Best of Rory & Mal: Week of 12/15

Summary

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New Rory & Mal: Best of Rory & Mal: Week of 12/15

Podcast by iHeartPodcasts and The Volume
Release Date: December 21, 2025

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Overview

This episode is a "Best Of" compilation, but centers primarily on a handful of lively, in-depth conversations around hip hop culture, radio shifts, music criticism, and personal anecdotes with special guest Ghostface Killah. The hosts jump between incisive takes on industry news (like the end of Hot 97’s Ebro in the Morning show), critical reviews of recent anticipated albums (notably Nas & DJ Premier, and Conway), and humorous and insightful stories from the hip hop world. The tone is candid, irreverent, battle-tested, and always in conversation with the culture’s current and historical context.

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Key Topics and Insights

1. Hip Hop Beef & Internet Culture: Drake, Ebro, and DMs

[02:59 – 09:40]

• Discussion:
  The hosts kick things off debating the controversy around Drake allegedly sending threatening DMs to Ebro, with messages like "die slow, pussy." The conversation is both playful and analytical, interrogating if such hostile language is a genuine threat or just bravado, especially coming from an artist at Drake’s level.

• Main Points:

  • Drake responded to radio personality Ebro’s public criticism with unusually sharp words.
  • There’s disagreement on how seriously to take such language in the rap world versus “real life” threat levels.
  • The panel reflects on the changing climate of internet and drill culture, where violent language gets normalized online.

• Quotes:

  • Music Critic 1: “Sometimes he want to play Petty. Sometimes he going, he gonna be Petty sometimes. So sometimes I'm gonna say, die slower, pussy.” [06:20]
  • Music Critic 2: “Everyone is speaking like they're all drill rappers, no matter who you are. People feel like that's just acceptable vernacular now.” [07:20]

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2. The End of an Era: Ebro in the Morning & Hot 97 Shakeup

[09:44 – 21:11]

• Discussion:
  With Hot 97’s legendary morning show coming to an end, the crew unpacks why the change happened, what it means for radio, and how media gatekeeping and personalities have shifted.

• Main Points:

  • Praise for Ebro, Peter Rosenberg, and Laura Stylez’s contributions and chemistry.
  • Analysis of why traditional radio is waning — changes in listening habits, audience fragmentation, and competition from festivals and digital.
  • The reality of industry turnover, especially as companies pivot or downsize.
  • Rumors and speculation about who might take over the slot, with teases of a "perfect" new host.

• Quotes:

  • Music Critic 2: “Radio needs to adjust and pivot to the times…when we were growing up, they treated radio like clubs. Like, we're changing the name every year.” [10:55]
  • Music Critic 1: "It can box you in and keep you from growing and other opportunities… So to have something like Ebro in the morning for so many years and that team to be dedicated to doing that for so many years, it's not a small thing, man.” [24:03]

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3. The Future of Radio – Is It Dead?

[16:13 – 20:16]

• Discussion:

  • Reflection on changing patterns in music consumption — playlists replacing programmed radio.
  • A generational split: older listeners still value radio’s one-click simplicity, but younger folks want curation.
  • Anticipation about how radio must evolve ("shifts for the next 40, 50 years now").

• Notable Segments:

  • "What is the next move for Hot 97?" [20:26]
  • “All the new blood that would be good may not want to go at radio. Like, they have their own thing, whether it be podcasts and streaming like Twitch.” [20:38]

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4. Album Reviews: Nas & DJ Premier, Conway

[31:55 – 43:14]

Nas & DJ Premier: Highly-Anticipated, Hotly-Debated

• Discussion:

  • Debate over the long-awaited collaboration album being 'underwhelming' for some due to subdued production, though Nas’s lyrics remain intricate and dense.
  • Discussion of how recent Hit-Boy collaborations may have raised fans' expectations for Nas's sound.
  • Respectful, nuanced takes on why the album isn’t designed for instant satisfaction, but as a "slow burn."

• Quotes:

  • Music Critic 2: “That's like the most rapping I think I've ever heard…This was like a book…a TED Talk. And I mean that in a good way.” [34:46]
  • Music Critic 1: “For years people have given Nas slack. Like, you know, his production is lackluster…The music on a lot of the tracks didn't carry Nas's lyrics as much as they could have.” [36:03]
  • Music Critic 2: “If Nas had all this to say, then you're gonna get a clean canvas, not a Nas is like type of canvas.” [35:47]

Conway: Evolution and Consistency

• Discussion:

  • Universal praise for Conway’s new album, noting both consistent rapping skills and production growth.
  • Special highlights for taking more control (less features, doing hooks), and working with producers like Justice League.

• Quotes:

  • Music Critic 1: “This is one of Conway's best albums…On the production side, the music side, getting more into…he's not. Not too many features. A lot of the songs is just him by himself doing the hooks, everything.” [41:56]
  • Music Critic 2: “These are some of my favorite beats that comp it…they find new ways to make straight rapping interesting again and again.” [43:08]

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5. Hip Hop Storytime: Ghostface Killah & the Slick Rick Jewelry Story

[43:20 – 50:37]

• Discussion:
  Ghostface Killah tells the hilarious and nerve-wracking story of borrowing Slick Rick’s jewelry before a legendary Madison Square Garden performance with Beyoncé. The tale is full of behind-the-scenes anxiety, comedic timing, and a look at the respect and camaraderie between legends.

• Highlights:

  • Ghostface nearly forgets his opening lines under the weight (literally and metaphorically) of Slick Rick’s jewelry.
  • Dame Dash’s "oh shit" reaction seeing Ghost with all the bling.
  • Appreciation for performing that remix only once.

• Quotes:

  • Ghostface Killah: “He had his little bag, and he just started throwing me…Like, I just got heavier and heavy and heavier. It was like, yo, I can't rap this way.” [45:16]
  • Ghostface Killah: “That might have been one of the best times or probably the best time without the clan that I ever had, like, on stage…hearing the raw from the crowd.” [47:56]

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6. Candid COVID Memories: Confessions and Laughs

[50:48 – 52:31]

• Ghostface recalls ultra-cautious COVID anxiety and refusing in-person contact to protect his health, adding his own comedic spin to early-pandemic behaviors (“holding my breath every five minutes").

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Memorable Quotes

| Timestamp | Speaker | Quote | |---|---|---| | 06:20 | Music Critic 1 | “Sometimes I'm gonna say, die slower, pussy.” | | 07:20 | Music Critic 2 | “Everyone is speaking like they're all drill rappers…People feel like that's just acceptable vernacular now.” | | 10:55 | Music Critic 2 | “Radio needs to adjust and pivot to the times…when we were growing up, they treated radio like clubs. Like, we're changing the name every year.” | | 24:03 | Music Critic 1 | "It can box you in and keep you from growing and other opportunities…So to have something like Ebro in the morning…that's not a small thing, man.” | | 34:46 | Music Critic 2 | “This was like a book…a TED Talk. And I mean that in a good way.” | | 43:16 | Music Critic 2 | “I love that he put Yayo on the though.” | | 45:16 | Ghostface Killah | “He had his little bag, and he just started throwing me…Like, I just got heavier and heavy and heavier. It was like, yo, I can't rap this way.” |

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Key Timestamps for Segments

• Drake, Ebro, and Internet Threats: [02:59 – 09:40]
• Hot97 / Ebro’s Show Ends: [09:44 – 21:11]
• Radio’s Future: [16:13 – 20:16]
• Nas & DJ Premier Album Review: [31:55 – 41:12]
• Conway Album Review: [41:21 – 43:14]
• Ghostface & Slick Rick Jewelry Story: [43:20 – 50:37]
• Ghostface COVID Paranoia: [50:48 – 52:31]

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Tone & Style

The tone is conversational, opinionated, sometimes hilarious, and always deeply rooted in hip hop culture’s past and present. The hosts balance humor and insight, and even the critiques are rooted in love for the culture rather than empty hot takes.

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Conclusion

This "Best Of" cuts to the heart of what makes New Rory & Mal magnetic: honest debates about music old and new, industry insight, and legendary hip hop storytelling. Whether unpacking heavyweight album drops or the impacts of industry change, the hosts and guests keep it real — and really entertaining.

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Transcript

[Podcast Host]

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[Music Critic 1]

Now you can stream your favorite live sports so you can be there live for the biggest moments. Touchdown and catch. History in the making. Fox one we live for live stream.

[Music Critic 2]

Streaming now the volume if Drake DM me die slowly, I mean, I wouldn't get depressed, but I'd, you know, I'd lock my Doors.

[Music Critic 1]

You would lock your doors. Like, you would go downstairs and check to see if the door was locked.

[Music Critic 2]

Why it wasn't locked, see if Iceman was outside. What's up with your man? Defend it.

[Music Critic 1]

I like it.

[Music Critic 2]

Die slower, pussy.

[Music Critic 1]

Yeah, yeah. All you niggas that was talking shit all year clapping for that bullshit rhetoric that they was pushing about me. Yeah, die slow. I want to see all you niggas fail.

[Music Critic 2]

But what does that mean?

[Music Critic 1]

It means die slow. I hope your next show don't work out either. That's what you don't. Drake is not hoping that Ebro is put into the ground next to you.

[Music Critic 3]

How you know that?

[Music Critic 1]

He's not. He's not that type of person. But he's saying die slow. Like, yo, yeah, fuck your career, career wise.

[Music Critic 2]

But we got some shit for you one could take as a threat and maybe, yeah, pursue a lawsuit.

[Music Critic 1]

Hey, Rosenberg. I didn't like that. I didn't like Rosenberg pumping that I would take that as a threat. You should sue. Like, come on, man, with the bullshit.

[Music Critic 2]

No, he. He was.

[Music Critic 1]

I didn't like that. I didn't like that. And I fuck with Pete, but I.

[Music Critic 2]

Didn'T like that Pete was making a joke based off the lawsuit. That Drake.

[Music Critic 1]

No, I get it.

[Music Critic 2]

He's saying he. Bruce. I mean, suing's okay, so.

[Music Critic 1]

Yeah, but this. It was. It was that coming out of that.

[Music Critic 2]

Did you sue someone for saying, we got some shit for you?

[Music Critic 1]

Well, the way you could probably get like a.

[Music Critic 2]

He was starting.

[Music Critic 1]

Painted like, yo, it's a threat.

[Music Critic 2]

Oh, someone could. If you wanted. Yeah, if you wanted.

[Music Critic 1]

So I didn't like doing that. I was like, come on, man. You know that's not. Drake is not gonna do anything to eat, bro.

[Music Critic 2]

No, of course not, but that's why you shouldn't say, we got some shit for you unless you even do it.

[Music Critic 1]

Yeah, but we got some shit for you. Can be a bunch of things. It could be. I got you. I got a. I got you in a song. Got some bars about you in a song. I got some, you know, some info that I heard about you from some women that you may have dated before. It could be a lot of things. It don't mean that I'm gonna show up to your house with the Owls and fucking and bring bodily harm to you. Like, it don't mean that.

[Music Critic 2]

Bring the Potters.

[Music Critic 1]

Yeah, it don't mean that. It just means we got some shit for you.

[Music Critic 2]

Do you think this is a bit hypocritical of what you just said? About Wale. Why should Drake give so much power to these people on the Internet discussing him?

[Music Critic 1]

No, he's just.

[Music Critic 2]

He's not to the point that you say, die slower, pussy. We got something for you in the DMs, and you're worth a billion dollars in the biggest artist second in the world to me. That's. He's letting people on the Internet get. Get to him. Because if he didn't care, he wouldn't.

[Music Critic 1]

No, no, no. This is somebody, Diesel. This is somebody that was the program director of a radio station in New York City that was pushing.

[Music Critic 2]

Oh, he's been saying fuck out, 97 for over a decade, but they've been.

[Music Critic 1]

Pushing the rhetoric about him based on a song that came out last year. Ebro has been very vocal about that. He's been said a lot of things about Drake over the past year. I mean, we can go down a clip of things that Ebro said about Drake as well.

[Music Critic 2]

Listen, I don't watch every single Ebro show to know every bad thing he said about Drake, but I also think the level that Drake is at can go to your point of what you made with Wale. It's people on the Internet. There's no power. Even when Flex was trying to beef with Drake and Drake was on stage at the garden saying, fuck hot 97, they were playing Drake, you know, 50 times a day. It didn't affect his. It's not like he got blackballed from Hot 97. It's not like they stopped playing his music, which affects your livelihood.

[Music Critic 1]

You know what you.

[Music Critic 2]

They were beefing with. With Drake. Flex was beefing with Drake and had to play 10 Drake songs in a set.

[Total Wireless Advertiser]

Like.

[Music Critic 1]

Yeah, but you. But here's the thing, Rory, because you. You.

[Music Critic 2]

You.

[Music Critic 1]

You're asking for Drake to, you know, be the bigger person. You're asking him to.

[Music Critic 2]

I'm just making a point off the wall.

[Total Wireless Advertiser]

No, he.

[Halion Brand Representative]

He.

[Music Critic 1]

He want to. He. I don't care.

[Music Critic 2]

I actually laughed at this.

[Music Critic 1]

Yeah, sometimes he want to play Petty. Sometimes he going, he gonna be Petty sometimes.

[Music Critic 2]

Yeah, his career.

[Music Critic 1]

Yeah, exactly. So sometimes I'm gonna say, die slower, pussy. Mm. Sometimes I'm gonna say that I'm gonna be in the studio. I'mma hear that you just lost your show, got canceled, and I'm gonna be like, oh, sh. About me this year. Let me send him a nice little message.

[Music Critic 2]

I just. And I'm not saying this about Drake. I think it's the overall Internet now, when drill music and streamers all, like, connected, and they started Using drill slang and metaphors in real life is when things got weird. Like, smoking on packs and, like, all this. Like, you know, it's actually, like, really about, like, murder, right? Like, yeah, they're saying that on Twitter, but those guys are actually doing it. That's when things. When anyone felt like they could say anything on the Internet, like, die slower. I just. I think that's a wild thing to DM somebody. I just do. I just do.

[Music Critic 1]

Don't get too.

[Music Critic 2]

And I think everyone is speaking like they're all drill rappers, no matter who you are. People feel like that's just acceptable vernacular now to say certain threats that have a meaning of actual violence. Mm. Like we. We smoke around that pack tonight. Like, wait, you know that derives from someone that was murdered. Right. I just think it's. People Talk Crazy in DMs on streams, on Twitter. Like, it's nuts. The things that people are saying to each other with ease. And they're not even. I'm not saying this about Drake. And they're not even like that. Like, listen, do we joke around this and that? I don't use certain words because I'm not prepared to. I'm 35 years old. I don't want any violence.

[Ghostface Killah]

Right.

[Music Critic 2]

Even when I was cut homie off in traffic, I just. I was staring straight. I want to fight. I'm past that point in my life, so I don't speak that way.

[Music Critic 1]

Yeah.

[Music Critic 2]

I'm not going to threaten someone that way unless we're going that way. So I don't know. I just think everyone on the in and out easily just says shit that has power behind it, if you think about what you're saying.

[Music Critic 1]

But do you. Do you understand why Drake said that?

[Music Critic 2]

I don't. I mean, did Ebro call him a pedophile? I don't know if someone called me a pedophile. Yeah, probably in my head. I probably. I probably hope that their career.

[Music Critic 1]

He called him a sickness.

[Music Critic 2]

Oh, yeah. I did see the sickness part and I did see EO try to clean. Clean that up, saying that his fans were the sickness or whatever. N. Drake has every right to feel that way. I just think everyone is just talking too crazy in the last two or three years. Me too. People are talking way too fucking crazy.

[Music Critic 1]

I agree. Saying a lot of crazy things.

[Music Critic 3]

I feel like I'm not mad at Drake for being petty because whenever some shit happened to somebody that did me wrong, I'm always the first to say, ooh, God, don't play about me. So I know how it is to feel that way. But words do mean things. So you can say he didn't mean it like that. He just meant his career should die. But die slower. Pussy is like. Words have meaning and words have power, so.

[Music Critic 1]

They do.

[Podcast Host]

They do.

[Music Critic 1]

He. He sat back and listened to a lot of words about him over the last two years.

[Music Critic 3]

That's fine.

[IBM AI Campaign Spokesperson]

It is.

[Music Critic 1]

That's what I'm saying. Die slow was fine.

[Music Critic 2]

I've never been in that situation, so I'm not. I'm really honestly not here to judge how he reacted to it because I've never been in a position Drake has. Has been in and been called a pedophile. Yeah, maybe I would react worse, I don't know. But it's just a wild thing to. To say to somebody.

[Music Critic 1]

It is you, right? I'm not saying it's not. I like it though. That's what I'm saying. I like it. Doss all you niggas my foe fo make sure all your kids don't grow.

[Music Critic 2]

You didn't tell your lady Uber driver you'll throw on that funk flex this morning?

[Music Critic 1]

No, I did not. But for all of those who have not heard, Ebro in the Morning show has come to an end.

[Music Critic 2]

Yes, Ebro show consists of him, Peter Rosenberg and Laura Stiles, all friends of the show. I mean, congrats on a crazy run. Ebro was what, program director for 20 years, then on air for 10. I always loved their show. I think Rosenberg is one of the few people that like actually gave a fuck about hip hop at a radio station. And Laura, always an amazing personality and was the best villain because. And this is gonna sound misogynistic, but I'm just being truthful. Sometimes they just throw a woman into a radio show. Cause they need a woman. Laura Styles has been a part of this culture and loves hip hop and is knowledgeable about hip hop. That's what made her role so much better. That they weren't like, yeah, let's just get a chick that's attractive and you know, she can be like, hahaha. Like, Laura was like, really, really contributed all the time. And it was amazing. I always loved their show. I know they got a lot of shit because they made a lot of enemies, but their numbers were always really good.

[Music Critic 1]

What enemies did they make?

[Music Critic 2]

I mean, they're back and forth with which has always been in radio, but they're back and forth with power when power was capitalized.

[Music Critic 1]

Radio Beef. Yeah, yeah. Oh, okay.

[Music Critic 2]

Yeah, yeah. And you know, Ebro sometimes rubbed certain, like when he Had, I think it was. Was Kodak Black when he tried to get him to rap. Like, there's. There's been moments where they've rubbed people the wrong way, but I think that's what radio is supposed to do to some degree, as long as you're being somewhat respectful. But congrats on. On a crazy run. Like, I think that's amazing. But I also feel like it was good for them. Like, I even hit Pete, you know, just sent him a text. Thank God this is over. Like, radio needs to adjust and pivot to the times. And of course, they were trying to do it with, you know, YouTube and breakfast club is a perfect example of how you do pivot, and that's why they're in the radio hall of fame. But it was. Come on, man. You have to revamp. Like, as much as I thought Charlemagne and Envy should have stayed because of what they built there, I also think New blood is important. And pivoting is important because radio, for the most part, if you think about it, when we were growing up, they treated radio like clubs. Like, we're changing the name every year.

[Music Critic 1]

Yeah.

[Music Critic 2]

Like, people talk about Starz generational run, which it was. That was one year at Hot 97.

[Music Critic 1]

Yeah.

[Music Critic 2]

Like, usually, unless it's a Angie Flex, Big Boy Radio, people leave like this. This changes. DJs change. Everything changes. And New York radio has been not stagnant by any means, but it's been the same fucking people forever.

[Music Critic 1]

Yeah.

[Music Critic 2]

So I think it's beautiful that Flex took over the split.

[Music Critic 1]

New blood.

[Music Critic 2]

Yo, Flex. Flex is just cleaning house so he could take every fucking slap.

[Music Critic 1]

No, no, no. To be fair, Flex said he's only. Only taking over today.

[Music Critic 2]

Just filling in.

[Music Critic 1]

Just filling in today. We don't know what tomorrow looks like for the radio station. But, I mean, Flex did take over today. Another familiar voice and familiar, you know, personality.

[Music Critic 2]

I did not listen. But I just don't know what Flex's morning swag would be. Flex is amazing for evenings. I love a bomb on my way over the gw. Yeah, Like, I think that's great. Screaming is great at that time. What is Flex more than swag?

[Music Critic 1]

Like, I don't know, man. Maybe he got into his, you know, R and B bag. I didn't. I didn't listen to it. But maybe he got into a little more R and B heavy for the morning commute. But either way, I do think that, you know, we spoke to Pete a few months ago. He came by. He gave us a little insight on things.

[Music Critic 2]

Yeah. This shifting I don't think this was a shock to them the way it was a shock to all of us.

[Music Critic 1]

Yeah.

[Music Critic 2]

And I also don't think it really has anything to do with numbers. Cause at the end of the day, yeah, YouTube numbers are super important. But the real radio charts are what radio advertisers are looking for, what program directors are looking at. And HOT and Breakfast Club, like month to month, it switch. It's not like it the way we see Breakfast Club dominating in the digital space, it's not that way on the radio. So it's not like they were failures by any means. I just think this new company that bought it from Emis doesn't give a fuck about hip hop. I think they're just trying to shake like the way Elon, when he bought Twitter, turned to X, fired everyone on fucking staff and was like, you know what? AI is going to run this year. I see, I see what our overhead is. I see what we're making. Sorry guys. E, you've been here for 20 years so your salary is a certain thing. We're not paying that anymore. Like that's what I think. And Ms. I think was more of a, still a corporation but more of a niche corporation than. I forgot this one that, that, that bought it, man. They don't give a about hip hop.

[Music Critic 1]

You don't think this has anything to do with the radio rico?

[Music Critic 2]

I don't know. I don't think Ebro, Rosenberg and Laura specifically, no. I don't think any of them are involved in any RICO activity whatsoever. Do I think even though people have been giving me shit of like I'm on my Candace Owens shit, like where's the evidence that shit is still coming? Pause. And I think a lot of the shifts we've been seeing across the board, not just with Hot 97, but other radio stations, I think there's a trickle down connection to some of it where budgeting may land when things start to go to shit. So I don't think directly, but I think their overall bottom line no longer is caring about growing the Hot 97 brand.

[Music Critic 1]

What is going on on Hot 97? Because we've seen Summer Jam significantly downsize and it hasn't been as, you know, let's say, star studded as it's usually been throughout the years?

[Music Critic 2]

Well, I mean I think that has, that's. Is it music that's a festival thing? That's festival culture where you know, summer jam is a staple. And I think. Didn't we talk about this with Pete when he was here? They're competing with people that have you money. Whereas, you know, Summer Jam isn't backed by Verizon, where Verizon can just start a festival tomorrow and get Bad Bunny as a headliner. Like, they're. They're a small fish in a big pond now that festival culture is a thing, and fans only have so much money per month. And what I'm. What do you think I'm gonna go to Rolling Loud or Summer Jam? If I. If I have $55 this month, what. Where do you think I'm gonna go? Yeah, think I'm gonna go to Citi Field and see all the Rolling Loud, Axe, or I'm going to drive to Long island to see the Summer Jam. They can't compete.

[Music Critic 1]

Well, I do think that things do need to change. Change is good. Obviously, even with radio, comes a time where you have to shift things and change with the times and the culture. I don't know what this looks like for high 97 moving forward, but it is a real thing now. I mean, not as many people listen to radio as before. We all are our own DJs to a certain extent now. Music comes out, we create our own playlist. So, I mean, maybe you listen to radio for, you know, some of the commentary and some of the, you know, the personalities that are there, but as far as the music, and this is what, you know, radio is all about, the programming. I think. I just think people just are tired of hearing the same old shit over and over when it comes to radio. I think people want to hear more of the things that they like. They don't want things to be programmed and fed to them. I think people want real good music. They don't want the radio to tell us or to cater or curate a playlist and say, hey, this is what we want y' all to listen to all day on loop. I just think people moved away from radio and started listening to their own music in their phones.

[Music Critic 2]

I mean, radio's still super, super important. Of course, there's been a decline in.

[Music Critic 1]

You know, people talk radio. Yeah.

[Music Critic 2]

Our age have, you know, typically go more to Bluetooth and their iPhone and want to play the stuff that they want to play without commercials, this and that. But radio is still very much a thing of middle America. Again, when I say middle America, I don't actually mean middle America. Middle America can be in North Jersey, it can be in Long Island. Middle America still does get in their car and just. They're not as invested as we are, where it's like, I want to hear this song. Then I want to hear this song. Then I want to hear this song. Some people just get in their car and want to hit a button and fucking drive. That's still a huge part of the consumer. I just don't know what's going to happen in the next 40 years when all the kids younger than me are now the adults driving their kids to school. I don't know if they're going to be the people that just want to hit one button and drive.

[Music Critic 1]

Oh, no.

[Music Critic 2]

So they need to make shifts for what's going to happen the next 40, 50 years now with radio, in my opinion. And again, I'm not even going to speak as an expert because I don't know what that shift is.

[Music Critic 1]

I really don't.

[Music Critic 2]

I don't. I don't know enough about the radio business to know how they should pivot. But it is clear that change is coming. As important as they still are, but. And will remain to be important, they gotta. They gotta change something. And I. I guess I view this more as a media personality than I do a fan. If I'm ero, Laura and Pete, what else is there for me to do here? What's left here? If this company has no interest in growing this brand or letting us do anything, why. Why am I here? Yeah, so I'm sure. Yeah, it's probably sad that, you know, they've been there for so long and that's been such a big part of their.

[Music Critic 1]

How long were they. How long were they on. On the radio?

[Music Critic 2]

He got there when I was a senior.

[Music Critic 1]

He was there, oh, seven, right.

[Music Critic 2]

07, 08. Ebro's been there since I was born. Laura got there after K Fox left. I'm not sure which year that that was. Maybe like 2012, 13, 14, somewhere over there. But Laura's been there for a minute. But what more is there to do here? Yeah, like, of course we all have bills, so. Yeah, I'll keep you. What am I doing? Nothing's gonna change here if the people that bought it are not interested in that. So if I'm. Then, yo, good running. It's been a good run. Let's keep our brand going. Like, they still have their own show. Like Ebro in the morning. They can take and do. They could still stay as a. A crew. Like, their numbers, even on the audio podcast side are good. Like, I would just move on and keep the show. I mean, if that's what the three of them want to do. Laura may want to do her own thing. Ebro may Want to just focus on Apple. Pete may just want to go wrestling. I don't know. But I'm saying the three of them still have a show that they could continue on.

[Music Critic 1]

Yeah.

[Music Critic 2]

They don't have to stop just because Hot doesn't want to.

[Music Critic 1]

Well, thank you to Ebro, Lauren and Pete for, you know, the years of radio and entertainment, great interviews, and we just have to wait and see where they. Where they end up. But I'm sure we'll see Laura, Ebro, and Pete again.

[Music Critic 2]

Yeah, they all alluded to that in their, like, yeah. Tweets and everything.

[Music Critic 1]

Just a change. Change is good. Change is inevitable.

[Music Critic 2]

What do we think? And this isn't even local because I still feel like Hot 97 is still a nationwide brand, even though it's not like a breakfast club that's syndicated in Iowa like it is. But Hot 97, still a national brand because it's hip hop. What is the next move? Because none of the streamer. The streamers are the streamers. Like, that's where radio. And they're always like, let's get new blood in there. I'm like, all the new blood that would be good. May not want to go at radio. Like, they have their own thing, whether it be podcasts and streaming like Twitch. I don't know if those people that would revamp it would have any interest in going to do that, but they need somebody.

[Music Critic 1]

Yeah.

[Music Critic 2]

Can't be Flex. It can't be Flex.

[Music Critic 1]

No. And it won't be Flex. I mean, this is out of Flex.

[Music Critic 2]

Is.

[Music Critic 1]

He's saying that, you know, he's not going to be the permanent replacement. He was just taking over today. But. Yeah, I don't know, man. I don't know. I do think that this is a sign of things to come. I think there's more changes that will happen. I think that there's changes that have already happened before. This is just another one on the list. And I just think that's the time we in, man. I think things are changing. Things are shifting.

[Music Critic 2]

I heard a rumor because of their privacy. I will not say what it is, and I hate being this person, but I heard a rumor of who they chose for that morning slot, and it's the best move they could have ever made. When I was told who they picked, I was like, oh, yeah, this is going to keep Hot90. It's the perfect person to keep that ship moving.

[Music Critic 1]

Morning, Speedy.

[Music Critic 2]

No, not. But I know a lot of people have complained over the years that there's not a lot of New Yorkers Left at hot or at power. And when you have a New Yorker that's relevant, that's funny, that can revamp something and is a creative mind and has a cult following. Yeah, that's going to keep the Hot 97 ship moving if he takes that offer. It was when I heard that because I wasn't thinking too much of it. I didn't spend my weekend wondering who Hot 97 was going to replace with. But when I heard it on Sunday, I said, oh, genius. Can you cover your mouth? It.

[Music Critic 3]

Ah.

[Music Critic 2]

I thought it was perfect. I thought it was a home run local, innovative. Yeah. Grew up on radio, but has clearly is in a completely different world. Like I, I thought that was. Oh yeah. You guys may have a fighting chance now. Yeah, I'm interested. You just had that reaction though. That's, that's.

[Sophie Cunningham]

No, it's not.

[Music Critic 3]

It wasn't a barrier. I said, interesting.

[Music Critic 2]

I, I'm.

[Music Critic 3]

Which is more me processing it and thinking about it. You've had time to think about it. I haven't.

[Music Critic 2]

So, yeah, those. Speedy would be great. But I think that was just a joke. I think Speedy enjoys his. His life of one interview when on his time. Because that's what I think people don't understand. Like, yes, everyone has full time jobs. I'm not saying a cushy radio gig when you're on the air for just four hours is not the life. But you take a morning gig on a radio station, that's your life, dog. You can't travel. You can't like even. Like when, when Dame was, you know, jokingly giving charlamagne and all them shit, I felt attacked too. When Dame was saying it, Dane was like, y' all live in this fucking box. Y' all even have a window. Like when Dane was attacking them. I was like, God damn it, this is hurting me too. Like, he's like, y' all don't even. Y' all don't even get to go out and live like you've been in the same place. So, like, that's when in my nature, for the first time, I want to defend Charlamagne. Like, fuck you, Dame. We have a life.

[Music Critic 1]

You don't have life.

[Music Critic 2]

I have dreams.

[Ghostface Killah]

I go outside.

[Music Critic 2]

I have perspective.

[Sophie Cunningham]

You know what I'm saying?

[Music Critic 3]

Y' all got a window.

[Music Critic 2]

Like, damn, but I feel him. And like, granted, it's still a dream to have this kid. Because you could say that about chip sound engineers. Like, I'm sure there's been times, like I've watched Guru pivot to do stuff that he Wants to do. But there was a time when I've heard him and just blaze. Talk about, like, do. We were working on Beans Freeway J Cam. We literally lived in baseline. I used to go straight to change clothes. They used to get a hotel across the street just to shower. It's like we had no life.

[Music Critic 1]

Yeah.

[Music Critic 2]

Like, we literally lived in a dark room.

[Music Critic 1]

People don't talk about that part of it. Like, when you so baked into the culture in a position like radio or something like that, or podcasting, you know, it becomes a thing where it has to weekly, daily, you know what I'm saying? You have to do this thing and you have to be on air. It's a blessing and it's a privilege to have that position and to, you know, kind of be in a spot where people look to you on their morning commutes and things like that. But there's a thing of, you know, it can box you in and keep you from growing and other opportunities that may come your way, you have to turn down because it just, you know, it doesn't coincide with your schedule for radio and things like that. So it's not an easy thing, man. We take for granted, you know, like you said, how people have to put their lives kind of on the back burner a little bit, their personal lives on the back burner when they have these, you know, these positions in our culture. So to have something like Ebro in the morning for so many years and that team to be dedicated to doing that for so many years, it's not a small thing, man. That's like a really big deal. And they should be proud of what they did, what they accomplished, what they've given us. And I'm sure, again, they'll be a part of whatever change is coming, whatever change is happening. I'm sure that all three of those individuals will land on their feet.

[Music Critic 2]

Yeah, no, absolutely. Though I am jealous of radio people. They get commercial breaks, music breaks. Yeah, we gotta.

[Music Critic 3]

Yeah, but we just got. Yeah, but it's four hours, though.

[Music Critic 2]

I know. And. And they've all moved to long form interviews as well. So they. They are podcasters.

[Music Critic 1]

Yeah.

[Music Critic 2]

Yeah. Breakfast Club has won podcast of the year for the last 30 years, I believe.

[Halion Brand Representative]

Yeah.

[Music Critic 2]

So, like, you know, they're a podcast.

[Music Critic 1]

That's how many years? 30.

[Music Critic 2]

Yeah.

[Music Critic 1]

Charlemagne's contract is ending.

[Music Critic 2]

Yeah. Which is a good segue. Well, not Charlemagne's per se. It's the Black Effect Network signed with Iheart for five years. I think that's separate of Charlemagne's contract with Breakfast Club, but I could be wrong, or they run coincide either way. But he was up there with Dolly. I forgot what platform they were on. Shout out to Dolly. And they asked. December 2025, the contract's up, which I'm about to do. And Charlemagne did a great job of just dancing around the question. Same shit I would do. Not judging them for it, but I think. Think with the news on Friday of the Iheart and Netflix deal, I don't think Black Effect is going anywhere. I. I think Black Effect will be staying with. With Iheart. I think that's Charlemagne's home base. That's Black Effect's home base. New partnership with Netflix. Why would you leave?

[Music Critic 1]

Yeah, Where.

[Music Critic 2]

Where would you go with all those shows when you have something like a Netflix partnership coming up with Iheart?

[Music Critic 1]

Yeah.

[Music Critic 2]

And, yeah, I mean, I know last time I said darling, I got killed because I didn't know darling was like an insult, but Charlamagne is also I heart's darling. I mean that as a compliment. Like, I think Charlamagne can go up to Iheart and get whatever the fuck he wants. Like, they love him because he's always delivered for the last however many years. So I think whatever Charlamagne wants with this new Netflix deal, he'll get. So I don't think he'll leave it all more over the weekend.

[Music Critic 1]

You're thinking about upgrading your phone, Rory, Because I saw your phone, and I was gonna. I know you feel like you want the new iPhone 17 Pro.

[Music Critic 2]

I never told a soul about that.

[Music Critic 1]

Yeah, but listen, did you know that it's designed to be the most powerful iPhone ever?

[Music Critic 2]

I didn't.

[Music Critic 1]

And did you know that if it's traffic, they'll come to you?

[Music Critic 2]

No.

[Music Critic 1]

So you do what you do. So I got good news. When you order a new phone online with Boost Mobile, they'll send an expert to your home or right here to the studio. Rory.

[Music Critic 2]

Okay, I knew Boost was like that.

[IBM AI Campaign Spokesperson]

Yeah.

[Music Critic 1]

They'll give you a new iPhone 17 Pro, and they'll get you set up on the Boost Mobile plan within minutes. No hassle.

[Music Critic 2]

No hassle.

[Music Critic 1]

Visit boostmobile.com to get started. Delivery available for select devices [e-mail] terms apply.

[Podcast Host]

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[Sophie Cunningham]

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[Ghostface Killah]

New warrior now.

[Music Critic 1]

All right, well, we got some new music over the weekend, Rory.

[Music Critic 2]

Yes, it was good. Good Music Friday.

[Music Critic 1]

Good, Good Music Friday. Remember Good Music Fridays?

[Music Critic 2]

I was at Def Jam.

[Music Critic 1]

Yeah, great. Fridays we got a Nas and DJ premiere album.

[Music Critic 2]

Yes.

[Music Critic 3]

How's that?

[Music Critic 1]

After years of, you know, the culture kind of talking about it and wanting it, we obviously knew that it was happening this year and we finally got it over this weekend. Rory called me. Well, you text me.

[Music Critic 2]

I text you yesterday.

[Music Critic 1]

Text me Sunday, Sunday night.

[Music Critic 2]

I asked for a specific person opinion on it. Yeah, because that person is who I look to. I'm not gonna say because then people are gonna ask, like, what was his opinion? And we're not doing that. Yeah, yeah. I was curious what someone we revere in the hip hop world, what they thought of it. And their review was very similar to what I saw on the timeline and what I was texted a bit that some people were underwhelmed by some of the production. And this is why I'm glad I don't really look at the timeline before listening to a project. Did I feel like every beat was Nas's like, or Second Childhood or Devil's Pie? No, but clearly Nas had a lot of shit to get off his chest because I need one of those, like, Twitter pages that has the stats of rapping and how many words. That's like the most rapping I think I've ever heard. Like the most words I've ever heard on a Nas album. I mean, that a good way. Nas had a lot of shit to say and get off his chest. I don't know if the premiere beats that you guys were looking for are set up for an artist that has a vision like that at that current moment. I just don't know if you're going to get New York state of mind when Nas is in a different mind. Like if Nas was on there kind of giving regular NAS flow, 16 hook, whatever. I could be like, yeah, I would like a Nas is like in this mix. But he just had so much to say that was so important that Premier could have played him 15 NAS's likes type beats and he could have went Nah, I want this one with a wider landscape where I can talk more. And that's what I took from it as. I can totally understand somebody that just wants to bang some premiere and Nas in their car. I'm with you. I get it. I don't think there's anything wrong with judging this album on the production side. Music is to be judged. It's your opinion. I just don't think that was Nas's vision. I don't know if Preem should get that flack, because you don't know what was happening in that studio. Preem could have played a hundred bangers for him. He was like, nah, I think I want these more simplistic, pullback beats so I could talk the. I'm talking. That's. That's what I thought of the criticism. I personally really like. Every time I listen to it, I catch more. It's a very, very intricate Nas album. This was like a book. The. The that they give Nas, like Kufinaz, that. This is. That to me, like, he was. It was a dissertation, was a TED Talk. And I mean that in a good way.

[Music Critic 1]

Right.

[Music Critic 2]

Like, even when people gave 444 some. Some shit. Even though I think those no ID beats are fucking crazy, when they gave 4:44 shit on the production side, it was like, well, Jay had a lot to say, so clearly no ID is pulling back on some of these. Yeah, he's being mixed on top of the shit for a reason. Because what he's saying is more important than what you're listening to, production wise. But again, I'm also one of those people that picks production over lyrics any day. Yeah, I've heard shitty rap songs with good production. I'm sorry, Rap songs with shitty lyrics and good production that I've liked. I don't know if I've heard production I hate and good lyrics. And then, like, I'm gonna listen to that again. Yeah, production is always number one for me, even though words are so important. But, yeah, if Nas had all this to say, then you're gonna get a. Like a clean canvas, not a Nas is like type of canvas. You're not gonna get a New York State of Mind canvas.

[Music Critic 1]

I'm on the other side. I was a little underwhelmed by the album only because I think after getting 6 NAS hit boy albums and the music finally get into a space where. Because for years people have given Nas slack. Like, you know, his production is lackluster.

[Music Critic 2]

Which I always disagreed with.

[Music Critic 1]

Why they put that on Nas, I don't know. But whatever. So this album, I was expecting the music to kind of come again coming off all of the Hit Boy stuff. I was expecting the music to be a little different than what they gave us. I wasn't expecting it to be exactly what Hit Boy and Nas did, because this is obviously Preem and NASA. But it wasn't. To me, the music wasn't, you know, lyrically, Nas is going to be Nas on every. On every track. He's going to do what Nas does. So I'm not never worried about that. But I think the music on a lot of the tracks didn't carry Nas's lyrics as much as they could have.

[Music Critic 2]

Were you expecting more of the Ransom premiere album that came out in October, the Reinvention? Were you expecting more of that type of preamble?

[Music Critic 1]

Um, I'm not saying. I'm not saying I expected that type of Preem again, because the artist is different. So, you know, the producer has to kind of cater to whatever artist they're working with. But, you know, this album, the music to me, is not as strong as I would have hoped it to be. Again, Nas lyrically is always in shape. He's always talking, you know, now he got real slick shit to talk about, you know, opening casinos and things like that. His whole language is different now. Just the music didn't really keep me and grab me the way I thought it would have been, you know what I mean? Like, this is something that people have been asking for for years between Nas and Premier. So when we heard that they were finally doing it, we was all excited. I just think that it didn't live up to now. If we got this album before we got all of the Hit Boy albums, maybe I feel a little different. But coming off of all of those Hit Boy records and that music being what it was and as strong as it was to this was kind of underwhelming because, again, I'm only judging you off of your last.

[Music Critic 2]

Yeah, I mean, obviously with the Hit Boy one, you get records like the Cure, where Nas is just saying crap. I think that was on King disease 3. Like, he was rapping. Rapping on Hit Boy shit, for sure. But I think it was more of a balance of production and pulling back a bit on the rapping because of the production. I think he enters this one with the opposite thought of just getting everything he had to say, which I'm fine with because we have those six Hit Boy albums that are kind of in the other vein. But I feel like on pause tapes, you get the Nas prem Feeling. I think people wanted Madman. I think you get it, like, it's a balance. I just don't know if. I don't know if people should judge this album this quickly based off who these two people are.

[Music Critic 1]

This is a slow burn for you.

[Music Critic 2]

I think people should give it another chance. Cause I don't think it was designed to be the. Blow your ears into another stratosphere on the first listen while we all waited at Thursday at Midnight to just get in the car and play it. I don't think that was what they were going for. I think it's more. I think this is something you need to listen to more and appreciate more.

[Music Critic 1]

I appreciate it. I just can't. The music to me is just not what I hoped it to be.

[Music Critic 2]

The only thing I don't have my critiques, like, you know, shit. I started at My Life is Real, obviously, at Midnight, but I wanted to skip to number three. New York State of Mind, Part three. Do I think that holds up against New York State of Mind, part one and two? Absolutely not. I. I don't. I don't.

[Music Critic 1]

So that's my thing.

[Music Critic 2]

I don't think you should have. I don't know. I don't dislike the song. I just like the title.

[Music Critic 3]

Okay, I can understand that.

[Music Critic 2]

I don't dislike the song at all. It's not a skit for me. I just dislike the title. I think scratching in all that stuff, you could have just scratched something else in and it still would have been an amazing song. Like, I just.

[Music Critic 1]

We need more drums on here. We need more drums again.

[Music Critic 2]

That's why I think Nas wasn't like a clean slate.

[Music Critic 1]

But I really have drums, though.

[Music Critic 2]

Listen, I'm always. As much as I love Griselda and a lot of that sound and they still have drums. But I was still one of those, like, yo, I love that hip hop is still happening, but can we get drums back? I like drums. Yeah, I hate the drums. Has become extinct in the quote unquote, underground hip hop shit. Like, everybody just wants to rap over a fucking sample and some keys. Somebody at a fucking snare, right? So I feel you. Especially Preem drums, because Preem drums are, I shit, probably the most iconic drums in hip hop history. Like, of course you want premium drums. So I hear you not mad at that critique at all. Yeah, I just don't. I just don't know if that's what NAS1.

[Music Critic 1]

No, I get it. We wasn't in the studio when they created it, but, you know, this is what they gave us so we can only go off of what the final product sounds like. But for me, it was a little underwhelming. But again, you know, this is like childhood shit for me to finally get a NAS and DJ premiere album. So I'm happy that we got it, but it just didn't live up to my expectations of what I thought it would sound like. But not saying it's a bad album, it just didn't live up to the expectations that I had for it.

[Music Critic 2]

No. And again, I want to make clear, when I saw everyone critiquing it, it wasn't a bunch of people hating like it was. It was music people really telling their opinion on. It wasn't one of those, like, just hate train things. So I. I can appreciate people disliking the project and give their reasons. I saw a lot of, like, song breakdowns per rating each one. I was like, well, how could you be mad at that person? That's not hate.

[Sophie Cunningham]

Yeah.

[Music Critic 2]

That's just the opinion.

[Music Critic 1]

Yeah.

[Music Critic 2]

So that I was at least happy to see that any critiques and negative comments about it came from a place of somebody that was actually trying to listen.

[Music Critic 1]

Yeah.

[Music Critic 2]

Not somebody that was just like, yo, turn that old shit off.

[Music Critic 1]

You know, you can't. You can't talk to those people. Those people are going to. They're going to trash anything that didn't come out when they were born.

[Music Critic 2]

So, yeah, they trashed at 11:59. Refreshed. Not even out yet. But also on Friday. Congrats again to our brother Conway. You Can't Kill God with bullets out now. 18 records, right? An hour. Exactly. I mean, I like. I don't know at this point. Conway's the same shit we say about Gibbs. Like, just the discography at this point is kind of untouchable for me.

[Music Critic 1]

This is one of Conway's best albums. I'm top to bottom on the same side, still rapping at a very high level. Not many people can rap better than Conway. But what I told him last week, listening to it, the music on this album, he stepped it up, you know, on the production side, the music side, getting more into, like, you know, he's not. Not too many features. A lot of the songs is just him by himself doing the hooks, everything. So to see Conway evolve in that aspect of his. Of his craft is dope. But, yeah, I love this album. This is one of my favorite Conway albums, for sure.

[Music Critic 2]

It's up there with my personal favorite. It's up there with Lulu and Me, the Alchemist one. God, don't make mistakes. It's up there as well. Yeah. I think him and Wes have a really good quality of topping their previous work constantly. Like, every time I think this is my favorite Westside Gun album, he puts out Pray for Paris. Like it.

[Music Critic 1]

Yeah.

[Music Critic 2]

It's just every time they find new ways to make straight rapping interesting again and again. I think production wise, too. These are some of my favorite beats that comp it.

[Music Critic 1]

Absolutely.

[Music Critic 2]

So I can't say enough.

[Music Critic 1]

It helps to have a few Justice League records on there too.

[Music Critic 2]

Yeah.

[Music Critic 1]

You know what I'm saying, Kimmy.

[Music Critic 2]

Matt.

[Music Critic 1]

That'll help any artist, any.

[Music Critic 2]

I love that he put Yayo on the though.

[Music Critic 1]

Yeah. Yeah, absolutely.

[Music Critic 2]

I thought that was great. What was the. The Slick Rick. We actually. We're just talking about this week. The Fade to Black movie when you perform with Beyonce at the Garden.

[Ghostface Killah]

Yeah.

[Music Critic 2]

Slick Rick came with all the jewelry. How long has y' all relationship been so close that way? Because from the outside looking in, when he pulled up and just was taking all the jewelry, I didn't know he was gonna come.

[Ghostface Killah]

I didn't know he was gonna come.

[Music Critic 2]

With all his joy.

[Music Critic 1]

I didn't say nothing.

[Ghostface Killah]

Listen.

[Music Critic 1]

I didn't say anything.

[Ghostface Killah]

Yeah.

[Music Critic 2]

I tried to say I knew what he was doing.

[Music Critic 1]

That's why I'm like, I'm not even feeding into that.

[Ghostface Killah]

I knew he feel it.

[Music Critic 2]

Yeah.

[Ghostface Killah]

You know what I mean? But I didn't know he was gonna slide through.

[Music Critic 1]

Yeah.

[Ghostface Killah]

You know what I mean?

[Music Critic 1]

I don't know if that's any better.

[Ghostface Killah]

You know what I mean? Because I reached out to him and I was like, yo. Cause I had a bag for him to be like, yo, listen, I'm going on the stage with Beyonce.

[Music Critic 2]

Yeah.

[Ghostface Killah]

You know what I mean? At the Garden. Yo, Rick, let me just hold something. Whatever the case may be, this and that and the third, but you know, that's his prized possession. So at first, I don't. I don't know if he. I didn't think he was going to come. You know what I mean?

[Music Critic 1]

No, no.

[Ghostface Killah]

So I didn't know he was going to slide through whatever the case may be.

[Music Critic 2]

Arrive at the venue.

[Music Critic 1]

Yeah.

[Ghostface Killah]

So I'm like. I'm like. I'm like. I'm like, you know, So I wasn't even thinking about it. Like, we didn't even talk about it no more. Cause I think he might have told me, like. Yeah. Or said something or whatever. Case may. Anyway, he was like, I ain't think it was happening. So when I'm there, you know, be back There, you know, me and Beyonce, this and that and the third. And then all of a sudden, like, you know, he came out of nowhere. She on stage doing her shit.

[Music Critic 2]

Yeah.

[Ghostface Killah]

Yo, he came out. He came to me at. I think while that was on, while.

[Music Critic 1]

She was doing that, the record was clean.

[Ghostface Killah]

Yeah. The footage, it was like.

[Music Critic 2]

He just. He was like my cube.

[Music Critic 1]

He had.

[Ghostface Killah]

He had his little bag, and he just started throwing me. Like, I just got heavier and heavy and heavier.

[Music Critic 2]

It was like, yo, I can't rap this way.

[Ghostface Killah]

It was like. It was like the power. Like, oh, yeah. So I walk out. I'm walking out, and all of a sudden, the verse just left me. It left. I'm like. But my part is getting ready to.

[IBM AI Campaign Spokesperson]

Come, and I don't.

[Ghostface Killah]

It's getting ready, you know, I'm getting ready. It's getting ready to go.

[Music Critic 1]

Yeah.

[Ghostface Killah]

So I'm like. I'm like, oh, shit. I asked my manager. I say, yo, what's. What's. What's.

[Music Critic 1]

What's the.

[Ghostface Killah]

What's the shit? What's my first.

[Music Critic 1]

The first bar. You just need the first bar.

[Ghostface Killah]

That's all I need, the first bar. Couldn't get it. Yeah, I couldn't get it. So I'm like, o.

[Music Critic 1]

On stage, giving me anxiety. I'm like, oh, my God.

[Ghostface Killah]

I can't go over for the 30,000, 20,000 and just either get booed or. Or. Or just, like, don't go.

[Music Critic 1]

Yeah.

[Ghostface Killah]

So I'm like, oh. So I'm like, it's coming. Like, she's getting closer. It's getting closer, getting closer.

[Music Critic 1]

Yeah.

[Ghostface Killah]

So I start walking up, walking up. I'm gone. So all I can see is, like. It's slow motion. I saw just Dame dash when he looked at me from the side. Because Ain't see me with all that on.

[Music Critic 1]

Yeah.

[Ghostface Killah]

He just looked at me and said, oh. I even hear him. I just read his mouth.

[Music Critic 2]

Yeah.

[Music Critic 1]

Like, oh.

[Ghostface Killah]

Boom. Like. And I'm. I'm like, the steps is right there. Just go. I still don't got it. And I'm like, oh. But when it came.

[Music Critic 1]

Yeah, it was.

[Ghostface Killah]

God. I think he just, like, kicked me or slapped me. Bow.

[Music Critic 1]

Yeah.

[Ghostface Killah]

I used to sit back and analyze.

[Total Wireless Advertiser]

Yo.

[Ghostface Killah]

Yo. It just came. I said, yo. And I just flowed that shit. But when she seen me with all that shit on, she was like, yeah. Cause we did rehearsal, you know, it was regular shit. Yeah. And she seen that, like, oh, he came to perform.

[Music Critic 2]

No, I was the craziest fan.

[Ghostface Killah]

It was like, oh, shit. This nigga one of them Niggas.

[Music Critic 2]

Yeah. Yeah. Jewelry was.

[Music Critic 1]

I was at the show that night, and when you came out, we didn't know that that was Slick Rick Jewelry. We just thought that was Ghost on his. I'm throwing everything on the night. When Fade the Black came out and we saw Rick putting it, I was like, oh, that. That was crazy. Yeah. Because when you came out with the room. But that was Tony Stark. Like, we don't know where Ghost got all this from.

[Ghostface Killah]

That might have been one of the best times or probably the best time without the clan that. That I ever had, like, on stage. Like. Like, as far as, like, hearing the raw from the crowd.

[Music Critic 1]

No, that's summertime right now. We couldn't believe y' all because I was cool.

[Ghostface Killah]

I'm like, yo. Cause it. And even let Sean Paul do his.

[Music Critic 1]

Nah.

[Music Critic 2]

Yeah.

[Ghostface Killah]

I'm like, damn, you calling me. It's like, yo, so trusted me up there just to get ahead and.

[Music Critic 1]

But that was so be with his girl. That was so crazy because that. When that record came out, everybody loved that record.

[Music Critic 2]

That was like a case that I.

[Ghostface Killah]

Gave it to Slay.

[Music Critic 1]

Slay.

[Music Critic 2]

I remember when Slay put that up.

[Ghostface Killah]

Slay, because I was in Miami doing Pretty Tony, and my man down there, Time the Rock. He got the dj. Time the Rock. Yeah, he got.

[Music Critic 1]

He.

[Ghostface Killah]

He said, yo, I got this joint for you. It's a Beyonce joint. Anything Beyonce, give it to me.

[Total Wireless Advertiser]

Right?

[Ghostface Killah]

You know what I mean?

[Music Critic 1]

Yeah. Boom.

[Ghostface Killah]

And I heard that it was over. That was. That was it. I'm like, oh, I'm demoing this. Wait till tomorrow did that shit. Went and laid it down, came out where he was. Yo, I sent it straight to Slay. And then Slay was the one that did it.

[Music Critic 2]

I remember.

[Music Critic 1]

Yeah.

[Ghostface Killah]

You know me. But I didn't know he had. Because he wasn't on it. Yeah, he tried to play his afterwards, and I guess that might have been his or what? I don't know. Whatever. Whatever. He could be lying. I don't know.

[Halion Brand Representative]

Yeah.

[Ghostface Killah]

Anyway.

[Music Critic 1]

Ain't work, right? Yeah.

[Music Critic 2]

Even if that was never the official remix. Remix. That was the official remix for sure.

[Ghostface Killah]

Yeah.

[Music Critic 2]

So how quick, like, how quickly did Slick Rig ask for his jewelry back? Because I would have exited, like, instead of left, and I would have held on for a little bit, man.

[Ghostface Killah]

Listen, man, I was grateful he came to do what he. What he. He just did what he did, and I. I got that stage. I went back to the room.

[Music Critic 1]

Yeah.

[Ghostface Killah]

That was it. Yo, good looking. Bow. Bow that back. That was it, though. That moment was like, that was it.

[Music Critic 1]

Because I. I mean, I'm guessing that's the only time y' all ever performed that record together.

[Ghostface Killah]

Yes.

[Music Critic 2]

Yeah.

[Music Critic 1]

Like, to be in the garden that night and see that. Cause nobody was expecting Beyonce to perform that record. That shit was in, and I forgot my shit.

[Ghostface Killah]

It felt magical.

[Music Critic 1]

It was like, you're knowing that now is even crazy. Cause looking back, you came out and it was like, that's.

[Music Critic 2]

That's.

[Music Critic 1]

That's Ghostface.

[Ghostface Killah]

Yo, bro, I was scared. You know what I mean? I was tremendously scared just to go up on that stage and just be like, yo, and just be stuck. It would have been time for a snicker or something. Like, you want to get away? Yeah.

[Music Critic 2]

Speaking of snickers and kick ass. And we was talking off mike. So Maul told a story. When he met Styles people the first time, and when he met somebody that he idolized, Legend. That they was exactly who they thought they were.

[Music Critic 1]

Right.

[Music Critic 2]

During COVID DJ Premier put you and I on text message to do an emotional oranges record where you had done two verses, and I was going to bring a certain amount of money, cash to you. This is at the height of the fucking pandemic. You text me back and said, nah, God, I got diabetes. You're not getting near me.

[Ghostface Killah]

Right.

[Music Critic 1]

During COVID.

[Ghostface Killah]

You sure it was me?

[Music Critic 2]

You said, your nephew? Yeah, I still speak to to this day. I've given him the cash. And eventually, when I get that record back from Universal, we putting that out, that DJ Premiere remix that.

[Ghostface Killah]

Oh, so I did the record.

[Music Critic 2]

Yeah, you did two verses on it. Oh, you actually asked Premiere about it at Barclays, like, a few weeks ago. He had called me and was like, yo, Ghost wants to put that out? I'm like, so do I. We got Universal. I'll play it for you when we get off mic to remember you.

[Ghostface Killah]

Oh, so that was also because I remember Premiere did have me. Yeah, something like that.

[Music Critic 2]

That was with my group. Yeah.

[Ghostface Killah]

Oh, I got you. Yeah.

[Music Critic 2]

He put us on text, and I was gonn the bread, and he was like, nah, God, you're not getting near me.

[Ghostface Killah]

Probably, Probably. Probably.

[Music Critic 2]

This was like the height of the pandemic.

[Ghostface Killah]

Nobody was even scared to death.

[Music Critic 2]

No, exactly.

[Ghostface Killah]

N. Man, I ain't want to go nowhere. Hell, yeah. I was holding my breath, you know, be like, yo, if you showing us your breath every five minutes, I was like, trying to see if I can hold my. For, like, 30. 30 seconds. 20, 30 seconds. Then if I. If I hold it for 30, something.

[Music Critic 1]

Like that, I'm good, I'm good, I'm good.

[Ghostface Killah]

I'm doing that shit all the fucking time. Like going to the bathroom mid 3:00 clock in the morning, take a piss.

[Music Critic 2]

I'm like.

[Ghostface Killah]

Y all that shit.

[Music Critic 3]

Yeah yeah.

[Music Critic 1]

All right, I'm good.

[Ghostface Killah]

Go back to sleep. Hell yeah.

[Sophie Cunningham]

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[Halion Brand Representative]

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[Music Critic 2]

Ryan Reynolds here wishing you a very happy half off holiday because right now Mint Mobile is offering you the gift of 50% off unlimited. To be clear, that's half price, not half the service. Mint is still premium unlimited wireless for a great price. So that means half day. Yep, give it a [e-mail] Switch upfront.

[Sophie Cunningham]

Payment of $45 for three month plan.

[Music Critic 2]

Equivalent to $15 per month required new.

[Sophie Cunningham]

Customer offer for first three months only.

[Music Critic 2]

Speed slow 135 gigabytes of network fizzy.

[Sophie Cunningham]

Taxes and fees extra.

[Halion Brand Representative]

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[Podcast Host]

At CVS it matters that we're not just in your community, but that we're part of it. It matters that we're here for you when you need us, day or night, and we want everyone to feel welcomed and rewarded. It matters that CVS is here to fill your prescriptions and here to fill your craving for a tasty and, yeah, healthy snack. At cvs, we're proud to serve your community because we believe where you get your medicine matters. So Visit [e-mail] or just come by our store. We can't wait to meet you. Store hours vary by location. This is an iHeart podcast. Guaranteed Human.