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February 12, 2026 12:40
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| 0:02 | |
| The only alternative to this policy of | |
| 0:04 | |
| peaceful coexistence is a destructive | |
| 0:07 | |
| death and nuclear war with all its | |
| 0:09 | |
| terrible consequences. | |
| 0:12 | |
| Unfortunately, in the United States, | |
| 0:14 | |
| they do not seem to understand that with | |
| 0:16 | |
| the present correlation forces in the | |
| 0:18 | |
| world, the positions of strength policy | |
| 0:21 | |
| have in store for the United States | |
| 0:23 | |
| nothing but fresh venues and a further | |
| 0:25 | |
| loss of prestige in the world. has | |
| 0:29 | |
| evolved a horrible system of tortures | |
| 0:31 | |
| for his prisoners. | |
| 0:32 | |
| He has the most dangerous of his | |
| 0:34 | |
| political. | |
| 0:34 | |
| All right, we're back in | |
| 0:41 | |
| with | |
| 0:43 | |
| Let's talk about religion, man. | |
| 0:44 | |
| Let's talk about unorthodox religion. | |
| 0:46 | |
| Let's do it. | |
| 0:47 | |
| Yeah, man. No problem. | |
| 0:56 | |
| You're listening to WCWM | |
| 1:00 | |
| 90.9. | |
| 1:03 | |
| You probably never heard. | |
| 1:06 | |
| Yeah, that's right. It's WCWM. | |
| 1:10 | |
| Man, this is You ain't heard this | |
| 1:12 | |
| before. | |
| 1:13 | |
| He chills on IRC. What are you pointing | |
| 1:15 | |
| to? That's a trash can. | |
| 1:18 | |
| What? Oh god, I have a spider on me. | |
| 1:22 | |
| Holy. | |
| 1:25 | |
| So, you're you're you're David. | |
| 1:27 | |
| I am David. | |
| 1:28 | |
| I am David. | |
| 1:29 | |
| I'm Kra David. I don't know who you are. | |
| 1:31 | |
| Okay. I am I don't have a monitor. Uh | |
| 1:35 | |
| you should get a moniker, man. Cuz | |
| 1:37 | |
| honestly, that moniker is everything. | |
| 1:39 | |
| Is it? Okay. Well, I'll look into that. | |
| 1:41 | |
| But everything everything is controlled | |
| 1:43 | |
| by your central processing unit, you | |
| 1:45 | |
| know, other I mean, but the actual soul, | |
| 1:49 | |
| that's the formulation of everything. | |
| 1:51 | |
| consciousness super subconscious the | |
| 1:54 | |
| energy electricity | |
| 1:57 | |
| control spirit however it gets to be | |
| 2:00 | |
| called | |
| 2:00 | |
| that's all math it's all proved by | |
| 2:02 | |
| radio free polygon | |
| 2:04 | |
| are at least 33 you know | |
| 2:07 | |
| you're listening to KRAD radio | |
| 2:09 | |
| broadcasting uh through the night here | |
| 2:12 | |
| on WCWM unreleased pre-release the | |
| 2:16 | |
| leaked virus tracks | |
| 2:18 | |
| live | |
| 2:19 | |
| and some other just mixes and stuff like | |
| 2:22 | |
| that. | |
| 2:22 | |
| All kinds of op for musical | |
| 2:25 | |
| experimentations | |
| 2:27 | |
| that we make available for the public | |
| 2:29 | |
| consumption. you know, few things. Uh, | |
| 2:32 | |
| some of the some of the tracks that you | |
| 2:34 | |
| just heard were they're going to be | |
| 2:35 | |
| released on the uh upcoming album, The | |
| 2:38 | |
| Virus. | |
| 2:39 | |
| And, uh, the virus is, uh, | |
| 2:42 | |
| is a musical signal that was sent back | |
| 2:44 | |
| into the past from the future by a group | |
| 2:47 | |
| of, uh, scientists who are known as the | |
| 2:49 | |
| analyst through the resistance movement. | |
| 2:52 | |
| there's a resistance movement built up | |
| 2:54 | |
| in the future against the mega | |
| 2:55 | |
| corporation which owns and controls the | |
| 2:59 | |
| world | |
| 3:01 | |
| and um that's basically the gist and the | |
| 3:04 | |
| the basic idea and the premise of the | |
| 3:06 | |
| whole | |
| 3:08 | |
| virus. | |
| 3:09 | |
| What is your take on the virus? | |
| 3:12 | |
| We have this this is another one of the | |
| 3:14 | |
| analyst right here. You know what I'm | |
| 3:16 | |
| saying? It was in 2010 cuz I was there. | |
| 3:18 | |
| It was just | |
| 3:20 | |
| over by mega corporations and | |
| 3:23 | |
| individualism was dead. Art was dead. | |
| 3:25 | |
| People didn't know [ __ ] You know what | |
| 3:26 | |
| I'm saying? They were just [ __ ] | |
| 3:27 | |
| They were like zombies. You know what | |
| 3:28 | |
| I'm saying? We got together and dropping | |
| 3:30 | |
| our combined sciences. We concocted the | |
| 3:32 | |
| virus. We sent that [ __ ] back to save | |
| 3:34 | |
| humanity because we [ __ ] were there. | |
| 3:36 | |
| You know what I'm saying? We're trying | |
| 3:38 | |
| to get everybody else there with us. | |
| 3:41 | |
| Hell yeah. The virus is just something | |
| 3:43 | |
| that had to be done. You know what I'm | |
| 3:45 | |
| saying? I'm still there in the future | |
| 3:46 | |
| right now. So, if this version doesn't | |
| 3:48 | |
| quite catch on, this is the beta test. | |
| 3:50 | |
| Actually, it's the first one that we | |
| 3:51 | |
| released. So, you know, the versions to | |
| 3:54 | |
| come, we'll definitely get to the masses | |
| 3:56 | |
| and and and we'll get everything | |
| 3:58 | |
| straightened up in the way the way it | |
| 4:00 | |
| could be, the way it should be. You know | |
| 4:01 | |
| what I'm saying? When we produce the | |
| 4:03 | |
| proper strand to infect the corporate | |
| 4:05 | |
| structure | |
| 4:07 | |
| and break down the zombie | |
| 4:10 | |
| and all the isms, you know? | |
| 4:12 | |
| Yeah. It's the virus. Hell yeah. | |
| 4:15 | |
| A whole lot of things. It's starting off | |
| 4:18 | |
| here. WCWM. | |
| 4:21 | |
| You know, you got Y Cuckoo, you got | |
| 4:24 | |
| Mcabes, you got my man Lord Nam the | |
| 4:28 | |
| Heretic. You know what I'm saying? | |
| 4:31 | |
| They gunning at us, man. The satellites | |
| 4:33 | |
| are zooming in right now as we speak. | |
| 4:37 | |
| This dude's like the black JFK, man. | |
| 4:41 | |
| But I'm brown. | |
| 4:44 | |
| actually is Cuban Egyptian | |
| 4:47 | |
| ABC | |
| 4:52 | |
| while while being while being an Arab | |
| 4:54 | |
| Nazi all the | |
| 4:56 | |
| he's a walking paradox | |
| 4:58 | |
| he's a legend man | |
| 4:59 | |
| secret high chancellor overlord of | |
| 5:01 | |
| soldiers for the righteous movement of | |
| 5:03 | |
| nothing armed bright movement | |
| 5:05 | |
| in the underground | |
| 5:06 | |
| all that all that good stuff you know | |
| 5:08 | |
| overlords in the underground | |
| 5:09 | |
| that's right high chancellor of | |
| 5:10 | |
| misinformation information | |
| 5:13 | |
| of course | |
| 5:13 | |
| the archbishop of absurdity | |
| 5:15 | |
| you know that's what we do that's what | |
| 5:17 | |
| we don't do | |
| 5:18 | |
| profoundly | |
| 5:19 | |
| never | |
| 5:21 | |
| in our life | |
| 5:22 | |
| hell yeah the word of the virus | |
| 5:24 | |
| yeah did you check those uh other CDs to | |
| 5:26 | |
| see if any instrumental | |
| 5:28 | |
| I got we got | |
| 5:30 | |
| the track fours on either CD might be | |
| 5:33 | |
| which one's the virus | |
| 5:34 | |
| try the try the first second I'm sorry | |
| 5:36 | |
| the second | |
| 5:37 | |
| yeah the virus | |
| 5:39 | |
| track four | |
| 5:39 | |
| yeah track four might | |
| 5:41 | |
| Put on see | |
| 5:46 | |
| the silence. | |
| 5:48 | |
| Okay. Uh, no. Keep going through. Oh, I | |
| 5:50 | |
| was a king. Yeah. Before I became a | |
| 5:52 | |
| king. | |
| 5:59 | |
| Maybe it's track nine or 10 or actually | |
| 6:02 | |
| there's 17 tracks on there. So, go to | |
| 6:04 | |
| Yeah, go to track 13. | |
| 6:05 | |
| Let's fine-tune the frequency and find | |
| 6:07 | |
| the proper modulation. | |
| 6:09 | |
| I don't know. Just something good. | |
| 6:12 | |
| Yes, there there should be something | |
| 6:14 | |
| very | |
| 6:21 | |
| track definitely no bass. That's it's | |
| 6:23 | |
| instrumental though. Um | |
| 6:25 | |
| yeah, let's just talk over this for a | |
| 6:26 | |
| second. | |
| 6:27 | |
| That'll work. | |
| 6:28 | |
| Mhm. Kick it. Let people know what's | |
| 6:30 | |
| going on, man. Y'all got to y'all got to | |
| 6:32 | |
| start calling this a radio station. | |
| 6:34 | |
| Logging online. | |
| 6:36 | |
| Yeah, | |
| 6:37 | |
| I got two of your mixtapes in my | |
| 6:39 | |
| backpack, too. | |
| 6:40 | |
| I mean, whatever is clever, B. I mean, | |
| 6:42 | |
| like these are like these are actually | |
| 6:44 | |
| the last four songs are instrumental. | |
| 6:46 | |
| You did that. You did that joint on your | |
| 6:47 | |
| on your PC. | |
| 6:48 | |
| Yeah. | |
| 6:48 | |
| But I mean, like, whatever. You know | |
| 6:50 | |
| what I'm saying? The rhymes like that, | |
| 6:51 | |
| then it doesn't really matter how it's | |
| 6:53 | |
| engineered cuz you can just feel that | |
| 6:54 | |
| [ __ ] You know what I'm saying? | |
| 6:55 | |
| I appreciate that. | |
| 6:56 | |
| That's just how | |
| 6:57 | |
| But that's how we doing it. That's how | |
| 6:59 | |
| the virus infects you. You going to feel | |
| 7:01 | |
| it. You know what I'm saying? | |
| 7:02 | |
| You going It's going to be deep in you. | |
| 7:05 | |
| That's how we That's how we killing | |
| 7:06 | |
| them. | |
| 7:06 | |
| That's how he does it. | |
| 7:08 | |
| For real. For real. Hey yo, the number | |
| 7:10 | |
| is what? 221 3288. | |
| 7:12 | |
| That's right. | |
| 7:12 | |
| Yeah. WCW | |
| 7:13 | |
| 221 9.9 | |
| 7:15 | |
| 3288. | |
| 7:16 | |
| Doing it up like we have. Are you saying | |
| 7:17 | |
| doing it upside down? | |
| 7:19 | |
| 221 uh 3288's the number to call in. We | |
| 7:23 | |
| can put you on the air. So do it. Uh, if | |
| 7:26 | |
| you're a coward and you just want to | |
| 7:27 | |
| instant message us, it's a WCWMDJ | |
| 7:31 | |
| on the proprietary AOL Instant | |
| 7:33 | |
| Messenger. I got about three or four | |
| 7:38 | |
| messages last hour or so from people | |
| 7:41 | |
| that don't even listen to the internet | |
| 7:42 | |
| stream. They're listening to the radio | |
| 7:44 | |
| and they message me. So, | |
| 7:45 | |
| that's interesting statistics. People | |
| 7:48 | |
| are multitasking with the computer and | |
| 7:50 | |
| the radio at the same time. | |
| 7:52 | |
| Tell us how much you hate it. | |
| 7:55 | |
| tell us we need to practice how much you | |
| 7:57 | |
| hated and how long you waited before the | |
| 8:00 | |
| rap album Jake was dated. It's like, | |
| 8:03 | |
| yo, sedated quite profusely. Son is | |
| 8:05 | |
| like, hey yo, he ain't how he used to | |
| 8:07 | |
| be. He's nice aka he's precise with | |
| 8:10 | |
| Elsurgent tactics. Murdered up. They | |
| 8:12 | |
| call him a conceited active acting holy | |
| 8:15 | |
| than a holy one of Obi-Wan Kenobi son. | |
| 8:18 | |
| Murd up he rise. Yeah, he hold one like | |
| 8:20 | |
| the sun in his hand. Earlos, yo, commit | |
| 8:23 | |
| the ill membrane strand of the hero. | |
| 8:25 | |
| Hey, who know who he is? Yeah, he's a | |
| 8:28 | |
| microphone biz type kid. Hard up. This | |
| 8:30 | |
| is ridiculous. Yeah. Negro antagonist. | |
| 8:33 | |
| Yeah. The deliberator. | |
| 8:35 | |
| Smashing it. | |
| 8:36 | |
| Yeah. Like has Ben's needed kid. | |
| 8:41 | |
| Yeah. The deliberator. That's awesome. | |
| 8:43 | |
| Little live ad liberation. | |
| 8:46 | |
| Free your mind with the beautiful | |
| 8:48 | |
| visions we provide you with. | |
| 8:49 | |
| Yes. Yes. Let's see this uh track uh | |
| 8:53 | |
| 14 or 15. Let's try it. | |
| 8:55 | |
| What else do you have? Oh, 15. 15. 15. | |
| 8:58 | |
| Perfect. | |
| 9:02 | |
| Cool. A little something out the pocket. | |
| 9:04 | |
| Out the | |
| 9:06 | |
| You remember? Do you remember this | |
| 9:07 | |
| joint? | |
| 9:09 | |
| Me either. | |
| 9:10 | |
| I remember. | |
| 9:13 | |
| Who am I? Who they is? | |
| 9:15 | |
| Who am I? Who is | |
| 9:26 | |
| that? | |
| 9:26 | |
| Yeah. Yeah. | |
| 9:27 | |
| Two ys. Hey, | |
| 9:30 | |
| one, two, without the feedback. Here we | |
| 9:32 | |
| go. Turn Yeah. Turn the volume up, son. | |
| 9:34 | |
| In my ears, man. | |
| 9:35 | |
| I that that those earphones are whack. | |
| 9:38 | |
| Yo, | |
| 9:38 | |
| for real. | |
| 9:39 | |
| Turn my headphone up. | |
| 9:42 | |
| Turn my head up. | |
| 9:43 | |
| Turn the headphones up. | |
| 9:44 | |
| That one's whack, too. But it works. | |
| 9:46 | |
| Oh, yeah. Here you go. | |
| 9:48 | |
| Oh, here we go. One, two, | |
| 9:52 | |
| sometimes I like the way I sound, man. | |
| 9:53 | |
| You know the megalomaniacal tyrannical | |
| 9:57 | |
| combasted and he's the bastard who get | |
| 9:59 | |
| it done fast. Uh used to plaster a Paris | |
| 10:03 | |
| word of he's embarrassed. The show was | |
| 10:05 | |
| true face so we grit and grimace. | |
| 10:07 | |
| Understand son your title's been | |
| 10:09 | |
| thoroughly relinquished. He's extended | |
| 10:11 | |
| to another type of date with yeah I | |
| 10:13 | |
| think that's been amended. You're not a | |
| 10:15 | |
| champion. You're a chump son. Word up. | |
| 10:18 | |
| You don't want none from the only one of | |
| 10:20 | |
| two. Cool microphone turn you into the | |
| 10:23 | |
| ionic portion of a molecule. Neutron | |
| 10:26 | |
| speaks dark clusters. The outer space | |
| 10:28 | |
| type of brother Syrian unlike any other. | |
| 10:30 | |
| Oh, and by the way, I might smother your | |
| 10:32 | |
| mitts and gravy with styles. Never rem | |
| 10:38 | |
| up son. He leave blocks and states the | |
| 10:40 | |
| shock. Let loose like a kid with the | |
| 10:42 | |
| buck shot pump. Man, I begin to take | |
| 10:44 | |
| info and dump particles into | |
| 10:47 | |
| participles. Word up. Yeah. Hit you with | |
| 10:49 | |
| the hardcore sickle. Yeah, the article | |
| 10:52 | |
| dawn interior feel like I am man. Look | |
| 10:55 | |
| at posterior big and boost like rest is. | |
| 10:59 | |
| Yeah, this cat yo professor he is the | |
| 11:01 | |
| greatest amongst many. Yeah, you could | |
| 11:04 | |
| find us in the river wishing penny | |
| 11:07 | |
| stones. Yeah, word up. Used to smoke a | |
| 11:09 | |
| lot of bones. Now I don't condone drugs | |
| 11:11 | |
| at all. Yo, word up. My MC calibers too | |
| 11:15 | |
| ill for you. Word up. It's like a | |
| 11:16 | |
| marriage of a melodical intention. The | |
| 11:19 | |
| rhythmic type of brother who leaves you | |
| 11:21 | |
| in states of dissension. My dimension is | |
| 11:23 | |
| a paradox of hero idols. The title I use | |
| 11:26 | |
| is thoroughly vital. Who are those who | |
| 11:28 | |
| try to abuse anything which make make | |
| 11:30 | |
| you snooze. You better wake up before | |
| 11:32 | |
| you lose. Who is paid dues is the one | |
| 11:35 | |
| who choose to go on avenues. Labels | |
| 11:37 | |
| guard and bruise. Yo different heels of | |
| 11:39 | |
| many men and calibers. I said that | |
| 11:42 | |
| before but wor it's the adventures of a | |
| 11:44 | |
| Remo Williams. The misadventures of | |
| 11:46 | |
| Jiminy stick bin. Hey, he got sticker | |
| 11:49 | |
| friends and we chilling galactic pools. | |
| 11:51 | |
| Sess pools to be exact. These cats | |
| 11:54 | |
| chilling school while we're on the | |
| 11:55 | |
| school of hard knocks. I don't love hip | |
| 11:57 | |
| hop. I am hip hop | |
| 12:01 | |
| forever. | |
| 12:04 | |
| The beats forever | |
| 12:08 | |
| forever. 35,000. | |
| 12:12 | |
| Yeah. And the beat goes on. Yo, | |
| 12:19 | |
| check it out. This is that live [ __ ] | |
| 12:22 | |
| from the basement. WCWM. | |
| 12:26 | |
| We can wheel mics. Uh, that virus | |
| 12:29 | |
| prototype hybrid strand. You've been | |
| 12:32 | |
| branded, man. The fans demanded that | |
| 12:35 | |
| hotness. I spit acidic burn your whole | |
| 12:38 | |
| eardrum when it hit it, man. I lick off | |
| 12:40 | |
| lyrics like liquid lightning. Inviting | |
| 12:42 | |
| insight when I reflect and inject the | |
| 12:44 | |
| intellect into the jam to make you move | |
| 12:46 | |
| your neck cuz your head's nodding. Oh my | |
| 12:49 | |
| god. And injected in the vein like | |
| 12:52 | |
| heroin. Take another hit. Leave your | |
| 12:54 | |
| whole head bent. Even when I switch up, | |
| 12:57 | |
| I still come with some dangerous. These | |
| 13:00 | |
| champs get chunk when the slang gauges | |
| 13:03 | |
| pump. Loading the chamber up. Then it | |
| 13:07 | |
| goes quick banging. Yeah. | |
| 13:10 | |
| Yeah. You get touch with the topics we | |
| 13:14 | |
| touch. Caress, paint pictures like a | |
| 13:16 | |
| brush, | |
| 13:18 | |
| self-destruct, initiate, crush your crew | |
| 13:20 | |
| sequence. No defense could prevent this | |
| 13:24 | |
| offensive aggressive attack. Aim that | |
| 13:28 | |
| then whack cast and want to rap about | |
| 13:30 | |
| jewelry close. Yo, stop the foolery. | |
| 13:33 | |
| Dope. You sound like a | |
| 13:37 | |
| real | |
| 13:39 | |
| a nuisance. Feel this eerie ambiance we | |
| 13:43 | |
| came to set it with. It's kind of scary. | |
| 13:46 | |
| Every feeling we killing that nonsense. | |
| 13:49 | |
| Yo, I for | |
| 13:52 | |
| virus | |
| 13:55 | |
| star Cyrus. Yeah. Incite this. I'm | |
| 13:58 | |
| challen deadly like jet le. My mind and | |
| 14:00 | |
| body combined like nuclear artillery. | |
| 14:03 | |
| Casualties are found around the | |
| 14:04 | |
| confrontation. Grab a mic, a camera for | |
| 14:07 | |
| pictures of complete annihilation. So | |
| 14:09 | |
| tight [ __ ] like word up. I don't need to | |
| 14:11 | |
| be fast like night g. Uh the Greek | |
| 14:14 | |
| goddess of speed, man. These cats love a | |
| 14:17 | |
| lot of speed. Uh I'm not in need and I | |
| 14:20 | |
| ain't really in greed. But then you see | |
| 14:21 | |
| you stab me and the brother just might | |
| 14:23 | |
| bleed. Um cut me and I'mma cut you back. | |
| 14:26 | |
| You play that and I'mma play you to the | |
| 14:28 | |
| back like fades. Cool like shades. Used | |
| 14:31 | |
| to drink a lot of lemonade. The thirst | |
| 14:33 | |
| was quenched and I was made the higher | |
| 14:35 | |
| emperor. You ain't ready for my style | |
| 14:37 | |
| and you sent to the pits and pendulums. | |
| 14:40 | |
| Dang. Yeah, I mentioned some. They don't | |
| 14:42 | |
| know who I am because the eardrums can't | |
| 14:44 | |
| contain the kicking drum from the snares | |
| 14:46 | |
| and kicks. A the high of the hit. You | |
| 14:48 | |
| ain't ready for my style. I'm a stylist. | |
| 14:51 | |
| Yeah, the kind of linguistic uh | |
| 14:53 | |
| linguistical mystical. Yeah, brother | |
| 14:55 | |
| who's prophetic when I go off into a | |
| 14:57 | |
| residual continual flow. The optimal. | |
| 14:59 | |
| Yeah, you know I take you to a sensual | |
| 15:03 | |
| type of business. Yeah. Uh-oh. Uh-oh. | |
| 15:07 | |
| Uh-oh. Uh-oh. Uh-oh. Yeah. Yeah. | |
| 15:10 | |
| Come on. Come on. | |
| 15:13 | |
| What you got? | |
| 15:13 | |
| How we do? | |
| 15:16 | |
| Live improvisationals. | |
| 15:19 | |
| Feel the sensation burning. Third | |
| 15:22 | |
| degree. White flames. Yo, you need | |
| 15:24 | |
| surgery to reconstruct your whole body. | |
| 15:27 | |
| Rock the party. Deadly melody holder, | |
| 15:30 | |
| fold your back up like origami. Man, | |
| 15:33 | |
| y'all don't want conflict. We bang like | |
| 15:35 | |
| night sticks in the hands of corrupt | |
| 15:38 | |
| cops. Keep your eyes open. Just watch. | |
| 15:41 | |
| There's no way to stop the fluid flow. | |
| 15:44 | |
| We drip, drop, drop, drip, flip script. | |
| 15:47 | |
| So sick when I spit this at you. Yo, | |
| 15:50 | |
| it's another hit. Do things unusual. | |
| 15:53 | |
| Musical virus sent back in time to blow | |
| 15:56 | |
| your mind like dust into the wind. | |
| 15:58 | |
| Transcend. Don't set trends. They get | |
| 16:01 | |
| bent at our discretion like spoons. Yo, | |
| 16:04 | |
| telepathic doodle do pyro kinetic | |
| 16:07 | |
| psychedelic graphics for your ear. Audio | |
| 16:10 | |
| visual images I burn into your memory. | |
| 16:13 | |
| Yeah. Feel the sensation so | |
| 16:15 | |
| sensationally outstanding. Yo, | |
| 16:19 | |
| outstanding. | |
| 16:20 | |
| Outstanding. The way that I keep on | |
| 16:22 | |
| pounding, man, I spit so much the whole | |
| 16:24 | |
| world is drowning in the flim. Uh, yeah, | |
| 16:26 | |
| it's him against him again. These cats | |
| 16:28 | |
| ain't ready for my style of riddlin. | |
| 16:30 | |
| Yeah, I'm hyperactive like a kid on Jins | |
| 16:32 | |
| Singh. I don't need no roots cuz I am my | |
| 16:35 | |
| own thing. I'm a tumble weeding human | |
| 16:36 | |
| being. Word up. African, non-European. | |
| 16:39 | |
| Yeah, the statician be. Yeah, I be who I | |
| 16:42 | |
| am when I am. Son of ham landed man. | |
| 16:44 | |
| Strong just like Samson. Damn son, I'm | |
| 16:46 | |
| great. Word up. I make enough heat just | |
| 16:49 | |
| to bake a thousand cakes. It takes one | |
| 16:51 | |
| time for me to make one mind a rhyme. | |
| 16:53 | |
| Word up. You can sniff it just like a | |
| 16:55 | |
| coke line design uh to go into your | |
| 16:57 | |
| brain. The membrane is stained by | |
| 16:59 | |
| creases you try to attain. You can't | |
| 17:01 | |
| maintain because it caus | |
| 17:05 | |
| rain like a king without no dream. My | |
| 17:08 | |
| first name ain't Steven, but I leave you | |
| 17:10 | |
| bleeding on your knees praying. I cross | |
| 17:12 | |
| you just like a Catholic. You messing | |
| 17:14 | |
| with me. Magic abracadabra aka the | |
| 17:18 | |
| acrobatical cadabra. You ain't ready for | |
| 17:20 | |
| me. I ain't got no father from the style | |
| 17:23 | |
| of antimatter. It don't matter who you | |
| 17:25 | |
| are. You ain't bad. Word up. I hit you | |
| 17:27 | |
| in the head like a batoo. You ain't | |
| 17:28 | |
| ready for me, son. I make a batter of | |
| 17:30 | |
| you. Uh well up and mix you into my | |
| 17:33 | |
| stew. Then I upchuck you. I guess I spew | |
| 17:36 | |
| the random ridiculous ravaging type of | |
| 17:38 | |
| stuff to make you go yo. I think he's | |
| 17:40 | |
| not even had enough. My stomach gets so | |
| 17:42 | |
| full until explode. It's like he put a | |
| 17:45 | |
| whole lot of [ __ ] in the commode. | |
| 17:47 | |
| He's a clone. Hey, no you don't want to | |
| 17:49 | |
| call me a egroh. Yeah, cuz I got a | |
| 17:52 | |
| really big ego. You know who I am. I | |
| 17:55 | |
| don't play uno cuz I like a duo. Even | |
| 17:58 | |
| triumbumberant. How you know what's | |
| 17:59 | |
| going on. Hey yo, try some sh. I was | |
| 18:02 | |
| sent by heaven to bend the anger. | |
| 18:04 | |
| That'll leave the bread leaven. Hey, I'm | |
| 18:06 | |
| no stranger. Mom tried to bore me with a | |
| 18:08 | |
| rusty hanger and I was born in Ariel | |
| 18:10 | |
| 151. | |
| 18:13 | |
| Hey, I'm not a sanger. I'm a swinger. | |
| 18:15 | |
| aka a slinger, not a hustler, never been | |
| 18:18 | |
| a buster. Murdered up. I don't use my | |
| 18:20 | |
| muscles and I trust my brain and my | |
| 18:22 | |
| spirit, my philosophy. | |
| 18:25 | |
| Listen to the apostrophe of the | |
| 18:28 | |
| apostrophe. I don't even mean to sound | |
| 18:30 | |
| stupid. See me like blind. | |
| 18:35 | |
| I'm not joking. These cats could rob | |
| 18:38 | |
| forever and never back into the | |
| 18:40 | |
| nothingness. Create everything that | |
| 18:42 | |
| exists from the mist. Take a pull of | |
| 18:44 | |
| this. | |
| 18:47 | |
| Yeah, that's how it hits. Create the | |
| 18:49 | |
| virus. Analyst architect backdraft. | |
| 18:52 | |
| Sonic blast. Fire burn down. Yo, how you | |
| 18:55 | |
| like that sound? Now it's WCWM | |
| 18:59 | |
| 90.9 live from the basement. Blazing it. | |
| 19:03 | |
| The hostile takeover. Take two. Dude, we | |
| 19:06 | |
| aiming at you. | |
| 19:09 | |
| That's how you tuning in. Yeah, when | |
| 19:12 | |
| you're tuning in, hopefully you're | |
| 19:15 | |
| rolling in some great win. Yeah, you | |
| 19:19 | |
| have enough money for the sack. But my | |
| 19:21 | |
| sax is never black. They bright green | |
| 19:23 | |
| lime. Even your cat so ill. Yo, he | |
| 19:26 | |
| doesn't pop pills, but he make people | |
| 19:28 | |
| want to pop flock and still stay. Yeah. | |
| 19:32 | |
| Hey, he's weak like Monday through | |
| 19:34 | |
| Sunday. I still like a Hyundai. One day | |
| 19:36 | |
| they might want to meet me meet their | |
| 19:38 | |
| mame cuz I rap tighter. Hey yo, hun. | |
| 19:43 | |
| Hey, what's your name? How we doing? | |
| 19:45 | |
| Sometimes we get together. Your whole | |
| 19:46 | |
| style I ruin. You like, hey, matrimony. | |
| 19:49 | |
| I'm like, come on, mattress, honey. You | |
| 19:50 | |
| know what's going on. We replicate, | |
| 19:53 | |
| duplicate like bunnies. I don't need no | |
| 19:55 | |
| money. I ain't got no money. I travel | |
| 19:56 | |
| using my thumb, honey. Um, and two | |
| 19:58 | |
| fingers. Got more cream than 30,000 | |
| 20:00 | |
| packs of zingers. Hey, I'm a dead ringer | |
| 20:02 | |
| for the acrobatic son. Yo, I rhyme like | |
| 20:05 | |
| it's a hazard to your biohazard. The mix | |
| 20:07 | |
| master of making it not make sense. | |
| 20:10 | |
| uncommonly. Hey yo, my head is | |
| 20:11 | |
| thoroughly bent. It was dented cuz the | |
| 20:14 | |
| doctor dropped me on the floor. I was | |
| 20:15 | |
| like open my jaw in awe and guess what I | |
| 20:17 | |
| saw? Nothing but the wonderful lingual. | |
| 20:20 | |
| They said I was tripping on assets. | |
| 20:22 | |
| Every level I was a single unit. Hey yo, | |
| 20:24 | |
| I've never been a unit. Bigo, big moi | |
| 20:27 | |
| di. | |
| 20:29 | |
| You don't know who I be. Open your eyes | |
| 20:32 | |
| and possibly you will see the darkness | |
| 20:34 | |
| in the skies and that resurrects me. | |
| 20:36 | |
| Enterprise like the messiah on the | |
| 20:38 | |
| Enterprise. Hey, my eyes are so wide | |
| 20:41 | |
| because deep inside rest the brain of a | |
| 20:44 | |
| god G cipher divine. Your life is hard | |
| 20:47 | |
| at many odds. I climb against the | |
| 20:48 | |
| tangents and cosiness and quotangents is | |
| 20:50 | |
| a rhyme. Yeah. Rhythmical melodies. | |
| 20:52 | |
| Yeah. Soon to be a soliloquy of the | |
| 20:54 | |
| professional amateur. Yeah. Best of | |
| 20:56 | |
| y'all. The veteran newbian new beginning | |
| 20:59 | |
| of end. Yo, new beginning of the end. | |
| 21:01 | |
| The genesis of your exodus. Take your | |
| 21:02 | |
| ashes. Put in my pl of cannabis. Hey yo, | |
| 21:04 | |
| am I hot enough for you to trust? This | |
| 21:07 | |
| is how I bust. Me and Yo Cuckoo aka Chab | |
| 21:12 | |
| get on the beat shots. Hey, give enough | |
| 21:14 | |
| girl back shots with box shots taking | |
| 21:17 | |
| hockey pucks. They get stuck deep in | |
| 21:19 | |
| your tongue. Hey, they say some are | |
| 21:22 | |
| dumb, but many need wisdom. | |
| 21:24 | |
| Local talent about to infect the whole | |
| 21:27 | |
| scenery. This sickness, the virus. | |
| 21:31 | |
| You can hit the virus www.digital.com. | |
| 21:36 | |
| It'll be up in about a week or two. It's | |
| 21:38 | |
| getting there. | |
| 21:39 | |
| Digitalcorruption.com, | |
| 21:40 | |
| baby. Check it out. You know, | |
| 21:42 | |
| the sexiest non entities you ever never | |
| 21:45 | |
| seen. You know what I mean? Every word | |
| 21:47 | |
| we use is an urge to surge the whole | |
| 21:49 | |
| planet of Williamsburg. | |
| 21:51 | |
| State of nonconformity. United States of | |
| 21:53 | |
| I am not me. | |
| 21:55 | |
| Yeah. Hey, what's going on ladies? | |
| 21:58 | |
| Sexy. | |
| 21:59 | |
| Hello. My name is Mr. Sexless. | |
| 22:02 | |
| We we came here to | |
| 22:03 | |
| I am celibate for the underworld. | |
| 22:06 | |
| Make me feel underground dirt | |
| 22:09 | |
| all by myself. Yes. I'm only bucking | |
| 22:12 | |
| with B sides | |
| 22:15 | |
| that underground. | |
| 22:19 | |
| It's a hit. Yeah, it's a hit. It's a hit | |
| 22:22 | |
| once again. Yeah. Nan with your damn CD. | |
| 22:25 | |
| Hold it for ransom. Yeah. He's so fine | |
| 22:28 | |
| as son. Yeah, his antics are so | |
| 22:31 | |
| illconed. You don't know who he is. He's | |
| 22:33 | |
| like a UFO that landed on your grandma's | |
| 22:36 | |
| house. But her big butt was bigger than | |
| 22:38 | |
| the mouth of a mouse. | |
| 22:40 | |
| What they be talking about? The question | |
| 22:42 | |
| in everybody's brain and mouth when it | |
| 22:45 | |
| comes out. They sarophagus. Man, I'm | |
| 22:47 | |
| older than a dinosaur. Terrell Rockerus. | |
| 22:50 | |
| The philosophist. Yo, waffle waffle | |
| 22:52 | |
| eyes. Plus the peanut butter and | |
| 22:54 | |
| jellies. boy made flavors for you to | |
| 22:56 | |
| dineing with the fries that be keeping | |
| 22:58 | |
| you rhying. Yeah, I like girls with nice | |
| 23:00 | |
| eyes, men's and thighs, so you know | |
| 23:01 | |
| what's going on. Hey, brother. Yo, I get | |
| 23:03 | |
| deep into the and finish each other's | |
| 23:06 | |
| rhymes. Flipping back and forth like a | |
| 23:09 | |
| cross fader all the time on the 12-in | |
| 23:11 | |
| vinyl tables, man. We leave unstable. | |
| 23:15 | |
| Unstable. You able, man. I'm animated | |
| 23:17 | |
| comic type of character like Cable from | |
| 23:19 | |
| X Force to X Factor. I'm the ex brother. | |
| 23:22 | |
| Used to be ex blacker. And I'm the ex | |
| 23:24 | |
| master. Begin to be a slave for pay | |
| 23:26 | |
| wage. The minimum got me swinging like | |
| 23:29 | |
| the pendulum in the pits that I'm in. | |
| 23:31 | |
| And this really is the skid row that | |
| 23:33 | |
| begins to send me into ends. Hey yo, who | |
| 23:35 | |
| are you? Really? What you want to do? I | |
| 23:38 | |
| make you melt and flavorful like fondue | |
| 23:40 | |
| that I could dip into my flavorful | |
| 23:42 | |
| waffle breakfast Oreo cookies. Yeah. You | |
| 23:44 | |
| know I don't want a little bit of money | |
| 23:46 | |
| from a bookie. Yeah. 100% ketchup | |
| 23:49 | |
| flavored yogurt. | |
| 23:52 | |
| Yeah. | |
| 23:56 | |
| Yeah, we got that. You know how we do. | |
| 24:00 | |
| Wisdom, equality, equality for the mind, | |
| 24:02 | |
| baby. | |
| 24:02 | |
| Peep the skills. This is WCWM. | |
| 24:08 | |
| You listen to the sounds. | |
| 24:09 | |
| You are now listening to the sounds | |
| 24:16 | |
| of digital analog. Whatever you like. | |
| 24:19 | |
| Real time, past time, night time, right | |
| 24:21 | |
| time, daytime. It's the only time we do | |
| 24:23 | |
| what we do as we do it. Is this is | |
| 24:25 | |
| music? A conduit for fluid grooviness. | |
| 24:26 | |
| He has sent you now. Now, right here in | |
| 24:29 | |
| the present | |
| 24:29 | |
| to the sound. | |
| 24:30 | |
| Welcome to tomorrow. | |
| 24:34 | |
| Yeah. | |
| 24:34 | |
| Yeah. That's what we do, baby. | |
| 24:36 | |
| Every time. | |
| 24:37 | |
| Hit us up. Peace. | |
| 24:45 | |
| Hey, you rapper. Stop rapping. a rapper. | |
| 24:48 | |
| All right. Um, I had a spider literally | |
| 24:51 | |
| about to kill me. | |
| 24:53 | |
| That was black. | |
| 24:55 | |
| No, that was just some ugly ass What do | |
| 24:58 | |
| you think it was? | |
| 24:59 | |
| Black. | |
| 25:00 | |
| It was green belly. | |
| 25:01 | |
| Brown, actually. | |
| 25:02 | |
| No, brown recruits are huge. That's not | |
| 25:04 | |
| a brown recuse. | |
| 25:05 | |
| Are you sure? | |
| 25:06 | |
| Yeah. | |
| 25:06 | |
| Are you sure we're not dying of spider | |
| 25:08 | |
| attacks on this? | |
| 25:09 | |
| No. | |
| 25:09 | |
| Almost. | |
| 25:10 | |
| Got to love the Shakespeare, man. And | |
| 25:12 | |
| I'm saying, you know, like Shakespeare, | |
| 25:14 | |
| like I wake up and I'm like, Shakespeare | |
| 25:17 | |
| got to read that. | |
| 25:18 | |
| Yeah. | |
| 25:19 | |
| And I go to bed after a good Shakespeare | |
| 25:21 | |
| play. | |
| 25:22 | |
| That's how we all do, man. | |
| 25:24 | |
| Yeah. That's how we all do. | |
| 25:27 | |
| Watch out for spiders cuz cuz there's | |
| 25:30 | |
| there's there's big insects in | |
| 25:31 | |
| Williamsburg and they're deadly. Dear | |
| 25:34 | |
| God. And the mosquitoes and the the | |
| 25:36 | |
| spiders. Especially Especially if you | |
| 25:38 | |
| live in one of those homes with like the | |
| 25:39 | |
| lead walls and the the whole poison | |
| 25:42 | |
| thing going on. The old cast iron pipes. | |
| 25:44 | |
| Gasoline was invented in 1923. Man. | |
| 25:46 | |
| Jesus Christ. Where? Oh my god. The | |
| 25:50 | |
| fear. The fear. The fear. The spiders. | |
| 25:53 | |
| The insects. The bugs. The mosquitoes. | |
| 25:55 | |
| The malaria. The of poisons. Oh my god. |
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