Clipse album produced by Pharrell LET GOD SORT EM OUT Discussion thread JULY 11TH
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- Start date
Yes
I’m starting to think the reliance on cursing limits rappers. Malice is showing absolute mastery here and I think it’s a challenge real MC’s should commit too.
Like, theres a reason white rappers have to be REALLY GOOD if they can’t use the n-word…like if you clear that hurdle you can really do anything
Beat is crazyyy
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Pusha T Explains Why He Has Words for Travis Scott
The latest Clipse single “So Be It” features some bars unmistakably aimed at the Cactus Jack rapper. In a previously-unheard conversation from our GQ Hype interview, Pusha explained where this smoke is coming from.
Pusha T Explains Why He Has Words for Travis Scott | GQ
Summarize
By Jay DeitcherJune 17, 2025
Pusha T
Astrida Valigorsky/Getty Images
When Clipse dropped “Ace Trumpets,” their first official single in over 15 years, to rapturous applause across the internet, Pusha T was hardly all smiles as the acclaim rolled in. Instead on Instagram he wrote an ominous comment: “I hate every last one of you bytches.” The Thornton brothers have set their intentions from the jump with an album title that promises to Let God Sort Em Out; ostensibly they’ll be killing all the competition by putting their bid in for Rap Album of the Year. But across the project, due out July 11, Pusha is also out to settle all outstanding business like Michael Corleone in the Godfather climax—an attitude he upheld during our conversation for his and Malice’s GQ Hype feature when I hinted at Push taking some unexpected shots in the new music.
Yes, on the thunderous “Chains & Whips,” Jim Jones gets a whole verse for that run of interviews where he repeatedly disparaged Pusha’s legacy. But while Pusha said he has no interest in taking Drake’s attempts to bait him back into the ring seriously—“I can't pay attention to none of that. I did the dance for real, not to come back and tip-toe around anything”—another rapper in the orbit of Drake’s recent subliminals does get a heat check from Push on the new album: Travis Scott.
On “So Be It,” Push and Malice kick their usual upper-echelon stunting over a sinister Pharrell beat, but things get smokey when Pusha closes the song out with a final verse that made me do a double take on first listen. While Push never calls out Travis by name directly, pointed references to “utopia” and an ex whose “lipgloss is poppin’” pretty much erase any doubt about who he’s talking to; the verse is short, but no less scathing than any of Pusha’s similar instances of letting a fellow rapper know what he really thinks of them, alluding to witnessing Travis “losing his pride” and conspicuously mentioning Alexander “A.E.” Edwards, best friend and right-hand man to Kylie’s ex Tyga.
Now that the song is out for the masses to hear, I can share the portion of my conversation with Push in which he shed light on his issue with Travis and gave context as to why he felt compelled to write those bars.
Travis is Switzerland on that song, but the fact that Utopia features production and vocals from Pharrell elsewhere on the album—and that Travis made a show of teasing the album by filming himself playing it for Pharrell—didn’t sit right with Push, who reveals he was also there that day.
“The true context of that is we were in Paris, literally working, and he was calling to play P his new album. He came to [Pharrell’s] studio [at Louis Vuitton HQ, where Clipse recorded most of Let God Sort Em Out]. He interrupted a session,” Pusha recalled. “He sees me and Malice] there. He's like, ‘Oh, man, everybody's here,’ he's smiling, laughing, jumping around, doing his fukking monkey dance. We weren't into the music, but he wanted to play it, wanted to film [us and Pharrell listening to it]. And then a week later you hear ‘Meltdown,’ which he didn’t play. He played the song, but not [Drake’s verse].”
Push was quick to add that he doesn’t “hold Travis to any standard,” because as he sees it, Travis has a pattern of remaining conveniently neutral when it suits him. “He's done this a lot. He has no picks. He'll do this with anybody. He did it with ‘Sicko Mode’”— on which Drake seems to diss Kanye, despite Travis’s close ties to him. Push then referenced last spring when Travis joined Future and Metro on stage and excitedly asked them to tease “Like That,” the song whose incendiary Kendrick Lamar verse ignited Kendrick’s beef with Drake: “He was on the [Rolling Loud] stage like, ‘Play that, play that!’ He don't have no picks, no loyalty to nobody. He'll jump around whatever he feels is hot or cling onto whatever he feels is hot. But you can play those games with those people…We're not in your mix. Keep your mix over there.”
It’s the latter part that aggravated Pusha enough to the point of taking his issue to wax. “I personally have been removed from that crew and those people for a minute,” Push said, in reference to the larger Kanye/GOOD Music extended orbit. “So, that's where my issue comes in—like, dawg, don't even come over here with that, because at the end of the day, I don't play how y'all play. To me, that really was just like…he's a whore. He's a whore.” (Print can’t do justice to the disdain in Pusha’s delivery here.)
“I’ve already dealt with the lack of loyalty [to his] mentor, the guy he looks up to,” Push said, referring to Kanye. “I've been dealing with the corny shyt that goes along with them. So it's like, I'm in a whole ‘nother place. Don't bring that over to bring that over to my house. I just wanted you to have that true context, man...and honestly, Frazier, you got to realize I've really been in Paris. I've really been making my joints. I've really been doing my shyt.”
It was in this moment when Pusha got the most fired up, seemingly intent on disproving the perception that he’s a bully or that he’s engaging for attention or shock value. “When these people mention me, they're really going out of their way. What have I done besides wear clothes, bro, in the past couple of years? It's like these people are going out of their way. Somebody brought “Meltdown” to my house. To P's house, actually… I mean, I don't give a fukk. P don't give a damn. But it's like…”
It’s the principle.
“It's the principle of it,” Pusha said, impassioned. “It's the principle of what I'm saying. That filthy quality that they have about themselves, that lack of loyalty. Travis really has that. He's proven. I just named three people that he does that type of behavior with. I'm just not one of them. Dog, I ain't with that. This shyt ain't coming out of nowhere. Bro, I be cool with all these guys. Everybody you mentioned today, bro, I promise you they did the underhanded, weird shyt.”
And then they get the heat check?
“Always. It always comes.”
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Stinky Diver
attitude as bad as his odor
This nikka malice is back like he left something…goddamn.
Pusha T Explains Why He Has Words for Travis Scott
The latest Clipse single “So Be It” features some bars unmistakably aimed at the Cactus Jack rapper. In a previously-unheard conversation from our GQ Hype interview, Pusha explained where this smoke is coming from.www.gq.com
What's his issue with Travis, article is behind a paywall?
Oh wow that also makes sense
Malice is more technically sound but pusha’s verse was better. I missed a couple bars
RammerJammer
#RollTide #TSC #RiseUp #BullsNation #RIPKobe
Malice been blacking out on these verses, jesus christ
When I asked Push why he went in like that, he cited Travis’s 2023 song “Meltdown,” which had come up earlier in our discussion of recent shots and taunts Drake had been throwing. The song’s title comes from Drake declaring, in a guest verse, that he’d “melt down the chains that I bought from your boss, give a fukk about all of that heritage shyt,” a reference to the classic, peak-Neptunes-era jewlery Drake bought through Pharrell’s Joopiter auction site.
Travis is Switzerland on that song, but the fact that Utopia features production and vocals from Pharrell elsewhere on the album—and that Travis made a show of teasing the album by filming himself playing it for Pharrell—didn’t sit right with Push, who reveals he was also there that day.
“The true context of that is we were in Paris, literally working, and he was calling to play P his new album. He came to [Pharrell’s] studio [at Louis Vuitton HQ, where Clipse recorded most of Let God Sort Em Out]. He interrupted a session,” Pusha recalled. “He sees me and Malice] there. He's like, ‘Oh, man, everybody's here,’ he's smiling, laughing, jumping around, doing his fukking monkey dance. We weren't into the music, but he wanted to play it, wanted to film [us and Pharrell listening to it]. And then a week later you hear ‘Meltdown,’ which he didn’t play. He played the song, but not [Drake’s verse].”
Push was quick to add that he doesn’t “hold Travis to any standard,” because as he sees it, Travis has a pattern of remaining conveniently neutral when it suits him. “He's done this a lot. He has no picks. He'll do this with anybody. He did it with ‘Sicko Mode’”— on which Drake seems to diss Kanye, despite Travis’s close ties to him. Push then referenced last spring when Travis joined Future and Metro on stage and excitedly asked them to tease “Like That,” the song whose incendiary Kendrick Lamar verse ignited Kendrick’s beef with Drake: “He was on the [Rolling Loud] stage like, ‘Play that, play that!’ He don't have no picks, no loyalty to nobody. He'll jump around whatever he feels is hot or cling onto whatever he feels is hot. But you can play those games with those people…We're not in your mix. Keep your mix over there.”
It’s the latter part that aggravated Pusha enough to the point of taking his issue to wax. “I personally have been removed from that crew and those people for a minute,” Push said, in reference to the larger Kanye/GOOD Music extended orbit. “So, that's where my issue comes in—like, dawg, don't even come over here with that, because at the end of the day, I don't play how y'all play. To me, that really was just like…he's a whore. He's a whore.” (Print can’t do justice to the disdain in Pusha’s delivery here.)
“I’ve already dealt with the lack of loyalty [to his] mentor, the guy he looks up to,” Push said, referring to Kanye. “I've been dealing with the corny shyt that goes along with them. So it's like, I'm in a whole ‘nother place. Don't bring that over to bring that over to my house. I just wanted you to have that true context, man...and honestly, Frazier, you got to realize I've really been in Paris. I've really been making my joints. I've really been doing my shyt.”
It was in this moment when Pusha got the most fired up, seemingly intent on disproving the perception that he’s a bully or that he’s engaging for attention or shock value. “When these people mention me, they're really going out of their way. What have I done besides wear clothes, bro, in the past couple of years? It's like these people are going out of their way. Somebody brought “Meltdown” to my house. To P's house, actually… I mean, I don't give a fukk. P don't give a damn. But it's like…”
It’s the principle.
“It's the principle of it,” Pusha said, impassioned. “It's the principle of what I'm saying. That filthy quality that they have about themselves, that lack of loyalty. Travis really has that. He's proven. I just named three people that he does that type of behavior with. I'm just not one of them. Dog, I ain't with that. This shyt ain't coming out of nowhere. Bro, I be cool with all these guys. Everybody you mentioned today, bro, I promise you they did the underhanded, weird shyt.”
And then they get the heat check?
“Always. It always comes.”
Travis is Switzerland on that song, but the fact that Utopia features production and vocals from Pharrell elsewhere on the album—and that Travis made a show of teasing the album by filming himself playing it for Pharrell—didn’t sit right with Push, who reveals he was also there that day.
“The true context of that is we were in Paris, literally working, and he was calling to play P his new album. He came to [Pharrell’s] studio [at Louis Vuitton HQ, where Clipse recorded most of Let God Sort Em Out]. He interrupted a session,” Pusha recalled. “He sees me and Malice] there. He's like, ‘Oh, man, everybody's here,’ he's smiling, laughing, jumping around, doing his fukking monkey dance. We weren't into the music, but he wanted to play it, wanted to film [us and Pharrell listening to it]. And then a week later you hear ‘Meltdown,’ which he didn’t play. He played the song, but not [Drake’s verse].”
Push was quick to add that he doesn’t “hold Travis to any standard,” because as he sees it, Travis has a pattern of remaining conveniently neutral when it suits him. “He's done this a lot. He has no picks. He'll do this with anybody. He did it with ‘Sicko Mode’”— on which Drake seems to diss Kanye, despite Travis’s close ties to him. Push then referenced last spring when Travis joined Future and Metro on stage and excitedly asked them to tease “Like That,” the song whose incendiary Kendrick Lamar verse ignited Kendrick’s beef with Drake: “He was on the [Rolling Loud] stage like, ‘Play that, play that!’ He don't have no picks, no loyalty to nobody. He'll jump around whatever he feels is hot or cling onto whatever he feels is hot. But you can play those games with those people…We're not in your mix. Keep your mix over there.”
It’s the latter part that aggravated Pusha enough to the point of taking his issue to wax. “I personally have been removed from that crew and those people for a minute,” Push said, in reference to the larger Kanye/GOOD Music extended orbit. “So, that's where my issue comes in—like, dawg, don't even come over here with that, because at the end of the day, I don't play how y'all play. To me, that really was just like…he's a whore. He's a whore.” (Print can’t do justice to the disdain in Pusha’s delivery here.)
“I’ve already dealt with the lack of loyalty [to his] mentor, the guy he looks up to,” Push said, referring to Kanye. “I've been dealing with the corny shyt that goes along with them. So it's like, I'm in a whole ‘nother place. Don't bring that over to bring that over to my house. I just wanted you to have that true context, man...and honestly, Frazier, you got to realize I've really been in Paris. I've really been making my joints. I've really been doing my shyt.”
It was in this moment when Pusha got the most fired up, seemingly intent on disproving the perception that he’s a bully or that he’s engaging for attention or shock value. “When these people mention me, they're really going out of their way. What have I done besides wear clothes, bro, in the past couple of years? It's like these people are going out of their way. Somebody brought “Meltdown” to my house. To P's house, actually… I mean, I don't give a fukk. P don't give a damn. But it's like…”
It’s the principle.
“It's the principle of it,” Pusha said, impassioned. “It's the principle of what I'm saying. That filthy quality that they have about themselves, that lack of loyalty. Travis really has that. He's proven. I just named three people that he does that type of behavior with. I'm just not one of them. Dog, I ain't with that. This shyt ain't coming out of nowhere. Bro, I be cool with all these guys. Everybody you mentioned today, bro, I promise you they did the underhanded, weird shyt.”
And then they get the heat check?
“Always. It always comes.”
Pusha T Explains Why He Has Words for Travis Scott
The latest Clipse single “So Be It” features some bars unmistakably aimed at the Cactus Jack rapper. In a previously-unheard conversation from our GQ Hype interview, Pusha explained where this smoke is coming from.
Pusha T Explains Why He Has Words for Travis Scott | GQ
Summarize
By Jay DeitcherJune 17, 2025
Pusha T
Astrida Valigorsky/Getty Images
When Clipse dropped “Ace Trumpets,” their first official single in over 15 years, to rapturous applause across the internet, Pusha T was hardly all smiles as the acclaim rolled in. Instead on Instagram he wrote an ominous comment: “I hate every last one of you bytches.” The Thornton brothers have set their intentions from the jump with an album title that promises to Let God Sort Em Out; ostensibly they’ll be killing all the competition by putting their bid in for Rap Album of the Year. But across the project, due out July 11, Pusha is also out to settle all outstanding business like Michael Corleone in the Godfather climax—an attitude he upheld during our conversation for his and Malice’s GQ Hype feature when I hinted at Push taking some unexpected shots in the new music.
Yes, on the thunderous “Chains & Whips,” Jim Jones gets a whole verse for that run of interviews where he repeatedly disparaged Pusha’s legacy. But while Pusha said he has no interest in taking Drake’s attempts to bait him back into the ring seriously—“I can't pay attention to none of that. I did the dance for real, not to come back and tip-toe around anything”—another rapper in the orbit of Drake’s recent subliminals does get a heat check from Push on the new album: Travis Scott.
On “So Be It,” Push and Malice kick their usual upper-echelon stunting over a sinister Pharrell beat, but things get smokey when Pusha closes the song out with a final verse that made me do a double take on first listen. While Push never calls out Travis by name directly, pointed references to “utopia” and an ex whose “lipgloss is poppin’” pretty much erase any doubt about who he’s talking to; the verse is short, but no less scathing than any of Pusha’s similar instances of letting a fellow rapper know what he really thinks of them, alluding to witnessing Travis “losing his pride” and conspicuously mentioning Alexander “A.E.” Edwards, best friend and right-hand man to Kylie’s ex Tyga.
Now that the song is out for the masses to hear, I can share the portion of my conversation with Push in which he shed light on his issue with Travis and gave context as to why he felt compelled to write those bars.
Travis is Switzerland on that song, but the fact that Utopia features production and vocals from Pharrell elsewhere on the album—and that Travis made a show of teasing the album by filming himself playing it for Pharrell—didn’t sit right with Push, who reveals he was also there that day.
“The true context of that is we were in Paris, literally working, and he was calling to play P his new album. He came to [Pharrell’s] studio [at Louis Vuitton HQ, where Clipse recorded most of Let God Sort Em Out]. He interrupted a session,” Pusha recalled. “He sees me and Malice] there. He's like, ‘Oh, man, everybody's here,’ he's smiling, laughing, jumping around, doing his fukking monkey dance. We weren't into the music, but he wanted to play it, wanted to film [us and Pharrell listening to it]. And then a week later you hear ‘Meltdown,’ which he didn’t play. He played the song, but not [Drake’s verse].”
Push was quick to add that he doesn’t “hold Travis to any standard,” because as he sees it, Travis has a pattern of remaining conveniently neutral when it suits him. “He's done this a lot. He has no picks. He'll do this with anybody. He did it with ‘Sicko Mode’”— on which Drake seems to diss Kanye, despite Travis’s close ties to him. Push then referenced last spring when Travis joined Future and Metro on stage and excitedly asked them to tease “Like That,” the song whose incendiary Kendrick Lamar verse ignited Kendrick’s beef with Drake: “He was on the [Rolling Loud] stage like, ‘Play that, play that!’ He don't have no picks, no loyalty to nobody. He'll jump around whatever he feels is hot or cling onto whatever he feels is hot. But you can play those games with those people…We're not in your mix. Keep your mix over there.”
It’s the latter part that aggravated Pusha enough to the point of taking his issue to wax. “I personally have been removed from that crew and those people for a minute,” Push said, in reference to the larger Kanye/GOOD Music extended orbit. “So, that's where my issue comes in—like, dawg, don't even come over here with that, because at the end of the day, I don't play how y'all play. To me, that really was just like…he's a whore. He's a whore.” (Print can’t do justice to the disdain in Pusha’s delivery here.)
“I’ve already dealt with the lack of loyalty [to his] mentor, the guy he looks up to,” Push said, referring to Kanye. “I've been dealing with the corny shyt that goes along with them. So it's like, I'm in a whole ‘nother place. Don't bring that over to bring that over to my house. I just wanted you to have that true context, man...and honestly, Frazier, you got to realize I've really been in Paris. I've really been making my joints. I've really been doing my shyt.”
It was in this moment when Pusha got the most fired up, seemingly intent on disproving the perception that he’s a bully or that he’s engaging for attention or shock value. “When these people mention me, they're really going out of their way. What have I done besides wear clothes, bro, in the past couple of years? It's like these people are going out of their way. Somebody brought “Meltdown” to my house. To P's house, actually… I mean, I don't give a fukk. P don't give a damn. But it's like…”
It’s the principle.
“It's the principle of it,” Pusha said, impassioned. “It's the principle of what I'm saying. That filthy quality that they have about themselves, that lack of loyalty. Travis really has that. He's proven. I just named three people that he does that type of behavior with. I'm just not one of them. Dog, I ain't with that. This shyt ain't coming out of nowhere. Bro, I be cool with all these guys. Everybody you mentioned today, bro, I promise you they did the underhanded, weird shyt.”
And then they get the heat check?
“Always. It always comes.”
