Jan. 20, 2026
Introducing: 50 For 50 with Garrett Gonzales & Mike Joseph
If you are a music fan and a pop culture fan, 50 For 50 might be your new favorite podcast. Garrett Gonzales and Mike Joseph are long-time friends born three days apart, on opposite coasts. They met writing music reviews and are back, reviewing music. And they're also turning 50 this year.
They're reviewing 50 albums, one that came out during each year that they've been on this earth. They've already reviewed albums like New Edition's "Heartbreak", Lionel Richie's self-titled debut, and Lauryn Hill's classic, "The Miseducation of Lauryn Hill." And these aren't just reviews. They are deep dives, taking you back to the year the albums came out.
On this except from their most recent episode, GG & Big Money talk about where the Fugees' (Lauryn's group) new sound for their second album, "The Score" may have come from.
Find 50 For 50:
Website: https://www.50for50.net/
YouTube: https://www.youtube.com/@50_For_50
Apple Podcasts: https://podcasts.apple.com/us/podcast/50-for-50-life-music-friendship/id1857746432
Spotify: https://open.spotify.com/show/0ADmN7bp4fXQzAZsnSuFQj?si=a283674c59b44be2
Contact at: GG@BSPNMedia.com
Advertising Inquiries: https://redcircle.com/brands
Privacy & Opt-Out: https://redcircle.com/privacy
WEBVTT
00:00.031 --> 00:03.355
[SPEAKER_01]: Hey all, WG here to let you know about a brand new podcast.
00:03.415 --> 00:08.041
[SPEAKER_01]: I'm hosting with my brother from another mother, big money, my Joseph.
00:08.521 --> 00:12.206
[SPEAKER_01]: And we're both about to turn 50 in 20, 26.
00:13.027 --> 00:18.193
[SPEAKER_01]: We met on the internet reving music over 20 years ago and we're back reviewing music.
00:18.794 --> 00:21.237
[SPEAKER_01]: Our new podcast is called 50 for 50.
00:21.777 --> 00:23.980
[SPEAKER_01]: We're reviewing 50 different albums.
00:24.961 --> 00:28.165
[SPEAKER_01]: One for every year that we've lived on this earth.
00:28.145 --> 00:35.115
[SPEAKER_01]: I've linked our Spotify and Apple feeds in the show notes, but you can find everything at 50 for 50.net.
00:35.596 --> 00:43.888
[SPEAKER_01]: But rather than me just talk about it, I've included a short segment from our most recent episode on Lauren Hills, miseducation of Lauren Hill.
00:44.489 --> 00:51.219
[SPEAKER_01]: Mike and I are talking about how the foodies changed their sound after their first album and what may have been the influence for it.
00:51.880 --> 00:53.022
[SPEAKER_01]: Check it out.
00:53.002 --> 00:58.808
[SPEAKER_01]: Come hang out with us on YouTube, Apple or Spotify, or at 50 for 50.NET.
01:02.813 --> 01:21.793
[SPEAKER_01]: The other thing where I feel like Wycliffe is not looked upon is that he said one of the main reasons why the score was good was because of the passionate undertone and love triangle.
01:21.908 --> 01:33.705
[SPEAKER_01]: in this album because Lauren was his mistress and like I don't know that just makes me feel gross.
01:33.925 --> 01:34.306
[SPEAKER_01]: I don't know.
01:35.888 --> 01:46.022
[SPEAKER_00]: There is a really interesting story in one of Quest Love's books about how the foodies used to open for the roots.
01:46.042 --> 01:46.583
[SPEAKER_00]: Uh-huh.
01:47.204 --> 02:12.975
[SPEAKER_00]: And the roots, until when, I mean, until it came out, and anything's flipped, but one thing that Questlove says in the book is that him and Black thought and the band used to do like covers of old hip hop songs or like or do covers of R&B songs with like hip hop beats or that kind of thing.
02:12.955 --> 02:30.621
[SPEAKER_00]: and what he intimates in the book is that the Fuji is basically took that recorded the score and the biggest song from the score is what a remake of killing me softly over the tribe call quest been to Apple Bumbi.
02:30.641 --> 02:35.408
[SPEAKER_00]: So it they in a way and maybe I'm just reading a lot into it.
02:35.428 --> 02:37.090
[SPEAKER_00]: Questlove is like yo,
02:37.390 --> 02:44.822
[SPEAKER_00]: Lauren and Wycliffe stole this thing that we did, and then they turned it into their thing, and it was a million times more successful.
02:46.525 --> 02:52.936
[SPEAKER_01]: They needed to bring in Jaguar right or somebody before, and do themselves, right?
02:52.956 --> 02:58.385
[SPEAKER_01]: I mean, they tried, eventually they did get, they did start making more commercial stuff like that, right.
02:58.645 --> 03:00.709
[SPEAKER_01]: But that's, that's really interesting.
03:00.969 --> 03:03.313
[SPEAKER_00]: You know, there's also the sense that like,
03:03.293 --> 03:24.257
[SPEAKER_00]: Fuji's got popular on other people's music, essentially, like I was listening to the score earlier today, and there's a line in the song, Zellett's call that says, killed the notion of biting every cycling and calling it your own creation, which is essentially what the Fuji's do throughout this entire damn album.
03:26.320 --> 03:31.005
[SPEAKER_00]: Like killing me softly and no manoeuvre straight up covers, like there's no
03:31.424 --> 03:33.828
[SPEAKER_00]: There's not even like them rapping different versus it.
03:33.848 --> 03:35.690
[SPEAKER_00]: They just straight up re-nakes.
03:35.710 --> 03:51.514
[SPEAKER_01]: Well, and then, but the excuse or the reason for the song to happen is they try and create hip hop ballads, versus like that's like, you were not covering at the same because we're putting like hip hop beats underneath the music.
03:51.534 --> 03:53.016
[SPEAKER_01]: Like that's their excuse, right?
03:53.677 --> 04:00.908
[SPEAKER_00]: Sure, and that's saying you can't do that.
04:01.141 --> 04:05.548
[SPEAKER_00]: they're not as original as they say they are, you know what I'm saying?
04:05.969 --> 04:21.253
[SPEAKER_00]: Like in a lot of I would say the reasons the score got as popular as it did is one, Lauren Hill, just being a force of nature and being charismatic and talented and all that stuff.
04:21.273 --> 04:22.255
[SPEAKER_00]: And two,
04:22.876 --> 04:25.079
[SPEAKER_00]: The familiarity of the songs, right?
04:25.700 --> 04:28.665
[SPEAKER_00]: He's very much like, wow, why did you can't touch this blow?
04:28.685 --> 04:29.566
[SPEAKER_00]: Because it's super freak.
04:30.047 --> 04:32.791
[SPEAKER_00]: Why did you know, uh, uh, high-stice baby?
04:33.392 --> 04:36.296
[SPEAKER_00]: Right, I say, I say, well, why didn't you tell me the bad boy record's blow?
04:36.337 --> 04:38.139
[SPEAKER_00]: It's because you're already familiar with the record.
04:38.580 --> 04:44.769
[SPEAKER_00]: Well, killing me softly, they got their audience grieved because there was a ready adgeneration of people that were familiar with this song.
04:45.310 --> 04:47.033
[SPEAKER_00]: The young people were familiar with this song.
04:47.634 --> 04:48.495
[SPEAKER_00]: So to hear it,
04:49.589 --> 04:56.740
[SPEAKER_00]: rendered in a style that was more in line with what, you know, we as young people were listening to that just kind of magnified it.
04:56.800 --> 05:11.682
[SPEAKER_00]: So, you know, I mean, not hating, but just saying that a lot of their blowing up commercially was kind of based on familiarity of other people's material.
00:00.031 --> 00:03.355
[SPEAKER_01]: Hey all, WG here to let you know about a brand new podcast.
00:03.415 --> 00:08.041
[SPEAKER_01]: I'm hosting with my brother from another mother, big money, my Joseph.
00:08.521 --> 00:12.206
[SPEAKER_01]: And we're both about to turn 50 in 20, 26.
00:13.027 --> 00:18.193
[SPEAKER_01]: We met on the internet reving music over 20 years ago and we're back reviewing music.
00:18.794 --> 00:21.237
[SPEAKER_01]: Our new podcast is called 50 for 50.
00:21.777 --> 00:23.980
[SPEAKER_01]: We're reviewing 50 different albums.
00:24.961 --> 00:28.165
[SPEAKER_01]: One for every year that we've lived on this earth.
00:28.145 --> 00:35.115
[SPEAKER_01]: I've linked our Spotify and Apple feeds in the show notes, but you can find everything at 50 for 50.net.
00:35.596 --> 00:43.888
[SPEAKER_01]: But rather than me just talk about it, I've included a short segment from our most recent episode on Lauren Hills, miseducation of Lauren Hill.
00:44.489 --> 00:51.219
[SPEAKER_01]: Mike and I are talking about how the foodies changed their sound after their first album and what may have been the influence for it.
00:51.880 --> 00:53.022
[SPEAKER_01]: Check it out.
00:53.002 --> 00:58.808
[SPEAKER_01]: Come hang out with us on YouTube, Apple or Spotify, or at 50 for 50.NET.
01:02.813 --> 01:21.793
[SPEAKER_01]: The other thing where I feel like Wycliffe is not looked upon is that he said one of the main reasons why the score was good was because of the passionate undertone and love triangle.
01:21.908 --> 01:33.705
[SPEAKER_01]: in this album because Lauren was his mistress and like I don't know that just makes me feel gross.
01:33.925 --> 01:34.306
[SPEAKER_01]: I don't know.
01:35.888 --> 01:46.022
[SPEAKER_00]: There is a really interesting story in one of Quest Love's books about how the foodies used to open for the roots.
01:46.042 --> 01:46.583
[SPEAKER_00]: Uh-huh.
01:47.204 --> 02:12.975
[SPEAKER_00]: And the roots, until when, I mean, until it came out, and anything's flipped, but one thing that Questlove says in the book is that him and Black thought and the band used to do like covers of old hip hop songs or like or do covers of R&B songs with like hip hop beats or that kind of thing.
02:12.955 --> 02:30.621
[SPEAKER_00]: and what he intimates in the book is that the Fuji is basically took that recorded the score and the biggest song from the score is what a remake of killing me softly over the tribe call quest been to Apple Bumbi.
02:30.641 --> 02:35.408
[SPEAKER_00]: So it they in a way and maybe I'm just reading a lot into it.
02:35.428 --> 02:37.090
[SPEAKER_00]: Questlove is like yo,
02:37.390 --> 02:44.822
[SPEAKER_00]: Lauren and Wycliffe stole this thing that we did, and then they turned it into their thing, and it was a million times more successful.
02:46.525 --> 02:52.936
[SPEAKER_01]: They needed to bring in Jaguar right or somebody before, and do themselves, right?
02:52.956 --> 02:58.385
[SPEAKER_01]: I mean, they tried, eventually they did get, they did start making more commercial stuff like that, right.
02:58.645 --> 03:00.709
[SPEAKER_01]: But that's, that's really interesting.
03:00.969 --> 03:03.313
[SPEAKER_00]: You know, there's also the sense that like,
03:03.293 --> 03:24.257
[SPEAKER_00]: Fuji's got popular on other people's music, essentially, like I was listening to the score earlier today, and there's a line in the song, Zellett's call that says, killed the notion of biting every cycling and calling it your own creation, which is essentially what the Fuji's do throughout this entire damn album.
03:26.320 --> 03:31.005
[SPEAKER_00]: Like killing me softly and no manoeuvre straight up covers, like there's no
03:31.424 --> 03:33.828
[SPEAKER_00]: There's not even like them rapping different versus it.
03:33.848 --> 03:35.690
[SPEAKER_00]: They just straight up re-nakes.
03:35.710 --> 03:51.514
[SPEAKER_01]: Well, and then, but the excuse or the reason for the song to happen is they try and create hip hop ballads, versus like that's like, you were not covering at the same because we're putting like hip hop beats underneath the music.
03:51.534 --> 03:53.016
[SPEAKER_01]: Like that's their excuse, right?
03:53.677 --> 04:00.908
[SPEAKER_00]: Sure, and that's saying you can't do that.
04:01.141 --> 04:05.548
[SPEAKER_00]: they're not as original as they say they are, you know what I'm saying?
04:05.969 --> 04:21.253
[SPEAKER_00]: Like in a lot of I would say the reasons the score got as popular as it did is one, Lauren Hill, just being a force of nature and being charismatic and talented and all that stuff.
04:21.273 --> 04:22.255
[SPEAKER_00]: And two,
04:22.876 --> 04:25.079
[SPEAKER_00]: The familiarity of the songs, right?
04:25.700 --> 04:28.665
[SPEAKER_00]: He's very much like, wow, why did you can't touch this blow?
04:28.685 --> 04:29.566
[SPEAKER_00]: Because it's super freak.
04:30.047 --> 04:32.791
[SPEAKER_00]: Why did you know, uh, uh, high-stice baby?
04:33.392 --> 04:36.296
[SPEAKER_00]: Right, I say, I say, well, why didn't you tell me the bad boy record's blow?
04:36.337 --> 04:38.139
[SPEAKER_00]: It's because you're already familiar with the record.
04:38.580 --> 04:44.769
[SPEAKER_00]: Well, killing me softly, they got their audience grieved because there was a ready adgeneration of people that were familiar with this song.
04:45.310 --> 04:47.033
[SPEAKER_00]: The young people were familiar with this song.
04:47.634 --> 04:48.495
[SPEAKER_00]: So to hear it,
04:49.589 --> 04:56.740
[SPEAKER_00]: rendered in a style that was more in line with what, you know, we as young people were listening to that just kind of magnified it.
04:56.800 --> 05:11.682
[SPEAKER_00]: So, you know, I mean, not hating, but just saying that a lot of their blowing up commercially was kind of based on familiarity of other people's material.
