ICE, the Fed, and How Power Bends the Truth
The Esau McCaulley Podcast
Esau McCaulley
5.0 • 1.1K Ratings
🗓️ 15 January 2026
⏱️ 44 minutes
🧾️ Download transcript
Summary
New footage and reporting about the Minneapolis ICE shooting of Renée Good have complicated the story. Esau, Mike and Taelor Gray revisit the incident one week later and ask how political power shapes the narratives we're given, and what it means for Christians to tell the truth when the truth is inconvenient. Then, they turn to the surprising posthumous "ordination" of DMX and consider what it reveals about the nature of pastoral ministry, proximity, and presence in an age obsessed with platforms.
0:00 - Theme Song
2:25 - Wall Street Journal Complains About Sushi for Kids
8:15 - Renee Good and the ICE Stop
21:00 - Sponsor - Glorify - Get full access all year for $29.00 at https://www.glorify-app.com/Esau
22:19 - DMX Ordained After His Death?
43:44 - End Credits
66 Verse to Explain the Bible - Ezra:
https://www.patreon.com/posts/148221073/
Wall Street Journal Article on ICE and shootings:
Transcript
Click on a timestamp to play from that location
| 0:00.0 | Hello everybody. Welcome to the Esau McCauley podcast. I'm your host, Issaa McCauley. We're joined by our co-host, |
| 0:13.4 | producer Mike. Hey, that's me. Okay. And we also have, this is like the rapper year. Yeah, |
| 0:18.1 | apparently. We had show on the, on the, show Barack on the podcast a couple of weeks ago. |
| 0:22.1 | This week we're blessed with one of my favorite rappers, Taylor Gray. Thank you so much for coming on the podcast. Peace. Love to be here. And I hear that you got a couple of albums coming out that you're trying not to tell the internet. But since we're recording, you got to tell us, are you working on something? Yeah, I got some special, special stuff coming up. |
| 0:39.2 | I'm so excited because... recording, you got to tell us, are you working on something? Yeah, I got some special, special |
| 0:38.2 | stuff coming up. I'm so excited because I think these producers are some of the greatest |
| 0:44.8 | producers of our time. But I like to also hold the anticipation. Like, there's a lot of good |
| 0:50.5 | art coming out this year. So, okay. Taylor, it sounds like you gave a lot of credit to your producers there. You see them as like a part, a reason for your success. Okay. I'm just, I'm just making an observation. So I'm more like this, this, this, you might not get this analogy at all, but for the 10 people who will, he's more, he, I'm like Shug Night If you don't want your producers all up in the video, dancing, come over to death row. Anyway, he got that one. He got that one. I sure did. And I think people don't understand is that I feel like I want, I have two goals from this podcast. One is to make millions of dollars. That's not happened yet. |
| 1:45.6 | But the second one is to get like a bar in a rap song. I've said this to all of the rappers who've come on the podcast. I know nothing rhymes with Esau. I know it's not. I know nothing rhymes. It's really going to flow. See, no, don't do that. That was my elementary school trauma. Did you call him back? So I'm trying to get a, or I'm trying to at least have them say, Issa, why don't you come and like rap for us? But I want them to write it. |
| 1:51.4 | I don't want to write anything. I want them to ghost write, you know, like 16 and then I can have |
| 1:56.4 | my moment. You think you could rap on one of their albums. I think if you put it, if they have enough |
| 2:00.6 | produce, auto two, do something. |
| 2:04.0 | Do something to get me going. |
| 2:05.5 | Get me in these streets. |
| 2:06.9 | Okay. |
| 2:07.4 | For our first story, for our first story. |
| 2:09.6 | And, you know, he only used some of a collie podcast. |
| 2:11.4 | We like to handle the big issues. |
| 2:14.1 | Yeah. |
| 2:14.3 | And for our first story today, we're going to deal with rich people, their kids, and sushi. |
| 2:20.7 | It's what people have come to expect from the podcast. |
| 2:24.4 | So I was reading the Wall Street Journal. |
... |
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