Pusha T appeared on Hot 97's "Ebro in the Morning" with host Ebro Darden on May 24, 2018, one day before releasing his album "Daytona" through G.O.O.D. Music and Def Jam Recordings. As G.O.O.D. Music president since 2015, Pusha revealed that "Daytona"—initially titled "King Push"—featured seven tracks due to Kanye West's creative direction, and was the first in a five-album release sequence including projects from West, Kids See Ghosts (West and Kid Cudi), Nas, and Teyana Taylor. The interview addressed Pusha's track "Infrared," which contained references to Drake and ghostwriting allegations involving Quentin Miller and his opposition to West's controversial political statements and support for Donald Trump, stating "that hat to me is the new KKK hood." Pusha detailed his own political engagement during the Obama administration, expressed appreciation for contemporary artists Gunna and Lil Baby, discussed his musical compatibility with Rick Ross (the album's only non-West feature), mentioned potential touring with Nas, and emphasized his focus on mentorship and prison reform advocacy while revealing plans for his own label.
On May 24, 2018, Pusha T appeared on Hot 97's "Ebro in the Morning" with host Ebro Darden. This significant interview occurred one day before the release of his album "Daytona" through G.O.O.D. Music and Def Jam Recordings. As president of G.O.O.D. Music since 2015, Pusha T provided extensive insights into the album's creation, his relationship with Kanye West, ongoing tensions with Drake, and his perspectives on hip-hop culture and political engagement. The interview began with Ebro playing "Infrared," the final track from the album, setting the tone for their in-depth conversation.
"Daytona," initially titled "King Push," featured seven tracks, a concise structure that resulted from Kanye West's creative direction despite Pusha's initial resistance. Pusha explained during the interview: "That was definitely a big debate between us two. I was like, 'Man, I don't feel it should be seven. I feel like I should give people a full portion.'" He recounted West's response: "He was like, 'Man, what's a full portion? Why are you putting constraints on things? You don't think you can get your mind... Push, free your mind, think freely, think freely, no chains, all of that, get off the plantation, Push.'"
The production process began with West purchasing approximately one thousand vinyl records from Amoeba Music. The two artists then collaboratively identified samples they appreciated, with Pusha recalling: "He was like, 'Yo man, just make a list, give me 25 that you love.' And he then he make a list of 25 or 50, then we put them together and he'd be like, 'Yeah, I feel that. I feel like Glaciers of Ice,' okay boom, that was pie, okay boom."
Pusha confirmed that they had additional tracks that didn't make the final album. The production strategy shifted when West decided to remake all previously selected beats, telling Pusha: "I was riding with the album last night, man, you know, I think I could do these beats all better, like just myself." According to Pusha, West aimed to create "one sonic mood board that flowed" with consistent qualities throughout.
Recording sessions primarily took place at the Amangani resort in Jackson Hole, Wyoming, with Pusha noting the significant expense involved: "I'm only saying this because, you know, I have to pay for half of this, it comes out of my budget."
The album title changed from "King Push" to "Daytona" shortly before release, with Pusha explaining: "I felt that 'King Push,' you know, that's a moniker that I go by, that's what people call me, but it wasn't representative of, of how I felt about this whole process." Pusha confirmed that West had strong feelings about the number seven, telling him: "It's something about that number seven man, I'm telling you, it's like it's God's number man."
The interview revealed "Daytona" was the first installment in an ambitious five-album release schedule from G.O.O.D. Music, all produced by Kanye West. Pusha detailed the planned sequence:
"It's five projects, so it's mine, he's coming the 1st and Kids See Ghost him and Cudi coming the 8th, Nas coming the 15th, and I believe Teyana the 22nd."
This strategy would deliver 35 tracks across five albums in a single month, with all projects maintaining the seven-track format. Pusha described this approach as "the new and improved version of Good Friday," referencing West's 2010 series where he released free tracks weekly.
Pusha acknowledged the ambitious nature of West producing all 35 tracks: "For him, I'm sure it's a little strenuous." He also mentioned that West was deeply involved in the production of Nas's album, taking "all the strongest moments that he thought were Nas's and then just, you know, found a different way and updated it."
The interview extensively addressed Pusha T's track "Infrared," which contained references to Drake and ghostwriting allegations involving Quentin Miller. This track would ultimately trigger a significant hip-hop feud.
Pusha explained "Infrared" was specifically crafted as a response to Drake's "Two Birds One Stone," which Pusha felt questioned his street credibility: "Speaking his truth, questioning my validity to the streets and so on and so forth within that verse. It's fine, that's what it was, but if we gonna question things, we need to question them. Now it's my turn to question."
When asked directly about addressing Drake's alleged use of ghostwriters, Pusha confirmed: "100%. That's my truth as I see it. That's laid out, that's laid out on the table."
Pusha characterized the conflict as "just rappers doing rapper shit" rather than genuine personal animosity, stating: "When you say really a problem, what do you mean? Like if I see somebody it's gonna be a problem? Man, I see everybody. I stay in the Four Seasons in Toronto all the time. I see everybody, I see all the friends, all the homies, everybody."
The exchange would soon escalate with Drake's response track, "Duppy Freestyle", following the release of "Daytona" the next day.
One of the most noteworthy segments of the interview concerned Pusha T's relationship with Kanye West amid West's controversial political statements and support for Donald Trump. Pusha directly acknowledged his opposition to West's stance: "I was totally against it, still am."
Ebro referenced West's statement during a concert that "if I did (vote), I would have voted for Donald Trump," asking Pusha about his reaction. Pusha responded directly: "It wasn't, it's not like a how do I feel thing. Everybody knows like I wasn't with it. I didn't, I mean, I didn't like it at all. It's not totally against the movement that I feel me and my people are with. Dead wrong."
Pusha detailed their conversations about these issues: "Like me and him talk super straight, like he tells me his ideas. I'm gonna tell you, I'm gonna tell you why it's wrong. I'm gonna tell you the point of view, I'm gonna, I also tell you the point of view of other people and how people are gonna look at it."
When discussing West's MAGA hat, Pusha was particularly forthright: "I look at that hat, that hat to me is the new KKK hood. That's my opinion." He also referenced West's controversial TMZ appearance, indicating he spoke with West afterward about "the insensitivity that people feel" regarding such comments.
Despite these disagreements, Pusha maintained his professional relationship with West, stating: "We're not abandoning Kanye West," while acknowledging he understood if fans chose not to support West's products during this period.
In contrast to West's controversial political statements, Pusha detailed his own political involvement, particularly during the Obama administration. He described multiple meetings with President Barack Obama alongside other prominent artists including J. Cole, Rick Ross, Timbaland, Busta Rhymes, and Janelle Monáe.
Pusha explained his support for Hillary Clinton during the 2016 presidential campaign was based on criminal justice reform commitments: "The way I looked at it, I was like, okay boom, you got Hillary, you got Trump. Hillary and her husband at the time, you know, had basically raised their hands and said, 'Hey, you know what, we fucked up in the 90s, we really messed up in the 90s.' And I felt like, you know, they needed, they needed our votes and we're speaking to that. And I felt like, man, you know what, if I do this, maybe this is a way she'll get in and this is a way we can hold her feet to the fire for prison reform."
Ebro also mentioned Barack Obama's clemency actions near the end of his presidency, with Pusha confirming this factored into his political calculations: "That was the whole, that was the whole..."
Pusha also mentioned his work with Tony Lewis on prison reform in the DMV (DC, Maryland, Virginia) area, demonstrating his continued activism beyond his musical career.
When asked which new artists he felt strongly about, he specifically identified: "Gunna, Gunna, Gunna is my favorite right now. Little Baby's my favorite right now. Those are, those are my two that I'm listening to in this moment. 100%."
He reflected on hip-hop's evolution, acknowledging the increased emphasis on melody in contemporary styles: "I think that the skill set shines through. I feel like, you know, if, if, if even if something, even if something doesn't have a longevity or a long lifespan, I feel that, you know, it hit that chord or struck that chord and evoked that emotion within that time period. And I feel like the kids today, it's a new rap too, like it's like, you know, it's more melody driven. It's more, it's not, it's a different style."
Referencing a conversation with Pharrell Williams, Pusha relayed: "Pharrell was talking last night at the listening and said, 'Man, you know, we were talking about, you know, new rap, old rap, or whatever.' He was like, 'Man, you know, I really love, I really love new rap. And I look at, I look at new rap as jazz. It sounds like scat to me. When I hear, when I hear,' I think he said Young Thug. He's like, 'When I hear Young Thug, I hear jazz, I hear, like, you know, takes forever to get to the, to the chorus or whatever.'"
Pusha credited his career longevity partly to his willingness to embrace new talent, unlike some of his predecessors: "I feel like all, all of my favorites, all of the greats, 80s, you know, rap artists that, that are like the forefathers, everybody loves, I feel like every last one of them, they did not embrace the next generation coming. And that's why their lifespan was so short."
The interview revealed that "Daytona" featured minimal guest appearances, with Rick Ross providing the only non-Kanye West feature. Pusha explained this selective approach: "Ross is one of the only, one of the few artists that I can send a record to and get back a flawless verse."
Pusha elaborated on his musical compatibility with Ross: "It's very expensive rap luxury. It's luxury, it's so expensive. And it's so, it's dope because, you know, on, I like to say that my vocals cut through a lot, you know, in a higher frequency. Ross is the polar opposite, deeper, bassy. And it, I don't know, man, that, that marriage always works sonically."
When asked about the possibility of a full collaborative project with Rick Ross, Pusha expressed openness to the idea: "Oh, we never talked about that, but I, I would. He, he's like, Ross is like one of my, one of my favorites." He also mentioned he "would definitely want to tour with it for sure."
The album also featured vocals from 070 Shake on the track "Santeria." When questioned about Shake's Spanish-language contributions, Pusha confirmed: "She's Spanish for real," addressing questions about her linguistic authenticity.
The interview discussed Pusha's future plans, including potential touring with Nas: "I actually had a talk with Nas." When asked if they were planning a tour together, Pusha confirmed: "So that's, that's in the works."
He also mentioned his continued advocacy for prison reform and mass incarceration issues, while expressing reluctance to engage in broader political involvement without connections like those during the Obama administration: "I'm gonna just be focused more on the prison reform, mass incarceration side. I don't really even know how to weasel my way into the political."
When asked about his role in hip-hop at this stage of his career, Pusha emphasized mentorship: "I feel, I feel like my, my calling in hip-hop at this stage of my career, in this stage of my game, is to, is to bring more of the younger talent to the forefront. Taking a job at Good sort of help with that, help me, you know, seeing my way through, you know, these executive positions. Soon, soon come new label for myself."
Ebro highlighted specific lyrics from "Daytona," quoting from the album: "If we go by connections made, I can still climb ladders when complexions fade. White on white, that's the tester, black on black, that's the Tesla. See these diamonds in this watch face, all that came from pressure."
They also discussed Pusha's line "Believe in me, Coles and Kendricks," referring to J. Cole and Kendrick Lamar, followed by references to "sock puppets" and their "roles and gimmicks." When asked directly who the "sock puppets" were, Pusha deflected with humor: "Come on, Clickbait Bro. You know who they are."
The interview also touched on the track "What Would Meek Do?" featuring Kanye West, with Pusha explaining the title's reference to Meek Mill, who had recently been released from incarceration: "I got the beat, I heard, I loved it, and Meek was in jail. And I was like, 'Man, see, Meek, Meek was home, he would be able to do this.' Lo and behold, Meek comes home, but I couldn't bring myself to asking Meek to..."
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Pusha T Talks With Ebro In The Morning
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Pusha T Breaks Down Drake Diss + Talks Meek Mill, Kanye’s Politics & ‘Daytona’ - YouTube
Hours before Pusha T released his third solo album 'Daytona,' the rapper sits down with Ebro in the Morning to discuss the makings of the album and break dow...