the same year, would Easy Moo be with these
• 3:51
  Speaker 3: drums that's punching you in your face? You know?
• 3:54
  Speaker 2: It was?
• 3:55
  Speaker 3: It was boom back, but it was lighter in my ears.
• 3:59
  Speaker 3: It was not like, you know, hitting you in the
• 4:01
  Speaker 3: chest like that. It wasn't as polished as hip hop
• 4:05
  Speaker 3: would become in terms of just sonically the mix of albums.
• 4:11
  Speaker 3: Like you know, so the Fuji's first album kind of
• 4:15
  Speaker 3: sounded like early nineties to me, and when I listened
• 4:19
  Speaker 3: to the record, which I love, loved the early nineties,
• 4:23
  Speaker 3: but the album didn't really do it for me, I
• 4:27
  Speaker 3: felt lyrically, it was a little all over the place.
• 4:30
  Speaker 3: I didn't love the production. But here came. But as
• 4:38
  Speaker 3: soon as I heard that, I was like, oh, what's this?
• 4:42
  Speaker 2: Right this, you know what I mean?
• 4:44
  Speaker 3: And just you know sonically what it was doing with
• 4:48
  Speaker 3: like the bells and the vibes and you know, well,
• 4:51
  Speaker 3: I'm a libri y'all, and you know I'm a jazz head,
• 4:54
  Speaker 3: so you know wy Cleft singing that hook, you know,
• 4:58
  Speaker 3: it was very jazzy.
• 4:59
  Speaker 2: It was very musical the day that's very jazz.
• 5:03
  Speaker 3: You know, that's very ironically complicated and stuff.
• 5:06
  Speaker 2: So I was like, what's this?
• 5:09
  Speaker 3: And then you know, hearing Lauren you know, come through
• 5:13
  Speaker 3: so hard on her verse, you know what I mean.
• 5:15
  Speaker 3: So even though the album didn't do it for me,
• 5:18
  Speaker 3: it didn't need to. That single, the real, you know,
• 5:21
  Speaker 3: that version of it, which was I believe salam Remi's
• 5:24
  Speaker 3: production on that, I mean, that made me a fan instantly.
• 5:30
  Speaker 3: And it was interesting because it was like ready to
• 5:33
  Speaker 3: Die was like the center of my world in nineteen
• 5:36
  Speaker 3: ninety four.
• 5:37
  Speaker 2: I'd never like it.
• 5:38
  Speaker 3: It punched me in the face. I'd never heard anything
• 5:41
  Speaker 3: like that. It scared me, like it was so violent
• 5:46
  Speaker 3: and dark and just unrelenting. And you know, not to
• 5:51
  Speaker 3: bring too much of a soberness to this, but I
• 5:53
  Speaker 3: feel like we have to if we're gonna be authentic
• 5:55
  Speaker 3: about what our lives were like as young people in
• 5:58
  Speaker 3: Brooklyn and.
• 6:00
  Speaker 2: In New York in the nineties.
• 6:02
  Speaker 3: You know, I was going to funerals of teenagers in
• 6:06
  Speaker 3: my neighborhood, you know at that time, So I was
• 6:08
  Speaker 3: running from gunshots at house parties and going back to
• 6:12
  Speaker 3: the house party as if they weren't shooting there last night,
• 6:14
  Speaker 3: you know.
• 6:16
  Speaker 1: I mean that's key because people hear people talk about
• 6:20
  Speaker 1: the ghet them like you don't understand, like sometimes things
• 6:23
  Speaker 1: got shot up, and when Smoke Clay, we kind of
• 6:26
  Speaker 1: went back in the spot.
• 6:27
  Speaker 3: It's true, So you know that was happening as you know,
• 6:33
  Speaker 3: Ready to Die came out, and so in a weird way,
• 6:37
  Speaker 3: their first album like balanced my central nervous system.
• 6:41
  Speaker 2: Honestly, you know, it made me.
• 6:43
  Speaker 3: Feel a sense of peace in the chaos that ultimately
• 6:51
  Speaker 3: culminated the year The Score came out.
• 6:55
  Speaker 1: Yeah, and I agree because I remember hearing I forget
• 7:00
  Speaker 1: what their original single was, but on that debut album.
• 7:06
  Speaker 1: But like you said, when I heard the Vocap remix,
• 7:08
  Speaker 1: it was like, oh nah, this is it was like
• 7:11
  Speaker 1: I heard them in a different light, Like I could
• 7:14
  Speaker 1: hear their skill a little bit more because before the
• 7:16
  Speaker 1: songs were like whatever. Like like you said, the sound
• 7:22
  Speaker 1: was transitioning, and that album sounded like it was made
• 7:25
  Speaker 1: for like ninety one as opposed to ninety four, right
• 7:29
  Speaker 1: post Wu Tang and stuff like that. Right, So, but
• 7:34
  Speaker 1: Salam Remi talked about it in an interview I watched
• 7:37
  Speaker 1: a while back, and he talked about like how that
• 7:41
  Speaker 1: remix like how things were looking, you know, looking dim
• 7:44
  Speaker 1: for them, maybe even getting dropped, and that remix kind
• 7:48
  Speaker 1: of gave them the formula of where they should go
• 7:51
  Speaker 1: next and what's dope about this particular album, The Score
• 7:56
  Speaker 1: and this year. There's so many stories that are similar
• 8:01
  Speaker 1: in other episodes that I talked about, where it was
• 8:04
  Speaker 1: either someone coming out with the right debut in ninety
• 8:09
  Speaker 1: six or someone returning from that debut album, but it's
• 8:14
  Speaker 1: on their sound change like NAS and outcasts. Even the
• 8:20
  Speaker 1: way daylight you know, with Stakes is high, the way
• 8:23
  Speaker 1: they kind of popped up, you know, they kind of
• 8:25
  Speaker 1: stepped up where they're the daylight we know today as
• 8:29
  Speaker 1: opposed to three feet high and rise in the daylight.
• 8:34
  Speaker 1: So for the Fujis, it was almost like the same thing.
• 8:37
  Speaker 1: They had to do something because they kind of felt
• 8:40
  Speaker 1: like they lay at ay with the first album and
• 8:43
  Speaker 1: now we hear we had this So February thirteenth, nineteen
• 8:49
  Speaker 1: ninety six, score drops, where are you and when do
• 8:55
  Speaker 1: you pick it up? Will you pick it up? Day one? Like,
• 8:58
  Speaker 1: what's the story behind your first less of this album?
• 9:02
  Speaker 4: Well?
• 9:04
  Speaker 2: I was a senior in high school, so that was
• 9:07
  Speaker 2: a big deal.
• 9:10
  Speaker 1: And I'm straight up in college. Everybody like I was
• 9:13
  Speaker 1: a senior in high school, Like.
• 9:14
  Speaker 3: Yeah, I damn, yeah, you had us by a little smidge,
• 9:23
  Speaker 3: but yeah, I was a senior in high school.
• 9:26
  Speaker 2: So it was a big deal because.
• 9:27
  Speaker 3: You know, you start feeling a little bit of independence,
• 9:30
  Speaker 3: You can stay out later, you can go to those
• 9:34
  Speaker 3: previously mentioned parties.
• 9:36
  Speaker 2: Uh so yeah, so that was a big deal where
• 9:42
  Speaker 2: I was in terms of how I was consuming media.
• 9:47
  Speaker 3: We had gotten cable the year before, so you know,
• 9:51
  Speaker 3: nineteen ninety five TLC Boys, men Adina Howard, like you
• 9:54
  Speaker 3: know all this, you know amazing stuff that.
• 9:57
  Speaker 2: Yeah, you know, so.
• 10:00
  Speaker 3: I was able to watch videos, you know, Brandy Monica,
• 10:03
  Speaker 3: all this stuff, which I wasn't really able to do
• 10:06
  Speaker 3: unless it was Uncle Ralph and of course Video Music Box.
• 10:11
  Speaker 2: But now I was watching.
• 10:14
  Speaker 3: MTV and you know a Non de Luis, God Rest
• 10:17
  Speaker 3: Her Soul and you know those shows. Yeah, so I
• 10:22
  Speaker 3: was seeing videos and that became a really exciting way
• 10:26
  Speaker 3: to get exposed to the music. And I remember with
• 10:29
  Speaker 3: the score in particular the Ready or Not video, just yeah,
• 10:36
  Speaker 3: that that took me like that. That that was I
• 10:39
  Speaker 3: feel like my introduction to that album. And where was
• 10:43
  Speaker 3: I mentally? I would say, you know, this album comes
• 10:49
  Speaker 3: out six months after the infamous Source Awards situation. We're
• 10:57
  Speaker 3: all feeling that heightened tension and that heightened sense of
• 11:03
  Speaker 3: impending doom. I know I was, And so once again,
• 11:11
  Speaker 3: you know, it was music like this that was and
• 11:14
  Speaker 3: you know Daylight, you know that was kind of regulating
• 11:17
  Speaker 3: my central nervous system again where I was like, Okay,
• 11:20
  Speaker 3: you know, it's not all doom and gloom. We're gonna
• 11:22
  Speaker 3: be Okay, I think I don't know because it feels
• 11:24
  Speaker 3: really dark.
• 11:25
  Speaker 2: But you know, let's see.
• 11:27
  Speaker 1: So, yeah, when you first heard the album, like, what
• 11:32
  Speaker 1: were your thoughts? Did you love it right away? What
• 11:34
  Speaker 1: was the what was your impressions of the album.
• 11:38
  Speaker 3: So I loved it and I hated it, And I
• 11:43
  Speaker 3: will tell you why. You may already have a suspicion
• 11:46
  Speaker 3: as to why I loved.
• 11:50
  Speaker 2: Uh Fuji La. I loved how many how many mics?
• 11:56
  Speaker 2: How many? Yeah? I loved ready or not.
• 12:04
  Speaker 3: I hated killing me soft this is and it's no
• 12:12
  Speaker 3: just to the Fujies.
• 12:13
  Speaker 2: It's no just to the Fujis, and it's no just
• 12:15
  Speaker 2: to her Bird of Black. That song was so.
• 12:20
  Speaker 3: Massive that I just got tired of it. I mean
• 12:26
  Speaker 3: it was like, yo, if I hear this song one
• 12:30
  Speaker 3: more time, I'm going to scream. So it was like
• 12:32
  Speaker 3: I got fatigue, you know, this album because of that
• 12:38
  Speaker 3: one song. But I loved the album, you know, as
• 12:44
  Speaker 3: a whole, you know, and I and I thought, well,
• 12:46
  Speaker 3: I don't want to get ahead of myself, but so
• 12:49
  Speaker 3: that's why, I mean, I loved it and I hate
• 12:51
  Speaker 3: I hated it, you know, I loved most of it,
• 12:54
  Speaker 3: and then the one song that was like the hit.
• 12:58
  Speaker 2: It was just I couldn't take it anymore.
• 13:02
  Speaker 1: Nah, I get that because it got so much airplay,
• 13:07
  Speaker 1: you would have thought it was the original version, Like
• 13:09
  Speaker 1: this is the first time we ever heard this song,
• 13:13
  Speaker 1: you know, And sure it was a dope cover of it,
• 13:18
  Speaker 1: you know, with a little hip hop space on it,
• 13:21
  Speaker 1: but you're not lying, like it was crazy.
• 13:25
  Speaker 2: Yeah.
• 13:25
  Speaker 1: So for me, in fall of nineteen ninety five is
• 13:30
  Speaker 1: when I started my college career and my undergrad at
• 13:34
  Speaker 1: Morgan State University, and I remember Fujila was out and
• 13:40
  Speaker 1: it instantly made me think about vocab, like yo, they
• 13:43
  Speaker 1: in the pocket because this, like this Fuji Lia joint
• 13:47
  Speaker 1: is crazy and y'all, I ain't do this forever. But
• 13:53
  Speaker 1: first semester freshman year's I think I went to every party.
• 13:56
  Speaker 1: I'm not lying. One week meet shout out to Jay Week,
• 14:00
  Speaker 1: Me and my roommate Ja, we went to a party
• 14:03
  Speaker 1: every day of the week. I'm talking about Tuesday, like
• 14:08
  Speaker 1: it's just us. Like freshman year, we were thirsty, but
• 14:16
  Speaker 1: like Fujil was getting so much burned and I was
• 14:20
  Speaker 1: kind of looking forward to the album. But you know,
• 14:23
  Speaker 1: one record, you know, you don't know, like Vocab was
• 14:26
  Speaker 1: a remix and it wasn't even on the album, and
• 14:29
  Speaker 1: I didn't buy that debut. So by the time we
• 14:33
  Speaker 1: get to February, a little bit before that, I remember
• 14:39
  Speaker 1: coming a couple of my friends. We came back to
• 14:41
  Speaker 1: school for winter break, like a little early, you know,
• 14:47
  Speaker 1: like the campus wasn't full. And what was weird was
• 14:49
  Speaker 1: the you know, I guess it was. I don't know
• 14:52
  Speaker 1: if it was like a snowstorm or whatever, but the
• 14:56
  Speaker 1: campus was pretty bare. But they were throwing a concert.
• 15:01
  Speaker 1: And when I say who was on this concert, sometimes
• 15:04
  Speaker 1: people don't even believe us, except for those who heard
• 15:06
  Speaker 1: about it, because it was only something. It was only
• 15:09
  Speaker 1: a few of us there, like I mean, like twelve people,
• 15:16
  Speaker 1: and we thought, you know, more people, we would. We
• 15:19
  Speaker 1: had some kind of hookup where we were working backstage two,
• 15:22
  Speaker 1: but the lineup included the Fujis. I don't think Prize
• 15:26
  Speaker 1: was part of it. This is when the score just dropped,
• 15:30
  Speaker 1: That's what it was. The score had just dropped, so
• 15:32
  Speaker 1: I had heard it the Fujis, George Clinton, Groove Theory,
• 15:41
  Speaker 1: and Maxwell before his debut album dropped.
• 15:46
  Speaker 3: I'm sorry, first of all, whoever scheduled this need to
• 15:50
  Speaker 3: be fired, but y'all had like a VIP intimate concert
• 15:54
  Speaker 3: with it was.
• 15:56
  Speaker 1: It was crazy. And what was weird about it was,
• 16:00
  Speaker 1: you know, groove Theory was already hot, so we was
• 16:03
  Speaker 1: hyped for that, you know, dancing to tell me the
• 16:06
  Speaker 1: whole you know time we was there, Yeah, and then
• 16:10
  Speaker 1: the Fujis got hot, so we were kind of like
• 16:13
  Speaker 1: on that wave. But we didn't know who Maxwell was.
• 16:16
  Speaker 1: Nobody did, you know what I'm saying. And all I
• 16:19
  Speaker 1: remember is we was talking to him. He said he
• 16:21
  Speaker 1: was from Brooklyn, so we easily like, yo, blah blah
• 16:23
  Speaker 1: blah blah blah blah. But then when they started to perform,
• 16:27
  Speaker 1: and I was like, whoa wait a minute. When when
• 16:30
  Speaker 1: you say, yeah, album dropping, we were doing it, you
• 16:33
  Speaker 1: know what I'm saying. Early, we was telling everybody and
• 16:35
  Speaker 1: all of that. But what was dope was watching the
• 16:40
  Speaker 1: Fujis perform wy Cleft and Lauren specifically they performed with
• 16:45
  Speaker 1: George Clinton and it was so dope and it kind
• 16:49
  Speaker 1: of reinforced, you know, my fandom at that point in time,
• 16:54
  Speaker 1: because by the time I actually heard the album and
• 16:57
  Speaker 1: heard heard how many mics and Ready or Not and
• 17:01
  Speaker 1: other songs like what's the joint Cowboys and stuff like that.
• 17:07
  Speaker 1: We was on the album and I loved it instantly,
• 17:11
  Speaker 1: even though like it was a little skit heavy.
• 17:15
  Speaker 4: Little skit heavyts.
• 17:17
  Speaker 1: Long, yeah, and it was kind of like I didn't
• 17:20
  Speaker 1: know what they were going for because you know, the
• 17:24
  Speaker 1: score is like a blaxplotation thing, you know, like shaft,
• 17:29
  Speaker 1: you know, settle the score. But the album felt like
• 17:34
  Speaker 1: it was a lot of different things, especially with the skits.
• 17:39
  Speaker 1: So for those who are wondering, there are a couple
• 17:42
  Speaker 1: of people featured on his album, including diamond D also
• 17:48
  Speaker 1: hold Up I'm losing my page diamond D. The Outsiders
• 17:52
  Speaker 1: was consisted of Rod Digga and Pace One and young
• 17:56
  Speaker 1: Z John Floyd. A resting of course, salam Remy. Salam
• 18:03
  Speaker 1: Remy is all through this album. I guess he would
• 18:06
  Speaker 1: be after vocal Hey, you get in the studio with us? Yes,
• 18:12
  Speaker 1: But obviously wy Cleft and Lauren and the Fuji's contributed
• 18:17
  Speaker 1: completely to this album. So let's let's get into some
• 18:21
  Speaker 1: songs real quick. The album opens up. Oh and Mayor
• 18:27
  Speaker 1: Rosparaka's on here. Also, for those who don't know, all
• 18:30
  Speaker 1: you Gotta was listening, You're like, wait a minute, especially
• 18:33
  Speaker 1: if you're from Newark, Like.
• 18:34
  Speaker 3: Is that my Matwark is in the house heavy on
• 18:37
  Speaker 3: this record?
• 18:38
  Speaker 1: Yeah, this is a Jersey album, y'all. But I knew
• 18:44
  Speaker 1: I was gonna like this album the minute I heard
• 18:47
  Speaker 1: how many mics. It's such a hip hop record. When
• 18:52
  Speaker 1: you first heard that record, right, you heard ready or
• 18:55
  Speaker 1: now you saw the video, eventually heard the album, But
• 18:59
  Speaker 1: the first time you heard how many mics? What was
• 19:01
  Speaker 1: your reaction?
• 19:03
  Speaker 2: The drums?
• 19:05
  Speaker 3: You know, at my core, I'm a I'm a like
• 19:12
  Speaker 3: I'm a boom back girly, you know, and just the
• 19:16
  Speaker 3: I just loved the drums, the bass, you know, just
• 19:21
  Speaker 3: it just had that. It's funny you bring up George
• 19:24
  Speaker 3: Clinton because it just it had like a funk to
• 19:27
  Speaker 3: it that I just really love, like the way to
• 19:30
  Speaker 3: base laid on the beat, you know what I mean.
• 19:33
  Speaker 3: And this is you know, today's well maybe I shouldn't,
• 19:38
  Speaker 3: should I not time? Should I not mention.
• 19:42
  Speaker 1: Date?
• 19:44
  Speaker 3: But I'm thinking about di'angelo today and every day. But
• 19:50
  Speaker 3: you know, beat bass, you know, that was like my thing,
• 19:56
  Speaker 3: you know what I mean, whether it was R and
• 19:57
  Speaker 3: B hip hop, like I wanted to feel it, you know,
• 20:00
  Speaker 3: And and that's that you know that grabbed me from and
• 20:04
  Speaker 3: then just just the way they flowed, you know what
• 20:07
  Speaker 3: I mean, just the just the vibe of it, like
• 20:10
  Speaker 3: they came out the gate so hard with that one,
• 20:14
  Speaker 3: with so much of an identity. Also, I felt like,
• 20:19
  Speaker 3: you know what I mean, I felt that that that
• 20:21
  Speaker 3: song is a perfect setup to what we were gonna hear.
• 20:25
  Speaker 2: You know, nothing sounds like.
• 20:27
  Speaker 3: That, but just the confidence, the swag. You know, it's
• 20:34
  Speaker 3: not like a particularly fast song, it's just right in
• 20:38
  Speaker 3: the pocket. It's just you know what I mean, It's
• 20:41
  Speaker 3: just got that. It just had that thing on it.
• 20:43
  Speaker 3: That's probably one of my top.
• 20:47
  Speaker 2: Three songs on the record.
• 20:49
  Speaker 1: Mm hmm, yeah, same here for the same reasons. What
• 20:53
  Speaker 1: I liked about it most was knowing what like this
• 20:58
  Speaker 1: is all me and my friends kept saying, like, my
• 21:00
  Speaker 1: first album is nothing like this, And this felt like
• 21:04
  Speaker 1: it was coming from a place of confidence obviously, but
• 21:10
  Speaker 1: also you know, a little desperation to get it right
• 21:13
  Speaker 1: the second time around. So the only way you do
• 21:16
  Speaker 1: that is to dig into your roots and do what
• 21:18
  Speaker 1: you do best. And I think it was the first
• 21:23
  Speaker 1: time I was like, oh, Lauren better than all of them.
• 21:31
  Speaker 1: I was like, she kind of she kind of slick,
• 21:34
  Speaker 1: like you don't know, like I like Wild Cleft because
• 21:37
  Speaker 1: he brings in a lot of heritage into his rhyms,
• 21:42
  Speaker 1: you know what I'm saying. But Lauren is different. She's
• 21:46
  Speaker 1: like when she and the sighth for you like, who's that? Like?
• 21:51
  Speaker 1: You know what I'm saying, who's damn she's spending? But yeah,
• 21:54
  Speaker 1: when I and then how many mics do we rip
• 21:57
  Speaker 1: on the daily?
• 21:58
  Speaker 3: Many?
• 21:58
  Speaker 1: Money? Yo? It was just it was just really perfect
• 22:03
  Speaker 1: full time and I could relate to it again freshman year.
• 22:08
  Speaker 1: That's when I was in my prime of rhyming and
• 22:12
  Speaker 1: ciphers and everybody was so you know, that kind of
• 22:17
  Speaker 1: reminded me of that vibe of you know, put this
• 22:20
  Speaker 1: beat on and everybody take turns and all of that. Now,
• 22:24
  Speaker 1: ready or not? You talk about a song being tired
• 22:28
  Speaker 1: of for me, Okay, I don't hate it. I'm looking
• 22:34
  Speaker 1: at you the block right here in New York. We
• 22:38
  Speaker 1: don't have to hear it every hour on an hour,
• 22:41
  Speaker 1: every fifteen minutes and rivals top dog Law. Okay, And
• 22:49
  Speaker 1: if you live anywhere, especially you listen to urban radio,
• 22:52
  Speaker 1: you know top Dog Law. But ready or not? What
• 22:57
  Speaker 1: was it about that song? And in that video that
• 23:02
  Speaker 1: really connected with you.
• 23:05
  Speaker 3: Well, I'm a I'm a huge uh fan of the Delphonics,
• 23:12
  Speaker 3: the Shy Life, the stylistics.
• 23:16
  Speaker 2: I believe Ready or Not. I believe that's a Delphonics tune,
• 23:21
  Speaker 2: but you but you have to double check that for me.
• 23:23
  Speaker 3: But either way, Yeah, like I I loved and I'm
• 23:29
  Speaker 3: a huge fan, huge fan of the great Philly producer
• 23:34
  Speaker 3: Tom Bell uh and just you know, all those great
• 23:39
  Speaker 3: songs he.
• 23:40
  Speaker 2: Wrote, uh uh.
• 23:42
  Speaker 3: You are everything produced, you know, you are everything and
• 23:45
  Speaker 3: Ready or Not and all those falsetto groups as my
• 23:50
  Speaker 3: my lates used to call them, you know, so.
• 23:54
  Speaker 2: Off rip.
• 23:56
  Speaker 3: I love that they leaned into that darkness of those songs,
• 24:00
  Speaker 3: Delphonic stuff. It wasn't like Attempts or the Four Tops.
• 24:04
  Speaker 3: It wasn't like happy. It was moody and darker in
• 24:10
  Speaker 3: mood you know those songs and so ready are not
• 24:13
  Speaker 3: already feels dark and when you know, when they did it,
• 24:19
  Speaker 3: I felt like they just leaned into it. And that
• 24:23
  Speaker 3: that melody line that like like it's like they have
• 24:26
  Speaker 3: that pad and then there's that dude you know like
• 24:32
  Speaker 3: that it just it feels like you about to get
• 24:33
  Speaker 3: robbed or something like, it just feels like, you know,
• 24:35
  Speaker 3: they're coming to get me, you know. And just her
• 24:39
  Speaker 3: voice right when she comes in with that clarity and
• 24:43
  Speaker 3: that gorgeous intonation that we heard three years later in
• 24:47
  Speaker 3: a Disney movie, you know, it was just Disney like movies,
• 24:51
  Speaker 3: Sister Act, you know too.
• 24:53
  Speaker 2: And then we hear.
• 24:56
  Speaker 3: Just this splendid voice again with that confidence, that piercing
• 25:00
  Speaker 3: that ready or not. And then when she says it again,
• 25:06
  Speaker 3: and then when the drums come in, come on man
• 25:10
  Speaker 3: like that it's it's cinematic.
• 25:12
  Speaker 2: It's you know, that's why I love that song.
• 25:15
  Speaker 3: It's it's moody, it's dark, it's cinematic. It to me,
• 25:21
  Speaker 3: it's the song that's most reflective of the cover of
• 25:24
  Speaker 3: the album. Right look at the font of the album cover,
• 25:29
  Speaker 3: you know, you see you know, it's it's super dark
• 25:31
  Speaker 3: and these illuminated just you know, just the faces. It
• 25:34
  Speaker 3: feels like dead presidents or just like you said, black exploitation,
• 25:37
  Speaker 3: you know, and it just it's it's just a whole moment.
• 25:43
  Speaker 3: That song, as far as I'm concerned, Like, I just
• 25:46
  Speaker 3: it does everything.
• 25:47
  Speaker 2: It has.
• 25:47
  Speaker 3: The drama in the video is like that too, you know,
• 25:51
  Speaker 3: it it has the drama, it has the adventure. Yeah,
• 25:56
  Speaker 3: so it to me, that's like that song is the yeah,
• 26:00
  Speaker 3: the most dramatic on the album. And I just yeah,
• 26:05
  Speaker 3: I love that song so much.
• 26:07
  Speaker 1: Yeah. I think this was a song where like when
• 26:11
  Speaker 1: you look at the hook for this record, the hook
• 26:15
  Speaker 1: for Fuji Li, and I was like, there's something about
• 26:19
  Speaker 1: Lawrence singing also that's starting to grab my attention, right,
• 26:25
  Speaker 1: Like that's making these songs a little bit more powerful
• 26:28
  Speaker 1: beyond the verses. And it's everything that you described. And
• 26:34
  Speaker 1: I think the font on the album cover is the
• 26:37
  Speaker 1: Godfather fund.
• 26:39
  Speaker 2: Oh that makes sense. I think you're right, Like when you.
• 26:42
  Speaker 1: Look at it kind of looks like how the Godfather
• 26:45
  Speaker 1: fun was. But and this goes into another song I
• 26:49
  Speaker 1: want to talk about, which is the Beast on this album.
• 26:53
  Speaker 1: Even though that font is like mafioso, they kind of
• 26:57
  Speaker 1: speak against this time in hip hop where a lot
• 27:01
  Speaker 1: of artists were embracing you know, Italian mobster named nicknames,
• 27:07
  Speaker 1: you know, and just the whole mafioso vibe that came
• 27:12
  Speaker 1: with like people like like Biggie and Nas and jay Z,
• 27:18
  Speaker 1: and it felt like it was a theme and rap
• 27:20
  Speaker 1: ahead with the score. They were talking more about the
• 27:25
  Speaker 1: neighborhood and black and promoting black and like you know,
• 27:30
  Speaker 1: society and community and stuff like that. So a song
• 27:34
  Speaker 1: like the Beast that speaks to the cops and police brutality.
• 27:39
  Speaker 1: You know, it's been in our music forever. It didn't
• 27:41
  Speaker 1: just happen, y'all. You know, it's been in black music forever. Yeah,
• 27:47
  Speaker 1: what did you think about the areas of like skits
• 27:54
  Speaker 1: and and some of it is like background talk also
• 27:58
  Speaker 1: where they're kind of giving you a sense of I
• 28:02
  Speaker 1: assume it's Jersey, but just a black neighborhood or urban neighborhood,
• 28:07
  Speaker 1: and songs like the Beasts that talked about you know,
• 28:11
  Speaker 1: police brutality and things like that.
• 28:16
  Speaker 3: I think to your point, it's a long, well documented
• 28:20
  Speaker 3: tradition of documenting the black experience, particularly the black urban experience.
• 28:29
  Speaker 3: So you know, we can go back to who I
• 28:31
  Speaker 3: feel as a hip hop progenitor with Gil Scott Heron
• 28:34
  Speaker 3: with the Revolution will be Televised, and then you have
• 28:36
  Speaker 3: Marvin Gabe with What's going on Slide. There's a rite
• 28:39
  Speaker 3: going on Stevie Wonder with Living for the City, and
• 28:43
  Speaker 3: even with that, there's a skit in Living for.
• 28:45
  Speaker 2: The City yeah, you know where.
• 28:47
  Speaker 3: Brother does that line, you know, New York, just like
• 28:50
  Speaker 3: I pictured it, you know, and then you hear the
• 28:53
  Speaker 3: cop put them in the cell, and you hear the
• 28:55
  Speaker 3: cell door slam, you know, and then you know, fast
• 28:59
  Speaker 3: forward to you know, song like the you know the
• 29:01
  Speaker 3: message and I mean and on and on and on
• 29:05
  Speaker 3: Public Enemy and you know, and then you know, with Dayla,
• 29:09
  Speaker 3: I feel like there's something to be said for that too,
• 29:12
  Speaker 3: because I feel like Daylight is kind of like the
• 29:16
  Speaker 3: quintessential group that did the skits right, you know, and
• 29:20
  Speaker 3: so but there's were joyful, funny snapping on people, you know,
• 29:26
  Speaker 3: whatever it was. But that too, is a part of
• 29:29
  Speaker 3: the black experience because we are not just you know,
• 29:35
  Speaker 3: dealing with systemic issues like you know, racism and sexism
• 29:40
  Speaker 3: and you know, Raganomics and you know, drugs flooding, our
• 29:44
  Speaker 3: care our leaders being assassinated. But there's joy that we
• 29:47
  Speaker 3: find in the middle of that that we're gonna play
• 29:49
  Speaker 3: Frankie Beverlieve, we're gonna cook, We're gonna even you.
• 29:51
  Speaker 2: Know, we're gonna love.
• 29:53
  Speaker 3: So I feel like what the Fujis did was do
• 29:58
  Speaker 3: what you know, you know to you know, to quote
• 30:01
  Speaker 3: Nina Simone who who Lauren also quotes on this record,
• 30:06
  Speaker 3: it's like documenting the times. You know, that's your job
• 30:10
  Speaker 3: as as as the artist. And I felt like the
• 30:13
  Speaker 3: Fujis were being like you said, they weren't being you know,
• 30:19
  Speaker 3: because I think the indictment on some of the music,
• 30:21
  Speaker 3: which was understandable, was you know, you're promoting a certain thing,
• 30:25
  Speaker 3: and you know, artists would push back and say, we're
• 30:27
  Speaker 3: not promoting, We're we're documenting, you know, like theies. They
• 30:33
  Speaker 3: showed us that there were other ways to document that
• 30:37
  Speaker 3: to your point, didn't glorify. They weren't innocent, you know,
• 30:41
  Speaker 3: you hear the misogyny, hear this, you hear the that,
• 30:44
  Speaker 3: But they chose a different path at a time where
• 30:49
  Speaker 3: that was different.
• 30:51
  Speaker 1: I feel like, yeah, it was. It was there was
• 30:56
  Speaker 1: like and we can we can get into this before
• 30:58
  Speaker 1: you move on to a couple of other songs. But
• 31:02
  Speaker 1: particularly in nineteen ninety six, there was a division, right
• 31:08
  Speaker 1: like hip hop, especially East Coast hip hop, was moving
• 31:12
  Speaker 1: in a direction that you know, obviously there was more
• 31:15
  Speaker 1: hardcore lyrics, but also rappers were some rappers were making money,
• 31:21
  Speaker 1: so the lyrics reflected that, you know, from naming designers
• 31:25
  Speaker 1: to you know, looking at yourself as somebody rich, including Trump.
• 31:31
  Speaker 1: Let's not pretend like hip hop ain't mentioned Jim back
• 31:34
  Speaker 1: in the daysucket, you know, but to your point, the
• 31:40
  Speaker 1: Fujis were one of those groups to say, that's not
• 31:44
  Speaker 1: all the community does, you know, good or bad, that's
• 31:48
  Speaker 1: not the community as a whole. We don't sit home
• 31:51
  Speaker 1: and just hope to get rich because that's not a reality.
• 31:55
  Speaker 1: Dayli did the same thing with stakes Is High the
• 31:58
  Speaker 1: same year, and even j Ruled the Damager, which I
• 32:03
  Speaker 1: was a big fan of, but y'all, I didn't. I
• 32:05
  Speaker 1: didn't like, oh that biggie slander.
• 32:07
  Speaker 2: Like, yo, yeah, we can't. We can't have that. We can't.
• 32:10
  Speaker 1: I had that Brooklyn biggie slander choosing Big Popper. Okay,
• 32:15
  Speaker 1: but yeah, it's kind of like the way things were
• 32:19
  Speaker 1: on the East Coast around this time with hip hop.
• 32:23
  Speaker 1: Even though the Fujis did collaborate with NAS on if
• 32:27
  Speaker 1: I Ruled the World, which dropped in nineteen ninety six,
• 32:31
  Speaker 1: Now big for NAS, big crossover for NAS, but knowing
• 32:37
  Speaker 1: the climate of nineteen ninety six, because remember we named
• 32:41
  Speaker 1: a couple of people who dropped right tried dropped mob
• 32:44
  Speaker 1: Deep dropped another album, Little Kim and Fox he dropped
• 32:49
  Speaker 1: the same year. Redman had Muddy Waters, but Tupac had
• 32:55
  Speaker 1: two albums, Now Yeah Right, All Eyes on Me, dropping
• 33:00
  Speaker 1: the same day as The Score with the Fujis, but
• 33:05
  Speaker 1: then later on the year posthumous album because obviously he
• 33:10
  Speaker 1: passed away in mcavelli The Dawn, both platinum in the
• 33:15
  Speaker 1: same year, and in between those albums he dropped Hit
• 33:20
  Speaker 1: Him Up Right, which was crazy, you know, crazy this
• 33:27
  Speaker 1: climate in nineteen ninety six, of not only all these
• 33:31
  Speaker 1: dope albums dropping the same year, including jay Z's Reasonable Doubt,
• 33:37
  Speaker 1: and all around the same time, how were you feeling
• 33:41
  Speaker 1: about hip hop? I know you said, you know, the
• 33:44
  Speaker 1: definitely was tension, y'all, Like Angelica said nineteen ninety five
• 33:50
  Speaker 1: Source Awards, and it's like ninety six is the residue,
• 33:54
  Speaker 1: the leftover, the responses, everything to what occurred there but music.
• 34:00
  Speaker 1: Knowing all of these albums are dropping and the Fuji's
• 34:04
  Speaker 1: didn't necessarily have a great debut, how do you, well,
• 34:09
  Speaker 1: for one, you know, what did you enjoy about all
• 34:12
  Speaker 1: of this competition? And how do you think the Fujis
• 34:15
  Speaker 1: fit with legends and debuts? And you know, come back
• 34:21
  Speaker 1: albums and all of that good stuff.
• 34:24
  Speaker 3: M that's such a multi layered thing, and I feel
• 34:29
  Speaker 3: it all so palpably. I was a huge and remain
• 34:36
  Speaker 3: a huge fan of Tupac, and I was a huge
• 34:40
  Speaker 3: fan of Big as well, and then I was became
• 34:44
  Speaker 3: a fan of Junior Mafia, and you know, Little Kim
• 34:48
  Speaker 3: and Foxy and you know, everybody started doing these you know,
• 34:53
  Speaker 3: remixes and guest features on R and B songs and
• 34:57
  Speaker 3: you know, and then you had you know, Black Street
• 34:59
  Speaker 3: and and you know Boys to Men and Joe to See.
• 35:02
  Speaker 3: I mean, it was just a very vibrant time musically,
• 35:09
  Speaker 3: but this manufactured still makes me angry experiment that happened
• 35:20
  Speaker 3: at the cost of two of the greatest lyrical minds.
• 35:26
  Speaker 2: We'll ever know. You could feel it.
• 35:30
  Speaker 3: You felt it, you know, every day you felt this
• 35:34
  Speaker 3: uh impending uh doom.
• 35:38
  Speaker 2: And you know we remember, you.
• 35:39
  Speaker 3: Know, Pop, you know, gets shot, and you know, there's
• 35:42
  Speaker 3: so much happening in this time, you know, and then
• 35:48
  Speaker 3: you know Big l and jay Z and you know,
• 35:52
  Speaker 3: and I was dating a DJ at the time, right,
• 35:54
  Speaker 3: so I heard all the new stuff and so I
• 35:57
  Speaker 3: was like, you know, kind of tapped in in that way,
• 36:00
  Speaker 3: and it was exciting because we'd never heard anything like this,
• 36:04
  Speaker 3: And then you know, you had you know, Mop and
• 36:09
  Speaker 3: you know, how about some hard like I'm like, it.
• 36:12
  Speaker 2: Was just it was just a time. It was a time.
• 36:17
  Speaker 2: Let's see. To answer your question, how am I feeling,
• 36:21
  Speaker 2: I'm feeling in a way.
• 36:27
  Speaker 3: Invigorated by the creativity of my peers. I was a
• 36:33
  Speaker 3: huge fan of wo and NOAs, and you know, I'm
• 36:36
  Speaker 3: writing out lyrics on notebooks and you know, taping stuff,
• 36:40
  Speaker 3: you know, cutting school to go see shows and stuff.
• 36:42
  Speaker 3: You know, Sorry, Mom. At the same time, I'm feeling nervous,
• 36:48
  Speaker 3: I'm feeling concerned about where we're heading. Yeah, it was
• 36:56
  Speaker 3: a mix of things, you know. And actually the day
• 36:59
  Speaker 3: I got the day I went to go get my
• 37:02
  Speaker 3: driver's license, I failed the road test. So I was
• 37:05
  Speaker 3: so sad. And I didn't know that in New York
• 37:09
  Speaker 3: pretty much everybody fails a road test. Versime and I
• 37:12
  Speaker 3: come home and it was September thirteenth, nineteen ninety six.
• 37:16
  Speaker 2: We all know a day that work.
• 37:18
  Speaker 1: And.
• 37:21
  Speaker 2: It was it was devastating.
• 37:24
  Speaker 3: And in November, Kim and Foxy put out records and
• 37:29
  Speaker 3: I'm feeling very unsure of myself suddenly as a woman,
• 37:33
  Speaker 3: because I don't you know, I don't think like this.
• 37:35
  Speaker 3: I don't walk, I don't talk like this. I don't
• 37:38
  Speaker 3: you know, this is not me. And I feel like
• 37:40
  Speaker 3: this is what the guys want. So there's this like
• 37:42
  Speaker 3: pressure there to you know, be like them. You know,
• 37:46
  Speaker 3: everybody remembers the little Kim infamous poster with the bikini
• 37:50
  Speaker 3: and the fur and she's squatten down. Yeah, I'm sorry,
• 37:56
  Speaker 3: but it was I think it was everybody's walk and
• 38:00
  Speaker 3: her here come, here's Lauren, you know who. I feel
• 38:04
  Speaker 3: like I'm more like her in a way mentally, even
• 38:10
  Speaker 3: though I'm not like fully invested in that vibe either.
• 38:14
  Speaker 3: I'm like straddling both because you know, I'm a girl
• 38:18
  Speaker 3: from the hood, but she was too.
• 38:19
  Speaker 2: But I'm woke, but I'm ghetto.
• 38:21
  Speaker 3: It was just, you know, so I kind of fit
• 38:24
  Speaker 3: somewhere in the balance. And I think if not for Lauren,
• 38:28
  Speaker 3: there wouldn't have been balance for young black girls who
• 38:32
  Speaker 3: felt an enormous pressure because this is also the and
• 38:35
  Speaker 3: A'll shut up, but this is also the rise of
• 38:37
  Speaker 3: the video vixen era, you know what I mean. So
• 38:40
  Speaker 3: there's all this pressure and like what does femininity look
• 38:43
  Speaker 3: like and feel like? And I thank god for Lauren
• 38:47
  Speaker 3: because she showed a different way to be at a
• 38:52
  Speaker 3: time where it was really difficult to to straddle that.
• 38:57
  Speaker 2: Yeah, and this and this.
• 39:00
  Speaker 1: That's interesting. That's really dope that you pointed that out,
• 39:02
  Speaker 1: because that's one of the things about nineteen ninety six
• 39:05
  Speaker 1: that doesn't get talked about enough. Right, Like there was
• 39:09
  Speaker 1: we were so used to when we referred to female
• 39:13
  Speaker 1: MC's light by Tifa, like it was the default, you
• 39:17
  Speaker 1: know what I'm saying, And that was more so, you know,
• 39:21
  Speaker 1: a tomboy type female rapper. But then here's little Kim
• 39:27
  Speaker 1: and Foxy empowered by their sexuality from the same perspective
• 39:34
  Speaker 1: as a cougie rap or biggie or anybody else who
• 39:38
  Speaker 1: was a male that you know, raped like that and
• 39:41
  Speaker 1: rapped about those things. And like you said, to your point,
• 39:45
  Speaker 1: than Lauren, right, who's still feminine? Like she wasn't like
• 39:52
  Speaker 1: she took some of them clothes off, just not all
• 39:54
  Speaker 1: of them. Right that first album she was every you know,
• 39:57
  Speaker 1: everything was baggy and everything. Yeah me softly video I
• 40:01
  Speaker 1: was like, oh, she looks all right, like you know
• 40:04
  Speaker 1: what I'm saying. Or the cover you know what I'm saying,
• 40:07
  Speaker 1: where she's prominent on the cover with the two guys.
• 40:10
  Speaker 1: But I think, like you said in nineteen ninety six,
• 40:15
  Speaker 1: there's an identity happening there. And I don't think people
• 40:18
  Speaker 1: in hip hop at least talk enough about you know,
• 40:22
  Speaker 1: who was down with Little Kim, who was down with Lauren?
• 40:26
  Speaker 1: Were you down with both? All I know is in
• 40:29
  Speaker 1: the parties, the ladies was living their best life because
• 40:34
  Speaker 1: it didn't matter if it was no time queen bitch
• 40:38
  Speaker 1: Killing Me Softly, you know what I'm saying. The ladies
• 40:42
  Speaker 1: were represented, and I think that's dope. And you know,
• 40:45
  Speaker 1: and Rod Diggens on this album also, it was nice
• 40:49
  Speaker 1: with it. So let's talk about the song that you
• 40:56
  Speaker 1: were fatigued. Why did you think Killing Me Softly took
• 41:03
  Speaker 1: off and became like this huge hit because I believe
• 41:07
  Speaker 1: this album is diamond and that's the driving force.
• 41:15
  Speaker 2: It was so simple, and I think that, you know,
• 41:23
  Speaker 2: regardless of.
• 41:30
  Speaker 3: I think that there will always be something about the
• 41:33
  Speaker 3: simplicity of melody. You know, we know that the original version,
• 41:39
  Speaker 3: you know, has all these you know, really pretty changes,
• 41:42
  Speaker 3: and you know that kind of thing, and it's you know,
• 41:43
  Speaker 3: it sounds like you know on a beats with a
• 41:45
  Speaker 3: margarita or something. You know, no core changes for the
• 41:51
  Speaker 3: most part, and especially in the verses, and it's just
• 41:56
  Speaker 3: a melody and a beat, and it doesn't get any
• 42:00
  Speaker 3: more I feel like unifying than that we can all
• 42:06
  Speaker 3: sing along. You know that that you know, it's it's
• 42:09
  Speaker 3: not her complex rhymes or you know why clubs. You know,
• 42:14
  Speaker 3: you know wordplay and you know him throwing you know,
• 42:17
  Speaker 3: fifty cultural references that you have in it. You know,
• 42:20
  Speaker 3: it's just I heard he sang of this song. You know,
• 42:24
  Speaker 3: It's just it's just it's the simplicity of it. And
• 42:28
  Speaker 3: I think the universality of how we could all sing
• 42:32
  Speaker 3: the chorus, you know, and it was an easy melody,
• 42:35
  Speaker 3: but a pretty melody, and you know, the beat just
• 42:39
  Speaker 3: you know if it almost sounded like something you could
• 42:41
  Speaker 3: do at a lunch table. Yeah, I mean so, it
• 42:44
  Speaker 3: just it had that accessible element to it, but it
• 42:50
  Speaker 3: was also very musical. And then I think the other
• 42:53
  Speaker 3: thing is and it's interesting because when you watch ROBERTA.
• 42:56
  Speaker 3: Flax documentary, you know, she didn't write Killing Me Softly,
• 43:01
  Speaker 3: but she did write the part that really made the song,
• 43:07
  Speaker 3: which was a wa like that is like the gold
• 43:12
  Speaker 3: of the song, right, And Roberta wrote wrote that, you know,
• 43:18
  Speaker 3: and when Lauren does that, you know, she puts you know,
• 43:21
  Speaker 3: all her little rifts and inflections and everything on it.
• 43:23
  Speaker 2: You know, that's the part.
• 43:24
  Speaker 3: It's like the the moment that you know, every black
• 43:27
  Speaker 3: person was waiting for so we could all go.
• 43:30
  Speaker 1: You know.
• 43:30
  Speaker 3: So it's all this you know, deliciousness and this successibility
• 43:36
  Speaker 3: and you know it's just a beat and a vibe,
• 43:38
  Speaker 3: you know. So, I mean it was ingenious to interpret it,
• 43:43
  Speaker 3: you know that way.
• 43:45
  Speaker 2: You know, it was nothing like it.
• 43:49
  Speaker 1: It was a surprise for me because I was like, oh,
• 43:53
  Speaker 1: it's a like she's going to sing a song on
• 43:55
  Speaker 1: alp and then you know, obviously, you know, because I'm
• 43:59
  Speaker 1: kind of a old head. I'm like a dude who
• 44:03
  Speaker 1: you used to say was an old soul, but now
• 44:05
  Speaker 1: you're an old soul at the same time because you're older.
• 44:08
  Speaker 2: Right.
• 44:09
  Speaker 1: But when I heard it, you know, I was like, oh,
• 44:12
  Speaker 1: I always loved that Roberta Flag song and I always
• 44:15
  Speaker 1: loved that part you mentioned. And back then in the club,
• 44:20
  Speaker 1: the DJ would just turn it off and the ladies
• 44:22
  Speaker 1: would sing the whole shit. You know what I'm saying
• 44:26
  Speaker 1: every time, and that's when you know, if you a
• 44:29
  Speaker 1: guy who goes to a club for the ladies, that's
• 44:33
  Speaker 1: when you're like, oh, okay, let me go find somebody.
• 44:39
  Speaker 1: But I think also one of the things about that
• 44:43
  Speaker 1: record that fits with the time when you think about
• 44:48
  Speaker 1: like what bad Boy was getting into, right, like taking
• 44:52
  Speaker 1: hits from the Eight Days, like it would sounds so crazy,
• 44:57
  Speaker 1: like you know his name, but that formula was gold
• 45:05
  Speaker 1: for a lot of rappers, and some tried it and
• 45:08
  Speaker 1: it didn't really work. Some did it in their own way,
• 45:13
  Speaker 1: right like Na's Like people always say, oh, why he
• 45:15
  Speaker 1: had to do if I ruled the world. I'm gonna
• 45:17
  Speaker 1: tell y'all again, Okay, come on now. And Curtis Blood
• 45:23
  Speaker 1: that's who he drew from to make that song. So
• 45:27
  Speaker 1: if that ain't hip hop, I don't know what it is,
• 45:30
  Speaker 1: but it had a it had a certain vibe that
• 45:33
  Speaker 1: was like, this is NAS's club song. And that's how
• 45:37
  Speaker 1: I felt with this record, like this is the club
• 45:40
  Speaker 1: song that the Fujis would make. You know what I'm saying,
• 45:43
  Speaker 1: They're not gonna go and just grab a Rick James instrumental.
• 45:46
  Speaker 1: And then even though that wouldn't have been bad. They probably.
• 45:52
  Speaker 4: I would have killed it anyway, James during a query season,
• 45:57
  Speaker 4: right right.
• 45:58
  Speaker 1: Uh, yeah, I was listening to Ghetto Life today on
• 46:02
  Speaker 1: Blast at the supermarket. Old head was like, I was like, well,
• 46:08
  Speaker 1: I'm not that.
• 46:08
  Speaker 2: Out or it was in your headphones.
• 46:12
  Speaker 1: No, it was in the car the windows was okay. Yeah,
• 46:16
  Speaker 1: I had it super loud so I could feel it.
• 46:18
  Speaker 1: That's how I like some of my songs or whatever.
• 46:23
  Speaker 1: But yeah, like I feel like that was, like you said,
• 46:27
  Speaker 1: for all the for all the touch points for us
• 46:30
  Speaker 1: as a community, that record, right, being familiar to people
• 46:34
  Speaker 1: and that little hip hop you know, pop to it,
• 46:38
  Speaker 1: that little hop to it. Uh And and I thought
• 46:41
  Speaker 1: the video was cool because it was fun, you know
• 46:44
  Speaker 1: what s Yeah, and that's how hip hop used to be.
• 46:47
  Speaker 1: And like you said, there were things that were getting dunkers,
• 46:51
  Speaker 1: so they were kind of bringing some of the balance
• 46:55
  Speaker 1: to hip hop. I believe they also were beefing with
• 46:58
  Speaker 1: Pock because Pocket was beefing whatever everybody. He was dissing everybody. Yeah,
• 47:03
  Speaker 1: I don't understand. We did the Tupac episode and I
• 47:08
  Speaker 1: had to break down everything that Pop did in ninety
• 47:13
  Speaker 1: six and some of that created some of this climent
• 47:19
  Speaker 1: in angst and kind of created some dope songs not
• 47:21
  Speaker 1: only on his side, but also people who felt like
• 47:24
  Speaker 1: they had to you know, oh wait, this is what
• 47:26
  Speaker 1: we do, so it was really dope. Let's talk about
• 47:32
  Speaker 1: real quick, some of your favorite songs on the album. Why, Like,
• 47:36
  Speaker 1: if you had to pick a five or three favorite songs,
• 47:41
  Speaker 1: I know you talked about some of them, but tell
• 47:44
  Speaker 1: us what those are and why you like them so much.
• 47:47
  Speaker 3: I would have to add Fujila a huge Tina Marie fan.
• 47:54
  Speaker 3: And you know what I think is really also dope
• 47:56
  Speaker 3: about this album, which I mean we've basically touched on
• 48:00
  Speaker 3: throughout the interview, but.
• 48:03
  Speaker 2: This is, uh the first time because like.
• 48:07
  Speaker 3: You said, we have you know, your Lights and your
• 48:10
  Speaker 3: Latifas and money Love and you know, all the people
• 48:14
  Speaker 3: we grew up on as women mcs. But this is
• 48:19
  Speaker 3: like this is like Gladys Knight and the Pips, but
• 48:22
  Speaker 3: but hip hop almost you know what I mean, Like,
• 48:24
  Speaker 3: you know, you have the woman who, to your point,
• 48:27
  Speaker 3: is like authentically you know, the best in the group
• 48:33
  Speaker 3: in a male dominated industry of course, but also a
• 48:38
  Speaker 3: male dominated field.
• 48:40
  Speaker 2: Of the the MC. I mean, I don't think since uh.
• 48:45
  Speaker 3: Funky four plus one do we see a woman like
• 48:49
  Speaker 3: in the in the center, you know, and being or
• 48:52
  Speaker 3: being part of you know, part like it's the woman.
• 48:54
  Speaker 3: And then there's like all these guys. So I mean,
• 48:58
  Speaker 3: just that alone, it's you know, a historic album. But
• 49:02
  Speaker 3: then also the two songs that I mean, and I
• 49:05
  Speaker 3: don't know how everything charted, but the two arguably most
• 49:09
  Speaker 3: popular songs on the record being Ready or Not in
• 49:11
  Speaker 3: Fuji La these are songs that were written by women
• 49:16
  Speaker 3: and sung by women. You know, you have a bird
• 49:17
  Speaker 3: of Flag and you had you know, this powerhouse dynamite
• 49:20
  Speaker 3: writer Tina Marie, both of them great writers and great
• 49:24
  Speaker 3: artists with you know, astounding careers, and these are like
• 49:28
  Speaker 3: the tent.
• 49:29
  Speaker 2: Poles of the album.
• 49:31
  Speaker 3: So it's like I see it as I see it
• 49:34
  Speaker 3: as Lauren here, and then she's like standing on the
• 49:36
  Speaker 3: shoulders of these two pioneering women in a way, you know.
• 49:42
  Speaker 3: So I love Fujila just you know, and the fact
• 49:45
  Speaker 3: that she could just you know, go in and out
• 49:48
  Speaker 3: of you know, a crazy verse and then sing the
• 49:51
  Speaker 3: hook you know, just like you know, like right like
• 49:55
  Speaker 3: the flawlessness of that. So yeah, I just shout out
• 50:00
  Speaker 3: to the late, you know, great Teena Marie too. And
• 50:04
  Speaker 3: I also want to mention that, you know, I thought
• 50:06
  Speaker 3: it was really dope that on the Grammys, that that
• 50:10
  Speaker 3: Lauren gave such a beautiful tribute to ROBERTA. Flack and
• 50:16
  Speaker 3: addition and obviously in addition to D'Angelo. But yeah, Fuji
• 50:21
  Speaker 3: la that that one.
• 50:23
  Speaker 2: It just you know.
• 50:25
  Speaker 3: Again, you know, all of the songs on the album
• 50:27
  Speaker 3: are you know their moody, it's a it's a darker,
• 50:31
  Speaker 3: more gangsta more. You know, it felt like nineteen ninety six,
• 50:36
  Speaker 3: you know what I mean. It felt like the moment
• 50:38
  Speaker 3: and it's so crazy to think that three years before,
• 50:41
  Speaker 3: I know, I said this already, she was singing joyful, joyful.
• 50:47
  Speaker 2: Like it was like, when did you learn? When did
• 50:49
  Speaker 2: you start spitting like this? You know, we didn't know.
• 50:53
  Speaker 3: So yeah, so I can't leave that one out. What else, zelots,
• 50:59
  Speaker 3: I love that. I love the flip of another really
• 51:03
  Speaker 3: dark kind of you know, I Only Have Eyes for You?
• 51:07
  Speaker 2: Who did that? I thought I wrote it down? Oh gosh,
• 51:14
  Speaker 2: I know the group I Only Have Eyes for You
• 51:18
  Speaker 2: that she wops you up.
• 51:19
  Speaker 3: Anyway, you know, that's another one of my favorites because
• 51:24
  Speaker 3: I love you know why cleft putting that you know,
• 51:28
  Speaker 3: Caribbean thing on the melody there.
• 51:32
  Speaker 4: You know.
• 51:33
  Speaker 3: And I think that this album also is very much
• 51:35
  Speaker 3: ahead of its time because to your point earlier about
• 51:40
  Speaker 3: just it's it's an album that is deeply steeped in
• 51:44
  Speaker 3: the diaspora. You know, this is this is an album
• 51:47
  Speaker 3: where you have you know, Haitian and an American and.
• 51:51
  Speaker 2: You know, coming together.
• 51:53
  Speaker 3: And I mean, I know growing up in Brooklyn, you
• 51:56
  Speaker 3: know that you know, you had little Caribbean communities and
• 51:59
  Speaker 3: stuff like that, but there was also a lot of
• 52:01
  Speaker 3: tension that is still happening, you know between you know,
• 52:05
  Speaker 3: who started hip hop and Jamaicans Tryna and I'm gonna
• 52:08
  Speaker 3: say it, Jamaican's trying to take credit for this Black
• 52:12
  Speaker 3: American art form, is saying it started with toasting and
• 52:15
  Speaker 3: all this stuff like that, and you know, just everything
• 52:17
  Speaker 3: just being so contentious and shout out to you know,
• 52:22
  Speaker 3: the entire diaspora for their contribution to the art form.
• 52:26
  Speaker 3: But I think it's important that we not rewrite history
• 52:30
  Speaker 3: just a little. You can keep that, you can edit that,
• 52:32
  Speaker 3: it's up to you under your.
• 52:36
  Speaker 2: Okay.
• 52:37
  Speaker 3: But like you know, this was a beautiful record in
• 52:40
  Speaker 3: that you know, I remember growing up around the Haitian
• 52:43
  Speaker 3: community in Brooklyn, and it wasn't always sweet, you know
• 52:47
  Speaker 3: what I mean. There were terrible stereotypes that were made
• 52:54
  Speaker 3: against Haitian Americans, and you know, we see with our
• 52:57
  Speaker 3: current administration that that is still happening and talking about
• 53:00
  Speaker 3: their eating our pets and all this kind of stuff.
• 53:02
  Speaker 3: So I think this album is almost like Bad Bunnies.
• 53:08
  Speaker 3: Super Bowl performance is standing on the shows of this
• 53:11
  Speaker 3: album in my h estimation, because we didn't hear that
• 53:17
  Speaker 3: kind of cultural pride. We heard it, you know with
• 53:20
  Speaker 3: KRS one here and there, you know, stuff like that,
• 53:22
  Speaker 3: but this was like in your face pride at a
• 53:26
  Speaker 3: time where we were not as evolved, you know what
• 53:30
  Speaker 3: I mean.
• 53:30
  Speaker 2: So yeah, I know I went on.
• 53:34
  Speaker 1: A bit of a til It's good because in a
• 53:39
  Speaker 1: lot of ways thematically, one thing I wanted to point out,
• 53:45
  Speaker 1: like how Killing Me Softly felt like, well, really, let's
• 53:50
  Speaker 1: let's just say foujie li right, what you said about
• 53:53
  Speaker 1: Lauren and her performance and how she was able to switch.
• 53:57
  Speaker 1: It was like feeling like that song and Killing Me
• 54:01
  Speaker 1: Softly was like the precursor to the Miseducation of Laurence Hill.
• 54:06
  Speaker 1: And what we got there, and the same thing with
• 54:09
  Speaker 1: wy Cleft, right, No Woman, No Cry. When I first heard,
• 54:12
  Speaker 1: I'm a big Bob Marley fan, so I'm like, what
• 54:14
  Speaker 1: is this, Like, that's the That was my first reaction.
• 54:18
  Speaker 2: Like, no, you didn't right, right.
• 54:22
  Speaker 1: But when he dropped his debut, The Carnival, which I
• 54:26
  Speaker 1: think is criminally slept on to talk about culture like
• 54:33
  Speaker 1: this was going somewhere, Like you said, so the Score,
• 54:37
  Speaker 1: Miseducation of Laurence Hill, what they did with that, what
• 54:41
  Speaker 1: Wycliff did with The Carnival, like it all played into
• 54:44
  Speaker 1: exactly what you're saying about this album, which to those
• 54:49
  Speaker 1: you know, wanting to know, like, well, what's the theme?
• 54:52
  Speaker 1: You know, it's the Score, It's kind of everything. It's
• 54:56
  Speaker 1: the culture. Before we started saying the culture, you know
• 55:00
  Speaker 1: what I'm saying, everything's here, hip hop's here. Even though
• 55:05
  Speaker 1: the Chinese restaurants is a little racist, ain't.
• 55:07
  Speaker 3: Gonna racist racist long.
• 55:14
  Speaker 1: When I first heard it in like ninety six, it
• 55:17
  Speaker 1: was funny. When I heard it in twenty twenty six,
• 55:19
  Speaker 1: I was like, oh, yeah, they didn't take.
• 55:22
  Speaker 3: This off, and it's like they didn't take those from
• 55:26
  Speaker 3: Wu Tang. It's like there's a way you could do this,
• 55:29
  Speaker 3: you know, right. It was instead of being like.
• 55:32
  Speaker 1: Really really with the stereotapes.
• 55:34
  Speaker 3: Yeah, even though they came into our community and you know,
• 55:38
  Speaker 3: we're basically awesome, you know.
• 55:41
  Speaker 1: Some of those interactions played out like that.
• 55:43
  Speaker 2: You know, yeah they did.
• 55:46
  Speaker 1: If you don't know some of the stuff Rill come
• 55:51
  Speaker 1: for me, favorite songs, Fuji Live of course with that record,
• 55:57
  Speaker 1: how many mics the score were dying and D was
• 56:00
  Speaker 1: dope to me because I was like, oh, diamond D.
• 56:04
  Speaker 1: I was like surprised for some reason to see diamond
• 56:07
  Speaker 1: D because this is nineteen ninety six, y'all. Diamond D
• 56:11
  Speaker 1: was hot. This again, let me say this for people,
• 56:15
  Speaker 1: and it's going to come up in numerous episodes. But
• 56:18
  Speaker 1: hip hop was still young around this time, so there
• 56:22
  Speaker 1: were certain things that would happen to older artists who
• 56:27
  Speaker 1: may have had hip hop in the choke hold two
• 56:30
  Speaker 1: or three years earlier. Nobody would want to hear them
• 56:34
  Speaker 1: because they're old. Right, Dude might be thirty two, like
• 56:38
  Speaker 1: you know what I'm saying, he might be twenty nine
• 56:41
  Speaker 1: at all.
• 56:41
  Speaker 2: Now I hear that, oh son.
• 56:44
  Speaker 1: Right, And also know that a lot of guys, especially
• 56:48
  Speaker 1: in the early days of hip hop. They were teenagers
• 56:50
  Speaker 1: when they wrote some of these classic albums and verses
• 56:54
  Speaker 1: and all of that.
• 56:55
  Speaker 4: So I was just like Napoleon wanted Live by Davis
• 56:59
  Speaker 4: Died like that.
• 57:01
  Speaker 3: Yo, that's my shit. That is my shit. Shout out
• 57:04
  Speaker 3: to the Bronx, Shout out to Diamond D.
• 57:06
  Speaker 4: Love that.
• 57:07
  Speaker 2: Mason.
• 57:09
  Speaker 1: Yeah. I I was just so surprised to hear from
• 57:14
  Speaker 1: Diamond D. I was like, Oh, that's dope. And I've
• 57:15
  Speaker 1: always liked Diamond D again recipes John Forte, I liked
• 57:21
  Speaker 1: Family Business because he had a very unique voice and
• 57:24
  Speaker 1: he could spit. He did some other things on the
• 57:27
  Speaker 1: production side on this album. Also. It just was an
• 57:31
  Speaker 1: album that felt like community, you know, and they were
• 57:35
  Speaker 1: introducing people like John Forte and then putting the outsiders
• 57:39
  Speaker 1: in your face. And you hear Rod Digger. This is
• 57:42
  Speaker 1: before conglomerate and all of that, Buster and all of that.
• 57:47
  Speaker 1: Excuse me, and it's just a very dope album. Now,
• 57:50
  Speaker 1: let me ask you this last thing. Okay, hearing it
• 57:54
  Speaker 1: in nineteen ninety six versus hearing this album in twenty
• 57:58
  Speaker 1: twenty six have some of the same feelings or does
• 58:02
  Speaker 1: it become like for some people and there's nothing wrong
• 58:06
  Speaker 1: with this, you know, like, oh, let me just listen
• 58:09
  Speaker 1: to the joints. I like, you know, how does the album?
• 58:13
  Speaker 1: Has it aged well?
• 58:16
  Speaker 3: But I think it's aged incredibly well. You know, I've
• 58:21
  Speaker 3: had it on in rotation in you know, thinking about
• 58:28
  Speaker 3: what I could possibly say, you know about this record,
• 58:32
  Speaker 3: you know, but I you know, as I was playing
• 58:37
  Speaker 3: it from front to back, no skips.
• 58:39
  Speaker 2: It's like.
• 58:41
  Speaker 3: The Alvin Clads hard, you know what I mean, Like obviously,
• 58:44
  Speaker 3: like you know, you have your favorites.
• 58:45
  Speaker 2: I have my favorites, you.
• 58:46
  Speaker 3: Know, but as a as a concept, and that's the
• 58:52
  Speaker 3: thing too. This is before you know, the advent of
• 58:56
  Speaker 3: iTunes and you know, oh, I'm just gonna buy the
• 59:01
  Speaker 3: one song that I like. You know, you kind of
• 59:04
  Speaker 3: had to listen to two albums as a whole, and
• 59:10
  Speaker 3: like an illmatic, like a ready to Die like you
• 59:13
  Speaker 3: know whatever, you you were invested in the journey and
• 59:19
  Speaker 3: albums like that. I don't think they ever go bad,
• 59:25
  Speaker 3: you know, because there's a because the concepts had to
• 59:29
  Speaker 3: be strong, you know.
• 59:30
  Speaker 2: Then I don't, I don't. I mean, you know, Kendrick
• 59:32
  Speaker 2: still does.
• 59:33
  Speaker 3: You know, great conceptual albums, I feel, but even then,
• 59:40
  Speaker 3: in the nineties, it was different. You know, we were
• 59:42
  Speaker 3: really telling a story. And I think that you know,
• 59:49
  Speaker 3: thirty six Chambers, you know, another one, you know that
• 59:51
  Speaker 3: where just you know you're in it for the journey
• 59:53
  Speaker 3: from front to back, no skips, and I think I
• 59:57
  Speaker 3: feel like this is one of those no skips records.
• 1:00:01
  Speaker 3: You know, it just it just it just holds up.
• 1:00:03
  Speaker 3: The production is solid lyrically, you know, Lauren is just incredible.
• 1:00:10
  Speaker 3: You know, they all just move and work together. The
• 1:00:15
  Speaker 3: chemistry is so solid between them. You know, this is
• 1:00:19
  Speaker 3: before any drama that we know of anyway, you know.
• 1:00:23
  Speaker 3: So it's just also that like it reminds me of
• 1:00:26
  Speaker 3: a time where everything was was gucci, you know what
• 1:00:30
  Speaker 3: I mean, Like, I guess I think it is now
• 1:00:32
  Speaker 3: to you know, I think now, but it took some time.
• 1:00:34
  Speaker 3: And that's that's life. You know, you fall out, you
• 1:00:36
  Speaker 3: fall in with friends and things like that. But it
• 1:00:43
  Speaker 3: just reminds me of better days. And yeah, it doesn't
• 1:00:46
  Speaker 3: feel I had to really like stop for a second
• 1:00:49
  Speaker 3: and be like, how is this album thirty years old?
• 1:00:53
  Speaker 3: Thirty thirty you know, it's like I can't I can't think, Oh, yeah,
• 1:01:02
  Speaker 3: we did a great job.
• 1:01:03
  Speaker 1: Yeah, you put it perfectly. I feel the same way
• 1:01:07
  Speaker 1: because I think at one point I used to listen
• 1:01:10
  Speaker 1: to this album a lot in ninety six, maybe ninety
• 1:01:14
  Speaker 1: seven also, but then like years past, I hadn't listened
• 1:01:21
  Speaker 1: to the album in its entirety, Like you know, obviously
• 1:01:25
  Speaker 1: the radio helped with that, right Fuji LII, Like some
• 1:01:28
  Speaker 1: of these things never left the radio, right, you know
• 1:01:30
  Speaker 1: what I'm saying. But it kind of became that that
• 1:01:33
  Speaker 1: was the only thing I really remember until I listened
• 1:01:37
  Speaker 1: and I forgot about all the skits, and I forgot
• 1:01:41
  Speaker 1: about some of the songs. I forgot about the song
• 1:01:43
  Speaker 1: with you know, Cowboys with Outsiders, and I was like,
• 1:01:46
  Speaker 1: I don't even remember how this sounds. But to your point,
• 1:01:51
  Speaker 1: it's it aged well because it had to be great, right,
• 1:01:56
  Speaker 1: And they were making it for a certain a specific
• 1:02:01
  Speaker 1: hip hop listener back in the day who was going
• 1:02:04
  Speaker 1: to sit with the album, Like you said, like this
• 1:02:07
  Speaker 1: may be the only album they're rocking that year, you know,
• 1:02:11
  Speaker 1: or the next couple of months, you know, depending on
• 1:02:13
  Speaker 1: your age. Who knows to your birthday, you get some
• 1:02:17
  Speaker 1: birthday money, you can buy something else, you know what
• 1:02:19
  Speaker 1: I'm saying. And I think That's what I like about
• 1:02:25
  Speaker 1: not only this album, but a lot of the albums
• 1:02:27
  Speaker 1: in ninety six. You can really just pick one and
• 1:02:30
  Speaker 1: just kind of live with it because it's full of
• 1:02:33
  Speaker 1: a lot of the things we mentioned earlier. I said
• 1:02:37
  Speaker 1: seventeen songs, hour and seventeen minutes. But that's the expanded version,
• 1:02:42
  Speaker 1: which has what three remixes to Fujily. Two of them
• 1:02:49
  Speaker 1: are crazy, right, two of them one features John Forte,
• 1:02:56
  Speaker 1: it's the refugee camp remix. That one's crazy, and then
• 1:03:00
  Speaker 1: there's a slide and Robbie makes that's more like reggae
• 1:03:04
  Speaker 1: slash dancehall food. And then there's a song that wasn't
• 1:03:10
  Speaker 1: on the original album I don't believe, called Mister Mister,
• 1:03:13
  Speaker 1: and I think that was why club by itself. So
• 1:03:18
  Speaker 1: the original album was like thirteen tracks, probably a little
• 1:03:22
  Speaker 1: bit around an hour. And also before we leave, we
• 1:03:26
  Speaker 1: didn't purposely leave Prize out. We know he's in the group,
• 1:03:30
  Speaker 1: we know he's on the cover, but I'm saying everybody
• 1:03:35
  Speaker 1: was like, oh the other nigga wh act like that's
• 1:03:37
  Speaker 1: just what we were saying in ninety six. Okay, right,
• 1:03:42
  Speaker 1: but that's it's it's tough to be great next to
• 1:03:46
  Speaker 1: two people who are like geniuses at what they do. Yeah,
• 1:03:52
  Speaker 1: and who knows, you know, he wasn't a guy who
• 1:03:55
  Speaker 1: held the radio. Maybe at punching nigga too, you know,
• 1:03:58
  Speaker 1: for the group them and your crew too, you do.
• 1:04:03
  Speaker 1: But nevertheless, Angelica, thank you for joining me on this episode.
• 1:04:09
  Speaker 1: This was dope a lot of messages in the music
• 1:04:15
  Speaker 1: in the conversation, but I appreciate it. Tell people, you
• 1:04:19
  Speaker 1: know the way they could follow you, and if it's
• 1:04:23
  Speaker 1: anything you're working on you'd like to share it, share it.
• 1:04:28
  Speaker 2: Gosh.
• 1:04:29
  Speaker 3: Okay, Well, first of all, thank you for having me
• 1:04:33
  Speaker 3: because you know I'm a jazz head, but people know
• 1:04:38
  Speaker 3: like yourself, know that I'm a big hip hop head too,
• 1:04:42
  Speaker 3: and I don't get as many opportunities to talk about
• 1:04:47
  Speaker 3: hip hop as I do to talk about jazz. So
• 1:04:49
  Speaker 3: I just want to thank you for thinking of me
• 1:04:52
  Speaker 3: for this episode and tapping me, you know, and you know,
• 1:04:56
  Speaker 3: let me, you know, chop it up with you for
• 1:04:58
  Speaker 3: a bit on this record, and honestly, such a special
• 1:05:01
  Speaker 3: record and such a special anniversary.
• 1:05:05
  Speaker 2: Your audience can find me. Let's see. Well, I think
• 1:05:11
  Speaker 2: it's safe for me to announce that I will be.
• 1:05:15
  Speaker 3: One of the new on air personalities on Serious XM.
• 1:05:22
  Speaker 3: Thank You on Real Jazz Channel sixty seven on Sirius XM.
• 1:05:29
  Speaker 3: Sometime in the coming weeks before summer yea soon and
• 1:05:37
  Speaker 3: I have a podcast called Milestone celebrating the culture in
• 1:05:43
  Speaker 3: partnership with WBGO. And you know you can find me
• 1:05:49
  Speaker 3: on my socials which is Cultured with a K Cultured Child,
• 1:05:55
  Speaker 3: and that's me on Instagram and Blue Sky and I
• 1:06:01
  Speaker 3: think that's it for now.
• 1:06:03
  Speaker 1: It's all segmented now, like exactly on everything, just like
• 1:06:07
  Speaker 1: good morning here, good morning there, good.
• 1:06:09
  Speaker 2: Morning, good morningwhere right right right.
• 1:06:12
  Speaker 1: I'm looking for my people right.
• 1:06:15
  Speaker 3: Right, but you know they can find me there and
• 1:06:18
  Speaker 3: hopefully find me, you know, DJing a set where I
• 1:06:21
  Speaker 3: can you know, play some joints off of this album.
• 1:06:26
  Speaker 1: That's so dope. Congratulations again on the radio gig. Y'all
• 1:06:30
  Speaker 1: should definitely check out Milestones because when they are moments,
• 1:06:35
  Speaker 1: even though it may be about jazz, she takes advantage
• 1:06:38
  Speaker 1: of the connection between hip hop when there's a popular
• 1:06:42
  Speaker 1: sample somewhere in the mix that has to be mentioned.
• 1:06:48
  Speaker 1: So definitely check that out. Milestones on Apple Podcasts and Spotify.
• 1:06:53
  Speaker 1: You can follow me on social media at Vegas World,
• 1:06:56
  Speaker 1: I n see. Uh those who listen to audio it's cool,
• 1:07:00
  Speaker 1: It's cool, It's still around. You could also listen to
• 1:07:04
  Speaker 1: hip hop now, podcasts and audio form. But also right
• 1:07:08
  Speaker 1: here on YouTube, hit the subscribe button. The like button
• 1:07:12
  Speaker 1: is like the number one thing I would like for
• 1:07:14
  Speaker 1: you to subscribe. But if you like this kind of content,
• 1:07:17
  Speaker 1: hit the like button because YouTube is saying that's means
• 1:07:21
  Speaker 1: your popular whatever. But also we want to know from
• 1:07:26
  Speaker 1: you in a comment section. What do you think about
• 1:07:30
  Speaker 1: the year in nineteen ninety six, the Score, the Fuji
• 1:07:36
  Speaker 1: Live versus the Killing Me Soft and versus the Ready
• 1:07:40
  Speaker 1: or Not like the whole time and even if you
• 1:07:43
  Speaker 1: weren't around for that time? Going back, what do you
• 1:07:46
  Speaker 1: think about the album didd Age? Well you know or
• 1:07:50
  Speaker 1: get your skip on. Leave it in a comment section below,
• 1:07:54
  Speaker 1: and please no, we're not critics, we're fans. Thanks,