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Hip-Hop Legend Drops First Album in 25 Years 🎤🔥 | SWAY’S UNIVERSE
Aug 28, 2025
Hip-hop royalty graces "Sway In The Morning" as the legendary Kwamé celebrates the release of his first album in 25 years, "The Different Kid"! 🎤🔥 Join Sway and the team for this exclusive interview filled with untold stories, groundbreaking insights, and a deep dive into Kwamé's incredible journey through the culture of hip-hop. From his iconic start in the late '80s to his unmatched influence as a producer for stars like LL Cool J, Will Smith, and Christina Aguilera, Kwamé shares his philosophies, personal stories, and the inspiration behind his long-awaited album. Hear about the artist's experiences growing up around hip-hop greats like Queen Latifah, Eric B, and Big Daddy Kane, his lessons learned in the industry, and his reflections on individuality and authenticity in music. Plus, don't miss Kwamé dropping bars live—proving he's still an elite lyricist! Stay tuned for an inspiring discussion on art, legacy, and the magic of staying true to yourself. Subscribe to "Sway's Universe" for more exclusive interviews and unfiltered hip-hop moments! #SwayInTheMorning #Kwamé #HipHop #TheDifferentKid #ExclusiveInterviews #music #musicproduction #musicvideos #musicmarketing #howtopromotemusic CHAPTERS: 00:00 - Intro 01:57 - First Album Release in 25 Years 05:10 - Caller from South Carolina 09:42 - Growing Up with Herbie Love Bug 14:20 - Influence of Herbie Lovebug 19:20 - Heather B Solves 30-Year Mystery 22:20 - Humbling Moments and Personal Growth 27:20 - "Only You" as a Social Experiment 30:40 - The Polka Dot Era Explained 33:10 - The Hitman and K1 Million Collaboration 36:40 - Will Smith's "Switch" Record Discussion
View Video Transcript
0:00
I called him an outlier earlier. Big round of applause. Standing ovation.
0:05
Absolutely. Standing ovation. He personifies. Let's stand an ovation right here. Horse. We got to stand up for this one.
0:10
Absolutely. Thank you. He personifies what the spirit of hip hop has always been about. At least the
0:16
way I learned it. It was always about selfexpression, individuality. It was always about being
0:22
dope in your own way. Big fact. You could take influence from other people, but you had to remix it and make
0:27
it yours. That's hip-hop. That's hip-hop. He did it his own way. He stood out. He went against the grain. And some people even
0:34
knocked him for it. But he stayed on his square and remained himself. And in
0:39
2025, decades later, his first album came out in 1989. That's crazy. I know this for a fact, citizens. We
0:46
start working on the radio in 1990. One of the first people we played was this man because he symbolized a era and a
0:54
generation at that time that was progressive and unique in his own self. When you think about when his first
1:00
album came outwame the boy genius, you also had Big Daddy Kane put out an album
1:06
that year. Queen Latifah put out an album that year. Um BDP Boogie Down
1:11
Productions put out an album entertainment. LL CoolJ put out an album that year and he put out his dea soul 3
1:20
feet high and rising and that's when the native tongue era really started to
1:25
multiply and and really started to spread out wide and that's when a whole new generation of kids were coming up
1:32
and they were okay with themselves wearing baggy pants or wearing vintage
1:37
shirts or cutting their hair and you know isometric styles or doing all of
1:43
these different Kings and he was right at the center of it at the Mecca. I want to say salute to youamew
1:52
is in the building.
1:57
Purple. Yes. Love it. Look at it, man. I'd be remissed if I didn't start with how good you look.
2:04
Thank you. Thank you, man. Bro, I did some push-ups this morning. Okay. All right. Right. I drank some water and you know I just I hit the
2:12
highway and came over here, man. Thank y'all for having me. You came by yourself, too. Yeah, man. Nah, we had to
2:17
Oh, yeah. I roll alone. Like I don't You don't do that, huh? No, you've been through that, huh? No, I don't do I just In and out. I'm a
2:24
ninja. In and out, man. You've done a lot for the culture, man. And I And I And I want to talk about that today.
2:30
Congratulations on your new project. It's your uh first album you've done in 25 years.
2:36
Yeah. Don't remind me. 25 years. Qua, you hear that? 25 years ago. What you were like, what
2:42
was you? All right. You a All right. 25. She might have been four.
2:48
First album in 25 years. What's the regiment you keep, man? Your skin looks great, you know. Um, you you're in good
2:55
shape. What What is What is it that you What's your regimen? Well, my regimen is it's it's a real
3:00
thing. Like, for real, like I think about it every day and I practice every day. One, stressfree. Uh-huh.
3:07
Like I refuse to allow something to get to me that I cannot
3:14
control. You know what I'm saying? Like you in traffic. Yeah. You didn't start this traffic. You late
3:20
for something. You in traffic. You You left on time. You may have left early, but the traffic did. Now you stressing out in the car.
3:26
Yeah. I can't control that. Why am I gonna stress this out? or even if somebody's energy is coming at you any
3:32
any kind of way and it stresses you out, remove yourself. You know, always remove
3:38
yourself from stress because stress is the number one killer. Period. Yeah. Of all people. Stress is the number one
3:44
killer. Um, sugar is the second number one killer. Okay. You know, I'm trying to work on that. All right.
3:50
Cuz I like candy. Oh, damn. You like candy dog? I try I tried my best to not
3:55
What you like now? Old school candy? Gummy bears. But I try
4:01
But I try to keep away from that. So in in the home there's no sugary anything.
4:07
There's there's only water. I got the most boring home in the world. So there's only water. There's no snacks.
4:13
There's none of that. None of those temptations that could could bust you up. Yeah. Um, and I just think I think the
4:20
philosophy is being in entertainment, I guess, and
4:27
being of a certain age. I think people of our generation
4:32
look look to us. They look at us and if we take care of themselves, it
4:38
gives them hope to take care of themselves. All right? If we fall off,
4:44
it makes them say either, damn, I must be doing good cuz homie doing bad or it
4:50
makes them feel older than what they actually are. So, I just try to I try to be conscious about and then my mom when
4:56
my mom saw me out here looking raggedy, she would she she my back of my head,
5:03
knock me out. I love this life philosophy. You brought up your mom. We actually have a caller from South Carolina that want to tell a
5:10
story about your mom. Oh, I thought you was going to be my mom. I was No, no, no. That would have been dope, right? You would like, how did you do that?
5:16
I just got off the phone with my mom like five minutes ago. Like, wait, hold on. You said South Carolina. Brandon, say
5:22
what up towame, man. What up, Brandon? Hey, what's going on? What's going on, family? Uh, uh, first time caller, long
5:29
time listener. Hey, what's up, man?
5:36
I just want to say real quick, the first time I entered, we we appreciate it. Uh, first time I
5:44
stepped into therapy was in 2009. And the first person I met was this sweet lady by the name of Miss Carol Drew
5:51
Peoples. And uh, we always had these warm experiences and she was always
5:58
talking to me about being more conscious. And one of the stories that probably goes along uh with uh what she
6:05
was saying to me is that when Malcolm X's house was firebombed, they took him
6:12
and his family to your grandparents' house. And so I thought that was like the coolest thing. I don't know if many
6:18
people know that about you and your family, but I thought it was the coolest thing, you know.
6:24
Yeah. Yeah. Um, brother Michael, brother Malcolm lived on my block. I lived on a block 97th
6:32
Street in a neighborhood called East, Queens. And my grandparents lived on 94th Street. I I wasn't born at the
6:38
time, mind you. Um, but when his house was bombed, Yes. they took him around the corner to my grandfather's house.
6:45
Yeah. Wow. I'm surprised I never I never told that story ever. Never ever ever said
6:50
anything. So your your folks were close with Malcolm and his family? Yeah. My grandfather my grandfather was
6:56
a newspaper publisher and he helped Malcolm start his paper Mal um Muhammad Speaks and um you know yeah they were
7:04
close. Did they discuss Malcolm to you at all when you were growing up when you finally were born? Did they ever mention
7:09
that relationship? Not really. you know, like here and there. I think Malcolm f on one end, my
7:18
father was a devout Muslim and we had Malcolm X records, Malcolm X books,
7:25
you know, and it was a thing. It was like, you know, living on this particular block,
7:32
seeing the home that he lived in was, you know, it was a daily thing. It
7:37
wasn't like a special experience. you got to walk past the house to get to the stores. You know, it was it was one
7:43
of those things. And then my father made sure that he would take me to Harlem and
7:48
show me ballroom and show me where he was he was killed. And those experiences
7:55
is part of the fabric of my growing up. You know, it was just a it was it wasn't a daily thing. We didn't have
8:03
uh what black history class in in school or anything. my parents were the black
8:08
history teachers. So, you know, and it and then and it didn't it didn't land on just Martin Luther King or or or or
8:18
NAACP or anything like that. It we went deep and into Black Panther and into,
8:24
you know, to all different um aspects of of the Black Liberation. So, um yeah.
8:30
So, I'm just Wow. Brandon, and you tune in to our show. Look at this full circle moment
8:35
right here, bro. Crazy. Wow. And I appreciate your production, too, and your music.
8:40
Yeah. Thank you, man. And you know what, Brandon? I want to I want to thank you for
8:46
acknowledging my mom. You know what I'm saying? Um it's funny that you said that. Um because
8:53
you when you said you went into therapy, my mother worked at a um a therapy uh a
9:00
church therapy a church-based therapy um place. And um we never really talked
9:06
about it, you know, that was just her job. And she would come home and you know, and we just go into
9:11
Quam, go to the store and give me some chicken like something. It wasn't anything like um but Brandon, it's funny
9:18
that you said that because you're the second person this week that's approached me about how my mother
9:24
interacted with them in the therapy session at the therapy place. So, wow. You know, and I didn't even tell my
9:29
mother yet. So, now she going to be all gassed up. Yeah, man. I'm going to have to interview her. Oh, don't do it. She will talk your
9:37
brains off. I love it, man. Brandon, thanks for your call. You're a super citizen in the morning. you know, when you were coming
9:43
up, I want to get into your upbringing because you were a young star like you were 16 when your album
9:51
came out, but that is not when you start producing, you know, and uh growing up with your mom in that home, you know,
9:58
and growing up in that neighborhood. You grew up around um Herby Love Bug
10:03
who was at that time probably one of the top producers in the game producing I
10:09
think Salt and Pepper, Dana Dane, Kid and Play, Sweet Tea, Sweet Tea,
10:14
Herby was that guy, right? Yeah, man. the Herby is the term super
10:20
producer was coined under Herby and then everybody you know and it's funny you
10:25
know you would see um you don't think about the the effect
10:33
of what you're doing um this weekend I'm not going on a tangent I promise this
10:38
weekend we um we all got honored at um the uh National Hip Hop Museum in
10:44
Washington DC congratulations absolutely So it was it was myself, Kid
10:50
and Play, Herby, Love Bug, Sweet Tea, Antuinette, and and
10:58
other people that were involved, heavily involved like Stevie O, Herby's little brother was heavily involved. Um, our
11:04
engineer Andre Deborg was involved. Um, the producer Ron Amanra Lawrence, he all
11:11
involved. these it's very it's a very surreal thing because these are all
11:18
kids in the neighborhood and like literally um if I lived on 97th
11:28
Eric B was on 96 kid from kid and play was on 93rd you go
11:35
up around the block wow then you have DJ whiz one block over from me and then you go down the block
11:40
and I'm at my grandmother's house and right next to my grandmother is Herby's house and around the corner from that is
11:47
Play. Then you go up the block a couple of minutes and then there's Cool G Rap and then DJ Polo.
11:52
Oh my god. You got Psycho Les from the Beats. All of these people are in this neighborhood
11:58
but the core of us and then you have people coming into the neighborhood to hang out. So LL's over at Herby's house.
12:04
Then here comes Sweet Tea. Um you have these artists. Dana Dayne comes through
12:11
from Brooklyn and all of these artists are in this small pocket and even
12:18
smaller in this one house. Uhhuh. At any given time like and it's not like
12:25
a mansion. It's not like a fly brownstone. It's just a regular house.
12:31
Herby has uh he had three siblings in the home.
12:36
Four siblings in the home. So Herby had the attic. So we had to walk up two flights of stairs and everybody in this
12:41
hot attic with drum machines or whatever and then it transferred into the basement or into the garage and
12:49
you know for for a lot of them because I think I was the only one separate and
12:54
apart meaning like there was no production done for me there but but for everybody else
13:00
a lot of hip-hop history was just made with kids just hanging around doing
13:06
stuff And I don't think people understand how magical that was at that
13:12
time because all of those historical records came out and and all those people became hip-hop.
13:18
Every person you name Yeah. And legend and you don't think about it like that. Just imagine all of
13:24
us are just in a room and this is we see each other every day and we do this every day and then 30 years later we got
13:29
to stand up there and at some museum and somebody giving you award for it and you're just like these the guys we was
13:36
we was we was having rock fights with and was it competitive though? Was it competitive?
13:42
Um I don't think so. Okay. I don't think so. Well, it wasn't competitive from my perspective because
13:48
I'm the youngest. Yeah. So, Kid Play, Herby, Salt, Pepper, they're minimum six to eight years older
13:56
than me. So, it's more like, you know, it's like the best way to tell
14:03
it. If I'm at my grandmother's house, I'm living at my grandmother's house at the time. Steve Herby's brother will
14:09
call me and um like, "Oh, uh, Salt and Pepper's over here." And it'll be like
14:15
8, 9, 10 o'clock at night on a Wednesday. And I just automat and it's two degrees outside. I'll be like, I
14:20
gotta walk the dog. And I go outside and I walk the dog, tie the dog up, animal cruelty. I have this dog freezing going
14:27
to Herby's house just so I can be in the in the mix or or
14:33
I'll get an intel. Um Dana Dane's coming today. He's going to he's getting off the train at around like two o'clock. So
14:40
I walk 10 blocks up to the seven train and just wait for Dana. And I'm like a
14:45
13-year-old kid and here comes my hero getting off the train just, you know, regular and I'm following. Hey Dana, I
14:52
gotta rap. I got some new stories for you. You know, this is it. And and and I
14:57
was that kid, you know. I was just wanted to be in the the aura of these older kids.
15:03
Uhhuh. Just trying to figure it out. Uh did you ever um I heard a story that
15:10
when Herby would leave town, his brother would call you. Oh yeah. and you would go to his house and spill his drum machine.
15:16
Thievery. Pure thievery. Stole the 808.
15:21
Stole the Obeheim DX, then stole the SP12,
15:26
1200. These are all very expensive items at that time. Yeah. Like if if anybody knows these
15:32
machines that I'm naming, like now these are worth tens of thousands of dollars.
15:37
But back then, you know, Herby was the one that was bringing these things home. like, you know, and I'm not trying to
15:43
put Herby on blast. It's not a blast thing, but you have to understand you're around somebody on a daily basis, right?
15:50
He does a school project. The school project is he's in an audio engineering
15:55
class and the school project he makes a record. That record is Salt and Pepper's first single. They had their names were
16:02
Super Nature. They their names wasn't even Salt and Pepper. Their names were Super Nature. Had a song called The Showstoppers dissing Douggee and Slick
16:10
Rick for the show. It was just a project for school. Yeah. That record
16:15
becomes a hit. Mhm. Herby is driving a 1979
16:22
Orange Datson. That's that when you can when you're driving, you can see the
16:28
ground. You can see the floor in the driving. Things are held together by
16:33
silver duct tape. and he's driving Salt and Pepper to the Latin Quarters and
16:39
Union Square and they're doing these big shows, but it's still just and you know, I'm sneaking out. I'm trying to I'm
16:45
getting in the back seat fearing for my life in this car and and and you're
16:50
seeing this thing happen in real time and now there's like Lifetime movies
16:57
about it or whatever, but it's like for me as a little kid, I'm like, yo, it didn't go like that. But you know what I'm saying? It was like these are
17:02
happening in real time. And then the light bulb moment was one summer
17:10
Herby disappeared, right? He just disappeared for the whole summer. And then he came back cherry red
17:17
Benz 190E, mouth full of gold teeth, truck jewelry
17:23
everywhere. I'm talking about you know how Ghost Face has that big bird on
17:29
Herby had that like bigger than that. Like it was like crazy.
17:35
Yeah. And I'm like, "Yo, Herb, what did you do?" He said, "Oh man, I'm a producer."
17:41
Soon as he said that, I was like, "That's it. I know what I'm going to be when I grow up, cuz ain't no
17:48
way I'm not going to have that bird on my arm." So, so Herby saying that is what
17:55
influenced you to produce it. It It I didn't know what quote unquote being a
18:01
producer was. Uhhuh. You know what I'm saying? I didn't I I understood it but didn't understand it
18:06
because my heroes outside of my rap heroes, my heroes are Stevie Wonder and
18:11
Prince. So, when I'm looking at a Stevie Wonder album and I'm looking at a Prince album
18:16
on the back, I read everything. I'm reading the lyrics. I'm reading where it was recorded, who engineered it,
18:21
everything. So, it would say written, produced, recorded by written, produced, performed, and recorded by Prince Stevie
18:29
Wonder. So, in my mind, I see all those titles. I think, well, if I'm going to
18:34
be an artist, I got to do all that, but I don't know the mechanics behind all that. I don't know. All right. Yeah,
18:40
I'm I know how to make beats. I know how to put it together and make a song,
18:47
but am I producing? I don't I don't know that yet at 13, 14 years old. I just know that I'm making something. Yeah.
18:54
You know, I would the way I started making beats was I would play the drums and I would put it on tape and then I
19:01
would tape me playing the drums onto another tape and then I play the keyboards and then now I got drums and
19:06
keyboards and then I would scratch on it and then play that tape back and scratch on that and then I would rhyme and you
19:13
know and and I'm putting these together. But this is something that I'm just doing in my basement not knowing exactly what I was doing. I
19:21
was just I figured that's what I had to do to do it. Heather, you wanted us to play what song
19:27
from back in the day? The rhythm. The rhythm. Yes. That was your joint.
19:32
So, I have a question. Did you ever live in Jersey City? I lived in West Orange, New Jersey.
19:38
In West Orange, New Jersey. And South Orange. And South Orange, New Jersey. But I'd be in Jersey City all the time.
19:43
Okay. I watched the fireworks in Jersey City. It was Fourth of July. We solved about a 30-year mystery for me and my producer
19:50
at the time, Kenny Parker. Okay. So, one day we were on a path train and we were just starting out like this this
19:56
might have been 1990. You know, we're headed to the studio trying to link with Chris KRS1
20:03
and we think we see you on the path train in sometime in the 90s in Jersey.
20:08
So probably we're staring like I mean it's awkward staring and then you or at least we
20:16
think it was you. You staring back but you don't say anything and we don't say anything and I was like
20:22
I don't know if I was st I probably daydreaming cuz I'm like I'm a weirdo so I probably look like I was but but we don't know if we were weird
20:29
too cuz it's like did he look up? Did he look up? You know when you think you recognize somebody and it's like yo I just want to go over there and go oh hey
20:37
I'm winging in my mind but I I realized at that moment it was like yo it's just
20:43
like you said you you see this person in this natural element that you're used to getting on the train and going back and
20:49
forth. Yeah. And I had never I've never seen you since this is my first time seeing you since that point. Yeah.
20:55
30 years possibly. and to watch everything that you have done, to watch
21:01
how your um your manner and how you handle things in this this weird world
21:07
we live in called hip hop is something to be studied and I and I want to just say that to you. Thank you.
21:13
You you have been on your square and did what you needed to do in the midst of it all. And
21:18
it it it has been beautiful to turn something around and read your name and see you as that producer, that writer,
21:25
that all of those things from that moment I first made contact with you on the train. So, thank you. And yes, we
21:31
listen to the rhythm and all of those songs, it was on repeat. But I love and respect you, brother.
21:37
And I still get on the PATH train. I love and respect you. But now I know
21:42
when I'm back in Jersey, if I see you on the PATH train, it won't be that awful. If it was around like 90 91, I was
21:48
definitely in South Orange. So if I was taking the path Yeah. I'll probably take the path. Take the path to head over to Newark to
21:54
go to to get on. No, that's absolutely. But 280 West. 280 West. I know what you're talking
21:59
about when you you say that energy and that aura. He was on TV. He was making records. This was where we were trying
22:06
to be. I'm I'm trying to get to the studio to meet KRS1. You know what I mean? So that energy was real and just
22:13
Thank you. Thank you. Thank you. I'm glad I wasn't a jerk on the train or anything. No, you would. I'm not a jerk though. I'm I'm
22:19
You could have been soup back then. You could have been though. You could have. You know what? Two I had two extremely
22:26
humbling moments that stopped me from ever being a jerk early. One was MC Hammer.
22:35
One of the most humbling moments ever. Mhm. So, being from New York, New York cats
22:42
would not mess with MC Hammer cuz when he came out, he was dissing Run DMC. He said
22:49
something, you know, to LL to DJ, but it wasn't really Yeah, but New York is so sensitive, man.
22:55
It wasn't a diss. It wasn't a diss. It wasn't, but New Yorkers were sensitive. And I think I was in Ringum or something.
23:01
New York New York people was so on their
23:06
lyrical lyrical lyrical stuff. Anything outside of that, New Yorkers was kind of
23:12
like, you know, yeah, we don't know. So, I just came out. My album probably
23:18
didn't sell aluminum. Like, it wasn't anything. And and the it was the Boy Genius and my
23:26
um my radio rep at the time. We walk into the radio station and Hammer's in
23:32
the booth doing an interview and he was like, "When you see Hammer,
23:37
congratulate him because he just went I think double platinum." Yeah. And in my mind, I'm like, "Man, I ain't
23:44
saying nothing. I man Hammer blah blah blah." And I don't even know him. And I didn't even necessarily dislike the
23:50
music. Yeah. I just was on my New York stuff. I'm 17 popping off in my brain. And I
23:58
wasn't I didn't say it out loud, but I'm like, man, I ain't saying nothing to him. And so MC Hammond came out and when
24:03
he walked out the room, he saw me. He literally got on his knees, bowed down, and was
24:10
like, "Yo, we love you in the bay." Ain't that something? We love you, Quam Hammer. We love you,
24:16
man. And I was like, I love you, too, MC.
24:23
I was like I was like, yo. And and because I was
24:28
never raised to be like that and I was putting an aura on my back
24:34
that was not me. And from that moment on I was like nah nah nah nah nah
24:40
bro. We never going to we're never going to be unhuman again. Right. Again Hammer. Give that man a round of
24:46
applause. What was the second one? The second one. Look, I wanted the other one. Hey yo, your feather is so nosy.
24:52
No, he said two. He did say two. I'm just listening. I was, like I said, I'm I'm I'm a loner.
25:00
Like I'm I'm literally I, you know, I like to roll alone. I'm, you know, for the most part. Um, and I don't and I
25:08
know when you when you're like a quote unquote different kid. Um, you don't know how people are going to perceive
25:14
you when they meet you. So sometimes you you you play the back. Sometimes you hit a corner and you don't
25:20
really say anything until you know what the vibe is going to be. So, I was on a
25:26
um a Public Enemy tour and um same thing, same vibe. I didn't know
25:34
Flave and Chuck. I didn't know any of them. And I just thought that I got put on a tour cuz my records was doing well
25:42
at the point. And I just figured, hey, they just put me on a tour because it help sell some tickets. That's all I thought. Um, but I didn't know if and
25:50
especially the vast contrast of Public Enemy andWQame. Yeah.
25:56
I was automatically thinking they probably not even gonna rock with me like that. So, I just didn't say nothing to
26:04
anybody. I just walked in the room and here come Flour
26:11
so bad. And here comes Chuck. Man, we couldn't wait for you to be on this tour with us. And I'm like, here I go again.
26:18
Like, when are you going to learn this lesson? Yeah. When are you going to learn, man? It's not stop thinking stop thinking the
26:26
worst all the time. Stop. And it's also a expression of self. Don't think of
26:32
yourself in a lower way. And you don't think of yourself as better than anybody either. But at the same time, like, yo,
26:39
man, just be walk in, say what's up. You know, everybody's people, you know, we're all people. just say what's up and
26:46
have fun. You know what I'm saying? And from that those two those two points and I'm glad they happened within months of
26:53
each other. Yeah. Put me on my square and kept me there. And I'm like, nah, nobody's nobody's,
27:00
you know, I'm not trying to, you know. So, if anybody's like, "Yo, Quam's a jerk." I must have been having I don't I
27:05
don't know. There's no way. There's just no way in the world experiences that. So if y'all thought if anybody thought I
27:11
was a jerk, I'm sorry, but yeah, I probably got a bad text from somebody
27:17
that day, right? That second. Listen, it's interesting that Hammer told you that because you know I'm from
27:22
the Bay. Listen, I I told you King Tech and now we came on the radio in 1990. Yeah. Right. And so that only you song
27:30
that uh we started off with were featuring Tasha Lambert. Yeah.
27:35
That was the blue. Oh, now Mabberry. She's maybe. Okay. That that was a blueprint because in 1990 you didn't have a lot of
27:42
rap playing on mainstream radio in daytime day parts. Yes. It was all late night.
27:49
Can I can I speak on that for a second please? So only you was a social experiment.
27:54
Only you was not supposed to happen. It was a social experiment. One I wrote and produced it
28:00
for I wrote and produced that record for Vanessa Williams because I thought I was she was going to be my sugar mom or
28:06
something. You know what? I'm No, I'm dead serious. I'm dead serious. I was like, if I write and
28:11
produce this for Vanessa Williams, she just might let me, you know. So, she's going to be your
28:18
sugar mama. She was much older than me. So, I was like, "Yo, hey, I'm I'm 18, man. I'm
28:24
just trying to figure it out." So, I'm like, "I can meet." And I was told Vanessa Williams is looking for a
28:29
record. I said, "Oh, man. I'm make this I'm gonna write these rhymes and I'm going to be the guest on the record."
28:35
Uh-huh. And then that didn't work out. The record kind of was a little bit skewed a little bit more R&B at the time. So, but
28:42
it was happening in real real time. So, that didn't work out. So, I I pivoted, put another verse on it. And then my
28:48
thing was I don't know if y'all were doing it. Well, you said that they were doing it, but in New in in on the East Coast in a
28:54
lot of southern places, most of the radio stations would have something called a no rap work day. Yeah. And they
29:00
would literally say, "From 6:00 a.m. to 900 p.m. we will not play that rap crap.
29:08
Y'all can have a peaceful work day. You can have a peaceful um ride to work. You
29:14
can have a peaceful ride home and you will not have to hear that rap crap." They were literally saying that
29:20
rap crap. That's what they And they were like, "Um, but we know that the kids listen to the radio after 9, so we'll
29:27
play the rap after 9, but we not going to have a no rap work day." But then I would hear certain records still getting
29:35
played. And I was like, "Yo, I want to wake up in the morning. I want to hear my record." You know, simple as that. Two things.
29:40
And my mother was like, "Can you make a record that I could dance to?" Like, all right. So, so it was like, "All right, it's a faster record.
29:47
It's singing in it. It's rapping in it. It's not too lyrical or anything like
29:53
that. This got to be able to get played at 9:00 in the morning. Like that's that
29:58
was mainly what it was. The motivation, right? That was it. I just wanted to be able to I wanted to be heard with everybody else
30:04
because the only time like you were telling me earlier, the only time a rapper was heard,
30:10
they had to be a guest on an R&B record. That's right. Why can't an R&B record be a guest on my record? You know what I'm saying?
30:15
In radio at that time, the labels had to make two versions. Yeah. The version with the verses on it and
30:21
the version without the rap on it. Yep. And that's how that song came to be. That song became a blueprint for people
30:28
to get rap hybrid records played in main day parts.
30:34
And you should get credit for that. Oh, well. Okay. Give it up for my maname right here. Social experiments at work.
30:40
So the different kids, that's what it's all about. You always been different, right? You always the way you style
30:46
yourself, the way you dress. uh the polka dots era the polka dot era and even big we know
30:52
big made his that oneliner about played out likewame polka dots but
30:58
I swear it may seem like people thought well that must be the end but I see things differently
31:04
I I see it like what was the gain in that I think
31:10
I think it's I think you know like I there's no I have no like malice toward
31:16
him you know while he was here. Like there's no nothing, you know, it was a record. It's hip-hop. Was a line.
31:22
You know, if you exist in hip-hop, there's always a potential target on your back.
31:27
You know, that's just how hip-hop is. Um, but personally, what did you do with that? How
31:33
Well, I think personally is this this is it. It showed me, it showed me how
31:38
people are and it gave me a wakeup call to how people are because, you know, as an
31:45
artist, how could you go from rocking with me all this time? You know
31:51
what I'm saying? I'm rocking with you, you rocking with me. And because another wave comes in and the wave is turning
31:58
and it was not just him. You could just see it on people. Yeah, it was like people stopped dancing.
32:03
People stopped having fun after a while and it the wave turned into this this
32:09
extra, you know, I call it the grimy 90s and, you know, the beats got harder,
32:15
everything was, you know, it just was different. Yeah. And when you see that wave come,
32:21
it made me realize that in entertainment, you got to take it
32:26
one day, one record at a time because people may show you love, but that doesn't necessarily mean that it's
32:33
actual love. And I'm such a purist, you know what I'm saying? Like hip-hop is pure to me. You know what I'm saying?
32:40
It's it's a part of me. It's a element of me is in my DNA. So doing it and
32:45
receiving love for it. A lot of times I'm like, "This got to be real." Yeah.
32:50
I'm giving love. I'm getting love. This is real. Uhhuh. So imagine. So So you feel it like it's
32:56
in a home. Like you're in a home full of people that love you. And then you walk in one day and then nobody likes you in
33:02
the house cuz somebody across the street said he he he ain't dope no more. Yeah.
33:08
So you walk back into your house and nobody love you. you be like, "Yo, what
33:13
was that about?" And so that was the first I think, you know, you go through phases of things.
33:18
Um, and I think that was the phase that I went through for a minute. And I was like, ah,
33:25
I got to not think about it as black and white as that either. You got to It's like the ocean, man. You
33:31
got to go. Sometimes it's rough waters, sometimes it's smooth waters. You got to just build a build a better boat
33:38
and keep it going. M and so you know so everybody needs a beat. Everybody needs
33:43
some lyrics. Everybody, you know, so it's like let me just million. Yeah. Put this on my boat and
33:49
and and and keep rowing. And um that was that. It was, you know, no more, no less. No, I loved it because I think too one
33:56
of the things I don't think people realize was your production prowess. Yeah. You know, K that that your producer
34:03
name, was it K1 Mill? Yeah. Well, K1 Million, that was a producer name because
34:09
and it goes back to to the deeper psyche. Um, I want to give a shout out to um, ironically like a hitman, a a bad
34:18
boy producer, one of the hitmen, Ron Lawrence, who like I said, grew up on my
34:23
block. He produced Hypnotize, he produced Money, Power, Respect. There's a lot of records that Ron is a part of.
34:29
And um so Ron while I was just trying to get my my my grip back, Ron would be
34:36
like he believed in me and he was like, "Yo, man, these beats cuz I'm trying to come back
34:41
out, you know." And he's like, "Yo, but these beats are incredible. We can sell these
34:46
beats." I was like, "Yeah, you think you can sell them? Go on, try it." And literally like a week later, he said, "Okay, we
34:53
got four." I'm like, "What you mean four?" "We just sold three to LL and one to Mary J. Blah." I'm like, "Wait,
34:59
what?" Wow. Yo, I'm super broke at this time. Uh-huh. I'm st I'm like I'm floating on prayer
35:07
and air like and and I'm like, "Wait, what do you mean?" He said, "Yeah, um, three on LL."
35:15
So, two on LL's album. The album's called 10. Yep. And he did a children's book
35:22
and it was like a um he rhymed. It was a song called The Winner. And so three on LL,
35:29
one on Mary J. Blah. But he was like, "Yo, man, I'm sorry to tell you, I think your name is kind of trash out there,
35:35
but you got to figure it out. What we going to do?" And I was just like, I was joking around. I was like, "Well, I'm
35:40
like, I'm in here like a machine, man. I'm just making a million beats a day. Call me K1 Million." I was joking.
35:46
Yeah. So he put those credits in and still people didn't realize that
35:55
it was me when he was soliciting these beats until it was time for the LL
36:01
session back in those days. You would have to bring all your equipment or rent all your equipment and like not redo it
36:07
but reset up everything. And so when when Todd walked in, he was like,
36:14
"Yo, what you doing here? I'm not making your beat. What you think I'm doing? He was like, "Wait, you did these records?"
36:21
And then his his ANR Eric Nicks at the time was like, "That was these records are you?" And I'm like, "Yeah." And then
36:27
it started to circulate. Circulate. And once it started to circulate, I dropped the K1. So I think
36:33
up until I did um Lloyd Banks on fire, on fire on fire.
36:39
That was probably my last K1. And then I just kept going after that. So when you did Christina Aguilera were you
36:46
and then when you did Will Smith that switch and that was the what was the biggest one was that the biggest the
36:51
so the Will Smith record um like I told I I told the story before the wild thing
36:57
about Will Smith was I had just kids do not do this but I entered a publishing
37:03
deal. I got a publishing deal with Universal and I got You say don't enter a publishing deal. Never. Um, it's
37:08
just one reason why not. Because whatever they're giving you, they know you're going to get, okay?
37:14
They already know you're going to get it. So, go get it. You just want it quicker. There's
37:19
nothing you need to do now that you can't do tomorrow. If you're making all these records and they're offering you
37:26
$2 million, you already made the $2 million. Wait the nine months and get your $2 million.
37:31
Period. Now, if you need somebody to help you administer it,
37:36
do an admin deal. take 10 10% out of it and keep it pushing. So then you end up
37:42
like me 35 years later and somebody making a decision on a
37:48
record that I produced or that I samp that I made and they're giving the the the the okay because they own 50% of it
37:57
and they have the right to do that and now I got to go backwards and be like yo what's up you know even though I get
38:02
what I what I'm owed at the same time I want to know what's going what's going on. And so it's about you got to understand
38:09
you're in the music business. Get your business together. Okay? You're not in the cars, girls, chains
38:15
business. You know what I'm saying? And a lot of people just don't get that. But to switch real quick, so it was a very
38:21
interesting time in my life because I did this publishing deal with Universal. Got a lot of money from them. And um
38:30
luckily I wasn't I wasn't into the trickery. So, I was like doing I wanted the money so I could do more music. You
38:37
know what I'm saying? I was building a studio, doing all that kind of stuff. So, I have this money. Right when I get
38:43
the publishing deal, the switch record comes and
38:49
Will was a mega movie star, but at that point there were no records from Will
38:56
doing anything in the marketplace. So the the the powers that be at the publishing company were like, "Maybe you
39:04
should rethink doing this Will Smith record because it'll put a stain on your name because you're you're hot. You're
39:09
bubbling right now and maybe you should rethink that." And then I was like, "Nah, I think I want to do the record."
39:15
Then they were like, "Maybe we should rethink your deal." Oh. And they wanted to rethink the whole
39:20
entire deal and rethink the money that they were that
39:26
they were offering. or that they were giving at the time. And I stuck to it um even to the point
39:33
where I didn't even get my full fee as a producer for the Switch record because I I really wanted to make the record
39:39
happen now. So I I I turned in the beat, I wrote the hook. Um a brother named Kel Spencer wrote the
39:47
verses. Kell Spencer and and um that was the switch. And then
39:52
Will came in and then rearranged, you know, what was written and he made it his own. And we made a record. We made
39:59
several records, but we made that record. And then the record was a number one record in 20
40:07
countries. Wow. It was um Olympics. Yeah. The Olympics, the uh um NBA
40:14
finals. There was all these weird um sync uh licenses around the world. Like
40:20
there was like one sink that paid so much money. It was like from Bosch and Lom. Switch your switch your contact
40:25
lenses and they played that. It was like something in Europe. All this stuff you see will per he can perform it to this
40:31
day in any stadium anywhere and the people know it. And
40:36
the record recouped my publishing deal immediately.
40:41
That one song, that one single. That's why they wanted me to reconsider the record.
40:47
They knew it. Yeah. Yeah. You like, like I said, they know what they know what's going to happen before it happens. You're talking
40:54
about the people that they're not putting the the the the pieces on the game board. They're
41:00
printing up the game board. Yeah, they're printing up the game. Let me ask you this, too. I'm going to let Tracy jump in, too, because you bring up the
41:07
game board. My brother is a adamant collector, bro. Like, he
41:12
collects everything. Toys. Is he a collector or a hoarder?
41:19
Collector. Okay. It's lying. It's a difference. Cuz I asked myself, what am I? Yeah. No. No. I know you are too. Well,
41:25
what are you? You a hoarder or a collector? I mean, you got your but no, but he has he goes he curates his
41:31
collection. Like he should ensure his collection like people ensure their art. Yes, you should.
41:37
Right. Um, you have a toy. Are you you have a toy company? Are you invested in toys? So, so I am a big toy and comic
41:45
book collector. Um, at the same time, I'm just a fan of that pop culture
41:51
element. Um, so on one end, it's a great company named Super 7.
41:57
They're actually based in San Francisco and they're known for making like hip-hop toys. They make all types of pop
42:03
culture toys. And they made um aqame action figure, which I'm want to gift
42:10
y'all to. I didn't know there was so many in in the room. So, I can I can send more if you want. Okay. Thank you.
42:15
So, you got thisqaame action figure from from Super 7. This is yours. I'm I'm going to going to sign it to you.
42:21
Congratulations. And this is your swing. Thank you. But but um mine look better.
42:26
There's not a competition. There's these um there's thesewame and then I I see on
42:33
the board right there's Tracy Tracy Tracy put up this um there's a bigger action figure. is called it's a a
42:40
company called What's Up Big Heads and they made that action figure and this all happened at once and this is all
42:45
happening without me asking for it to happen. I'm just getting calls like hey you want an action figure like yes I do
42:51
like me having an action figure for me the way I am as a collector is
42:57
probably greater than a Grammy. I'm I could be honest with you on that. I'm like yo. So then after that, that ended
43:04
up me um joining a collective called Let's Be Onyx or LBO for short. And it's
43:11
a collective of creative minds making toys
43:17
for kids that look like us, you know? It's like you go on a you go
43:22
on the shelves and you don't really see toys that look like us. Yeah, you may see like
43:29
Falcon from Black I mean or Black Panther. You got them two. You know what I'm saying? But two out of
43:35
every damn superhero. You know what I'm saying? So it's like we are trying to infuse
43:42
hiphop culture uh um African-American culture, African culture into the toy
43:49
space. I want to I I know I'm on the radio and I'm about to show y'all a text. Yeah.
43:55
But um who's it from? Um my sculptor that that's in the
44:00
company, his name is um Aorei Hanzo. So I'm going to show you first. Sway. You want me to read it?
44:05
Just push it. Oh, just push it cuz this is getting made for you. Damn. Oh my gosh. This is getting made for you. And then
44:11
I'm going to pass it over to Heather. Sway. A this is dope. What? Heather cuz Sway about to ask to get a toy made
44:17
of him. it. See, they're already doing it. They're already doing it. Look, I'm show
44:24
Heather. See, I didn't know. I just said it. See, that's why I always stuck to my Like, he stuck to his guns. I stuck to
44:30
mine. Wow. Look at it. And now the hat looks special.
44:35
You can have different hats. Limited version. Oh my gosh. And I got a booty. I'm just happy because this is a real
44:42
So, shouts to Cory Hanzo and and the crew at LBO. We're making those now. I want Cory, don't make my stomach and my
44:48
butt match, though. All right, that's done. Okay. Thank you, Cory.
44:53
The BBS. So, so, so these are these are a line these are a line of figures called John's cuz Cory's out of Philly, you
45:00
know, they always say John. So, John's is like a minimalist version, like a cartoon version of of
45:06
the people that they're making. So, even with this with my new album, there's going to be a bundle where you
45:13
can get a vinyl and aqaame John and and there's going to be a um and then there's going to be another B another
45:20
bundle where there's a 1989 version Aqaame 2025 version. So, you get the the
45:25
double joint. So, that's a round of applause. And the album comes out this Friday. Yes, this Friday.
45:30
Called A Different Kid. Shout out to David Vonner. He's in that space, too. Dave, you know Dave? Let me show you a
45:37
text. See, see Dave is Dave is my brother. Dave is the
45:42
one who kind of like pulled me into this game. That's dope. Read that. Want me to read it to you?
45:48
Just the bottom one. The very bottom one. Putting together something epic, brother. Adding a new dimension for any Don't say don't say
45:54
what it is though. Don't say no. You know. Yes. So, I've been David and Vonner and my brother the collector.
45:59
Yeah. Are really great friends. Oh, dope. But can I can I speak on David Vonner for a second?
46:04
Please do. you. The toy industry is a whole other thing. And I'm I'm tripping that I'm literally in this industry, but
46:13
you go to these things like San Diego Comic Con and New York ComicCon and C2E2
46:18
and in Chicago and all these different places and just imagine
46:24
every toy creator there, right? Let's say it's 500 of them. Mhm.
46:32
500 guys out of 500 guys,
46:39
maybe 10 women. Maybe
46:46
out of 500 guys, there's 10 women in there. They're all of the clearer complexions.
46:52
And then there's David Vonner, the only
46:58
Africanamean person there. The only one. Yeah. Wow.
47:04
Out of 500. I'm speaking generously.
47:09
It's David Vonner. David is responsible for like a lot of
47:14
the Marvel toys that people collect. Um he started at Marvel Comics. Then he went to um this company called Toy Biz,
47:21
which turned into Hasbro. Then he went into Mattel. Um another company called Jack Pacific. Pacific. I'm real good
47:28
friends with Dave. I know David's whole, you know, his story. We had him on the show. Dave is a And it's just Dave. It's ju
47:37
it's, you know, so for somebody like me and a Corey and his wife Lwanda
47:45
and other partner Steve um Ford and and another partner Mike Polus
47:50
when our collective comes in. Dave don't have to be alone. It's now it's Dave and us.
47:56
It's Dave and y'all. Dave saved Marvel films with those those action figures.
48:01
Well, 100%. because Marvel was on the way down and it was the action figures that he was able to create to to partner
48:09
with the films. Yes. That raised a lot of money for them and became created a whole it's a black man.
48:16
Yeah. Yeah. And those those are figures called Marvel Legends. And anybody who collects knows that Marvel Legends is
48:22
the top tier. Like you collect Marvel Legends and you have some of the the the early ones, them
48:28
things are worth money. And if you get the if you get the real and I'm going to get geek on y'all real quick. If you really get
48:34
the first Marvel Legend war machine, that's who Don Cheito plays in the
48:39
movie. That's Dave's face on the Marvel Legend War Machine. So if you want to know what Dave looks like,
48:46
there it is, man. Hey man, we got Quan May here. I know we can't hold it. I don't know what that noise is. What is
48:52
that noise, man? Okay. Okay. All right. Uh Tracy, you
48:57
want to chime in? I don't want to go without you being able to say hi. So, Oh, thank you. Cuz you are an
49:02
extraordinary figure. Thank you. Yeah. and the fact that you have been able to master I would say every single
49:11
lane that music can take an individual like Sway mentioned um all of these mega
49:17
superstars that you've worked with whether it's an LL whether it's a Christina Aguilera but then you were
49:23
also able to conquer film as well when you think about a drum line you think
49:29
about a step up and what I also appreciate from learning more and a stomp the yard which we
49:35
both collaborated on that was in the movie. That was my alleyoop to you. That was my
49:40
Yep. Swiss Swiss. You got it, King. Go ahead. Go ahead, Queen. All of it. All of it. And what I really
49:46
appreciate as well from learning more about your your story is as much vision as you have, you're also still like
49:54
malleable. You can adapt to what life throws at you, you know? Yeah. And it made me curious about um in the
50:02
studio, has there ever been like a a quote unquote production mistake that
50:07
turned into something special? Almost every time. Huh. Can you give me
50:12
like almost every time like um I don't believe in mistakes, so it's
50:18
hard for me to say, "Okay, this was a mistake." But but I think
50:24
every single every single song so um
50:30
let's take let's take um the rhythm I'll use the rhythm for an example that's
50:36
like from from my first thing the rhythm was done
50:41
the rhythm was done originally it was done in on Christmas morning
50:49
midnight So when midnight Christmas comes in and I have from Christmas morning to 8:00 in
50:54
the morning to have studio time. It was the only time I could get and afford as a kid.
50:59
So I was like I'm going to make as many records as I possibly can in this eight
51:04
hours which ended up being my first album. But the last song that I ended up doing
51:12
was the rhythm. And I knew that I had like maybe an hour and a half left and
51:18
I'm just throwing things together, throwing things together. I knew what I wanted in my head, but it didn't come out, not necessarily come out the way I
51:25
wanted it to come out the way I saw it in my head, but you know, the way the beat was dropping, the way things were
51:32
happening, I couldn't fix it, but it ended up No one no one knows that is it
51:39
was something that wasn't that wasn't meant to be. Yeah, I couldn't. And I accepted I accepted
51:45
the way it felt because once it fell in place, I was like, "Well, I like this better." And that's how I take all my mistakes.
51:52
Like when it happens, I treat mistakes like a scene in a movie.
51:57
You don't know what the next scene is, but when you hit in the next scene, how do how does the character react?
52:03
you know, and they just go they just go into it like Indiana Jones is walking down the block and next thing you know a big giant ball is chasing them and and
52:11
and that's a whole another scene and that's just how I approached the mistake. So, even in the studio, um,
52:17
there's been times I've been in the studio, and I don't know if you want to call it a mistake, but there's like I'm never going to blow the artist up, but
52:24
there was an artist. We get to the studio on a Tuesday, 11:00 a.m. I go there, I take I lay the beat down,
52:30
the artist is supposed to show up by 1. Um, there's a rapper on the song, the rapper shows up, they knock their verse
52:38
out by three. The artist still doesn't show up. Um, now it's 6 pm. We're just sitting around
52:46
waiting on the artist. 8:00 PM rolls around. So, I'm there from 11. 8 PM rolls around. Here comes the artist. Hi,
52:53
guys. And they walk in and they um Hi guys. And then they, you know, they
53:00
knock out a hook and after they finish the hook, mind you, they got to do a
53:06
whole song. Yeah. They finish the hook and they go, um, I got to go somewhere. I'll be back. So
53:12
now it's like they knock the hook out quick. So they're from 8 to say 9:30, 10
53:17
o'clock. Yeah. They knock it out. They disappear. Now it's midnight. Now
53:23
it's 1 in the morning. And they come back with some some guy they met. Hi guys, I'm back. Here we go. And then
53:30
they do the first verse. And then then
53:35
she's giving the dude Google eyes and then they disappear. Wow. They come back
53:41
6:00 in the morning. She knocks out the next verse. Then it's like, I need
53:48
to take a nap. Takes a nap.
53:53
8:30 in the morning, finishes the hook. I literally walk out of that studio Wednesday at 11:00 and it
54:01
24 hours, exact 24 hours. The day was the same. Uhhuh. Everything was the same. And
54:09
you just got to roll with it. Let the record. Was that a hit? Did it turn out to be a hit? Um, no.
54:14
Okay. It was all right record, but it wasn't I don't think it was a Okay, man. These are great stories. You
54:20
got to come back. Give Quaame a round of applause. We didn't even touch on all this stuff. Give him a round of applause.
54:25
Album Out Friday. An album out Friday. The different kids. Hey homie, I cannot let him go. I cannot
54:33
letqwamqaame is an elite lyricist. Oh no. He's a highly skilled MC. So are
54:39
you. Oh, thank you. Heather said nobody's ever said that to Thank you. Thank you.
54:45
I'm definitely not telling him. Thank you. Did you stand up for your own prop? I gave myself a clap, man.
54:51
Wow. Is the first person ever say that that came on this
54:56
too short that said that too. He's from the Bay. That don't count. Now you do count a just say that [ __ ] to
55:01
you. Yo, honestly, thank you for your continued contribution. You keep me motivated. You keep me
55:08
inspired. You know, I I lurk you on your Instagram all the time. I love when you do your verses, when you
55:14
do when you do bars, when you're in your spaces, and you shown us your life and showing us your world and you sustain to
55:21
be yourself through it all. Man, this is just an exhibition right now. This this
55:26
I would love for people to hear you rap, bro. That's okay. I would love to hear me rap. Okay. Yo, welcome to the valley of the
55:33
hyenas. John, drop a beat on them. I snap on them like slim gyms and thin
55:40
rims. I black on them like melanin and skin bin. Crack on all these tracks. I rhyme tight a shine brighter, never
55:46
blending. I'm a stand out. You a standing gentlemen. Start your engines. I'm 10 laps ahead and I'm better than
55:53
basics through the matrix. Push never can pass the fake [ __ ] Wake it as I
55:58
break it down on this track. Sway. How this sound? I got fire in my veins. Not
56:03
acquired by the fame. So just trying to buy a chain. I'm just trying to buy a plane. I'm just trying to get a lane so
56:09
I can skate past fast ascertain ways to master game. Shatter things. Reassemble stack. Reenact chains. But y'all acting
56:16
strange rather plain. I'm animated scatterbrain. Thank you for hearing me chatter. Yo, I'm glad I came. But I got
56:22
penogio flows. Ever since I was a PO fro. Sitting words sitting sitting on PO
56:28
dancing on the beat like a Pio close. Most won't catch that. Tend to over rap spec bonkers double on tandras while
56:34
sitting on your aunt sundre's fat lap at my first birthday party rhymes got hardy
56:40
bar yankee but me baseline yard human hardly godly pardon me I'm about to spit
56:46
harm bodily quantity never outweigh the quality we can coexist but there's no
56:51
equality don't maybe kind of sort of could be a problem nope I ain't your friend more like a fatherly alien
56:57
genealogy Aries is the astrology love when she These open wide swallows be
57:03
apologies. My mind corona foul on these streets. These beasts defy superstition religion or technology. All the game all
57:10
the same. Colony peak my ideology. Time that y'all acknowledge me.Wame
57:17
vision IG. Follow me.
57:23
Let's go. I'm just playing. We got to line it up in here.
57:29
Come on, man. Wow. I'm just playing. Where you pick apart the pocket,
57:34
brother. Nobody picking the pocket. You, Pharaoh, Munch, Grap, it ain't nobody
57:41
who pick the pocket apart like you do. Yeah. Me, me and Pharaoh went to high school together. We We We in the
57:47
lunchroom every day. Me, Pharaoh. Uh uh who's in our high school? Prodigy.
57:54
Prodigy. Sticky. Sticky fingers. Yeah, we are. You and Frell used to rap in the
57:59
lunchroom. Prince Pharaoh was the beat. Pharaoh was a monster. Beatbox. Me, Pharaoh, Percy P.
58:05
If anybody knows Percy P. Yeah, we all in the in the lunchroom together. This is that's that's that's
58:11
my lineage. Oh my gosh, man. Hey, bro. Cool. Kim. Cool Kim from UMC.
58:17
Yeah. Blue cheese. I don't know. He got to come back. He got to come back and co-host do something. Garage series.
58:25
And you in you out you out? Yeah, I'm out here. I'm out here in sunny LA, man. I haven't told you. I love you.
58:30
Thank you, brother. Love you. For real, man. New album, The Different Kids, man. Make
58:37
sure y'all get it this Friday. I know Lord Seir is coming up next. Lord Se, thank you. Today we got our garage
58:42
series. Get ready for that tonight. 5:00 p.m. Eastern. Genevie, uh, West Coast, you here now?
58:48
8:00 p.m. Eastern. Okay. Eastern. All right, Genevieve, uh, Jane Hancock, and Eric Bellinger. This
58:54
is going to be dope. If you want to come back and hang out, you're more than welcome. No, Jane Jane's manager hit me. She They told me about I I wish I could, but I
59:00
can't. I wish. Okay. Well, next time, man. Thank you, brother. Appreciate you. Y'all get the album, The Different Kids.
59:06
Different kids. Friday, August 29th. All right. Get it, get it, get it. And follow him atame Vision. The album
59:13
is dope. I've heard it. I called them and start talking about lyrics and songs in it. So, make sure you check it out
59:18
for