Robert Glasper
Robert Glasper performs at Blue Note in New York City on Saturday, Oct. 5 during his residency.
Dennis Manuel

Robert Glasper Talks 'F**k Yo Feelings,' Yasiin Bey, And Lessons From Herbie Hancock

Three nights after releasing his F**k Yo Feelings mixtape and starting his second residency at the Blue Note in NYC, Robert Glasper sits down with VIBE.

“This second set, bro...”

Robert Glasper mischievously smiled and widened his eyes as I began to turn off my recorder. We’re wrapping up an interview and sitting side by side near a soundboard at the historic Blue Note jazz club in New York City, where fans are packed downstairs for the third night of Glasper’s month-long residency. He had a previous residency at the Blue Note last year, and it was a hot ticket: acts such as Black Star, Anderson .Paak, and Lupe Fiasco shared the stage with him, while celebrities like Chris Rock, Cornel West, and Chadwick Boseman came to enjoy from the audience.

For the start of this year’s residency, the elusive, expressive Yasiin Bey joined him for four nights in a row, with two shows each night. On Saturday (Oct. 5), the Brooklyn renaissance man wore a black hoodie over a solid black tee, wielded his signature bright red retro mic, and went through fan favorites like “The Boogie Man Song,” “Auditorium” and “Casa Bey,” all over fresh, warmly layered interpretations by Glasper and his bandmates Derrick Hodge, Chris Dave and DJ Jahi Sundance. Bey is visibly impressed by the band, and at one point, dances and spins in place for 10 minutes while vibing to the music. But with Glasper’s reputation and relationships, other artists are prone to just show up, and that’s why Glasper was so excited about the second show: god-level MC Black Thought and soul singer Bilal both made surprise appearances, leaving members of the crowd hyperventilating. Thought exhibited his otherworldly lyricism and breath control, dropping sets of what felt like 100 bars at a time and trading rhymes with Yasiin while the band played a rendition of Madvillain’s “Meat Grinder.” Bilal performed his timeless 2001 single “Reminisce,” with Yasiin spitting his verse from the song. Main Source cofounder Large Professor slipped in the door before the show as well, though he didn’t take the stage. For much of the show, Glasper goofily joked with the crowd, often prompting Yasiin to flash his own bashful, dimpled smile. It's just one night of more to come: the rest of the residency will continue through the beginning of November with Esperanza Spaulding, Luke James for a Stevie Wonder tribute, T3 of Slum Village for a J Dilla tribute, and the original Robert Glasper Experiment, with more guests sure to pop up unannounced.

That same spirit of spontaneity fueled Glasper’s new mixtape, F**k Yo Feelings. Glasper arranged a two-day jam session with his band and invited artists and friends to keep company. What began as a good time with loved ones resulted with a mixtape that features YBN Cordae, Buddy, Rapsody, Herbie Hancock, Bey, Muhsinah, and many more. It's the latest release in a career that has seen Glasper simultaneously carry on jazz traditions and buck its conventions. As a pianist, bandleader and musical director, he’s excelled with making jazz records for the iconic Blue Note Records that traditionalists can love; but he’s also earned two Grammys for his two Black Radio albums, which employ raps and vocals by Yasiin Bey, Lalah Hathaway, Erykah Badu, and more. He's consistently lent his talents to other musicians’ albums as well – most notably Kendrick Lamar, for his game-shifting 2014 LP To Pimp A Butterfly. Regardless of the platform, Glasper is always making jazz cool, and adding victories to his own belt in the process.

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VIBE: You’re back at Blue Note for your second residency here. How was last year, and what made you come back?

Robert Glasper: Last year was amazing, with all the guests that came through and the turnout. We sold out 44 of 48 shows. The shows, the people, the guests following out that were in New York. It was just epic sh*t. And Blue Note was like, “we definitely need to do this next year.” So I was like “cool, let’s do it.” I get to be home for a month, and I’m never home for five weeks straight. Gives me a chance to be home, hang out with my son every week, and the money ain’t bad either. (laughs) It’s kind of like being on tour without being on tour.

Last time we spoke, you were telling me that even though you live in NYC, that most of the creative energy is in LA because that’s where everyone records.

There’s more recording in LA, because everybody moved there. But the creative energy is still here. From my experience, you learn how to play and create in New York, you get all those skills. And then you move to LA to make money with it. (laughs) New York’s the place to go when you’re dope, kind of for most things. The competition is so crazy. In other places, it’s slim pickings of who’s dope, so it’s not something that’s going to push you hardcore. But when you’re here, everywhere you go, muhf**kas is dope. I went to college here, there’s motherf**kas here who made me scared to play piano. They would call my name, and I’d sit at the drums because I’d rather sound bad on drums than piano in front of these people. It really chiseled my sh*t to be dope as f**k.

LA is the place with a plethora of everything you need to make money. All the studios, the producers, all the film stuff. The opportunities are in LA. Before you used to go back and forth from New York to LA for opportunities because there were still a lot of artists and producers here. But it’s so expensive, everybody moved out to LA. It’s more stuff out here, you get more bang for your buck, get some sun. You might die in an earthquake, but you know, see where it takes you. (laughs)

You’re very intentional with how you label records: you have ArtScience, you have Black Radio and Black Radio 2. Why is F**k Yo Feelings a separate mixtape, and not in one of those other series?

All my records start off one way, and end up another way. I always say the universe produces half of my albums. Originally this was going to be a jam session with my band, and we were just recording it. I ended up being like, let’s bring people to listen to the recording. Not even artists, just tastemakers, friends, VIPs, to come hang out and put a bar in there, 15-20 pairs of headphones so they can be in the room and be part of the experience. It wasn’t an album; it was just, let’s record for two days and see how it sounds. But people started falling through the studio, and it just became a thing. As we kept recording –- we were only there for two days – I had the amazing singer/songwriter SiR come through. He’s a super-fast writer so I said, “while we’re jamming, if you have any ideas, just write them down, and maybe they can become songs later.” One of the songs he had an idea for was “F**k Yo Feelings.” That was early on the first day. The singer YEBBA was there, and I’m like, “let her sing that.” And that became the premise of the whole sh*t.

I feel like that’s a great mantra for today’s times. Where I’m coming from, F**k Yo Feelings can mean so many different things. This is a time where everybody’s fighting for their place in the world to be who they are, whether you’re LGBTQ, whether it’s the females trying to get equal pay and equal rights, black people trying to finally be equal and end racism. F**k Yo Feelings is a mantra saying, respect someone else’s plight that’s not your own. Take your feelings out of it and just respect their fight, understand what it is, and hell, fight with them. Just because it’s not your fight, it doesn’t mean they don’t need allies. Or, just get out of the way. Also, feelings can lie to you. You get in your feelings about sh*t, and a lot of times, feelings aren’t going to be what propels you to the next chapter. Sometimes, feelings can hold you back and give you a false sense of reality. Sometimes, you have to say “f**k how I feel, I need to do this.” There’s so many angles you can go with it, and this is something that so many people feel like saying, or say in their mind.

I hear that, but I can’t front: the cover has you sitting on a throne with your shirt off. So I thought the title was basically saying “f**k these artists who think they’re f**king with me.”

(laughs) Well, humbly speaking, I don’t think there are dudes that think they’re f**king with me. (laughs louder) In a real way, I don’t know the pianist that’s arguably in the top five in the jazz world, top five in the hip-hop world, is arguably the top five in the R&B world in terms of playing my instrument. I don’t know that guy, but me. You can have your little argument, “I’m better than you at jazz,” sure. If you want. But all three? And I have the Grammys to back each one of them up? I put in work out here. So it wasn’t that. It’s more like f**k your feelings when it comes to all the stuff I just said. But also, people have an issue with how I’m crossing all these genres and doing what I do. The average jazz musician doesn’t look the way I look, talk the way I talk, or behave the way I behave. Most jazz musicians are in a box, and it’s a box that people are comfortable with and a box you’ve seen before. People got some sh*t to say about my sh*t all the time, and I’m definitely saying f**k your feelings to that, too. Because I’ve done the box you like, I’ve proven I can do that. So what’s next? I don’t need nobody’s approval because Herbie [Hancock] loves me, so I’m good. (laughs) If Herbie’s down with me, I don’t need one other person’s approval in the world.

This mixtape also has a lot of younger rappers: Denzel Curry, YBN Cordae, Buddy. Was that intentional?

Yeah. I want to keep my hand in the young pot, too. I’m not getting any younger. I wanted this record to be something that everybody could love and like, even different generations. I felt it was important to have younger cats on here, and to put younger cats in situations they wouldn’t normally be in. YBN Cordae wouldn’t normally be on a track with Herbie Hancock, but he’s so dope. YBN Cordae is an old soul, and he respects the people that came before him, while he’s making new things. Terrace Martin hooked me and YBN up, and Terrace is all about that too. People always associate me with the backpack rappers, and they should, because that’s what I’m dwelling in all the time. But I like other sh*t, too.

I want to talk about your relationship with Yasiin. I know he was on the first Black Radio, and you’ve worked together before that too, right?

Live, all the time. He basically used my band for his live stuff all the time. I was his music director, starting in like 2006. Whenever he would do things with a live band, they’d be with my band. At first, something happened and his piano player couldn’t make one gig. So when I sub a gig… (laughs) I went in there and put the kitchen sink in that muf**ka.

He got fired on his day off?

It was a wrap. So I start putting my guys in his band. “I see what you’re going for. You need Chris Dave. You need Derrick Hodge.” But I’d met him before because he was around Bilal all the time. He was on Bilal’s first record, and I was his music director the whole time till 2007. But I started doing my own thing and we’ve been rocking ever since. We just have one of those connections on stage, bro – he’s like another instrument. He’s always comfortable to the fact that we play sh*t that most rappers would not rap over because they don’t know how. It’s not your average four-bar chopped beat. He’s like, “I love that. It’s got 32 different changes in it, and I want to rap over the whole thing.” Or odd time signature sh*t that’s not normal, he’s comfortable. He can go anywhere on stage, and that’s why every show we do is different. It allows me to still be free and not have to worry about, “we have to stay in this box for him.”

He seems to be a recluse in a lot of ways, especially in the past five or six years. But he’s on your new project, he’s doing four nights in a row with you with two shows per night, and he did shows at the Kennedy Center with you recently. How do you get a hold of him?

I got the bat phone, my ni**a! (laughs) Nah, we have mutual respect for each other. He tells me this: this is the highest musical level, I feel, you can possibly be in when it comes to rocking with a band. It may be different, but it ain’t gon get no higher. He has such a love for jazz and hip-hop and other styles of music, he knows we can go anywhere. We’ve done pop songs together. I’ve done Cyndi Lauper stuff with him, Neil Young, Radiohead, we go all over the place because he loves to sing too. He has a respect for what I do and respect for the musicians I have. And he wants to do it. It’s different when it’s a gig, versus, I want to do this, because it feeds him musically, too. Some gigs are just gigs; you show up and you might not, because you’ve done this before. We could do the same songs and it’s going to be totally different than last night. I think he feeds off that.

But he’s definitely a recluse, and sometimes he won’t show up every now and then. (laughs) He’s never stood me up. It was never, “where’s Mos?” He can do that to people, but he’s never done that to me. He may say, “ah, missed a flight,” so we have time to figure sh*t out. It’s a respect thing.

What are the chances you two make an EP, or a full album together?

We’ve been talking about that for years, and that’s super, super duper most likely going to happen. Without a doubt. He wants to, every time we talk, we talk about that. All these shows are being recorded every night, by the way. So it could be sh*t from here, live.

He was supposed to drop multiple albums over the past few years. He had the album with Mannie Fresh, and another solo, Negus In Natural Person. He dropped the album with Ferrari Sheppard, December 99th, on TIDAL in 2016, but that wasn’t my speed.

I give him sh*t about that every day. (laughs) I give him sh*t about most of his last albums. “F**k that sh*t, my ni**a. What are you doing?” That’s my dude, I can talk to him like that. “What are you doing, my ni**a? You know what this is. This is magic! That sh*t ain’t magic!” He looks at me like (curls top lip and lowers voice to impersonate Yasiin Bey) “nah you right, you’re right, Ron.”

His second album, The Ecstatic, isn’t on streaming services anymore.

He doesn’t believe in all that. We talked about that last night. He’s not necessarily in with the new times like that. “I gotta give away my sh*t for free, just because you’ve got Wifi? Ni**a, you know how hard I worked on this sh*t?” He ain’t even got a cell phone, so getting him to understand the new wave of sh*t is different. (Ed. note: at the beginning of both shows, Yasiin Bey requests the crowd not use their cell phones during his performance, and promises to “enforce” if they don’t get with the program. ) He’s very much anti all that sh*t. It’s going to be something to gradually get him to understand. We put “Treal” (from F**k Yo Feelings) out and he’s like, “yo. I just saw a video of our song on YouTube. For free?!” Mos, no one buys music. That’s just not what it is. These days and times we’re in, you get out there and try to be popular as you can, and when you do shows, that’s where your money comes from. But no one is baking cake off of music anymore. That's not the day we’re in. Unless somebody like Taylor Swift. I know at one point she was like “f**k that sh*t” and it wasn’t on Spotify. But her fan base is millions of people; she puts something out, and they’re going to pay for it. Our people, eh, not so much. (laughs)

You also said a few years ago that you’d be forming a group with Terrace Martin and James Fauntleroy. Is that still going on?

We did like one or two songs, f**ked around. This is one of those things where everybody got busy. I’ve had a few groups go like that. But it takes a while for a group to do a project. You do a song this month and then three months later you do another song, so the album may not come out until two years later sometimes. But that’s still something we want to do. It was hard to do August Greene, with Common [and Karriem Riggins]. That was hard to get done, and it’s not easy to tour that. We all have our respective things happening, so we’re looking in the cracks like “let’s try to do a show here.” Rashid’s doing movies and that kind of stuff.

What would you say you’ve learned from Herbie Hancock, and do you think you’ve given him any gems that he didn’t have before?

There’s two things I learned from Herbie. You’re a person first, and you’re a musician second. No matter what you do in life, you have to remember that you’re a human being first, and what you do is secondary. What you do can always be taken away from you, and then you’re just left with who you are. I was at his house doing chants with him, because he’s a Buddhist, and I just listened to him talk and that’s one of the things he said. The music is connected to the person and the music, person and spirit are all combined. If you’re a good person, that can come through the music. You just have to remember you’re a person first, and a musician second. That’s how he is, how his aura is.

Second thing I’m learning from Herbie, you can learn from anybody. No matter how high or great you think you are, you can learn from younger people. That’s something that he saw firsthand with Miles (Davis). Miles got Herbie in his band when he was like 19. And Miles trusted the young cats. When he saw these young people got something to say. All Miles’ bands were young people. Miles was a genius at knowing what situation to be a part of because he saw they were on the brink of something. Miles put himself in that and could help grow that, but he knew he could learn from young people. That’s why Herbie hangs out with us. Where we be at, he be pulling up. So I learned that from him: always have your ears open. Even if you’re a master at something, masters can learn.

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DJ Cassidy

DJ Cassidy Speaks On 'Pass The Mic Vol. 2' Ft. Hip-Hop Greats LL Cool J, Rakim, Salt-N-Pepa, MC Lyte And 30+ More MCs

With the COVID-19 pandemic wreaking havoc globally, 2020 has been a year filled with tragedy and uncertainty, as an innumerable amount of lives have been taken or affected as a result of the spread of the virus. The world of entertainment, which relies on ticket-holders and live spectators, is affected severely, with artists unable to tour, give live performances, interact with fans, or even create material by committee. This unprecedented blackout of sorts is a tough pill to swallow and threatens to forever alter the industry as we know it. However, as a culture and artform that built its history around making the best of times with minimal resources at its disposal, hip-hop is at the forefront of keeping the public entertained and butts moving, with various DJs, artists, and producers discovering new ways to stay in tune with the people.

While new, digital platforms like DJ D-Nice's "Club Quarantine" and Swizz Beatz and Timbaland's "Verzuz" battle series are ahead of the curve, the latest virtual experience to emerge is Pass The Mic, a live event created and hosted by legendary spinner DJ Cassidy. A native New Yorker, Cassidy, who made his name via the club circuit during the late '90s and early aughts, has a resume that rivals the most accomplished of DJs, having spun at high profile events such as the 2009 inauguration ball for Barack Obama, Obama's 50th birthday party, and the wedding of JAY-Z and Beyonce. Performing hundreds of shows on a yearly basis, Cassidy, whose touring schedule was halted due to the pandemic, was stuck at home when a conversation with legendary soul musician Verdine White of Earth, WInd & Fire gave him an epiphany.

 

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Thank you @revwon @kingdmc @llcoolj @mrchuckd_pe @therealdjchillwill @therealdougefresh @thegodrakim @mcshan1 @mcmilkdee @specialedmusic @emceeserch @mclyte @chipfu @erick_sermon @doitalldu @therealgrandpuba @djpremier @darealgregnice #smoothb @blacksheepdres @therealclsmooth @realpeterock darealmonielove @youngmc89 @chubblive @officialbigdaddykane @robbasemusic @kidfromkidnplay @the_playgroundz @darealpepa @saltnpepaofficial @speech__ @rasadon @eshe2xgrammy @treachtribe @unclevinrock ❤️ You are my heroes. And to all 122,000 people that tuned in, I am truly grateful. 🎙👑🎙#PassTheMic @rockthebells @behindtherhymetv @twitch

A post shared by DJ Cassidy (@djcassidy) on Aug 5, 2020 at 9:13pm PDT

Cassidy explains: "In the heat of the pandemic, in the middle of the quarantine, I was facetiming with my good friend and mentor Verdine White of Earth, Wind & Fire. Verdine has grown to be a close friend whom I truly admire, and he and I go to dinner every month or so and, obviously, we were not able to do that. So we were on a Facetime call catching up and while I was talking to him, his song, ‘That's The Way of the World,’ came on my speakers. And ‘That's The Way of The World’ is my favorite Earth, Wind & Fire song and on a regular day, it sends a chill down my spine. But being that the world was in flux and everyone was in their homes, separate from each other, [and] being that I was looking into his eyes as I heard the song, a kind of special feeling came over me. And I said, 'You know, I'm very lucky that I have so many relationships with all of my heroes of music and I can hear their music in their company.' And I said, 'Wouldn't it be amazing if I could find some way to give that special feeling to other people around the world during this crazy time. And I said, 'Well, if I can connect my musical heroes from home to home, perhaps I can give people this feeling that I'm feeling right now. And perhaps I can use that as a way to pay homage to the heroes around the world fighting for health.' So therein lies the foundation of the whole idea."

That spark ultimately evolved into Pass The Mic Vol. 1, which saw some of the biggest R&B stars of the late '70s and the '80s performing their greatest hits from the comfort of their homes, for the world to see. The event, which was streamed live on Twitch before being uploaded to Cassidy's Instagram page, was a big hit, amassing upwards of twenty thousand viewers, prompting the DJ to follow up with a second volume geared towards his first love: Hip-Hop. Airing this past Wednesday (Aug. 5), Pass The Mic Vol. 2 saw DJ Cassidy summoning a slew of his friends, who just happen to be among the greatest rap artists of all-time, to join him in a cipher of the most pivotal rap records of the '80s and early '90s. DJ Premier, of the legendary rap group Gang Starr, spoke on DJ Cassidy approaching him to be a part of the massive celebration. "When Cassidy texted me the links to VOLUME 1, I was blown away by the people he chose," Premier shares. "And it kept getting more and more exciting as the songs progressed to wonder who's next. Even the way he sequenced it..."

Beginning with Run of Run DMC performing "Sucker M.C.'s," the nearly forty minute set included appearances from the likes of LL Cool J, Chuck D, Rakim, Big Daddy Kane, MC Lyte, Kid N' Play and Naughty By Nature, all of whom tear the house down, albeit virtually from the comfort of their own. The session includes many magical moments and is filled with a love for one another, as well as the culture that brings us all together.

With the second volume in the series having took place, with many more to come, VIBE spoke with DJ Cassidy via phone about the genesis of Pass The Mic, what the process entailed putting the first two volumes together, the healing and unification of music, and how Black music has had an indelible impact on his life and career.

VIBE: The first volume of Pass The Mic included appearances by Earth, Wind & Fire, New Edition, Bobby Brown, Kool & The Gang, Patrice Rushen, and other stars of the '70s '80s. What made you kick off the series celebrating that particular era?

DJ Cassidy: I think two main reasons come to mind. First of all, the Facetime call with Verdine White was really the genesis of the concept, so it was that call that inspired the whole idea. And it was that song, the first song on Vol. 1 that was playing, so to me, it was automatic that I should go to that era of music to set the project off. But the second reason is kind of a bigger picture, which is I really believe that that music is the most feel-good, uplifting music ever created. It is undeniably body-moving and for two-thirds of my life, I've traveled the world, making people dance and there is no music that uplifts, inspires people, makes people smile and makes people dance than the r&b music of the '70s and the '80s. So when the world is going through what it's going through and people wanna smile and people wanna be uplifted and people wanna unite, there really was no greater music to channel to try to do such a thing, to achieve such a mission.

How would you describe an episode of Pass The Mic and what are some unique wrinkles users can expect?

Pass The Mic is an interactive mixtape delivered in a way that you've never experienced before. As I drop each record, you experience that record with the artist who recorded that record and you connect with those artists from home to home. And through that personal experience, you're left with an emotional experience of music unlike any before. And I'd be lying if I said I thought that all the way through when I started, I didn't. A lightbulb went off for me, I saw the big picture and I went for it, but I didn't quite understand how emotional the response would be until I premiered it.

You've also mentioned how the times we're in, with the COVID-19 pandemic, was also a factor in you creating Pass The Mic. What are your thoughts on how other DJs and producers have been adapting to the climate we're in?

Well, I think the pandemic has been such a tough time for everyone around the world, yet it's also been a great time for DJs to be the best versions of themselves. At our core, we DJs unite people. At our foundation we bring people together through music and no one exemplified that better, bigger and faster than D-Nice. In the first week of the pandemic, he found a way to unite the world through DJing and it was truly beautiful to watch then and remains beautiful to watch now.

You've been spinning professionally for upwards of two decades and have an expansive list of high-profile artists and musicians at your disposal. What has the recruiting process for Pass The Mic entailed and how would you describe the artists' reception to the idea of it all?

Well, the process has certainly evolved, I would say that's the best word to use. The recruitment process for Vol. 1 was entirely different from Vol. 2 'cause while recruiting artists for Vol.1, I had nothing to show. All I had was a crazy idea that some people understood and some people didn't, but what they did exhibit was a unanimous trust in me and for that, I was not only grateful, but extremely honored. We're talking about some of the most legendary r&b artists of all time, they don't need to do my Pass The Mic idea. And they all took a leap of faith and they put their trust in me and I think they were all excited by the results and that really was the biggest reward. The recruiting process for Vol. 2 was entirely different because not only had many of the artists now seen Vol. 1, but for those who didn't I of course had Vol. 1 to show them. One of the greatest experiences was calling Big Daddy Kane, one of the greatest rappers of all-time.

Now, I haven't spoken to Kane on the phone in years. In fact, I might have never spoken to Kane on the phone before. I first developed a relationship when he performed at my birthday party in New York many years ago, over ten years ago. And every time we see him, it's all love and, of course, I admire, idolize and look up to him and I wasn't even sure if I had the right number I called, I got a voicemail, it wasn't his voice. I text him, I said 'Kane, it's Cassidy, is this still you?'  And he called me within five minutes and I picked up and go, 'Kane!' And his first words were, 'Look, if you're calling about something having to do with Pass The Mic, I'm in,' and that was one of the greatest phone calls I've ever had in my life. And I will never forget that one sentence. Big Daddy Kane, the great, the legend, the forefather, he not only saw it, but loved it, felt that's why I might be calling and was down to take part in whatever I was doing and there's really no words to describe that feeling. And that sentiment was common in many of my phone calls  that a lot of the artists I was calling had seen Vol. 1 and were really emotional in their response to it. So the recruiting process from Vol. 1 and 2 were very different, in that respect.

For the debut volume of Pass The Mic, you partnered with Twitch, a streaming platform that's been continuing to gain steam. What spurred you to use that particular platform and is that partnership official?

Firstly, what I was doing wasn't possible to present to people on Instagram. I love Instagram, it's the platform I use the most, it's how I share my life and times, but there was no way I could've presented Pass The Mic through Instagram. So I was looking for a platform that allowed for a live experience, one which I could treat as a live event and there were several: YouTube, Facebook and Twitch. And Twitch seemed like a great home for the launch, their platform, their technology, their fanbase. They're extremely forward thinking and it was a great place, but it was also a partnership with the Behind The Rhyme channel. Behind The Rhyme is a channel on Twitch that presents  lots of great content having to do with hip-hop and r&b, specifically classic hip-hop and r&b, but all kinds of hip-hop and r&b. So it was a great kind of home for Vol. 1 and it worked out well, so I've chosen to host a live event for Vol. 2 there as well. And I've also partnered with Rock The Bells on this edition, they represent all things classic hip-hop so it's self-explanatory. The partnership is a no-brainer. LL Cool J and his brand represent everything that Pass The Mic Vol. 2 strives to represent, the beauty and inspiration of classic hip-hop.

The second episode of Pass The Mic aired this past Wednesday (August 5), and saw you putting the focus on the golden era of hip-hop, with legends like LL Cool J, Run-DMC and Salt-N-Pepa all appearing on the show. How would you describe your relationship with that era of hip-hop and how the music inspired you as a DJ?  

Well, I grew up in that era of hip-hop. I grew up memorizing the words of the hip-hop records of the mid '80s, late '80s, and early '90s, that was my childhood.  Hip-Hop is my first love, hip-hop is why I became a DJ, hip-hop is why I asked my parents to buy me two turntables and a mixer for my birthday when I turned ten. And these artists, the artists who I've included in Pass The Mic Vol. 2 are my true heroes. They are the artists I looked up to as a child, they are the artists I idolized as a child and to this day, I hold them up on the highest of pedestal.  They define the way I walk, the way I talk, the way I danced, the way I dress, the way I fought, they gave me identity. Without these artists, I don't really know what my identity would be. I became who I am through this music, so this volume really meant a lot to me, the last twenty-one days have been surreal.

Yeah, for sure. The reason the past twenty-one days have been so surreal is not only because I got to Zoom with all of my heroes of hip-hop, but because after we knocked out what we had to do we stayed on for another half an hour or more talking. And sometimes I'd be on with some of these artists for an hour and I'd be asking them questions and they would tell me stories and I just heard the greatest anecdotes. And sometimes with those whom I had relationships with, we talked about stories that involved me and us and those were incredibly special, for obvious reasons, but all the stories were just, like, gems. They were just dropping gems on me. I have all that footage and I hope, at some point, there is another component of Pass The Mic where I share those stories.

What would you say are three records from that period that personally resonate with you?

"Sucker M.C.’s" is a very important song to me, as it is to hip-hop culture, as it is I believe, to pop culture. "Sucker MCs," in my opinion, is the archetype of a hip-hop record. It's so brilliantly simple and it's powerful because of its brilliant simplicity. All that's on there is a kick, a snare, a clap, and rhymes. There's no chorus, it's only four verses. And if you think about it, on paper, it's the simplest hip-hop record ever made and it's just so magical because if an alien came from out of space like, 'What is hip-hop?' I would play them “Sucker M.C.'s.” So, for me, it was really important for that reason, to set off this particular volume with that record.

Another record that's really important to me is Arrested Development "People Everyday." It's not only one of my favorite hip-hop records of all-time, it's one of my favorite records of all-time, it just simply exudes joy and celebration. And Speech is not only an incredible rapper, but an incredible singer and his voice is just simply something you can feel. He's uplifting, he's truly a unifying spirit and I'm so happy he was willing to get down 'cause he really brings the celebration to this.

"Hip Hop Hooray," which closes out Vol. 2, is really important to me. As a child, I worshipped the ground Treach walked on. I thought Treach was the coolest person to ever walk the face of this earth. And Treach and Vinnie are the sweetest guys, I've known them since I was a child and they've always been really supportive of me and my career and that song is special. No matter where you go in the world, no matter what music someone loves, no matter how old they are, no matter who they are, no matter where they are, everyone sings along to that chorus and knows exactly what to do with their hands. And there's something really beautiful about that so there's no better song to end this with.

The first two episodes of Pass The Mic have been geared towards celebrating Black icons in music, across various genres. In the age of Black Lives Matter and social injustice, what are your thoughts on how music and the performance of it can help bring forth unity and healing?

I think there is no greater unifying power than music and I think there is no greater healing force than soul music. And soul music doesn't just mean r&b music, it means hip-hop, too, hip-hop comes from soul. And I think we're living in a time of divisiveness, bigotry and of separation and I think we, as humanity, can look to any one thing to uplift people and unify, it would be music. And you mentioned Black music, my life wouldn't be what it is without the music of Black artists, hip-hop and R&B has defined my life in so many ways, and not only in my career. It's my source of inspiration, it's my source of culture, it's my source of style, it's really my source of happiness. And it's through the music of soul artists and hip-hop artists that I've been able to travel the world and make people dance and make people smile.

What do you see Pass The Mic evolving into moving forward and what do you hope viewers walk away with after viewing an episode of Pass The Mic?

I hope people walk away feeling uplifted, that's it. That's the goal, to uplift. And by sharing these records in a unique way, I've been able to uplift, then I've done my job. The magic is in the music and I'm just a messenger. What do I see for the future? Well, at this point, sky's the limit. I didn't anticipate quite an emotional response from people and it's been quite overwhelming. As I said, this was a little passion project to stay creative, to connect with my heroes and to put a smile on a few faces and it turned into something bigger than I could've ever imagined. There's certainly gonna be more volumes and what the future has in store, we shall see.

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Photo by Jax Teller (@_30onme)

Beats, Blackness, and Revolution: A Conversation With Jay Versace

Jay Versace doesn’t care who you thought he was. He never has, and never will. Since his influencer ascension through comedic skits via the now-defunct social media platform, Vine, in 2016, Jay has used his platform to amplify Black spirituality, Black creativity, and Black mental health. Through sharing resources to his large following on social media, he’s continuing to do so even now amid these trying times. One of the several things that he’s been doing to help maintain his inner peace as the country is enthralled in protest has been producing music.

Versace made his first beat in May of 2018, and it was actually met with contention from fans who were only familiar with his comedic side. “When I tweeted I was trying to make music, so many people were like, ‘This is what this is gonna sound like,’ and were sending the craziest gifs and memes and I was like, ‘Damn, y'all really think I have no taste,’” he says when recounting the first time he shared his music on social media. “(Laughs) It was very intense and overwhelming, but I was like you know what, f**k them and kept doing it, kept trying.” And he did exactly that, fine-tuned his beat-making craft by digging into the soulful music he was raised on. Thus, the biggest testament to his growth as a producer has definitely been his early 2020 appearance on Buffalo, New York rapper and Griselda collective member Westside Gunn’s latest critically acclaimed album Pray for Paris, where his beat on the self-titled track “Versace” found him in the production credits next to rap royalty like DJ Premier and Tyler, The Creator. Since this major moment in his music career, Jay has been active in both the studio and on the Internet, spreading awareness about Black rights.

There have been a lot of performative activism surrounding the most recent protests against police brutality following the murders of George Floyd, Ahmaud Arbery, Breonna Taylor, and countless other Black folk in this country. Brands—and some white allies alike—have cleared their conscience with a lukewarm effort, a solid week of Instagram story reshares of burning cop cars and picket signs, and empty PR promises to “stand by the Black community.” Jay recognizes this and believes white allies need to protest in their own communities first before leaving to go protest in others’. “They go to our neighborhood to protest their neighborhood (Laughs). Like, nah, go to your neighborhood to protest. That’s why I really want to see white people using their own in their own spaces that we can’t get to because of their privilege.”

Jay always speaks his mind across his social media platforms, and he remains jovial, yet candid in our conversation about his criticism on certain people profiting from Black culture and the Black plight. His stance is very clear: if you profit off the Black dollar, then you have an obligation to speak up for Black rights. “You have to realize, if you benefit off the Black community, this is how you give them back all that they’ve given you,” Jay says. “If you’re sitting in a mansion and just sitting on the Black dollar based on what you’ve been doing, then this is how you contribute.”

As a 22-year-old queer Black man, he realizes he has to fight for his rights not only in a racist American society but also in a hip-hop space that is often plagued with homophobia. “I really have to work extra hard to find my own style and my own taste and just perfect what I’m doing because people see somebody that’s queer and they automatically don’t want to associate themselves,” Jay says when asked about carving out his own space in the music world. “Because they’re homophobic, or because they don’t want to be saying ‘Oh, what was you doing working with him? What were y’all doing in the studio?’” Despite this, Jay’s individuality has never faltered and he has turned his personality into one of his most endearing qualities. A close friendship with the ethereal Erykah Badu has also helped him maintain a deep relationship with his ancestry and spirituality, and he prides himself on how much he’s grown into his Blackness.

Even over Zoom, Jay’s energy and spirit erased our digital distance. Despite him living in California now, the lighthearted—often misunderstood —sarcasm that only two people from Jersey can understand blended immediately between us. He is deeply rooted in his beliefs, unapologetically himself, and simultaneously still growing into his newly discovered goals and ambitions. In a conversation with VIBE, Jay Versace talks about the current revolution for Black rights, how his spiritual roots have influenced his soulful beats, and why his future looks all-Black.

What are your feelings like surrounding the current revolution taking place?

It’s mixed emotions. There’s so much good stuff happening, there’s so much bad stuff happening. There’s so much of just both happening at the same time. I’m worried about my mental health and just how I’m, like, trying to be a better version of me so that I can continue to be a voice or some type of spokesperson for people. So half of me is super into it, I’m ready to unpack. I’m ready to change and make everything all-Black, and then on the other side I’m like, “Okay, let me get my mental health together.”

And speaking of things being all-Black, you’re one of the few influencers who have always really advocated for Black rights on your platform. What are your thoughts on a lot of the performative activism we’ve been seeing from brands and influencers lately?

Something told me something like this was going to happen before. A couple of years ago, something told me it’s going to be some people and some brands, and I’ve already just seen it. This type of stuff’s been kind of happening, where brands or people or influencers don’t really care about the Black community, but they know it’s a crowd they need to have a grasp on in order to get them to where they're trying to go in their career. It’s very selfish. It’s something you really just have to analyze. Like, who’s actually trying to contribute towards change, and who’s trying to just contribute towards their change.

I hate it, and that’s why I’ve been calling brands out. So many brands benefit off of Black people and the Black community, and yet they don’t actually help Black people or they don’t actually go into the community and see what needs help. They actually make it worse. They actually make the community worse by the image that they show Black people as.

I think you are the leader of a vanguard of budding Black creatives, personalities, and young people. How have you seen people our age mobilizing right now, and what do you want to see more of?

I see people our age just using their voice. We’re in a completely different time period, where, like, our ancestors gave us the knowledge. They gave us books, they gave us interviews, they spoke out. So I really see people around me, and influencers using their voice but it’s way more powerful and it’s way more impactful now because we have social media where everybody can hear and see everything, and that’s what’s kind of scary. It’s like, I’m not sure if things are worse or better than what our ancestors went through, because they didn’t have cameras to film everything. So now we’re in a time where everybody has their camera out, everybody's using their voices, like every 5-minutes it’s a viral video. That’s what I appreciate about what’s going on right now, we can actually document every single thing.

And what we need to do more of, I feel like it’s a group effort. It’s some stuff that white people need to do more, like, it’s some stuff that white people need to do more of! (Laughs) And then with Black people, we have to organize. We really have to come together and organize better, but just as far as white people I feel like they need to leave us alone and they need to go to their neighborhoods and make changes within their community.

Have you been able to get out and march at all?

No, I haven’t gone out to protest because the way my anxiety is set up. I’m just seeing so much going on with the police. It’s like wars out there, they going back-and-forth, they throwing gas at people, they shooting rubber bullets, and that’s just something that my anxiety won’t let me participate in. I’ve been protesting online.

And people are finally starting to talk about it now, but all the Black trauma does such damaging things to the Black psyche as well.

That’s another thing, I want to add to what I want to see more of. I want to see Black people take care of their mental health because, that first week when things were really hectic, we don’t know how our minds are going to process that within the next couple of months and years. It’s stuff from when I was a little kid that I didn’t realize was traumatic to me, and it’s just now processing. So we really need to take advantage of what we need to do with our mental health because that’s eventually going to take its toll. And even right now it’s wearing down on people’s minds and I just really want people to see that mental health is important.

You’ve always been really transparent about your struggles with anxiety. What’s been helping you keep your peace during these super trying times?

I’ve been making music, I’ve been telling my friends 'cause my friends have been calling me stressed out. I’m like, “Just make music.” Make music because if you think about the other time period where this kind of happened before, with Malcolm X and Martin Luther King, there was a lot of music that was being based on what was going on. I feel like everybody was creating. If you’re an artist, whatever you do, you can contribute to what’s going on by using your skills. So I’ve just been trying to do whatever I do best, and that zens me out.

Do you think artists have an obligation to use their platform to talk about social issues?

Yes, just yes. You have to realize, if you benefit off the Black community, this is how you give them back all that they’ve given you. If you’re sitting in a mansion and just sitting on the Black dollar based on what you’ve been doing, then this is how you contribute. These people need you, these people give to you so give back to them. I don’t understand how that’s so hard. Like, I understand taking some time out to process it and then speak out, but to not speak out at all; I feel like that’s kind of messed up. These people are actually paying your bills, so there is a responsibility to use your voice because not everybody has that following where they can get points across, so we need that. We need people to speak up for us.

The LGBTQ+ Community has always been deeply rooted in social activism. Can you talk about any experiences you’ve had fighting for your voice to be heard as not only a Black man but also a Black queer man in this music space?

I feel like, one thing about music is that being someone that’s queer in music is very difficult. It’s so much homophobia. That’s really the genre I’m going into, that underground hip-hop is so homophobic. So it’s like, I really have to work extra hard to find my own style and my own taste and just perfect what I’m doing because people see somebody that’s queer and they automatically don’t want to associate themselves. Because they’re homophobic, or because they don’t want to be saying, “Oh, what was you doing working with him, what were y’all doing in the studio.”Like, every time I work in the studio with somebody and it comes up it’s like: “Oh, what was y’all doing. What did you have to do for that.” And I’m like, “Yo, we can’t just be two creative people? It has to be something about sexuality?” So it’s like, just what I’m going through right now and trying to make music and being in this homophobic-ass genre, it’s very stressful.

But I feel like it’s changing a lot. A lot of people are coming to their senses and feeling more comfortable with their own sexuality and not having to intimidate other people.

JAYVERSACE · CROSSMYMIND

You’re also boldly independent, I think that’s one of your strongest personality traits. When navigating this music space, how valuable do you think that trait is?

It’s very important just to be stern with what you believe in. I just also feel like, not everything you want to do is worth doing. Not everybody is worth working with. Not everybody deserves to be in your creative space. I know people really want opportunities to come to them, but not every opportunity is worth it. Like sometimes, and definitely as a queer person, if know you’re working with somebody that’s homophobic, is it really worth it? I think about my kids, what do I want to do to set an example for my kids. I want my kids to feel like, whatever sexuality they are, they walk into whatever room or situation as they are and they won’t change for nobody. They will only allow certain sh*t around them, so that’s what I’ve really been trying to do. Yeah, I play sometimes, but as far as allowing certain things to happen around me, I won’t allow. Because you’ll get run over.

I also want to touch on your other Instagram for a minute too, Jayversay. I like to call it your Sprinsta(spiritual Instagram). You’re deeply in touch with your roots, can you talk about how that plays a part in the messages you spread on your platform and your beats? 

My spirituality, just where I come from, my family, everybody was just super Black. And even though I grew up around people who were celebratory of being Black, I also did not want to be Black. I grew up not wanting to be Black. I grew up looking at people on magazines, looking at people on TV, looking at certain Black skin tones. I always felt like I was not accepted.

But now, a couple of years ago, I just started to realize, like, look at my history. I started to really dive deep into these books that my family used to always read and just go deep into my history. I’m like, damn. It just made me very angry, that I had all this kept from me for so long. First I got angry, I went through those emotions, then I just got more proud. I wanted to celebrate it, so I’ve always been about Black culture, Black music, all of that since. And since I first started making videos I’ve just tried to help Black people.

Can you talk about the beautiful relationship you have with the ethereal Erykah Badu? How has she helped guide you in your spiritual journey?

Yeah, Erykah Badu helped me make my ancestor altar, she’s the one who told me I needed one. She’s really, as far as my spiritual journey, made me feel comfortable. She made me feel like, okay I’m not going too far. Cause I was really diving deep into my spirituality, but she was like, “Keep going.” Ever since we first came in contact, she’s always just been trying to help me with everything I’ve been doing. She still hits me up every other week, just asking if I’m good. She’s just a very good person, besides her being a celebrity. Just one of the most beautiful humans I’ve ever come across. I really love and appreciate all the help she’s given me. I don’t know where I would be without her right now.

You were on one of the best rap tapes that dropped this year, and you also have a really expansive knowledge of music, even a brief scrolling of your SoundCloud reflects that. That Clark Sisters sample for “Versace” was beautiful. What got you into listening to the classics? 

Just how I was raised listening to soulful music. My grandparents, my parents, grew up around rappers and singers and it just stuck with me. I don’t really know, I guess it was always a part of me because anything I remember from liking music has always been the same type of music. I think it’s just built inside of me to like a certain type of style of music, like classic stuff.

There’s a funny tweet of yours about how people are so obsessed with 808’s nowadays. What do you try to avoid when making your beats?

I feel people use 808’s and that same snare because that’s louder than their voice, so people hide under drums because they know they not saying anything. Like, they know if they actually said it out loud without rapping it, it would not make any sense. It would sound corny, so people hide behind 808’s and those same drums because it sounds good, but that’s about it.

I try to avoid sounding like people that I’m compared to. I try to avoid sounding like: “Oh, this is like that!” If I hear that, I’m like, “Okay, bet I’m never going to make music like this again because whatever people hear from me, we already have that.” Don’t compare me to anything, I want to be my own person. So I let people tell me “what I sound like,” so I can not sound like that.

Can you speak on the work you’ve been doing with Freddie Gibbs? You said you were working on a project with him.

Freddie Gibbs is a crackhead, so whatever we’re working on is going to take some time. (Laughs) I’ve sent him beats he’s said he’s writing to, but he stays writing to them and I look on his [Instagram] story and he’s on a boat. I sent him the beats and I’m like, “You know what? I don’t know when I’ma expect a project.” I just know I sent him the beats and he hit me up every now and then like, “Yeah, I wrote to this,” and I’m like “Alright.” So I really don’t know, that’s Freddie Gibbs so I really don’t know. The ball is in his court.

Thoughts on Alfredo?

I loved the album. I actually had the same sample as one of the songs on that album.

Really? Which one?

The one where he was like “Babies & Fools." I sampled that the exact same way and was going to send it to Freddie and I’m glad I didn’t cause Alchemist did it.

I mean, the fact that you and Alchemist are thinking on the same wavelength is impressive as hell.

Yeah, that’s what I keep thinking! I’m like, “Hmm, maybe I’m about to get the next Grammy.” (Laughs) Because me and Alchemist made the same beat by accident, that’s insane to me.

I know you’ve also been in the lab with J.I.D and saw somewhere Ari Lennox too, what’s up with that?

We're just working. Me and J.I.D, we damn near made a whole tape. I’ve never heard this side of J.I.D in my life, so I don’t know what’s about to happen when this gets released because this is like, some of the best music I’ve made. Just with J.I.D and how he’s articulating his words and telling stories, he literally brings the beats to life. He creates stories, it’s some crazy sh*t that we made.

JAYVERSACE · KOOL-AID JAMMERS

Ari Lennox, I don’t know how she works so fast, but she’s like Walt Disney. She works very fast, so I’m excited to work with her.

What’s a dream collaboration of yours?

Damn, that’s so loaded. (Laughs) I would love to work with Jay-Z. Jay-Z or Kendrick [Lamar], I would love to work with either of them. Just how much they inspire me and how my beats sound. I literally make beats for them, so I would love to work with them.

You made one of your first beats on May 14, 2018. Now, over 2 years later, what are you most proud of in your growth as a producer?

Oh my God! I didn’t even know that. I’m most proud of myself for continuing to do it because when I tweeted I was trying to make music, so many people were like, “This is what this is gonna sound like” and were sending the craziest GIF’s and memes and I was like, “Damn, y'all really think I have no taste?” (Laughs) It was very intense and overwhelming, but I was like you know what, f**k them and kept doing it, kept trying. Kept trying new styles and sounds out, and the fact that I kept going and it’s gotten me this far and now I can say that this is my job, that’s what I’m most proud of. Just listening to my own voice.

You said that Donald Glover, Tyler, the Creator, A$AP Rocky, and Drake started everything really in terms of helping shape our generation. I know you’re just getting started, but when you’re just an old head from Jersey, what is the most important thing you want to leave behind?

Damn, I don’t know. I want to leave behind everything. I want my whole journey to be analyzed, from beginning to end. I don’t want nothing to be left out, I want the whole thing to be seen and experienced so that people can get inspired and do whatever they want to do. That’s the only reason why we’re on this planet, to show other people how to be on this planet. So I want to leave behind my whole experience.

I remember you talked in a Fader interview about how layered you are. I don’t think making beats is something new for you, I think it’s just a new part of yourself that you’re sharing. If you made your first beat a little over 2 years ago, and just got featured on Pray for Paris, where do you hope to be 2 years from now?

Two years from now, I expect for me to have a successful production company, successful music career, modeling, acting, architecture. Any type of thing that I want to do. Everything just thriving, and Blackness all over the f**king place.

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Catching Up with Koffee

There's still a lot of time left in Summer 2020, but on the last day of July, we declared Koffee's "Lockdown" Boomshots' official 2020 Summer anthem. Produced by Dane "Raygad" Ray from the Unruly camp, the song finds Koffee asking all of the questions everybody in the world is asking themselves right now. What will the future be like "when the quarantine thing done and everybody touch road?" As soon as we heard this tune, we knew it was outta here! (That was way before we saw the video with cameos from Popcaan and Dre Island.) More than just a COVID-era contemplation, "Lockdown" is also a poignant love song that speaks to the challenges of romance during a time of the viral pandemic. As such, it represents a milestone in Koffee's catalog.

At the ripe old age of 20, the youngest Reggae Grammy winner in history has given us her first love song—and without overthinking it one bit, she might just have given us a follow-up to rival her breakthrough smash, "Toast." When you hear Koffee sing "if you love me, you should let me...," it's clear she is in her feelings on this one. Of course, everybody wants to know who this song was inspired by, but all we can say about that is just "cool." In her first interview since "Lockdown" dropped, Koffee tapped in with Boomshots' Reshma B on VIBE's Instagram Live and spoke about the inspiration behind the tune.

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BOOMSHOTS: So much has happened and obviously, with the lockdown, we haven’t seen each other.

KOFFEE: That’s true.

We haven’t spoken since you won the Grammy so let me start with a big congratulations.

Thank you, thank you, thank you.

You made history there. You’re the first female and the youngest to win a Reggae Grammy, as I’m sure you know.

So I’ve heard, so I’ve heard. (Laughs) Thank you.

How was that experience for you?

It was amazing for me being able to be there and represent Jamaica. Because at the end of the day, I feel like—even to be real nobody knew me at the ceremony. As you know the reggae category and some other categories are separated from like big categories like rap and stuff like that. So we’re not in the big ceremony. But it felt so good going up on the stage and collecting something on behalf of Jamaica, on behalf of reggae. There’s a lot to give thanks for regarding that. It’s good to be able fe spread light and just inspire people.

You know there was a time hip-hop was not getting televised either. 

Yeah, so it’s a journey.

We all know someone who’s lost someone in this pandemic. It’s difficult adjusting to this new normal. How have you been coping with the lockdown?

For me, thankfully, I haven’t been directly affected by the COVID, and I don't’ know anybody who’s been directly affected. But I send my prayers out to those who have been and those who find it difficult during these times whether financially, even emotionally. It’s a very very very hard time and I can tell even out in the streets it shows. Before you had homeless people and beggars but now when you look pon them face it’s so rough. Me know say it tough out there. So me just a try to put that energy—channel it into anything I can, which for me is music. You know I’ve been working on my album.

How did the “Lockdown” song come about?

The song was actually a very spur-of-the-moment song. I had been planning to go into the studio with some musicians, like some guitarists, pianists, drummers, and stuff. And for the time being, that had been kinda stalled because of the whole COVID. So I was supposed to be in the UK actually doing a camp. And I was just going to the studio—you know Popcaan?

Of course, we know Poppy. Shout out to the Unruly Boss!

Sorry, my bad... I take it back! I take it back! Poppy has a studio, right? So I started goin’ by his studio to just record some stuff like in the meantime while everything is kinda shut down. And there I met a producer named Dane Ray. Now Poppy have a song weh him release the other day, I think it name “Numbers Don’t Lie” and him say, “More gal fe me and Dane Ray.” You get me? So you know say Dane Ray is like him bredren and stuff. So me set a link there and Dane Ray play me a track, which was “Lockdown” instrumental. And me just decide inna the moment, say, ‘Yo, let’s just write some lyrics to it. Some nice melodies that I’m feeling.’ And I literally just did it. And then probably like the week after that I just listen to the song and said “I really like this.” And me just call my manager like, “Yo, let’s do a video. This is who I want in it. Boom, boom, boom, boom, boom.” We call producer, call everybody, call videographer, and we just got it done and then we just release it. It was so—we didn’t even think twice. Me never think it woulda reach this far.

Everything went natural. 

Yeah, just so natural.

And now you're hot like thermos!

It’s so crazy right now.

This is the first time we've heard a love song from Koffee. I hear you say things like, “Givin’ you my heart beg you take it from me.” It’s so touching to hear that!

Yo, that was so serious. I swear. Me nah go answer no question about who and the speculations. But I’m tellin’ you that song was so real, I meant that sh*t. (Laughs) I mean that!

Watch the full interview above.

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