Meet Jonwayne, a baby-faced white kid from the LA suburb of La Habra, who's been a fixture at Low End Theory long before he was old enough to drink. The 28 year-old rapper/producer got his start early, writing his first raps and recording his first beats while still in high school. Back then, he was a football-playing poetry-writing theater geek. The football part made sense; both his older brothers were varsity players, and their coaches knew him since he was a kid. But by the end of his sophomore year, the allure of jockstraps and pushups had waned, and Jonwayne (then still known as Jon Wayne) removed himself from the roster.
Fearful that they had a slacker son on their hands, his parents presented Jon with two options: find a job, or get some kind of productive hobby. The choice was easy—he got involved with the theater program at his school and attended the Young Artists Workshop, where he discovered a love of spoken word performance. Around the same time, he found his poetic muse; a girl he had a crush on was into poetry, and he wanted to impress her. "I was having all kinds of frustrating problems with raging hormones and trying to express myself. I was a mess," he says. "So [writing poetry] was really helpful. It wasn't necessarily a ruse—it just started as this half-assed thing and then it turned into something that I did really heavily for the next few years."
Writing turned to rapping at the age of 17, when a crew from West Covina at the Young Artists Workshop made an impression on him. Every day they'd bring over a workstation to make beats and Wayne would listen to them rap. "I was kinda tagging along, being the token white kid of the group, because, you know they needed one of those guys in there," he says, recalling how they'd encourage him to start rapping. "I started developing a style, but I wasn't comfortable recording it because they all had a certain aesthetic, and they pushed a certain vibe on everyone." After saving up enough cash to buy a cheap microphone, he left the group and started recording on his own. "I was kinda feeling like I was going somewhere else."
That somewhere else turned out to be Low End Theory, where he found a community of more like-minded artists such as dublab and Low End Theory-affiliated Kutmah. Wayne remembers the night they met very clearly: it was in early 2009, and the night's guests were Dibiase, Devonwho and Mono/Poly—a lineup that can easily draw a line stretching around the block in 2012, but which still allowed for some elbow room on the dance floor at the time. Dibia$e, Wayne's friend and mentor, encouraged him to bring a stack of CDs of his beats and hand them out to select tastemakers in the crowd—including Kutmah.
"Dibiase was like, 'You need to give him something.' So I did, even though I didn't know who he was at the time. He said he wanted to give me something too. He gave me this Sacred Geometry Mix and that was it! He was the first person to ever put me on." Kutmah was working at Poo-Bah Records at the time, and he started playing Wayne's CD there. DJ Nobody—Low End curator and fellow Poo-Bah employee—took notice and asked him for some more beats. After passing along his latest work, Nobody started playing them out during his sets. Soon after, Wayne booked his first Low End gig, becoming one of the youngest artists to grace its tiny stage.
"Elvin [DJ Nobody] had heard my music before, but it wasn't until he heard me rap for Dibia$e that he was like, 'Oh, OK—let's do this,'" he recalls. He invited Wayne over to his house to put together a set. Wayne brought over five CDs worth of material, and after spending a day sorting through the tracks, 30 beats made it onto his 404. "Elvin helped create it. He knew what would work there, so he picked out my set for me … you gotta be inducted into the family, and they took me in."
On the night of his Low End debut, it was pouring rain outside, and it was the first and last time he can remember ever being nervous before a show. "I had envisioned that night for a long time—it'll be packed, I'll subject these people to my shit for half-an-hour and it'll be dope. And then it started raining, and I was like, 'Ah, fuck. This is my one chance and it's not gonna go like I expected.' I didn't want to fuck up. Two hours before go time, I told Elvin, 'I don't think I can do this shit.' I thought it would be awful."
The rain had thinned out the crowd from its normal sweat-soaked, sardine-packed population of beat obsessives. But Wayne found himself rising to the challenge, transformed, swept away with his audience like the water guzzling through the venue's outside patio. "I can safely say it changed the course of my life. I think it was one of Elvin and Kevin's first experiences seeing the next generation—kids taking what they were doing and absorbing their aesthetic and building on it."
Wayne's second big break came shortly thereafter. Early one morning in May 2010, Kutmah woke up to the sound of police knocking at his door. He immediately knew what was going on; born and raised in Brighton, England and brought to Los Angeles at age 12, Kutmah lacked legal-residency status, and it was only a matter of time before someone noticed. Within minutes, he was handcuffed and detained by Department of Homeland Security authorities for failing to honor a voluntary deportation notice that he had signed over a decade earlier.
While he was locked up in a high security prison in New Mexico awaiting deportation, a furious local effort amassed to raise money for his mounting legal fees and raise awareness about the case. About two months in, as deportation loomed, Kutmah asked Wayne to host a benefit show produced by screen-printing collective Hit+Run. He had never performed at a Hit+Run event before—they didn't even really know who he was at the time—but they added him to the night's stacked lineup, which featured Stones Throw's giants like resident funkmaster Dam-Funk, smooth soul crooner Mayer Hawthorne and founding father Peanut Butter Wolf.
"For him to ask me to host, that was a big thing. For me to have the opportunity to share the stage with all these people that I admired and wanted to work with, that was great. I secretly think he knew that would be a great situation for me to be in."
During Dam-Funk's set, Wayne finally caught up with Stones Throw Records label head Wolf, a man he'd been chasing since the days of MySpace. "When I first started making music, the Stones Throw library—the funky, soulful aesthetic—was a very loud template for me," Wayne says. "My music was very derivative at first but then I started to find my voice and ended up going away from them and, in the process, attracted Stones Throw to me." He inked a three-album deal with the label this past January, shortly after his 21st birthday.
Before joining the Stones Throw family, Wayne already had a recording system nailed down: he used to drag a synthesizer, his 404 and some turntables into the bathroom and set up shop: the "synthesizer sits on top of pulled-out drawers, 404 goes on one side of the sink and a turntable goes on the other side." Any extra gear ended up on stacks of books. Wayne would sit in the bathroom composing tracks and beats, his eight-track resting on a trash can beside him, escaping to his bedroom when he needed inspiration for his rap lyrics. It was in the bathroom that he produced what later became his Alpha Pup debut, Bowser, a collection of sample-free beats blending the Warp Records' distinct brand of IDM with video game-influenced melodies. Deeper, darker instrumentals followed with his sophomore album The Death of Andrew, released on Alpha Pup late last year, along with several essential, self-released mixtapes.
The success of Bowser allowed Wayne to graduate from his commode. He now works out of the Stones Throw headquarters in Highland Park, in a studio he helped build with Peanut Butter Wolf and close friend/collaborator Jonti, a fellow Stones Throw signee. At last, Jonwayne finally ended up where he was always meant to be: right next to the ever-elusive, always-brilliant producer Madlib, on the roster of one of the most innovative hip-hop labels in the world.
"I had dreamed for years about coming here and meeting these people and seeing where it all started, [but] as a visitor... rather than a welcomed guest! It goes to show that if you want to grab someone's attention, you literally have to take them by the collar and be like, 'You're fucking listening to me now.' There's no other way."
Releases:
Jonwayne released his debut instrumental album Bowser on Alpha Pup Records on April 19, 2011, the mixtape How Stella Got Her Groove Back in July 2011, the compilation mixtape Thanks, Bro in August 2011, and the mixtape I Don't Care through Wedidit in September 2011. Jonwayne released his second proper album, The Death of Andrew, on October 25, 2011 on Alpha Pup Records. Shortly afterwards he signed to Stones Throw Records, on which he released the beat tape Oodles of Doodles in March 2012. Later that same month, he self-released a mixtape titled This Is False. He released a mixtape titled Jonwayne Fucks Disney on May 29, 2012. Most recently he released Casette (a limited edition 24-minute rap tape available only on casette) through Stones Throw on July 31, 2012.
Wonka
Jonwayne Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You know my Z's offer more than all the A-B-C's
And things I make you see might
Preoccupy your dreams right
Haven't made a peep since like Green Light
And y'all afraid I might see light
And put my hands up like I'm praying for a god to smite
I just need to write you
Fuck off, eat shit, die, and subscribe to TIDAL
The life of dogma rap
Gone from these gods and cats
I'm raining on you hoes like I'm sitting behind your harness strap
Son
Might just black out the map
I write shit that could write the next almanac
Back to back
Who the best
You da man
You can rap
You not black
Who is that
Who this man
What is that
What he do
And gimme that
You can find him in the cut with a Jimmy hat
Been a while since you heard from the Wayneiac
Haven't done an interview in like, two years
Haven't left home in like, two years
Haven't had a drink in like two years
Wonka with the gates
Didn't give a fuck for like two years
Follow the prints
You know I'm 'bout to be king in like two years
Wonka with the gates
Imma show you what I want to
Yeah, a handful can come through
And you know the ticket ain't golden, boy
Wonka with the gates
Imma show you what you made of
'Till my competition laid up
And I'll be the last one standing here
Wonka with the gates
Imma show you what i want to
Yeah, a handful can come through
And you know the ticket ain't golden, boy
Wonka with the gates
Imma show you what you made of
'Till my competition laid up
And I'll be the last one standing here
No, I'm not on Stones Throw
Thought you'd know that by now
'Bout to build my compound
Thought you'd know that by now
I make all my beats
I thought you'd know that by now
I'm one of the best rappers
Don't you know that by now?
Authors is the label
Thought you'd know that by now
They gon' paint me as its savior
Thought you'd know that by now
I'm smarter than your average
Thought you'd know that by now
I'm not afraid of you motherfuckers
Don't you know that by now?
Don't you know that by now?
Don't you know that by now?
I'm not afraid of you motherf...
Don't you know that by now
No playing me for a sucker, boy
Bringing the motherfucking ruckus, boy
Peep all the things that I been doing in the dark
With Daddy Kev and Mr. Sakanoi
Put me on the spot
I'll fuck it up, kill it, bury it
With all these Wonka bars
Had a will, tore it up
But not before I signed it with all these battle scars
'Bout to come up through the ground
Willy Wonka with the gate
Open for a few
And if you with me then step inside and see what the hell I been working on, shit
The opening line "Who dare disturb me in my sleep" sets the theme of the song where Jonwayne declares himself to be the "Wonka with the gates." He describes his level of creativity when he says "You know my Z's offer more than all the A-B-C's" and warns that the things he makes people see might preoccupy their dreams right. Then, he goes on to assert his greatness as a rapper by saying he might just have to "black out the map" and writes lyrics that could make the next almanac. Jonwayne brags about his rap skills before stating he hasn't done interviews, left home or had a drink in two years, emphasizing his dedication to music. In the chorus, Jonwayne repeats his role as the Wonka with the gate where he shows people what he wants and what they are made of. The song ends with him identifying himself as one of the best rappers, signing off with "Don't you know that by now?"
The overall theme of the song is Jonwayne's declaration of his greatness as a rapper while showing his dedication to music through his hermit-like lifestyle. He talks about his creativity, dedication, and uniqueness in his approach to music. Despite being away from the spotlight for two years, he brags about his rap skills and declares himself the Wonka with the gates. Jonwayne's lyrics in this song emphasize the importance of self-belief and determination in the music industry, no matter how long it might take to achieve success.
Line by Line Meaning
Who dare disturb me in my sleep
Who has disturbed my slumber
You know my Z's offer more than all the A-B-C's
My sleep is more valuable and productive than the things you learn in school
And things I make you see might
The things I create can
Preoccupy your dreams right
Take up your thoughts and dreams entirely
Haven't made a peep since like Green Light
I have been silent and inactive for a considerable time
And y'all afraid I might see light
You all fear that I may change for the better
And put my hands up like I'm praying for a god to smite
You fear that I will be judgmental and condemning
I just need to write you
I need to communicate with you through my writing
So siphon you this mic so all my haters
Give you this microphone so that my detractors,
Fuck off, eat shit, die, and subscribe to TIDAL
Go away, leave me alone, subscribe to Tidal and enjoy its exclusive content
The life of dogma rap
The philosophy of rap music
Gone from these gods and cats
Moved away from traditional rap themes
I'm raining on you hoes like I'm sitting behind your harness strap
I am dominating and overwhelming you
Son
Listen
Might just black out the map
I could become so famous and influential as to blot out the competition
I write shit that could write the next almanac
My lyrics are so important and informative that they could create the next edition of the encyclopedia
Back to back
Consistently and continuously
Who the best
Who is the most accomplished and skillful
You da man
You are a highly respected and talented individual
You can rap
You are capable of free-styling with me
You not black
You are not African-American
Who is that
Who is this person
Who this man
Who is this guy
What is that
What is this thing
What he do
What are his talents and abilities
And gimme that
Give me that thing
You can find him in the cut with a Jimmy hat
He is wearing a condom and hiding from view
Been a while since you heard from the Wayneiac
It has been some time since I have communicated with you
Haven't done an interview in like, two years
I have not granted an interview for approximately two years
Haven't left home in like, two years
I have not ventured outside of my residence in approximately two years
Haven't had a drink in like two years
I have abstained from alcohol consumption for approximately two years
Wonka with the gates
Like Willy Wonka with the golden ticket, I control access to something special or unique
Imma show you what I want to
I will demonstrate to you whatever I wish
Yeah, a handful can come through
Only a few individuals will be granted access
And you know the ticket ain't golden, boy
Access is not easily granted or earned
Imma show you what you made of
I will reveal your true character and abilities
'Till my competition laid up
Until my rivals are defeated
And I'll be the last one standing here
I will emerge victorious and succeed where others have failed
No, I'm not on Stones Throw
I am not signed with Stones Throw Records
Thought you'd know that by now
I assumed you already knew this fact
'Bout to build my compound
I am preparing to construct my own empire
I make all my beats
I create all of my own instrumentals
I'm one of the best rappers
I am a highly skilled and talented rapper
Authors is the label
The record label I am signed to is Authors
They gon' paint me as its savior
They will present me as the key artist on the label
I'm smarter than your average
I possess an above-average level of intelligence and wit
I'm not afraid of you motherfuckers
I am not intimidated by my rivals or detractors
Bringing the motherfucking ruckus, boy
Causing a big commotion and disturbance
Peep all the things that I been doing in the dark
Take a look at all the things I have been working on in secret
With Daddy Kev and Mr. Sakanoi
With the music producers Daddy Kev and Mr. Sakanoi
Put me on the spot
Challenge me and see what I can do
I'll fuck it up, kill it, bury it
I will dominate and surpass whatever challenge is presented
With all these Wonka bars
With all these distinct and creative creations of mine
Had a will, tore it up
Had a plan, abandoned it
But not before I signed it with all these battle scars
But not before I recorded proof of all the obstacles and challenges I had overcome
'Bout to come up through the ground
I am about to burst forth with newfound success and prominence
Open for a few
Accessible to only a small number of individuals
And if you with me then step inside and see what the hell I been working on, shit
And if you are on my side, then join me and see what projects and endeavors I have been pursuing
Writer(s): jonwayne
Contributed by Vivian N. Suggest a correction in the comments below.
AntHill
Nice! He killing it.
SAZERU
GOAT
seito
🙂
seito
we know about you
Nathaniel Williams
S'up
Anne den Hertog
B.