Canadian Connections feat Shad

Yeah. Can you see me, can you hear me? I can see you. I can hear you. All right.

Beautiful. It's the man, the myth, and it's a... Band in the USA. Man, listen. You bigger than fucking uncle look right now.

Dude, what are you saying, brother? Hey, man. All I'm saying is that there are a lot of us here that would much rather be back.

“I think you're out of here. You're doing it wrong. You're coming.”

This is the Almanacograph. Welcome to the Almanacograph. The show that knows what it's talking about. I'm your host, Don Will, and today's guest is Chad. Chad is a Juno Award-winning Canadian rapper and broadcaster. In this conversation, we talk about his career in music, his work in media, his Juno Award-winning

and his creative process. We'll get into that conversation in a minute.

But first, I got to kick the ballistics.

According to my Gmail account, I met Chad sometime in the fall of 2010. Based on the conversation in our first email thread, we met in person at South Paul. South Paul is a broken danger that no longer exists.

“A mutual friend who worked for the record label he was signed to at the time connected us.”

To paint a fuller picture of this moment, my email signature red sent me a blackberry from T-Mobile. A blackberry is a cell phone that no longer exists. The result of that email exchange, however, was Tanya Morgan, being featured on his song "Rose Garden." It's still to this day, one of my favorite collaborations that we've done.

We've done a few more songs since, but most of our conversations have been in service of finishing music and more importantly via email or DM. So when another mutual friend recently reached out about having him as a guest on my show, I said absolutely.

This conversation is our first time speaking after collaborating for over a decade.

And while it's very much an artist's interview, it's also a long overdue conversation between two peers whose careers have taken similar paths. The intro you just heard was an inside joke about him not being able to make it into the U.S., thanks to some issues with his visa. But thanks to the magic of the internet, we were still able to connect. This interview was recorded a couple of months ago, and I'm pretty sure his visa issue has been

sorted out by now. He probably even made it into the U.S., and maybe we even got to hang out in person. But that's a question and only future don can answer. And sadly, I'm passed on. Anyway, let me stop rambling. Here's my conversation with Canadian MC and broadcaster Shad.

I feel like this is the first time we've ever really chopped it up, which is wild because we have

a couple of collaborations. Yeah, no, that's crazy. I know, this is exciting for me, man. I could have did Google's and read interviews and listen interviews. I want to get a friend you like, how did you get your start in music? For me, like for many of us from my kind of time, you know, freestyling with friends was really kind of my introduction to hip-hop and kind of getting into it. And the sitting that I'm from is called London, Ontario. It's halfway between

Toronto and Detroit, but a mid-sized city. I don't know, maybe like the Cincinnati of Canada or something like that. You know, I wasn't really thinking that seriously about music. It just wasn't something that I saw around me in terms of a career. But it was something I was having fun with,

“like a lot of kids were. And then I think what changed for me was when you get to that point where”

you're no longer just emulating your heroes and you suddenly have some stories of your own that you're writing and you're like, wait a second, I actually haven't heard anybody talk about this or put it in this way. And that's when I really caught the bug and I had the opportunity to make my first album 2005. And I've just kind of been going ever since then, you know, one project at a time releasing music. My career's mainly been in Canada. But yeah, I have had the

the warp tour. Oh, wow. Okay. You saw some things. And I like to think of myself as a pretty

“worldly person, especially when it comes to music. I know a lot of different music. I did not know”

that world of music. Open the tour for chaos. I want to make a comparison real quick. You said, chaos. He's an artist that in my mind. He's like the predecessor to where I am. Yes. And I don't know if that tracks for you, but in my mind with my limited knowledge of him, that's kind of what it is. Yes. So he has this B-boy essence. So musically, he goes in a lot of different directions. But, you know, he has more hip-hop and like his pinky finger than most people have in their whole body.

So it's just like, it still comes out a certain way. Then how, um, I don't know if I'm giving too much detail or too little detail. But yeah, I mean, I would say roughly since 2005, I've been making music releasing music, um, and been fortunate to do this. My career. Yeah, mainly been in Canada, but I've had the opportunity to play a lot of different places and, uh, collaborate with people like yourself and whatnot. So that's me. Only to soften tender won't be knocked off their center.

I want to be a mentor for the top contenders. I'll be talking sets and dropping gems to the rock and dentures. Wow. I did do some research on your background. A little bit of research that I did, because again, I wanted to get it straight from you. Yeah. I discovered something that was very interesting and I'm going to say a name and I want you to like, let me know what it strikes up. Okay. Your boy Tony Braxton. Yes. I was like, I know she asked us to negotiate. Let me just google

see what projects you put out and it was not at all what I expected. Yeah. Like even within expecting it to be something left field. It was to the left of the left field and around the corner from the left field. That was to the left of the left field. How did that even happen? You know, say it's okay. So I like want to give context, but I don't even want to give context. So that out that project, I call that your boy Tony Braxton. It's like you said left of left field. You know, a lot

of times when rappers do something that's like a little bit left. It's still like kind of adjacent. This is like not adjacent. This is essentially like retro pop rock. Yep. I was digging into my deepest recesses of my memories of like some of my earliest memories of the radio at 9 or 10 years old. Like mainstream London Ontario radio where they're playing King of Wishful Thinking by Go West and like Brian Adams. You know what I mean? And I wrote these songs. These, you know,

just pop songs. And you know, where it came from for me was reaching a point. I don't know if you've ever gotten to a point like this in your career where you're like, I just want to try

“something different. I want to be a learner again. Yeah. I think I'd made my fourth album. I was like,”

I feel really good about the extent to which I've told my story. It was a strange sensation, but I just, I had this deep feeling of contentment like something is done. I'm not done rapping, rapping at that point is what I do best. It's a skill that I've honed the most. And I'm

always going to do that, but I think I started in hip-hop with this each to tell my story in a certain

way or to a certain extent or to offer something. And that each has been scratched. And now, I want to explore and I want to grow and I want to stretch. Yeah. I'd always play the guitar and I kind of have busy hands. So if I'm sitting down watching TV or something, I'll just, I'll pick up the guitar and I'll just be playing it. But you know, I'm like, let me just sit down, try to write some songs. And then I call that your boy Tony Braxton because I was thinking,

like, I was imagining a man named Tony Braxton who was like, love to sit, like, let's say it's like in the 80s and he loved to sing and he's like, you know, getting up the courage to do his thing and then like the girl Tony Braxton comes out and he's like, damn. Not only is she also Tony Braxton like she's way better than me. Beat me to the punch, you know, I will say this for being so left-filled. It was extremely well sung, well produced and well played. Thank you.

Like, if I didn't know that it was you, I wouldn't have known it was you. Yeah. Well, you know,

“what, one thing I really believe in, this is it might sound a bit naive or whatever, but I,”

I really believe in like never disrespecting music. You just don't disrespect music. You just don't

go halfway. You know, you, you, you got to honor it by putting your all into it. And so I'm like, yeah, man, we're going to, we're going to go to the fullest extent with this, you know. You kind of talked about London, Ontario a little bit already, yeah, with regards to

are there regional scenes within the country? Not as much as I'd like, you know what I mean? Like

“working on hip-hop evolution was so fun to see the regionality in America. Like, you go down”

in New Orleans and that's its own world and you go over to Oakland and that's its own world. And we don't have that so much unless of course you're in Quebec because Quebec is like 90% French. Right. Toronto is, you know, one of the most multicultural places in the world. And in terms of hip-hop also, it was actually very early hip-hop spot because it's kind of similar to New York in terms of the people. Like there's a lot of, you know, cool herks from Jamaica and there's a

lot of, you know, Jamaicans and Toronto. So that whole sound system DJ culture block party thing was happening in Toronto as well in like the 70s. Yeah. So Toronto, like, has really deep hip-hop history,

has a lot of kind of diaspora influences in the artists. You'll hear that. And that's kind of

pretty distinct to Toronto. Vancouver does have a little bit of the west coast hip-hop flavor. It's a little bit more laid back. It got, got stone revives in Vancouver. Got this stone revives out there. Moka only is from out there. Moka only is from out there. Yeah. Yeah. It's got that laid back energy. Of course, Quebec with the French and they have a long history of French hip-hop. I've been to Quebec. I've been to Vancouver. I've been to Toronto. I've been to London, Ontario. Yeah. And those

places all, like, they have different vibes to me. Yeah. I don't know, like, if it was like, just my limited view of what Canadian hip-hop here in the Canada is. Yeah. Yeah. Yeah. Some of that nuanced does exist. And what that comes down to is certain DJs or promoters in those scenes. So, like, London, Ontario, for example, that you brought up, like, what I was there growing up. There were certain DJs that were really into whatever they were into. You know, in London, Ontario,

part of that was, like, west coast underground hip-hop. There was a couple DJs and promote, they were really into that. In my high school, people would have known, of course, what was popular at the time. Biggie and all that, but they also know AC alone. Hmm. Okay. You're because the college radio DJ would play them and they would come touring and perform in London. And so, it wouldn't be strange to hear a kid in my high school, say, yeah, my favorite rappers AC alone.

“And biggie and, you know, and two-poock. It's our pizza shop. This is real life, right?”

And we are fully animated, Hollywood, and television, original life, Farmsland, and then you'll leave in room. Now, back up from the television, I need breathing room. We'll be leaving soon in the runaway brain train, so sustain the cycle, because while game came, be tame, the taco, the shackle, when I echo this mic, check, you know that, okay, hold back the blow back, when I flow that, who blew his wig back to turn around. In 2011, your album TSOL beat out Drake

to win the Juno Award. Yeah. Do you remember your accepted speech? Like, what was the feeling of stepping on that stage? I actually think I said something like, I said, I feel like, you know,

if the old friend Cockroach, like, one of them, I didn't have, like, I was wearing basically, like,

what I'm wearing now, like a hoodie or something. You know, because I wasn't expecting to step up there. Yeah. It's Drake, you know, the Juno's are our industry awards, like the Grammys, right? It's like, it rewards artistry, but also it rewards industry rewards, you know, what has sold, and what has been successful and what has done well from an industry standpoint. So that award, that was a wrap award that was given out, you know, in the non-televised portion. Okay. As often happens,

right? Yeah. But then the next day was a televised portion, was Drake was also hosting. Oh, shit. So he, like, hosted, and then he was up for, like, five awards that night and didn't win any of those awards. He didn't win televised awards. It was just kind of like a perfect dorm, unfortunately, of, like, who else was up to think, like, arcade fire had a really big year. Okay. And there went in bunch of stuff and then, like, Bieber had come out. So it was like, it was really unfortunate,

“because he was hosting that night. He had put out his first album. I think he was on the thank me”

later, like, and you got to think in Canadian hip hop as well. No one had reached the height that he had reached, even at that point, which was not peak peak Drake, but still no one had been thank me later, level of Drake. No one in Canadian hip hop had ever done that before. He was signed to young money, et cetera, et cetera. Like, had Jay-Z on his album. You know what I mean? Like, these were things that he broke past a ceiling and he had won Juno Awards and stuff before,

but unfortunately, I think they were supposed to be his big night in Canada and he came away, empty handed. Well, you won. So congratulations. I remember talking to him on backstage on the televised night. And the one thing I noticed about him was how comfortable he was. Like, it's our Grammy. So this was in a big stadium. He's probably 23 hosting this whole award show and he had like a

he's really built for this. Yeah. Like, he has no nerves about it. Like, he is really built for this level of stardom. You know, and he was gracious and he congratulated me and I congratulated him on everything, you know, because I won one day, but he won three other three hundred and sixty-four days of the year. So yeah, what is TSOL stand for? It's lost backwards. I see it now. And the idea

behind that is like, when you're lost, the problem is you don't know your lost until something

reflects that back to you. So it's like, yeah, it's backwards. And you see in a mirror or something

“reflects back to you that you're not where you should be, you know? Yeah. Yeah, made that album as a, you know,”

26, 27 year old. So I was just thinking about finding your way and if you're on the right path and if you're lost or whatever. And so that's kind of what I was thinking is a lot of times when you're lost. You're actually like TSOL. You're actually not aware that you're lost. Ladies and gentlemen, ways welcome home tomorrow's home and you're closest to your name, you know, contract. Good evening. I would like to welcome everybody here with us and everybody

watching at home to my hometown and the greatest city in the entire world Toronto. You have this wide range of musical influences. You can hear it in your music. You can see it in your style. If you had to program a music festival, like what would be your three headlining acts like for the three nights? And it can be artists from anywhere or whatever. Anywhere, whatever is your festival. Carrus one's headlining. Woo! Carrus one is headlining. Carrus one

is also still the best. He's still number one. He is just such a monster and he has a real desire to destroy every stage. He steps on. Yeah. Night to maybe a more like rock centric.

I'm going to go with Toronto band always. I don't know if you've heard of them, but they're great

pop bands. And then night three is weird out. Weird out. Weird out. I was going to bring everybody together. I love it. I love it. I love it. I love it. And I'm giving him whatever production budget he needs for all the costume changes. The dancers to do fat. And weird out is going to just bring everybody together. Weird out is going to heal everything. Weird out will heal the

“world. Like have you ever looked into a show like what's this closing number? Is it fat?”

I think it or is it? I'm much paradise. I think no, no, no, no. I'm as paradise can't feel. I think it's fat. I think fat's got to close it. Yeah. It's got the drama. I mean, he's just got 30 years and 40 years of hit, man. Like like a surgeon. Oh my god. I think he's got to kick it off with like a surgeon. Yeah, yeah, you know. Because he's also got the accordion in his in his arsenal. Right. Like he can bust out the accordion. It go crazy. I have no idea how he has and has he played

a Coachella? I don't think so. I think he feels more like a Vegas. Yeah. Yeah. Matt it's a square garden.

Like he only does fucking arenas and Vegas. Yeah. He's playing my festival for sure. That's his first

festival booking. Weird out. If you're listening, hit up shit. We got some dates for you. You posted two shows that I'm aware of. The CBC radio ones cute and hip-hop evolution. Yeah. First of all, what is CBC radio ones cute? Because I saw and I saw like a couple clips

“and the range of artists you were interviewing were super impressive and that's what kind of made”

me want to ask you about the the festival thing. Because I think that you're not only influenced but knowledge of music in general is just so vast. Like how did that come about? So CBC radio is our national public broadcasting. It's like the equivalent of the BBC. Okay. So it's a public broadcasting. There's a TV side to it and there's a radio side to it. There's a new side to it that's very important. It's like it's like public service. And Q is the national arts and culture and entertainment

show. Got you. So it airs every day on the radio across the country. And so the range of guests part of it is there's a mandate to have Canadian artists on there. But it's also the main platform for really anybody who wants to promote what they're doing in Canada. So if we have, for example, the Toronto International Film Festival tip that's happening right now. All the movie stars are here,

every day. Like my last day, for example, I spoke with Dolly Parton. I spoke with Dr. John Carlos who if people know like the iconic photo from the 1968 Olympics with the two guys with their fifth raise on the podium. Yeah. One of those guys. And he had just written a book. And so he was on the show. Dolly Parton was on the show. So that was every day on Q. Like that was just like a normal day.

“Next day might be Yo-Yo Ma Aaron Sorkin. And I don't know. You know, how did you even get involved?”

Like how did that come about? Yeah. So there was a previous host to that show that got let go.

And then they kind of started this search for a new host. I'd never done any broadcasting or anything

like that. But they cast a pretty wide net and I got it email saying, hey, you want to come in and guest host for a week. And usually when someone says, hey, you want to try something cool. I just say, yes, you're probably the same way. You know what I mean? And it was an amazing experience. Amazing week. I got to interview the late great Norm McDonald among other people. And so shortly after that, they're like, do you want to do this? And so I was like, yes, I did it four days a week. So I

could still, you know, do music and stuff like that. So it was really a crash course. I was learning while I was on the radio live every day. It was a monster of a show at an hour and a half daily show. Man, live live. And it was really, it's like that. It's like, okay, today, Dolly Parton, Dr. John Carlos, so it's like you're doing your research. Okay, tomorrow, it's Denzel and Don Will. And you know what I mean? Like it was like you're tossed into the

deep end of the pool and you start a swimming. That's it. Every day is like a fun exam. Like you got to learn all this stuff about these people that you may or may not have some base knowledge about. And then you kind of get to speak to them and pick their brain. And they're pretty long conversations

“too, which was nice. I could ask several questions right now. Who was the best? Who was the worst?”

Who was the hardest? Who was the most interesting? But the question I want to ask is, which interview stands out the most for you? Okay. So the first to come to mind Normic Donald, like I'm a big Normic Donald. And especially with him passing away now. It's like, man, I just feel so lucky. I got to spend an hour with this guy. There were times where I was laughing so hard. I had to like just tell him to keep talking like I couldn't even. That stands out

for me. I brought up Dr. John Carlos. He told this amazing story about how after those Olympics,

he was kind of kicked out of, you know, American athletics, like track and field world they hated him. And so he kind of, you know, stumbled and fumbled and then found his way as like an assistant vice principal in the high school. Oh, wow. And he's just kind of like old mean Mr. Carlos there in the principal's office. If you get in trouble, you got to talk to him. That is insane. The kids don't know who he is. And one day this kid pulls a fire alarm and takes off running. And old Mr. Carlos

hops over the desk, tracks him down. And the kid's like, what? How did you do that? And he's just like, look it up, man. That's like some old superhero shit. Exactly. He told that story. I'm like, how can I engineer my whole life for a moment like that? Like that is the greatest story I've ever heard. You know, he walk any back to the principal's office with one fist name. And I'm just imagining

the rumors around the school the next day is like those kids learn that you can never judge anybody,

you know what I mean? You never know somebody's story. That's a lesson they learned. But because it was every single day I forget like I was listening to Paul Simon once with my wife and then like a half hour later I was like, oh yeah I talked to him for like an hour I forgot. Yeah. You know you're probably like that at this point too. You know you mean so many of these you just you you've literally forget. Yeah. And so you went from back to hip-hop evolution. Yeah. I was doing a little bit of

research on hip-hop evolution is see like who the producers were. I was like how did Shag and

“involved in this? And I saw one name that made me wonder was this the bridge Russell Peters?”

Yeah. It's produced by a Canadian production company and the earliest people involved with Russell Peters as an executive producer for people that don't know the comic Russell Peters. He is such a serious hip-hop fan, serious, serious, and dope DJ. He DJs. He break dances like this guy is a hip-hop head and he was actually in Canada he was like the early champion of my music for sure. And then the directors this guy Darby Wheeler who used to program the rap show on a TV station

anywhere. I think it's around as a brand but not necessarily as a television station but he used to program that show so I knew him a little bit. And then the writer was a guy Rod Rigo,

Baskin and who had a magazine called "Pound Magazine" which was our hip-hop magazine. Incredible magazine.

Yeah. I don't want to say like our source because it really had its own voice. I feel like there are fewer and fewer outlets for us. And when you think of hip-hop publications to hip-hop outlets, you used to kind of aspire to get to like a source or a pound magazine or just you know, be covered by them. And now there's this thing where the bigger artists don't want to come to hip-hop media as much. And the smaller to mid-tier artists can't get covered.

You're hip-hop media because they're chasing big fish. Yeah. What's your general take on hip-hop journalism right now? Like you know the outlet? Yeah. Because you're in the middle of promoting album. I'm just so grateful for the platforms do exist still and to have these conversations like I think they're really vital because as you know hip-hop is a culture there's different dynamics

“at play. And I think people that care about it can have the important conversations about like”

is there too much this? Is there not enough this? Because it's supposed to be all of it. Yeah. But when hip-hop is good is when there's all of it. And but that requires like conversation and balance and yeah. I don't know. I miss it. I miss having that sense of the whole thing. You know what I mean? Yeah. Yeah. You know with hip-hop evolution we were just trying to tell the story, but you know why you can still tell it while a lot of these pioneers are still around

to tell the story of how we got to this place and to tell the story of like we were touched on earlier the regionality that's so interesting and cool about hip-hop. Tell some of that story while we still can while the while the actual people are still around to tell the story. You know that was one thing our director really fought for because broadcasters obviously would want Drake Nicki Minaj talking you know because they're big names but he really fought for no

no. I don't want anybody talking about the Bronx in 1973 that weren't in the Bronx in 1973. I don't want anybody talking about Miami in 1980 that was not in Miami in 1980 because that's important. Again to the journalism to the storytelling to really get in the actual picture of the thing who was actually there that can speak to it. Yeah hip-hop really is not just a music. It is a culture. It is really all the different influences. It's the consciousness. It's the street

stuff like when it's all there is when it feels like life and feels like culture and feels like a thing you know but that requires some like intelligent conversation and requires people to care about it. Do you see yourself doing any more like more journalistic media related things in the future?

Yeah maybe if the opportunity presented itself the way I always see it for me is like making

my own music is the thing that you know no one asked to tap me on the shoulder and ask me to do. I'm going to do that creating stuff comes to me naturally whereas the media stuff has always been something where like an opportunity has been presented to me and then like oh like yeah of course I'd love to do that but I don't wake up in the morning feeling compelled to seek it out. Got you. If that makes sense. When it shows up and it's interesting and I feel like I can

contribute something I say yes so like I'll do a lot of one-off interviews for example.

“I got to interview John Batista last year. Oh wow but yeah for some reason the only thing I”

feel like compelled to do internally is make music. Hip-hop evolution is a chronicle of America's most influential music since jazz. This robust history of four part series includes penetrating interviews with icons including Grandmaster Flash, Rendium C and Public Enemy. Here to accept the Peabody Award

is Shadra Cabango. This is an incredible honor for us. We have a lot of people that we want to thank

first of all the Peabody jury for finding us and then somehow choosing us as a winner. We want to thank you. We're both men of a certain age. We've been around hip-hop for a long time now. We've seen the game go from physical to digital. What's something that you didn't like about then that you love about now? Usually as we romanticize back in the day and we kind of demonize right now but I think that there's good and bad in both. There's definitely pros and cons. I think the democratization,

the way that you can create if you have an idea as I was saying at the outset like I grew up

“freestyling with friends and stuff and partly because that was fun but when I really think back”

it was also because that was all you could do. Maybe two people in my city had beat machines,

you couldn't make anything. Maybe there was two studios in my whole city and there's no way

“as a 15-year-old I could afford to go in there. One pro of now is you actually can create as a kid.”

15-year-olds now have already made 10 mix tapes. But there's pros and cons to even that. There was

a romance to our era. I heard toilet quality tell this amazing story about how he used to

freestyle probably in the Washington Square Park in New York and he heard about hyeroglyphics and souls of mischief and he heard that they were dope and the competitive MC in him hopped on a bus for four days to go to Oakland to find them and battle them. That sounds unhaxed and extremely awesome. Unhainsed extremely awesome but to me it speaks to also like that's all you could do with rap. Try to be good. He didn't even have their phone numbers or their real names. He didn't

went there and asked people where are they and then like my favorite is like the culmination of the stories like you know he found them they battled and they were both like okay yeah you're dope and that's it that you get back on the bus for four days. So it is like there's also something beautiful about that era of hip hop too you know where it's like yeah man like that's all you could do and you had all these wild experiences because there was no google maps you're just on a bus

and then the community around it was so tight because obviously you love it you're you're willing to do these unhinged things for it. So yeah there's absolutely pros and cons. Yeah you had to seek it out because it didn't really necessarily exist for people like me or you in the same way it existed for someone in Oakland or say in New York like for me reading magazines and devouring

“album artwork and and stuff like that was the only way that I would be able to figure out what was”

happening exactly and it just made it on one hand it made a harder on the other hand it made it

more special exactly yeah. I still remember to this day this kid George the first day of high school

had this Tommy rugby that was green with the Tommy spelled out and I was so into magazines and hip hop and the clothing that I was like I know all of the Tommy pieces you can get in my hometown and he didn't get that from my hometown. He must have gone to an outlet mall in Michigan or in Detroit and so you know like okay he's cool yeah I'm going to talk to him at some point like you know it was just so special because of that which is lost now but on the other hand again

you have the opportunity to create now if you have an idea you can make it you can express yourself which we didn't exactly have it was so prohibitive. If you could leave us with one quote one phrase one bar it doesn't have to be a whole verse I know usually people are like yo kick a 16 yeah what's one of those like bars that's like capturing your mood or the moment. Okay yeah the one that comes to mind is a song on an album called Rain I'm just gonna go with the chorus I say

don't need to rain like a royal we just need rain on the soil and so you know that to me kind of

“sums up what I'm trying to say with this with this album I think or an idea I'm trying to get at you”

you know don't need to rain like a royal we just need rain on the soil you're like starting new you know we just need to nourish the soil we just need to we don't need to be on top we don't need to have all the power we need to give something you know we need to contribute some so yeah I'll I'll leave on that note. I think that does sum up the title of the album perfectly and I think that does sum up the spirit of the album too

and listen man I could talk to you for a little hours I'm I'm mad this is our first conversation for

room but I'm hoping this is not our last conversation you know yeah no definitely I've appreciated and yeah man we'll chop it up for sure I'll make it down to America somehow somehow somehow some way we got to get you out out here maybe in like three years or so you know yeah you can't do all things once again big shout out to Chad when we recorded this interview he was promoting his album starter new so if you haven't heard any of his music yet I'd say that's a

good place to start I also somehow forgot to mention the fact that he won a P body award

you should definitely check it out and that's it for this week's episode but make sure to stick around

“after the credits for the extras to arm a knack of rap is created and hosted by Don Will”

executive producers are Don Will I just says say and Travis Harris the show is produced by Colby Balfour the show's associate producers are Brianna Harris T.R. Jackson and Jevon Stevenson the production coordinator is Bianca Ortiz audience development is handled by a son sprawl and a Sean McCullen add-ups an audio marketing strategy is handled by Fabian McKins

“the show is directed by Travis Harris video editing was done by Kobe Balfour this episode of the show”

was written by Don Will art direction for the show was handled by Calshik Kaudendi graphic design was done by Jefferson Harris the show's camera operators are Travis Harris Kobe Balfour trigger Bowden and Compton Timberwolf. Compton's also our technical director and audio engineer the show's theme music was provided by Don Will with additional production

“in each episode by Vaughn P. Don Will also doesn't really think that speaking about”

himself and the third person is that weird anymore which is actually kind of weird y'all still there

I cool as I mentioned in the episode I have a few collaborations with Chad this week's post credit is dedicated to a song we did titled "Bound Cypher" it features myself along with Vaughn P. as our group Tanya Morgan, Chad and Blue it was produced by one of Chad's long-time collaborators T.Lo and well here it is my mom's jack around the real lack not staring you tip the blue door monitor that the

make another words like what we're going to want you mighty match group black radical really actually feel like somebody tackled you they say fine Joe Voices be your mine my pop-a-body Marcus Corbyn combined rap sync of black jingles won't slinkle

wait no hot-a-hanging niggas what my third finger slap soap and hand it at them some

jam and wrap with hot stand a tank wrap this dance is what's called a tank you're my bad as tie you just call them don't they don't have the flow oh wait you thought I was going to play the whole song now go stream that joint run them numbers up right now come back next week and know all the words you know I'm saying yeah all right I'll see you guys next time on the Almanac a rat, if you better know the book of words.