[AUDIO LOGO]
[HIP HOP MUSIC]
ROSCOE: I had no idea that rap
and hip hop culture
had gotten this bad.
Excuses.
[SLOW TEMPO MUSIC]
That's what these rap
n*gg*s got today, man.
The brainwashed fan be like,
but he gettin' money, though.
He gettin' money, though.
But let me ask you this,
if a n*gga was getting
paid for every kid
he shot in the head,
would you praise him
because he was getting money
and not give a f*ck
about the millions
of kids shot in the head?
ROSCOE: f*ck no.
That's what the
rap game is now, son.
[DRAMATIC MUSIC]
Every time an ignorant rap
song plays, millions of kids
lose brain cells, but
they're making money.
Might as well sh**t them n*gg*s
in the head yourself, B.
ROSCOE: Wow.
How the f*ck did we get here?
ROSCOE (VOICEOVER): Hip
hop is in a huge disarray.
This angry rapper just opened
my eyes to some real sh*t.
But before we get back
to this conversation,
allow me to reintroduce myself.
(RAPPING) Let me tell
y'all little hip hop story,
story story, story
[HIP HOP MUSIC]
(RAPPING) When you
say you love me
It doesn't matter
It goes into my head
as just chit chatter
You may think it's
egotistical or just worry free
But would you say I take
none of it seriously
And even if I did
I wouldn't tell you so
I'll let you pretend to read me
And then you know
That I hate when one
attempts to analyze
Fact, I despise
those that even try
To look into my eyes
To see what I am thinking
That dream is over
You gotta sink in
I tell all of you
Like I told all of them
What you say to me
is still paper thin
Word
Get to them
I'm not the type of girl
to try to play a man out
To take the money
And again, then
break the hell out
No, that's not my strategy
Not the game I play
I admit I play a game
But it's not done that way
Truly, when I get involved
I give it my heart
I mean, my mama sold my body
I mean, every part
But if it doesn't work out
Yo, it just doesn't
It wasn't meant to be
You know, it just wasn't
So I treat all of you
like I treat all of them
And what you say to
me is still paper thin
In one ear and
right out the other
Heard this mumbo jumbo
Bull-[MUTED]
Mother, I don't pay attention
I don't concentrate
You ain't got the bait
that it takes to hook this
Ha
ROSCOE: Life couldn't
be better, you know.
I'm a f*cking genius.
[SLOW TEMPO MUSIC]
I'm in my golden years with
the body of a 17-year-old,
if that 17-year-old
loves to eat eclairs,
and vegan pizzas, and burgers.
You know what I'm saying?
I'm one of the
pioneers of hip hop.
I own multiple corporations.
I even own my own
black and white card.
It's like a credit
card for poor people.
I own a fancy resort in Bali.
You got to come by.
And I built all of this,
all from my love for music.
[UPBEAT MUSIC] I love you
ROSCOE (VOICEOVER): All my life,
I've been fascinated with music,
the artist, the
clothes, the stage show,
the whole nine yards.
(SINGING) I don't believe
I thought I could
become a singer one day.
(SINGING) I love you, girl
I love you, girl
And I'm going to change
And I'm going to change
I won't stay the same
Going to change
I love you, baby
ROSCOE: I love you, girl
Snap your fingers, baby.
(SINGING) And
I'm going to change
Roscoe, turn off that
damn television, boy.
Ain't no God in that music.
Only thing changing around
here is this channel.
(SINGING) Girl
And I'm--
Son, God is testing you.
He wants to see what path
you're going to choose.
Choose you this day for
whom you shall follow.
Thus saith the Lord.
Better choose right.
Otherwise, I'm going to choose
to put my foot up your a*s.
Thus saith your daddy.
Yes, father.
You ain't got
no talent anyway.
You ain't never going to make
it in the music business, boy.
(SINGING) And I love you
I don't believe
I love you, girl
And I'm going to change
Shut up with all
that damn singing.
You ain't never going to make
it in the music industry.
Yes, ma'am.
I love you, baby.
(SINGING) I love you, baby
Honey, Roscoe needs
his haircut tomorrow!
(SINGING) Girl
[UPBEAT MUSIC]
ROSCOE (VOICEOVER): I loved
going to that barbershop.
There was always
great music in the air
and colorful
conversations about it.
BIG GREG: All day in the shop,
now we listen to the good stuff.
There's nothing like
the down home blues.
[LAUGHS] See, it's not like the
stuff y'all listen to today.
It's terrible.
Whoa, what the hell are
you talking about, Big Greg?
BIG GREG: What you
mean, what I'm talking--
I'm talking about that
so-called soul music y'all like,
The Temptations.
First of all, it is nothing
tempting about them brothers,
OK?
They are all ugly.
They ain't tempted.
Ain't nobody tempted by them.
Those names are stupid anyway.
Sort of like Big Greg?
You know, the only
thing big about you
is that thick-neck
wife of yours.
[LAUGHTER]
Greg, can you bring me
home a cup of gravy, baby?
[LAUGHTER]
Come on, man, get
off Greg and his wife.
Ain't nothing wrong with your
wife having a thick neck.
How else she going to
keep that big a*s head up?
Old bowling-ball-a*s-neck woman.
Yo, yo, yo.
Oh my god.
[LAUGHTER]
Walrus back.
[LAUGHTER]
Shut up!
Leave my fat a*s wife
name out your mouth, OK?
She shouldn't even
be in this discussion
because we're talking
about music, not wives!
BARBER 1: And speaking
of music, blues.
That is the
soundtrack of sl*very.
Every single time I hear
you playing that sh*t,
I feel like I'm running
through the fields.
Come on, Harriet.
Let's go.
Dogs at my feet.
Root, root, root, root, root.
I'm trying to make it to the
abolitionist, but I can't.
Why?
Because you playing
that bullshit.
BARBER 2: Amen.
You know what?
Blues is called
blues for a reason.
That's the color
your ba*ls get when
you try to have sex with your
lady after playing that sh*t.
It's depressing.
Right, cause there's only
one music we play in this shop,
and it is--
Soul--
Music.
[LAUGHTER]
Look, you gotta put some
Otis, some Sam Cook,
Sam Cook, panties dropping.
(SINGING) I love you
Panties, poon.
Bush, poon.
My drawers just fell off, n*gga.
BIG GREG: If you want to talk
about panty-dropping music,
I'll tell you who makes
some panty-dropping music.
- Who?
- Who?
Muddy Waters.
Oh, that's boxer music.
Put your boxers back on.
Pull em back up quick.
What about Smokey Robinson?
You know what
Smokey sounds like?
He sounds like he
sucked a helium balloon
while smoking a cigarette.
(SINGING) I think I love you
I think I want you
And he don't have no neck
I love you
But I like you
Oh, I need you
Yellow n*gga, make up your mind.
Do you want her or not?
Damn.
Ugh.
Who's next?
[SLOW TEMPO MUSIC]
Oh, little man.
Hold quick for a second.
Right, sit up here.
Oh, look.
OK.
Pastor, what we--
what we doing today?
Give him the number 1.
[SUSPENSEFUL MUSIC]
BIG GREG: Number 1?
The number 1?
Number 1?
[BUZZING]
[VOCALIZING]
Oh.
[DRAMATIC MUSIC]
Oh.
BIG GREG: Easy.
Easy.
Oh, here we go.
Number 1.
BARBER 2: Ooh.
Hey, fix your face, boy.
You don't need hair to survive.
You going to look
like your father.
That's a blessing.
And going to look like
your bald-headed mother, too.
That'll be $2.
$2?
Boy, you almost made me cuss.
Inflation.
Also, since we're on the
subject of good music,
we can't leave out the great
gospel singer, Mahalia Jackson.
f*ck you, Pastor.
Jesus, I'm so sorry, but
this m*therf*cker's wrong.
[UPBEAT MUSIC] Love you
Yeah.
(SINGING) I don't believe
That's The Doolas right there.
(SINGING) I love you, girl
And I'm going to change
I don't know about that sh*t.
BIG GREG: Oh, I got some
change for your a*s, yeah.
You ain't going to never make
it in this music business.
[SHOUTS]
ROSCOE (VOICEOVER):
That was the day
I gave up on my dreams
of becoming a singer.
[SLOW TEMPO MUSIC]
But I still had an
affinity for music.
[HIP HOP MUSIC]
The parties in the park,
that's when hip hop started.
Kids from the poor neighborhoods
came together and found
creative ways to have fun.
Nerds hung out
with the gangsters.
Drug dealers mingled
with the church girls.
They were fine too.
We didn't even realize
it at the time.
It just happened.
With the help of many
men, like DJ Hollyhood,
Hug Bug Starski,
and this man here.
[UPBEAT MUSIC]
[VOCALIZING]
DJ Kool Hank, a tall, slim
dude with Jamaican parents.
(SINGING) Something
about this n*gg*r
He bout to make us dance
Something about this n*gg*r
ROSCOE (VOICEOVER):
He meant business.
(SINGING) He about
to make us dance
Turn the music up
[VOCALIZING]
ROSCOE (VOICEOVER): He
could leave his DJ equipment
outside all night if he wanted.
Nobody would touch it.
DJ KOOL HANK: Finest
sounds in the land.
I'm going to get these
m*therf*ckers moving today.
ROSCOE (VOICEOVER): He was cool.
Hey, hey.
It's been a long time.
I haven't seen you around.
And I like what you've been
doing at the park lately.
Listen, ladies, all of
y'all smell wonderful,
but I don't have the
time to run my nose
up the crack of your a*s right
now cause I'm trying to work.
[CHATTER]
[SLOW TEMPO MUSIC]
[INAUDIBLE]
I thought I told you, sucker,
not to come to any more parties
around these parts.
h*, h*, h*.
I don't recall giving
a damn about you
or any of your jive a*s rules.
I can party wherever the
f*ck I want to party at.
Is that right?
Sho nuff is, jive turkey.
So let's rumble.
So let's rumble then.
[SMACK]
MAN: The f*ck?
How about we try
shutting the f*ck up?
You guys want to
k*ll each other?
Do it on your own turf.
We're here to play
some music and dance.
Smoke some cool grass.
Rap to these badass Nubian
goddesses on the set.
Now, I'm about to go back here
and play some righteous jams.
And if I see one
of you dudes trying
to lay a hand on the other
dude, I'm going to jam
my foot up your a*s sideways.
Can you dig it?
- We dig it.
- I said, can you dig it?
- We dig it.
We dig it.
We dig it.
[THE JIMMY CASTOR BUNCH, "IT'S
JUST BEGUN"]
(SINGING) Watch me now
Fill the room
Into something
Going to make you move
Here we go
ROSCOE (VOICEOVER): And
that was the first rock
dance battle I ever saw.
They were doing it in the park.
Those parties are the very thing
that helped shape the culture.
The music wasn't even ours, but
we tailored it to fit our lives.
It was so organic, the way we
rallied around those breakbeat
that Hank was playing, as if we
didn't have a care in the world.
We were creating a
subculture culture that
later became its own culture.
We were creating hip hop.
(SINGING) Peace will come
This world will rest
Once we have togetherness
ROSCOE (VOICEOVER): Some of the
neighborhood dancers would start
grooving on the
ground when he played
the breakbeats of the record.
They became break boys, or
Bronx Boys, or B-Boys for short.
But at that time, the DJ was
still the most important guy
in the play.
(SINGING) Just begun
It's just begun
Just begun, g*n, g*n, g*n
g*n, g*n, g*n, g*n, g*n
[HIP HOP MUSIC]
MC BIZZY BEAN:
(RAPPING) 1, 2, 1, 2
In the place to be
ROSCOE (VOICEOVER): In the
early '80s, the MC gained
the spotlight from the DJ.
(RAPPING) Y'all ready
to get this party started?
[CHEERING]
ROSCOE (VOICEOVER): He just had
more charisma and connection
with the crowd than the DJ.
MC BIZZY BEAN: (RAPPING)
I said A, B, C, D, E, F, G
H, I J, K, L, M, N, O, P
Y'all know me
ROSCOE (VOICEOVER): One of the
most popular guys at the time
was MC Billy Bean.
He was a clever,
witty dude on the mic,
but his rhymes
were basic as f*ck.
(RAPPING) Leo
[CHEERING]
Is it Cancer?
[CHEERING]
Is it Gemini?
[CHEERING]
Aquarius
Man, this man don't even
know his own birthday.
We all got birthdays
in here, brother.
Man, what's your
favorite restaurant?
Said, what's your
favorite restaurant?
Burger King
No!
(RAPPING) McDonald's
No!
(RAPPING) Taco Bell
No!
MC BIZZY BEAN:
(RAPPING) Blimpie's
No!
MC BIZZY BEAN:
(RAPPING) That's right
n*gg*s, you hungry?
ROSCOE (VOICEOVER): The
classic call and response,
that was his rabbit in the hat.
But on this particular night,
he became really full of himself
and called out one of the
dopest lyrical MCs in town.
All that food he rapped about?
He became it.
(RAPPING) It will
never, ever happen
Especially this n*gga right
here with his ski goggles on
Trying to grab the mic with
them windshield wiper shades on
Man, look like an
African flashlight
[CHEERING]
Going somewhere, man
Looking stupid
All right, man, go ahead.
Take the mic.
[CHEERING]
MAN: All right.
All right.
All right, all
right, that's cool.
That's cool.
You know what I mean?
I-- I give it to him.
He did his thing, you know
for emceeing and all that.
But let y'all know something?
When it comes to
this rhyming sh*t,
you couldn't f*ck with
me if you was a condom.
Hey, yo, DJ, spin that
back one more time.
(RAPPING) I say
one for the treble
Two for the fame
Come on, DJ, let's
rock this thing
[RECORD SCRATCHING]
AUDIENCE: Hey, hey!
[HIP HOP MUSIC]
1, 2, 1, 2
Hey, be cool
Party people in the place to be
My name is Kool Moe Gee from
the treasure chest three
We going to start
something little
straight in the place to be
How many people think Bizzy
Bean rocked the house?
Hey, man, I got something
Now, what's your
favorite Zodiac sign?
I don't give a damn
Don't ask me mine
Want to know where I eat
Where I be at
In his mom's vag*na
Now run and tell dad
Yes, I'm cool OG
I been rocking out the
party in a place to be
You was jammin to an
ugly a*s, broke MC
Knock you out with his breath
Just like Ali
Now you know Bizzy Bean
think he's the best
But he never beat
me in any contest
I'm just too witty
I'm just too fly
Gettin all the cute girls
He just too shy
Now I want everybody turn around
And look at ugly a*s Bizzy Bean
And say, shot a*s n*gga
AUDIENCE: Shot a*s n*gga!
Shot a*s n*gga
AUDIENCE: Shot a*s n*gga!
Check it out
I'm a devastating, motivating
Innovating, never-hating
Microphone manipulating
and stimulating
You were masturbating,
hesitating
Instigating, irritating
Light a*s levitating,
premature ejaculating
Sucker a*s fool
dropped out of school
You can never be me
Cause I'm just too cool
Your mom's is a wh*re
Your pop's is a slob
So give me that cash
Cause you just got robbed
Ching, ching
Now the bank is closed
Get your a*s off the stage
Cause your style is old
I'm the best MC
What I been told
Just a fake a*s rapper
wearing fake a*s gold
I'm the Bizzy Bean buzzing
The microphone hugging
Can't let go your d*ck
You be tugging
My style, so sick
All the ladies be loving
I'm the Kool Moe Gee
Bizzy Bean, you bugging
Hey, check it out, y'all
Check it out
I just want to know one thing
If y'all know I
whooped his a*s today
Say, hola, hola, ole
Hola, hola, ole
Say hola, hola, ole
Hola, hola, ole
Say h*
ROSCOE (VOICEOVER): That was
the night it all sparked for me.
All my dreams of becoming
a singer didn't matter.
I was still in love with
music, hip hop music.
MC BIZZY BEAN:
(RAPPING) Yeah, yeah
And that's why I be
holding Kool Moe Gee's nuts
[SHOUTING]
No, I really be holding his nuts
[SHOUTING]
Whoa, whoa, whoa
I was talking about
these nuts, man
[SHOUTING]
Man, get y'all
ROSCOE (VOICEOVER): The beat had
already been moving and shaping
up for years, but
the words being
put together by Kool Moe Gee
gave the beat a lyrical voice.
I figured if I could market this
style of rapping on records,
it would be extremely lucrative.
So I got started.
[RON DNC, "SUCKA a*s CLOWN"]
Me and my partner, Roc Ribbon,
started distributing records
right out of my dormitory.
We had a couple of
artists on the roster,
but the one that struck
the biggest chord?
My little brother's
crew, Ron DNC.
They struck gold with their
hit single, "Sucka a*s Clown."
ROSCOE: Proud of these dudes.
Hell, yeah.
ROSCOE: My little bro.
(RAPPING) Two
days ago, my enemy
Asked me if he could
be a friend of me
And I told him, hell no
A thousand times
He's guilty of the crime
Of biting rhymes
I'm light-skinned
I'm tall as hell
I love eating
chicken at Taco Bell
My name is Ron
I'm DNC
He's Jam Master James
Cutting all MCs
Sucka a*s clown
Sucka a*s clown
We take your microphone
And throw it down to the ground
Sucka a*s clown
Sucka a*s clown
What you gonna say now?
ROSCOE (VOICEOVER): Ron
DNC exemplified all of it.
They opened the door for a
lot of other groups as well.
Over the next several years,
I saw these groups emerging
and evolving quite nicely.
My record label, Def Man Record,
along with several others,
were growing slowly, but surely.
[UPBEAT MUSIC]
One of the greatest lyricists
of all time, Rakhim and the DJ,
Eric D. Before
Barack Obama, Eric D.
was the first Black president
in the hip hop community.
This guy was a lyrical
comedian, who specialized
in the art of telling stories.
He and his DJ went
on to win the first
Grammy in rap music
for his song, "Parents
Just Don't Give a sh*t."
[RAKHIM & ERIC D., "PARENTS
JUST DON'T GIVE A sh*t"]
My parents only care
about parental things
Like paying all the bills
and losing wedding rings
So if you're on your deathbed
And you're feeling sick
There's no need to worry
Parents just don't give a sh*t
ROSCOE (VOICEOVER):
Unfortunately,
Fresh Prince left the rap game,
never to be heard from again.
I often wonder how
his life turned out.
I wish him the best.
[HIP HOP MUSIC] Burn it up, Mane
Burn it up, Maine
Burn it up, Maine
Burn it up, Maine
Burn it up
ROSCOE (VOICEOVER):
Another deadly lyricist
was Big Daddy Maine.
He became popular for
incorporating dance moves
with his smooth rhyme style.
(SINGING) Yeah
Oh yeah
Oh
[HIP HOP MUSIC] Going, going
I'mma get you going.
ROSCOE (VOICEOVER):
Now, here's a guy
that took dancing and
hip hop to a whole nother
level, MC Slammer.
(RAPPING) I am
Go, Slammer
Go, Slammer
Go, Slammer
Go, Slammer
What?
Go, Slammer
Go, Slammer
ROSCOE (VOICEOVER):
Other rappers
had a problem with his style,
but I thought MC Slammer
was a great prolific artist.
He also made doo-doo
pants very popular.
Brave soul.
Hip hop still felt good.
So good, even the ladies
were getting their shine.
And they shined like queens.
I'd put my money on these ladies
in any battle with a dude.
What up, loves?
[HIP HOP MUSIC]
Where y'all hoes going?
Hey, who you calling a hoe?
Hey, we're just trying
to get to know y'all.
Not interested.
Oh, you not feeling us?
They must be into lames, bro.
[LAUGHTER]
MAN 1: Pardon my rude
friend right here.
I would love to
take you to dinner.
I don't eat food.
I eat MCs, n*gga.
What you trying to say, Ma?
(RAPPING) Don't make me
punch you in your throat, dude
Cause the way you
approached was so rude
And you claim that
she and I like lames
That's the price of fame
for a righteous dame
Your approach
guarantees you lose
WOMAN RAPPER 1: With
your cheap a*s pants
and your ran over shoes
Take your a*s back to
your mom to be scolded
Every time you piss,
your homeboy holds it
WOMAN RAPPER 2:
And I can't believe
the way you stepped to me
Thinking you got a chance
to straight screw me
The only thing in
my face is a mic
And with your little
a*s d*ck, take a hike.
[HIP HOP MUSIC]
I'm tired of
these corny a*s men.
For real.
Amen, sister.
ROSCOE (VOICEOVER): Hip
hop had great energy.
It was raw.
The mainstream loved
it, but that rawness
couldn't be contained.
It spilled out into
the streets like blood.
Soon there would be a new niche.
[g*nsh*t]
m*rder.
[SIREN BLARING]
[UPBEAT MUSIC]
It is often credited to
Nice-T from the West Coast.
He's the godfather
of gangsta rap music.
[HIP HOP MUSIC]
Nice-T made it possible
for this style of rap
to flourish for years to come.
It spawned other
West Coast acts too,
like NWP, Niggaz With
Problems, and Scoop Diggy Dogg.
Then some East Coast
artists, like Pu Tang
Clan and The Notorious BAG.
[SIREN BLARING]
[HIP HOP MUSIC] Oh
Sucker love
PIFF: Let's go, playboy.
(RAPPING) To baby, baby
n*gg*s is mad I got more
g*ns than pawn shops
And I spray to the
body on the lawn
Drops like a sprinkler
I keep the hammer c*ck back
like thumbs up Henry Winkler
Hey, mad g*ns, I spray
And I rob old ladies
and babies in my way
Oh, and if we don't know
Now you don't, don't
Yo, Piff.
What's up?
Why you cut the music off?
It wasn't violent enough?
Playboy, you sleeping?
No, I'm good.
It's great.
I'm not-- I'm not sleeping.
I'm standing straight
up right now.
All right, man,
come on out the booth.
THE NOTORIOUS BAG:
Fool asked me if I
was asleep cause he hear me.
[SIGHS]
Yo, Playboy.
I know you-- why--
why you cut the music?
Baby, you the best
that ever did it.
You understand what I'm saying?
THE NOTORIOUS BAG: What?
You the best that ever did.
But listen, we need more
violence in the music.
THE NOTORIOUS BAG: OK.
So what if I, like,
come out the house
and I choke everybody
on the block?
Ooh.
Wobble, with my GL*CK?
Smack em up.
Take the lady from the church.
Boy in the trash can.
Even more.
Like, all right, dude, I got
your dog in the chokehold.
I don't care if it's a puppy.
ROSCOE (VOICEOVER): Sadly,
we lost this great rapper
to the same type of
violence he rapped
about on some live by the sword
type of sh*t, but with b*ll*ts.
[SLOW TEMPO MUSIC]
The death of Notorious BAG cast
a huge shadow in the industry.
Sure, there were moments
of clarity and mourning,
but the violent lyrics,
they never stopped.
f*ck, they made millions.
The only upside was the
skill set of the lyricist
who told the stories.
They're like scenes out
of Martin Scorsese movies,
and he's rich as
f*ck and wins Oscars.
Why shouldn't these
rappers be rewarded?
My label, Def Man, became
a multi-billion dollar
conglomerate during
the gangsta rap era.
We made a big clothing line.
We even made video games.
[HIP HOP MUSIC] Get up, get up
Get down, get down
Get up, get up
Get down
ROSCOE (VOICEOVER): Hip hop
artists started to follow suit.
The culture was expanding
like a m*therf*cker.
My protege, Piff, created
his own alcoholic beverage.
[HIP HOP MUSIC]
We even have a rapper
who became a billionaire.
He even owned a basketball
team at one time.
He's so rich, he can afford
to be an as*h*le sometimes.
[CHATTER]
Jay was good friends with BAG
when they were both coming up.
They were friendly
rivals, always pushing
each other into greatness.
Hold on, Jay.
I was just in the
neighborhood, you know?
What you doing, my man?
Speed to write your lyrics.
Who's-- who's
my guy right here?
Little guy.
I don't write lyrics, bro.
My man, boy, what's up?
No, I don't--
I don't write lyrics either.
What you talking about?
I never wrote.
You don't write?
Nah.
I write up here.
Yeah, same thing.
I'm like-- like,
I'm, like, chilling.
Sometimes, I'll be asleep,
and I'll just wake up,
like, with a whole soliloquy.
Yeah.
THE NOTORIOUS BAG: Go like--
Yeah, me too.
But never write it down.
- He don't write nothing
- Nothing down.
ROSCOE: Why?
- Just cause.
You know what I'm saying?
Like, you know,
I've got a whole--
like, it's a family thing.
It's a family
degenerative disease.
We got carpal tunnel.
Like, my whole family.
Hold on.
So if I tried to
hand you this pen--
[GROANS]
Playboy.
Slow down, playboy.
There you going
with the pen says.
Slow down, playboy.
Don't do the pen, bro.
ROSCOE: I just want to see
if you could grab a pen.
Let's see what happens.
PIFF: See, he never-- he
don't even know how to write.
Look.
It's-- hard, man.
I mean, like, with my left hand?
With my left hand, but
I don't rap left-handed.
Let me ask you something.
Why y'all never did
something together?
You know what I mean, playboy?
We can get y'all and do
something crazy for Brooklyn.
Come on, playboy.
We gotta do it for Brooklyn.
ROSCOE: Can we--
I'm with that.
Yo, we two of
Brooklyn's finest.
You know what I'm saying?
Oh, that's deep.
That's the thing, brotha.
ROSCOE: Is that--
That's what you
say, Brooklyn finest.
How come I didn't think of
that before he thought of it?
That's why he the best baby.
That's it.
You-- you almost there, but
he the best right now, baby.
I mean--
THE NOTORIOUS BAG: You
know what I'm saying?
And, like, who-- you
know the way to do it?
You can go, like, well,
you rap, you rap--
And then maybe
you rap after I rap.
And I'll do my verse
and I'm like, oh, oh, oh.
Alley oop.
Then I take you.
Then I slam dunk it.
Then I crossover.
I'll spit it.
I'll-- you know, I'm
Harlem Globetrotters.
Harlem Globetrotters.
Take that, take that.
Right?
A hottie with a sweater.
ROSCOE: It's like--
Where the ball go?
Where the ball go?
I can't see it.
I can't even see it.
Cause I'm fat.
PIFF: All right, hold
on for one second.
Oh, let's do-- hey,
when you do all the--
- Listen, playboy.
- Brother.
You the best that ever did it.
Word.
Word.
- Watch what you say.
- What you think?
Cause they could be trying
to-- you know what I'm saying?
I dig it.
Watch the things that you say.
You saying watch what
I'm saying cause n*gg*s
say what I'm saying while
they watch me do the work.
And then he gotta,
like, take that.
OK, nah, nah, ain't
going take your sh*t.
Ain't going to take your sh*t.
Yo, what y'all talking about?
Nothing, playboy.
You know what I'm saying?
Something crazy for hip hop.
Brooklyn, baby.
- Oh, word.
- Brooklyn, daddy.
Let's go.
Y'all want me to
put my verse down?
PIFF: OK.
- Yeah, what's up?
What's that?
ROSCOE: Nah, these ain't words.
I was just doodling.
Oh.
[OVERLAPPING VOICES]
That's dope, too.
(RAPPING) Yeah, it's
like, I'm doodling
THE NOTORIOUS BAG: Doodle is.
(RAPPING) I saw the white
lady bring the poodle in
You heard.
ROSCOE: (RAPPING) We downstairs
We walking on
On Park Avenue
BAG, n*gg*r*s is having you.
Yeah, I was just--
Yeah, so scribbles.
Yeah, it's just
like scribbles.
You know what I'm saying?
THE NOTORIOUS BAG: Yeah, OK.
Come on, guys.
You know I don't write.
Your secret's safe with me.
I didn't write nothing down.
[HIP HOP MUSIC]
THE NOTORIOUS BAG:
It's the dawn, big papa
I'm k*lling them
Million dollar bags
I'm filling them
I riddle your body like Ritalin
While considering
Giving your heart some
shots of adrenaline
Revive you
"Pulp Fiction"
True
Chewing your booby
Truly sweating
like Coke addiction
Some due
ROSCOE (VOICEOVER):
When BAG passed away,
Jay-B ran with the torch.
He really became a great artist,
pound-for-pound, one of the best
to ever do it.
He would eventually replace me
as president of Def Man Records.
We were living large.
Hip hop was going global.
[HIP HOP MUSIC]
It had been almost a
decade since we saw
any white rappers in the game.
Out of a trailer
park in the Midwest
came the first successful white
rapper since the Boastie Boys,
also on my label.
[HIP HOP MUSIC]
I slit my mom's throat
with a pair of scissors
Sorry, I can't get to the phone
I'm too busy burying her
I'll break into your house
And steal all your
parents' liquor
My whole life is like an
episode of "Jerry Springer"
It's been five weeks
My wife's missing still
I don't remember where I put her
I was on prescription pills
My rhymes so cold
They give you instant chills
You'll never meet another
person that is this skilled
When I was 12
I got jumped by a
kid in jean shorts
Found out where he lived
and put C4 in his tree fort
I'm crazy, dog
What the f*ck would
you f*ck with me for
Now he has no arms and legs
And looks like a seahorse
My mind's sort of twisted
I think I might go
buy some coathangers
And open my own ab*rtion clinic
So come in for a visit
And after the procedure
We'll give you free pizza
And no one's shoulder with it
ROSCOE (VOICEOVER): The
nuttiest squirrel sh*t,
but he's good for the game.
He has since proven himself to
be a hit-making mogul as well.
In more ways than one, hip
hop was alive and well.
ROSCOE: So I asked him.
I said, hey, n*gga,
is this cocaine vegan?
Cause I'm not going
to snort this.
You know what I'm saying?
[LAUGHTER]
Question over here?
Yeah, you.
As two of the hottest
lyricists of all time,
did you ever think that hip
hop would make it this far?
Yo, man, hip hop is the
biggest sh*t ever, bigger
than rock, bigger than country.
ROSCOE: Tell them.
- Facts.
Real rap is back.
It ain't going to never stop.
50 years of hip hop, man.
RAS KASS: 50 years, man.
And, you know, salute to all
the pioneers, like KOS 2.
You know, and then me being
from the West Coast, respecting
my big homies, like WD-40 and,
you know, Niggaz With Problems
that put it down.
So I'm just here loving what
the energy and the culture
has created for these 50 years.
Facts.
Mr. Simons, so how did
you come up with the concept
for the black and white card?
Cause n*gg*s
don't have credit.
[LAUGHTER]
Word up.
ROSCOE: I had to
help the people.
Do you have any
inspiring words of advice
for aspiring artists
coming up in the industry?
Yeah, go get a f*cking job.
Word up.
ROSCOE: I don't know why these
kids think it's-- it's easy.
There ain't no handouts, OK?
These guys had to--
had to bust their a*s.
If you want something a little
lighter, just follow your heart.
And if your heart is telling you
to go marry that tall, beautiful
Asian model, and-- and have
beautiful kids with her,
and then watch her divorce
you, and take half your money,
and then go marry some African
dude whose name you can't even
pronounce, and-- and let
those thoughts of m*rder
and you spending the rest of
your life in a Cambodian prison,
let those thoughts
give you strength.
I'm-- I'm sorry.
Is this mic on?
Yo, I got a question, man.
I've been an aspiring
artist for, like, 20 years.
Know what I mean?
But to be honest
with you, I don't
even feel like being part of
this corny a*s industry no more.
What the f*ck are
you talking about, sir?
You heard me, man.
[SLOW TEMPO MUSIC]
The game is trash right now.
Yo, hip hop is dead.
ROSCOE: Hip hop
is alive and well.
It's flourishing, OK?
These guys are proof.
These guys are icons from
the west and the east,
sitting side-by-side.
And-- and the-- the Down
South movement, let's
not forget about those guys.
They have taught us how to
have ownership in hip hop.
They taught us how to
make all the money.
Master B out of New
Orleans, brilliant mindset.
A lot of great lyricists
from the South.
That's real beautiful
from where you're sitting.
But down here in
these streets, there's
a whole nother thing going
on, B. And it ain't hip hop.
Don't you disrespect
the f*cking culture.
It ain't no
g*dd*mn culture, man.
Obviously, very angry.
And I have a proposition
for you, take my yoga class.
It'll really align your chakras.
f*ck your yoga!
All right?
I got a proposition
for you, Mr. Mogul.
Bring your a*s
outside, rich guy.
For what, a fist fight?
f*ck, are we in middle school?
No, I want to show
you something.
Come on.
ROSCOE: Hey,
everyone, stay seated.
I can handle this as*h*le.
I take yoga.
Big Jay, take the day off.
I'll be right back.
Stay seated, guys.
Everybody, stay seated.
RAS KASS: We coming.
f*ck that.
[HIP HOP MUSIC] Daddy
RAS KASS: Let's go.
(RAPPING) We got another one
Bad b*tches in a
Come on, man.
Check this.
(RAPPING) You ain't bulletproof
I mean, look at
this kid right here.
Hey, that's gangsta son.
Thug, he.
Thug.
ROSCOE: Whoa,
what's the problem?
That's a nice outfit.
I'd wear that.
I wouldn't be
caught dead in that.
That ain't hip hop, son.
And remember when cats
were screaming Arab money?
ROSCOE: Of course.
Ever since Trump,
these guys is taking it
way too far in protest.
Look at this, man.
ROSCOE: OK, that's a
little extreme, I get it.
But why'd you bring me out here?
I brought you out here because
you need to see this, man.
Hey, yo, check these
dudes on the corner.
MAN 2: Fellow black man.
So I love you, n*gga.
And my rhymes so nice.
I hug you, n*gga.
Come here, boy.
MAN: Yo.
MAN 2: Come here.
Oh my god.
MAN 2: Let me tell
you something.
You see this, man?
I got stars.
And I got bucks.
But you ain't got
no bucks to sh**t.
Not a star.
That's different
from the rap I know.
Yo, that's only beginning.
[SLOW TEMPO MUSIC]
Let me show you
something else, man.
Did you really hug him?
J BUM: Yes.
- I adore you.
Give me a hug.
Yo, you right.
You right about that.
Oh, I sound like that?
I'm like--
J BUM: And this sh*t right here?
This sh*t here is
disgusting, man.
[HIP HOP MUSIC]
What the f*ck is this?
(RAPPING) Yeah, n*gg*r boy
J BUM: This n*gga's rocking
a m*therf*cking Elmo fit?
And did he just swallow a
spoonful of peanut butter
because he not even
speaking English.
(RAPPING) Get my dance on
I'm going to get my dance on
I'm going to get my dance on
J BUM: Well, I'm rollin'
up in here, up in here.
Then he got everybody in the
street doing this stupid f*cking
doo-doo dance, man.
ROSCOE: What the f*ck is that?
Man, and he leading
the kids heavy.
You see it?
I don't understand.
What happened to all my
peers, all the lyricists,
all the B-Boys and
B-Girls, all the kings
and queens of the culture?
They doing reality
shows now, man.
Hating hip hop got them
n*gg*s looking crazy
out in these streets, man.
And the rest of them?
You don't even want to know what
happened to the rest of them.
RAPPER: (RAPPING)
Get my dance on
Get my dance on
[DRAMATIC MUSIC]
Is that--
Yeah, it is man.
Damn shame.
Let me show you something else.
[HIP HOP MUSIC]
MAN 3: Clean up on aisle 4!
Now, damn it!
Hey, I can't do,
like, 20 things at once!
Early.
ROSCOE (VOICEOVER): Froway.
One of the illest
emcees out of JB's crew.
Clever lyricist
in his own right.
He was involved
in one of the most
notorious underground
battles in the street.
His first loss?
To a young cat named Gassidy.
(RAPPING)
This dude's short as my ba*ls
His baby mom crazy
She be, like,
recording his calls
It's funny
But your beard look
like a bunny butt
Fake beard
Like thick beards with honey cut
Your money cut
Guess what?
I'm going to eat your cheese
This n*gga a puppy
And I'mma eat him
like Vi-nit-meese
(RAPPING) It's young
Fro up on the block
Yeah, I'm sired to the rock
Yeah, keep the chain on my nina
And the nina tuck
cause I'm rolling up
I'm rolling on the block
Cause I'm whooping
in the chain of rock
And I'm signed to the block
Ooh
Hey, the last one
going to survive.
Y'all gotta keep rhyming.
Keep rhyming.
(RAPPING) He don't
want it with me
Because the hammers I tote
That's mouthwash kind of g*ns
The way I carry the scope
SWIZZ CHEEZ: Ah.
GASSIDY: (RAPPING)
I ain't a gangster
But always keep
the nina on my belt
Put red dots on your face
That Noxzema couldn't help
I don't have Noxzema.
My face clear.
Stop playing with me.
SWIZZ CHEEZ: All
right, keep going.
- Whose side are you on?
- Keep going.
I'm from Philly.
Y'all not from--
where y'all from?
SWIZZ CHEEZ: Don't
worry about them.
FROWAY: Y'all live around here?
SWIZZ CHEEZ: Don't worry
about-- just stay in the zone.
Y'all from here?
SWIZZ CHEEZ: Stay in the zone.
Don't talk-- don't
even talk to this guy.
You going?
Or you want me to go?
I do want to go.
GASSIDY: You want a beat?
You want a beat?
SWIZZ CHEEZ: He
wants to go home.
I need a beat.
Can you put a beat on?
Put a beat on.
SWIZZ CHEEZ: No, straight roll.
This n*gga's k*lling me.
SWIZZ CHEEZ: Hey, man.
- I need a beat.
SWIZZ CHEEZ: It's
a battle, n*gg*r.
It's a battle.
Can you open up the budget?
And-- and I need--
I need an engineer and--
and I need John Williams
to come do a score.
I do whatever--
whatever I gotta do.
Just put a beat on.
Help me.
SWIZZ CHEEZ: No, you're
not getting no beats.
Put a beat on.
My name is Swizz Cheez.
I'm not giving you no beats.
I can't do this
without a beat!
Ooh.
Please?
- Time.
Time.
FROWAY: Please?
Guys, it's over.
It's over.
[HIP HOP MUSIC]
They say what doesn't
k*ll you make you strong
But I can't keep
this job for long
I need a hot dinner
A young chick in
the back of the club
Showing love
Young Fro
Going to buy up the bar
Early
But this job keep
cramping my style
I don't want to keep
cleaning the aisles
I can't smile
Ooh
Now my career now popping
But I gotta keep mopping
Cause this food keep dropping
Oh
Used to be the rock in the area
Now I'm spittin' verses
with a mop in the area
Cleaning up the mess a
baby dropped in the area
Wishing I could call
Stay prop to the area
I'm hard like the
hair of my beard
I'm an all-day
hustler making my guap
Early
I can't believe that
they k*lled hip hop
Now we can't sell records
And we can't carry weapons
Feeling Big Daddy Kane
But there's no half stepping
Ooh
[SLOW TEMPO MUSIC]
ROSCOE: I mean, look,
that was a vicious battle.
It took him a while to live it
down, but he got through it.
How the f*ck did this happen?
What happened?
You happened, man.
You got too successful,
and you left these ignorant
n*gg*s to take the wheel.
And now they don't
respect the OGs no more.
ROSCOE: How could this
happen under my own nose?
I'll tell you
about all that later.
We got another stop to make.
Another?
J BUM: Yeah, another.
[HIP HOP MUSIC]
ROSCOE: Where the f*ck are we?
Oh, you'll see
in a minute, man.
You going to love this.
[SUSPENSEFUL MUSIC]
The f*ck is up, little n*gg*s?
Who the f*ck is this?
[UPBEAT MUSIC]
I know, right?
Hey, yo, where's
Ms. Johnson at?
The b*tch died dangling
on my d*ck meat, n*gga.
Nosy a*s m*therf*cking
kids, man.
I'm here to teach y'all the
real essence of life, n*gga.
The real essence of life,
say it with me, M-A-F-F,
m*therf*cking F. MAFFF, n*gga.
Rap don't pay.
That's why the f*ck I'm out here
teaching y'all dumb a*s n*gg*s,
B. Teachers are the
real heroes out here.
Pay teachers more.
And by pay teachers
more, I mean me.
I ain't even got real
Timbs on right now.
These shits is M's.
Trust me, you don't want
these feats in y'all asses.
This is awful.
(RAPPING) n*gg*s on the block
With the bricks on the sidewalk
Little girls Double Dutching
n*gg*s in the flip-flops
Roaches in the cereal box
I can't go to sleep
I hate to see him like this.
GHOSTFACE TEACHA: (RAPPING)
I couldn't go to sleep
We all do, man.
But you know what?
It's not your fault.
(RAPPING) Silver torch.
Scratch that.
It is your f*cking fault.
GHOSTFACE TEACHA:
(RAPPING) Cop cars with the
This is you.
This-- this happened
because of you.
GHOSTFACE TEACHA: (RAPPING) Who
the f*ck bought a n*gg*r coin?
But you know what?
GHOSTFACE TEACHA: (RAPPING)
Got some wow n*gg*s
I think we could fix it.
GHOSTFACE TEACHA: (RAPPING)
You bring the teacher
Come on, buddy.
[SLOW TEMPO MUSIC]
ROSCOE: Where do we start?
J BUM: At the beginning, B. Ill
beats and clever rhymes, son.
Originality and variety.
You see, these wack a*s
radio and TV stations
play the same
f*cking song all day
long, brainwashing these kids.
And then they think they
could just get on the mic
and say nothing.
Meanwhile, we got lyricists
who helped build this sh*t,
working at burger joints,
man, or making movies.
It's a g*dd*mn shame
that nice team made
a song called "Cop m*rder*r."
And every single movie
and TV show he's been in,
he's played a cop.
ROSCOE: That is actually sad.
I thought I would see
him m*rder a cop before I
see him play one on TV.
J BUM: They come in, and
they try to change the game.
They cut corners, but you can't
build without foundation, B.
Imagine if there was some young
basketball players that came
in the game, and they started
kicking the ball down the court,
or picking it up and running
with it like a football
because they didn't
take the time to learn
how to dribble correctly.
We whip they a*s, right?
All the way back
to high school.
Exactly.
See, that's why the young guys
gotta come in and do better
than the old n*gg*s before
them, so that they'll
feel comfortable with
passing the torch.
ROSCOE: I had no idea that
rap and hip hop culture
had gotten this bad.
J BUM: That's what the
rap game is now, son.
Every time an ignorant rap
song plays, millions of kids
lose brain cells, but
they making money.
Might as well sh**t them
n*gg*s in the head yourself, B.
[DRAMATIC MUSIC]
Wow.
Powerful analogy.
Why did you show
me all this today?
Because you were one of the
godfathers of hip hop, Roscoe.
If not you, then who?
[SLOW TEMPO MUSIC]
Look, man, eat up your g*dd*mn
food because you paying,
you rich m*therf*cker.
I hope it tastes good.
My food is actually
kind of bland.
Needs some salt and pepper.
Where?
You got a problem with the food?
Cause Salt and Pepper's here.
Salt, salt, salt.
[SUSPENSEFUL MUSIC]
b*tch.
[SLOW TEMPO MUSIC]
You good?
Don't ask me for nothing else.
You need some pepper
for that coffee?
[HIP HOP MUSIC]
Good.
(RAPPING) Work, work
PEPPER: And don't ask
me for nothing else!
Oh, god, no.
I told you, B.
(RAPPING) I'm about
to take over the world
I'm about
ROSCOE (VOICEOVER): J Bum
was right, about everything.
I don't understand how I let
it slip out from under my feet.
I guess it's easy
when your feet are
lined with Maybach carpeting.
Thanks to him, my
eyes were wide open.
Like special ed, we're on a
mission, not a small time thing.
We got to bring
real hip hop back.
ROSCOE: You know, it's
been a while since I've
been down to Harlem,
walking the streets,
being amongst the
people, you know?
Man, but you a little bit
out of touch with reality.
I'm not that out of touch.
I know what's going on.
When the last time
you been up here?
About 1998, I think.
2000?
I don't know.
J BUM: Well, this here is where
a lot of that bullshit spread,
like the Outbreak monkey.
Mix tapes used to be exclusive
for the nastiest MCs.
Now, today, it
seemed like everybody
and their mother
got a mix tape out.
MAN 4: Hey, hey,
hey, hey, pay $5
or get the hell out
of here, brother.
No 5 finger discount.
Excuse me?
Oh, f*ck sh*t.
I'm sorry, Mr. Simon.
Take whatever you see.
No, thank you.
I wouldn't take a sh*t on
any of these mix tapes.
It's disrespectful to
my vegan fecal matter.
J BUM: Yeah, but I sh*t on
all these m*therf*ckers.
And then I take your blanket,
and I wipe my a*s with it.
ROSCOE: Who buys CDs?
Everything is digital now.
This m*therf*cker don't
got no computer, man.
You probably don't
even own no food.
Wait, wait, wait, wait, wait.
I have good music for you,
good, good music for you.
Wait, wait, wait.
[CLEARS THROAT]
(RAPPING) Digger boy
Dig, dig, Digger boy
Me ask you
Shut the f*ck up.
You can't go around
shoveling this garbage
down people's throats.
You'd be better off selling,
f*ck Donald Trump CDs out here.
You're f*cking up my culture.
Ain't worried about my culture.
Black Americans
don't know culture.
You, you, you call
yourself African-American.
I never seen any of you
n*gg*r*s in my village.
Culture, culture.
Because of you, hip hop dead.
You are not from my hood.
I beg, go!
[SLOW TEMPO MUSIC]
Man, f*ck your CDs, man.
I--
MAN 4: No, no, no, no, no!
J BUM: Man, I'm
taking these too.
MAN 4: No, look!
ROSCOE (VOICEOVER):
As angry as I was,
the African guy was right.
My people have the
whole black culture.
No sense of self-worth or value.
No respect for our history.
If you don't know
where you've been,
you don't give two f*ck
about where you're going.
My man, I love hip hop, but
hip hop is f*cked up right now,
man, OK?
The bridge is over, man, OK?
I love hip hop, man.
Love hip hop.
But I hate rap, OK?
Love hip hop, but I
hate rap, man, OK?
The f*ck out of here, man.
The f*ck out of here.
You know what I love?
I love.
It's like a job, job, baby,
wonder how I keep going under.
You know what I hate?
Digger boy off a hit.
Oh, what the f*ck is
he talking about, man?
What the f*ck is
he talking about.
You know what I need you
to dig up, digger boy?
You know what I
need you to dig up?
A diploma.
[LAUGHS]
CRAIG ROCK: And this n*gga?
f*ck out of here, man, OK?
f*ck out of here.
You know what my
favorite song is, man?
You know my favorite
song of all time is, man?
"Cash Rules Everything
Around Me," "Cream."
We all love the cream.
Mama loves the cream.
Daddy loves the cream.
Granddaddy love the cream.
The whole church love the cream.
You know what cream
has turned into now?
Crime.
That's true.
That-- that's true.
That's not even funny.
That's f*cking true.
You know what
crime stands for?
Crime rules ignorant
m*therf*cker everywhere,
man, OK?
f*ck out of here.
That's right.
That's right, OK?
That's right.
I ain't saying there's
no good artists out.
There's some good
rappers out there,
but you won't hear
them on the radio.
[APPLAUSE]
You won't hear them on BET.
Not unless you pay a whole
lot of payola, man, OK?
That's right.
Nowadays, man, the more
ignorant your lyrics are,
the higher your record
sales are going to be.
And the more lies you
tell, the more n*gg*s are
going to f*cking believe you.
My name is Craig Rock,
and I'm out, man.
ROSCOE (VOICEOVER):
Even Craig Rock noticed
the demise of the culture.
[SOMBER MUSIC]
I felt like I was the
only one left in the dark.
But I knew what had to be done.
It was time to call in a
favor from my famous friend.
FUNK FLAX: New York City!
[g*nsh*t]
I gotta drop a b*mb for.
You think they ready?
Do you think they ready?
Do you think they they ready?
I know I've been
playing it all week,
but right now, it's
special because I got
my man in the studio right now.
You hear me?
We got the man himself,
Googie, in the studio, fam.
What's out?
You hear me?
I'm grabbing my ba*ls right now.
Grip them ba*ls tight, son.
Drop the new joint by Googie.
It's called "Yeah."
Turn it up.
[Googie, "Yeah"] Yeah
Yeah.
FUNK FLAX: New York City.
I told you.
(RAPPING) Yeah
FUNK FLAX: New York.
(RAPPING) Yeah
Ooh, ooh, ooh, ooh.
(RAPPING) Yeah, yeah, yeah,
yeah, yeah, yeah, yeah,
yeah, yeah, yeah, yeah, yeah
Yo, they not ready.
New York City not
ready for this.
(RAPPING) Yeah, yeah
Woo!
That was crazy, fam.
That sh*t is on
fire right there.
I tried to let New
York City know.
Drop another b*mb for 'em.
Watch it hot like the
crawfish when the tail curl up.
You know what I'm saying?
My sh*t hot, like when
you drop that turkey
into that deep fryer.
I'm bubbling like that.
You heard me, bruh?
This joint is bananas, man.
Yeah.
FUNK FLAX: Like, how did
you come up with this?
When you say yeah, that's my
favorite part right there.
Which one of the yeahs,
bro, is your favorite yeah?
n*gga, the first two bars.
The term, yeah,
it's a metaphor.
You know what I'm saying?
It's about the children.
So it's like, these children,
they like roses in a concrete,
you know?
They don't get no water.
You know, they
ain't got no soil.
Do you hear what he's saying?
It's bananas.
But I'm like, the "ernment."
You heard me?
I'm like the "ernment"
for the children's.
And they just bust straight
through after that, like a wild
rose, like that liquor.
That's bananas, man.
I could tell by
your face, son,
that you interested in
my tattoos and sh*t.
You heard me?
So I'mma just break it down
for the fans and everybody.
I got this stick on me,
you know, just to let
them n*gg*s know, you know?
I might be leaning with
it, but I got that stick.
You heard me?
Yeah.
That's bananas.
I put n*gg*r on my face,
missing a G because the word
n*gga ain't right.
You heard me?
So I spelt it wrong.
New York City, we need you.
[BANG]
ROSCOE: What the f*ck
is going on in here?
We-- we playing
the hottest songs.
[GROANS] Yo, let me down.
It's a pleasure to
meet you, Mr. Roscoe.
I truly look up to you, man.
I'm one of your biggest fans.
You heard me?
Oh, I'm honored.
Thank you so much.
Can't say the same.
Flax.
Because they pay me.
They pay me.
ROSCOE: Oh, now it
makes total sense.
Payola.
You're selling out the culture.
Funk Flax, I put
my faith in you.
New York City put
their faith in you.
Hip hop put their faith in you.
And you let us all down.
But now is your moment
to turn it all around.
J Bum, give him the drive.
You're going to
play this music over
and over every hour on the
hour until hip hop is healed.
That's that yeah, yeah?
No, no.
OK, Flax?
Yes.
ROSCOE: If you
don't play it, J Bum
is going to return and
leave that dirty Timberland
all the way up your a*s.
It's crazy out here in
these New York streets.
Yo, play this song.
[HIP HOP MUSIC]
J BUM: See?
This here's the new sh*t.
These so-called
th*gs are sending
their enemies threats
through video,
man, on some Bin Laden sh*t.
BEEFSTEAK (ON
VIDEO): Yo, for real?
Y'all n*gg*s got beefcake
f*cked up on some punk sh*t.
Yo, next time I see you n*gg*s
in the street, it's going
to be y'all funeral procession.
Try me and see if I don't
f*ck you n*gg*r*s up.
Oh, I get it.
You think I'm being
hard on some rap sh*t?
n*gga, I was born hard.
I ain't even have no
soft a*s baby skin when
I was a soft a*s baby, n*gga.
Fake a*s g*ons.
n*gga, I'm the king goon.
I watched "Goonies"
40 times, n*gga.
Goony, goo, goo, muthafucka.
And keep my name out
your mouth, pussies.
So that's what's popping
in the streets, Roscoe, man.
This sh*t is incredible.
When did it become
cool to tell someone
via video, I'm going to commit
a crime at your detriment?
That's called evidence
in a court of law.
Yeah, well, this is exhibit A.
ROSCOE: Real gangsters
don't say sh*t.
They don't have to.
This video makes
millions of views.
Somebody's getting
paid off of this,
and we need to find
out who it was.
I'm starting to see
the pattern here,
violence and ignorance
makes corporations wealthy.
Meanwhile, these poor
souls don't even realize
they're being used as pawns.
[SUSPENSEFUL MUSIC]
They put all their confidence
in their gangster rapper song
until one of them gets k*lled.
Meanwhile, Obie
Cunningham drives off
to his rich wife in the suburbs,
to their mansion in the hills.
I guess I'm starting to
see how I'm partially
guilty of the same
thing, except my wife was
Asian, tall,
beautiful, long legs.
We got half-breed sons.
Hey, man.
Focus, man.
We gotta figure out
who's driving all
this nonsense to the people.
I got an idea.
Jackpot.
You see, Wakapedia adds
these guys out all the time.
Let me see this here.
Beefsteak, a.k.a.--
Susie Pearl?
His mom must have hated him.
That's a horrible name.
That's a horrible name.
He entered a radio
contest for a bake off
and was approached by a music
manager because he had the look.
Then he got signed to--
InterGram Records.
Bullseye.
InterGram Records is the
label of the future, man.
Their slogan is, syrup
on our sh*t makes cake.
InterGram Records
CEO, James Pear,
said their "Goal is to spend
little to nothing upfront,
then flood the market
with half-assed garbage?
Meanwhile, the consumer
believed they bought gold?"
Dumb f*ck.
End quotation.
"To see this full
video, click the link."
JAMES PEAR: Here at
InterGram Records,
we subscribe to
the same philosophy
as black-on-black crime.
We get the people
to do all the work
and we reap untold
wealth from them.
They have their laptops,
fruit loop programs,
and cheap microphones.
And from there, they
can upload their content
right to our label, and we
exploit it for billions.
Now, every now and
then, we have songs
that leak and they're uploaded
to other sites for free,
but we own those sites as well.
So what we miss
in the downloads,
we make up for in
advertising dollars.
We've cornered the market.
The music business
will never be the same.
You don't need million dollar
advances in studio time
from old school labels anymore.
Do it yourself,
and I'll get paid.
Wow, looks like we got
to pay Mr. Pear a visit.
[KNOCKING]
Oh, could you get
the door for me?
Gotcha.
J BUM: Yo, what up, Fro?
Nah, early.
Hey, yo, I like what y'all
been doing on the radio lately,
smacking piss out of Funk Flax.
Y'all, I want in.
Yo, y'all bringing real
hip hop back, right?
Yeah we show are, bro.
All right, cool, cause they
been sleeping on me out here.
And I'm a Philly bull.
But to be honest, well, ain't
nobody more hip hop than Fro.
So, yo, count me in.
You speak nothing but truth.
We'd be honored to have you.
Your hip hop is f*ck.
Ooh.
Is Fro in the building.
Early.
Now that we know
what our focus is,
I just gotta call
a few more people.
The more people that
we have involved,
the more the nation can take
notice of what we're doing.
Know what I'm saying?
You know it's for
ROC in the area.
Philly, Philly,
Philly, Philly, Fro.
ROSCOE: Let's save hip hop.
Let's save it.
- Early.
ROSCOE (VOICEOVER): We
were on the right track.
The moment felt right.
Hip hop was going to be
revived on a national level,
and I knew just who to call.
JOE BUTTON: All right, y'all.
Welcome to the podcast,
the Joe Button Podcast.
And today, I'm-- I'm
having the privilege
to sit down with an OG college
professor, hip hop historian.
And he's also one of my mentors.
Please welcome Dr.
Cornelius East.
What's up, Doc?
Well, well, well, brother Joe,
you know,
you're like one of my sons.
I look at you as a nephew,
but your hip hop counterpart
is in a state of 911, you see?
And, and, and,
and, and, and, and
these young, young
m*therf*ckers, these--
these young little
n*gg*s have, have,
have been bleeding out
into the streets, Plasma,
Hemoglobin, O Negative, B.
I ain't never heard a
n*gga break down the--
the genetic makeup of
blood like you just did.
That n*gga went to the
plasma and all that sh*t.
That n*gga be reading
books and crazy sh*t.
[LAUGHS] I ain't
never read a book.
I'm just smart with
these rhymes, n*gga.
Brother Roscoe wanted me
to come by and help spread
the word about what's going
on in the state of hip hop,
you see?
And so, and so, and so
what's happening is--
is as these young n*gg*s is
bleeding off into the streets,
it's now bled over into
R&B, the, the, the, the,
the music that's supposed
to be for love-making,
and-- and dicking
and p*ssy fighting.
You-- you understand me?
I brought a friend of mine today
from the group, New Admission.
See, see, see?
One of the greatest
group of all time.
You n*gga, I know
all your music, n*gga.
I grew up f*cking
all types of sh*t,
New Admission records, man.
I had mad pregnancy scares
off your music, n*gga.
[LAUGHS] You know?
Feels good to be here.
I appreciate you having me.
So, Mark, what is the problem?
How come R&B is now
on some hip hop sh*t?
I mean, it's lost its soul.
Most of these artists out
here today, they want to sing
through a computer, man.
There's no real feeling in that.
I mean, you can't even
take your lady to a concert
without being fearful of
the artist electrocuting
themselves on stage, man.
JOE BUTTON: That is exactly why
I be walking around with my toes
out, n*gga.
I like to feel soulful.
You know what I'm saying?
I'll put my g*dd*mn
toes in somebody's a*s.
Look at my shoes.
I bought these
shoes at an auction.
These were the
same g*dd*mn shoes
that Crispus Attucks k*lled them
crackers on that boat with, OK?
What does that
tell you about me?
I'm not with the bullshit.
OK, people?
It's not me.
I'm not the one to
f*ck around with.
I don't care if youse a hip hop,
or bebop, or a wapiti bamboo.
Man, f*ck these young n*gg*s.
I'll burn any of these
rap n*gg*s on the mic.
I give props to my OGs, and I'll
burn any of these young n*gg*s.
f*ck these young n*gg*s.
That's why I became
the pawn father.
Appreciate you
coming today, man.
sh*t, pause.
Make sure y'all tune in to
my podcast on Patreon to hear
the full length interview.
Pedro, why you want
to patronize people?
We've been here for 18 hours.
What the f*ck you mean I'm full?
We done sat here and
talked all g*dd*mn day.
Now, I know what you
is, Joe, Joe Buttons.
Youse a n*gga that
love controversy.
And you love to, to, to
talk onto that microphone
on your podcast,
or your pidcast,
or whatever the
f*ck you call it.
ROSCOE (VOICEOVER): We
were making headway--
Joe--
ROSCOE (VOICEOVER): --getting
our message out to as many
television outlets as possible.
But if history teaches
us, all TV exposure
isn't good for hip hop heads.
[UPBEAT MUSIC]
n*gg*r.
[SMACK]
ROSCOE (VOICEOVER): That
went down as the shortest
interview in TV history.
It obviously didn't help
our cause, but I must admit,
I would have beat his a*s too.
To the whiter meat.
FROWAY: [GROANING]
I don't see nobody.
You see something?
Oh, put me down.
Put me down.
Hey, I'm telling you, this
is what Jay-B be recording.
J BUM: All right, so cool.
All we gotta do is get in
there, bumrush the session.
Jay will put you back on.
Early.
Hey, I always had a
question for you, man.
You still get groupies
working in that grocery store?
Early.
Wait, was that early a
question or a statement?
Just early.
My early days with Jay-B, I
still didn't get no groupies.
Why not, man?
I mean, you was on
a world tour, son.
Fame, fortune, jewels.
What's good?
Well, look at me.
Women just don't
find me attractive.
I'm 4' foot, 11
with a hobbit beard.
[WHIMPERING]
Hey, yo, Fro, man, you crying?
Ooh!
Hey, man, pull
it together, man.
Yo, stand tall.
No, you right, I'm drawing.
Hey, look, there go
Jay-B right there.
J BUM: Yeah, look
at the man rolling
all presidential and whatnot.
Hey, yo, man, call
your man on the celly.
Tell him to come
out here to get us.
Man, you know how many times
he changed his number, fam?
Yo, look, the
gate closing, man.
Come on, let's bounce.
[HIP HOP MUSIC]
JAY-B: Turn me up
in the headphone
Yeah
I just want to hear myself
Do just like my
wife and feel myself
[CHUCKLES]
Where we at, Gu?
You know we had to bring
this one back, right?
Yeah, turn me up
Yeah, listen, I push more
rocks than Barney Rubble
Carry g*ns with the army muzzle
What's a n*gga to do?
I sent slugs that
are bigger than you
Through your passenger side door
UPS Ground
You signed for it
Used to spit
It more difficult
Open the door for ridicule
So I dumped out my
rhymes and spit at you
Follow
I make you dance
Make you holler
My take home is major dollars
I'm a brain scholar
You be saying nada
I won't give you a crumb
You little baby
Mumble rap n*gg*s is dumb, yeah
Early.
Yeah, what?
The f*ck is going
on with the music?
What's going on?
Hey, yo, man, we need
to speak to Jay, man.
The f*ck is going on?
FROWAY: Early.
JAY-B: Yo, Gu, I don't give
a f*ck what's happening, OK?
A grenade can land in this room.
Don't ever stop the music.
GUYU: All right.
JAY-B: We don't
ever stop the music.
We never have cars
if there's no music.
We can't eat if
there's no music.
No one has a crib if
we don't have no music.
The hills are alive to
the sound of music, OK?
All right, Jay.
J BUM: No disrespect for barging
in on your studio session
and all, but we really need you
to spit that real sh*t again,
son.
- Early.
J BUM: These kids out
here in these streets,
they ain't even
following you, son.
They following all
these Xaniax, Lemonhead,
tangy sherbetey, Fruity
Pebble, scribble tattoos
all over their face,
man, your tight capri,
jeans-wearing,
strawberry-buttered muffin,
beef video-making
incriminating sh*t, son.
That was very descriptive.
Froway, hey, it's
good to see you, man.
I meant to call
you a while back.
I really did.
It's good to see you too, Jay.
You probably lost my
number or something.
JAY-B: Yeah, probably so.
Yeah, new hair.
Who dis?
[CHUCKLES] But-- but what's
all this got to do with me, OK?
Yo, we need you
back on top, Jay.
Back on top?
But I'm the king
of this rap thing.
No siblings.
J BUM: I know that
and you know that.
But these kids in the street,
they don't know that, son.
I mean, it's mad
disrespectful out there.
Maybe I could lighten
the tint in the Maybach.
And so they could be inspired
by who's in the backseat.
I don't know.
It's the blind
leading the blind, Jay.
Back when you were spitting, I
know you rapped about selling
drugs and juggling hoes.
But we need you to put
Froway back on, man,
and get back to
that real hip hop.
Hey, Jay, if you don't mind,
man, could you get me a deal too
please?
FROWAY: Early.
- Come that far.
- My bad.
FROWAY: Early.
J BUM: Look-- look,
you know what?
Check this out, man.
[HIP HOP MUSIC]
I got it
Young Fro up on the block
I be running from the cops
See my legs so short
Hit the curb
I gotta hop
I be begging for a meal
I be rappin' for a deal
Slow down, Fro
If Jay don't get the message
I'mma k*ll
J BUM: Understanding why you mad
You just tryna get the bag
No more mopping in the store.
Cleaning dishes with a rag
J BUM: Young Fro and Jay Bum
k*lling n*gg*s with the swag
That's why we
stay up in the lab
Tryna get back what we had
Ooh
Yo, mess, what you think, son?
Hell, it was all right.
I think they right, Papi.
What are you talking about?
We gotta get back
to the essence.
But I'm in the essence.
I-- these is my rhymes, OK?
I spit hot rhymes.
I-- I've always done that, OK?
That's me.
PAPI: You can't rap about the
AKs and the way no more.
That makes people
want to do crime.
I tell them not to do it
because I used to do it.
"I send slugs that
are bigger than you
through your
passenger side door.
UPS Ground.
You sign for it."
I'm telling these n*gg*s to be
deliverymen and get a real job.
You understand what I'm saying?
That's me.
That's hypocritical, bro.
[SLOW TEMPO MUSIC]
That makes people
want to do crime.
Early.
PAPI: Jay, you gotta
bring it back to the park,
where the B-Boys and-- and the
DJ, and the emcees, you know,
when things were fun but raw.
When things were
skillful and soulful,
you know, the-- the art
of-- of storytelling, Papi.
The game needs you, Jay.
Not crime.
J BUM: Real talk, Jay.
GUYU: Hey, yo, Jay.
Be the f*ck you.
This is confusing
me right now.
I-- I can't handle
this type of emotion.
You know, I gotta go.
Well, Jay, look, let me
get your new number, fam.
Come on, Charlie.
I can't take this sh*t.
Hey, what about
that deal, Jay?
And the number.
Do you got his number?
I'mma handle this, but I--
thank you very much, fellas.
All right, come on.
PAPI: I'll talk to him.
Thanks a lot, fellas.
Appreciate it, man.
[UPBEAT MUSIC]
Hello, everyone~
[APPLAUSE]
Welcome to my town hall meeting.
I'm Okrah Whitney.
On today's show, we have icons
coming from the world of rap.
Give it up for Roscoe
Simon and Piffy!
[CHEERING]
Hi.
Hi.
OKRAH WHITNEY:
Gentlemen, welcome.
You guys come to me
today with deep concern
Hip hop is in a state of 911.
How did we get here?
We need to get back to the
essence of the real music,
of-- of what made us who we are.
Get back to real
artists who are poets.
They're prolific, docile
poets who are just
reporting from the streets.
You know what I'm saying?
Talk about poetry.
Is-- is this poetry?
Oh, no, take that.
Take that.
"I bent the b*tch over the
bed and busted off in her mouth
when she gave me head.
[GASPING]
I kicked a hoe out
and grabbed my g*n,
and shot a n*gga in the
face in front of his son.
[CHATTER]
I get rid of weight
like Jenny Craig.
Got dope on the street
that'll make you beg.
If p*ssy was cash,
I'd be a billionaire.
[CHATTER]
If my b*ll*ts were a cloud,
I would fill the air."
[GASPING]
Poetry.
Poetry.
Look, that's a very
extreme example, OK?
And some of that is
taken out of context.
Hey, guys, you know, that p*ssy
sometimes means a kitty cat?
So what does that make that?
It makes it a poem.
Who wrote that?
Cause I can have them
signed to my label.
That was dope.
Well, it was written
by our next guest.
Please give it up for 45 Cent!
[HIP HOP MUSIC]
40 CENT: Yo, baby.
What's popping, man?
Haha.
What's good, Okra?
Thanks for having us.
You know what I'm saying?
Mr. Cent, I'm sitting
down with your colleagues
discussing the state of hip hop.
Yeah, what's
up, Roscoe, Piffy?
OKRAH WHITNEY: And I just
quoted one of your verses
about bending the hoe over, and
grabbing your g*n, and so on.
Could you please
explain these lyrics?
What for?
I don't need to explain them.
That's just what I do, man.
[LAUGHS]
So you shot a man in his
face in front of his son?
[GASPING]
He's just a poet, you know.
We're both from Queens,
and we-- we celebrate
queens every day of our lives.
We love queens, Black
queens especially.
OKRAH WHITNEY: So
you're OK with m*rder,
and sex, and ethnic
degradation in your music.
Don't try to
act like you ain't
had serial K*llers and
child rapists on your show
for decades.
Do you think it's
OK for you to talk
about that over the airwaves?
See, that's
apples and oranges.
You have images in your
videos that are destructive.
There's no images that I put
out that people aren't proud of.
Am I right?
[APPLAUSE]
Come on, Oakley.
Quit bullshitting.
Watch your language.
I've never seen you
do a movie where a n*gga
wasn't hanging from a tree.
Why don't you do a movie
where a n*gga got his freedom
and some f*cking shoes on?
Step your game up, Ma.
[CHUCKLES]
Let's just go to a question
from our audience and only
ask an African-American woman.
[CHATTER]
Yeah, yes, ma'am.
What's your question?
I'd like to ask,
how are we supposed
to progress when you guys are
making millions off of misogyny?
OKRAH WHITNEY: Mmm.
That is a good question.
Shalonda, is that you?
No, that is not my name.
You almost had me fooled
with that wig, though.
That's Shalonda.
Hey, Shalonda.
Excuse me, did
I miss something?
40 CENT: Oh, Oakley, you
missed a hell of a night.
Hey, Shalonda, turn
around for the people
and let them see that tattoo
on the back of your wig.
On the back of her
neck, she got a tattoo
of a n*gg*r going to jail, you
know, arrested and everything.
OKRAH WHITNEY: Is
this true, young lady?
Can you flip your
wig for all of us?
Tell her, flip it.
Matter of fact, everybody's
getting a wig today.
You got a wig!
You got a wig!
[SHOUTING]
[APPLAUSE]
All right, that's enough, OK?
That was a long time ago.
I got that tattoo lasered off.
I have turned my life around.
How did you do it?
SHALONDA: I am happy
to say that I just
received my master's degree.
OKRAH WHITNEY: OK.
And now I am a
full-time scholar.
[CHEERING]
40 CENT: Oh, yeah.
Oh, yeah, Oakley.
She's definitely a scholar.
I'm telling you, that
brain was incredible.
You know what I'm saying?
In fact, the smartest thing
that ever came out of her mouth
was my d*ck.
Get the f*ck out!
Get the f*ck out, all of y'all!
Get out of my studio!
I'm just saying.
1, 2, 3, get up.
Get the f*ck up and get out!
I'm just talking
about her smarts.
OKRAH WHITNEY: You see, that's
the problem with Black men.
You know, they mess up, and
still want to come back,
and try to act like
everything is--
Lady, I also have a perfume.
I swear, if you don't get
the f*ck up out of here--
if you don't-- get up out.
[CHEERING]
Woo!
I felt like a failure.
[SLOW TEMPO MUSIC]
The Okrah show was
our last chance
to get our story to the masses.
Hip hop was in trouble.
How could the very
art that I helped
build be falling
right before my eyes?
Why couldn't I save it?
It was back to the drawing
board for me and the crew.
[HUMMING] [SCATTING]
[HUMMING] [SCATS]
[SUSPENSEFUL MUSIC]
How are the fries?
J BUM: Man, they good.
How's the leaves?
They're OK.
Could probably use a
little salt. Oh, no.
Oh, no.
Oh, you don't
need no pepper now?
Don't be acting all
brand new up in here.
I'm sorry.
Ma'am, could I please
have a little pepper?
Grind it your damn self.
Don't mind her.
It's that time of the week.
Don't you mean that
time of the month?
Oh, no, that b*tch?
She bleeds once a week.
Yo, have y'all been
listening to the radio?
Early.
Yeah, I mean, at least
they're playing better
songs on there in rotation.
Yeah, but I don't
think we did enough, man.
We really needed that Okrah
show to work in our favor.
Yo, what are we doing?
Eating.
No.
You drawing.
Early.
I mean, like, what
are we really doing?
We're eating in peace,
trying to lick our wounds,
and put the past behind
us and move forward.
What you mean, Fro?
FROWAY: We're spreading
ourselves thin,
running around the
radio, TV, bootleggers,
bloggers, Jay's studio.
We're only moving ch*nk in
the armor, losing the battle.
But it's time to win the w*r.
[SLOW TEMPO MUSIC]
Word.
FROWAY: We need a solid plan
that could funnel the energy
to the masses all at once.
Instead of going
to everybody, let's
get all the relevant
artists in the same place,
on the same track.
Word.
And make them do
a song for hip hop
on some we are the
early type sh*t.
We get all the young bulls to
see that the old heads could
unite, then we can get
the young bulls to see
that they can spit with us.
Yeah, facts.
Then we straight bumrush
the InterGram records
on some straight takeover,
snatch up that Pear dude,
and make him play our
video on all his websites.
I mean, forget TV for now.
They letting the internet
dictate the movement anyway.
We take over the
computer world, and make
hip hop the new viral fetish.
[DRAMATIC MUSIC]
That's dope.
Hey, Roscoe, what
you think of this jawn?
(RAPPING) It's Young Fro
I'm chilling with my guys
Sippin' up at the diner
Sippin' ketchup in the fries
Ooh
Those are good bars, but
not as good as that plan
you just came up with.
[HIP HOP MUSIC] sh*t
Say hello to the golden child
n*gg*r, where he live
What he wrote about
You the opposite of opulence
We know it now
Yeah
The world
This seat taken?
By all means, have a seat.
What's up, Jay?
What's up, guys?
I'm in.
Wow, I mean, you couldn't
have come at a better time.
Your boy Froway here--
you remember Froway, right?
Early.
He just came up
with a brilliant plan.
Oh, I recognize that chain.
You still wearing that?
That company shut down.
[CHUCKLING] Look, guys,
why don't you all jump in
the ride with me?
We gotta make a pivotal stop
first, but it's going to work.
Sure, let's do it.
J BUM: And so what y'all saying?
Group hug?
How about a group
handshake, OK?
I really feel nervous
sitting this close to you.
I don't know you like that.
You know, that's cool.
I actually was going
to say that next.
Handshake.
Come on, let's do it, guys.
[UPBEAT MUSIC]
For hip hop!
[DRUMS BANGING]
[HIP HOP MUSIC]
Shh.
We can't upset him.
Be careful.
KANWAY WEST: (RAPPING)
What you got?
Get them so sick, huh?
Like they're getting chemo
Chasing down like
I'm Finding Nemo, fam
Chicago, yo
Kanway.
KANWAY WEST: JB?
It's me.
KANWAY WEST: What the f*ck
are you doing here, bro?
I just came to say hello.
KANWAY WEST: You
came to say hello?
All this time, I've been
trying to get a hold of you
when I was going through what
I was going through, fam.
Now you show up
after all this time?
I was busy.
KANWAY WEST: You was busy?
Yeah.
KANWAY WEST: Busy while they
freezing all my accounts?
I can't use my Cash App,
bro, my McDonald's app.
They f*cked all that up, bro.
You want to know
who I am now, JB?
I'm Michael.
I'm every Michael.
I'm Fredo, Santino,
Michael Jordan,
Michael from "Good Times."
I'm even Latoya because
you've been absent.
I'm sorry.
I know sh*t has been
difficult between me and you,
but hip hop needs you.
I need you.
KANWAY WEST: You want to
know what hip hop needs?
They need my clothes, bro.
That's what they need.
My clothes are designed
from homeless people.
I love the way homeless
people dress, bro.
That's why, in my new
design, I put balled
up trash in their pockets.
Kanway, well, you're
not really making sense.
I'm not following you.
KANWAY WEST: Check
out the situation.
If I gave my daughter
a Lamborghini
Countach at the age
four, guess what
she going to do with it, bro?
What?
KANWAY WEST: She going to
doo-doo in the driver's seat,
fam, syrup all over
the Corinthian leather,
spider webs all
over the air vents.
She ain't ready for that, bro.
Yo, what is he talking about?
I don't know.
I think what you're
saying is we can't give hip
hop to the children too early?
KANWAY WEST: Exactly, bro.
That's exactly what I'm saying.
These dudes are driving a
Lamborghini prematurely.
Hip hop is too intricate
for their young minds.
I'm smarter than everybody,
and I'm richer than everybody.
So what does that make me?
It makes you very smart
and one of the greatest
to ever do it.
KANWAY WEST: Exactly.
A m*therf*cking genius, fam.
Now that your point has
been made and driven home,
we got some white
women with some really
fat asses waiting for you.
KANWAY WEST: White women
with really fat asses?
Yeah.
KANWAY WEST: Caucasian?
Mm-hmm.
KANWAY WEST: OK, OK, OK, OK, OK.
Let me make sure-- oh.
JAY-B: Yeah, let
me help you out.
Just turn it off right here.
KANWAY WEST: Yeah.
JAY-B: OK.
KANWAY WEST: OK, we can go now.
- OK.
[HIP HOP MUSIC]
[VOCALIZING]
(RAPPING) Yes
Yes.
Oh
OK
In the building
We in here.
Bum rush
We the crew
defending our hip hop
Bum rush
That's how we rolling
We rushin all through the spot
Bum rush
Searching for beer
I know it's worse when I hear
Cause the crowd call a cop
We coming
So stay clear
Bum rush
Twinkle, twinkle,
hidey h*, n*gga
Bum rush
Don't try to hide
behind the door, n*gga
Bum rush
We're here to take the
culture back from computers
In fact
Don't make me smack you
with the 9 or the Ruger
Bum rush
Like they just
did the man behind
Bum rush
In this mask that I had to have
Bum rush
Time hangs
Don't ask me how
We just hijacked your boat
I'm the captain now
Bum rush
I'm not a rapper
But I'll say some rhymes
Bum rush
Save hip hop from
outrageous crime
Bum rush
I don't even need to rap on beat
But when I meet Pear
His a*s is going to meet my seat
Bum rush
Like when I want to see my kids
Bum rush
Cause I'm the king
of this hip hop sh*t
Bum rush
Tell them I shine
like a hip hop trick
It's Mobb Deep
Ante up
I'mma need those kicks
Bum rush
Bum rush
We've got you, Pear.
Pear?
No, this way.
Yeah, yeah.
Go get em, Jay.
KANWAY WEST: That way?
Yeah, yeah, he's gettin' away.
Roscoe, get the laptop.
[SUSPENSEFUL MUSIC]
Laptop, it's right there.
Come on.
Where'd he'd go.
ROSCOE: Over here, Fro.
The door's electronically
booby trapped.
He got away.
He was ready for us.
Wow.
I expected a little
more, but who
would have thought that Pear
actually uses the power of pears
to destroy the culture?
JAY-B: God damn.
KANWAY WEST: Locked on
the other side, bro.
You can't--
- I know.
I know.
KANWAY WEST: You can't--
you can't break it.
I know.
[SLOW TEMPO MUSIC]
Anyway...
Moment of truth, finally here.
Let's see if your brilliant idea
works, Froway.
(RAPPING) Hip hop
Come out and play
That's right, Piff
You know we had to
do the remix, right?
[SIREN BLARING]
JAY-B: sh*t
So, yeah, who was to blame?
Who diminished hip hop?
And who ruined the name?
Old n*gg*s say young did
The young say the old did
But nobody saw it coming
Like, Hob did
Politicians so self-righteous
Preachers getting robbed on IG
Trying to pose as
little self-crisis
I believe the children
are the future
But hip hop is teaching
them same kids to sh**t ya
Different actors, same movie
Different generations still
feeding the sl*ve movies
Yeah, y'all believing
that television is real
Reality shows bought
souls that made the deal
The more they show us
The more that they can sell
I can't wait till the
real enemy is revealed
[CHUCKLES]
sh*t
If 45 wasn't hip hop
Would they still love me?
If I had to drive an Uber
Would they call me ugly?
Sell me on the corner
selling flowers
No raising Cain and no power
Do you think that these
ladies would still hug me?
No, shorty, couldn't
love me on my worst day
But when they see you on top
It's like it's your birthday
This rap sh*t is what made
me up in the first place
Gotta keep it flowing
So it won't die
Cause it's thirsty
Haha
KANWAY WEST: Ain't no
cancelling Kan Weezy
n*gga said he's moving on
But you know y'all need me
Ha, my money used
to be that long
My bipolar told me
Go and put a red hat on
Shoulda wore my backpack
and focus on rap songs
My shoe deal
Show me who still is that strong
I'm back on
I use words to move
me out to the burbs
And them same words offended
the people that own the burbs
The kind dine that's
sitting out on the curb
With these ugly a*s boots on
ROSCOE: Yeah, this is
for hip hop 50th year
Yeah, time for that 50th year
We're kickin' new verses in your
ear for that hip hop 50th year
Yeah
This is for hip hop 50th year
Yeah
Time for that 50th year
We're kickin' new
verses in your ear
For that hip hop 50th year
The situation that
the rap game is facing
A lot of these rappers need to
be locked up under a basement
And not come out until they
get their sh*t together, man
I live and breathe
And popping just about
the cheddar, mate
The gouda, the feta,
havarti, the gorgonzola
Vocabulary so sick
They should call me Ebola
My style will never get
played out like a Motorola
Me and my partners hold this
rap game upon our shoulders
Listen here, man
It's your player partner, WD-40
With this vicious viscosity
You know what I'm saying?
You understand me, pimp?
Gouda
I f*ck words like
my d*ck in your ear
And I raise cholesterol
eating chicken and beer
You rappers hoes
I'm pimp of the year
Hip hop, stop
I'm about to get it in gear
My love for rap keep
me up in the night
I fall asleep in the booth
Cause I'm stuck on the mic
I knock a verse out the box
with a hook in the right
Make hip hop my b*tch
Y'all ain't f*cking her, right?
I started rapping
because of a b*tch
Not knowing damn well
it would make me rich
But it did
You know I ain't lying
A lot of these rappers
are not even trying
But me
But me
You know what I did
Now it's up to y'all
to make sure it lives
Keep your mind on rap
Forget the rest of this sh*t
Be a player like me
And stop being a b*tch
Yeah
ROSCOE: This is for
hip hop 50th year
Time for that 50th year
We're kickin' new
verses in your ear
For the hip hop 50th year
Yeah
This is for hip hop 50th year
Yeah
Time for that 50th year
We're kickin' new
verses in your ear
For that hip hop 50 year
Sort of like a July 4
Fireworks popping
Who I'm chopping this pie for
Ghostwrite freely
But you rappers should try more
Either go and drive at my speed
Or you ride slower
Yeah
Cause I just want to
save hip hop for you
So tell me what
you want me to do
I'm the one unknown
dude that's on this track
Still k*lling wack rappers
Bringing hip hop back
Those who step out of line
Yeah, you will get smacked
While I'm rocking a Kangol
Cause I'm the leader of the pack
So rock with ya boy
Cause I stay on a mission
And me and the squad
will carry on tradition
One last time, let
me tell you who I be
Cause bump stands for
being unique mentally
Joey, it's time to put
the baby in the bassinet
My mouth wrote
some big a*s checks
And I ain't cashing yet
The poor father
Don't bother to ask them that
But y'all n*gg*s
dying to live by it
No facts to check
Now, everybody trying
to go the Joe route
For Joe Rogan or Joe mama
I call you hoes out
A stupid n*gga
He never thinks
before he shows out
And dies to a n*gga and
slides with his toes out
But it's not over
You know what I'm saying?
Like, we had a lot of great MCs
But two of my favorite MCs
about to bless the mic right now
Pave it
Swiss cheese, applesauce
Tube socks, Double Dutch
Bentley with the glass door
A private jet, tank tops
Mind-blowing avalanche
c*ck-a-doodle-revenue
Shoelaces, skateboard
Avocado, beanbags
Basketball, diaries
Cutie with the vice grip
Wing Chun bobbleheads
Kung Fu, donkey nuts
Soldiers in the outfield
Marvin Gaye soundtrack
Elephant tramples
with the hip hop
Bounce back
This is the hip hop 50th year
Time for that 50th year
Fro, kickin' new
verses in your ear
For that hip hop 50th year
This is the hip hop 50th year
Making the hardest
comeback of the year
Fro kickin' new
verses in your ear
For the hip hop 50th year
Who got the prop?
No other than state prop
My album no longer drop
No longer signed to the ROC
Still on the clock
I'm rapping harder than Pac
I started off on the bottom
But now I'm up on the top
Keep going
FROWAY: I feel it, boy
No longer walking in fear
I'm stretching my contract
Same length as my beard
Keep going.
FROWAY: Swizzy, swizzy is cold
Turn on the heat
Much gratitude for my God
Finally put on a beat
Ooh
What's the matter?
Philly free is on the mic
Me and hoe got
the rap game stuck
ROSCOE: Keep going
And every time I try
to get him on the phone
He be saying his reception sucks
[LAUGHS]
Chance of getting
Jay-B on the feature
I'm better off walk
around in Kanway sneakers
Reppin hip hop
Jay said I'll never get dropped
Still selling lies to me
Keep going
Freezing repping state
Drop, drop, my fella won't stop
Still glad the clothes is free
Ooh
Damn, Fro, you
got up on that verse
[CHUCKLES]
It's about time
ROSCOE: Yo.
J BUM: We did it!
- We did it!
- Oh, sh*t.
FROWAY: Ooh.
ROSCOE: We did it.
Ooh!
Yo, can you believe it, man?
We got 40 million views
on MyTube and 65 million views
on TokTik.
Oh, we k*lling it, son.
We saved hip hop.
Early.
I was already
on, but, you know.
KANWAY WEST: Yeah,
somebody had to do it, bro.
Exactly.
Who thought it was possible?
[SLOW TEMPO MUSIC]
You know what?
You guys thought
it was possible.
Thank you for waking
me up to the problem
that's going on in our culture.
For me, all my problems stopped
at my black and white card.
I thought I could just
throw money at anything.
This thing that we call
hip hop, that we all love,
can't throw money at that.
It's priceless.
That's word, son.
Jay, Kanway, thank you
both for your contributions
to the culture.
I am the culture.
KANWAY WEST: Yo, yo,
wait, hold up, bro.
I'm the culture.
We went over this already, Jay.
I am the culture, and everybody
else are just culture vultures.
OK, n*gga.
Damn, you can have it.
Somebody sensitive.
I'll start my own culture.
KANWAY WEST: Yeah, you do that.
I'm a billionaire.
J BUM: Hey, yo, Jay, think you
can lend a brother $10 mil?
f*ck, no.
ROSCOE: And, Froway, you know we
need to get you back on that mic
permanently, right?
The game need you,
and your beard.
Earl.
[SLOW TEMPO MUSIC]
Earl Fitzgerald.
That's my real name.
It's a pleasure to meet you all.
Pleasure to meet you too.
Jay, did you know that
was his government name?
g*dd*mn.
You worked with him for years.
I thought his name was
just Froway on his ID card.
Now, guys, Pear got away from us
today, but if we stick together,
we'll always be ready
for whatever Pear
tries to do to the culture.
We'll be like the new
super friends of hip hop.
Oh, I like that.
J BUM: That's cool.
Yeah, we already crew.
- All in?
- All in.
Come on, guys.
- Yeah, all in.
Let's get to it.
Let's get to it.
[DRAMATIC MUSIC]
ROSCOE: 1, 2, 3.
For hip hop!
[HIP HOP MUSIC]
Well, that's my story
and I'm sticking to it.
That is how we saved hip hop.
So whatever
happened to Mr. Pear?
You were listening
this whole time, n*gga?
Go back to sleep.
Nosy.
Thank you for coming out.
God bless you and good night.
[HIP HOP MUSIC]
KID: (RAPPING) Yeah, yeah,
yeah, yeah, yeah, yeah, yeah
ROSCOE: Kid.
By any chance, do
you know how to rap?
(RAPPING) Yeah, yeah, yeah,
yeah, yeah, yeah, yeah, yeah,
yeah, yeah, yeah, yeah, yeah
(RAPPING) Seems like hip hop
today is in a state of emergency
Should call Dr. Redd to
come operate and do surgery
In the face of adversity
I would retrain these
little, purple-braided nerds
But see, this ain't university
- Oh.
- Oh.
- Wow.
sh*t.
(RAPPING) I remember
when if you got a deal
It was because you
had lots of skills
Not because you
were popping pills
Or flaunting grills
or your Ferrari wheels
f*ck, man, I got a chill
What happened to lyricism?
Because it appears it's missing
We gotta cure the system
What?
We're just going to throw
away a 50-year tradition?
[SHOUTING]
f*ck out of here
I'm dipping
[HIP HOP MUSIC] Yeah
Hip hop
This is for hip hop
We do it for hip hop
Mile high stakes
We pop
It's OK
Man, probably one of
the most memorable times
I can remember in
hip hop for us was we
were basically on a promo run.
We had went to a mall,
like, a week or so before,
just going through.
Nobody don't know us.
They ain't never seen a video.
The video dropped,
man, the crowd came
at us like we was The Beatles.
Hip hop 50th means to
me, dreams are possible.
(RAPPING) My name is T-LA Rock
I have the heart of a lion
I never give up
I just keep on trying
Like bats can't see
the sting of a bee
Like something
amazing you see on TV
The first time I heard hip
hop, I heard Lovebug Starski.
He was rhyming at the
Renaissance Club in Harlem.
He was doing what Hollywood did.
A lot of people don't- and this
being the 50th anniversary hip
hop, I think it's
very unfortunate that
people don't include
Hollywood because he's a part
of the MC story.
PARRISH: One of the
biggest memories
is the Run's House tour
for us because we were new.
You know, we didn't know
nothing about the industry.
We just had a big
heart for hip hop.
But we got overly blessed
to ride on Run-DMC's bus
and Jam Master Jay for free.
OK, so everybody,
that was our introduction.
Even before I heard
Slick Ric, I heard
Melle Mel with The Message.
And that, for me, was
the finest storytelling
I had ever come across.
And it depicted
everything about the Bronx
that I did not know because I
had never been to the Bronx.
One of the dopest memories
that I have of hip hop
is when we were on the
Run's House Tour in 1988.
We had us, Run-DMC, Jazzy
Jeff, and the Fresh Prince.
NWA did some spot dates.
And just being
around all the guys
and being the only females
on the whole national tour
was so much fun
because they treated
us like their little sisters.
They were protective.
I think that's the most exciting
time that we've had in hip hop.
I can't look into the
future and say that I
saw hip hop going this far.
I just knew that I was going
to be a part of hip hop.
If it wasn't for hip
hop, I'd be a boxer.
If it wasn't for hip hop,
ooh, it would be a catastrophe.
The reason why our
era is so revered
is because we did it
without intention.
You understand what I'm saying?
Like, all we wanted to do was
impress the people from our hood
and other rappers.
We weren't thinking about being
superstars or none of that.
We just wanted to be
heard on the radio.
I never knew how far
it would go, but I--
I knew the spirit was, while
we're trying to figure out,
we didn't want the
media or the masses
to dictate in a negative
essence of, that it can't last.
Maybe a year later,
I hear Melle Mel.
And he said, "I make Alaska hot.
I make Africa cold.
Stop Nat King Cole
from playing a role.
Move on down his family tree.
f*ck his wife and Natalie,"
I was like, you can
do that with MC, with lyrics?
And when I heard that, the
metaphor of, "I make Alaska hot
and Africa cold," that
was the-- the cornerstone
of what I said I was going
to build my career on.
I-- I would hope,
though, artists
today take better
care of the business
side of the music business.
I just want to say,
happy birthday, hip hop.
50 years old, man.
You're still a young man.
We here.
One love.
Yeah, yeah, yeah, what's
popping with your options?
This is Trigger Tracks.
And this is hip hop 50th, baby.
Happy 50th hip hop.
Hey, hey, this
is MC Lyte, wishing
hip hop a happy 50th birthday.
Many, many more.
We need you.
This is the T-L-A-R-O-C-K.
As you know, is usually
the reason for a very nice day.
And we are celebrating
50 years of hip hop.
I absolutely have crazy
hands, just for the record.
Crazy hands.
That's it.
I was Money Moweather
before Mayweather.
If it wasn't for hip hop,
I would be boxing, easy.
But I didn't have
the discipline.
[SUSPENSEFUL MUSIC]
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A Hip Hop Story (2024)
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