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👀 This Jay-Z Interview Moment Still Doesn’t Sit Right… When Jay-Z spoke on the Super Bowl decision, he downplayed everything: •Said picking Kendrick Lamar wasn’t personal •Denied there being any alliance •And leaned on his status like: “I’m Jay-Z… why would I even care?” On the surface, that sounds...

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13,163 views • 5 months ago •via X (Twitter)

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So this whole ugly beef really started because Kendrick was given the Big 3 moment and he publicly rejected it with “it’s just big me.” Kendrick was just refusing a hierarchy. Now there is rumors of Kendrick being on a J. Cole album with Drake after all this supposed “culture war.” So what was the point of all that division? all that moral grandstanding? I guess it was just about positioning. I believe, the industry needed a counterweight to Drake, someone they can market as the “pure” alternative, and Kendrick was it. Here’s why I think Drizzy should never do a project with Kendrick nearby: When Drake shows up- he brings the world with him-streams, playlists, headlines, and attention. If Drake were on an album with Kendrick, Drake would activate the culture, but the story would become “Kendrick outshined him,” even if Drake made the actual hits. That’s how narratives work. Drake would create the success, and Kendrick would get the credit, just like what happened in the beef. That power trip beef by UMG was all about narrative laundering. So Drake staying away is the smart move. Without Drake, Kendrick has to stand on his music alone, no giant spotlight, no built-in villain, no automatic attention from being next to the biggest star in the genre. Look at that Playboi Carti project: no Drake, no real peak, no lasting impact. And that’s exactly what Kendrick’s team doesn’t want tested, again. At the end of the day, it’s simple: Drake doesn’t need Kendrick to win. Kendrick needs Drake to matter. And that imbalance is what this whole “beef” was really built on. 🦉
0:28

So this whole ugly beef really started because Kendrick was given the Big 3 moment and he publicly rejected it with “it’s just big me.” Kendrick was just refusing a hierarchy. Now there is rumors of Kendrick being on a J. Cole album with Drake after all this supposed “culture war.” So what was the point of all that division? all that moral grandstanding? I guess it was just about positioning. I believe, the industry needed a counterweight to Drake, someone they can market as the “pure” alternative, and Kendrick was it. Here’s why I think Drizzy should never do a project with Kendrick nearby: When Drake shows up- he brings the world with him-streams, playlists, headlines, and attention. If Drake were on an album with Kendrick, Drake would activate the culture, but the story would become “Kendrick outshined him,” even if Drake made the actual hits. That’s how narratives work. Drake would create the success, and Kendrick would get the credit, just like what happened in the beef. That power trip beef by UMG was all about narrative laundering. So Drake staying away is the smart move. Without Drake, Kendrick has to stand on his music alone, no giant spotlight, no built-in villain, no automatic attention from being next to the biggest star in the genre. Look at that Playboi Carti project: no Drake, no real peak, no lasting impact. And that’s exactly what Kendrick’s team doesn’t want tested, again. At the end of the day, it’s simple: Drake doesn’t need Kendrick to win. Kendrick needs Drake to matter. And that imbalance is what this whole “beef” was really built on. 🦉

industrypolitics

55,197 views • 8 months ago

Next up, letter N: “Nigga What, Nigga Who (Originator 99)” #JayZ30 #JayZ Timbaland: “…When we did ‘Jigga What,’ I did a beat at first. He [Jay-Z], like, ‘Nah, I need…’ [Timbaland starts mimicking Jay’s flow and lyrics]. I said, ‘Give me five minutes.’ ‘Cause he had the rap already ... the first beat I did wasn’t it.” Jay-Z: “I got a whole new respect for Timbaland, for real. You know, you listen to his tracks, and [he’s] like a very innovative producer. ...He brought that sound to the game, like you hear that, it’s either his joint or you think it’s his joint. ...When he got in there, he had a track up, and I was like, ‘That’s cool ... but I want it [to feel like] Timbaland.’ Like, two minutes later, he came back with something even crazier. Then, after I laid the vocals, he just kept adding on to it … I was like, ‘Wow, got a new respect for him.’ ”
1:59

Next up, letter N: “Nigga What, Nigga Who (Originator 99)” #JayZ30 #JayZ Timbaland: “…When we did ‘Jigga What,’ I did a beat at first. He [Jay-Z], like, ‘Nah, I need…’ [Timbaland starts mimicking Jay’s flow and lyrics]. I said, ‘Give me five minutes.’ ‘Cause he had the rap already ... the first beat I did wasn’t it.” Jay-Z: “I got a whole new respect for Timbaland, for real. You know, you listen to his tracks, and [he’s] like a very innovative producer. ...He brought that sound to the game, like you hear that, it’s either his joint or you think it’s his joint. ...When he got in there, he had a track up, and I was like, ‘That’s cool ... but I want it [to feel like] Timbaland.’ Like, two minutes later, he came back with something even crazier. Then, after I laid the vocals, he just kept adding on to it … I was like, ‘Wow, got a new respect for him.’ ”

Luis

88,510 views • 2 months ago

Next up, letter M: “Moment of Clarity” #JayZ30 #JayZ Jay-Z: “I was talking about my Pop. That's how it [verse 1 of ‘Moment of Clarity’] started ... my Pop died, you know, I didn’t cry. ...It just came from me being real about those feelings. When I went to the church and I seen him ... I was smiling a little bit, like, this guy looks so much like me. ...Just the fact I got a chance to talk to him, and I got a chance to re-meet him. I got a chance to tell him how I was affected by him leaving and things like that. That I was cool with it, and that’s what that verse is about.” On producing “Moment of Clarity,” Eminem once told DJ Cipha Sounds: “I actually met with him [Jay-Z] in New York, and I played him basically what I had been working on, and he picked that one. ...I wasn’t there while he recorded it, but he sent it to me pretty much that same week. ...I don’t know if I was really feeling that beat until he put words to it. Jay-Z has that ability to take things that you don’t think the beat is good if you just listen to it, like, if you just hear the beat.”
4:11

Next up, letter M: “Moment of Clarity” #JayZ30 #JayZ Jay-Z: “I was talking about my Pop. That's how it [verse 1 of ‘Moment of Clarity’] started ... my Pop died, you know, I didn’t cry. ...It just came from me being real about those feelings. When I went to the church and I seen him ... I was smiling a little bit, like, this guy looks so much like me. ...Just the fact I got a chance to talk to him, and I got a chance to re-meet him. I got a chance to tell him how I was affected by him leaving and things like that. That I was cool with it, and that’s what that verse is about.” On producing “Moment of Clarity,” Eminem once told DJ Cipha Sounds: “I actually met with him [Jay-Z] in New York, and I played him basically what I had been working on, and he picked that one. ...I wasn’t there while he recorded it, but he sent it to me pretty much that same week. ...I don’t know if I was really feeling that beat until he put words to it. Jay-Z has that ability to take things that you don’t think the beat is good if you just listen to it, like, if you just hear the beat.”

Luis

94,458 views • 2 months ago

🚨 Mal says Drake and Jay-Z are NOT beefing Mal pushed back on claims Drake’s relationship with Jay-Z stopped him from attending the Yankee Stadium shows, saying Drake may have disagreed with Jay backing Kendrick’s Super Bowl performance, but that doesn’t make it a beef. He also argued Drake’s “the jig is up” line wasn’t really a shot at Jay-Z, saying it felt more like “regular rap” than a true diss. Mal added there’s “not a world” where Drake would be upset if he went to see Jay perform. Via Rory & Mal
3:24

🚨 Mal says Drake and Jay-Z are NOT beefing Mal pushed back on claims Drake’s relationship with Jay-Z stopped him from attending the Yankee Stadium shows, saying Drake may have disagreed with Jay backing Kendrick’s Super Bowl performance, but that doesn’t make it a beef. He also argued Drake’s “the jig is up” line wasn’t really a shot at Jay-Z, saying it felt more like “regular rap” than a true diss. Mal added there’s “not a world” where Drake would be upset if he went to see Jay perform. Via Rory & Mal

CY Chels

153,118 views • 1 month ago

50 Cent put Charlamagne on notice in real time when the Drake Super Bowl talk came up‼️💯. On "The Breakfast Club", 50 dropped that Drake had turned down the Super Bowl multiple times (he and others have referenced two or three occasions)‼️. Charlamagne’s face and immediate reaction told the story‼️he was caught off guard and started trying to reframe it on the spot‼️. 50 didn’t let the pivot slide‼️. He pointed out the obvious: if Jay-Z (via Roc Nation’s partnership with the NFL) was actually offering Drake the stage and Drake was the one saying no, that undercuts the pure “Jay is just hating Drake” narrative that a lot of people lean on‼️. You can’t run the “he’s blocking him out of spite” story and also claim the offers were real without the logic falling apart‼️. 50 checked that framing right there‼️. Then the conversation shifted to 50’s own situation, and he confirmed what he’d said before: Jay didn’t want him on the 2022 Super Bowl LVI halftime show either‼️. Roc Nation allegedly tried to keep him off the bill‼️. Eminem refused to do it without 50, so they had to bring him in as the “surprise.” 50 has been consistent on this‼️he’s said if it was up to them, he wouldn’t have been there‼️. He frames it as culture being competitive, but notes that when it crosses into blocking business opportunities (especially when the other side isn’t even competing for current chart slots or relevance in the same way), it stops making sense‼️. This isn’t isolated‼️. Jay has a track record of using industry position and leverage for personal or competitive reasons rather than pure merit‼️: - The long-running tension with 50 goes back years and has included business and platform issues beyond just music‼️. - Damon Dash has repeatedly accused Jay of interfering in deals and opportunities that would have paid him, describing a pattern of stepping on things when money was on the table‼️. - Historical examples include the way power dynamics played out around Roc-A-Fella splits, artist placements, and access during peak Roc years. Jay has never been shy about leveraging his position‼️whether through labels, streaming (Tidal), sports, or the NFL partnership‼️. The idea that Jay-Z “didn’t play a part” in the Drake–Kendrick situation is pure nonsense‼️. Roc Nation has shaped Super Bowl halftime selections for years‼️. Kendrick getting the 2025 New Orleans slot right in the middle/aftermath of the biggest beef in years wasn’t some neutral coincidence, especially with the cultural and streaming impact of “Not Like Us.”‼️ Jay later claimed it was simply because Kendrick was having a monster year and insisted it wasn’t about the battle‼️. That defense is convenient‼️. When the person controlling one of the biggest stages in music hands it to one side of an active, highly publicized war while the other side has previously turned the same stage down, pretending there’s zero connection or influence requires willful blindness‼️. The power is real, the history of selective use of that power exists, and the Super Bowl decisions sit right in the middle of both‼️. 50’s point lands because he’s lived both sides of it: the competitive culture "and" the business blocking‼️. When Charlamagne tried to keep the narrative tidy in the moment, 50 simply wouldn’t let the contradiction stand‼️. Watch the pattern‼️💯
3:27

50 Cent put Charlamagne on notice in real time when the Drake Super Bowl talk came up‼️💯. On "The Breakfast Club", 50 dropped that Drake had turned down the Super Bowl multiple times (he and others have referenced two or three occasions)‼️. Charlamagne’s face and immediate reaction told the story‼️he was caught off guard and started trying to reframe it on the spot‼️. 50 didn’t let the pivot slide‼️. He pointed out the obvious: if Jay-Z (via Roc Nation’s partnership with the NFL) was actually offering Drake the stage and Drake was the one saying no, that undercuts the pure “Jay is just hating Drake” narrative that a lot of people lean on‼️. You can’t run the “he’s blocking him out of spite” story and also claim the offers were real without the logic falling apart‼️. 50 checked that framing right there‼️. Then the conversation shifted to 50’s own situation, and he confirmed what he’d said before: Jay didn’t want him on the 2022 Super Bowl LVI halftime show either‼️. Roc Nation allegedly tried to keep him off the bill‼️. Eminem refused to do it without 50, so they had to bring him in as the “surprise.” 50 has been consistent on this‼️he’s said if it was up to them, he wouldn’t have been there‼️. He frames it as culture being competitive, but notes that when it crosses into blocking business opportunities (especially when the other side isn’t even competing for current chart slots or relevance in the same way), it stops making sense‼️. This isn’t isolated‼️. Jay has a track record of using industry position and leverage for personal or competitive reasons rather than pure merit‼️: - The long-running tension with 50 goes back years and has included business and platform issues beyond just music‼️. - Damon Dash has repeatedly accused Jay of interfering in deals and opportunities that would have paid him, describing a pattern of stepping on things when money was on the table‼️. - Historical examples include the way power dynamics played out around Roc-A-Fella splits, artist placements, and access during peak Roc years. Jay has never been shy about leveraging his position‼️whether through labels, streaming (Tidal), sports, or the NFL partnership‼️. The idea that Jay-Z “didn’t play a part” in the Drake–Kendrick situation is pure nonsense‼️. Roc Nation has shaped Super Bowl halftime selections for years‼️. Kendrick getting the 2025 New Orleans slot right in the middle/aftermath of the biggest beef in years wasn’t some neutral coincidence, especially with the cultural and streaming impact of “Not Like Us.”‼️ Jay later claimed it was simply because Kendrick was having a monster year and insisted it wasn’t about the battle‼️. That defense is convenient‼️. When the person controlling one of the biggest stages in music hands it to one side of an active, highly publicized war while the other side has previously turned the same stage down, pretending there’s zero connection or influence requires willful blindness‼️. The power is real, the history of selective use of that power exists, and the Super Bowl decisions sit right in the middle of both‼️. 50’s point lands because he’s lived both sides of it: the competitive culture "and" the business blocking‼️. When Charlamagne tried to keep the narrative tidy in the moment, 50 simply wouldn’t let the contradiction stand‼️. Watch the pattern‼️💯

(st_ides)

136,039 views • 26 days ago

Next up, letter W: “Where I’m From” #JayZ30 #JayZ Deric “D-Dot” Angelettie (a.k.a. Madd Rapper): “Ron Lawrence created the track from a live record. D-Dot came in and put the... that’s when the magic happens, when I’m there [in the studio]” Ron “Amen-Ra” Lawrence: “When Jay heard it, it was just in a raw form. It was really nothing to it; it was just bare. ...By Jay putting his lyrics on that track, it really gave me a vision on where I knew that I could take it because he painted that picture about living in Marcy Projects. He gave it that whole sinister feel. Most people want to have a finished track so they can rhyme to [it]. It’s very challenging, and it’s a lot of fun if you can have a rapper do a song on top of a song that's not finished ... it just gave me so much insight on what I should do with it, and it worked.”
5:33

Next up, letter W: “Where I’m From” #JayZ30 #JayZ Deric “D-Dot” Angelettie (a.k.a. Madd Rapper): “Ron Lawrence created the track from a live record. D-Dot came in and put the... that’s when the magic happens, when I’m there [in the studio]” Ron “Amen-Ra” Lawrence: “When Jay heard it, it was just in a raw form. It was really nothing to it; it was just bare. ...By Jay putting his lyrics on that track, it really gave me a vision on where I knew that I could take it because he painted that picture about living in Marcy Projects. He gave it that whole sinister feel. Most people want to have a finished track so they can rhyme to [it]. It’s very challenging, and it’s a lot of fun if you can have a rapper do a song on top of a song that's not finished ... it just gave me so much insight on what I should do with it, and it worked.”

Luis

13,694 views • 2 months ago

Next up, letter U: “U Don’t Know” #JayZ30 #JayZ Just Blaze: “I remember when I started the first version of ‘U Don't Know’ ... I just knew it had the potential to be something explosive. When Jay first did his rhyme, I’m like, ‘Alright, this is cool.’ But what really set that record off, for me at least, was when I added the [mimics the piano keys] at the very beginning. He does ‘turn my music high’ … it was just the perfect setup to a great record.” The producer added: “...If you notice, there's a start and stop with his [Jay-Z] rhymes, and the reason that is, is because he did the first verse and then he left it there. ...Every day he would come in to refine and work on a new idea. That was like his gym music, so he would listen, add another 8-to-16 bars, and then pull up the next record. ...That was basically the record [‘U Don't Know’] that would get him hype to record every day, which is why it goes on for as long as it does ‘cause he’s thinking of more rhymes...”
6:25

Next up, letter U: “U Don’t Know” #JayZ30 #JayZ Just Blaze: “I remember when I started the first version of ‘U Don't Know’ ... I just knew it had the potential to be something explosive. When Jay first did his rhyme, I’m like, ‘Alright, this is cool.’ But what really set that record off, for me at least, was when I added the [mimics the piano keys] at the very beginning. He does ‘turn my music high’ … it was just the perfect setup to a great record.” The producer added: “...If you notice, there's a start and stop with his [Jay-Z] rhymes, and the reason that is, is because he did the first verse and then he left it there. ...Every day he would come in to refine and work on a new idea. That was like his gym music, so he would listen, add another 8-to-16 bars, and then pull up the next record. ...That was basically the record [‘U Don't Know’] that would get him hype to record every day, which is why it goes on for as long as it does ‘cause he’s thinking of more rhymes...”

Luis

36,043 views • 2 months ago

Johnny Manziel says he celebrated at a bar the day the Browns cut him, and didn’t understand what he’d lost until years later “I remember waking up on Super Bowl weekend, I was staying with Chandler Parsons in Dallas and he came busting in my room and he goes, ‘Turn the TV on.’ I’m like, ‘What?’ Turns the TV on. It’s all over, Browns cut me, this and that.” “And I’m not feeling an ounce of being upset. I’m like, let’s go across the street to the bar and celebrate. Like, that’s what it was like.” “And I look back at it now like, damn, you’re supposed to handle that stuff, and handle it better. But I wasn’t equipped to do it. I was in the situation that I hated it, I didn't really give much of a choice.” “I made that decision to be happy, walking away from it, a decision that would later come back to haunt and bite me...”
0:43

Johnny Manziel says he celebrated at a bar the day the Browns cut him, and didn’t understand what he’d lost until years later “I remember waking up on Super Bowl weekend, I was staying with Chandler Parsons in Dallas and he came busting in my room and he goes, ‘Turn the TV on.’ I’m like, ‘What?’ Turns the TV on. It’s all over, Browns cut me, this and that.” “And I’m not feeling an ounce of being upset. I’m like, let’s go across the street to the bar and celebrate. Like, that’s what it was like.” “And I look back at it now like, damn, you’re supposed to handle that stuff, and handle it better. But I wasn’t equipped to do it. I was in the situation that I hated it, I didn't really give much of a choice.” “I made that decision to be happy, walking away from it, a decision that would later come back to haunt and bite me...”

katsu

1,067,048 views • 1 month ago

J. Cole says he was "disgusted" how people turned on Drake, and Kendrick, during the beef, but is proud of Kendrick and hopes ICEMAN goes crazy 👀 "The world became like politics, you either Democrat or Republican, you either Kendrick or you Drake, I felt disgusted both ways, to me it's disgusting how people use that opportunity to show how they really felt about Drake the whole time or just pile on, and create a narrative as if he’s not great, it was a whole campaign, probably still is to this day. When I see Kendrick get the moment he had, I'm just as proud of this dude as I was when I knew him back then. But I also hate that for Drake, and I hate how the world turns on him, man I hope ICEMAN go crazy."
1:10

J. Cole says he was "disgusted" how people turned on Drake, and Kendrick, during the beef, but is proud of Kendrick and hopes ICEMAN goes crazy 👀 "The world became like politics, you either Democrat or Republican, you either Kendrick or you Drake, I felt disgusted both ways, to me it's disgusting how people use that opportunity to show how they really felt about Drake the whole time or just pile on, and create a narrative as if he’s not great, it was a whole campaign, probably still is to this day. When I see Kendrick get the moment he had, I'm just as proud of this dude as I was when I knew him back then. But I also hate that for Drake, and I hate how the world turns on him, man I hope ICEMAN go crazy."

Hip Hop All Day

127,312 views • 5 months ago

Full coverage of Marc Lamont Hill and the JBP cast responding to DJ Akademiks 🎙️👇 Marc says Ak is right about one thing , he never claimed to be a hip hop journalist, so he doesn’t understand why Ak is now expecting him to break hip hop stories. That was never part of the job. On the “What’s the Dirt” video about Roc Nation , he’s watched it, and says even if everything in it is true, he doesn’t care enough to go investigate it himself. He’s locked in on the Nolan case right now. His question back to Ak: what exactly does he want him to do with the information once he has it? He says why would he fuck**g be afraid of Drake when he is the same guy who spoke against Israel at UN? Flip also called Dj Akademiks out , saying Ak has his own relationship with Drake but doesn’t want anyone else to have one with Jay-Z. He says people have the right to have relationships with Jay the same way he has one with Drake . Joe Budden agreed. The podcast then got into the bigger picture of all the beefs going on, with Joe pointing out Charlamagne started it all… then went quiet. Said he loves that. 👀
25:00

Full coverage of Marc Lamont Hill and the JBP cast responding to DJ Akademiks 🎙️👇 Marc says Ak is right about one thing , he never claimed to be a hip hop journalist, so he doesn’t understand why Ak is now expecting him to break hip hop stories. That was never part of the job. On the “What’s the Dirt” video about Roc Nation , he’s watched it, and says even if everything in it is true, he doesn’t care enough to go investigate it himself. He’s locked in on the Nolan case right now. His question back to Ak: what exactly does he want him to do with the information once he has it? He says why would he fuck**g be afraid of Drake when he is the same guy who spoke against Israel at UN? Flip also called Dj Akademiks out , saying Ak has his own relationship with Drake but doesn’t want anyone else to have one with Jay-Z. He says people have the right to have relationships with Jay the same way he has one with Drake . Joe Budden agreed. The podcast then got into the bigger picture of all the beefs going on, with Joe pointing out Charlamagne started it all… then went quiet. Said he loves that. 👀

Yawovi1986

38,266 views • 24 days ago

If you don't have youtube and need to log in to watch, full upload here... Drake is going to WAR with UMG! But I think we misunderstood Drake's real intentions in his battle with Kendrick Lamar...Mal might've accidentally revealed that Drake wanted to bait Kendrick into the NLU allegations when he said Drake said screw the rules and went personal despite an apparent agreement to not "take it there." I even have evidence from his lyrics on Scary Hours For All The Dogs edition that point to Drake knowing this UMG hit was coming before Like That was even dropped! I think he wanted to bait Kendrick so he could set himself up for a lawsuit settlement with UMG that would allow him to receive a record settlement that would fund his move to go independent! If Drake knew UMG would set him up, and then devised a plan to flip the script... call me crazy, but that sounds like the PLOT TWIST we all pondered! There's a LOT OF EVIDENCE, this isn't just some theory based solely off the Mal clip, so check it out and let me know if I'm on to something...
1:20:54

If you don't have youtube and need to log in to watch, full upload here... Drake is going to WAR with UMG! But I think we misunderstood Drake's real intentions in his battle with Kendrick Lamar...Mal might've accidentally revealed that Drake wanted to bait Kendrick into the NLU allegations when he said Drake said screw the rules and went personal despite an apparent agreement to not "take it there." I even have evidence from his lyrics on Scary Hours For All The Dogs edition that point to Drake knowing this UMG hit was coming before Like That was even dropped! I think he wanted to bait Kendrick so he could set himself up for a lawsuit settlement with UMG that would allow him to receive a record settlement that would fund his move to go independent! If Drake knew UMG would set him up, and then devised a plan to flip the script... call me crazy, but that sounds like the PLOT TWIST we all pondered! There's a LOT OF EVIDENCE, this isn't just some theory based solely off the Mal clip, so check it out and let me know if I'm on to something...

Rap Rhetoric

48,233 views • 1 year ago

Loon on Drake Taking Shots at Jay-Z on Iceman Loon takes a sharper angle on Drake’s Jay-Z shots here and refuses to reduce the whole thing to the internet meme. In this clip from It’s Up There Podcast, he makes a key distinction: taking the $500K over dinner with Jay-Z is not the real disrespect. In Loon’s framing, a young man betting on himself, choosing tools over symbolic proximity, and taking capital to build should not offend Jay-Z at all. What hits different is the energy behind the rest of the line — the suggestion that there’s nothing to learn from men like Jay. That is where Loon says the shot really starts. That’s what makes this clip strong. Loon respects Jay-Z’s history, but says history and strategy are not the same thing. History tells you where somebody has been. Strategy tells you where you are going. So while he acknowledges Jay as a real wealth of knowledge, he also argues that the money can still be the smarter choice — because a dinner may give perspective, but $500K gives tools, inventory, brick and mortar, movement and build-out. And the current context matters. Pitchfork reported Drake’s Iceman trilogy arrived on May 15, 2026 and specifically flagged the Jay-Z “$500K, not the dinner” bar as one of the project’s notable diss moments. The dinner debate itself predates the album by years; Vogue previously described it as a viral internet argument sparked by a tweet and argued that the cash is the smarter play because dinner with Jay-Z does not automatically transfer success. This clip is about: what the real disrespect is, why tools can matter more than proximity, and why Loon thinks Jay’s history deserves respect even when the money is the better move. #ItsUpTherePodcast #BigLoon #Drake #JayZ #Iceman HipHopNews PodcastClip
3:09

Loon on Drake Taking Shots at Jay-Z on Iceman Loon takes a sharper angle on Drake’s Jay-Z shots here and refuses to reduce the whole thing to the internet meme. In this clip from It’s Up There Podcast, he makes a key distinction: taking the $500K over dinner with Jay-Z is not the real disrespect. In Loon’s framing, a young man betting on himself, choosing tools over symbolic proximity, and taking capital to build should not offend Jay-Z at all. What hits different is the energy behind the rest of the line — the suggestion that there’s nothing to learn from men like Jay. That is where Loon says the shot really starts. That’s what makes this clip strong. Loon respects Jay-Z’s history, but says history and strategy are not the same thing. History tells you where somebody has been. Strategy tells you where you are going. So while he acknowledges Jay as a real wealth of knowledge, he also argues that the money can still be the smarter choice — because a dinner may give perspective, but $500K gives tools, inventory, brick and mortar, movement and build-out. And the current context matters. Pitchfork reported Drake’s Iceman trilogy arrived on May 15, 2026 and specifically flagged the Jay-Z “$500K, not the dinner” bar as one of the project’s notable diss moments. The dinner debate itself predates the album by years; Vogue previously described it as a viral internet argument sparked by a tweet and argued that the cash is the smarter play because dinner with Jay-Z does not automatically transfer success. This clip is about: what the real disrespect is, why tools can matter more than proximity, and why Loon thinks Jay’s history deserves respect even when the money is the better move. #ItsUpTherePodcast #BigLoon #Drake #JayZ #Iceman HipHopNews PodcastClip

Big Loon

296,436 views • 3 months ago

Paul Verhoeven on whether the events that take place in "Total Recall" (1990) are real or just a dream: "It is both. To be honest, that’s what I want. I made the movie in a way that it would be true on both levels, and I spent a lot of time to get that. If you want a scientific explanation, you know, of course, in quantum mechanics there is a very interesting principle, the principle of uncertainty, Heisenberg’s principle. If you have a big object and if you try to measure the place of the object and the velocity of the object at the same time, the more precisely you measure velocity the less precise place gets. So that’s the principle. That means, of course, that there are different realities possible at the same moment. What I wanted to do in 'Total Recall' is to do a movie where both levels are true. I mean for me, of course, the film anyhow has to do with two realities, one being the reality of going as a secret agent to Mars and discovering that there is a problem, and solving the problem, which is starting the nuclear reactor and helping the guerrillas and destroying Cohaagen. The second level of the movie, of course, is that from the moment that he goes into the Rekall chair ‘til the end it’s a dream, and I tried to make that second level work throughout the whole movie. So there’s the dream level which starts when he gets into the chair and the thing is in his neck, and that would go throughout the whole movie, so in the next scene where they say, Oh, there’s a problem, there’s a big glitch here, that would be already the dream, of course. That’s where the dream starts. And the next scene where they are fighting and stuff would be part of his dream, convincing him that it is real, because there is a glitch but that would be part of the program. It would be built into the program to make him accept the fact that it’s real, but it’s a dream. If you look at the movie, if you haven’t seen it, or for the second time, you’ll see that the whole program that’s set up at the beginning when he goes to the Rekall office and he talks to this guy who sells him the program on Mars, you’ll see that he gets everything that he wants: he gets the trip to Mars, he gets the girl, the exotic girl, he ki!!s the bad guys, and he saves the entire planet. That’s what he does. And that’s basically the dream. Even halfway through the movie, you may remember, this other guy comes in, Dr. Edgemar, and tells him that he’s in a dream, that he’s still in the Rekall chair, and then Arnold says, “If I’m there, I can ki!! you.” And he puts a gun to his head and the guy says, “Sure, no problem for me, big problem for you, because you will be psychotic from now on because the walls of reality will fall apart. One moment you will be the savior of the rebel cause, the next moment you’ll be Cohaagen’s bosom buddy, but in the end—you will even have these strange fantasies about alien civilizations—but at the end you will be lobotomized.” And then if you see the movie, you realize that all these things happen. I mean he is lobotomized at the end. That’s why at the last shot, when they are so happy and kissing each other, it slowly fades to white, which for me meant, “OK, there he goes. That’s the end-that’s the dream—they lobotomized him.” And all the other things happened, he finds the alien civilization, he rescues the planet, he finds the good girl, he k!!ls the bad guys, but it’s a dream. Now, of course you can see it as a reality, too. So at the end of the movie, getting to white means either it’s a happy ending or he loses his brains . . . which is probably also a happy ending, I don’t know. That was basically what l wanted—that at the end there would be two possibilities, and they would be both true—for me they are both true—it’s not either one or the other. It’s not that either it’s a dream or it is a reality. It is a dream and it is a reality. And I think they’re both there." (Paul Verhoeven's interview with Chris Shea & Wade Jennings, 1992) P.S: On this day, 36 years ago, "Total Recall" (1990) premiered in Los Angeles, California, USA.
1:25

Paul Verhoeven on whether the events that take place in "Total Recall" (1990) are real or just a dream: "It is both. To be honest, that’s what I want. I made the movie in a way that it would be true on both levels, and I spent a lot of time to get that. If you want a scientific explanation, you know, of course, in quantum mechanics there is a very interesting principle, the principle of uncertainty, Heisenberg’s principle. If you have a big object and if you try to measure the place of the object and the velocity of the object at the same time, the more precisely you measure velocity the less precise place gets. So that’s the principle. That means, of course, that there are different realities possible at the same moment. What I wanted to do in 'Total Recall' is to do a movie where both levels are true. I mean for me, of course, the film anyhow has to do with two realities, one being the reality of going as a secret agent to Mars and discovering that there is a problem, and solving the problem, which is starting the nuclear reactor and helping the guerrillas and destroying Cohaagen. The second level of the movie, of course, is that from the moment that he goes into the Rekall chair ‘til the end it’s a dream, and I tried to make that second level work throughout the whole movie. So there’s the dream level which starts when he gets into the chair and the thing is in his neck, and that would go throughout the whole movie, so in the next scene where they say, Oh, there’s a problem, there’s a big glitch here, that would be already the dream, of course. That’s where the dream starts. And the next scene where they are fighting and stuff would be part of his dream, convincing him that it is real, because there is a glitch but that would be part of the program. It would be built into the program to make him accept the fact that it’s real, but it’s a dream. If you look at the movie, if you haven’t seen it, or for the second time, you’ll see that the whole program that’s set up at the beginning when he goes to the Rekall office and he talks to this guy who sells him the program on Mars, you’ll see that he gets everything that he wants: he gets the trip to Mars, he gets the girl, the exotic girl, he ki!!s the bad guys, and he saves the entire planet. That’s what he does. And that’s basically the dream. Even halfway through the movie, you may remember, this other guy comes in, Dr. Edgemar, and tells him that he’s in a dream, that he’s still in the Rekall chair, and then Arnold says, “If I’m there, I can ki!! you.” And he puts a gun to his head and the guy says, “Sure, no problem for me, big problem for you, because you will be psychotic from now on because the walls of reality will fall apart. One moment you will be the savior of the rebel cause, the next moment you’ll be Cohaagen’s bosom buddy, but in the end—you will even have these strange fantasies about alien civilizations—but at the end you will be lobotomized.” And then if you see the movie, you realize that all these things happen. I mean he is lobotomized at the end. That’s why at the last shot, when they are so happy and kissing each other, it slowly fades to white, which for me meant, “OK, there he goes. That’s the end-that’s the dream—they lobotomized him.” And all the other things happened, he finds the alien civilization, he rescues the planet, he finds the good girl, he k!!ls the bad guys, but it’s a dream. Now, of course you can see it as a reality, too. So at the end of the movie, getting to white means either it’s a happy ending or he loses his brains . . . which is probably also a happy ending, I don’t know. That was basically what l wanted—that at the end there would be two possibilities, and they would be both true—for me they are both true—it’s not either one or the other. It’s not that either it’s a dream or it is a reality. It is a dream and it is a reality. And I think they’re both there." (Paul Verhoeven's interview with Chris Shea & Wade Jennings, 1992) P.S: On this day, 36 years ago, "Total Recall" (1990) premiered in Los Angeles, California, USA.

DepressedBergman

66,465 views • 3 months ago

Next up, letter H: “Hard Knock Life (Ghetto Anthem)” #JayZ30 #JayZ Jay-Z first heard DJ Mark the 45 King’s beat for “Hard Knock Life” in ‘97 after his performance on the “No Way Out Tour”, where DJ Kid Capri was playing the track between sets. Kid Capri: “It went crazy ... I said, ‘You want it for your album? [Vol. 2]’ ...I put him [Jay-Z] on the phone with 45 King right there, and next thing you know, two weeks later it was a smash. Biggest record to date for Jay-Z, and he has a lot of big records.” Jay-Z: “That’s one of the songs that was almost like a conversation for me. It’s not anything to think about. The chorus already dictates where this song should go and what should be said. I probably did that song in, maybe, five minutes.” 45 King: “I was lucky enough to see Jay lay down the vocals. He didn’t have any papers. He did it in one take. That’s Jay-Z.”
4:45

Next up, letter H: “Hard Knock Life (Ghetto Anthem)” #JayZ30 #JayZ Jay-Z first heard DJ Mark the 45 King’s beat for “Hard Knock Life” in ‘97 after his performance on the “No Way Out Tour”, where DJ Kid Capri was playing the track between sets. Kid Capri: “It went crazy ... I said, ‘You want it for your album? [Vol. 2]’ ...I put him [Jay-Z] on the phone with 45 King right there, and next thing you know, two weeks later it was a smash. Biggest record to date for Jay-Z, and he has a lot of big records.” Jay-Z: “That’s one of the songs that was almost like a conversation for me. It’s not anything to think about. The chorus already dictates where this song should go and what should be said. I probably did that song in, maybe, five minutes.” 45 King: “I was lucky enough to see Jay lay down the vocals. He didn’t have any papers. He did it in one take. That’s Jay-Z.”

Luis

24,551 views • 2 months ago

Black coffee on turning down Beyonce feature even after Jay Z was hitting him up relentlessly because you have to send her a full recorded song w/ artist that sounds like her so she knows how she's gonna sound like when she sings the song and says he prefers working w/ artists like Drake who really shows up for recording sessions. "Just like Drake get on the plane let's be in the same room, that's how I want to work now...most of these artists will be like send stuffs and when they saying send they don't mean a beat you must send a full song with everything, they just want to listen... there's even specific songwriters for specific artists like Rihanna has a specific songwriter that sounds like her on a song, so she wants to hear how the song is going to sound when she sings it."
2:30

Black coffee on turning down Beyonce feature even after Jay Z was hitting him up relentlessly because you have to send her a full recorded song w/ artist that sounds like her so she knows how she's gonna sound like when she sings the song and says he prefers working w/ artists like Drake who really shows up for recording sessions. "Just like Drake get on the plane let's be in the same room, that's how I want to work now...most of these artists will be like send stuffs and when they saying send they don't mean a beat you must send a full song with everything, they just want to listen... there's even specific songwriters for specific artists like Rihanna has a specific songwriter that sounds like her on a song, so she wants to hear how the song is going to sound when she sings it."

ZADCOZZY

943,835 views • 6 months ago

J. Cole says he found it "disgusting" how people tried to tear down Drake, while also being proud of Kendrick Lamar and the moment he had: "The world became like politics, you either Democrat or Republican. You either Kendrick, or you Drake." "I was disgusted both ways, damn near." "The 'out of hand' that to me is disgusting, how people try to use that opportunity to show how they really felt about Drake the whole time, or just to pile on and tear this dude down and create a narrative as if he's not great. It was a whole campaign." (via Talk With Flee)
1:07

J. Cole says he found it "disgusting" how people tried to tear down Drake, while also being proud of Kendrick Lamar and the moment he had: "The world became like politics, you either Democrat or Republican. You either Kendrick, or you Drake." "I was disgusted both ways, damn near." "The 'out of hand' that to me is disgusting, how people try to use that opportunity to show how they really felt about Drake the whole time, or just to pile on and tear this dude down and create a narrative as if he's not great. It was a whole campaign." (via Talk With Flee)

Kurrco

2,772,559 views • 5 months ago

Kendrick Perkins says there is a problem with a lot of people out here that don’t take LaMelo Ball serious: “And I don’t know what’s the problem, I don’t know why people feel like this man is not a hooper or a competitor, I don’t know if it’s because he has the IG followers, he post on IG or he has the tattoos. But when this man steps between the lines, this man goes out there and gives people that work. I understand it may look like he’s having fun and he is, but at the same time he’s trying to bust your a** every time he gets between those lines”
2:35

Kendrick Perkins says there is a problem with a lot of people out here that don’t take LaMelo Ball serious: “And I don’t know what’s the problem, I don’t know why people feel like this man is not a hooper or a competitor, I don’t know if it’s because he has the IG followers, he post on IG or he has the tattoos. But when this man steps between the lines, this man goes out there and gives people that work. I understand it may look like he’s having fun and he is, but at the same time he’s trying to bust your a** every time he gets between those lines”

NBA Courtside

399,505 views • 2 months ago

🚨 DJ Akademiks Questions Pharrell’s “JAY-Z Is Ready For War” Comments At Yankee Stadium 👀 DJ Akademiks reacted after Pharrell hyped up JAY-Z during his recent Yankee Stadium appearance, telling the crowd that “they poked the bear,” and suggesting JAY-Z has put on his “helmet” and is getting ready for war. Akademiks questioned who Pharrell could have been referring to, arguing that JAY-Z is no longer competing in today’s rap landscape. 🗣️ DJ Akademiks: • “War with who?” • “JAY-Z is a legendary artist, but he’s not a current artist competing with today’s rappers.” • “Unless he’s competing with people from his own era… who is he going to war against?” ➡️ Akademiks said he doesn’t believe JAY-Z could realistically battle any of today’s top artists, comparing the idea to Shaquille O’Neal trying to return to the Celtics and make another championship run. 🗣️ “He had his time. It was great. But it’s over. There’s nothing wrong with being a legacy act.” ➡️ When viewers mentioned Drake, Akademiks dismissed the idea entirely, arguing that Drake surpassed JAY-Z on all levels musically and commercially years ago and that the two are no longer competing in the same space. 🗣️ “Drake beat JAY-Z in all the metrics almost 10 years ago. Drake is fighting a completely different race.” ➡️ Akademiks added that while he expects JAY-Z could still release new music, he believes Pharrell’s comments about going to “war” don’t make sense if they’re referring to competing with today’s biggest rap stars. 👀 Who do you think Pharrell was talking about when he said JAY-Z is getting ready for “war”?
5:05

🚨 DJ Akademiks Questions Pharrell’s “JAY-Z Is Ready For War” Comments At Yankee Stadium 👀 DJ Akademiks reacted after Pharrell hyped up JAY-Z during his recent Yankee Stadium appearance, telling the crowd that “they poked the bear,” and suggesting JAY-Z has put on his “helmet” and is getting ready for war. Akademiks questioned who Pharrell could have been referring to, arguing that JAY-Z is no longer competing in today’s rap landscape. 🗣️ DJ Akademiks: • “War with who?” • “JAY-Z is a legendary artist, but he’s not a current artist competing with today’s rappers.” • “Unless he’s competing with people from his own era… who is he going to war against?” ➡️ Akademiks said he doesn’t believe JAY-Z could realistically battle any of today’s top artists, comparing the idea to Shaquille O’Neal trying to return to the Celtics and make another championship run. 🗣️ “He had his time. It was great. But it’s over. There’s nothing wrong with being a legacy act.” ➡️ When viewers mentioned Drake, Akademiks dismissed the idea entirely, arguing that Drake surpassed JAY-Z on all levels musically and commercially years ago and that the two are no longer competing in the same space. 🗣️ “Drake beat JAY-Z in all the metrics almost 10 years ago. Drake is fighting a completely different race.” ➡️ Akademiks added that while he expects JAY-Z could still release new music, he believes Pharrell’s comments about going to “war” don’t make sense if they’re referring to competing with today’s biggest rap stars. 👀 Who do you think Pharrell was talking about when he said JAY-Z is getting ready for “war”?

Cousin Tino ™️

43,151 views • 2 months ago

Drake would be better than Jay-Z if he wrote his own lyrics says Funk Flex !!!!! to me today on Classics with Scoop B. “Drake would be the greatest of all time if he wrote all his lyrics. Hands down better than Jay. Hands down. People can say what they want. The boy sings and the boy raps! If he didn’t get caught in that little mishap, he was the GREATEST OF ALL TIME -- records, music, parties, concerts; but since we had a little “pen discrepancy” I guess Jay-Z. He sold more than Jay-Z in tickets and everything, but Jay-Z wrote everything. Some people like to say that Jay’s a biter… No, he’s a chameleon. He’ll take something and switch it up. They all do but he’s my favorite of all time. Second? You can give me Nas, Drake… those are my top guys. Jadakiss is top five, it’s all good shit!”
1:16

Drake would be better than Jay-Z if he wrote his own lyrics says Funk Flex !!!!! to me today on Classics with Scoop B. “Drake would be the greatest of all time if he wrote all his lyrics. Hands down better than Jay. Hands down. People can say what they want. The boy sings and the boy raps! If he didn’t get caught in that little mishap, he was the GREATEST OF ALL TIME -- records, music, parties, concerts; but since we had a little “pen discrepancy” I guess Jay-Z. He sold more than Jay-Z in tickets and everything, but Jay-Z wrote everything. Some people like to say that Jay’s a biter… No, he’s a chameleon. He’ll take something and switch it up. They all do but he’s my favorite of all time. Second? You can give me Nas, Drake… those are my top guys. Jadakiss is top five, it’s all good shit!”

👑 Brandon “Scoop B” Robinson

19,624 views • 3 years ago