Welcome to the New York Times pop cast your the difference is now it's by choice of music

news and criticism.

I am your host John Karamonika back on top punch in the clock, Clutch and Sanity.

I got more cribs to have a dad for humanity, pro pro fan we propagate more profanity paid

our collections for recollections, a calamity, it may be the off season for Jay Cole, but

it is always on in season on pop cast, we do not stop, we do not rest, we don't take

time off.

At the top we were listening to punch in the clock, we're talking about Jay Cole's

the off season, yo Phillips is here, you know, yo's writing was at DJ booth for a long

time is now working on a project called rap portraits, which is a behind the scenes documentary

series.

Check that out, yo, hello, welcome, what's up John, how you doing?

I am blessed, it's been a long time coming, we've had you in bits and pieces on pop cast

before, but you know, we're in the full flower on this episode, excited to have you to talk

about Cole, we've been chatting a little bit offline about this Cole record.

I have a theory, okay, I have an idea that I need to like bounce off you right off the

rip, okay?

Let's go.

Okay.

When you think about the animating tension in Jay Cole's career, pivoting from the kind

of attempted mainstream crossover era into the forest hills drive for your eyes only era,

it's this idea that he tried to do things the way either others were doing them or others

...