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Nothing wrong with the pussy. Nothing wrong with the pussy. Nothing wrong with the pussy. Hey hey, hey everybody. Welcome back. It's your boy Julian. Welcome to episode 42 of Something Wrong with the Podcast. Before we get into today's music heavy episode, I do want to first start by saying today is Election Day. If you're listening to this on Tuesday, go out and vote. And I'm not even here to coach you in sway or vote in any which way. It is your right to to vote. Exercise your right to vote. Because it seems like democracy is crumbling a little bit and quaking beneath our feet. So you might as well hold on to what we have left. Use your vote, use your voice, and partake in the beautiful system that we do our best to uphold. That's all I have to say about that. For now, let's jump into what I think is the most interesting story of the of today's docket. Here is the for the first time in 40 years they said since 1990 on Wednesday, Billboard reported for the first time since 1990 when Biz Markey signature song Just A friend was number 41 on February 2nd, there was no rap song in the Billboard Hot 100 after Kendrick Lamar and SZ's as Luther was deemed recurrent and removed due to recent changes to charts methodology, effectively ending a 35 year streak. Recurrent songs will now be removed if they have been on the chart for a certain amount of time while simultaneously falling under circum under certain chart thresholds. Luther had fallen under 25 to 28 the previous week during its 46th week. So this as everything does when it revolves Hip Hop and News and Metrics call caused a stir online and led a bunch of people to have this very, I think, ludicrous, no rap pun intended discourse that is it over for Hip hop? Are we seeing the end of hip hop as we know it? No rap on the charts? Is it over for the genre? Has the world moved on? And I saw Alchemist even had a quote, he said quote no rap in the top 40 has nothing to do with music being good or bad, which he did not further elaborate on, which is interesting and can be pulled in many different directions in terms of what the hell he meant by that. But I do want to say that I'm here to defend hip hop and not only defend hip hop as a genre that has without a doubt, firmly planted its flag in what has become music, and in particular American music, and has obviously since had a huge global reach. I think we can't ignore the hip hop blending with Afrobeats over the last few summers. And obviously, like. I'm not saying American hip hop. Yeah, I guess I kind of am. You can say that without. I mean, hip hop here wouldn't happen internationally. So, yes, the case can be made. But obviously with UK drill rap, we're seeing so much so that the UK artists are also bleeding into American pop culture. Like, obviously an older gentleman, but like someone that's been doing it from the jump who's like an early pioneer gigs. But then we're seeing younger guys like Central Cee, Skepta as well, and Dave as well. Central Cee and Dave had that amazing EP that they put out a few summers ago. So hip hop's alive and well. And I'll take us through the history of music as a whole, and we can even see the patterns of it over time. So we know in like the 60s, we had the rock and roll and the British invasion. So we're talking like the Beatles, the Rolling Stones, Jimi Hendrix, Bob Dylan and the Beach Boys. And this was like global pop rock. We're looking at like psychedelic music, super rock inspired, a lot of guitar solos, a lot of like free love and just expression. And that kind of carries into what evolves into the 70s, which is still holding on to classic rock, but now disco, because now everything's super funky. And we're seeing like Led Zeppelin, Pink Floyd, Stevie Wonder, Fleetwood Mac. A lot of amazing instruments, but heading into like a more of electronic sound, not just purely instrumental. The. I forget what the instruments called the tube that you put in your mouth and you play that. I know, Stevie. The talk box, I believe is what we call it. But that lends itself into the 80s, which now we're looking at pop synth music. And notice here, each of these areas is connected. It's like one in, ushering in the other. So the bridge between that talk box into the. What officially became like synthesizers in like synth keys in the 80s. So like Michael Jackson, Madonna, Whitney Houston, obviously a Prince, a multi instrumentalist who is like a pioneer during that decade. And then we're seeing also the rise of MTV and videos becoming a central and key part to the music itself. Boom, here comes hip hop. And we're first seeing hip hop's immediate meteoric rise in the 90s. We have obviously Tupac, Biggie, but at the same time, alternative rock is at its peak. We're seeing Pearl Jam, we're seeing Nirvana. So now we're still. Rock is holding onto its strong suit. But now we have a new genre being introduced, which is hip hop in itself. And hip hop started in the early half of the decade, chart topping for sure. But by the end of the 90s, we're seeing really a. A culture shift in terms of value on the Billboard charting. Now we're seeing a lot of hip hop and a lot more R and B as well on those charts. So now we're fully into the 2000s. And guess what? It's hip hop and pop. We're gonna give pop some space because we also saw the likeness of like Britney Spears, Backstreet Boys, all that type of music. But then also we're seeing Usher, Beyonce, Kanye, Jay Z. So we're seeing now the pioneers of what are still considered the pioneers of. Not the pioneers in terms of that they founded it, but like the titans of hip hop. The guys that once they were introduced, they stuck and they stuck around forever. And hip hop became at this point by far the most commercially successful genre. And pop music even leaned into R and B notes and electronic themes that they were also borrowing from the 80s and 90s, which is pretty interesting. Two thousand and tens. Now we're talking extremely experimental. Now we're in like our pop trap EDM era, but still with like a hip hop element to it. We saw a lot of collaborative efforts between cross genre blending with hip hop as the base of that. We saw a lot of pop artists bleeding into hip hop. So come to mind, collaborations like Juicy J and Miley Cyrus weren't such an oddity at the time. Or Ariana Grande singing vocals on a Big Sean record. Like we're seeing a lot of genre blending because still hip hop is the root and carries the torch from the previous two decades, but now is being kind of infiltrated from these other genres as well. But now we're seeing an artist like Taylor Swift come out who's straying not so much into the pop. The. She's far more into the pop scene. I believe at this point. She may have had a verse by Kendrick by now, but point is, she's still very pop. Rihanna, who's fucking genre bends the whole thing, can sing, can croon, but also can get her rap shit off. Post Malone, which introduced then. Now we're seeing the archetype of the white boy that starts off rap and then kind of abandons a genre, but dips his toe in every once in a while. Very interesting. EDM very much peaked during this time. Heavily. We're talking during the Mali Pure Molly days. This was the years that I was in school. So I remember all of this music coming out at that time. And now we're in the 2000s and it's still very much rap and pop. We're seeing a big, big resurgence of pop with the new pop girlies and then Afrobeats as well. We're seeing really, I'd say this is the decade of the global reach of Afrobeats tapping into this. This audience in international music as a whole. So artists like Bad Bunny, obviously, Drake, Billie, Eilish, Burna Boy, Taylor Swift again. But global sound is what's dominating the charts and including mainly, like, when we're speaking global sounds, the two that come to mind the most are Latin and Afrobeats. And I think that's beautiful because now music is so much more than regional and the reach spans so far beyond. So much so that it has tapped into our. The great American game. You know, it's technically baseball, but of football. Now we have a man that is fluent and sings in Spanish doing the American football halftime show, which is pretty awesome.