Thank you to Claire Lefort for transcribing and editing this interview!
Ghais Guevara is a thrilling, tactful, brash voice in the modern rap space, emerging out of the storied streets of Philly and gaining acclaim both in his city and online. He generously took the time to sit down with SCAD Radio to discuss the political under- (and over-) currents of his music, his process for beat making, and Guilty Gear mains. Listen to the audio and read the transcript below
Megan: Hello Scad Radio. This is your production director Megan, and I am here with Ghais Guevara. So, for the people, who are you, what do you do? What kind of music do you make?
Ghais: My name is Ghais. I am a rapper producer from Philadelphia. I make politically-charged underground hip-hop/rap. I don’t- I’m whatever people say I am at this point.
Megan: Yeah.
*Laughter*
Megan: It is a very eclectic, kind of hard to categorize, which I think is somewhat the goal, I would assume, right? To be a little bit subversive.
Ghais: Definitely.
Megan: Yeah.You are from Philadelphia and Philadelphia is sort of similar to Savannah, where we are, that it’s a very historically-charged city. There’s a lot that has happened and a lot that is still happening there. So, how did growing up somewhere with history like that city inform your artistic development?
Ghais: Well, that’s a good question cuz a lot of it, you think about like the Declaration of Independence and-
Megan: Yeah-
Ghais: -all that other mess, but being somebody that’s- I mean, I’m from North Philadelphia, black kid, you know, I don’t really have any room to really give a damn about all that stuff.
Megan: Yeah.
Ghais: But it’s an impressive revolutionary history. MOVE is from there. Paul Robeson lived there, Co-train lived there, so it’s a lot of like-
Megan: Yeah.
Ghais: -very important black history, especially with the soul music movement and a lot of that. A lot of that that tends to come not from being in like Riten House and Independence Hall. But just being in those more impoverished neighborhoods where it’s a bit more people of color and black people and so on and so forth. So just by extension of just being there, you tend to just take all of that in just by just living there.
Megan: Definitely. And I would assume that in a lot of ways that revolutionary history being sort of, in a lot of ways whitewashed to this day, would inspire you to be as brash as you are with your statement so that there’s no room for interpretation.
Ghais: Yeah. A lot of people like to blatantly lie. They just blatantly lie about things. So I’m like, if you can lie to my face, it’s, it’s so funny- I always say this- that people excuse sinister acts or misbehavior because they’re not loud about it or cuz they’re not violent about it. It’s like, it’s still f***** up curse. Just because it’s more psychological doesn’t mean it’s decent. I should be allowed to go ahead and yell about what I want.
Megan: Reminds me of the monologue at the beginning of Free Mirror.
Ghais: Yeah. Pretty much.
*Laughter*
Megan: So going back to sort of the eclectic nature of your music, you have some very, for lack of a better term, wacky sample usage. When I was listening to the album for the first time through, I was in public. And when I heard the steamed ham cliff, I laughed out loud. I was like, whoa. So, I wanted to ask about, for those samples, where do you start with those? And for really well-known samples like the Silk Sonic one on Patrisse Cullors, does that affect the well-known nature of the sample affect the way that you use it at all?
Ghais: So essentially- it’s kind of my approach- is I hear something that I like and I’ll write it down. I’ll jot it down and be like, I’ll use this for later. I’m not much of a pro. I guess I am kind of prolific. I don’t know, but I don’t make five beats a day or something. I usually just sit down. I’ll make three beats in one week and then keep going. You know, it’s sporadic.
Megan: Yeah.
Ghais: So things like the steam hand clips or stuff like that, like the SpongeBob clips and the memes. It usually comes from, I have an idea in mind and when I come up with that idea, the back of my mind is just unlocked. It’s like, oh, well this fit perfectly in that idea so let me just search for that real quick. So it really is just a bunch of mental notes. It’s nothing really planned ahead and nothing like that. As for the more well known stuff, it’s pretty much the same thing. I always get scared a little bit cuz they like to crack down on stuff like that. It’s all about what I think sounds good and I’m just gonna use whatever I think sounds good. And if I get in trouble for it, then, I mean, I’m a political rapper, I’m always gonna be in trouble, so…
Megan: Yeah. Exactly. I know that there’s been some- well, a pretty well known case of- well actually two pretty well-known cases of samples getting people in trouble. I’m thinking of Kelis for the new Beyonce album. She tried to, I think, interpolate Milkshake and it got her struck down. And then JPEG Mafia, he had to pretty much rework his whole album, uh, lp cuz there was a ton of uncleared samples.
Ghais: I remember when Pharrell got cracked down by Marvin Gay’s Estate for blurred lines. The people you’re naming are a bit like more established. For me, I feel like I could just pass it off as, oh, it’s just a mixed tape. I may have to take it off like streaming services or some shit like that, but by then, I’m gonna already be through the stratosphere. It’s not really something I’m really tripping about. I mean, the day that they started cracking on like Chief Keef and DJ drama, they already cracked down on DJ drama, but the day that it really becomes like a big wave of anti sampling, then maybe I’ll quake in my boots a bit, but right now, I’m cool.
Megan: Yeah. Well that’s good to hear. And I wanted to also- playing on talking about those other artists, since your music does have a whole lot going on as far as different sounds all packed into one song and stuff like that, I wanted to ask about what musical influence has kind of led you to where you are.
Ghais: Usually it’s not really anything specific. Of course, I have a couple of people that I always have in mind that I wanna show off my appreciation for, but it’s never really- it depends on how I’m approaching a song. If the song is going to be more political, more heady, more intellectual, for lack of a better word, I’m not gonna approach it like Future. If it’s a rap song, I’m not gonna approach it like Kelis or Justin Timberlake. So much influences and knowledge and music bouncing around through my head. It’s just nice to be able to- it’s like a deck of cards. Just pull it out whenever I need it. Who do I want to channel? Who do I want to kind of gain inspiration from based off the specific track or album?
Megan: Yeah. There’s this whole concept at school here that we like to talk about- “Stealing like an Artist”- where you kind of exist as this artistic sponge and you soak up all the things that you love and then eventually, by the time that kind of, I guess bringing it out to put it into a project, it’s all meshed together. It’s just a big amalgam of everything that you love and the influence is there, but it’s kind of indistinguishable from each other. Cause it’s all you.
Ghais: And I always try to tell people when people ask me for advice. And I know it sounds so like corny and cliche, telling people to be theirselves. It really is because every person’s unique. Everybody, every person has different experiences, different environments, different influences and inspirations. So, so long as you’re being yourself, you’ll never sound just like somebody else. I think that’s how I really approach it. Even if I do want to do something more mainstream inspired, I’ll never take myself out of it. I’ll still throw in a random cartoon sample or something to just set myself apart.
Megan: Definitely. Kind of on the note of your own process, I guess, where do your songs normally start? Do you start with a beat, with a bar?
Ghais: Technically I guess it starts with a bar. My writing process is pretty funny. It’s the same way I approach samples. I like, think of a line, think of a concept, I’ll jot it down. Then when it’s time to write, then I sit there. And people always say, “Oh, you work so fast.” Because I have this foundation to go off already. If they want a verse and I would get it done in 15 minutes, they’re like, “Yo, how did you do that?” You know, well I had this idea from 2019 that I just had my phone and I could just build off of that. So that’s pretty much the process. I usually start by finding the beat. I don’t really like writing without a beat because you wanna be able to match the tone and match the mood, and so on and so forth. There’s been times where I’ve used an old verse for a new beat, yeah, but for the most part, I start with the beat.
Megan: Yeah. I would imagine that writing without the beat in mind would kind of make the bars feel a little bit unhoused, like you don’t know where you’re putting it, so you can’t really pace it at all.
Ghais: Yeah, exactly.
Megan: I have to know. How long were you holding onto the Queen Elizabeth song before she kicked it?
Ghais: I made that- that was a day-after idea.
Megan: Really?
Ghais: Somebody was like, “Why don’t you just make the track?” And I was like, “Okay, I’ll do it.”
Megan: That’s awesome.
Ghais: Yeah, the day after. It just- was this spur of the moment. I got up, I didn’t even brush my teeth, I just stood in front of the microphone. I had the beats sitting around and I was just, “Let’s record this.”
Megan: That’s so funny. Yeah, Queen Elizabeth pack watch was more urgent than self-care at that moment.
Ghais: Definitely.
Megan: That’s awesome. I see in the album credits for “There Will Be No Super Slave” that there are a few producers aside from yourself credited. So, do you find that music is collaborative for you or do you find that those contributions kind of come towards the end as a cherry on top?
Ghais: I wanna be way more collaborative. I think I was kind of forced in a hole to not be. People don’t have any reason to really believe in you. I’m not gonna sit here and be like, you know, “N****s ain’t, n****s ain’t see the vision, dadadadadadada…” Everybody wanna be a rapper, you know what I mean? I do- I am a bit more of a collaborative person, especially, I’ve been getting in studios with people, doing a lot more features. I do like the idea of bouncing ideas off of each other. Again, everybody being their unique selves and just culmination. It’s something to be more proud of because it definitely is harder to work as a team than it is by yourself. But at the same time, the ideas, the more minds you have, the more endless the ideas are. So, I’m always looking forward to that kind of like maximalist type of thing,
Megan: Yeah, for sure. I know that there’s a whole thesis that’s been going around about people who are one man bands and how they kind of produce fairly similar sounds. Like a full album will kind of have a very consistent, almost too consistent sound throughout it. The one that comes to mind is, not to knock him, but Kevin Parker Tame Impala. You got some bangers, but you can listen to the album and kind of zone out and you’re like “where am I?” you know? So I think that that collaborative, multiple heads coming into one thing can really lead you through a different path than you might have taken on your own.
Ghais: Yeah. I’m not sure why people try to individualize music. I mean, I understand the whole “I did it myself” thing. Trust me, I’m proud that I did bullshit big by myself, but that was years and years of ideas. That’s different eras of ideas mashing into one project. So, technically, it almost is like three or four people that’s working on a project. A lot of these folks are putting out project after project after project every month, every week, every year. And there’s no way that within the time span that you’re gathering enough influences and inspiration and ideas to separate yourself from what you previously did, which if you wanna remain consistent, that’s cool. There’s a lot of rappers that remain consistent in their content that are doing extremely well. But I like to play around with things.
Megan: Do you think that a lot of that is attempting to not succumb to the grind culture that’s really prevalent in rap? The “started from the bottom” kind of thing? I think that sometimes people invest way too hard in that and end up producing mediocre stuff in the effort to really grind.
Ghais: Yeah, I think people put quantity over quality, ethic over quality and stuff like that. We do live in a very fast, demanding… People don’t really buy physical copies- I mean they do, but it’s not- you’re not selling 500K off CDs no more. This isn’t the 2000s. So, we live in a very fast demanding era where you’re here today and gone tomorrow. That’s why I’m kind of proud of the way that I came up cuz my fan base is a bit more organic, so they’ll kind of stick with me and wait for me. But a lot of these people, they blow up one hits on TikTok. [Don’t] really know anything about this person, they just like the song. They don’t care for an album. So I don’t really blame people for trying to get that next paycheck very fast, stack their money and then retire a year later. But I’m here for a long time.
Megan: Yeah. And I think that a testament to that is that you were able to do a successful vinyl release. A lot of people, like you said, a lot of people are there for an artist for a song, or maybe even 30 seconds of a song that they like. So being able to sell out a full vinyl drop is impressive.
Ghais: That was incredible. I think I kind of owe it to the politics a little bit. I think people are finally like, finally somebody we can relate to that’s not a lame- they’re kinda like sticking with me. I, I, I hope I don’t let them down.
Megan: I saw you tweet the other day. Somebody was like, “I named my cat after you.” And you’re like, “Cool, I’m gonna do something that makes you hate that soon.”
*Laughter*
Ghais: Make them regret it. Yeah.
Megan: Yeah.
Ghais: Yeah. That’s- that’s a lot of power. People naming things after me. That’s crazy.
Megan: I know, yeah, At the end of the day, I have my artists who I adore. Like I have a tattoo on my ribs for Fleet Foxes. I’m a big fan of them, but at the end of the day, like Robin Pecknold, the guy who is their front man, he’s just a dude. He’s just a guy. He’s not a god to me. I’m not gonna name my firstborn after him.
Ghais: Exactly. .
Megan: So I actually wanted to talk a little bit about the title of your recent album, which is “There Will Be No Super Slave.” So, from my research, I found that it comes, correct me if I’m wrong, from a book, “Blood in My Eye.” Would you be able to tell us a little bit about that book and the intent behind the title?
Ghais: Yeah. So, George Jackson was a political prisoner. I think he was arrested for robbery. I may be wrong. He was held in prison for pretty much the extension for the rest of his life after that because, I think- did he become a communist in prison? I don’t a hundred percent remember. Usually when we talk about political prisoners, it’s like Tulu Shakur, George Jackson, people that are very communist ideologically and from within the prisons try to spread their work from beyond the walls or within the walls. He was a very- he’s very influential on a lot of the people that I hang with, a lot of people that I love, a lot of the prison abolitionists love George Jackson to death, and I also love George Jackson to death. I’ve read the book, I didn’t finish it, but there’s this excerpt where his brother, Jonathan, who died at 17 trying to break his brother out of prison. He wrote a letter to George and he was talking about the urgency for revolutionary organization amongst black people. He made, he said the quote, “There will be no super slave,” essentially saying like, we can’t wait for like a messiah or a prophetic figure to come save us. We have to organize and do this now or else it’s gonna be the end of this.
Megan: Definitely. And I think that- I mean, what you were saying before about how your fanbase, it’s like I finally have someone to relate to. It’s almost a statement too on your part to say, I’m not that either.
Ghais: Definitely. No. Hell no. I don’t- like I said, I read five books last year. I didn’t touch a single one this year. I’m, I’m not, I’m not flawless. I don’t know everything. I don’t know a lot. I’m just outspoken. I admit my mistakes, I’m willing to put myself on the line for others. Please don’t expect me to be that person.
Megan: Yeah. I think that a lot of the time right now, especially in this era of a leftist come-up on Twitter where there’s such a push for people to be very theory literate in order to be respected in that space and I think that’s- it’s sort of gatekeepy. Why are you trying to keep people down from believing in [an] ideology that you believe in as well? Just because they don’t have time to break down marxism?
Ghais: I mean, you look at Lennon and the peasantry and what he did with the peasantry, like what Castro did with the workers, what Shay did with the workers- the literacy rates before the revolution were garbage. Nobody knew what they were reading. For people to have this expectation that everybody else should have this knowledge already, it’s kind of ridiculous. I don’t, I, but I feel like, and I’ve said this before, I feel like a lot of these people are just cosplaying trying to be these prophetic figures. Trying to be that dude, trying to show off their knowledge and what they know over what others don’t, and they don’t really care about the people for real. They just wanna be… In that sense.
Megan: Yeah. They wanna be the person to ratio a Republican.
Ghais: Exactly.
Megan: Yeah. And speaking of that, leftist politics have a big ubiquity across the album. They’re pretty much all across it. So was that a very conscious choice? Just something that happened as a result of thoughts?
Ghais: It’s pretty much all that I know. We always talk about, I, I really hate when people talk about, “Oh, hip hop’s only guns and drugs and women.” But like, but that’s cuz that’s what they grew up around- guns and drugs and women. That’s all they know, what are they supposed to rap about? Sorry that these 20 year olds from Brownsville aren’t well-earthed and globed, like? So kind of, I grew up- my parents were revolutionary. They did revolutionary work. I grew up around a lot of them, a lot of revolutionary families. And around my teenage years, towards the end of high school, I started meeting with revolutionary orgs as well on my own. So it’s kind of like all that I’ve really known, even since I was really young. Just saying shit that would just get me in trouble. Like my parents, like, “You’re not supposed to say that out loud.” When I approach a microphone, that’s kind of just like what comes to mind first, so
Megan: Yeah, definitely. I think that that’s very interesting. It’s a very different, sort of, growth than a lot of people might have, cuz that sort of revolutionary upbringing is not, not very common I think in a lot of the United States. That’s a very interesting perspective.
Ghais: Yeah. So many people… Like, “How do you know this stuff?” They think that I’ve shut myself out, closed the windows, turned the lights off, and just crammed a bunch of books. And like documentaries and videos, and it’s like, no, these came from conversations with people that all considered, you know, legends. So, not to be the antithesis of what I just said about being a prophetic figure, but it’s kind of, it’s kind of funny that I personally happened to go through that experience and also happened to have the talent to market it the way that I did, you know what I mean?
Megan: Yeah, definitely.
Ghais: Kind of just like a destined thing.
Megan: Yeah. I think, too, going back to what you were saying about people saying that hiphop is all drugs, guns, and women. I think that it’s also interesting to go back to how hip hop has developed because back in the day there was still revolutionary sentiment, but it’s a lot less. It was on the down low a little bit more. Even now, the remaining rappers- the Griselda kind of group, they’re still- the recent Benny the Butcher project, he is still talking about selling crack, you know? There’s still a lot of that and it’s interesting now to see how, like you said, since you’re political, you’re always kind of in a hot seat, but also those old school rappers are now getting targeted by states trying to use their lyrics against them in court and stuff like that. So it really feels, to some degree, rap as an art form is never gonna get its moment to really win cuz people just wanna keep you down.
Ghais: Definitely not. And it’s so funny cuz it’s such a young genre. It’s like 50 years old. And throughout that 50 years, you’d go insane trying to name the amount of rappers who have not gotten in trouble for being rappers. Whether you’re a revolutionary- you can be a damn backpack rapper rapping about skateboards and they’re gonna find something to RICO you about because it ends with this gang member. So it’s not, it’s never really safe, and I think people should look at it as, it’s not even that they’re just targeting rappers. We’ve always been targeted as black people, period. Rappers, jazz musicians, poets, authors, no matter what field that we choose, if we aren’t assimilating, we’re targeted. So I don’t… I don’t understand why people try to act like it’s us.
Megan: Yeah, definitely. I also wanted to ask, this comes from my good friend Sophie, who actually put me onto the album. So shout out Sophie. She asks, “As a socialist who often feels conflicted about putting explicitly socialist themes in my own work, on narrative songs like Luminescence and Face Off, how do you go about blending storytelling with agitprop while avoiding being preachy?”
Ghais: I don’t usually… I don’t approach it like I’m trying to teach somebody. I don’t approach it like it’s a socialist track. Again, this is kind of a, I know it’s a shitty answer, but because I grew up around it and because it’s within me, it’s kind of like it just comes out no matter what I try to do or say. So I think from somebody, I don’t really know Sophie’s background or anything, but I think how you should approach it is what would I personally want to hear? Would I want to hear a story of- you take Face Off and Luminescence, you know, these are stories about struggles and strife, and you use those stories and give an explanation as to why you’re in the situation that you’re in. Don’t sit there and give data and statistics and so on and so forth. Nobody’s trying to hear all that. What they want is to relate to you on a personal level. And, you know, that’s kinda something that I learned through like tabling with people, being on the streets and having conversations about police budget and shit like that. Wanna approach it like, “All right. Your life sucks. My life sucks. Here’s why. Here’s how we can fix it.” You don’t wanna be condescending and be like, “I’m telling you what to do, this is what you need to do.” So I pretty much approach it just like that. Like I want to be able to relate to you emotionally and mentally, first and foremost. So I’m gonna tell you my deepest, darkest tragedies. You tell me your deepest, darkest tragedies and let’s figure it out together.
Megan: And I think that that’s definitely resonant also just in politics in general. At the end of the day, if you look at how people vote and what they want, everybody wants the same thing. They want workers to be protected, they want their kids to be safe, they want everybody to get their dues, but they just are being told how to get there by bad actors or people with bad faith arguments or people who are spreading propaganda against a worker revolution or unionization and stuff like that. And it’s so difficult to win people over with facts when they’ve been shown other facts. It’s much easier to communicate with someone on a person to person basis and figure out, “What do you want?”
Ghais: Exactly. Nobody wants to be treated like a robot. They don’t wanna be given instructions, so.
Megan: Yeah. And a lot of the time it can be more frustrating if you’re trying to show somebody empirical evidence of a certain thing, and they’re like, don’t care. I’m like, dude, what do you want from me?
Ghais: Yeah, exactly.
Megan: It would be really difficult to put a statistic in a bar too.
Ghais: Yeah, exactly. That’s kind of, I guess, I mean, Mos Def kind of did it with mathematics. But I mean, that’s Mos Def. He’s special, you know what I mean?
Megan: Some people can just do it different, built different. So, being from Philly, I would like to know your thoughts on the election results. It was a very bizarre race there with f****** Dr. Oz.
Ghais: I was, it’s so funny cause I mean, I don’t know, is he ever gonna hear this interview? My pops is big on voting, and I just outright just didn’t show up to the polls. He works at the polls that I’m supposed to go vote at. He’s probably gonna be mad at me, but I wasn’t paying any attention to it. Honestly, I knew Dr. Oz was running. I honestly didn’t know that he was Turkish before he was running. I didn’t know he was f****** Mehmet. Yeah. Like, I was like, oh shit, this n***-
Megan: I saw that on the polls. I was like, what?
Ghais: Fetterman was gonna win. We’ve been Democrat for the past whatever years. I mean, it’s not like we’re much, I mean we are in a red state kind of. You go outside of Philly, it’s kind of like, what the f***? But… Look, Federman won and then a day later, 11 students got held at gunpoint at Temple University and got robbed. Same shit, different day. I’m not really impressed by any of these- I mean, it’s good that we can get abortions and stuff like that, and so on and so forth. That’s always great, but at the end of the day, as a- we can talk about women’s rights all we want, but you know, as black women, what about black trans women? Always gonna be neglected no matter who the f*** we vote for.
Megan: Yeah, there’s very little room for intersectionality on the election campaign trail, which is really unfortunate. You don’t hear anybody really talking about it other than explicitly leftist candidates who are like running on a progressive ballot. The big example would probably be AOC, who’s- even then, she has some very unfortunate positions I think. Mostly foreign policy related, but she has some good progressive stuff going on and it’s very difficult to point out other people in the United States who have been able to pull that off, which is unfortunate.
Ghais: It’s freaking, it’s insane. I know, like, Kshama over in Seattle. I think she’s like, City Council. She’s openly socialist, she’s war against Amazon, stuff like that. Other than that, I mean, and this is what I’ve been saying is like the thing with electoralism is that these n***s cheat. They cheated Bernie and I don’t even f*** with Bernie. He don’t f*** with ASATA so I don’t f*** with Bernie. They won’t allow you to win. It’s their game, so I don’t understand why we’re trying to beat them at their own game.
Megan: There were some- I mean, the rest of the world already considers American politics to be a little bit of a joke, which is really becoming evident, I’ll say, in how weird a lot of the candidates were this time. Especially coming from Georgia. The election here was nuts. Guy who threw a football once versus well-respected pastor from like an ancestral church. And it was neck and neck. It’s like, what is happening?
Ghais: They’re letting anybody do anything- it’s a reality show, honestly. I said, how many people know where their voting polls actually is? How many people know these people’s policies, know their family history background? Don’t nobody know that stuff. It’s about who’s the funniest, who’s the silliest.
Megan: Yeah. So who’s got the charisma and who’s backed by what color. Which is sad. So another one from Sophie and a little, a little quirky one to finish us off, she says, “I gotta ask, who’s your main in guilty gear?”
Ghais: It’s Ramlethal. I haven’t played it in forever, I gotta get back into it. But yeah, I play with Rammy. I like playing with black characters and her swords. She’s a great mid-range. You know, all you gotta do is press triangle or circle and you’ll break anybody’s combo because that mid-range attack is just so… and combos is pretty easy. I can get a wall break easily with her. I’ve kicked so much a** with Ramlethal.
Megan: Do you play any Smash Ultimate?
Ghais: Yeah. I used- it’s actually funny. So when me and my brother, back in our impoverished days or whatever, all we literally had to play was smash. We just did Smash Brawl like for eight hours straight every f****** day. So we were like, really good. So when Smash Ultimate came around, I kind of dropped it a bit, but I can always just pick it back up. It’s so funny. But yeah, I love Smash Ultimate.
Megan: Who’s your main on there?
Ghais: Either Snake or Wolf.
Megan: Ooh, you’re on that- the melee shit with Wolf. Some of the Falco strats. Sophie and I are both Corrin mains.
Ghais: We hate- every time I play with my friends, we just hate fighting Corrins.
Megan: Corrin- It’s because Corin, it’s like the same thing that you have in guilty gear. That mid-range, the side b is nuts. Sophie is competitive in Connecticut, so I watch her on Twitch whenever she’s playing.
Ghais: That’s hilarious.
Megan: It’s awesome. She was on the other night and I was like in chat like, “My goat! Sophie!”
Ghais: That’s funny as hell.
Megan: Yeah. Well, it was lovely talking to you.
Ghais: It was nice talking to you too. Thank you for that.
Megan: Of course. And if you would like to plug your socials and all of that.
Ghais: I’m Ghais Guevara. G-H-A-I-S Guevara, like Che Guevara everywhere. My name is Unchanging. I have, I chose a really unique name, so nobody’s-
Megan: Easy to find-
Ghais: Yeah.
Megan: Good SEO.
Ghais: Check out ghaisguevara.net for upcoming shows. I got like four shows coming in December. Thank God.
Megan: Yeah. All right. Thank you guys for listening. This has been SCAD Radio More Than Music, and this has been your production director, Megan. So, check out anything else on the website if you’d like. If not, thank you for listening.
