0:00

Welcome friends and lovers to

0:02

the grand reference tour where

0:04

we will be writing in

0:06

our G&X with Anita Baker

0:08

with some special friends and

0:10

lovers to talk about the

0:13

post-rap beef G&X Grammys, the

0:15

Super Bowl, and just the

0:17

overall cultural impact. Welcome,

0:23

welcome, welcome. Thank you everyone.

0:25

We are going to get

0:28

to everyone in this PlayStation

0:30

game of America, but welcome

0:32

everyone to the four-year reference

0:35

podcast. Who wants to start? Well,

0:37

I guess me and camera can go.

0:39

So I'm joining Clark, one half of

0:41

the white people on TV podcast.

0:44

And I'm Cameron Mason. I'm

0:46

the other half. Oh, I'm Andre. I'm just,

0:48

I'm my guest of the show. And Drake

0:50

cleared all my debts at

0:53

his concert in Melbourne. Are

0:55

you the one with the drone?

0:57

Andrei? That was me. That was

0:59

me. Testing things out. Wow. Yeah,

1:01

my name is Michael, country boy.

1:04

I'm from Walmart Black History. Yeah,

1:06

man, I'm here to have a

1:08

good time. It's good for me

1:10

the times that I don't have

1:13

to talk about history because I

1:15

talk about it so much. I

1:17

think this kind of is history,

1:20

isn't it? Yeah, I mean, maybe

1:22

a bit more recent. It's

1:24

history, Jason. Everything's a little

1:26

history, right? Yeah, pretty much. And

1:29

Friends and Lovers that are joining

1:31

us on this recording, go and

1:33

check back last year. We did

1:36

a whole series of films that

1:38

were referenced throughout the rap beef.

1:40

I've got the wood added, like,

1:42

if I'm going to make a

1:45

future list of other films that

1:47

were referenced suitably in Kendra Klamah

1:49

and the songs throughout. But we've

1:51

done the pop out. We've done

1:54

the whiz with Cameron and Jordan.

1:56

Great, amazing sumptious recording. did Pet

1:58

Cemetery. with Andre

2:00

where we were talking about Filipino

2:03

and islander spirits haunting us forever.

2:05

And country boy, we were going

2:07

to do the Simpsons and we're

2:10

like, no, we're just going to,

2:12

you just told me about hip-hop

2:14

and we'll just stay. That movie

2:17

aged like milk. I know. Ephesus

2:19

movie? Oh, yeah. Well, stay comfortable.

2:21

That was his line about the

2:23

Simpsons. It was so fun when

2:26

I was when I watched it,

2:28

you know, at the movie theater

2:30

and then I went back and

2:33

watched it before this. I was

2:35

like, wow, this is not fun

2:37

at all. I'm struggling. I'm struggling

2:40

with that. Too much has happened

2:42

since then. I think. Absolutely. But

2:44

I guess the last time we

2:47

all kind of gathered together we

2:49

were talking about the not like

2:51

us video, which kind of felt

2:54

like not necessarily the peak, but

2:56

like how much better could it

2:58

get, right? And it was October,

3:01

November, I think is when we

3:03

got the Kendrick Lamar Super Bowl

3:05

announcement, that kind of, and I

3:08

love it, because we all just

3:10

ended up messaging each other and

3:12

being like, okay. So

3:15

it was kind of like all

3:17

all signals go it was kind

3:19

of like really how high we've

3:21

already crested right like how much

3:23

more Can we like pack into

3:25

this because that's what I I

3:27

guess that's where I was like

3:29

confused I was like we already

3:31

got the video with like triple

3:34

entendres and visual motifs and all

3:36

these underlying meanings and stuff. I'm

3:38

like, what's you going to do

3:40

neck at the Super Bowl? What

3:42

do you even want to do

3:44

there? And just on a hopscotch

3:46

at the Super Bowl. How gosh

3:48

all the way down all 100

3:50

yards? But I guess before we

3:52

get to G&X, which I think

3:54

is like the the next sort

3:56

of milestone in all of this,

3:58

it feels weird to call it

4:00

a post-rap because it is so

4:02

much more than But before we

4:04

get to G&X, does anyone want

4:06

to, whether it's about Drake, whether

4:08

it's about Germain, or even about

4:10

Kendrick as well, does anyone want

4:12

to talk about anything before we

4:14

get to the actual G&X album?

4:16

Well, I guess for me, you

4:18

know, it is interesting, we don't

4:20

have to, again, do all too

4:22

much on the Drake side, but

4:25

like, when the beef was starting

4:27

to taper off and it kind

4:29

of felt like, all right, you

4:31

know, we're not going to get

4:33

any more songs. It was like,

4:35

well, what are they going to

4:37

do next? You know, like, what's

4:39

the next body of work from

4:41

both of these people? And what

4:43

does that sound like? And we

4:45

weren't quite sure who was going

4:47

to drop first, because like, Drake

4:49

had been so quiet that it

4:51

was like, he was just going

4:53

to like, throw something out of

4:55

nowhere. And Kendrick over the last

4:57

couple of years has been, I

4:59

mean, not like, just dropping out

5:01

of anywhere, but even like this

5:03

beef, like it would just be

5:05

like, he put it on his

5:07

Twitter. And then you didn't hear

5:09

anything for like, you know, so

5:11

you know, like what he's what

5:13

he's coming when it's Kendrick season,

5:16

you know, like it's there's a

5:18

lot of noise outside and you

5:20

can kind of, you know, feel

5:22

it coming. And so with the

5:24

Super Bowl announcement, it was like,

5:26

well, Kendrick's obviously going to be

5:28

doing something soon, right, because like,

5:30

you know, that that that was

5:32

kind of almost an album announcement

5:34

and then. You know, again, he's

5:36

doing it again with the Not

5:38

Like Us video, you got what

5:40

became peek-a-boo. Everybody was calling it,

5:42

or not peek-a-boo, squabble-up. Yeah, we

5:44

were just calling it broccoli because

5:46

we didn't know. We didn't know.

5:48

We didn't know. We didn't know.

5:50

We just like a bossy lot.

5:52

I was like, damn, I'm not

5:54

going to put that on there.

5:56

And it's like. Can you release

5:58

that please? Why do you keep

6:00

doing this to us? I'm tired

6:02

of hearing like the bad mashups

6:04

audio on YouTube. That's all. Right.

6:07

And one of the things about,

6:09

about Kendrick. One of the things

6:11

that I was the most excited

6:13

for about the beef is I

6:15

felt as though the beef would

6:17

lead us to more Kendrick music,

6:19

especially with like, you know, no

6:21

disrespecting Mr. morale, but that's not

6:23

my favorite, not my favorite album.

6:25

So feeling that we were going

6:27

to get an album from Kendrick

6:29

and he was going to be

6:31

aggy, he was going to be

6:33

hyper aggressive. I need more of

6:35

this. And I knew after the

6:37

beef with Drake, even before the

6:39

Super Bowl, like he has to

6:41

drop an album. It has to

6:43

be, like you don't do all

6:45

this and then not pay off.

6:47

There has to be a payoff

6:49

at the end of this and

6:51

you have to be a payoff

6:53

at the end of this and

6:55

you have to match energy with

6:58

what you've already given us. You

7:00

can't give us, not like us,

7:02

and then follow that up with

7:04

Mr. I need you to be

7:06

aggy. I need the aggression. This

7:08

is the kind of music I'm

7:10

into. I need somebody to get

7:12

shot. Like, yeah, that's what I

7:14

really loved. Yeah, that's what I

7:16

really loved about the album was

7:18

just like this level of, I'm

7:20

not just here, it's the West

7:22

Coast too. And I feel like

7:24

that was his most West Coast

7:26

sounding album. I think we need

7:28

to know Andre's outfit right now.

7:30

Yes, this is as West Coast

7:32

as I could get. I'm not

7:34

throwing up it. I'm gonna keep

7:36

my hands down here. It doesn't

7:38

look like I'm throwing anything up.

7:40

But, um, it was so good

7:42

to hear that album because it

7:44

always sounded like, I felt like

7:46

people forgot how commercial dam was.

7:49

Yeah. And it was always like,

7:51

there was always like this, this

7:53

little fake cloud over him. I

7:55

was like, oh, he can't have

7:57

a hit. He can't have like

7:59

his moment. And it's like, how

8:01

soon do you guys forget that

8:03

if he wants to do something

8:05

he can... do something. I feel

8:07

like even on G&X he proved

8:09

that he could do some R&B

8:11

stuff. He can have like his

8:13

Kendrick songs where he's very reflective

8:15

and artistic but then it's just

8:17

like you know squabble up or

8:19

peek-a-boo or hang-out where it's just

8:21

like this eerie West Coast. Like

8:23

this is like 80s Jerry Curl

8:25

drive by music but 20-24. This

8:27

is some scary stuff. Andre is

8:29

like, um, Delios was his name

8:31

in 300, with his like one

8:33

eye patch and telling them all.

8:35

I like that guy. I like

8:37

that guy. I would definitely say

8:40

this, the like one of the

8:42

kind of like, um, the things

8:44

about G&X that brought us closer

8:46

to it was that the fact

8:48

that he had a whole body

8:50

of work that was thematic and

8:52

like interesting and layered upon like

8:54

post beef like kind of had

8:56

a prospective post, you know, what

8:58

he did was not like us.

9:00

That meant he was like thinking

9:02

about the future. Then, you know,

9:04

so I think we were all

9:06

kind of caught off guard and

9:08

surprised that, whoa, he's got to.

9:10

He's moving on to the next

9:12

thing. He's moving on to how

9:14

to build off of this and

9:16

creating that West Coast dynamic and

9:18

bringing the city together and bringing

9:20

those wrappers together on the album

9:22

and kind of giving you more

9:24

to look at than the, you

9:26

know. The aggression, you know, the

9:28

fight itself. It's like, no, there's

9:31

there, there's the Coliseum, there's what's

9:33

going on in the Coliseum, but

9:35

then there's also the talk around

9:37

the Coliseum, you know. We're in

9:39

the barracks, so men can be

9:41

men. That's right. And men can

9:43

fight sharks. Even the West Coast

9:45

Guard. I was glad I was

9:47

glad I was glad I was

9:49

too. And the whole thing is

9:51

it's still like a dig at

9:53

Drake because this whole thing right

9:55

like us was was that you

9:57

have no ties you have no

9:59

you don't sound like anything. You

10:01

go to Atlanta when you need

10:03

them, you know, hit the clubs

10:05

and then you go here and

10:07

there. What do you sound like?

10:09

I sound like this. So every

10:11

song and G&X sounding so West

10:13

Coast, it's like, hey, this is

10:15

my people. These are my people.

10:17

I think it's, it's interesting too,

10:19

because that, again, doubles back to

10:21

the, what were they gonna do

10:24

next, right? Again, it's kind of,

10:26

it's interesting because he is, like

10:28

you were saying, somebody who is

10:30

not necessarily tied to any particular

10:32

sound. And the sound he comes

10:34

back to the least is the

10:36

Toronto sound. Like he will abandon

10:38

that for five, six, seven years

10:40

and then do, you know, one

10:42

of those songs that kind of

10:44

sounds like. early weekend, you know,

10:46

party next door, and I was

10:48

telling camera, even listening to the

10:50

album, I was like, I don't

10:52

know what party next door sounds

10:54

like, because I can't tell if

10:56

Drake just sounds like him or

10:58

he sounds like and like, they

11:00

sound like sound alike. They're like

11:02

the Spider-Man, I mean, just pointing

11:04

at each other in the worst

11:06

way possible. You know, so Drake,

11:08

but Drake was like, well, I

11:10

guess I'll do the thing that

11:12

got me here. It's up when

11:15

you were doing that everybody thought

11:17

you thought you were. You know,

11:19

maybe a bit performative, but still

11:21

like the nice kid from DeGrassy

11:23

with the backpack who liked Fonte

11:25

and like wanted to, you know,

11:27

wrap with his heroes. And it

11:29

was like, oh, you're like, oh,

11:31

you're like, oh, you're like, oh,

11:33

you're like, oh, you're like. Oh,

11:35

man, a little brother. You're a

11:37

little brother. And it's like, oh,

11:39

man, a little brother. Or it

11:41

is. You know, but, but, but,

11:43

but, but, but, but, but, but

11:45

he tries to tries to try

11:47

to go he tries to go

11:49

back, but he tries to go

11:51

back, but he tries to go

11:53

back, but he tries to go

11:55

back, but he tries to go

11:57

back to go back to go

11:59

back to go back to go

12:01

back to go back to go

12:03

back to go back to go

12:06

back to go back to go

12:08

back to go back to go

12:10

back to go back to go

12:12

back to go back to go

12:14

back to go back to go

12:16

back to go back to The

12:18

vibes have changed and yet you

12:20

try to go back to how

12:22

people felt about you in the

12:24

beginning but now we don't feel

12:26

the same about you. They have

12:28

no skin. You have nowhere to

12:30

go. It's like you have no

12:32

person. on like what actually happened

12:34

to you other than like I

12:36

made a hoodie and it had

12:38

bullet holes in it and they

12:40

smoked and wasn't that wasn't that

12:42

the thing that got us here

12:44

you know I'm the victim after

12:46

all right I think it's like

12:48

no no This might be the

12:50

time to talk about it and

12:52

you know I made a joke

12:54

about Andre being there but if

12:57

you're debt free congratulations Andre I'll

12:59

keep my debts for the rest

13:01

of my life if that's what

13:03

it takes but it was interesting

13:05

because I was on the bus

13:07

and there was some young young

13:09

youths most of them were young

13:11

white boys and I Like obviously

13:13

they were yapping and they were

13:15

talking I took my phones out

13:17

and I heard them say controller

13:19

I heard them say wondered and

13:21

I'm like oh for fuck's sake.

13:23

They're on their way to the

13:25

Drake concert and I think that's

13:27

one of the things where I

13:29

was so sure when we had

13:31

this rap beef conversation I was

13:33

sure that this wouldn't change Drake

13:35

in a mainstream sort of way

13:37

because like everyone is saying pop

13:39

doesn't need roots. Right? It's like,

13:41

oh, I'm going to have a

13:43

K-POPP, which kind of already has

13:45

IRMB and hip-hop groups anyway, if

13:48

you want to be real about

13:50

it. But it's like, this is

13:52

the aesthetic, this is the hot

13:54

thing now, I'm going to do

13:56

this, I'm going to do that,

13:58

and that's kind of how Drake

14:00

was moving, right? So when he

14:02

wasn't selling tickets in New Zealand,

14:04

which is not a part of

14:06

Australia for those that I didn't

14:08

anticipate. of Drake not charting the

14:10

way he always charted and also

14:12

him not selling tickets. He ended

14:14

up having I think in Sydney

14:16

he had full shows maybe in

14:18

Melbourne he had full shows as

14:20

well but because he was never

14:22

really about it I guess so

14:24

to speak or he never stayed

14:26

rooted in that way to these

14:28

little white boys with their little

14:30

white girls on their way to

14:32

the stadium. I don't think that

14:34

makes a difference and I just

14:36

want to hear from Andre if

14:39

you have any sort of anything

14:41

to add in the streets of

14:43

Melbourne. Oh it was um I

14:45

was not in discreet I was

14:47

taking care of these little kids

14:49

but I was yeah father time

14:51

it's me I noticed that it

14:53

was I looked up some of

14:55

the ticket info and I'm like

14:57

this arena in Perth. Why is

14:59

it so hard to sell out?

15:01

Then I look and I'm like,

15:03

Brian Adams has a concert sold

15:05

out in March. Come on, Drake.

15:07

Brian Adams cannot be out selling

15:09

you. Wait, Brian Adams is selling

15:11

out Drake in 2025? Yep. Just

15:13

like, that's crazy. That's crazy. That's

15:15

crazy. I was like, who else

15:17

is going to be performing here?

15:19

Because I think the racarina holds

15:21

like maybe 15,000. Yeah. And I'm

15:23

like, okay, Brian Adams. Okay, cool.

15:25

And March is sold out. Come

15:27

on, Drake. Like, you have more

15:30

recent hits than Brian Adams. You've

15:32

got to be able to at

15:34

least get some kind of selling

15:36

because he hasn't been this area

15:38

in a long, long time. So

15:40

I'm thinking like, these, his fans

15:42

are going to show out in

15:44

support. But no, Brian Adams got

15:46

you wiped down. And I think

15:48

Kylie Monogue is in Melbourne, right?

15:50

Either the day, maybe the day

15:52

after Drake, Drake. She could have

15:54

been. She could have been. I'm

15:56

not a problem. I was killing

15:58

Drake though. Whereas, Kylie Monovis. You're

16:00

a star, baby. But I think

16:02

that it's interesting, too, because one

16:04

of the things that people were

16:06

talking about when I'm not even

16:08

going to say the name of

16:10

the album, because it's so dumb,

16:12

but... Say it, Jordan, be a

16:14

true outlet. You know this is

16:16

a song this is an album

16:18

made specifically for women to cater

16:21

to women to try to appeal

16:23

to women. Yeah. And there it

16:25

is, because most of the people

16:27

are saying, well, most of the

16:29

people who are listening to this

16:31

are, like, maybe not in-sell young

16:33

men specifically, but like, you know,

16:35

kind of these like angry young

16:37

men who just like want to

16:39

feel like they can blame women

16:41

for all of their problems. And

16:43

like, that's who you're making music

16:45

for now. And they're not going

16:47

to buy concert tickets. They got

16:49

they got fortnight to play they

16:51

got right other things to attend

16:53

to like they're not going out

16:55

to see you right so like

16:57

you abandoned most of your female

16:59

fan base you know by pivoting

17:01

to a more male fan base

17:03

and in such a hard way

17:05

that it's just like become your

17:07

identity now like I don't know

17:09

what you think is going to

17:12

happen when you start trying to

17:14

tour this music because they're going

17:16

to be like remember Not even

17:18

just all of the other, you

17:20

know, like allocations to stuff I

17:22

get you, but like things that

17:24

you specifically said that make it

17:26

feel like you're not making music

17:28

for us anymore. That was the

17:30

base too. That was space hard.

17:32

That's hard to come back from.

17:34

Well, because it's like, imagine if

17:36

L.L. Cool Jay was like, I

17:38

made the pivot from like super

17:40

hard wrapper to like. Making songs

17:42

for women and then sometimes I

17:44

come back and be like but

17:46

I still beat your ass, you

17:48

know, but but I you know

17:50

fighting shots falling in love with

17:52

tea fire Yeah, you know, a

17:54

little cool Jay. Yeah, he's the

17:56

Thanos meme. He was perfectly bad

17:58

right. He really did have all

18:00

five stones like he could do

18:03

everything and he could do it

18:05

like super well and then when

18:07

he went into the acting he

18:09

was like just as like kind

18:11

of all over the board there

18:13

was Never a grace period with

18:15

him acting he was pretty he

18:17

was a pretty decent actor almost

18:19

from junk Yeah, it's like shout

18:21

out deep blue sea How like

18:23

the Star Spent, you know? That

18:25

out in the deep. Yeah. I

18:27

like, shot out, so funny. Oh,

18:29

Intu Deep is a great movie.

18:31

That is a very, really good

18:33

movie. It's one of my favorites.

18:35

It was so funny when L.L.

18:37

said that like, one day people

18:39

are gonna realize that I wanted

18:41

a great. And I'm like, I

18:43

want to agree with you, but

18:45

also, like, that has to come

18:47

from somebody else. I need a

18:49

little bit more humbleness. Yeah, but

18:51

it's true. But it's wild. But

18:54

I would, I would say about

18:56

Kendrick. Like Kendrick will come and

18:58

be super aggressive and Aggie and

19:00

then he will go hide in

19:02

his cave and you won't see

19:04

him for five years. By the

19:06

time? Like Andre. Right. Right, and

19:08

I kind of like that. I

19:10

like it. I like my wrappers,

19:12

super aggressive on wax and normal

19:14

people at the house. Yeah. Just

19:16

have the playground, do a push-ups,

19:18

you know? Right, right, right. On

19:20

the roof tops, doing push-ups. No

19:22

one will sit. Yeah, on the

19:24

roof push-ups. Focus, focused. Right. You've

19:26

never been a person. Why are

19:28

you doing prison push-ups? Port Antonio,

19:30

we were on our little, little

19:32

holiday and Port Antonio came. So

19:34

we were like, we waddled back

19:36

to the hotel room so we

19:38

could listen to it. And it

19:40

was interesting because it was the,

19:42

who was the Juan Delilah, that

19:45

was Drake, wasn't it? He was

19:47

the grippy. That wasn't, it wasn't,

19:49

Juan Delisle, like the first Drake

19:51

song. Yeah, yeah, yeah, yeah, yeah,

19:53

yeah, yeah, yeah, yeah. And I

19:55

like my dickwology specifically or something

19:57

like that. Wait, are we are

19:59

we are we taking Jay Cole

20:01

to task for grippy? Is that

20:03

what's going on? No, no, no,

20:05

no. I'm talking about. We're taking

20:07

the task in general. Because I

20:09

think I think collectively we all

20:11

agree that like when he wants

20:13

to germane can wrap, he might

20:15

not read or when he wants

20:17

to, he can. for Antonio, I

20:19

guess if you can, and I

20:21

guess we can say whether we

20:23

can or not, if you can

20:25

separate him apologizing, maybe that's humility,

20:27

I don't know what we want

20:29

to say that is. But in

20:31

that track, it was very gloomy,

20:33

it was very much like, I

20:36

need to get my shit off.

20:38

But he like congratulated Drake. He

20:40

didn't specifically name Kendrick, which is

20:42

a bit annoying to me. Like,

20:44

catch flight's going to be direct.

20:46

We're wanting real routes, which is

20:48

what Kendrick said in the Super

20:50

Bowl ad, right? But then he

20:52

mentioned something about blood in regards

20:54

to Kendrick in Port Antonio, which

20:56

we see in will come to

20:58

G&X. You know, blood is just

21:00

paint to me. I was like

21:02

okay fine I don't know why

21:04

you're trying to enter a beef

21:06

that already ended and he just

21:08

released was a cloud like he

21:10

just released the track now I'm

21:12

just seeing this now oh you're

21:14

just seeing it now he was

21:16

just seeing the track I didn't

21:18

even know yeah has anyone heard

21:20

it yeah I listed so it's

21:22

interesting because I follow a lot

21:24

of different rap channels and you

21:27

know there's obviously a very pro

21:29

Jay Colside and a very, maybe

21:31

if not anti, just kind of

21:33

like, sit down, germane, you know,

21:35

the side of people. And I

21:37

was listening to Open Mike Eagle

21:39

talk about the new song. And

21:41

one of the things that he

21:43

was talking about was just like,

21:45

he can really wrap. You know

21:47

what I mean? Like he, there's

21:49

no doubt about his ability to

21:51

put words together and like, you

21:53

know, all these different metaphors together

21:55

and open Mike Eagle was even

21:57

talking about like the level of

21:59

breath control and like all the

22:01

stuff you need to do some

22:03

of the stuff that he was

22:05

doing on that song. But then

22:07

when you listen to it and

22:09

like break it down, like it

22:11

is very just rapid irrepar stuff,

22:13

you know, so it's like he.

22:15

He's got the surface level covered.

22:18

But then, you know, like the

22:20

underneath is kind of lacking, maybe

22:22

because, like Katie said, he doesn't

22:24

read or has a certain amount.

22:26

But like, so Port Antonio, what

22:28

it reads like, is him recognizing

22:30

that, like, I'm the rapidly rap

22:32

guy, you know what I mean?

22:34

And so I can't not. Rappity

22:36

Rapp, like I can't come out

22:38

here and say, well, now I'm

22:40

going to do all of this

22:42

stuff on my music because like

22:44

claiming that I'm the best rapper

22:46

is like 75% of my identity.

22:48

So like I can act like

22:50

I just tapped out, you know,

22:52

before I even, but again, like

22:54

I think we may have talked

22:56

about this. It was just like

22:58

that that was the most well

23:00

if I would have fought, you

23:02

know, you know, song of all

23:04

time. It was like, you're just

23:06

lucky that I decided that I

23:09

decided that I decided that I

23:11

decided that I was above doing

23:13

that because if I did, then

23:15

you know, right, but it's like,

23:17

but you also released a salt.

23:19

So it wasn't like you avoided

23:21

beef entirely. You stepped into the

23:23

beef, realized that it was more

23:25

than beef, you know, decided you

23:27

didn't want that. So you can't

23:29

act like you didn't do that.

23:31

And then you're like, but if

23:33

I did do that, like, he

23:35

called no name out. Yeah. And

23:37

then I had to sit that

23:39

one out, because it was after

23:41

the fact. He was like, no

23:43

name. Who is that? Let me

23:45

talk about her for five seconds.

23:47

How dare she have a book

23:49

club? Yeah. Yeah. How does she

23:51

actually read? But then he does

23:53

the thing he loves to do,

23:55

where he's just like, but I'm

23:57

just a rapper though. So, you

24:00

know, and it's like, bro, bro,

24:02

it's like, bro. You know. Yeah,

24:04

I listened to both of them

24:06

and it's just like, man, this

24:08

was Cole's time to prove that...

24:10

He's a top tier guy. Are

24:12

you a cold cutie? Is that

24:14

what you're saying? I would consider

24:16

myself a cold cutie. I'm a

24:18

caybot and a cold cutie. And

24:20

I'm like, this is your chance.

24:22

And if he just said, when

24:24

he was at his Dreamville thing,

24:26

he said, it didn't sit right

24:28

with my soul. And then all

24:30

of his music from then on

24:32

now was just like him reflecting,

24:34

but not saying, oh, if I

24:36

did do it, it would have

24:38

been different. If he just said

24:40

like, hey, maybe I've been going

24:42

through this rap game differently, maybe

24:44

I went down a path that

24:46

wasn't going to be good for

24:48

me in the long term and

24:51

I'm trying to revert and find

24:53

something else within the genre, everybody

24:55

would have been fine. But you

24:57

can't sit there and say, boy,

24:59

I would have punched him, I

25:01

would have done this, he's lucky

25:03

I didn't pull out my batista

25:05

blasting all this stuff, but it

25:07

sounds silly. It's almost like if

25:09

he was a samurai if he

25:11

was a samurai. and you can

25:13

see him slicing through all the

25:15

bamboo stacks, his armor is nice

25:17

and shiny, he could probably cut

25:19

a bullet in half. But then

25:21

when it's time for the battle,

25:23

he ran off. He's like this

25:25

doesn't, he ran off on a

25:27

personal, no on a personal, yeah

25:29

on personal soul-saving adventures, like yeah,

25:31

I had to go handle some

25:33

shit, you know, my great-grandfather's grandfather.

25:35

You lucky some spirit spoke to

25:37

me and I have to meditate

25:39

by this waterfall. It doesn't say

25:42

my spirit and he's pushing women

25:44

and children out of the way.

25:46

But I guess, sorry, just quickly,

25:48

country boy, I don't know if

25:50

there's North Carolina tax here for

25:52

your boy, Germain. I wasn't going

25:54

to say that. How? But I

25:56

guess just generally, how are you

25:58

feeling about Jay Cole? Could anything

26:00

change your opinion? What is your

26:02

opinion, etc, etc, etc, about our

26:04

friend? Oh, we have general, just

26:06

general love for Jay Cole, just

26:08

because we just don't. we don't

26:10

have very many artists like I

26:12

think it's like p.d. Pablo the

26:14

baby and Jay Cole and that's

26:16

that's that's about it that's about

26:18

it you know it's tough for

26:20

the Carolina drumline bro like that

26:22

happened yeah it did yeah yeah

26:24

that's the ending of drumline is

26:26

a pepalos here and AJ and

26:28

he never wraps he's just like

26:30

Yeah. Yeah. And he rests on

26:33

the other side of the field.

26:35

He goes, yep. And he goes,

26:37

and then he's like, y'all saw

26:39

me too. But they can license

26:41

any of my songs, so I

26:43

gotta go back. Yeah. I saw

26:45

him perform at a half time

26:47

of a Charlotte Hornets game once.

26:49

It was kind of sad. But

26:51

he was fired, though. Hey. I

26:53

was about to say that. Peep.

26:55

Peep. Peep. Yeah. That's how I

26:57

thought it was good. Very good.

26:59

So it is a bit of

27:01

a tax. Yeah, yeah, Mac Jones.

27:03

Wow. Who? My Joe. Wow. Oh,

27:05

wow. It's the truth, though. It's

27:07

the truth, and it's okay. Do

27:09

we still remember our phone number

27:11

two? No, Flossing. Mike Jones, who?

27:13

Mike Jones, who? I definitely don't

27:15

remember the phone number, the war.

27:17

That phone has not rang. No,

27:19

it is ten years. It is

27:21

dry. It is very dry. People

27:23

keep forgetting certain numbers. It's like,

27:26

is it a 3-1-3-1 or a

27:28

3-3-1? And then Mike jumps his

27:30

way in like that girl in

27:32

audition, like it's gonna ring, man,

27:34

I can't wait to talk to

27:36

somebody. I put it out everywhere.

27:38

Someone's gonna call me. Well, I,

27:40

because I think it's all kind

27:42

of the same. But I also

27:44

feel like maybe with Jay Colle,

27:46

there might be like a bit

27:48

more grace than Drake, like if

27:50

you want to try, you can

27:52

try. Because even in that recent

27:54

clouds, I was like, this sounds

27:56

good, you're rapping, but don't say

27:58

you're the best again. Like I

28:00

think we're, like, I think we're

28:02

done with that, which he kind

28:04

of like did a. as well.

28:06

But I think we've given them

28:08

enough enough. We'll probably get to

28:10

them throughout. Let's get into G&X.

28:12

Where were you when G&X dropped?

28:14

I think it was like 5.6

28:17

a.m. in Sydney. I was like

28:19

5.15 when G&X dropped. Where was

28:21

everyone? We can go track for

28:23

track or we can talk about

28:25

our favorite tracks, but I like

28:27

to hear just generally. how we

28:29

feel and then we can go

28:31

to tracks if we want to.

28:33

I mean, you know, I love

28:35

it. I love it. I'm big

28:37

on the hyper aggressive, hyper aggressive,

28:39

you know, I mean, this is

28:41

this is why it's funny to

28:43

me about how we treat J.

28:45

Cole and basically Drake in general,

28:47

is that rapid such a hyper

28:49

masculine genre. You know, and somebody

28:51

who like I'm 40, I grew

28:53

up listening to, you know, the

28:55

golden area of the 90s and

28:57

everybody was like this. So listening

28:59

to G&X, this is like, this

29:01

sounds like the 93 West Coast

29:03

rap that I grew up loving.

29:05

I love every moment of this.

29:08

So it's very hard. It's

29:11

hard for me to dislike it.

29:13

Like I knew I knew when

29:15

I first heard it and I

29:17

heard squabble up I was like,

29:19

I'm already in like, let's go.

29:21

Let's go. Give me everything. I

29:23

think I was waking up. It

29:25

was 7 a.m. And I just

29:27

saw the the G&X snippet and

29:29

I'm just like, oh, wow, this

29:31

sounds so heavenly. What a great

29:34

way to wake up. I'm about

29:36

to get my girl up, get

29:38

everybody's up and then all of

29:40

a sudden. I'm like, no, it's

29:42

just the snippet. The album should

29:44

be coming soon. And then the

29:46

whole track listing came out for

29:48

me. And I was like, oh,

29:50

I gotta change napies, I gotta

29:52

get breakfast, put this on. It

29:54

was a fun moment. I feel

29:56

like living on the Australia time

29:58

zone, it's like waking up and

30:00

everything has already happened. So it's

30:02

just like trying to catch up.

30:04

This is not as real. The

30:06

Christmas morning. Yeah, it's like, get

30:08

ready. Everybody already listened to it

30:10

already, analyze it. I'm just like,

30:12

let me just sit down, have

30:15

my coffee. I bet your entire

30:17

timeline was just like mustard, just

30:19

mustard. Mustard. Yeah. I was like,

30:21

why does Goku talking about mustard?

30:23

I'm seeing all these anime mustard.

30:25

You're a dangerous man. I stay

30:27

off until I like, I'm trying

30:29

to connect dots that. will be

30:31

connected in the future. But I'm

30:33

like, who's mustard? What's funny? Is

30:35

I remember the meme and I

30:37

couldn't find out what song that

30:39

was on because it's like halfway

30:41

into TV off and I lived

30:43

at the TV off and I'm

30:45

like, oh, this is okay. It's

30:47

okay. And I moved on. So

30:49

everybody's like, what the hell. I

30:51

didn't hear that, that's not on

30:53

my album. Did you hear it

30:56

on Spotify or did you hear

30:58

it on Apple music because there

31:00

are, is this like an exclusive

31:02

muster song that I don't know?

31:04

Right, like I expected that part,

31:06

the way it sounds, and you

31:08

know, Kendrick loved the beat switch

31:10

and I assumed that was the

31:12

very beginning of a song, so

31:14

I flipped through every track and

31:16

I was like, this is not

31:18

on my album. Oh, okay, okay.

31:20

You know, and the very beginning

31:22

of TV off is not. Sound

31:24

like that. So I'm waiting for

31:26

that. He's getting up. He's amping

31:28

up. Yeah. I'm like, where's my

31:30

mustard? No, nowhere. DNA and King's

31:32

dead are like my favorite sort

31:35

of like tracks when Kendrick snaps

31:37

and he just gets into that

31:39

mode. I like that mode. Yeah,

31:41

Kevin and Jordan, G and X.

31:43

What were your initial thoughts, feelings,

31:45

watching listening experience? I think I

31:47

was at work and you texted

31:49

me. Jordan. I think you were

31:51

like, A-O. It happened. And I

31:53

was like, what? I wish I

31:55

could go through the receipts to

31:57

find it. You do make a

31:59

wire character. You do, you do

32:01

access the shit like that. Like,

32:03

honestly, through the beef, that was

32:05

you. You literally, I was eating,

32:07

eating lunch at work. And it

32:09

was like. Like, another tower's been

32:11

hit, bro. And I was like,

32:13

whoa, what's going on? And then

32:16

I like, check out the track.

32:18

And I'm like, oh shit, oh

32:20

my God. You know, like, so

32:22

I think I was mad. You're

32:24

checking your beep for like the

32:26

first season of the wire. You

32:28

know, look, I gotta hit a

32:30

pay phone. I gotta talk, hold

32:32

on, hold on. I saw your

32:34

text and then, you know, I

32:36

went on the work computer and

32:38

saw it on YouTube and then

32:40

saw it was the whole album

32:42

and I was like, oh, oh

32:44

God, poor Drake, because he's probably

32:46

gonna murder him on this. Check

32:48

on your man's, yeah, check on

32:50

your man. It's for real. And

32:52

now let's do it on the

32:55

way home. And I was like,

32:57

oh, this isn't even about that

32:59

nigger, but it's about like the

33:01

aggression, being in that, in that

33:03

vibe. but not about him. And

33:05

I was just like, this is,

33:07

this is peak. This is so,

33:09

this is everything. I wonder, like,

33:11

this is one of the things

33:13

I always, did I, did, did

33:15

you, had this in a chamber?

33:17

Did you know? Could it feel?

33:19

That's the thing, that's what's still.

33:21

Let's get to the timeline. Let's

33:23

get to Jordan first. Oh, yeah,

33:25

real quick. Yes, I mean, I

33:27

just, I saw it on my

33:29

way to work and I was

33:31

like, and I was like, Yeah,

33:33

well I think, you know, initially

33:36

because there was there was some

33:38

of the chatter before I get

33:40

there and all the rest. You're

33:42

trying to dissuade that you're the

33:44

insider, right? Like, I wasn't sitting

33:46

in the dark room. I was

33:48

actually out in the public. I

33:50

didn't get the black ops text.

33:52

Yeah. Well, I think, you know,

33:54

initially, because there was there was

33:56

some of the chatter people just

33:58

like. Oh, like this is cool,

34:00

but it's not like, you know,

34:02

trying to downplay and could be

34:04

some drunk people within that, could

34:06

be some people who are maybe...

34:08

were just expected something different because

34:10

on my first listen I liked

34:12

it but I think I'd been

34:15

so used to you know the

34:17

other albums where it's like there's

34:19

a theme there's like a larger

34:21

you know interwoven whether it's not

34:23

the skits or yeah you know

34:25

so I was kind of thrown

34:27

a little bit where I was

34:29

just like oh okay because this

34:31

feels like a mix tape you

34:33

know, and not like, you know,

34:35

one of his albums of the

34:37

past. But then when I listened

34:39

to it again, I was like,

34:41

now this is at the victory

34:43

lap, like this is like, yeah.

34:45

All right, you know, mission accomplished.

34:47

Absolutely. You know, now we're just

34:49

gonna ride and like, this is

34:51

the music we play as we

34:53

ride through the streets, you know,

34:56

afterwards. I like the 9-11 references

34:58

also, the mission accomplished. Yeah, yeah.

35:00

Oh no I was just going

35:02

to say like it feels like

35:04

he um Kendrick is very much

35:06

us in a lot of ways

35:08

and I think it's similar to

35:10

us he had just finished digesting

35:12

everything that had gone down and

35:14

I think this was just kind

35:16

of like his. Oh they got

35:18

to him. They're like, like, give

35:20

them hope. He's like, yeah. Yeah,

35:22

I just put that cord. He

35:24

was like, turn the feet. Turn

35:26

the stream off. Turn the stream

35:28

off. He's cooking too much. He

35:30

cook it too much. Right. I

35:32

would say. Oh, what's happening again?

35:35

No, not again. They'll, like, give

35:37

them hope. Put them back and

35:39

take it out. He had this

35:41

platform. And, you know, similar when

35:43

you could think about. the pop-out,

35:45

you know, a lot of people

35:47

on the West Coast specifically talk

35:49

about how that was like such

35:51

a moment, like they were like,

35:53

those people on stage, two days

35:55

ago we're going to kill each

35:57

other. You know what I mean?

35:59

He got them all here together.

36:01

They don't do this people. out

36:03

here don't do this. And like

36:05

Andrew said, this is feels like

36:07

he's really trying to unify Los

36:09

Angeles, unify the West Coast with

36:11

this album. So once I took

36:13

all of that into context, I

36:16

was like, oh I get it.

36:18

Like I get this now. Like

36:20

this is very much just his

36:22

like, I'm stamping this and now,

36:24

you know, something's coming after, but

36:26

like I really just want to

36:28

put this G&X and then the

36:30

Super Bowl were kind of like

36:32

very much the period on. you

36:34

know, everything he had been doing

36:36

last year. We get a two-door

36:38

and we'll sign the NDAs. It's

36:40

okay. I know you're pretending to

36:42

cut the fee just now. This

36:44

just feels the closest to Good

36:46

Kid Mad City, but also still

36:48

very... you know, sonically different, very

36:50

2025. You know, because my favorite

36:52

album is, you know, from him

36:55

is Good Kid Mad City. And

36:57

this is probably the closest, the

36:59

most west coast is, and I

37:01

know that, you know, Good Kid

37:03

Man City was a concept album

37:05

and they had an overarching theme,

37:07

but, you know, individually, those songs

37:09

sound very similar to what you're

37:11

getting, what you get here from

37:13

G&X. And that's, I feel like

37:15

that's a positive, at least for

37:17

me. I might be wrong in

37:19

saying this, but I think what

37:21

I'm hearing is it feels unaffected

37:23

by popular culture. It's culturally whatever

37:25

Kendrick wants it to be and

37:27

what the culture is. So even

37:29

if it is popular, like is

37:31

that kind of, am I getting

37:33

what he's always done, what the

37:36

fuck he wants to do? Kendrick

37:38

has never been the type of

37:40

guy, like, like he does follow

37:42

some mainstream, like, Even on Gnex.

37:44

I think he follows his creative,

37:46

like he follows like his creative

37:48

North Stars, you know, like the

37:50

Isley Brothers and like, you know,

37:52

West Coast hip-hop, you know, the,

37:54

you know, the Snoop and Dre

37:56

era. But you're not gonna be

37:58

like, you're not gonna be like,

38:00

you're not gonna be like, you're

38:02

not gonna be like, you're not

38:04

gonna say that about the other

38:06

guy, you know, remember when he

38:08

did that. Fake Patois? Yeah, all

38:10

right. Remember we had a broad

38:12

one? Delila? Yeah. Yeah, really. There's

38:15

still in everything except that Toronto

38:17

sound. And I feel like that

38:19

makes you feel inauthentic. And when

38:21

you're dealing with pop fans who

38:23

don't have any roots, they love

38:25

that. They don't care that you

38:27

don't have a genuine anything. But

38:29

if you're not certified. And when

38:31

you get exposed, like he got

38:33

exposed by Kendrick, and now the,

38:35

you know, the people who, the,

38:37

the pop fans look towards for

38:39

what's hot, who's hot, who's hot,

38:41

who should we like? If they're

38:43

not, you know, co-sonable, that person,

38:45

then it's like, ah, maybe we

38:47

don't like him either. So it's

38:49

like, where do you go? Like,

38:51

not black people will go. to

38:53

like Inglewood. And the one's like,

38:56

can you please get lost? Like

38:58

you, please take the pictures in

39:00

front of the dunes. Like, yeah,

39:02

I live here. Yeah, you're not

39:04

to move Charlotte. You can't roll

39:06

around in the G and X

39:08

for Kendrick. Like, it's not the

39:10

same thing. But if we talk

39:12

about the timelines, September, I think

39:14

was the first time we heard

39:16

about a mural being whacked out.

39:18

So people are saying. There are,

39:20

like, that could have been possibly

39:22

the timeline. It didn't just happen

39:24

at the time it was released,

39:26

right? And I think, I think

39:28

Mustard was talking about hearing TV

39:30

off at the Not Like Us

39:32

music video, which came out in

39:35

July, but there were dancers that

39:37

talked about being on a music

39:39

video that they didn't know about,

39:41

because obviously Kendrick and the PG

39:43

Lang team, very creative, exciting for

39:45

the film to come out as

39:47

well, by the way. But they

39:49

mentioned doing it in May. So

39:51

it's like so much has happened

39:53

and I guess it depends on

39:55

which string theory you want to

39:57

like that. But it seems like

39:59

this has been a collision. like

40:01

he's continued to build off of

40:03

it. People were wondering if he,

40:05

I don't know if it was

40:07

Man at the Garden, but if

40:09

they were saying a particular track,

40:11

he waited and responded to Port

40:13

Antonio. So I feel like there's

40:16

so much that's like potentially when

40:18

he did it or he was

40:20

building on it. It's interesting because

40:22

even not like us, sounds like

40:24

a track that. like perfectly

40:26

at home on G&X. And when

40:28

you hear it, you're like, well,

40:30

which came, which one of these

40:32

came first? You know, when you,

40:35

when you put in together this

40:37

beef, and then after the beef,

40:39

you was like, well, I got

40:41

to have a whole album full

40:43

of this, I need to bottle

40:45

all of this energy. Or were

40:48

you coming together with this energy?

40:50

And then was like, oh, by

40:52

the way, let me knock this

40:54

nigger head off. By the way,

40:56

good morning. God, you keep this

40:58

axe. You know, it just, I

41:00

don't know, either way, everything has

41:03

to line up perfectly for you

41:05

to be able to fully capitalize

41:07

the way that he did. Like

41:09

the way Michael had done it?

41:11

Is I would have had beef,

41:13

seen the results of the beef,

41:16

been like, oh, wow. This is

41:18

popular, let me capitalize on that

41:20

and been rushing to put together

41:22

an album to capitalize on all

41:24

this energy that I have built

41:26

on, but that doesn't feel like

41:28

the Kendrick way. Yeah, well, it's

41:31

interesting because there's, there's a woman

41:33

in the N95 video, who when

41:35

it came out was talking about

41:37

like, we filmed this last year.

41:39

Yeah. You know, like we, I'm

41:41

seeing this now, I'm surprised. I

41:44

didn't think this was coming out

41:46

because like, you know, I filmed

41:48

the album was coming shortly after

41:50

that and I didn't hear anything

41:52

about it until, you know, Mr.

41:54

morale came out. So like, I

41:56

think he has a lot of

41:59

this stuff just ready to go

42:01

and he's kind of moving at

42:03

his own pace. And so there

42:05

might be certain situations where, like,

42:07

did he have a whole album

42:09

just sitting around? Way to think

42:12

about it, I don't know if

42:14

that's the case, but like, I

42:16

could see some, like, I could

42:18

see, like, either, like, Dodger Blue

42:20

or, you know, Luther being songs

42:22

that, like, he had done, maybe,

42:24

like, was just working on, you

42:27

know, in the course of things,

42:29

and then, like, like, all of

42:31

this started to come together. Because

42:33

he also talks about, he saw

42:35

the, he saw the, World Series

42:37

games. You can't tell me I

42:39

don't speak Spanish, excuse me. You

42:42

can't tell me I'm not saying

42:44

the Spanish words and sounding exactly

42:46

like her. You just can't tell

42:48

me. Cameron and Andre, do you

42:50

have any thoughts on the timelines

42:52

before we go through the tracks?

42:55

I feel like Edrick is always

42:57

going to have this mysticism around

42:59

him. And even though it felt

43:01

like he should have... He had

43:03

something ready to go. He released

43:05

it on his own time and

43:07

it still fit the, I guess,

43:10

the culture. And sorry to bring

43:12

him up again, but that's just

43:14

like that's something Drake doesn't have.

43:16

He's always, he's chronically online and

43:18

he doesn't have it. He doesn't

43:20

have it. Like the Pet Seminary,

43:23

hey? Yeah, it's like this, there's

43:25

a wrestler named Sting, who would

43:27

just stay in the rafters. and

43:29

he'd pop down whenever he needs

43:31

to. I feel like that's, that's

43:33

Kendrick, like he'll, he'll stay up

43:35

there and he could see everything.

43:38

He doesn't need to be down

43:40

there mingling with everybody. That, that

43:42

mistake of people missing you. I

43:44

think that, like, being away helps

43:46

a lot with that. Well, that

43:48

was even, you know, during the

43:51

beef where Drake was like, he's

43:53

not dropping fast enough, like, you

43:55

know, And it's like he's gonna

43:57

start when he's ready to do

43:59

it. Like nobody's gonna rush. him

44:01

off of his spot like he's

44:03

gonna do what he's gonna do

44:06

so there's really you know whether

44:08

it's fans or whether it's somebody

44:10

calling him out like he's gonna

44:12

take his time and then when

44:14

it's done ready you know like

44:16

he's always hitting things at the

44:19

right time so like I don't

44:21

know what kind of calendar he

44:23

has I'd like to see it

44:25

because it would help me with

44:27

a lot of things yeah yeah

44:29

yeah to be able to know

44:31

right but I can't think of

44:34

a time where he's he's in

44:36

terms of releasing music and all

44:38

that. He said to someone who

44:40

it seems to be always away

44:42

or in his cave, he seems

44:44

hyper aware of like the culture

44:47

and people and where people are

44:49

at and what they need. And

44:51

for someone like Drake who's chronically

44:53

online. he seems to be completely

44:55

unaware of the culture. Like it

44:57

doesn't, it doesn't make sense. It

44:59

doesn't make sense that Kendrick should

45:02

understand these things better than you

45:04

do. It doesn't understand, it doesn't

45:06

make sense that, that every black

45:08

person I know, knows why you

45:10

don't sue someone after a rap

45:12

beep and why that would be

45:14

potentially hazardous to your, you know.

45:17

standing within the culture. Like, do

45:19

you not know any black people

45:21

at all? Like, got to tell

45:23

you. It's a terrible, it's a

45:25

terrible plan. And if someone was

45:27

constantly online, you had to know

45:30

that. Someone had to be like,

45:32

nah, bro, that ain't it. And

45:34

he's like, nah, I think it's

45:36

a great idea. Like, I don't

45:38

know. out wrap you, something's gonna

45:40

happen. Or I'm gonna feel like

45:42

I walked off with a win

45:45

somehow. You know what I mean?

45:47

I think. Go ahead, go ahead,

45:49

go ahead, finish. Oh no, I'm

45:51

just saying like you could see

45:53

there's there's so many self-inflicted wounds,

45:55

you know, that Kendrick didn't even

45:58

have to work for, you know,

46:00

that he just. kind of threw

46:02

up to him because he's such

46:04

a dork. So like, I think

46:06

he's- Stay down, man. Stay down.

46:08

You could just see him flailing

46:10

this whole time and like, the

46:13

lawsuit kind of feels like just

46:15

the last- Yeah, man, it's just

46:17

like, this is the last thing.

46:19

And it's, it's sideshow Bob with

46:21

the rank, to make another sense

46:23

of reference. Like, he just can't

46:26

stop walking into the ranks. Well,

46:28

I think what it is also,

46:30

we're sort of kind of hovering

46:32

around is that Kendrick leads these

46:34

conversations, right? Right. The, technically he

46:36

leaves the conversation on his beef

46:38

because he started it with, you

46:41

know, the track on the future.

46:43

I don't know, because the what?

46:45

Crusay, right, that is, that is

46:47

so true. Well, and Cameron, I

46:49

will, I will mention this because

46:51

everybody. always forgets it but like

46:54

okay you know like that is

46:56

out there right sure and you

46:58

get both mention of a cease

47:00

and desist you know what I

47:02

mean yeah which like that's that's

47:04

weird you know specifically coming from

47:06

Drake but then on euphoria he's

47:09

like I'm surprised you wanted that

47:11

feature request right so like that's

47:13

even further than that like even

47:15

if you don't consider first person

47:17

shooter a disc track the idea

47:19

of you trying to get me

47:22

on a song and you know

47:24

I don't like you right and

47:26

then you say any talk about

47:28

it right and it's like okay

47:30

like I can poke back like

47:32

we can we can go back

47:34

and forth if you want to

47:37

do this if you want to

47:39

do this If like that was

47:41

the was the impetus or if

47:43

it was that feature request that

47:45

was like I mean people had

47:47

talked about all the stars is

47:49

like directly aimed so we could

47:52

say it. Go on back. You

47:54

can get a lot of kick

47:56

it. I think that's also a

47:58

direct dis. I think you can

48:00

go. You can go all the

48:02

way back to tuck a sensitive

48:05

rapper in this pajama clothes at

48:07

the BT Cipher. Very true. Well,

48:09

the Angie, the Angie, Martina is,

48:11

that was off. That was around

48:13

the same time right where Drake's

48:15

like oh but he was smiling

48:17

at me do you want him

48:20

to punch you in the face

48:22

at like yeah because that's the

48:24

next you were smiling at you

48:26

at the Super Bowl too. What

48:28

do you want? Cameron did you

48:30

want to finish off if you

48:33

guys have the time I want

48:35

to go track through track if

48:37

you don't have the time we

48:39

can just talk about highlights but

48:41

Cameron did you want to is

48:43

there anything you wanted to say

48:45

about timeline stuff? Well, just real

48:48

quick that, you know, Kendrick seems

48:50

to be, like, the leader in

48:52

these conversations are, like, the one

48:54

actually provoking, whereas Drake does follow

48:56

up. He's the one who thinks

48:58

he's going to get the last

49:01

line. I mean, honestly, him, which

49:03

I still think is clever, him

49:05

naming one of his districts, Hart,

49:07

Part Six, is, like, really, probably

49:09

the saviest movie he had in

49:11

his arsenal, and then he got,

49:13

like, stopped out immediately. He planted

49:16

the information camera. Yeah, he had

49:18

it the whole time. He's the

49:20

mastermind behind all of this. You

49:22

know what I mean? And even

49:24

if he planned that, it's still

49:26

the stabbiest movie. But that's still

49:29

the stabbiest move he had in

49:31

his arsenal. Otherwise, like, it was

49:33

just like, response, response, response, right?

49:35

So, and he feels like that

49:37

when he responds, he's more. I

49:41

guess dynamic with his responses?

49:44

Yeah. Because I tell me

49:46

that he doesn't say that

49:49

the bullet holes is a

49:51

response, you know? These are

49:53

like fashionable responses to get

49:56

like the upper hand. in

49:58

the 1990s too. Right? It's

50:01

like you didn't even do it

50:03

right when you didn't you didn't even

50:05

do it right. Whereas Kendrick is like

50:08

he's literally got the third eye open

50:10

and all of the all of his

50:12

moves are double and triple entendres that

50:15

you can't even trip over if you

50:17

try. He's got the third eye of

50:19

Sauron, you know, I mean, like that

50:21

thing. Anybody. Any point of direct evil

50:24

straight. Open that bitch of third eye

50:26

is evil. Right, right? But that's the

50:28

thing. Drake is goofy and he can't

50:31

like his eye of Sauron is

50:33

like, you know, shooting unicorn rainbows

50:35

while like. You know, Kendrick is

50:38

shooting like straight fire at his

50:40

chest, opening his chest cavity up.

50:42

Straight, but you can tell. It's

50:45

such an easy target though. He's

50:47

such an easy, like everything that

50:49

Kendrick talks about is exactly what

50:52

I would have done. I was

50:54

like, you know, it would, it would

50:56

have helped him. Like, Kendrick says it

50:58

in advance and Drake still does

51:00

it. Like, wouldn't you avoid what

51:02

he's accusing you? But Kendrick is

51:04

a very difficult target. What were

51:07

you going to talk about? He

51:09

does an album. He has like,

51:11

what, like 300 tracks ever. And

51:13

he does his album. And then

51:15

he goes hides in his hole.

51:17

And you never hear from him.

51:20

What were you going to talk

51:22

about? Yeah, how dare he is

51:24

the actual boy. How day are

51:26

you short, moisturized King? Love you,

51:28

Kendrick. Exactly. There was nothing on

51:30

him at the end of day.

51:32

I mean he did we can

51:35

relitigate it we can relitigate it

51:37

because he definitely like you

51:39

know did with the route

51:41

of Whitney and like tried

51:43

to you know go for

51:45

the abuse stuff and he

51:47

tried even he was like

51:49

open up with that he

51:51

was open with that in response

51:53

to it being like yes I

51:56

have you know but he did

51:58

give me they free I can

52:00

listen to everything that Kendrick said. It

52:02

wasn't hearsay or rumor. It was a,

52:05

hey, you remember when Drake did, remember

52:07

when Drake slept with Lil Wayne's girlfriend

52:09

when he was in jail? Remember the

52:11

way that he was talking crazy about

52:14

Serena Williams? Remember that time he got

52:16

sued for $500,000 for sexual assault? You

52:18

remember all those stories about the gambling?

52:21

Do you remember when he lied about

52:23

having a kid? Not a sense in

52:25

reference. Another sense of drink is just

52:27

like, you're short. Maybe they took 50%

52:30

when you left TDE. And allegedly, somebody

52:32

told me that you beat your wife

52:34

and maybe that's not your kid. Meanwhile,

52:37

you've got a $500,000 sexual assault settlement

52:39

case. And multiple women have claimed that

52:41

you have either like. made them sign

52:43

NDAs or let alone the video footage

52:46

of the concert that we have all

52:48

seen like you know we. That's not

52:50

even women that's young girls as well

52:53

and it's and that but that's what

52:55

it is that's the same Drake that's

52:57

directly at you as like before Drake

52:59

was we're talking about what we see

53:02

you know. Sorry what was that? Before

53:04

Drake was weird I saw him in

53:06

concert. Don't lie I saw you in

53:09

a straight country boy. awesome concert today

53:11

that wasn't that dope. It was, it

53:13

was J. Cole, Rick Ross, and the

53:15

headline was Drake. And that sounds insane

53:18

in 2025. But at the time, J.

53:20

Cole had like, yeah, J. Cole had

53:22

like one song and he had to

53:25

bring P.D. Pablo out to stretch it

53:27

out and Rick Ross did. People is

53:29

going to follow us like next time.

53:31

People are like, my name is somebody's

53:34

mouth. Somebody heard it. He can feel

53:36

like a bookie man. But anyway, Drake

53:38

brought his young girl on stage. and

53:41

kissed her on the mouth and that

53:43

was his whole stick at the time

53:45

is that he would bring some girl

53:47

up on stage and I don't know

53:50

her age but she didn't look legal

53:52

from the second floor that I was

53:54

on yeah just saying which is I

53:57

mean that's again if your drugs team

53:59

and you can't tell how old this

54:01

person is you say not that one

54:03

There's literal video of low Wayne like

54:06

about to bring a girl on stage

54:08

and then somebody's, oh, how do you?

54:10

And she, I think she's like 16

54:13

or 17. It's like, oh, no, no,

54:15

we can't do that. Yeah. You're right.

54:17

Can we bookmark the set of, can

54:19

we bookmark the set of, can we

54:22

bookmark the set of add? Like, maybe

54:24

once we get to everything we need

54:26

to get to. Yeah. Because we haven't

54:29

even talked about a way. And his

54:31

legacy. But I do. So like what

54:33

Cameron was saying about Kendrick leading conversations

54:36

as well as Country Boy talking about

54:38

how he always manages to be tapped

54:40

in. I think the big word of

54:42

the day is culture because it's not

54:45

even about you know Drake acting like

54:47

a karate which is obviously 100% true.

54:49

But I think you don't need to

54:52

constantly tap into algorithms to know culturally

54:54

what makes sense. and to always be

54:56

about what you say you're going to

54:58

be about. So even if Kendrick isn't

55:01

online, I don't think the way he

55:03

moves is informed by that, which I

55:05

think is what a lot of the

55:08

people appreciate, because if people want to

55:10

have a really mature conversation about this

55:12

rap beef, sure you can say people

55:14

are glazing for Kendrick, but it's more

55:17

than that. It's about what Kendrick says

55:19

and it's about what he stands for.

55:21

It is fun and it'll dance all

55:24

over your grave as well, but there's

55:26

a bigger conversation to be had there.

55:28

I want to go through the track

55:30

by track. Are you guys okay with

55:33

that? We don't have to spend too

55:35

much time on it. But we're just

55:37

having so much fun. I just want

55:40

to make sure we get what we

55:42

need to. So whacked out murals. Also,

55:44

the way that Oti and I were

55:46

listening to it. We started to get

55:49

to the point where we couldn't just

55:51

watch. off the TV, we needed to

55:53

listen in our own earphones first. And

55:56

to have that as an album, we

55:58

were like pushing each other. Is this

56:00

actually happening? This is the best day

56:02

of my life. But I guess, how

56:05

did it start hearing it? Because I

56:07

think it very much informs this is

56:09

what we're getting into. It's like a

56:12

spikely opening shot, right? Like, you know

56:14

what we're getting into. Maybe not thematically,

56:16

but you know this is the energy,

56:18

this is what time we're on. What

56:21

did everyone think about whacked out, whacked

56:23

out murals. I loved it as an

56:25

intro. It almost had like this dark

56:28

stint energy, where it's almost like he's

56:30

like, you might think I'm the hero,

56:32

but I have villain tendencies, and that's

56:34

what gets the job done. And the

56:37

way he just goes about it, and

56:39

he drops these lines, like, he's like,

56:41

Drake was putting money out there to

56:44

find something on me. And it's like,

56:46

he's like, what, something bad could have

56:48

happened out of this, and what hit

56:51

my mind was nipsy hustle. Like Nipsey

56:53

stays close to the streets and I

56:55

was like if that money he said

56:57

like if the money fell into the

57:00

hands of a crash dummy We we

57:02

wouldn't be talking about yeah And to

57:04

think like yeah, we're never gonna be

57:07

cool after this and I feel like

57:09

That's the thing about West Coast guys.

57:11

It's like you might think we're overdoing

57:13

it, but this is our reason And

57:16

what Drake did is it. You can't

57:18

be buddy buddy and have barbecues and

57:20

stuff with him now It definitely feels

57:23

like I don't know if you guys

57:25

are ever saying it was it was

57:27

a key and peel sketch but it

57:29

happened in real life too sometimes when

57:32

like two people are scheduled to fight

57:34

each other and one person is like

57:36

I'm gonna talk about your mom and

57:39

your religion and like all this other

57:41

stuff but we're just selling the fight

57:43

so like I don't really mean it

57:45

but like I'm just saying it so

57:48

like people get it. And the other

57:50

person is like I don't play about

57:52

that shit. And Kendrick, I think Drake

57:55

was like, you know, I'm going to

57:57

do the same play, I'm going to

57:59

talk about your girl. talk to her

58:01

about Pussy T with Meek Mill and

58:04

I'm gonna you know talk about all

58:06

this other stuff and like you know

58:08

whatever whatever and it was like Kendrick

58:11

is like that's the wrong button to

58:13

Bush you know I mean like my

58:15

family and like all of that stuff

58:17

like second you cross that line like

58:20

that's the end right and so I

58:22

think for Drake you know he kind

58:24

of thought oh I could just you

58:27

know do these things I could put

58:29

this energy out there and like it's

58:31

all a rat beef and Kendrick was

58:33

like absolutely not absolutely not. You know,

58:36

and you can feel it, you can

58:38

feel it in the, in this song

58:40

in particular, because again, I think, you

58:43

know, there's, there's, there's nipsey, but there's

58:45

a slew of rappers who have just

58:47

died in the last, you know, three

58:49

to four years because of bullshit, but

58:52

like, but street shit, you know, like,

58:54

people are like, you know, somebody said

58:56

something about somebody. you know, and they

58:59

had people put money on their head

59:01

and it got to that point. And

59:03

so, you know, I think Kendrick is

59:05

very cognizant of that, specifically being from

59:08

the West Coast and knowing like, you

59:10

know, if that's where this is going

59:12

to get to, like, I absolutely have

59:15

people to. So like, it's always been

59:17

it's not a game for him. It's

59:19

always been like, hey, you talk about

59:22

that, we're going to do our research.

59:24

I'm coming to find you. Right. I

59:26

think it's also but his his reaffirmation

59:28

about like you know I know the

59:31

position I hold you know in the

59:33

game and in the industry right and

59:35

like you know there's certainly levels to

59:38

things but like looking around and seeing

59:40

just how things are going in rap

59:42

and like. Certainly some

59:44

of the direction that Drake was

59:46

taking things but even more so

59:48

like just the integrity right like

59:50

standing on something and for something

59:52

like I think this was his

59:54

kind of like setting the tone

59:56

of like this is everything that

59:58

comes after this like this is

1:00:00

the bar, right? You gotta reach

1:00:02

this. And so, you know, him

1:00:04

talking about, you know, you can

1:00:06

whack out the murals, but like,

1:00:08

I'm basically the living mural, right?

1:00:10

And the legend to my legend

1:00:12

ends, yeah, yeah. Right, right. So,

1:00:14

you know, just like, mission statement

1:00:16

off top of like what this

1:00:18

album was gonna be, but like,

1:00:20

what, how he's thinking and moving

1:00:23

in the future. Yeah. I think

1:00:25

it's a very, very Kendrick song.

1:00:27

It almost feels like a song

1:00:29

that only he could, like, sonically

1:00:31

pull off. You know, when you

1:00:33

hear it, because he has this,

1:00:35

this way that he wraps that

1:00:37

is very almost. like as opposed

1:00:39

to squabble up where he almost

1:00:41

blitzes you with information and thoughts

1:00:43

and ideas and lines and sometimes

1:00:45

you have to just go read

1:00:47

the lyrics and go what was

1:00:49

he doing what we talking about

1:00:51

here oh okay okay okay as

1:00:53

opposed to you know like TV

1:00:55

off which is pretty very simplistic

1:00:57

so this this song very much

1:00:59

was a mission statement and a

1:01:01

and a this is where we

1:01:03

are put all my cars out

1:01:05

on the table you know this

1:01:07

is where we're going from here

1:01:09

all right everybody have a party

1:01:11

like y'all have a good time

1:01:13

in the in the first track

1:01:15

he was judge jury executioner yeah

1:01:17

yeah you know and then after

1:01:19

that it was a celebration so

1:01:21

celebration yeah some songs were like

1:01:23

But that's like, I don't know,

1:01:25

I feel like it all feels

1:01:27

like, I made it celebration, you

1:01:29

know, like find yourself. I feel

1:01:31

like this is like, you know,

1:01:33

him just doing donuts in the

1:01:35

middle of the street, you know,

1:01:37

like wiped out murals kind of

1:01:39

feels like we already celebrated, we

1:01:41

already pop champagne, you know. This

1:01:43

is us like doing donuts on

1:01:45

your grave now with the infers.

1:01:47

You know, with setting the stage,

1:01:49

you know, hey, we did all

1:01:51

that. Let's really talk about it

1:01:53

now. Let's really go in and

1:01:55

talk about it now. You know,

1:01:57

it kind of is definitely victory

1:01:59

lap. It is, but it's like

1:02:01

not the expected way to go

1:02:03

about it. You know what I

1:02:05

mean? Because we all expected like,

1:02:07

if not like us, it was

1:02:10

like the fireworks. We was like,

1:02:12

all right. like a residency with

1:02:14

all the bells and whistles but

1:02:16

Andre said Andre you were talking

1:02:18

about how the impact of this

1:02:20

and I guess the way that

1:02:22

it was introed into this as

1:02:24

well I think when it comes

1:02:26

to it's kind of like an

1:02:28

acoustic version but for hip-hop like

1:02:30

you can't hide behind anything it's

1:02:32

all going to be there and

1:02:34

when you talk about the hit

1:02:36

Like it would have and you

1:02:38

know how Drake or even germane

1:02:40

would have twisted of all look

1:02:42

at me I feel sorry for

1:02:44

me like I think Kendrick's like

1:02:46

like this is just the bullshit

1:02:48

like Jordan says like this is

1:02:50

just the bullshit that happens but

1:02:52

I'm going to let you know

1:02:54

that this happened right yeah doesn't

1:02:56

make it a pity party but

1:02:58

he's like this is what it

1:03:00

is I'm going to get into

1:03:02

it. There's a particular line here.

1:03:04

I will rep OT for a

1:03:06

second. When we were listening to

1:03:08

the first track, Whacked Our Murals,

1:03:10

they talked about this energy will

1:03:12

make you move to Europe. And

1:03:14

the timing might be off and

1:03:16

I don't think we have a

1:03:18

lot of time to talk about

1:03:20

Skepta. Unfortunately I had to, I

1:03:22

had to like avatar extract him

1:03:24

out of my dreams because he's

1:03:26

a very embarrassing man. It sucks.

1:03:28

I don't know if you remember

1:03:30

that in, yeah, so I guess

1:03:32

for context, Friends and Lovers, Skepta

1:03:34

on an interview, I think with

1:03:36

Ebro, I remember the Apple logo,

1:03:38

yeah. Shout out to you bro,

1:03:40

shout out to everyone, all the

1:03:42

black journalism that's been going on

1:03:44

as well. Anyway, back to this,

1:03:46

but Skepto was talking about how,

1:03:48

oh, you know, there's a bag

1:03:50

for everyone. It's like, shut up.

1:03:52

And it's like, obviously, I'm not

1:03:54

a very kidding. But I'm like,

1:03:57

shut up. Yeah, and like, you're

1:03:59

losing endorsements, like, you know, it

1:04:01

didn't have to be like that.

1:04:03

And it's like, you obviously don't

1:04:05

know how to read the room.

1:04:07

And because him and Drake is

1:04:09

so close, I don't think he

1:04:11

has a tattoo of Drake, but

1:04:13

he has some sort of weird,

1:04:15

broy thing. with Drake and it's

1:04:17

like I think that might be

1:04:19

well Oti said that might be

1:04:21

an illusion to you teaming up

1:04:23

with like beeps in Europe and

1:04:25

it's like you don't get this

1:04:27

shit like run off to Europe

1:04:29

then if that's the case so

1:04:31

I don't know if we have

1:04:33

time or if you guys want

1:04:35

to talk about that but I

1:04:37

just wanted to put that here.

1:04:39

I always thought I always said

1:04:41

that Drake should just move to

1:04:43

Borabora and take and take and

1:04:45

take some white peoples. Take some

1:04:47

money. He just wants to go

1:04:49

to like Ibiza or some place

1:04:51

like that. Yeah. Just put on

1:04:53

the island, put your feet in

1:04:55

the sand, take take pictures of

1:04:57

your fake abs and yeah I

1:04:59

want that for him too. Just

1:05:01

go somewhere in private. Yeah, and

1:05:03

be that, but just call it.

1:05:05

Don't involve me. Not somewhere else.

1:05:07

Go be weird somewhere else. It's

1:05:09

just like, you know what, it's

1:05:11

weird, because every time I see

1:05:13

him on like his little live

1:05:15

streams or whatever, and he's talking

1:05:17

about, you know, a need a

1:05:19

max win or whatever he wants

1:05:21

to talk about, I'm just like,

1:05:23

bro, who do you think wants,

1:05:25

like, because if you're the rap

1:05:27

god, if you're the rap dude,

1:05:29

if you're the number one, you

1:05:31

gotta be talking about more than

1:05:33

like, like, like, like, like, like,

1:05:35

like, drinking champagne with your bulldog

1:05:37

by the pool. Like, bro, you

1:05:39

have, there's literally nothing going on.

1:05:41

Yeah. Well, he's, he reached that

1:05:44

part in his life that a

1:05:46

bunch of Uber and celebrities reach

1:05:48

where it's just like, I don't

1:05:50

know, I don't know anything else.

1:05:52

You know, I mean, I've been

1:05:54

so disconnected from people for so

1:05:56

long that like I'm not even

1:05:58

quite sure how to interact with

1:06:00

the normal human being anymore. And

1:06:02

so like I. I've been rich.

1:06:04

I don't know what normal is.

1:06:06

Yeah, but I'm not saying for

1:06:08

him to go away after this

1:06:10

beef, but I need him to

1:06:12

like grow up grow up like

1:06:14

dude a guy devoted an entire

1:06:16

like pop what? camera he made

1:06:18

a song that is the most

1:06:20

creepy uncle song give me a

1:06:22

hug. I mean he's just like

1:06:24

I'm in the strip club. He's

1:06:26

like give me a hug. Yeah.

1:06:28

Where's my hug at? He gave

1:06:30

him a theme. He gave him

1:06:32

a theme. He can't he can't

1:06:34

distance himself away from that because

1:06:36

that's just who he is. Like

1:06:38

maybe when he was like the

1:06:40

cute, you know, like 24 year

1:06:42

old kid who, you know, he

1:06:44

made it like, huh girl, you

1:06:46

know, like I'm being kind of

1:06:48

cute and innocent about it. Right.

1:06:50

But now it's just like. Ew.

1:06:52

Give me a like, you know,

1:06:54

a child. Drake's that guy where

1:06:56

I like, I side so he

1:06:58

doesn't get any boob. Like, yeah.

1:07:00

Like, no. You know, church, that

1:07:02

church hook, the bootyout church hook.

1:07:04

Yeah, the bootyout church hook. Yeah,

1:07:06

you got a booty out. the

1:07:08

stages of artists, and they would

1:07:10

say that you create new music,

1:07:12

you know, before you're 30, and

1:07:14

then once you hit in your

1:07:16

30s, and then you hit 40,

1:07:18

you start touring on the music

1:07:20

that you made in your 30s.

1:07:22

This is what Drake is. Drake

1:07:24

is 39, almost 40, and he's

1:07:26

in this transitional period where he

1:07:28

makes pop music for kids that

1:07:30

are, what, half his age. And

1:07:33

like this transitional period, what do

1:07:35

you do now? Where do you

1:07:37

go? Where do you go from

1:07:39

here? Where is your I'm on

1:07:41

tour? Where's your Frankie Bell? Like

1:07:43

when an artist has to start

1:07:45

looking back at the career and

1:07:47

trying to figure out, okay, you

1:07:49

know, like, you can't keep making

1:07:51

this music. He's the old man

1:07:53

in the club now. Yeah, he's

1:07:55

facing the old guy in the

1:07:57

club. Yeah. So that's the thing.

1:07:59

I feel like it's, it's, like

1:08:01

you were saying, like, when, when

1:08:03

an artist has to start looking

1:08:05

back at the career and trying

1:08:07

to figure out, okay, you know,

1:08:09

like, am I still operating. at

1:08:11

that peak level, you know, am

1:08:13

I still number one guy? And

1:08:15

that's really, again, one of the

1:08:17

stealth conversations about this whole beef

1:08:19

was that, like, Drake very much

1:08:21

felt that he was the best

1:08:23

rapper, not the best artist, you

1:08:25

know, I mean, the best rapper.

1:08:27

And Kendrick took very much offense

1:08:29

to that, not even just because

1:08:31

he thought he was the best

1:08:33

rapper, but because like, like, You're

1:08:35

not even a rapper. You know

1:08:37

what I mean? Like I don't

1:08:39

think he knows what that means.

1:08:41

Yeah. You know, like you very

1:08:43

famously don't write your own raps.

1:08:45

Like we know this. You've admitted

1:08:47

it. But he says like you

1:08:49

listen in a Dante like this

1:08:51

crazy. That's crazy. That's like listening

1:08:53

to most deaf all your life

1:08:55

and then wanting to sound like

1:08:57

oozy. Yeah. Look, but that I

1:08:59

mean, people forget about. people forget

1:09:01

about the solo reprise with Andre

1:09:03

3000 where he's talking about oh

1:09:05

I didn't know that we don't

1:09:07

have to write our own wraps

1:09:09

anymore you know I wouldn't have

1:09:11

tried so hard if that if

1:09:13

I do that was the case

1:09:15

you know that makes me so

1:09:17

sad but that's the thing it's

1:09:20

just like the conjuret comes from

1:09:22

that school of yeah you know

1:09:24

this is a this is a

1:09:26

art this is a sport this

1:09:28

is not you know, just like

1:09:30

you come in and you do

1:09:32

the songs or ranking you based

1:09:34

on how many number one hits

1:09:36

and plaques you have, like this

1:09:38

is like, can you wrap for

1:09:40

real? And during thought he could.

1:09:42

But you know, like the more

1:09:44

that we kind of see. of

1:09:46

it, if he's trying to go

1:09:48

back to that original sound like

1:09:50

we're talking about, he doesn't really

1:09:52

have much landscape there anymore. Like

1:09:54

he kind of completely tried to

1:09:56

separate himself from that world, but

1:09:58

like, he's a much more successful

1:10:00

pop artist than he has a

1:10:02

rapper, right? But I think that's

1:10:04

the problem. He's such a FELT's,

1:10:06

like, he just has so many

1:10:08

people in his ear, like, no

1:10:10

one loves him. Like, even like

1:10:12

what Country Boy was saying, like,

1:10:14

like, you don't move like that.

1:10:16

And like who would even, like

1:10:18

why isn't anyone pulling you by

1:10:20

a collar and being like, this

1:10:22

is not? I think that's a

1:10:24

rich person. This is embarrassing enough

1:10:26

now. That's a rich guy problem.

1:10:28

It's been like, you've been rich

1:10:30

so long, you've been successful so

1:10:32

long, that you think that everything

1:10:34

I do, I should be successful

1:10:36

at, and he's around you with

1:10:38

people who just want to ride

1:10:40

your co-tails of that success, and

1:10:42

they don't want to tell you

1:10:44

that this is stupid. Because they

1:10:46

don't want to alienate themselves. So

1:10:48

they used to surround yourself with

1:10:50

people that only going to tell

1:10:52

you, it's a great idea, Drake.

1:10:54

Oh, this is the best idea

1:10:56

ever. I would never doubt you.

1:10:58

You're my best friend. Come give

1:11:00

me a hug. Are you guys

1:11:02

okay to keep going through the

1:11:04

tracks? Because I realize we're taking

1:11:07

your time. Is that okay? Blah

1:11:09

blah, blah. And I guess because

1:11:11

we didn't really talk about the,

1:11:13

I just call it the G&X

1:11:15

trailer thing. I will get to

1:11:17

the floor, but like holding on

1:11:19

to that broccoli, you keep having

1:11:21

to play the music video to

1:11:23

hear it, right? Yeah. How did

1:11:25

we feel about squabble up? It

1:11:27

was the first music video, I

1:11:29

think it's the only till now,

1:11:31

music video for G&X. How did

1:11:33

we feel about it? I was

1:11:35

losing my shit a bit because...

1:11:37

We literally started off with the

1:11:39

reincarnated. I was stargazing. Because I

1:11:41

think we also reincarnated as a

1:11:43

track, right? Yeah. The fact that

1:11:45

we had that as a cute

1:11:47

little surprise. Like how are we

1:11:49

all feeling about what we love?

1:11:51

It was a great change from.

1:11:53

especially going from whacked out mirrors,

1:11:55

which is a, you know, very,

1:11:57

like we were saying, it was

1:11:59

a serious track. It's like, hey,

1:12:01

hey, this is where we are.

1:12:03

And then squabble up feels like,

1:12:05

like I said, like kind of

1:12:07

like a party. You know, you

1:12:09

come in and it feels like

1:12:11

a party. It kind of reminds

1:12:13

me of, Like those little John

1:12:15

songs where you would be in

1:12:17

the club and they would be

1:12:19

like ready to fight. You know

1:12:21

what I'm saying? Like those songs

1:12:23

used to make? Like nugget you

1:12:25

buck, tear the club up. If

1:12:27

you don't give a damn, we

1:12:29

don't give a fuck. Yeah, that

1:12:31

kind of stuff. Yeah, that kind

1:12:33

of stuff. And Squabble up feels

1:12:35

like right at home with those

1:12:37

kind of songs. You play this

1:12:39

in the club and you see

1:12:41

that dudes you don't like. And

1:12:43

now you know what? I might

1:12:45

hit him with a chair. Let's

1:12:47

set it off right. Yeah, set

1:12:49

it off right. It's a very,

1:12:51

I love it, I love it.

1:12:54

It's probably my favorite track or,

1:12:56

oh, we're getting into favorite tracks

1:12:58

already at number two, okay. Okay.

1:13:00

It was a special, it was

1:13:02

a special song because it felt

1:13:04

like. Were we going to get

1:13:06

that snippet as a full song

1:13:08

for a while? And then once

1:13:10

you heard it, you're like, oh,

1:13:12

this is it. Yeah, yeah, yeah.

1:13:14

Yeah, it's like hearing it and

1:13:16

hearing all he's saying. And it's

1:13:18

like, even in the video, he's

1:13:20

just like, nonchalant, like, yeah, this

1:13:22

is it. There you go. I

1:13:24

love that though about it. I

1:13:26

love it that he's just like,

1:13:28

hey, dog. That's what I got.

1:13:30

And it's just like, like some

1:13:32

of the best music he's created.

1:13:34

I don't think I even know

1:13:36

to say, because he's been doing

1:13:38

that from N95. So I don't

1:13:40

think I even noticed that he

1:13:42

was doing, until people were saying

1:13:44

it, I was like, oh, actually,

1:13:46

yeah, he looks like he could

1:13:48

be doing something else. Yeah. Yeah.

1:13:50

Yeah. I like the Natshav. I

1:13:52

think Natsonically doesn't really shit with

1:13:54

Mr. morale. It's probably the best

1:13:56

song with that album on a

1:13:58

band. I love it. It was

1:14:00

kind of like, well, you know,

1:14:02

I've been listening to albums just

1:14:04

as a, you know, way of

1:14:06

listening to music for a long,

1:14:08

long time. And I always feel

1:14:10

like there's like some time, some

1:14:12

I like, you know, the album

1:14:14

will sound like this, but then

1:14:16

here's this standout track that sounds

1:14:18

like nothing else on the record.

1:14:20

And I think Squabble Up is,

1:14:22

is that in a weird way,

1:14:24

even though it's like, got the

1:14:26

same bragadocio and the same, like,

1:14:28

like, you know. hip-hop bonafides is

1:14:30

like the rest of the record,

1:14:32

but it just feels kind of

1:14:34

like it's sitting on this island

1:14:36

all by itself. Yeah. Where I'm

1:14:38

just feeling like songs like a

1:14:40

whole like they make that at

1:14:43

a different time, a different space.

1:14:45

I was in a different hit

1:14:47

space when I made this when

1:14:49

I made this track. Right. Right.

1:14:51

And also based on the. Oh,

1:14:53

I was just going to say,

1:14:55

based on the timing, I mean,

1:14:57

because it came out with the

1:14:59

Night Like Us video, like, I

1:15:01

mean, this could have been a

1:15:03

song he made. This could have

1:15:05

been the first song that he

1:15:07

made. And, you know, and then,

1:15:09

you know, kind of kept moving

1:15:11

into stuff. Cameron, go ahead. Yeah.

1:15:13

I just wanted to also quickly

1:15:15

shout out the, like, direct homage.

1:15:17

Sure. A slight dude. This is

1:15:19

a slight, that was a, that

1:15:21

was a full-on. This is direct.

1:15:23

I'm doing you, and it's interesting

1:15:25

because Quest Love So I was

1:15:27

like, you know, I'm always, you

1:15:29

know, so astonished when artists, you

1:15:31

know, pay a massage to the

1:15:33

roots or like, you know, celebrate

1:15:35

us or whatever. And I was

1:15:37

like, I don't think you know

1:15:39

what this is. I think maybe

1:15:41

you forgot that you said that

1:15:43

thing. Or you're trying to act

1:15:45

like you didn't say that thing.

1:15:47

Yes, that part. That part. You're

1:15:49

trying to catch us very much.

1:15:51

We have learned he does not

1:15:53

forget things. Yeah. So I don't

1:15:55

think he a missed the thing

1:15:57

that you said and I don't

1:15:59

think he let it go because

1:16:01

this whole album was Basically G&X

1:16:03

aka. I don't let shit go

1:16:05

so The record the record like

1:16:07

I don't let shit go the

1:16:09

album Right so I think this

1:16:11

was very much him saying like

1:16:13

not even like You know, fuck

1:16:15

Quest Love, because I don't think

1:16:17

it's that serious, but I think

1:16:19

it's like... Yeah, no, I don't

1:16:21

think it is. It's just interesting

1:16:23

seeing the way people move now,

1:16:25

whether it's for a check, whether

1:16:27

it's to stay within popular opinion

1:16:30

or stay in networks, you know,

1:16:32

with powerful people. It's interesting to

1:16:34

see the way people talk and

1:16:36

the way people move. This has

1:16:38

nothing to do with anything, but

1:16:40

we recently watched Bamboozled and Quest

1:16:42

Love the Roots. We're in black

1:16:44

faces as well. Yeah, yeah, yeah,

1:16:46

well that that whole movie is

1:16:48

like trying to be like real

1:16:50

well isn't that that's what the

1:16:52

that's the that's the satire is

1:16:54

like the bold satire of like

1:16:56

this is real hip-hop this is

1:16:58

real even like you know the

1:17:00

TV show itself in that movie

1:17:02

is like this is the real

1:17:04

stuff where they're always shot they're

1:17:06

flitting between what's you know true

1:17:08

about themselves and then like what

1:17:10

are we doing for profit for

1:17:12

popularity what does that mean about

1:17:14

us you know they're flitting between

1:17:16

those two zones and I mean

1:17:18

it's not too far it's you

1:17:20

know it's not too far from

1:17:22

the same argument but is definitely

1:17:24

like I mean the roots were

1:17:26

always like that band that was

1:17:28

straddling the line between like we

1:17:30

are the underground dudes that may

1:17:32

do you want more and we're

1:17:34

also like we'll make a pop

1:17:36

song or phrenology or will make

1:17:38

the pop song one thing fall

1:17:40

apart. You got me like the

1:17:42

least single in that record is

1:17:44

a pop song straight up like

1:17:46

that's that's where they exist and

1:17:48

I feel like Kendra is kind

1:17:50

of towing that same line too.

1:17:52

You know, you're playing the Super

1:17:54

Bowl, but you're also like, most

1:17:56

of your tracks are like, four

1:17:58

people like us who want to

1:18:00

rip them apart and talk about

1:18:02

the double entangres. Yeah. So I

1:18:04

mean, I think he's in direct

1:18:06

conversation. Yeah, he's still a mainstream

1:18:08

artist. Kendrick Lamar is the most

1:18:10

mainstream artist, even though he's the

1:18:12

negative like do a pushups in

1:18:14

the park. You know, and Questlove

1:18:17

wanted to be that too, you

1:18:19

know, back in the day, he

1:18:21

wanted to be the square roots,

1:18:23

but now he's doing the S&L

1:18:25

50 show. And the House Band,

1:18:27

the mainly on the Tonight show,

1:18:29

it's like, don't play that you

1:18:31

not, like, Kian, with Jimmy Fallon

1:18:33

every day, you know, and directing

1:18:35

the Disney remake of the aristicats,

1:18:37

like, nigger we see you, okay?

1:18:39

You know, you know, All right,

1:18:41

squabble up, but shout out to

1:18:43

look to the roots. I still

1:18:45

love the roots, especially always love

1:18:47

the roots, always love the roots.

1:18:49

It's a culture, you know, before

1:18:51

we change, when I was shot

1:18:53

now, North Carolina, North Carolina bands,

1:18:55

I don't know how I forgot

1:18:57

our little brother, but I mean,

1:18:59

of course, that's the guys. Yeah,

1:19:01

I'm the guys. And one last

1:19:03

thing about squabble up. Like. because

1:19:05

we heard the stip at so

1:19:07

many times, right? So like, you

1:19:09

know, it's the introduction to the

1:19:11

song and it's kind of like,

1:19:13

but when the actual sample and

1:19:15

the beat drops, you're like, oh,

1:19:17

okay. The house is jumping. Once

1:19:19

the beat drops on that song,

1:19:21

everybody's like, let's go, let's go,

1:19:23

you know? If I could, I

1:19:25

would start a grip walk. Yep.

1:19:27

I wish I wish I could.

1:19:29

I wish I could. Like listen

1:19:31

to kindergarten makes you wish you

1:19:33

could crib walk just a little

1:19:35

bit. Yeah, it made me want

1:19:37

to be in a West Coast

1:19:39

gang. I was right. Right, right.

1:19:41

You can still play San Andreas

1:19:43

Cameron. Y'all got a there you

1:19:45

go. Apparently, apparently, apparently GTA is

1:19:47

saying they're going to have a

1:19:49

G&X radio station. I don't play

1:19:51

it, but I'm assuming when you're

1:19:53

in a. car you can play

1:19:55

different radio stations. So they're going

1:19:57

to have a G&X one or

1:19:59

better. Usually dope. GTA five? Or

1:20:01

six? GTA five? Well, six. GTA

1:20:03

five now. We're on five now.

1:20:06

We're on five now. We're on

1:20:08

five. It's been like 15 years.

1:20:10

Like I need you to move

1:20:12

on. And I remember letting her

1:20:14

play. And she was like, you

1:20:16

can just steal any car you

1:20:18

want. And she stole a car.

1:20:20

And she felt bad. And she

1:20:22

like gave it back. gave it

1:20:24

back to them. You know the

1:20:26

same, right? You know the title

1:20:28

of it? I'll be, I'll start

1:20:30

a stream where I start playing

1:20:32

GTA, play the G&X radio station,

1:20:34

and I'll sing that song from

1:20:36

Bamboozled. I'd be smacking my hose.

1:20:38

I'm trying to make me grow

1:20:40

old. I'm assuming that's what GTA

1:20:42

is all about, for instance. Yeah,

1:20:44

the game. I guess, yeah, just

1:20:46

quickly on squabble-up. I think maybe...

1:20:48

It's kind of in the same

1:20:50

vein of not like us where

1:20:52

you don't even need to listen

1:20:54

to what Kendrick saying the bead

1:20:56

is going to carry You even

1:20:58

if you're not paying to do

1:21:00

it to know nothing and you

1:21:02

can just kind of just You

1:21:04

know what I mean, but then

1:21:06

even if you listen to the

1:21:08

lyrics of it They're wolf tickets

1:21:10

on sale till I silence it.

1:21:12

I don't know if it's about

1:21:14

Drake's short not getting tickets, but

1:21:16

Bernie won't going over and popping

1:21:18

it like there's so much that

1:21:20

he's saying And he's coming for

1:21:22

your head as well. That just

1:21:24

makes it so great, which I

1:21:26

think is probably in this similar

1:21:28

sort of aim to not like

1:21:30

us, at least in my opinion.

1:21:32

So we've got Country Boy's favorite

1:21:34

track. We're right at the top

1:21:36

of the album. And then we

1:21:38

get into Luther. I didn't know

1:21:40

we were going to get first

1:21:42

off like 80s R&B and second

1:21:44

off, I don't know what it

1:21:46

was. Maybe it just caught me

1:21:48

at a very emotional time. But

1:21:50

hearing Luther voice, I was not.

1:21:53

I was not ready. Because I

1:21:55

said you're like Martin Luther King.

1:21:57

Yeah. It makes you. That's exactly

1:21:59

it. Well, also the doc, the

1:22:01

documentary just dropped. I don't know

1:22:03

if it dropped down there. on

1:22:05

Max as well, but the kind

1:22:07

of like encompassing Luther Van Joe's

1:22:09

documentary never too much just came

1:22:11

out recently and there's kind of

1:22:13

been this like wave of rediscovery

1:22:15

for him, which I mean I

1:22:17

never fell off of like the

1:22:19

first time I heard it's the

1:22:21

last time I heard it's always

1:22:23

been in rotation, you know what

1:22:25

I'm saying? So and also also

1:22:27

his earlier records before he went

1:22:29

kind of big. are being re-released.

1:22:31

So there's like this, there's a

1:22:33

lot of Luther conversation right now,

1:22:35

and this kind of felt like

1:22:37

Tip of the Iceberg, like damn,

1:22:39

like, we got Sizza and Kendrick

1:22:41

on their best song together, kind

1:22:43

of like, re-giving that energy of

1:22:45

Luther and Cheryl Lin. It's like,

1:22:47

wow, whoo, this is, that's when

1:22:49

you play in with like, the

1:22:51

next level. That's when you like,

1:22:53

oh, what if we do this,

1:22:55

but we did it our way,

1:22:57

you know. You know. And it

1:22:59

happens to be their best song.

1:23:01

Well, it's interesting too, because this

1:23:03

song also got into just larger

1:23:05

cultural conversations, where there are a

1:23:07

number of white critics and reviewers

1:23:09

online who are like, oh yeah,

1:23:11

Luther's a skip, and black people

1:23:13

are like, what are you actively

1:23:15

talking about? What are you saying?

1:23:17

But that's not too out of

1:23:19

their hands. Be like, come to

1:23:21

you. Yeah, you don't get to

1:23:23

have this one then. Fine. That's

1:23:25

another, that's another for the culture

1:23:27

thing though, right? Like Kendrick knows

1:23:29

like how these things move and

1:23:31

what they mean to people, right?

1:23:33

And so like, you know, directs

1:23:35

Luther reference, you know, he had

1:23:37

the Algreen reference in 616. And

1:23:40

he also had it in family

1:23:42

ties, Algreen offspring, guns in the

1:23:44

melodies. Yep. Yeah. So like. He's

1:23:46

he's bringing in all of this

1:23:48

this cultural stuff that I think

1:23:50

people and specifically like West Coast

1:23:52

right like again like Luther is

1:23:54

another very like heavy household name

1:23:56

like every black family had at

1:23:58

least one Luther album if not.

1:24:00

to. So like he's continuing to

1:24:02

connect with that. But also like

1:24:04

you were saying camera like you

1:24:06

know for him and Sizza I

1:24:08

think there's a it's a it's

1:24:10

a it's a double shot right

1:24:12

because it's like Sizza Andrei's connection

1:24:14

right. And Sizza has been put

1:24:16

in some very compromising positions. I

1:24:18

don't know if you saw the

1:24:20

hot ones with her and Easter

1:24:22

Ray. I love it for her.

1:24:24

She's kind of like, you know,

1:24:26

I would rather not speak about

1:24:28

it. And, you know, it's partially

1:24:30

like embarrassed X energy, just like,

1:24:32

you know, not even partially, I

1:24:34

would say 100% like, yeah, one's

1:24:36

just looking at Easta like, why

1:24:38

you made me talk about this?

1:24:40

I don't want to talk about

1:24:42

him. I don't want to talk

1:24:44

about him. She's literally looking at

1:24:46

him like that, looking at her

1:24:48

like that. You know, so it's

1:24:50

like having that that feature again,

1:24:52

you know, says a guy wiped

1:24:54

down and now we're going on

1:24:56

tour together But then also again,

1:24:58

like the the TDE Which we'll

1:25:00

get to later with you know,

1:25:02

heart part six, but like, you

1:25:04

know, the idea that like Kendrick

1:25:06

abandoned TDE or like he's not,

1:25:08

you know, cool with any of

1:25:10

those people anymore. Then they're in

1:25:12

the not like us video. Then

1:25:14

they're at the popout. Now, you

1:25:16

know, you've got, you know, you

1:25:18

know, you know, multiple TED. multiple

1:25:20

TED. multiple TED. You know, multiple

1:25:22

TED. You know, I'm loyal to

1:25:24

the people that I came up

1:25:27

with, you know, and like Sizza

1:25:29

is part of my family and

1:25:31

like it's not Any kind of

1:25:33

situation where like I'm Either trying

1:25:35

to make her choose sides or

1:25:37

anything like that. It's just like

1:25:39

we not rock a fun rock

1:25:41

up. Yeah, you know, and it's

1:25:43

just like this is this is

1:25:45

because you know, I treat people

1:25:47

like people and friends and you

1:25:49

treat most people like a business

1:25:51

or like an opportunity or a

1:25:53

commodity for then it's supposed to

1:25:55

yeah yeah yeah so like oh

1:25:57

I loved it. I think it

1:25:59

was head on the head how

1:26:01

like every black household has a

1:26:03

Luther album. And hearing just hearing

1:26:05

that voice and then hearing how

1:26:07

they how they just approached it,

1:26:09

it didn't feel like at one

1:26:11

point I was like, this don't

1:26:13

feel like it belongs on the

1:26:15

album because I'm like, I'm here

1:26:17

to squabble up. And then it

1:26:19

was literally right after what a

1:26:21

choice, right? Yeah. And to have

1:26:23

that this almost like. It kind

1:26:25

of reminds me of all the

1:26:27

stars, but it also has this

1:26:29

approach where it's like you have

1:26:31

this beautiful song and it's like,

1:26:33

it brings back to the Kendrick

1:26:35

being an artist, like he can

1:26:37

do it. If he puts his

1:26:39

mind to it, he could do

1:26:41

it. I don't think he's, it

1:26:43

kind of reminds me of all

1:26:45

the stars, but it also has

1:26:47

this approach where it's like, I

1:26:49

haven't heard Kendrick. Do it like

1:26:51

this before and even though he's

1:26:53

kind of it's kind of has

1:26:55

a soft song He's like yeah,

1:26:57

I'm a I want to take

1:26:59

your enemies and put him in

1:27:01

front of God It's like it

1:27:03

sounds like I'm still I'm still

1:27:05

edgy. I'll still cut you Yeah,

1:27:07

yeah, I'm still yeah, but it's

1:27:09

a perfect yin-yang. It was kind

1:27:11

of like country boy was saying

1:27:13

how rap and hip-hop is very

1:27:16

hypermasculent. And no one agreed with

1:27:18

me, but I know I'm correct

1:27:20

because in the Harper's Bazaar interview

1:27:22

with Cesar interviewed Kendrick, they talked

1:27:24

about Kendrick tapping into his femininity

1:27:26

and that softness of these are

1:27:28

the things creatively that he couldn't

1:27:30

do when he first started his

1:27:32

career about being to express himself

1:27:34

in a different way. And that's

1:27:36

absolutely. Yep. No, go ahead, go

1:27:38

ahead. But that's absolutely what Luther

1:27:40

is. Like there is a tender

1:27:42

side and there should be a

1:27:44

tender side to men if you're

1:27:46

not. But this should be a

1:27:48

little bit to men and that's

1:27:50

what Luther is, right? There's a

1:27:52

duality of man. I think that's

1:27:54

why it's called. I think that's

1:27:56

why the track is named that.

1:27:58

It's in direct reference to a.

1:28:00

person who you know made these

1:28:02

hits but you know that sensitivity

1:28:04

was able to permeate the entire

1:28:06

culture because that's all he

1:28:08

had some do we hold him like yeah

1:28:10

it's one of my like yeah it's one

1:28:13

of my favorites I I don't know if I

1:28:15

had a favorite at this time

1:28:17

I don't think anyone said that

1:28:19

this is their favorite but I