作词 : Sir Robert Bryson Hall II/Arjun Ivatury/James Reese/Marlene King 作曲 : Sir Robert Bryson Hall II/Arjun Ivatury/James Reese/Marlene King Ayo, for real, look, let me just say this I wanna say I love Def Jam, Def Jam changed my ****ing life There's definitely some ****boys in that building Some suits wearing ties and shit But it's some real good-ass ****ing people man Steve Bartels, Faisel, Jeff ****ing Justin Duran, Dave Bell Chris Atlas, David Amaya I could ****ing go on bro, Lory, Peter, Kate and Gabe We gon' get into the rest later, man, but I ****ing love y'all Let's get to this shit, here we go
This my Friday Night Lights, track nineteen From major to independent, as sightseen, my Ultralight Beam I ain't finna go into the discrepancies of my deal Like the millions that y'all owe me, I gotta audit y'all for real But you changed my life, that's my word Took a young kid out of Gaithersburg, and you'll never know What it means for a kid in his teens and his entire team To go from open mics to actually living they dreams This a "thank you" to the people in the building For helping me build the empire that I'm still building Diddy said a rapper only gets five years, we double that Independent now, won't double back I rep the BMG, yeah, I'm the Big Money Getter **** the pop shit, remember Logic as a spitter Just a kid having fun when I step to the mic That's why I never understood the hate I get when I write Back when posting new songs on Internet rap forums All the way to talking shit first night I sold out The Forum But they hated Jesus, homie I ain't comparing, I'm just reasoning, homie I'm just tryna set an example I went pop and made millions, now all I do is chop samples Egon's finest, peanuts after like I was Linus Followed by that College Park next, that's the line-up First album, the EP was No I.D Last album, the executive producer is me, I'm set free Sayonara
So the crazy shit is right, like, when we was shopping deals Mike, Mike Caren over at Atlantic, he offered me a deal for thirty grand I was like **** no, hahaha, shoutout Mike, though Some independent label offered us one-point-five, and we was like nah But Def Jam hit me up, you know what I'm saying Noah pressed my A&R for ten ****ing years, bro He linked me with No I.D., man, and I was like, "Yo, No I.D.? That's Ye, that's Ye, that's Common, homie - how could we not?" And we signed a deal, we inked that shit up, bro Maurice Frazier, Lisa Bronson, Jason Peerless ****ing Liza, Nakeisha, Mario, Ryan Cordon, I could go on Lynn Gonzalez, yo, Lynn Gonzalez Ian, you mother****er with the samples Ian be listening to shit that ain't even a sample He's like, "This shit's a sample" I be like, "Ian, shut the **** up, bro" I love y'all, Antoinette, Donna, Jamie, Stephanie Jenny, Paul, all you mother****ers know who y'all at And legal, man, album delivery, I ****ing love y'all Everybody in ****ing A&R, admin, samples PR, marketing, the execs, ****ing Barry White's old ass That mother****er took care of me, man, he signed me I remember seeing a Britney Spears ****ing plaque She went ****ing diamond I asked Chris Zarou, my manager at VMG I said, "What the **** is diamond? ", he said, "Bro, ten times platinum" I'll never forget I said never, bro, "Never, I'm not gonna go diamond" 1-800 almost diamond, what up? Haha, billions of streams Everybody in sales and commerce, DDC, Marcus Scott, Bobby, ****ing Theta, Mac, Eric, Fred Thomas All y'all, sorry for the first name basis but I **** with y'all Everybody at Radio, man First of all, let me start this shit off with Noah Sheer, Gaithersburg's own We went to ****ing Summit Hall Elementary School, bro I mean you like ninety years older than me but it's all good Nicky Farag stepping up in the ranks, I love you shawty! Lory LaMattina, Keith Ross, ****ing Rick ? the God Mundo Garcia, boy Get a bigger pair of pants, your shit look like it's painted on Sonny D, my ****ing brother, Britney, Scott, Chico, EP Like, Rodney, Rosie, Rozzy, Brian, International, Mike Alexander Marissa, Mira, Art, Ty Ty, that's all I gotta say, Ty Lindsey, that's it Finance, ****ing finance, Jen Hersh Melissa Bernal, I love y'all Tour Marketing, Albert, Albert Cook Shervah Edwards, video, oh, Millie, gotta love Millie Millie was always on the sets like "Alright, make sure the Red Bull can is exactly in front of the shot" I was like, "Millie, get the **** out of here" Remy, Carolyn, Yolanda, Nadeen And of course, of course Deborah at the sample team, I ****ing love you, Deborah I don't even gotta say your full name, you are a goddess Nicole Pastine (And of course the homie Xavier) Rapping is my passion, I love y'all, man, look This what I'ma say about Def Jam, look, man We had some ups and downs, you know what I'm saying My first album, I was getting sued by some ****boy And y'all was tryna get me to change my name and shit I spent my whole ****ing career, this who I was Y'all trying get me to change my name Y'all wasn't trying to put out my album so we did the while-you-wait shit We went on tour, you know what I'm saying But eventually shit worked out But even with that, you mother****ers, you know You ? me and shit And that's what I'll say I don't- I really wholeheartedly don't believe that was none of the people I just named, man Everybody, I **** with y'all, I rock with y'all Any other ****boys behind the scenes, y'all could suck a **** Eat my whole ****ing ballsack, man This industry is ****ed up The wildest shit is I'ma say this man This whole industry is musical chairs, yo Cats like Steve Bartels, Faisel, Jeff Harleston, man They, they the real ones, you know what I mean But like mother****ers be so in-and-out, that's why I didn't stay with Def Jam I went to Def Jam after ten years on the label, because I owed them that I was like, "Okay, so what's up? we signing another deal?" They ain't even get back to me in time So I went somewhere else and I don't know who butthurt or what I could give a ****, man All I'ma say is I love y'all who rock with me I love y'all who take care of me I love y'all who ****ing drove me from New York to Boston to do Radio interviews and shit man Appreciate y'all It's been a, it's been a **** time on this major label shit, you know what I'm saying I've made millions and millions of dollars for y'all, hahahaha And we've had some good memories I love you, I **** with you My only regret is I ain't really get to **** with ? like that Yo man, you're a ****ing G bro Much love to Lucian I appreciate all the ****ing millions of dollars that you gave me to make these records, hahahahaha Independent shit next VMG, VMG, Bobby Boy Sayonara
Logic as a rapper is an anomaly, a person who is out of time Living in the present you know rooted in the past But a traditionalist who believes in the future Who believes in what hip-hop was and can still be So we're here in this modern time Thinking about and listening to the development of hip-hop and it's future all at once I think that a lot of people in the modern sense of the word get caught up in how fleeting time is And they believe that what's happening right in front of them Is the most immediate thing and it's the most meaningful thing And they have to engage what's happening in the moment Because the moment's gonna be gone and then they're not gonna care Or no one else around them is gonna care And I think we forget that great experiences in the, in humanity Go on for decades, centuries, sometimes millennia Before we really know how to make sense of them And so, in the same way that the monks in the dark ages were keeping records and saving books You know, it is important for us to really make sense of one of Americas great folk musics, and that's hip-hop And there's very few people who care enough to actually keep the form going while trying to push it forwards Logic's one of those dudes And the reason Madlib and I decided that we wanted to work with him Is because he came through with a true sincerity and appreciation for the form And for all of the people who make it And like a true understanding of craft and like, who's doing what And how their technique is either important, relevant Something that needs to be preserved or what And I remind myself that even though hip-hop seems to me In my mid forties to be an old thing because it's been around since the early '70s It's actually just in its infancy And if it's not for people like Logic trying to keep this tradition alive We're not really gonna know even shortly after, what's supposed to come This hopefully is an art form that's gonna outlast All these art forms that preceded it and formed it And we're only gonna know that if people who truly have the passion, belief And the proficiency, the musical acumen To hold the form, hold it dear And at the same time, not be so reverent to it and push it forward Are there to show us the way So hopefully he's one of these dudes, I have that belief
[00:00.000] 作词 : Sir Robert Bryson Hall II/Arjun Ivatury/James Reese/Marlene King [00:00.566] 作曲 : Sir Robert Bryson Hall II/Arjun Ivatury/James Reese/Marlene King [00:01.132] Ayo, for real, look, let me just say this [00:03.138] I wanna say I love Def Jam, Def Jam changed my ****ing life [00:06.613] There's definitely some ****boys in that building [00:08.945] Some suits wearing ties and shit [00:11.507] But it's some real good-ass ****ing people man [00:14.134] Steve Bartels, Faisel, Jeff [00:16.606] ****ing Justin Duran, Dave Bell [00:19.752] Chris Atlas, David Amaya [00:23.403] I could ****ing go on bro, Lory, Peter, Kate and Gabe [00:27.360] We gon' get into the rest later, man, but I ****ing love y'all [00:30.199] Let's get to this shit, here we go [00:31.017] [00:31.511] This my Friday Night Lights, track nineteen [00:34.200] From major to independent, as sightseen, my Ultralight Beam [00:37.197] I ain't finna go into the discrepancies of my deal [00:39.667] Like the millions that y'all owe me, I gotta audit y'all for real [00:42.479] But you changed my life, that's my word [00:44.591] Took a young kid out of Gaithersburg, and you'll never know [00:47.841] What it means for a kid in his teens and his entire team [00:50.533] To go from open mics to actually living they dreams [00:53.222] This a "thank you" to the people in the building [00:55.091] For helping me build the empire that I'm still building [00:57.779] Diddy said a rapper only gets five years, we double that [01:00.739] Independent now, won't double back [01:02.906] I rep the BMG, yeah, I'm the Big Money Getter [01:06.070] **** the pop shit, remember Logic as a spitter [01:08.495] Just a kid having fun when I step to the mic [01:11.111] That's why I never understood the hate I get when I write [01:13.804] Back when posting new songs on Internet rap forums [01:16.599] All the way to talking shit first night I sold out The Forum [01:19.946] But they hated Jesus, homie [01:23.009] I ain't comparing, I'm just reasoning, homie [01:25.229] I'm just tryna set an example [01:26.835] I went pop and made millions, now all I do is chop samples [01:30.501] Egon's finest, peanuts after like I was Linus [01:32.867] Followed by that College Park next, that's the line-up [01:35.649] First album, the EP was No I.D [01:38.137] Last album, the executive producer is me, I'm set free [01:43.786] Sayonara [01:44.576] [01:46.119] So the crazy shit is right, like, when we was shopping deals [01:50.163] Mike, Mike Caren over at Atlantic, he offered me a deal for thirty grand [01:54.132] I was like **** no, hahaha, shoutout Mike, though [01:58.340] Some independent label offered us one-point-five, and we was like nah [02:02.322] But Def Jam hit me up, you know what I'm saying [02:04.725] Noah pressed my A&R for ten ****ing years, bro [02:08.895] He linked me with No I.D., man, and I was like, "Yo, No I.D.? [02:13.279] That's Ye, that's Ye, that's Common, homie - how could we not?" [02:17.127] And we signed a deal, we inked that shit up, bro [02:19.864] Maurice Frazier, Lisa Bronson, Jason Peerless [02:24.321] ****ing Liza, Nakeisha, Mario, Ryan [02:29.371] Cordon, I could go on [02:31.416] Lynn Gonzalez, yo, Lynn Gonzalez [02:33.685] Ian, you mother****er with the samples [02:36.036] Ian be listening to shit that ain't even a sample [02:38.507] He's like, "This shit's a sample" [02:39.615] I be like, "Ian, shut the **** up, bro" [02:41.865] I love y'all, Antoinette, Donna, Jamie, Stephanie [02:46.026] Jenny, Paul, all you mother****ers know who y'all at [02:49.758] And legal, man, album delivery, I ****ing love y'all [02:51.959] Everybody in ****ing A&R, admin, samples [02:55.089] PR, marketing, the execs, ****ing Barry White's old ass [02:59.191] That mother****er took care of me, man, he signed me [03:02.397] I remember seeing a Britney Spears ****ing plaque [03:06.684] She went ****ing diamond [03:07.749] I asked Chris Zarou, my manager at VMG [03:09.482] I said, "What the **** is diamond? ", he said, "Bro, ten times platinum" [03:12.883] I'll never forget I said never, bro, "Never, I'm not gonna go diamond" [03:18.680] 1-800 almost diamond, what up? Haha, billions of streams [03:22.051] Everybody in sales and commerce, DDC, Marcus [03:24.746] Scott, Bobby, ****ing Theta, Mac, Eric, Fred Thomas [03:30.349] All y'all, sorry for the first name basis but I **** with y'all [03:33.624] Everybody at Radio, man [03:36.420] First of all, let me start this shit off with Noah Sheer, Gaithersburg's own [03:39.797] We went to ****ing Summit Hall Elementary School, bro [03:43.101] I mean you like ninety years older than me but it's all good [03:46.120] Nicky Farag stepping up in the ranks, I love you shawty! [03:49.656] Lory LaMattina, Keith Ross, ****ing Rick ? the God [03:55.046] Mundo Garcia, boy [03:56.921] Get a bigger pair of pants, your shit look like it's painted on [04:00.613] Sonny D, my ****ing brother, Britney, Scott, Chico, EP [04:05.910] Like, Rodney, Rosie, Rozzy, Brian, International, Mike Alexander [04:15.792] Marissa, Mira, Art, Ty [04:19.084] Ty, that's all I gotta say, Ty Lindsey, that's it [04:22.039] Finance, ****ing finance, Jen Hersh [04:26.330] Melissa Bernal, I love y'all [04:29.599] Tour Marketing, Albert, Albert Cook [04:33.762] Shervah Edwards, video, oh, Millie, gotta love Millie [04:37.822] Millie was always on the sets like [04:40.952] "Alright, make sure the Red Bull can is exactly in front of the shot" [04:44.916] I was like, "Millie, get the **** out of here" [04:46.117] Remy, Carolyn, Yolanda, Nadeen [04:50.195] And of course, of course [04:54.968] Deborah at the sample team, I ****ing love you, Deborah [04:58.110] I don't even gotta say your full name, you are a goddess [05:02.010] Nicole Pastine (And of course the homie Xavier) [05:05.367] Rapping is my passion, I love y'all, man, look [05:07.615] This what I'ma say about Def Jam, look, man [05:09.280] We had some ups and downs, you know what I'm saying [05:11.671] My first album, I was getting sued by some ****boy [05:15.665] And y'all was tryna get me to change my name and shit [05:18.182] I spent my whole ****ing career, this who I was [05:19.853] Y'all trying get me to change my name [05:22.149] Y'all wasn't trying to put out my album so we did the while-you-wait shit [05:25.420] We went on tour, you know what I'm saying [05:27.012] But eventually shit worked out [05:28.406] But even with that, you mother****ers, you know [05:31.398] You ? me and shit [05:33.301] And that's what I'll say [05:34.251] I don't- I really wholeheartedly don't believe that was none of the people I just named, man [05:38.599] Everybody, I **** with y'all, I rock with y'all [05:40.658] Any other ****boys behind the scenes, y'all could suck a **** [05:43.512] Eat my whole ****ing ballsack, man [05:45.890] This industry is ****ed up [05:47.448] The wildest shit is I'ma say this man [05:50.235] This whole industry is musical chairs, yo [05:52.849] Cats like Steve Bartels, Faisel, Jeff Harleston, man [05:55.771] They, they the real ones, you know what I mean [05:58.536] But like mother****ers be so in-and-out, that's why I didn't stay with Def Jam [06:02.163] I went to Def Jam after ten years on the label, because I owed them that [06:07.737] I was like, "Okay, so what's up? we signing another deal?" [06:09.959] They ain't even get back to me in time [06:11.355] So I went somewhere else and I don't know who butthurt or what [06:13.356] I could give a ****, man [06:15.365] All I'ma say is I love y'all who rock with me [06:18.505] I love y'all who take care of me [06:19.827] I love y'all who ****ing drove me from New York to Boston to do [06:24.681] Radio interviews and shit man [06:27.367] Appreciate y'all [06:30.199] It's been a, it's been a **** time on this major label shit, you know what I'm saying [06:33.847] I've made millions and millions of dollars for y'all, hahahaha [06:39.375] And we've had some good memories [06:43.105] I love you, I **** with you [06:45.838] My only regret is I ain't really get to **** with ? like that [06:53.310] Yo man, you're a ****ing G bro [06:56.344] Much love to Lucian [06:58.932] I appreciate all the ****ing millions of dollars that you gave me to make these records, hahahahaha [07:06.305] Independent shit next [07:08.780] VMG, VMG, Bobby Boy [07:12.530] Sayonara [07:13.468] [07:28.734] Logic as a rapper is an anomaly, a person who is out of time [07:34.971] Living in the present you know rooted in the past [07:37.197] But a traditionalist who believes in the future [07:40.046] Who believes in what hip-hop was and can still be [07:44.160] So we're here in this modern time [07:46.311] Thinking about and listening to the development of hip-hop and it's future all at once [07:55.139] I think that a lot of people in the modern sense of the word get caught up in how fleeting time is [08:02.145] And they believe that what's happening right in front of them [08:05.733] Is the most immediate thing and it's the most meaningful thing [08:10.449] And they have to engage what's happening in the moment [08:13.336] Because the moment's gonna be gone and then they're not gonna care [08:15.988] Or no one else around them is gonna care [08:18.061] And I think we forget that great experiences in the, in humanity [08:24.090] Go on for decades, centuries, sometimes millennia [08:27.407] Before we really know how to make sense of them [08:30.136] And so, in the same way that the monks in the dark ages were keeping records and saving books [08:37.351] You know, it is important for us to really make sense of one of Americas great folk musics, and that's hip-hop [08:45.308] And there's very few people who care enough to actually keep the form going while trying to push it forwards [08:51.823] Logic's one of those dudes [08:53.576] And the reason Madlib and I decided that we wanted to work with him [08:57.327] Is because he came through with a true sincerity and appreciation for the form [09:03.156] And for all of the people who make it [09:05.008] And like a true understanding of craft and like, who's doing what [09:08.910] And how their technique is either important, relevant [09:13.144] Something that needs to be preserved or what [09:15.183] And I remind myself that even though hip-hop seems to me [09:19.692] In my mid forties to be an old thing because it's been around since the early '70s [09:24.388] It's actually just in its infancy [09:26.362] And if it's not for people like Logic trying to keep this tradition alive [09:29.583] We're not really gonna know even shortly after, what's supposed to come [09:34.662] This hopefully is an art form that's gonna outlast [09:37.637] All these art forms that preceded it and formed it [09:40.815] And we're only gonna know that if people who truly have the passion, belief [09:45.437] And the proficiency, the musical acumen [09:48.268] To hold the form, hold it dear [09:51.390] And at the same time, not be so reverent to it and push it forward [09:55.708] Are there to show us the way [09:58.104] So hopefully he's one of these dudes, I have that belief
