WEBVTT - Adam "AdRock" Horovitz 0:00:00.120 --> 0:00:09.240 Quest Love Supreme is a production of iHeartRadio. This is 0:00:09.240 --> 0:00:11.160 one of the moments where I don't even want to 0:00:11.160 --> 0:00:14.880 waste time, but I think I should say, first of all, 0:00:15.320 --> 0:00:17.599 if you don't know what you're listening to, this is 0:00:17.680 --> 0:00:21.680 Quest Love Supreme, your host Quest Love. I'm here with 0:00:22.720 --> 0:00:24.920 on pay Bill the Great. 0:00:25.200 --> 0:00:27.480 How you don't Bill fantastic? 0:00:27.800 --> 0:00:33.200 This is quite a day, Steve. How are you your home? 0:00:33.840 --> 0:00:36.600 Yeah, I'm home. I am on the East Coast. I 0:00:36.640 --> 0:00:38.479 don't have kids, so I just woke up. 0:00:39.440 --> 0:00:42.240 There you go, let's here, let's here for the child. Listen, 0:00:43.200 --> 0:00:46.720 cat dudes. All right. So one of the coolest things 0:00:47.200 --> 0:00:52.680 that I enjoy about my charmed life being the passenger 0:00:52.720 --> 0:00:56.280 seat of the first twenty years of recorded hip hop 0:00:57.200 --> 0:01:01.240 is also being witnessed to a lot of pioneering first 0:01:02.200 --> 0:01:05.760 and some thirty years ago on his fourth album, the 0:01:05.840 --> 0:01:10.760 late Keith Allen aka Guru instructed us on It's Hard 0:01:10.800 --> 0:01:16.440 to Earn album that it's mostly the voice. Mostly the voice. 0:01:17.080 --> 0:01:22.400 Our guest today is absolutely no exception. I will go 0:01:22.520 --> 0:01:29.120 on record and saying that our guest today probably possesses 0:01:29.760 --> 0:01:35.160 one of the greatest voices intonations. He's in my top 0:01:35.200 --> 0:01:39.520 ten favorite voices in all of hip hop, and kind 0:01:39.560 --> 0:01:42.840 of the Domino effect shows it, you know, when hip 0:01:42.880 --> 0:01:47.400 hop really came to an existence on Wax. At least, 0:01:47.720 --> 0:01:51.400 I feel like most MC's were kind of derivative of 0:01:52.480 --> 0:01:55.440 what we call the wonder Mike voice. Early Chucky was 0:01:55.480 --> 0:02:01.040 also that Meli Mel of course, ushered in the old MC, 0:02:01.760 --> 0:02:06.000 so they're you know your LL's, your your runs. Most 0:02:06.080 --> 0:02:12.799 will credit Mellie mel Is being the first authoritative Rah 0:02:13.000 --> 0:02:16.600 screaming MC. Of course, we can't forget Slick Rick's voice 0:02:16.600 --> 0:02:21.280 and his storytelling intonation and who he's inspired. Snooping down 0:02:21.320 --> 0:02:25.160 the line our Guest today is one of my favorite 0:02:25.200 --> 0:02:27.959 textures in hip hop. I don't know a thing for 0:02:29.160 --> 0:02:37.400 sort of animated nasal, whiny, high end above tenor below 0:02:37.480 --> 0:02:41.400 soprano voices. Not to mention the amount of history that 0:02:41.440 --> 0:02:45.880 Our Guest possesses today and these pioneering albums. As we speak, 0:02:46.840 --> 0:02:51.080 we're two years late of the thirty seventh anniversary of 0:02:51.080 --> 0:02:53.920 his debut album, Licensed to Ill. This is also the 0:02:53.919 --> 0:03:00.000 thirty fifth anniversary of his mind blowing sophomore album, Paul's Boutique, 0:03:00.800 --> 0:03:04.639 the thirty first anniversary of Check Your Head. I Can 0:03:04.680 --> 0:03:05.360 Go on and on. 0:03:06.040 --> 0:03:08.240 All right, it's been it's a lot of time. It's 0:03:08.240 --> 0:03:09.000 a lot of decades. 0:03:09.040 --> 0:03:11.000 Come on, dog, you listen to the show, you know 0:03:11.160 --> 0:03:13.040 each intro seventeen. 0:03:15.320 --> 0:03:17.960 Forty all right, all right again. 0:03:17.919 --> 0:03:22.160 Adam Harwinz aka King of Rock formerly still of the 0:03:22.200 --> 0:03:25.960 Beastie Boys, to cost Little of Supreme. When people talk 0:03:25.960 --> 0:03:27.600 of you, I know, they speak in terms of like 0:03:27.680 --> 0:03:31.720 lifetime achievement, awards, introductions. They just don't say. And our 0:03:31.760 --> 0:03:35.280 guest today is Adam harwinz the Beastie Boys. Like, did 0:03:35.360 --> 0:03:37.200 you imagine one day this would happen? 0:03:37.640 --> 0:03:40.680 Short answer, no, No, there was no plan, no thought, 0:03:41.000 --> 0:03:44.360 no nothing past. You know, what's the weekend? 0:03:45.080 --> 0:03:48.720 I will say for our audience that, first of all, 0:03:48.920 --> 0:03:52.800 one of my favorite all time audiobooks is is The 0:03:52.800 --> 0:03:58.760 Beastie Boys memoir, which I can't recommend enough if our 0:03:58.800 --> 0:04:02.600 audience isn't familiar with that book and how it's crafted 0:04:02.960 --> 0:04:04.880 the way, you know, it's almost like a hip hop 0:04:04.960 --> 0:04:09.000 version of Prairie Home Companion. So I'm actually going to 0:04:09.080 --> 0:04:13.760 spare this particular show of the kind of soup the 0:04:13.880 --> 0:04:17.880 nuts questions that I would normally ask on the show 0:04:18.560 --> 0:04:21.320 that's been covered in other interviews and also been thoroughly 0:04:21.360 --> 0:04:24.240 covered in the book. But there's a lot of in 0:04:24.320 --> 0:04:27.240 between the cracks that I'm curious about. So where are 0:04:27.279 --> 0:04:28.880 you speaking to us now from. 0:04:29.200 --> 0:04:34.160 I'm in the mountains. I have a cabin a studio 0:04:34.640 --> 0:04:37.560 smart in California. 0:04:37.279 --> 0:04:40.800 Without giving you a way, is this the uh everyone's 0:04:41.120 --> 0:04:44.599 recommending to me? Wherever Stevie Wonder took that photo in 0:04:44.680 --> 0:04:48.080 talking book? It begins with the letter E. It's like 0:04:48.120 --> 0:04:50.880 the mountains of It's like an hour north. 0:04:50.640 --> 0:04:53.120 Of LA I don't know, but it's that. 0:04:54.000 --> 0:04:56.280 I'm about to say air one, but that's the supermarket. 0:04:57.720 --> 0:04:59.760 I'm up in the mountain. Here we get there's bears 0:04:59.760 --> 0:05:00.920 andcats and stuff. 0:05:01.480 --> 0:05:03.160 So what I was going to ask, is the mountains 0:05:03.200 --> 0:05:04.760 more serene for you? Is that? 0:05:04.880 --> 0:05:04.960 Like? 0:05:05.040 --> 0:05:06.080 Why that location? 0:05:07.520 --> 0:05:10.520 Just it's not at my house. It's a different place. 0:05:10.560 --> 0:05:11.760 It's my own space. 0:05:12.560 --> 0:05:15.880 Okay, So you don't like to shit where you eat 0:05:15.920 --> 0:05:17.760 as far as creativity is concerned, you want to go 0:05:17.839 --> 0:05:19.120 to a place to be creative or not. 0:05:19.240 --> 0:05:21.800 I'll eat wherever and I'll ship wherever. That's not you know, 0:05:21.839 --> 0:05:23.080 I'm fine shitting and eating. 0:05:23.560 --> 0:05:23.880 Okay. 0:05:24.720 --> 0:05:27.800 It was COVID, you know, like you know, we were 0:05:28.000 --> 0:05:31.400 just all together so much that I want to get 0:05:31.440 --> 0:05:35.120 my own little space smart. I was lucky enough to 0:05:35.120 --> 0:05:37.320 get my own little space, A little smart. 0:05:37.640 --> 0:05:40.400 There you go. Sometimes you need your own real man cave. 0:05:40.440 --> 0:05:43.239 I get you, I get you, or nap zone, whatever 0:05:43.279 --> 0:05:43.960 you want to call it. 0:05:44.440 --> 0:05:48.520 Hey dog, I get it. And you know the fact 0:05:48.520 --> 0:05:52.240 that you two are still a unit speaks volumes. That's 0:05:52.240 --> 0:05:56.200 why sometimes space is important. I get that. What was 0:05:56.240 --> 0:05:58.320 your first musical memory? 0:05:58.480 --> 0:06:04.360 My first musical memory? My memory is very bad, but yeah, 0:06:04.440 --> 0:06:07.559 you know, driving in the vw vand with my dad 0:06:07.640 --> 0:06:11.680 and my brother and sister and my dad would just 0:06:11.800 --> 0:06:15.680 blast music eight tracks always and sing along really loud. 0:06:16.680 --> 0:06:20.200 And it were you allowed to curate the selections or 0:06:20.440 --> 0:06:21.760 was it like don't touch my stereo? 0:06:22.040 --> 0:06:24.599 No, no, no. He would drive, he'd you know, be driving 0:06:24.640 --> 0:06:27.080 really fast and be reaching for the eight tracks and 0:06:27.320 --> 0:06:29.520 trying to push you know, the one, two, three four thing. 0:06:29.600 --> 0:06:32.800 And that's when I really got into music as a 0:06:32.839 --> 0:06:36.680 little kid, especially from the radio. But I also knew. 0:06:36.760 --> 0:06:38.640 I was like, what is it? What's the deal with 0:06:38.680 --> 0:06:43.760 Neil Young? Like my dad would scream sing Neil Young songs? 0:06:44.160 --> 0:06:45.280 Got it? Okay? 0:06:45.760 --> 0:06:47.440 It's a tough thing. To listen to. It's like a 0:06:47.480 --> 0:06:48.120 five year old. 0:06:49.400 --> 0:06:52.240 Well, yeah, I was gonna say that. I two lived 0:06:52.279 --> 0:06:57.440 in a don't touch my stereo household, so a lot 0:06:57.600 --> 0:07:01.360 of the music that I went touch with a ten 0:07:01.400 --> 0:07:04.919 foot pole suddenly you know, you know, I'll give you 0:07:04.920 --> 0:07:08.320 a great example. So my dad was like pre pre 0:07:08.520 --> 0:07:13.720 yacht rock, free am radio pop, like he liked vocals 0:07:13.840 --> 0:07:19.960 like Johnny Mathis, Barbara Streisan, Nat King Cole, anyone that 0:07:20.120 --> 0:07:23.360 flexed harmony as well. So we have pet sounds in 0:07:23.400 --> 0:07:28.000 the house, but I'd never touch it right. And then 0:07:28.600 --> 0:07:32.400 when I read a review that wasn't the Rolling Stone 0:07:32.440 --> 0:07:36.000 Lever review Paul's Boutique, someone said, oh, this is Sergeant Pepper. 0:07:36.040 --> 0:07:37.680 He's like, I disagree. This is the pet Sounds of 0:07:37.720 --> 0:07:40.840 hip hop. There's more pioneering. And I was like, wait, 0:07:40.920 --> 0:07:44.840 dad has that record. So actually, like Paul's Boutique opened 0:07:46.080 --> 0:07:50.400 my mind to something I would otherwise resist before the 0:07:50.440 --> 0:07:54.080 age of eighteen, I'm now open to. So I'll ask you, like, 0:07:55.240 --> 0:07:58.720 because if you're listening to all of the music that 0:07:58.800 --> 0:08:01.240 you guys and all your refer and if you're familiar 0:08:01.280 --> 0:08:06.200 with the rapid fire way that you guys craft records. 0:08:06.240 --> 0:08:08.440 I would have thought that coming out the wound, that 0:08:08.480 --> 0:08:12.640 you guys were just like music savants that you know, 0:08:12.760 --> 0:08:14.560 grew up with the pedigree at the age of one 0:08:15.160 --> 0:08:17.760 of all this music. So I might have believed that 0:08:17.840 --> 0:08:19.560 at least with the first ten years of your life 0:08:19.640 --> 0:08:22.200 is more like force learning or Stockholm syndrome. 0:08:22.400 --> 0:08:26.760 Like no, no, no, no. So so that's an ingrained memory, 0:08:26.920 --> 0:08:29.080 you asked, like, my first memory, that's an ingrain. It's 0:08:29.080 --> 0:08:32.240 not it's not a pleasant one, but it it's a memory. 0:08:32.640 --> 0:08:35.839 But I have an older brother and sister, and this 0:08:36.000 --> 0:08:39.960 is you know, early seventies, when forty fives, you know, 0:08:40.120 --> 0:08:44.480 forty fives and I and the AM radio. It was 0:08:44.520 --> 0:08:46.360 a certain time in the radio where it wasn't like 0:08:47.240 --> 0:08:49.240 this type of music was played on this station. This 0:08:49.320 --> 0:08:50.960 type was played on this station. That you know, the 0:08:51.040 --> 0:08:53.280 music being made in the early seventies was a little 0:08:53.840 --> 0:08:57.200 taste of all of this different stuff, right, And you know, 0:08:57.240 --> 0:08:59.719 the radio kind of reflected that for a minute, and 0:09:00.679 --> 0:09:02.720 we had a sort of lesson from the radio for 0:09:02.760 --> 0:09:05.880 a very brief time. And also, growing up in New 0:09:05.960 --> 0:09:08.760 York City, just walking down the street, you hear so 0:09:08.880 --> 0:09:12.920 much different music that you're you're being taught every day. 0:09:14.440 --> 0:09:19.160 Okay, I would say probably in my mind, you're one 0:09:19.160 --> 0:09:22.960 of the figures I think of whenever someone's talking about 0:09:23.040 --> 0:09:27.640 the folklore of what New York City used to be 0:09:28.400 --> 0:09:32.040 or what New York City was. In your mind, what 0:09:32.200 --> 0:09:34.360 is the best version of New York City that we'll 0:09:34.400 --> 0:09:35.160 never get back. 0:09:35.840 --> 0:09:38.480 You can't ask a fifty eight year old that question, 0:09:39.320 --> 0:09:42.560 you know what I'm saying, because I don't go to clubs, 0:09:42.600 --> 0:09:44.240 I don't go to parties, and shit, do you know 0:09:44.280 --> 0:09:47.120 what I'm saying. Like when I was, you know, in 0:09:47.120 --> 0:09:50.240 my teens and twenties, I was out all the time 0:09:50.400 --> 0:09:52.760 having fun, doing this that and the other, running around 0:09:53.080 --> 0:09:54.920 rooftop parties, this that and the other. You know what 0:09:54.960 --> 0:09:58.160 I mean. And now you know I love my life, 0:09:58.679 --> 0:10:01.600 but it's a different light. So if you put me 0:10:01.600 --> 0:10:03.600 at a rooftop party with a bunch of twenty year 0:10:03.600 --> 0:10:06.360 olds right now, it's not for me. 0:10:06.400 --> 0:10:08.120 Right now, smart answer. 0:10:08.320 --> 0:10:11.360 In my twenties, Yes, I'm at the rooftop party. I 0:10:11.400 --> 0:10:15.439 got a forty. I'm having the best time right now, fifty. 0:10:15.640 --> 0:10:19.120 I have fifty eight. I have a Knicks game on, 0:10:19.520 --> 0:10:25.719 I got a chicken parmesan and I'm good. So those 0:10:25.720 --> 0:10:28.040 are those are my two happy places? 0:10:28.679 --> 0:10:30.920 Forty or Chicken parm one or the other done and 0:10:31.000 --> 0:10:32.000 done buggae. 0:10:32.760 --> 0:10:36.280 I think for me, though, the one thing that I 0:10:36.320 --> 0:10:43.760 miss more than anything is just I mean, there was 0:10:43.840 --> 0:10:49.240 a period in which, like whatever the equivalent of the 0:10:49.240 --> 0:10:53.040 best orgasm you ever had, like music did that to me, 0:10:53.960 --> 0:10:57.320 not daily, but weekly, like it was a guarantee that 0:10:57.480 --> 0:11:01.000 four to five songs were going to be played. That 0:11:01.160 --> 0:11:04.360 just made you like, holy shit, what the fuck is this? 0:11:05.960 --> 0:11:08.880 Sometimes it's replaced with you know, someone does something really 0:11:08.880 --> 0:11:12.679 cool on Instagram and I'm like, oh, that's dope. But 0:11:12.720 --> 0:11:15.240 for me, it's I think I'm more or less asking 0:11:16.120 --> 0:11:18.880 because music is so central to your life, and I 0:11:18.920 --> 0:11:22.360 know you're a serious record collector. Do you miss the 0:11:22.400 --> 0:11:26.720 time of which you were discovering music as opposed to 0:11:27.240 --> 0:11:29.040 where you are now, which is like a know it 0:11:29.120 --> 0:11:31.920 all expert of music? 0:11:33.360 --> 0:11:36.760 Again asking if any grown up is really it's just 0:11:37.640 --> 0:11:40.480 it's a different time of life, do you know what 0:11:40.520 --> 0:11:42.880 I mean? I do I listen to my old records, 0:11:42.920 --> 0:11:45.440 not that much. I have them, and I used to 0:11:45.440 --> 0:11:47.800 listen to them. I don't really listen to him that much, 0:11:48.840 --> 0:11:52.800 am I jaded in terms of music, and you know 0:11:52.880 --> 0:11:55.800 all types of arts, Like you see a band or 0:11:55.800 --> 0:11:57.760 a performer and you're like, yeah, I know what that is. 0:11:57.800 --> 0:11:59.800 I don't really like it. And you don't really give 0:11:59.800 --> 0:12:03.040 that a chance because you're you've heard it a thousand 0:12:03.040 --> 0:12:07.800 times or so you think that makes sense. Yeah, And 0:12:07.880 --> 0:12:11.320 so as you get older, the sad thing is that 0:12:11.400 --> 0:12:14.880 you end up cutting yourself off to that type of experience. 0:12:15.920 --> 0:12:17.559 That's just what happens. 0:12:18.160 --> 0:12:19.440 So are you still open? 0:12:20.320 --> 0:12:20.560 No? 0:12:21.400 --> 0:12:22.120 Okay, I. 0:12:25.000 --> 0:12:26.000 Couldn't care less. 0:12:27.920 --> 0:12:29.480 It's open to chicken palms. 0:12:29.880 --> 0:12:31.800 Yeah, you know what I mean, Like I had, you know, 0:12:32.040 --> 0:12:34.920 like I could get the Interest Mohammed record right now, 0:12:35.720 --> 0:12:37.120 and I'm telling you it would be just as good 0:12:37.120 --> 0:12:39.439 as not better. I could get a meters record. It 0:12:39.480 --> 0:12:42.160 would be just as good as not better than whatever. Whatever. 0:12:42.720 --> 0:12:45.400 Maybe that's me, but maybe that's fifty eight year olds. 0:12:45.840 --> 0:12:50.440 So what I do now, I'll pick like maybe there's 0:12:50.480 --> 0:12:55.080 always three to five kids or maybe three to five 0:12:55.160 --> 0:12:59.760 parents that will put me hip to their kids and 0:12:59.800 --> 0:13:03.560 the kids like curiosity of record collecting. And you know, 0:13:03.840 --> 0:13:07.240 I'll usually around this time, I'll do my Santa quest 0:13:07.679 --> 0:13:12.120 stick and I'll just so that gonna, I can have 0:13:12.160 --> 0:13:15.520 an excuse to go record shopping and go digging, like 0:13:15.600 --> 0:13:18.240 I gotta do that. So I'm not doing it for me, 0:13:18.559 --> 0:13:23.840 but I'll record shop for you know, a bunch of 0:13:24.480 --> 0:13:26.599 eight to ten year olds. Now, you know, come to 0:13:26.679 --> 0:13:29.520 Christmas Day, they're going to have like an amazing record 0:13:29.520 --> 0:13:33.640 collection to start on. So I was shopping yesterday. My 0:13:33.720 --> 0:13:37.160 main spot is a one Records in the village, and 0:13:38.320 --> 0:13:40.680 you know, there's always someone on the turntables just playing 0:13:41.080 --> 0:13:44.800 like something cool whatever. And this guy's playing side to 0:13:45.920 --> 0:13:50.679 of the Ohio players, mister mean album, an album that 0:13:50.760 --> 0:13:57.040 I otherwise would have passed up owned. But I realized 0:13:57.280 --> 0:14:00.520 in going through all the alphabet and him letting it 0:14:00.559 --> 0:14:05.319 play that Yo, I've been listening to records from the 0:14:05.400 --> 0:14:08.360 hip hop standpoint, where you know, in the very beginning, 0:14:09.240 --> 0:14:12.480 in such a rush for that, you know, dopamine of 0:14:12.679 --> 0:14:14.880 where's the break or where's those four bars? I need 0:14:15.679 --> 0:14:19.240 listening to it on forty five or just perusing through 0:14:19.280 --> 0:14:22.440 it and that sort of thing. And I realized that 0:14:22.600 --> 0:14:28.280 I stop listening to records just as records without a 0:14:28.280 --> 0:14:30.800 purpose of this is going to inspire me to write 0:14:30.840 --> 0:14:34.600 a song or go to DJ this next week, And 0:14:34.680 --> 0:14:37.200 so now I realize I got to go through my 0:14:37.360 --> 0:14:41.520 entire collection again just to go back to my childhood 0:14:41.560 --> 0:14:44.320 before hip hop existed. Like when you listen to records 0:14:44.360 --> 0:14:50.280 now is it? I'm certain in post eighty nine you 0:14:50.320 --> 0:14:54.040 were listening to records for what's going to help build 0:14:54.120 --> 0:14:59.520 the machine of my art, But for now, how do 0:14:59.560 --> 0:15:02.680 you records? Like are you still in that place where. 0:15:03.600 --> 0:15:05.280 There's a few things that I want to say that 0:15:05.360 --> 0:15:09.200 happened real quick, because there's a lot we just discussed. Yes, 0:15:09.880 --> 0:15:13.280 So I play softball with my friends right and to 0:15:13.400 --> 0:15:15.560 old people, and we all bring our kids, and some 0:15:15.600 --> 0:15:18.880 of the kids play. And my friend's kid Nat Show. 0:15:19.400 --> 0:15:22.960 He's nine, and we have walk up everybody have to 0:15:22.960 --> 0:15:26.080 pick a walk up song before you play softball. The 0:15:26.160 --> 0:15:30.880 kid played Travis Scott Fiend Fiend or whatever, and me 0:15:31.000 --> 0:15:36.440 and my friend and it's blasting, and I'm like, I 0:15:36.480 --> 0:15:39.200 was like, this is what parents must have thought when 0:15:39.440 --> 0:15:42.160 people were listening to Slayer, you know what I mean. 0:15:42.160 --> 0:15:44.160 It's like just this thing that was like, I don't 0:15:44.440 --> 0:15:48.600 you know, this is not for me. It's not for me. 0:15:49.360 --> 0:15:52.880 And I think that's okay for me. At least I've 0:15:52.880 --> 0:15:56.960 accepted that, you know, it's not for me, it's not 0:15:57.080 --> 0:16:00.480 made for me. I can like it or not, like whatever, 0:16:00.720 --> 0:16:04.200 it's I'm kind of irrelevant from that group of people 0:16:04.240 --> 0:16:08.000 that are listening to that. To modern music, that makes sense. 0:16:09.160 --> 0:16:14.000 Also listening to when you hear Ohio Players, you're like, 0:16:14.240 --> 0:16:17.480 bunt you worm players ball and you know all of 0:16:17.480 --> 0:16:19.520 their songs. You're like, you know, mister Mean was like 0:16:19.520 --> 0:16:22.760 a later record. It's okay, it's not I wouldn't put 0:16:22.760 --> 0:16:25.160 that on. And so the time that you have in 0:16:25.200 --> 0:16:28.080 a day to pick a record out from all the 0:16:28.080 --> 0:16:32.880 records you have, you're not gonna pick mister mean. Makes sense. 0:16:33.480 --> 0:16:38.480 But at the same time, in our early years we 0:16:38.600 --> 0:16:40.520 listen to songs, We listen to music, That's what we did. 0:16:40.600 --> 0:16:43.240 And then when we started record shopping in terms of 0:16:43.840 --> 0:16:47.120 sampling and all of that, we didn't really listen to music, 0:16:47.880 --> 0:16:49.440 do you know what I mean. It was like mathematical, 0:16:49.520 --> 0:16:51.160 it was a hobby. It was a thing, and it 0:16:51.200 --> 0:16:53.040 was all of that needle dropping and trying to find 0:16:53.040 --> 0:16:55.160 the thing and cool and then you made something from that, 0:16:55.240 --> 0:16:59.200 which is great. But now I don't do that anymore, 0:17:00.080 --> 0:17:01.760 and so I just actually listened to my. 0:17:01.720 --> 0:17:05.080 Records and do you let it go all the way through? Yeah, 0:17:05.200 --> 0:17:06.840 I mean we now live in a time in which 0:17:07.640 --> 0:17:11.840 the remote post remote control shuffle culture, you just skip 0:17:11.880 --> 0:17:15.240 to the part you like, again, the dopamine rush of it. 0:17:15.640 --> 0:17:17.560 There's also the thing of if you listen to something 0:17:18.000 --> 0:17:21.600 on a platform, you know, Spotify, one of those things, 0:17:22.000 --> 0:17:23.600 then it plays the song that you want to listen to, 0:17:23.640 --> 0:17:25.600 and that starts playing all this algorithm shit and then 0:17:25.640 --> 0:17:28.440 all the next thing you know, you're listening to fucking 0:17:28.440 --> 0:17:30.439 Tom Petty or some shit. You're like, this is not 0:17:30.680 --> 0:17:32.760 what I started out with. I don't want this. 0:17:33.720 --> 0:17:36.720 Just saying so you're primarily a wax person, Like what's 0:17:36.760 --> 0:17:39.720 your weapon or choice as far as how you consume music. 0:17:40.720 --> 0:17:46.119 That's it. But but yes, the downside of it is 0:17:46.160 --> 0:17:48.560 that you only listen to things you already know. So 0:17:48.640 --> 0:17:51.639 I'm not listening trying to find new music very occasionally, 0:17:51.680 --> 0:17:55.240 but not so much. Okay, all of the music, you know, 0:17:55.920 --> 0:17:59.720 it's sort of stopped at a certain year or time. 0:18:00.920 --> 0:18:04.600 Dub records are my favorite, right, So I'll put on 0:18:04.720 --> 0:18:08.800 Prince Jasbo and then you know, how are forty five 0:18:08.800 --> 0:18:10.959 minutes have gone by and I've listened to that record, 0:18:11.000 --> 0:18:13.119 and then I listened to Lee Perry record, and then 0:18:13.119 --> 0:18:15.960 so I'm not listening for the newer record. But the 0:18:16.040 --> 0:18:19.159 drawback is that you kind of you're stuck in the 0:18:19.240 --> 0:18:22.159 past of you only need things, you know. 0:18:27.960 --> 0:18:34.359 I specifically want to hone in on your creativity in 0:18:34.440 --> 0:18:37.640 the world of hip hop. I would think that some 0:18:37.720 --> 0:18:42.480 of my peers that are hip hop experts know that 0:18:42.600 --> 0:18:48.400 you have aded in creating the very first twelve inch 0:18:48.440 --> 0:18:53.480 for def Jam, which is you programmed the eight to 0:18:53.520 --> 0:18:58.120 weight and telarox. It's yours correct, No, the world things 0:18:58.119 --> 0:18:59.159 that you helped do that. 0:19:00.240 --> 0:19:03.080 No, Rick Rubin did that. I'm I was at the 0:19:03.119 --> 0:19:06.399 recording and I'm in the party track in the background. 0:19:06.640 --> 0:19:11.159 See you're the d like it. Yeah, yeah, you're the crowd. Okay. 0:19:11.720 --> 0:19:14.240 The story is l LL's first single. 0:19:15.000 --> 0:19:17.240 I made the beat for, So you made a beat 0:19:17.280 --> 0:19:18.160 for I need a beat. 0:19:18.640 --> 0:19:20.200 I made the beat that he needed. 0:19:20.720 --> 0:19:24.160 Yeah. That's even more pioneering because I don't even think 0:19:25.200 --> 0:19:28.480 LLL told me that story. Oh shit, Okay, I thought 0:19:28.480 --> 0:19:31.439 it was it's yours, my bet. So what was the 0:19:31.520 --> 0:19:36.400 day that you guys collectively said that, Okay, we need 0:19:36.440 --> 0:19:40.000 to sort of morph or pivot more to hip hop, 0:19:40.119 --> 0:19:43.760 Like what was the seed? That was Planet That was like, Okay, 0:19:43.840 --> 0:19:46.000 we can either travel this punk way or we can 0:19:46.119 --> 0:19:49.560 try another route. Like what how did that happen? 0:19:50.080 --> 0:19:52.600 I don't know how it exactly happened, but we were 0:19:52.640 --> 0:19:56.760 a hardcore band playing you know, hardcore shows, punk shows, 0:19:57.119 --> 0:20:02.720 and the scene was changing, right the hardcore scene. It 0:20:02.720 --> 0:20:06.159 was getting into like a real tough guy thing, and 0:20:06.200 --> 0:20:08.560 we were feeling sort of we didn't want to be 0:20:08.600 --> 0:20:10.199 part of it. We were kind of edging out of 0:20:10.240 --> 0:20:13.399 that scene. But we were also listening to rap a 0:20:13.400 --> 0:20:14.960 lot of rap music at the time. 0:20:15.640 --> 0:20:17.480 Wait, you cannot stop you one second. So you're saying 0:20:17.480 --> 0:20:20.200 that at one point the punk scene was a more 0:20:20.280 --> 0:20:22.200 pure for us. 0:20:22.280 --> 0:20:24.399 We were you know, as kids. It was like we 0:20:24.440 --> 0:20:26.280 had a little we had our little group of friends 0:20:26.320 --> 0:20:30.159 and you know, it was we were teenagers, boys and girls, 0:20:30.200 --> 0:20:32.440 and it wasn't the thing. And then hardcore show started. 0:20:32.480 --> 0:20:35.680 You would see like the guy from the football team 0:20:35.720 --> 0:20:37.560 at school would be at the hardcore show and you'd 0:20:37.560 --> 0:20:39.720 be like, what's you know, they were just making fun 0:20:39.760 --> 0:20:40.040 of him. 0:20:40.160 --> 0:20:41.880 So you're saying that you had a bridge and tunnel 0:20:42.040 --> 0:20:43.560 kind of that sort of thing. 0:20:43.600 --> 0:20:47.440 Started issue Okay, so we wanted to do something different 0:20:47.760 --> 0:20:51.560 and our music started. The music. We stopped kind of 0:20:51.560 --> 0:20:54.840 playing so much hardcore where were started experimenting with different 0:20:54.920 --> 0:20:57.480 music and then we just I don't know, we had 0:20:57.480 --> 0:21:01.359 a show oh jumping a little bit after we wanted 0:21:01.359 --> 0:21:03.840 to try it. But we had met this guy Rick Rubin, 0:21:04.640 --> 0:21:06.600 and because we were gonna do a show, we wanted 0:21:06.600 --> 0:21:09.800 a bubble machine for the show. And my friend Nick 0:21:09.840 --> 0:21:11.720 Cooper was like, oh, I know this guy Rick Rubin 0:21:11.800 --> 0:21:16.080 has access to a bubble machine, and so we need 0:21:16.119 --> 0:21:18.680 him to get the bubble machine. And we saw he 0:21:18.760 --> 0:21:20.399 had turntables and he was a DJ, and we're like, 0:21:20.440 --> 0:21:22.959 oh shit, let's we got the show. Do you want 0:21:23.000 --> 0:21:24.200 to try to you know, to rap? 0:21:24.960 --> 0:21:25.200 Right? 0:21:25.320 --> 0:21:28.480 So we just kind of did that and he brought 0:21:28.480 --> 0:21:30.879 his turntables and it was fun and we did We 0:21:30.920 --> 0:21:33.480 did like, you know, twenty minutes of hardcore songs and 0:21:33.480 --> 0:21:35.080 then like fifteen minutes of rap. 0:21:36.080 --> 0:21:37.200 Was the audience throwing off. 0:21:37.960 --> 0:21:40.240 I mean there was like maybe thirty people there. 0:21:41.480 --> 0:21:44.560 Maybe the less people the more hard it is, like 0:21:46.520 --> 0:21:47.680 is more intimate, So. 0:21:49.480 --> 0:21:51.479 Yes, being booed by thousands is easy. 0:21:52.280 --> 0:21:54.760 It kind of is. I was booed by thousands before. 0:21:54.880 --> 0:21:58.960 But it's way harder than like the fear of me 0:21:59.080 --> 0:22:02.359 comes if I'm playing under if it's under two hundred people, 0:22:02.400 --> 0:22:06.000 like if it's Blue Note size or Village Vanguard size, 0:22:06.040 --> 0:22:08.080 I'm scared out of my mind. But any other place 0:22:08.119 --> 0:22:12.760 I can just channel them out. So well, obviously, I mean, 0:22:12.800 --> 0:22:14.800 it went good enough for you guys to say, like, 0:22:15.240 --> 0:22:18.240 let's do it again. But what's the point in which 0:22:19.080 --> 0:22:21.000 it's like, Okay, this is what we're gonna do for real. 0:22:21.520 --> 0:22:24.600 I don't know, you know, so long ago we then 0:22:24.640 --> 0:22:27.560 we're playing shows and we were doing that, and then 0:22:27.720 --> 0:22:31.680 Rick had his record label. He wanted to try to 0:22:31.800 --> 0:22:34.119 make that, like he wanted to put out rap records 0:22:34.119 --> 0:22:36.119 because he had already had Deaf Jam. He had a 0:22:36.359 --> 0:22:39.719 he had like a noise art band called Hose, and 0:22:39.720 --> 0:22:43.760 he put out his own record under deaf Jam. Got 0:22:43.920 --> 0:22:46.280 he wanted to you know, partner with somebody and make 0:22:46.440 --> 0:22:49.240 rap records, and so he met we We were all 0:22:49.240 --> 0:22:51.440 at this club dan Seyria, and he had a meeting 0:22:51.520 --> 0:22:54.040 with this guy, Russell Simmons. He was Run's brother and 0:22:54.119 --> 0:22:56.760 Running the Thing's manager, and we were excited. 0:22:57.440 --> 0:22:59.800 Was Rick Riggins pursuing always what we know it is 0:22:59.840 --> 0:23:00.400 to now. 0:23:01.040 --> 0:23:03.080 I don't know him now, so I wouldn't know. He 0:23:03.160 --> 0:23:05.760 was really into wrestling, so he wanted He was very 0:23:05.800 --> 0:23:08.240 loud and like that kind of like over the top 0:23:08.280 --> 0:23:09.800 wrestling guy. Yeah. 0:23:09.800 --> 0:23:13.240 I don't think he was going back then. He's been 0:23:13.280 --> 0:23:14.760 on our show, so he's very's in. 0:23:15.760 --> 0:23:17.919 That's very not at all what he was like when 0:23:17.960 --> 0:23:18.440 I knew him. 0:23:18.640 --> 0:23:23.160 Got It, Got It, Beastie Groove one. Can you were 0:23:23.160 --> 0:23:29.560 you there at all when the Latin Rascals were doing 0:23:29.720 --> 0:23:30.320 edits for you? 0:23:30.600 --> 0:23:30.760 Oh? 0:23:30.840 --> 0:23:35.920 Yeah, all right? Can you just explain that whole entire process, because. 0:23:36.720 --> 0:23:40.760 Somehow we ended up at Shakedown Studios, which is Arthur 0:23:40.760 --> 0:23:43.640 Baker's studio, and Arthur Baker made Planet Rock. He did 0:23:44.040 --> 0:23:46.760 like he made a couple of really big records right 0:23:47.119 --> 0:23:51.160 and remixed in the eighties, and he had these guys, 0:23:51.160 --> 0:23:54.760 the Latin Rascals who would do his edits. 0:23:54.560 --> 0:23:56.760 And the edit. They're under his tutelage. 0:23:57.119 --> 0:24:00.159 They well, they worked at Shakedown Studios and he yeo yeah. 0:24:00.080 --> 0:24:02.919 Yeah, oh god dog, we gotta get author on the 0:24:02.920 --> 0:24:03.440 show Man. 0:24:03.800 --> 0:24:07.520 And I know this because Adam Yao worked at Shakedown 0:24:07.560 --> 0:24:11.040 Studios at that time he was a gopher. He would 0:24:11.040 --> 0:24:13.280 go get the you know with the sodas or whatever, 0:24:13.400 --> 0:24:16.199 you know, whatever sandwiches for the Latin rascals. 0:24:16.520 --> 0:24:17.520 Ah. 0:24:17.560 --> 0:24:21.119 And these guys they were in like a closet sized 0:24:21.160 --> 0:24:25.640 little side studio at shakedown with just you know, two 0:24:25.720 --> 0:24:28.879 reel turreels and they were taking you know, just the 0:24:29.320 --> 0:24:32.680 razor blade and the tape and they would just cut 0:24:32.720 --> 0:24:36.000 this little fraction of word and cut it and then 0:24:36.200 --> 0:24:38.080 you know, splice it, tape it in and then re 0:24:38.080 --> 0:24:39.919 record it and then tape another one, then splice that 0:24:40.000 --> 0:24:41.640 and tape it on to the next one, and it'd 0:24:41.640 --> 0:24:44.160 be like bla bla blah. They would literally do that 0:24:44.200 --> 0:24:47.080 with tape. It was crazy. 0:24:47.240 --> 0:24:47.840 That's crazy. 0:24:47.920 --> 0:24:52.359 You're saying to me that on BC grus or parties 0:24:52.359 --> 0:24:56.199 getting rough when you guys are like, ah, all that 0:24:56.280 --> 0:25:00.639 stuff is handstopped. It's so they would have to make 0:25:00.680 --> 0:25:02.359 like ten copies of a song. 0:25:02.960 --> 0:25:06.760 Forever, for hours and hours and hours, and if you 0:25:06.760 --> 0:25:09.280 splice the tape wrong, well, oh well I don't know 0:25:09.320 --> 0:25:12.840 what you're gonna do. So they were so precise and 0:25:13.000 --> 0:25:17.200 so talented at what they did. Nobody could fuck with them. 0:25:17.200 --> 0:25:21.040 They were so good at Latin rascals. I mean, it's 0:25:21.040 --> 0:25:25.439 a thing that you can't even understand. Now what the 0:25:25.480 --> 0:25:29.800 thing of slicing tape was the idea of Slidestone taking 0:25:29.800 --> 0:25:33.760 a two inch tape his song and just slicing it 0:25:33.800 --> 0:25:35.760 is crazy. You would never do that. 0:25:37.600 --> 0:25:43.800 Yeah, So just having finished his dock and getting privy 0:25:43.840 --> 0:25:47.320 to his master reels and all that stuff. I was 0:25:47.640 --> 0:25:52.040 rather shocked at how air quote hip hop sly really was, 0:25:52.160 --> 0:25:57.320 especially with Loose Booty, which I mean a lot of 0:25:57.320 --> 0:26:02.679 post Riot stuff was just him sampling himself and you know, 0:26:03.320 --> 0:26:06.280 like to hear the original jam sessions those things came from, 0:26:07.240 --> 0:26:08.440 and then. 0:26:08.440 --> 0:26:10.480 Then those to me whenever you feel like it, I 0:26:10.560 --> 0:26:11.840 would like to have those. 0:26:13.040 --> 0:26:16.400 I got Yo. You'll you'll be You'll be shocked. Probably 0:26:16.480 --> 0:26:20.240 the biggest revelation that so much in the movie that 0:26:20.280 --> 0:26:22.240 we had to take a lot out, and a lot 0:26:22.280 --> 0:26:23.760 that we had to take out was the just the 0:26:23.800 --> 0:26:29.160 nerdy stuff. Uh. There's a period there's a moment during 0:26:29.280 --> 0:26:34.120 Fresh there's at least four songs in which the only 0:26:34.160 --> 0:26:39.359 way I can describe it is it's almost like he 0:26:39.560 --> 0:26:44.600 had Fela's army assault, Like there's a baby's making babies. 0:26:44.600 --> 0:26:49.320 There's a a bloated version of a skin I'm in Like, 0:26:50.119 --> 0:26:52.520 at one point Fresh was going to be just like 0:26:52.560 --> 0:26:57.640 a just a sonic assault of like at least with 0:26:57.840 --> 0:27:02.040 Specter's Wall of Sound thing. It was side of a compressed. 0:27:03.080 --> 0:27:05.359 To have like four drummers playing at the same time. 0:27:05.920 --> 0:27:12.680 Yes, dude, I was like, okay, dude, it was her 0:27:13.040 --> 0:27:19.760 pat rizzo, like all right, beyond forty eight, but go ahead, no, 0:27:19.840 --> 0:27:22.040 it was over. I mean what we wound up with 0:27:22.240 --> 0:27:27.840 was the better record stripped down. But the initial Fresh sessions, 0:27:27.880 --> 0:27:31.360 like four of those songs were just like just an 0:27:31.600 --> 0:27:33.720 army of the. 0:27:34.080 --> 0:27:36.359 Brothers beat where there's two drummers playing. 0:27:37.520 --> 0:27:41.440 Oh, get into it so good? Yeah, yeah, yeah, get 0:27:41.480 --> 0:27:46.240 into it. Okay, just two getting into it. Yeah two. Now, 0:27:46.240 --> 0:27:46.720 this this. 0:27:46.600 --> 0:27:48.080 One is full the Niagara beat. 0:27:48.840 --> 0:27:49.760 I'm familiar with it. 0:27:50.600 --> 0:27:58.360 That's two drummers. That's a good one of each other. Okay, wow, okay. Oh. 0:27:58.440 --> 0:28:03.879 Also in Dante Carfona No Hit Me to It, I 0:28:03.920 --> 0:28:06.520 was on tour in we were on tour in ninety eight. 0:28:06.720 --> 0:28:08.800 We had the day off. I want to find a 0:28:08.840 --> 0:28:12.720 record store for record stores. Okay, I think this this 0:28:12.800 --> 0:28:15.440 whole thing is in the book, is in bac Boys book. 0:28:15.960 --> 0:28:16.280 Okay. 0:28:16.680 --> 0:28:18.000 We had a day off and I went through the 0:28:18.119 --> 0:28:20.440 Yellow Pages and I found like all the used record stores, 0:28:20.440 --> 0:28:22.919 and I took a cab to the first one and 0:28:22.960 --> 0:28:25.520 I go in the record store and there's some some 0:28:25.560 --> 0:28:27.640 records playing whatever, and I'm flipping through. It's a huge 0:28:27.640 --> 0:28:29.879 record store, and all of a sudden, I hear something 0:28:29.880 --> 0:28:32.719 that I'd never heard before, some breakbead and some crazy 0:28:32.760 --> 0:28:35.920 like some crazy shit. And there's nobody in the store 0:28:35.960 --> 0:28:37.800 and it's like ten in the morning, and I'm trying 0:28:37.800 --> 0:28:39.560 to look and I see this guy in the back 0:28:40.240 --> 0:28:43.800 at the turntable behind the counter, and he's like pointing 0:28:43.840 --> 0:28:45.800 at me and looking at me and laughing, and I 0:28:45.840 --> 0:28:48.080 go right over to him. We start talking blah blah blahh. 0:28:48.720 --> 0:28:53.400 He's like, my name's Dante. He's like, I work here, 0:28:53.400 --> 0:28:55.320 but I'm the one who buys the records when people 0:28:55.400 --> 0:28:57.440 sell a record, so I sift through them before anybody 0:28:57.440 --> 0:29:00.520 else says. And he's like, I'm gonna go want break 0:29:00.680 --> 0:29:02.880 in an hour, Let's hang out. And I went to 0:29:02.920 --> 0:29:04.800 his house and he just played me these records that 0:29:05.520 --> 0:29:11.120 I've never heard before. Since he is a record collector, 0:29:11.280 --> 0:29:15.480 he's put out tons of compilations. I can't even begin 0:29:15.760 --> 0:29:20.720 Dante Carfona. I'm I'm surprised you don't know him. 0:29:21.400 --> 0:29:23.640 Hey man, I'm not to know at all. I'm the student. 0:29:23.760 --> 0:29:26.000 I just wanted to give his little shout out because 0:29:26.000 --> 0:29:31.000 he's amazing. Okay, a couple of records and having the 0:29:31.000 --> 0:29:35.520 good stuff. There you go blaming. I agree. He's like 0:29:35.560 --> 0:29:37.840 you ever heard this? I was like, no, never heard this? 0:29:38.640 --> 0:29:42.080 Wow that I still get excited about hearing a break 0:29:42.080 --> 0:29:43.080 that I've never heard before. 0:29:44.120 --> 0:29:45.600 And do you still go in those missions? 0:29:46.480 --> 0:29:49.480 I've got like twenty five hundred records I've never listened 0:29:49.520 --> 0:29:51.760 to in crates that just say listen. 0:29:51.520 --> 0:29:56.560 To right your record. So yeah, I mean that's kind 0:29:56.600 --> 0:29:59.720 of where I am now, where I don't necessarily go. 0:30:00.000 --> 0:30:04.360 I'm digging as much as I used to. Now it's 0:30:04.400 --> 0:30:08.560 the first generation of record collectors dying. So I'll get 0:30:08.560 --> 0:30:10.640 a lot of calls from daughters that are like, hey, 0:30:11.680 --> 0:30:15.880 dad had a seven thousand records, do you want them? Or? 0:30:15.960 --> 0:30:20.440 Sadly enough, a lot of colleges are ending their jazz 0:30:20.480 --> 0:30:26.400 programs right, radio stations shutting down, so like, I know, oh, 0:30:26.440 --> 0:30:28.640 two hundred thousand records, that's a lot of records quest 0:30:28.960 --> 0:30:30.520 but I don't want people thinking like I'm going to 0:30:30.520 --> 0:30:32.600 record store. First of all, I don't think there's two 0:30:32.680 --> 0:30:37.760 hundred thousand individual good albums. I mean, you know, I 0:30:37.880 --> 0:30:42.800 have at least three hundred Billy Jean forty fives. So 0:30:43.640 --> 0:30:47.720 like kind of the new thing now is whoever would 0:30:47.760 --> 0:30:53.920 service jukeboxes at diners and bars and whatnot, they would 0:30:53.960 --> 0:30:57.840 have a warehouse or that sort of space where all 0:30:57.880 --> 0:31:00.960 of their forty fives and that they were serviced to 0:31:00.960 --> 0:31:03.880 mom and pop stores. Those people are dying and you know, 0:31:04.800 --> 0:31:06.959 either the mom has passed and the kids are just like, 0:31:07.000 --> 0:31:09.280 we don't know what to do with it. Whirred. Do 0:31:09.280 --> 0:31:12.920 you like music? You know, it's fourteen forty fives if 0:31:12.920 --> 0:31:16.600 you want them, So right now I'm kind of hoarding, 0:31:16.760 --> 0:31:18.160 uh record collections. 0:31:18.160 --> 0:31:21.480 But all right, two things, Yeah, do you miss the 0:31:21.480 --> 0:31:23.840 good old days when people sold their records for drugs? 0:31:23.880 --> 0:31:29.520 I mean, come on, you know and two three hundred 0:31:29.520 --> 0:31:33.000 copies of a Billy Jean forty five? Why what are 0:31:33.000 --> 0:31:33.360 you doing? 0:31:33.840 --> 0:31:36.840 Well? No, I buy collections again. Like there's a guy 0:31:36.880 --> 0:31:40.440 in Atlanta three hundred is like what well, why I 0:31:40.560 --> 0:31:43.120 realized after the fact, you know like it'll. 0:31:42.920 --> 0:31:45.680 Oh my third thing, yes, which lids to a fourth thing. 0:31:46.040 --> 0:31:50.320 You live in New York storage, Like you're bleeding money, 0:31:50.680 --> 0:31:52.480 just bleeding money. Why are you going to a one 0:31:52.760 --> 0:31:55.200 it's like the most expensive record store. What are you doing? 0:31:55.360 --> 0:31:57.479 Because I need some to do? 0:31:57.560 --> 0:31:57.720 Yo. 0:32:00.080 --> 0:32:01.800 You always complained about how busy you are, you need 0:32:01.800 --> 0:32:03.840 something to do. Now that seems like bullshit. 0:32:04.280 --> 0:32:07.160 I almost feel like listening to the record is almost 0:32:07.240 --> 0:32:11.640 like the last part. Like for me, the excitement of 0:32:12.400 --> 0:32:14.880 all right, I'm gonna take three hours out and go 0:32:14.960 --> 0:32:17.520 record shopping. I get the joy of going to a 0:32:17.520 --> 0:32:20.920 record store and buying a shit little records and I'll 0:32:20.920 --> 0:32:23.000 take this that this is. I could easily go in 0:32:23.040 --> 0:32:28.280 my storage and do that. But you're right, so right 0:32:28.320 --> 0:32:33.239 now I brought in the pandemic a farm and I 0:32:33.360 --> 0:32:38.240 will on this acreage build something that will house and 0:32:38.280 --> 0:32:41.160 store this. But right now, yeah, I got like somewhere 0:32:41.200 --> 0:32:45.640 between eight to eleven storage units, and it's killing me inside. 0:32:45.920 --> 0:32:49.400 Like in your defense question, though Billy Jean is a 0:32:49.520 --> 0:32:51.040 very important record, I. 0:32:51.080 --> 0:32:55.720 Was given a hypothetical example, but yeah, the forty five's 0:32:55.760 --> 0:33:00.160 I buy are from people that were servicing jukeboxes, like 0:33:00.200 --> 0:33:03.600 back in the day, you buy like seventy eight juke boxes, 0:33:03.640 --> 0:33:05.800 go to each restaurant, Hey, you want a jukebox, and 0:33:05.800 --> 0:33:10.320 then you strike a deal and you service. This particular 0:33:10.360 --> 0:33:14.880 guy in Atlanta had ninety over ninety bars and diners 0:33:14.920 --> 0:33:18.560 that his jukeboxes were utilized. 0:33:18.760 --> 0:33:21.400 So that's the trick for when you get older and 0:33:21.440 --> 0:33:23.440 you're a record collector is to switch over to forty 0:33:23.480 --> 0:33:27.120 fives seven inches. They're smaller, lighter, and just as fun. 0:33:27.600 --> 0:33:31.440 Well I consider that part of I much prefer forty 0:33:31.440 --> 0:33:32.240 five too in LP. 0:33:33.640 --> 0:33:37.000 So right now, I would say the first generation of 0:33:38.160 --> 0:33:43.840 renaissance hip hop producers, your large professors, your Diamond D's, 0:33:44.240 --> 0:33:48.880 your Lord Finess's, they're in their anti Serado phase and 0:33:49.960 --> 0:33:53.840 like forty five's only I mean, it's a cool flex. 0:33:53.880 --> 0:33:55.920 Like I've never been one of those, Like I don't 0:33:55.920 --> 0:33:56.920 own a Macintosh. 0:33:57.040 --> 0:33:57.320 I'm not. 0:33:57.560 --> 0:34:03.280 Like, Yes, I acknowledge that the the vinyl is more superior, 0:34:03.400 --> 0:34:07.440 but I've never been a vinyl head that like worships 0:34:07.480 --> 0:34:10.560 at the altar of the most purest form of. 0:34:11.080 --> 0:34:14.120 Well, the thing about it is nobody else cares. 0:34:13.880 --> 0:34:19.400 Exactly exactly, So it's only a flex for the quest 0:34:19.440 --> 0:34:21.359 loves of Uh. 0:34:21.719 --> 0:34:24.000 There's three people in the room out of you know whatever, 0:34:24.040 --> 0:34:26.680 two hundred and fifty that care about that. You're playing 0:34:26.680 --> 0:34:28.520 a forty five time out? 0:34:28.719 --> 0:34:29.200 Timeout. 0:34:29.400 --> 0:34:36.799 Oh I have a timeout too, Go ahead. Yeah. I 0:34:36.800 --> 0:34:39.240 wanted to go back to this though. Yeah, go to memories, 0:34:39.280 --> 0:34:42.279 and I'm bummed because I didn't. I wanted to get 0:34:42.320 --> 0:34:45.200 here earlier to go through my forty fives. I have 0:34:45.239 --> 0:34:48.200 a stack of forty five's that were my mind when 0:34:48.200 --> 0:34:50.839 I was a kid, and because me and my brother 0:34:50.920 --> 0:34:53.359 had the room, I used to put every forty five 0:34:53.400 --> 0:34:55.279 that I bought, I put a number on and my 0:34:55.480 --> 0:34:59.520 initials when I was like seven years old. So I 0:34:59.600 --> 0:35:04.560 have like one to fifty of my first fifty forty five's. 0:35:05.160 --> 0:35:07.600 See you never got rhythm, no, no. 0:35:08.320 --> 0:35:11.080 But I have not gone back, and I wanted to 0:35:11.080 --> 0:35:13.560 do it for this to look to see which was 0:35:13.600 --> 0:35:16.000 the first one to get. What was I don't know 0:35:16.040 --> 0:35:18.759 the first album I ever bought, But I don't know 0:35:18.800 --> 0:35:20.600 the first forty five, and I wish I could remember 0:35:20.640 --> 0:35:22.200 because it literally has a number on it. 0:35:22.400 --> 0:35:23.960 What's the first album you ever purchased? 0:35:24.600 --> 0:35:27.399 Well, the first album I ever got. I was with 0:35:27.440 --> 0:35:29.720 my dad in the VW van. He had to stop 0:35:29.840 --> 0:35:33.160 and we're getting sandwiches, and he ran into like this 0:35:33.239 --> 0:35:34.920 thrift store real quick and it's like I'll be right back, 0:35:34.960 --> 0:35:37.040 and he came back out with Rolling Stones Out of 0:35:37.080 --> 0:35:39.960 Our Head, Out of Our Head album, like here, you 0:35:40.000 --> 0:35:42.560 should have this. And I didn't have a record player 0:35:42.600 --> 0:35:45.400 or anything. I was like okay. And then when I 0:35:45.400 --> 0:35:47.400 got a record player and was listening to records, the 0:35:47.440 --> 0:35:50.239 first record I bought album with my own money was 0:35:50.239 --> 0:35:55.040 the Rocky Horror Picture Show soundtrack. That's a stretch like. 0:35:57.440 --> 0:35:59.960 There you go, all right, that's you need more? 0:36:00.239 --> 0:36:03.320 That's well, just because you liked the show, just because 0:36:03.360 --> 0:36:03.879 it was there. 0:36:05.000 --> 0:36:07.839 It was just a phenomenon in New York at the time. 0:36:08.560 --> 0:36:09.920 Yeah, okay. 0:36:10.239 --> 0:36:11.759 I think I hadn't seen it yet because I was 0:36:11.760 --> 0:36:15.520 too young, but it was right in my neighborhood where 0:36:15.520 --> 0:36:17.200 they would it would, they'd line up on the street 0:36:17.200 --> 0:36:18.839 to see it, and it's like a big deal. 0:36:19.840 --> 0:36:23.680 Another thing I want to know is at the time 0:36:23.719 --> 0:36:27.640 when you guys were first recording, was there an immediate 0:36:27.680 --> 0:36:31.279 plan to make a full album? Like why did it 0:36:31.320 --> 0:36:35.040 take three years for you guys to finally get license? 0:36:35.080 --> 0:36:35.799 Still a little out of. 0:36:35.800 --> 0:36:38.720 There, I don't know you know, like you'd asked if 0:36:39.200 --> 0:36:42.080 I would have seen this coming, like where I'm at 0:36:42.120 --> 0:36:45.239 now or all of the stuff that's happened. Like I 0:36:45.280 --> 0:36:47.640 was a teenager, you know, I was still in school. 0:36:47.719 --> 0:36:51.239 I was going to high school, and you know, we 0:36:51.320 --> 0:36:53.440 made a couple of singles. I didn't I didn't know 0:36:53.520 --> 0:36:57.120 that we were going to keep doing this. I didn't 0:36:57.120 --> 0:36:58.360 know that we were going to stop doing it. But 0:36:58.400 --> 0:37:01.560 I didn't know. I didn't know, like anybody who had 0:37:01.560 --> 0:37:03.440 an album, but you know, the bad brains, But like 0:37:03.480 --> 0:37:07.320 I didn't you know, it wasn't a just made some singles. 0:37:07.640 --> 0:37:09.759 I didn't know that it was a bigger thing was 0:37:09.800 --> 0:37:12.200 gonna happen, and I was cool with it. We were 0:37:12.239 --> 0:37:14.200 playing shows. I had a little money. I'd never had 0:37:14.200 --> 0:37:17.120 that before, so I was like I could buy tapes. 0:37:17.920 --> 0:37:18.600 That was cool. 0:37:20.080 --> 0:37:24.279 I know. The legend of the story is that that 0:37:24.360 --> 0:37:29.600 Freddie Demand wanted run DMC to open up for Madonna. 0:37:29.719 --> 0:37:31.960 But you know, the amount of money that they were 0:37:31.960 --> 0:37:35.280 willing to pay for an opening act was way below 0:37:35.520 --> 0:37:40.319 run DMC's market price, And then they would I guess 0:37:40.360 --> 0:37:42.759 they asked Russell if he knew the Fat Boys or 0:37:42.800 --> 0:37:46.320 could get them, and instead he pivoted them to you guys. 0:37:47.840 --> 0:37:51.360 But what I always wanted to know was, Okay, So 0:37:51.520 --> 0:37:57.840 in nineteen eighty five, yeah, with just won twelve inch, 0:37:58.680 --> 0:38:00.600 I mean, if you two, if you count the Bazoodi 0:38:00.719 --> 0:38:03.880 MCA thing, and there's season on it, so maybe with 0:38:04.280 --> 0:38:08.520 just two and a half singles exactly. 0:38:08.400 --> 0:38:10.480 Cookie Puss and Polly Watch do we had a few 0:38:10.520 --> 0:38:11.759 little records out. 0:38:11.880 --> 0:38:15.319 I was gonna ask what was the show like if 0:38:15.360 --> 0:38:19.920 you had no album behind it? Like, how long was 0:38:19.960 --> 0:38:22.040 the slot? Were you doing? Like a half hour? Forty 0:38:22.040 --> 0:38:23.879 five minutes? Ten? 0:38:24.719 --> 0:38:24.959 Yeah? 0:38:26.000 --> 0:38:27.960 So all we had ten minutes. 0:38:28.320 --> 0:38:29.840 I mean, it couldn't have been more than ten. I 0:38:29.840 --> 0:38:31.920 don't know what we would have done for longer than 0:38:31.920 --> 0:38:36.480 ten minutes. All of the hits, I don't know. 0:38:37.040 --> 0:38:39.040 I would imagine for a lot of that audience that 0:38:39.120 --> 0:38:40.480 was their first hip hop experience. 0:38:41.719 --> 0:38:47.400 Yeah. Sure, And it goes back to the Rick Rubin 0:38:47.880 --> 0:38:51.040 wrestler thing. And so when we were like getting ready 0:38:51.120 --> 0:38:52.520 to go on the tour, We're like, what are we 0:38:52.520 --> 0:38:56.120 gonna do? We've never really done a show at like 0:38:56.160 --> 0:38:58.879 an amphitheater or anything like that, so we were trying 0:38:58.880 --> 0:39:00.600 to figure out what to do whenever. So Rick was 0:39:00.680 --> 0:39:01.719 very involved with that. 0:39:02.719 --> 0:39:03.000 Okay. 0:39:03.160 --> 0:39:05.160 He was like, you have to do like wrestler stuff 0:39:05.160 --> 0:39:07.000 where you have to like fuck with the audience and 0:39:07.080 --> 0:39:10.600 just be an asshole, and you know you're gonna. 0:39:10.200 --> 0:39:11.960 You know, he wanted you to be a provocateur. 0:39:12.480 --> 0:39:15.600 Oh absolutely, yeah, I didn't know you walk into the 0:39:15.640 --> 0:39:17.239 Paramount Theater and be like, I'm the King of the 0:39:17.280 --> 0:39:19.759 Paramount anybody. You know, they could burn this place down 0:39:20.120 --> 0:39:23.480 after we leave, you know all that stuff. What's the 0:39:23.600 --> 0:39:26.359 Eddie Harris record one of my favorite albums of all 0:39:26.440 --> 0:39:30.520 time where he's talking in between the songs. Oh that's 0:39:30.520 --> 0:39:32.719 why I'm talking shit, Eddie Harris. 0:39:33.200 --> 0:39:37.839 Okay, fucking great, and that's that was your modus operandi four. 0:39:38.040 --> 0:39:39.879 I hadn't heard that record yet, but it's that type 0:39:39.880 --> 0:39:44.200 of thing where I got it. Just fuck it. And 0:39:44.239 --> 0:39:47.480 they did not want that at all. It was little 0:39:47.560 --> 0:39:49.480 kids and their parents to see Madonna. 0:39:49.560 --> 0:39:49.680 This. 0:39:49.840 --> 0:39:53.719 It was just be major thing was her. 0:39:53.880 --> 0:39:55.919 Can't worried at all, like, oh, we might have chosen 0:39:55.960 --> 0:39:56.800 them wrong. Actor. 0:39:57.360 --> 0:39:59.280 Yeah, they wanted to kick us off the tour after 0:39:59.320 --> 0:40:00.360 like the second. 0:40:00.080 --> 0:40:03.520 Showy, but you did the entire show. 0:40:04.120 --> 0:40:08.160 Madonna was like, no, keep them, they're great Madonna's I 0:40:08.160 --> 0:40:10.120 Love Madonna's fantastic. 0:40:10.560 --> 0:40:14.200 Great person. Yes, okay, so you guys were sort of 0:40:14.360 --> 0:40:18.760 our first experience and I was wondering that as well. Like, okay, 0:40:19.160 --> 0:40:23.440 we had basically been living in Europe for the longest 0:40:23.600 --> 0:40:28.160 and us coming back to the States to start the 0:40:28.200 --> 0:40:34.520 second half of Ill Communication tour, and you know, at 0:40:34.520 --> 0:40:38.880 this point, I wasn't fully aware if you know, the 0:40:38.920 --> 0:40:41.799 audience would be with it or not with it. And 0:40:41.840 --> 0:40:45.080 you had us going on in between Atari Teenage Riot 0:40:45.520 --> 0:40:49.719 and John Spencer's Oh Dog a Tari Teenage Riot and 0:40:49.800 --> 0:40:56.080 John Spencer's Blues Explosion, then the Roots, then the Beast, 0:40:56.400 --> 0:41:01.600 show your Money's worth at that show, No Dog. Everything 0:41:01.800 --> 0:41:06.200 I've ever learned in my professional life I learned in 0:41:06.280 --> 0:41:10.440 those six weeks touring with you guys literally everything a 0:41:10.560 --> 0:41:17.920 writer to hotels to oh I can shop for records 0:41:17.960 --> 0:41:20.239 like anything that I've ever learned that I still do 0:41:20.360 --> 0:41:23.120 to this day. I learned on that tour. 0:41:23.760 --> 0:41:25.160 You never read Krs's book. 0:41:25.719 --> 0:41:30.439 I absolutely you want to know something hilarious. So mid 0:41:30.760 --> 0:41:32.920 we were in I don't know what city we were 0:41:32.960 --> 0:41:35.560 in California. We were at a truck stop and we 0:41:35.640 --> 0:41:39.799 saw that Karris one book, and God we purchased it, 0:41:40.400 --> 0:41:43.080 but kind of as a joke, like, wow, Carris One's 0:41:43.080 --> 0:41:47.520 given instructional on how to be an MC. So I 0:41:47.560 --> 0:41:51.640 will admit that we would mockingly read that book on 0:41:51.680 --> 0:41:55.440 the tour bus in carras One's voice when you ride 0:41:55.560 --> 0:41:57.520 to the fin You. 0:41:56.920 --> 0:41:59.279 You're not the only one that did that. I think 0:41:59.320 --> 0:42:01.000 most people that have that book did that. 0:42:01.440 --> 0:42:05.160 Here's the thing, though, we would joke about everything he 0:42:05.360 --> 0:42:10.120 said and then kind of like on stage, do what 0:42:10.200 --> 0:42:15.240 he said, yeah, and then like, holy shit, that actually worked, 0:42:16.120 --> 0:42:18.720 Like he did this thing called when you come on stage, 0:42:19.080 --> 0:42:24.040 he said, always come layered, wear a T shirt, a shirt, 0:42:24.440 --> 0:42:30.479 a vest, a jacket and a coat, and time out 0:42:30.920 --> 0:42:34.080 when like every four minutes take off a jacket. That 0:42:34.160 --> 0:42:37.719 tells the audience late, I'm rolling my sleeves up, I'm 0:42:37.760 --> 0:42:40.239 ready to work. And so one. 0:42:40.600 --> 0:42:42.320 There's so many gems in that book. 0:42:42.560 --> 0:42:46.080 I always thought it was a jinx. If you give 0:42:46.120 --> 0:42:49.560 an eating establishment an eight by ten and autograph eight by. 0:42:49.520 --> 0:42:54.920 Ten always, your tour manager should always have three periodicals 0:42:54.960 --> 0:43:00.520 on him at all time. Newspapers magazines should have a 0:43:00.560 --> 0:43:03.400 pair of slacks, a pair of black jeans, and some 0:43:03.480 --> 0:43:08.320 other specific thing about pants and have eight by tens 0:43:08.480 --> 0:43:11.560 for when you go to a restaurant, specifically when you 0:43:11.600 --> 0:43:14.040 go to Burger King and you need to cut the line, 0:43:14.160 --> 0:43:16.279 tell him that you have a pregnant woman on tour 0:43:16.360 --> 0:43:20.960 with you need to get through it immediately. It's so deep. 0:43:21.440 --> 0:43:24.400 But he also tells bottles of water to have on stage, 0:43:24.719 --> 0:43:28.560 how many what speakers, like everything, It's amazing. 0:43:29.160 --> 0:43:31.000 Probably the best thing that we still do to this 0:43:31.120 --> 0:43:36.319 day is dynamics. He's like, sometimes start the song at 0:43:36.360 --> 0:43:40.839 a whisperer. Yeah, then you get loud, Like we went 0:43:40.880 --> 0:43:46.040 from playfully mocking it so like wearing it by like 0:43:46.080 --> 0:43:49.880 a tattoo. Yes, but no, everything I've learned touring was 0:43:50.160 --> 0:43:54.560 was with you guys and so, but I always wanted 0:43:54.600 --> 0:43:58.040 to know, like what was the repertoire at a time 0:43:58.080 --> 0:44:02.440 when you didn't have music out? 0:44:02.680 --> 0:44:05.480 So we did whatever songs we had. We had the 0:44:06.120 --> 0:44:08.200 rock card, the rock. 0:44:08.120 --> 0:44:10.480 Card, parties getting loud, Beastie groof. 0:44:10.600 --> 0:44:15.399 We did, Uh, she's on it, probably right, Yaouk did 0:44:15.400 --> 0:44:21.120 a verse of spoony ge freaking and spanking, and I did. 0:44:21.560 --> 0:44:25.840 I did like a verse of Jimmy Speiser. 0:44:26.239 --> 0:44:29.440 Hip hop covers. Okay, early to the game, got it. 0:44:29.800 --> 0:44:31.680 And then I might have did the electric boogie for 0:44:31.719 --> 0:44:34.520 like thirty seconds. I don't know, some sort of breaking 0:44:34.880 --> 0:44:37.080 robin and lock in something really embarrassing. 0:44:38.360 --> 0:44:41.480 Were they were they even? Like I'm certain then, especially 0:44:41.600 --> 0:44:45.960 hip hop's shows, the usual car and response. Somebody say, 0:44:46.000 --> 0:44:50.840 HEO thing was a staple. Was it at all responsive 0:44:50.920 --> 0:44:53.640 or were they just ten thousand no, we don't want this. 0:44:53.760 --> 0:44:59.080 No, no, no, no, tear crying, like literally crying, hatred, 0:44:59.640 --> 0:45:02.240 just hated, hated. 0:45:01.960 --> 0:45:06.120 Us, not knowing they worship at the altar three to 0:45:06.200 --> 0:45:10.160 four years later, none of them did. I've met many people. 0:45:10.600 --> 0:45:12.880 Oh what's her name? I think she told me that, 0:45:13.080 --> 0:45:17.840 uh uh Portlandia, Harry Brown seen, yeah, Carrie. So like 0:45:18.200 --> 0:45:21.279 everyone tells me, like, oh I first saw them open 0:45:21.320 --> 0:45:25.640 before Madonna, and then later I became a fan. That's 0:45:25.680 --> 0:45:26.240 what I'm saying. 0:45:26.280 --> 0:45:30.799 Like they were like if your parents promised you a 0:45:30.840 --> 0:45:35.239 big wheel for Christmas all year, every other night getting 0:45:35.239 --> 0:45:37.680 the big wheel, You're getting the big wheel, and then 0:45:37.719 --> 0:45:40.120 you'd get like a piece of shit. 0:45:43.880 --> 0:45:46.120 At the time, did you mind it? Did you feel like, oh, 0:45:46.120 --> 0:45:48.440 we're fucked, or like what do you think that. 0:45:48.520 --> 0:45:53.279 Was our thought processes? So long as they remember us, 0:45:53.960 --> 0:45:55.759 so long as they know who we are. If we 0:45:55.800 --> 0:45:57.080 just went up there and did a couple of songs, 0:45:57.160 --> 0:45:59.799 we'd be unmemorable and they'd forget who we are. 0:46:00.360 --> 0:46:03.200 So at no point, no one's saying, hey, this is 0:46:03.200 --> 0:46:06.520 one of the biggest artists of all time. You might 0:46:06.600 --> 0:46:09.840 wanna I'm a gonna made her ecosystem. 0:46:09.200 --> 0:46:13.040 To her manager was definitely like, you gotta go. We're 0:46:13.040 --> 0:46:15.160 gonna get somebody else because you guys are terrible. She 0:46:16.040 --> 0:46:18.200 I don't know this is fact, but I'm sure she knew, 0:46:18.280 --> 0:46:20.799 like they hated us so much that by the time 0:46:20.880 --> 0:46:24.279 she got on stage, it was like, sure it got 0:46:24.320 --> 0:46:26.759 it was like, you know, a dozen big wheels. 0:46:27.000 --> 0:46:29.600 I see it now, I see it. I see it 0:46:29.640 --> 0:46:34.200 so strategic, strategic planning. I get that. When does the 0:46:34.280 --> 0:46:38.600 official process of making license to ill start? 0:46:38.840 --> 0:46:41.920 Is this forty years ago? That's yes, And like, I 0:46:41.960 --> 0:46:43.680 don't know the day. I'm not like you, I don't know. 0:46:46.360 --> 0:46:48.839 I would assume sometime in eighty five, holding out hit 0:46:48.920 --> 0:46:50.920 his early eighty six I would assume. 0:46:50.800 --> 0:46:55.799 Yeah, around after the Madonnas were I guess we came 0:46:55.800 --> 0:47:01.120 home and started recording. We found you know, we Rick 0:47:01.200 --> 0:47:05.520 I guess found a studio Chunk King Studio, and we 0:47:05.520 --> 0:47:05.840 would just. 0:47:05.960 --> 0:47:08.759 We found out that LL named that studio when he 0:47:08.800 --> 0:47:11.799 was making a radio it was John King Studios. 0:47:11.280 --> 0:47:15.560 But someone named John King owned the place. Duty was 0:47:15.560 --> 0:47:20.520 the engineer Okay Day Burnett, who was also the engineer. 0:47:20.080 --> 0:47:22.920 For Planet Rock, also worked at Chun King. 0:47:23.160 --> 0:47:26.319 He was the engineer who also found an apartment for 0:47:26.400 --> 0:47:29.640 Adam and Mike in Chinatown, which is a whole other. 0:47:29.640 --> 0:47:32.000 Situation, the rat apartment. 0:47:32.360 --> 0:47:33.840 Yes, I. 0:47:35.520 --> 0:47:38.359 Live about three blocks away from I can see it 0:47:38.360 --> 0:47:41.440 from here. I don't know the exact apartment, but my 0:47:41.560 --> 0:47:42.319 eyes are on it. 0:47:42.680 --> 0:47:42.759 No. 0:47:43.120 --> 0:47:46.120 LL says that there was a Chinese spot with food 0:47:46.200 --> 0:47:49.640 so good that he liked the He's like, yo, man, 0:47:49.640 --> 0:47:53.640 you should name this Chunk King Studios. History made. That's 0:47:53.680 --> 0:47:56.680 the focalore of LL saying that he named it went 0:47:56.680 --> 0:48:04.359 from John King to Chunk King. Whose idea was it 0:48:04.480 --> 0:48:08.680 to put the a cappella version of hold It Now? 0:48:08.719 --> 0:48:09.839 Hit it on the twelve inch. 0:48:10.680 --> 0:48:13.200 I think that was Rick. I don't I don't believe 0:48:13.880 --> 0:48:17.160 it wasn't me. Okay, So you know, it could have 0:48:17.160 --> 0:48:20.359 been youks, it could have been could have been any 0:48:20.520 --> 0:48:23.359 could have been anyone other than myself, because I don't 0:48:23.360 --> 0:48:26.000 think it was mine. It was prob it could have 0:48:26.000 --> 0:48:28.640 been Rustles. I don't know. Rick was part of the 0:48:29.120 --> 0:48:30.520 like the djool think. 0:48:30.480 --> 0:48:34.440 Back then, but it never occurred to anyone. Hey, why 0:48:34.440 --> 0:48:37.799 don't we put the actual instrumental on the B side 0:48:37.840 --> 0:48:40.880 so we could perform this shit in concert because people 0:48:40.880 --> 0:48:45.080 were still like rhyming over their vocals. 0:48:45.440 --> 0:48:48.680 You know, the details weren't as important to me at 0:48:48.680 --> 0:48:53.600 the time. It was more like trying to get free drinks, 0:48:53.719 --> 0:48:55.840 you know, like going to clubs, meeting people. It was 0:48:55.920 --> 0:49:00.760 kind of more my head's face, right, you know, getting 0:49:00.760 --> 0:49:04.319 phone numbers, that kind of thing. Really more where my 0:49:04.360 --> 0:49:05.040 focus was. 0:49:05.640 --> 0:49:10.800 Okay, I think I told you previously that the initial 0:49:10.840 --> 0:49:14.680 pressings of that twelve inch actually had the a cappella 0:49:14.760 --> 0:49:17.680 on the A side and the drum version on the 0:49:17.719 --> 0:49:21.200 B side, of which when Lady B started playing it. 0:49:22.680 --> 0:49:25.000 The first time I ever heard the drum machine version 0:49:25.120 --> 0:49:27.240 of Hold It Now hit it was when I got 0:49:27.280 --> 0:49:30.239 licensed to ill, but for a year and a half 0:49:30.280 --> 0:49:35.160 before Power ninety nine only played the a cappella version, 0:49:36.200 --> 0:49:40.600 and in my mind, it was the most mensa genius 0:49:40.600 --> 0:49:43.080 shit ever. I was like, yo, they're so dope. They 0:49:43.080 --> 0:49:44.799 don't need no music, Like. 0:49:45.680 --> 0:49:47.200 We don't need no music. 0:49:51.520 --> 0:49:53.400 Yeah, So when I got the album version, I was 0:49:53.400 --> 0:49:56.239 like disappointed, Like, wait, where are these drum machines coming from? 0:49:56.280 --> 0:49:58.600 Like what the fuck? I mean? At the time, though, 0:49:58.880 --> 0:50:03.680 like what was it like to get finally like latt 0:50:03.760 --> 0:50:07.440 Storm in terms of like getting respect from because the 0:50:07.480 --> 0:50:09.240 single caught on in New York and elsewhere? 0:50:09.280 --> 0:50:13.160 Correct, Yes, yeah, yeah, yeah. There's a lot of stories 0:50:13.160 --> 0:50:15.680 about all of this. But the Lady Be thing, I'm 0:50:15.719 --> 0:50:18.040 just going to say, I can't remember what's in the 0:50:18.040 --> 0:50:20.560 book or not because it's it's a lot of pages 0:50:20.560 --> 0:50:23.560 in that book. But Lady B. I love Lady B. 0:50:24.360 --> 0:50:28.359 She booked a show for us at that time at 0:50:28.400 --> 0:50:29.520 this is not going to make her. 0:50:29.400 --> 0:50:31.560 Look great at day, right, but at the after midnight? 0:50:32.480 --> 0:50:35.080 No, this was this was at a hotel. This was 0:50:35.120 --> 0:50:38.279 at like the you know, like the brunch center of 0:50:38.320 --> 0:50:42.080 a hotel, you know, like the meeting area. Okay, And 0:50:42.120 --> 0:50:44.520 it was on a whatever night and we drove down 0:50:44.520 --> 0:50:47.800 to Philly to play. Here it's like somewhere near Philly 0:50:47.840 --> 0:50:50.000 but not in Philly and not Jersey. I don't know 0:50:50.120 --> 0:50:53.520 where it was, right, No, but only Lady B showed up. 0:50:56.080 --> 0:50:56.480 That's it. 0:50:56.760 --> 0:50:59.080 That's it, and the you know, the couple of people 0:50:59.120 --> 0:51:01.440 that work there, and so we just did it. It 0:51:01.480 --> 0:51:03.120 was basically like we did a show, but it was, 0:51:03.200 --> 0:51:06.760 you know, a practice and that was when DJ jazzy 0:51:06.880 --> 0:51:09.840 J was our DJ jazzy J was our DJ for 0:51:09.880 --> 0:51:10.840 a minute. 0:51:11.160 --> 0:51:15.160 Really, Oh yeah, nice, Okay. I didn't know that any 0:51:15.520 --> 0:51:17.839 other tippets from this era that I should know, at 0:51:17.880 --> 0:51:19.560 least in the pre licensed ill. 0:51:20.080 --> 0:51:22.000 Oh, you mean that we played with the Rap and Duke, 0:51:22.280 --> 0:51:22.680 Now we do? 0:51:23.719 --> 0:51:26.520 You did a show with the Rap and Duke? Yeah, 0:51:27.520 --> 0:51:28.560 Cali based. 0:51:28.360 --> 0:51:32.279 Or it was somewhere, and it was one of those 0:51:32.280 --> 0:51:34.680 shows where it was like, you know, ten different rap 0:51:34.680 --> 0:51:37.320 groups and we would just do you know, two songs, 0:51:37.680 --> 0:51:40.480 and obviously I don't remember who else was on the 0:51:40.480 --> 0:51:44.440 bill because Rapp and Duke was, you know, the main event. 0:51:45.280 --> 0:51:49.279 We did it. We go somewhere in Jersey maybe, and 0:51:49.360 --> 0:51:51.760 a limo picked us up to go to the show, 0:51:52.360 --> 0:51:55.239 and then it stopped to pick up just Ice and 0:51:55.280 --> 0:51:57.160 we drove in a limo out to Jersey and we 0:51:57.160 --> 0:52:00.719 were blasting like le Zeppelin and he hated and he 0:52:00.800 --> 0:52:08.399 got a ride with someone else. Back home a lot 0:52:08.400 --> 0:52:09.040 of stuff like that. 0:52:10.000 --> 0:52:13.480 Ah, No, I live. I live for stories like that. Now. 0:52:13.600 --> 0:52:17.040 I mean kind of the elephant in the room is 0:52:18.280 --> 0:52:23.480 based on just assuming I thought groups of average white 0:52:23.560 --> 0:52:26.800 bands Tina Maurice caliber was a once in a fifty 0:52:26.840 --> 0:52:31.200 year occurrence. I just assume that you guys wrapped that 0:52:31.320 --> 0:52:36.239 you had to have been Puerto Rican. Okay, that's all right. 0:52:36.280 --> 0:52:40.560 So the story is that you guys, you guys made 0:52:40.600 --> 0:52:45.439 a you guys made a stop in Philly during your tour, 0:52:46.960 --> 0:52:50.359 and I had the cassette of licensed Ill so there 0:52:50.440 --> 0:52:53.680 was no like inside sleep or anything, and there's no 0:52:53.719 --> 0:52:59.280 pictures of you guys and shout out to uh Don Robinson, 0:52:59.280 --> 0:53:03.719 this is ninth grade. Great, we meet you guys. You 0:53:03.760 --> 0:53:08.200 guys are staying at a hotel on like sixteenth and 0:53:08.239 --> 0:53:12.799 Locusts in downtown Philly. So like school's let in now, 0:53:12.960 --> 0:53:16.560 obviously like are letout. Time. Might have been your lobby 0:53:16.560 --> 0:53:20.600 call to get to the spectrum. And as we're walking 0:53:20.719 --> 0:53:27.359 home from school, you it was you and uh yea, 0:53:27.800 --> 0:53:32.960 we didn't see Mike sugar ANNs Quick and Don was like, yo, 0:53:33.040 --> 0:53:35.160 I didn't know they were white. I was like, now, 0:53:35.200 --> 0:53:37.800 they're not white. They're Puerto Rican. It's like, nah, I 0:53:37.800 --> 0:53:40.480 think they're white. And there was a listening booth like 0:53:40.520 --> 0:53:42.839 a block away and we had like a you know, 0:53:43.320 --> 0:53:45.040 you know the one smart guy that works at the 0:53:45.040 --> 0:53:45.680 record store. 0:53:46.480 --> 0:53:48.200 I don't you would. 0:53:47.960 --> 0:53:52.400 Have been that guy. It's but we go there and 0:53:52.480 --> 0:53:55.960 his name is Mark and we're like Mark, Hannah's the 0:53:56.080 --> 0:54:02.759 licensed ill album and it's the inside gatefold, and Don's like, 0:54:02.840 --> 0:54:04.920 look at the inside, look at them. They're clearly white. 0:54:05.680 --> 0:54:07.359 I was like, I don't know, man, I think they're 0:54:07.360 --> 0:54:10.279 Puerto Rican. And he's like, dude, and he pulls out 0:54:10.320 --> 0:54:16.279 the things like Horowitz, that's a Jewish name, and the 0:54:16.280 --> 0:54:19.799 whole time I was just like, yo, I didn't know 0:54:19.800 --> 0:54:21.360 they were white. I mean, at the time, were you 0:54:21.400 --> 0:54:25.960 guys aware that you were in even though yes, I 0:54:26.040 --> 0:54:30.040 know that there were a pioneer and hip hop artists 0:54:30.080 --> 0:54:33.200 of all ilk and all cartures and backgrounds in the 0:54:33.239 --> 0:54:35.360 game of hip hop, but as far as being marketed 0:54:36.040 --> 0:54:38.680 to us, we thought that hip hop was a black 0:54:38.719 --> 0:54:43.359 guy's game, a brown guy's game sometimes. But at the time, 0:54:43.400 --> 0:54:45.000 were you guys aware of it? Do you think that 0:54:45.120 --> 0:54:47.480 Russell was aware of it in terms of like you 0:54:47.640 --> 0:54:49.799 not being on the album cover of those things. 0:54:50.320 --> 0:54:53.480 Certainly wasn't thinking about marketing, and I was, you know, 0:54:53.680 --> 0:54:57.120 I was a dumb teenager, so I wasn't really sort 0:54:57.160 --> 0:55:00.200 of wise to the to the ways of the world 0:55:00.239 --> 0:55:02.239 and how you know, white people have been doing this 0:55:02.280 --> 0:55:06.840 for a very long time, and so I wasn't aware 0:55:06.880 --> 0:55:10.520 of like Russell being like, clearly in his mind he's like, 0:55:10.760 --> 0:55:15.120 this is what's gonna catapult all of my other artists. 0:55:15.320 --> 0:55:16.960 Do you know what I mean? This is unfortunately the 0:55:17.000 --> 0:55:19.359 game that has to be played to get the white 0:55:19.360 --> 0:55:22.080 people out there so then I can get run dam 0:55:22.120 --> 0:55:24.960 seeing Houdini and all my other groups out there. I 0:55:25.000 --> 0:55:29.080 don't know that Russell ever saw us artistically as the 0:55:29.120 --> 0:55:31.840 thing that's you know, going to propel him. You know, 0:55:32.840 --> 0:55:36.120 as I grew up, I clearly understood that. But we 0:55:36.200 --> 0:55:40.040 came from a background of all types of music and 0:55:40.080 --> 0:55:42.640 all types of people. Growing up in you know, Greenwich 0:55:42.719 --> 0:55:45.239 Village in New York. There's kind of everything for you. 0:55:45.600 --> 0:55:49.640 There's everybody and everything. And the interesting, you know, thing 0:55:49.760 --> 0:55:52.759 I was going to say is very inspired by the Clash, 0:55:53.320 --> 0:55:56.600 and the Clash kind of did what we did right 0:55:57.000 --> 0:55:59.160 they and we did it because they did it, and 0:55:59.200 --> 0:56:01.760 so they took reg and they played reggae music. 0:56:02.480 --> 0:56:06.719 The thing that was just amazed at, and I don't 0:56:06.760 --> 0:56:11.360 think a lot of people noted, is that, you know, 0:56:11.800 --> 0:56:20.160 you guys could have easily played the caricature card, but 0:56:20.320 --> 0:56:25.319 you didn't, you know what he like, what you could have, 0:56:25.480 --> 0:56:28.360 I mean, you could have do you mean like for me, 0:56:29.040 --> 0:56:35.040 you guys never came out trying to sound black, you 0:56:35.080 --> 0:56:37.120 know what I mean? Like you sounded like your voice 0:56:37.200 --> 0:56:41.919 is clearly your voice. I just my thirteen year old 0:56:41.960 --> 0:56:46.600 self would not think instantly but that white people can 0:56:46.680 --> 0:56:50.640 rap as good as black people do. But I will 0:56:50.680 --> 0:56:54.280 say that, you know, you guys could have easily cashed 0:56:54.320 --> 0:56:56.960 in on the because there were groups after you, the 0:56:57.000 --> 0:57:03.399 white boys, like people kind of cashing in on the 0:57:03.440 --> 0:57:08.439 novelty of being an outcast in hip hop. But y'all 0:57:08.600 --> 0:57:11.320 never played that card at all, Like you were naturally 0:57:11.360 --> 0:57:15.560 yourselves and you just made dope music that you know 0:57:15.960 --> 0:57:19.120 was pioneering a death. So y'all could have did that, 0:57:19.160 --> 0:57:22.520 but y'all didn't. And I think that's kind of why, 0:57:22.880 --> 0:57:26.160 like the respect was always there, you know what I mean, 0:57:27.240 --> 0:57:28.120 I just didn't. 0:57:27.880 --> 0:57:32.200 Know, but we you know, we just really loved the music, 0:57:32.320 --> 0:57:34.120 so we weren't trying to make fun of the music. 0:57:34.120 --> 0:57:36.760 And I clearly knew that, Yeah, I clearly knew that. 0:57:36.920 --> 0:57:39.480 We don't. We never thought that rapp was a novelty, 0:57:39.640 --> 0:57:41.200 do you know what I'm saying. It wasn't like, oh, 0:57:41.320 --> 0:57:44.760 it's funny, let's do that. We it's we we love it, 0:57:44.840 --> 0:57:47.120 Let's try to see if we can do it. And 0:57:47.600 --> 0:57:49.480 when we first started doing it, I just wanted to 0:57:49.480 --> 0:57:52.560 sound like Jimmy Spicer, and so I was doing that 0:57:52.600 --> 0:57:55.040 thing where I wanted to sound like a specific somebody 0:57:55.400 --> 0:57:58.800 and that changed very quickly because I don't sound like that. 0:57:59.440 --> 0:58:00.000 What's your voice? 0:58:00.120 --> 0:58:02.320 Something developed over time or was that the first Like 0:58:02.640 --> 0:58:04.040 how did you get to the voice that is the 0:58:04.560 --> 0:58:07.120 iconic voice that you rap with? Was it something you 0:58:07.160 --> 0:58:09.360 worked on or was it just what came out? 0:58:09.440 --> 0:58:11.040 I think it just worke came out, Yeah, because at 0:58:11.040 --> 0:58:13.720 first I tried to sound like a baritone. 0:58:14.240 --> 0:58:16.560 Your speaking voice is lower, clearly. 0:58:16.280 --> 0:58:18.800 Yeah, I just something happens when I start yelling. 0:58:20.680 --> 0:58:21.280 October too. 0:58:21.400 --> 0:58:28.240 Yeah, you nailing air quote the voice? You nailing that. 0:58:28.240 --> 0:58:32.040 That's some rare shit, because like again, it took Chuck 0:58:32.080 --> 0:58:36.320 d an album to really get into Chuck d space, like, 0:58:36.360 --> 0:58:39.720 there's very few people you you nailed it. Q Tip 0:58:39.800 --> 0:58:41.080 nailed it all. 0:58:41.040 --> 0:58:42.640 Right, So I was going to start. I was trying 0:58:42.680 --> 0:58:46.920 to start a band in the nineties called the Nasal Tongues, 0:58:48.960 --> 0:58:53.479 me and Q Tip and mc milk and be Real, 0:58:53.600 --> 0:58:56.720 be Real Yeah, And it was one of those things 0:58:56.720 --> 0:58:58.560 like yeah, yeah, yeah, we'll do it, we should do it, 0:58:58.600 --> 0:58:59.600 and then it never happened. 0:59:00.600 --> 0:59:04.600 Ah, okay, well, I mean you did a song with Milk, Yes, 0:59:04.640 --> 0:59:07.000 I did. So. I have a theory, especially when it 0:59:07.040 --> 0:59:10.640 comes to hip hop music and soul music, which is 0:59:12.200 --> 0:59:14.920 I feel like most of the time acts are not 0:59:15.400 --> 0:59:19.440 living in the studio to really know what their sound is. 0:59:19.640 --> 0:59:22.360 It's like, we got an hour, let's get in, let's 0:59:22.360 --> 0:59:27.160 get out, one take, We're done. Whereas you can tell 0:59:27.280 --> 0:59:31.800 who had time to Like Prince obviously had all the 0:59:31.800 --> 0:59:33.880 time in the world to figure out what his sound 0:59:34.000 --> 0:59:36.760 is and all that stuff, which is why he's so developed. 0:59:37.440 --> 0:59:41.040 I'm certain Michael Jackson's budget same thing allows that. But 0:59:41.200 --> 0:59:43.840 there's a lot of groups who had to be in, 0:59:43.920 --> 0:59:46.280 had to be out. So in general, like, were you 0:59:46.280 --> 0:59:49.880 guys like living in the studio, were you always like 0:59:49.920 --> 0:59:54.000 demoing stuff, or because even when it comes to the 0:59:54.080 --> 0:59:56.720 chemistry of the delivery, like the whole tug of war 0:59:57.840 --> 1:00:00.800 were played between you three, Like how you guys developing that. 1:00:01.600 --> 1:00:03.480 Well, there's a few things. One the thing that can't 1:00:03.640 --> 1:00:06.120 just comes to mind now about our voices is that 1:00:06.160 --> 1:00:09.320 the three of us, it's kind of like siblings and 1:00:09.360 --> 1:00:11.040 you have to fight for your space, you know what 1:00:11.120 --> 1:00:14.320 I mean, right, And so we're trying to each try 1:00:14.400 --> 1:00:16.080 to fit in and be louder than the other one, 1:00:16.120 --> 1:00:19.880 or try to make ourselves fit, fit in and stand out, 1:00:20.160 --> 1:00:22.520 if that makes sense. That could be bullshit, I don't. 1:00:22.320 --> 1:00:24.600 Know, but no, that's what I think. I think you 1:00:24.680 --> 1:00:27.120 found the high register that obviously YUT can't do. 1:00:27.920 --> 1:00:30.600 What we used to do is we would go to 1:00:30.720 --> 1:00:38.840 Mike's apartment and we would just write rhymes over an 1:00:38.920 --> 1:00:41.640 instrumental of whatever, and we would just listen to whatever 1:00:41.680 --> 1:00:43.800 it was over and over, whether it was our song, 1:00:44.240 --> 1:00:46.080 a demo of a beat that we had, or a 1:00:46.080 --> 1:00:49.640 beat that I made, or some other record that we 1:00:49.800 --> 1:00:51.400 just listened over and over again, and we would write 1:00:51.440 --> 1:00:53.800 rhymes and write them and then sift through them and 1:00:53.840 --> 1:00:56.120 pick what we liked, and then we would put three 1:00:56.120 --> 1:00:58.680 copies all together and underline who was going to say what? 1:00:58.840 --> 1:01:01.000 So we knew and we were this at Mike's apartment. 1:01:01.480 --> 1:01:04.440 Ah, okay that I mean. 1:01:04.440 --> 1:01:07.160 We also just tried to copy run DMC, you know, 1:01:07.280 --> 1:01:09.600 Fearless four and all the you know, all the greats. 1:01:09.920 --> 1:01:10.120 You know. 1:01:10.800 --> 1:01:14.160 Well, I've heard a demo of a I think I 1:01:14.200 --> 1:01:16.320 heard a demo of looking down the barrel of a gun, 1:01:16.800 --> 1:01:20.600 in which all three of you are saying the same things. 1:01:21.160 --> 1:01:23.160 So I always wonder, like, was it the thing of 1:01:23.240 --> 1:01:26.720 also punching in, Like would you all just say the 1:01:26.760 --> 1:01:28.760 same verse in the way that you would say it 1:01:28.800 --> 1:01:29.640 and then decide? 1:01:30.120 --> 1:01:32.040 Not that I remember that might have happened. But the 1:01:32.080 --> 1:01:34.400 only time I remember was there's a specific song of 1:01:34.480 --> 1:01:36.160 polls would take re out because like we got to 1:01:36.200 --> 1:01:39.120 do it all three at the same time, and me 1:01:39.200 --> 1:01:43.120 and Mike were like, that's a terrible idea. 1:01:43.400 --> 1:01:45.040 Well, I definitely heard looking down the barrel of a 1:01:45.080 --> 1:01:47.880 gun that way, where all three of you could have 1:01:47.880 --> 1:01:51.000 been oh no, no, no, no, no, no, over working underpage, 1:01:51.040 --> 1:01:53.760 staring at the floor. Oh stop that train. 1:01:54.040 --> 1:01:55.880 Yeah, that's the song. It's got all three of us. 1:01:55.880 --> 1:01:57.840 It's on stop yes, stop that train. 1:01:58.200 --> 1:02:01.600 Yeah, all right, I thought was a terrible idea. And 1:02:01.760 --> 1:02:04.400 it doesn't matter. It's fine. It's like one minute on 1:02:04.440 --> 1:02:05.600 the whole album. 1:02:05.840 --> 1:02:08.320 So when you guys are doing your vocals, are you 1:02:08.400 --> 1:02:10.480 doing it all at the same time in the studio 1:02:10.600 --> 1:02:12.920 together or not? Going on? 1:02:13.240 --> 1:02:15.120 Not always but often. 1:02:15.680 --> 1:02:17.720 But doesn't that make it harder to get a perfect take? 1:02:18.840 --> 1:02:20.160 Or you just do a take and then you punch 1:02:20.160 --> 1:02:21.880 in whatever you have to take? 1:02:24.240 --> 1:02:25.800 What's a perfect precision? 1:02:27.040 --> 1:02:30.520 That's not something We always got a perfect take. What 1:02:30.520 --> 1:02:34.760 are you talking about? That's not that's the perfect take? 1:02:34.840 --> 1:02:37.440 Wasn't a concern? Making each other laugh was more important? 1:02:38.440 --> 1:02:41.600 And so our studio in when we got our studio 1:02:41.600 --> 1:02:46.080 in La there was like the live room here and 1:02:46.120 --> 1:02:49.000 the control room here, and the pass through was like 1:02:49.080 --> 1:02:53.120 a phone booth thing, and be like one of us 1:02:53.120 --> 1:02:54.920 in the studio, one in the phone booth and one 1:02:54.920 --> 1:02:57.600 in the live room with a window. It always just 1:02:57.920 --> 1:03:01.160 you know, I know, yeah, fun to do it all together. 1:03:01.840 --> 1:03:05.120 How many Licensed to Ill songs wound up on the 1:03:05.160 --> 1:03:09.800 cutting room floor? Besides I'm down and there's a song 1:03:09.880 --> 1:03:16.000 that sounded like a reverse PSK. I think it's all scenario. 1:03:16.240 --> 1:03:18.200 Yes, scenario which is in a movie. 1:03:18.720 --> 1:03:21.760 But who's controlling the drum machine on that? Might have 1:03:21.840 --> 1:03:26.360 been youk Okay, you gotta understand there's BC boys fans 1:03:26.520 --> 1:03:31.360 that like listening see the music annually, whereas I get 1:03:31.400 --> 1:03:34.120 that you recorded and you probably haven't heard it since 1:03:35.480 --> 1:03:36.560 it was made forty years ago. 1:03:36.680 --> 1:03:41.600 So it's you know, in life, you remember what you did, 1:03:42.000 --> 1:03:44.240 or more important, you remember what you didn't do. 1:03:45.720 --> 1:03:46.040 Got it? 1:03:46.320 --> 1:03:48.280 You know what I'm saying. So I remember if I 1:03:48.360 --> 1:03:52.640 didn't do something like I didn't program that that beat, 1:03:52.800 --> 1:03:55.000 So I know that I didn't Who did? I don't know? 1:03:55.640 --> 1:03:55.920 Yao? 1:03:56.640 --> 1:03:58.760 Probably yeah? 1:03:58.840 --> 1:04:01.280 Musically, were you loud in the input on licensed? 1:04:01.320 --> 1:04:01.480 Ill? 1:04:02.080 --> 1:04:04.120 As far as like what you want to diff. 1:04:04.240 --> 1:04:06.240 Like when Rick wasn't there, we got to have fun 1:04:06.280 --> 1:04:06.880 and do stuff. 1:04:07.800 --> 1:04:09.640 So what songs were those where mister. 1:04:09.640 --> 1:04:12.440 Ed you know, like all of the weird little bits 1:04:12.440 --> 1:04:15.840 and pieces that's us having fun. 1:04:15.880 --> 1:04:17.800 On the title track, got It? Got It? 1:04:18.240 --> 1:04:20.240 Oh wait, there's one other song that's not on that 1:04:20.280 --> 1:04:24.160 record that was a public Enemy song that wasn't going 1:04:24.240 --> 1:04:30.160 to get used that we recorded at Electric Ladyland. That 1:04:30.320 --> 1:04:32.880 was terrible and I think it might have been cold 1:04:32.960 --> 1:04:35.320 lamping and it was like Flavor gave it to us 1:04:35.760 --> 1:04:38.320 and then oh we also Oh I was going to 1:04:38.360 --> 1:04:39.800 say we also did Slow and Low, but we ended 1:04:39.880 --> 1:04:43.160 up using that. But yeah, we did cold Lamping. We're 1:04:43.200 --> 1:04:47.520 one of those Flavor songs that they ended up they used. 1:04:48.200 --> 1:04:49.920 So initially that was going to you guys. 1:04:50.840 --> 1:04:52.800 They I guess they recorded and didn't like it, and 1:04:52.800 --> 1:04:55.080 then they were like, you guys have it, and we 1:04:55.120 --> 1:04:56.720 recorded and it was so bad that they must have 1:04:56.720 --> 1:05:01.000 been a yad, well really bad. WHOA. 1:05:01.720 --> 1:05:03.120 I gotta find that, motherfucker. 1:05:03.760 --> 1:05:06.000 I have all these things on cassette somewhere there. 1:05:06.520 --> 1:05:14.120 I cannot wait for that. Okay. As far as the 1:05:14.160 --> 1:05:19.040 infamous White House album follow up, was that ever completed 1:05:19.280 --> 1:05:23.440 or was Desperado the only thing recorded before you guys left? 1:05:24.280 --> 1:05:26.480 So yeah, it's a long I don't even know what 1:05:26.480 --> 1:05:29.280 I'm like legally allowed because there was so much weird 1:05:29.280 --> 1:05:32.640 shit that happened at the end of our relationship with 1:05:32.720 --> 1:05:36.880 Rick and Russell. But the threat was that if we 1:05:36.920 --> 1:05:41.320 didn't record an album that Russell was going to get 1:05:41.320 --> 1:05:44.600 some producers to put our vocals, which I don't know 1:05:44.640 --> 1:05:47.840 what vocals he was going to use to this new 1:05:47.960 --> 1:05:50.840 music called house music that people were into, and he 1:05:50.960 --> 1:05:52.760 was going to put out a record called White House 1:05:53.280 --> 1:05:55.520 and it was going to be huge because people really 1:05:55.800 --> 1:06:04.200 like this new house music thing. Really, I don't know, Yeah, 1:06:06.000 --> 1:06:08.040 sounds great. 1:06:09.400 --> 1:06:15.280 I see, Okay, that's interesting. Well yeah I heard Desperado. 1:06:14.760 --> 1:06:17.120 But that's that's not house music. 1:06:18.200 --> 1:06:18.840 Far from it. 1:06:19.360 --> 1:06:23.640 Yeah, just than that. Jungle Brothers had a song called 1:06:23.640 --> 1:06:26.200 house Music All Night Long, so good. 1:06:26.640 --> 1:06:28.400 He wanted you to cast you on that. All right, 1:06:28.440 --> 1:06:34.640 that's crazy. So your time in Los Angeles because you 1:06:34.680 --> 1:06:38.680 guys were the first to really experience hip hop success. 1:06:39.520 --> 1:06:43.400 How jarring was it to be not only hip hop successful, 1:06:43.400 --> 1:06:49.439 but like worldwide level of success? In hindsight, was it 1:06:49.480 --> 1:06:55.040 more of a burden or was it just like something 1:06:55.040 --> 1:06:55.840 you didn't care for? 1:06:56.080 --> 1:06:59.200 Or no, it's fucking crazy. I mean, this shit just 1:06:59.280 --> 1:07:02.560 it really happened quickly. I don't know how to sort 1:07:02.600 --> 1:07:05.640 of explain it. It's like, uh, you go to a 1:07:05.680 --> 1:07:10.880 party and you wear like ear muffs, and everybody in 1:07:10.920 --> 1:07:13.480 the party is like, whoa, those ear muffs are cool, 1:07:14.240 --> 1:07:15.680 And then you're like, Okay, I guess I'm gonna wear 1:07:15.680 --> 1:07:17.280 ear muffs every day now for the rest of my 1:07:17.320 --> 1:07:21.720 life because fucking everybody loves my ear muffs. I'm getting 1:07:21.720 --> 1:07:26.560 paid to wear these ear muffs. It's awesome. It wasn't 1:07:26.560 --> 1:07:28.760 the plan. It was like, we had no plan. We 1:07:28.760 --> 1:07:31.000 are also a hardcore but we're a punk band. We're punks, 1:07:31.640 --> 1:07:36.160 and so we approached rap music as such, you know 1:07:36.160 --> 1:07:37.800 what I mean, Like we just we're just doing what 1:07:37.840 --> 1:07:42.880 we're doing and other people responding to it was weird 1:07:43.000 --> 1:07:45.960 enough that all of our shows were like, you know, 1:07:46.040 --> 1:07:49.440 our twenty five friends or people that we sort of knew, 1:07:49.480 --> 1:07:51.600 friends of friends. Then it got a little bigger, and 1:07:51.600 --> 1:07:54.880 then all of a sudden, like we're on tour with Madonna. 1:07:56.000 --> 1:07:57.440 We're like, whoa shit, that's crazy. As we come home, 1:07:57.480 --> 1:07:58.800 and then all of a sudden, we're on tour opening 1:07:58.840 --> 1:08:03.200 for we run DMC and Time Ex Social Club. It's 1:08:03.240 --> 1:08:05.200 like this massive thing. And then so we're like, okay, 1:08:05.240 --> 1:08:08.880 I guess we're this massive thing now. And so when 1:08:08.880 --> 1:08:10.960 the record came out, it was fucking huge. We're on 1:08:10.960 --> 1:08:13.800 the cover and the newspaper in England every day was 1:08:13.920 --> 1:08:17.400 like crazy. I don't know how. I don't know how 1:08:17.439 --> 1:08:20.000 people do it. I don't know how solo artists do 1:08:20.080 --> 1:08:23.320 stuff like that, because it seems so crazy, and you 1:08:23.479 --> 1:08:25.840 have people that like, all these people love you, but 1:08:26.040 --> 1:08:28.320 just as many people are like fuck you, you suck. Who 1:08:28.320 --> 1:08:29.040 do you think you are? 1:08:29.640 --> 1:08:34.320 At the time, was the just the constant worship and 1:08:34.640 --> 1:08:39.240 being a goldfisher in a goldfish tank? Was that tiring 1:08:39.280 --> 1:08:39.800 at the time? 1:08:41.200 --> 1:08:44.160 Yeah, I mean it got weird. It's a hard call 1:08:44.240 --> 1:08:47.840 because a lot of people are saying they love you 1:08:48.800 --> 1:08:53.840 and you're great. That's not bad, that's right, that's good 1:08:54.280 --> 1:08:58.840 in theory, right, So you you have that with you 1:08:59.479 --> 1:09:03.719 and so it's nice people like what you do. That's great. 1:09:04.920 --> 1:09:08.640 But the other stuff that comes with it, and interviews 1:09:09.080 --> 1:09:11.679 and you know, busy, busy schedule and all of that stuff, 1:09:11.720 --> 1:09:14.360 that's not something that anybody's used to. But we didn't 1:09:14.400 --> 1:09:16.759 sign up for all of that sort of stuff. 1:09:17.439 --> 1:09:21.040 I wasn't aware of how you guys were perceived in 1:09:21.080 --> 1:09:23.920 the press. I wasn't deep on the press until like 1:09:24.640 --> 1:09:27.960 check your head, you know what I mean. So you know, 1:09:28.200 --> 1:09:31.360 if you weren't in right on magazine, I wouldn't know 1:09:31.479 --> 1:09:35.280 too much. I think once you guys. 1:09:35.040 --> 1:09:36.840 Made it, we weren't right on a magazine. 1:09:37.240 --> 1:09:38.920 No, I know, that's I mean, that's how I'm aware. 1:09:39.040 --> 1:09:43.960 But it was the press contentious of you guys doing the. 1:09:43.680 --> 1:09:47.960 All right, so nineteen eighty seven Licensed to Ill. It's 1:09:48.000 --> 1:09:52.160 growing really fast, right right, We're gonna go on tour 1:09:52.280 --> 1:09:55.559 in the UK. This is in our book, available now 1:09:55.680 --> 1:09:56.320 at your local. 1:09:56.640 --> 1:09:57.439 I've read the book. 1:09:57.800 --> 1:10:02.200 So we're coming and writing articles about us in the newspaper, 1:10:02.240 --> 1:10:05.240 not magazines. I'm talking like the cover of the Sun 1:10:05.360 --> 1:10:09.599 and the Sun. And they had a parliament meeting should 1:10:09.600 --> 1:10:12.360 they allow us to come because we're these awful people, 1:10:12.479 --> 1:10:15.560 Like word has gotten out now that we're like the 1:10:15.680 --> 1:10:18.639 sex pistols that were like fucking up the youth of America. 1:10:18.880 --> 1:10:21.759 You know, we're like death metal music that's gonna do whatever. 1:10:22.800 --> 1:10:25.759 Isn't that the rockers dream to be parents worst nightmare? 1:10:26.560 --> 1:10:30.840 That's the record company's dream. So oh, it's all building 1:10:30.880 --> 1:10:34.200 and building, and we're on the cover of newspaper and 1:10:34.240 --> 1:10:36.720 everything we're doing, and we're feeding into it because that's 1:10:36.720 --> 1:10:39.040 what we're getting attention. We're you know, you're like a kid. 1:10:40.000 --> 1:10:41.760 Pay People are paying attention how you pick your nose, 1:10:41.760 --> 1:10:43.439 So you keep picking your nose that way because people 1:10:43.479 --> 1:10:46.160 love it. So we're doing it and doing it not 1:10:46.320 --> 1:10:48.719 to not to let us off the hook. I'm saying, 1:10:49.200 --> 1:10:51.479 we are responsible, we all are for what we do, 1:10:51.800 --> 1:10:55.680 but it's building and building and building. And so when 1:10:55.720 --> 1:10:59.360 we finally get to England and we're playing our shows, 1:10:59.400 --> 1:11:04.640 they start getting fucking weird and tense and different. And 1:11:04.680 --> 1:11:07.720 then we play a show in Liverpool and basically everybody there, 1:11:07.840 --> 1:11:10.360 not everybody there, a lot of people there are like 1:11:10.960 --> 1:11:14.200 singing football songs. It's like hooligan shit. They're throwing beer 1:11:14.240 --> 1:11:17.280 bottles at us. They're like, fuck you. You say you're 1:11:17.680 --> 1:11:19.439 you know, you're the shit. You say you're tough, but 1:11:19.520 --> 1:11:22.559 you're nothing, and beer bottles are raining down on us, 1:11:22.600 --> 1:11:25.519 and we're like, okay, now it's gotten to be too much. 1:11:25.880 --> 1:11:29.920 So you're saying the audience was going there just to 1:11:30.000 --> 1:11:30.439 heckle you. 1:11:31.280 --> 1:11:35.840 More than heckle. Yeah, because we've already told everybody and 1:11:35.920 --> 1:11:40.439 we've become this thing, and like we're definitely responsible for 1:11:40.560 --> 1:11:42.160 saying the things that we said and doing the things 1:11:42.200 --> 1:11:44.599 that we do. But like it caught fire in terms 1:11:44.680 --> 1:11:47.880 of press and newspapers and all this shit, and it 1:11:48.040 --> 1:11:49.240 was like, wait. 1:11:49.320 --> 1:11:51.360 Okay, I didn't know that was with the fan. I 1:11:51.439 --> 1:11:52.280 thought it was depressed. 1:11:52.360 --> 1:11:53.920 I didn't know it was like I went to jail 1:11:54.000 --> 1:11:57.320 for a few nights. It was like fucking crazy, sucked. 1:11:58.400 --> 1:12:01.479 But at the time, for the first time ever, I 1:12:01.520 --> 1:12:02.080 had some money. 1:12:02.240 --> 1:12:07.280 It was nice, got it? Okay? So was there an 1:12:07.360 --> 1:12:12.280 official meeting of the creative direction of what Paul's boutique 1:12:13.080 --> 1:12:13.519 should be? 1:12:14.720 --> 1:12:17.400 I'm the official meeting was me out of a mic, 1:12:17.439 --> 1:12:18.920 meaning like we got to get the fuck away from Rick, 1:12:18.920 --> 1:12:22.600 from Russell. I was like getting an end of it. 1:12:23.240 --> 1:12:25.280 So you don't think had you been on DEFTM, you 1:12:25.320 --> 1:12:27.600 guys wouldn't made an album as adventurous. 1:12:28.200 --> 1:12:30.840 There's no way, absolutely no way. 1:12:31.600 --> 1:12:35.960 Well, I mean even they imploded in what eighty eight? 1:12:36.200 --> 1:12:38.200 So rick Ball fell apart at the same time, the 1:12:38.280 --> 1:12:42.000 whole thing fell apart at the same time, between and 1:12:42.160 --> 1:12:45.280 Rick and us, and Russell, Russell and Rick, all of us. 1:12:45.320 --> 1:12:49.280 It just okay. So I'd take it that you guys 1:12:49.439 --> 1:12:52.639 met with the dust Brothers and whatnot. Well, the legend 1:12:52.720 --> 1:12:55.400 is that one of you heard some tracks at a party. 1:12:55.960 --> 1:12:57.840 Was it you? That was me? 1:12:58.080 --> 1:12:58.880 Yes, okay. 1:12:59.040 --> 1:13:01.200 I went to some weird Hollywood party with a friend 1:13:02.040 --> 1:13:03.840 and these guys are there just like kind of in 1:13:03.920 --> 1:13:08.519 the back out outside listening to cassette A cassette tape 1:13:08.560 --> 1:13:11.559 with demos that they made, and so we have crazy 1:13:11.600 --> 1:13:14.040 beats and instrumentals and all samples and stuff, and I 1:13:14.160 --> 1:13:16.920 was just like, what the hell is this? And one 1:13:17.000 --> 1:13:19.800 of them was this guy Matt Dyke, who eventually started 1:13:19.880 --> 1:13:24.240 Delicious Vinyl. We met a couple of years earlier because 1:13:24.280 --> 1:13:26.920 he flew us to La to put on a show 1:13:26.960 --> 1:13:29.720 at his club. He promoted a show which was a 1:13:29.960 --> 1:13:31.360 very pivotal moment for us. 1:13:32.800 --> 1:13:33.639 Why was that pivot? 1:13:34.160 --> 1:13:36.160 So he flew us down to this club, power Tools, 1:13:36.160 --> 1:13:39.000 which was like a club, like a well known club 1:13:39.080 --> 1:13:44.400 here in history books of La. And we played the 1:13:44.479 --> 1:13:46.840 show like all the like hipsters are there and we 1:13:47.040 --> 1:13:50.519 come on to do the show and the first eight 1:13:50.560 --> 1:13:53.760 o eight that kicks in boom, and it's like and 1:13:53.880 --> 1:13:56.080 the speakers are dead, and that's the beginning and end 1:13:56.080 --> 1:13:58.479 of the show. Eight oh eight was just too much 1:13:58.560 --> 1:14:03.639 for the speaker system at all. Mario Caldado goes over 1:14:03.720 --> 1:14:05.800 to Matt Dik and he's like, this is a fucking joke. 1:14:06.160 --> 1:14:09.000 I got my own PA system. I'm bringing it next week. 1:14:09.040 --> 1:14:11.760 You're hiring me to do sound. He does it. 1:14:12.160 --> 1:14:14.320 That's how Mario c comes into the fold. 1:14:14.760 --> 1:14:17.400 He does it, and he ends up being the engineer 1:14:17.520 --> 1:14:21.639 for Delicious Vinyl, for Tonelow Young MC all those records, 1:14:21.920 --> 1:14:24.040 and then we work together forever. 1:14:24.760 --> 1:14:28.000 Side note, Steve, you know the Roots reputation for being 1:14:28.040 --> 1:14:31.600 the loudest band in music at one hundred and and 1:14:31.680 --> 1:14:35.160 I'm talking Richard Nichols era, like one hundred and thirty 1:14:35.160 --> 1:14:40.479 eight dbs, like way above the legal limit. Like our 1:14:40.560 --> 1:14:43.880 face is plastered on every sound systems company, like the 1:14:44.000 --> 1:14:46.479 post office, like do not rint systems to this guy. 1:14:47.720 --> 1:14:50.519 As I said, everything we've ever learned in life we 1:14:50.640 --> 1:14:53.559 learn on toward the Beastie Boys. But probably the most 1:14:53.640 --> 1:14:59.200 important thing we learned was the importance of sound mixing 1:15:00.280 --> 1:15:04.960 and how important basis to a concert. So I will 1:15:05.000 --> 1:15:09.479 say the first two years of the Roots and the 1:15:09.560 --> 1:15:12.280 whole folklore of oh my god, you guys are so 1:15:12.360 --> 1:15:17.400 incredible a concert. What we learned on that tour was 1:15:18.640 --> 1:15:21.320 if you guys are loud and the sound is pristine, 1:15:22.280 --> 1:15:24.960 like for us, the sound, most people would say, an 1:15:25.000 --> 1:15:27.160 audience waving their hands in the air is the sign 1:15:27.240 --> 1:15:30.519 of like you made it. For us, the sound was 1:15:31.360 --> 1:15:35.240 the sign was if their hands were covering their stomachs 1:15:36.640 --> 1:15:39.160 like I can't take this too much base then that 1:15:39.520 --> 1:15:42.639 was like pretty much we learned. So I will say 1:15:42.680 --> 1:15:45.720 that for the most part, Mario would let me on 1:15:45.880 --> 1:15:48.920 the soundboard to help code mix with them and learn 1:15:50.280 --> 1:15:54.200 like so learning live engineering was that was my crash 1:15:54.800 --> 1:15:57.720 course and end that. So it's kind of weird that 1:15:58.120 --> 1:16:00.439 so you guys break into speaker is what brings Mario 1:16:00.640 --> 1:16:05.120 to the full. Oh yeah, that is some crazy shit man. Wow. 1:16:06.080 --> 1:16:09.599 After that tour, then that's when we became like serious 1:16:09.640 --> 1:16:14.200 about everything we ever done. So I believe that you 1:16:14.400 --> 1:16:21.120 guys revealed to me that the Paul's Boutique album was 1:16:21.280 --> 1:16:26.320 not sequenced in a way that traditionally you would sequence 1:16:27.479 --> 1:16:29.599 hip hop albums at the time, but that you guys 1:16:29.680 --> 1:16:35.240 basically looped everything on individual tracks and that's how the 1:16:35.280 --> 1:16:38.360 album was made. Did I ask that correctly in way 1:16:38.560 --> 1:16:41.160 that you understood how I asked the three things? One, 1:16:41.240 --> 1:16:43.880 I don't know that I understood the question the question right, 1:16:44.280 --> 1:16:46.439 But the second I. 1:16:46.520 --> 1:16:48.760 Was really high at that time. I was smoking. It's 1:16:48.840 --> 1:16:52.280 just so much pot that I don't I wasn't dealing 1:16:52.360 --> 1:16:56.000 with the you know, fine tuning of that type of stuff, right, 1:16:56.160 --> 1:16:58.760 the dust brothers, that's all they did. They went to 1:16:58.800 --> 1:17:04.200 school for computer stuff, so they were they were very involved. 1:17:04.280 --> 1:17:07.280 That was like their thing was like we control the board, 1:17:08.439 --> 1:17:10.599 not like how it gets mixed, but like in terms 1:17:10.640 --> 1:17:14.160 of how the samples are getting you know, right stop, physically, 1:17:14.240 --> 1:17:17.000 how they're getting put on new tape. They were doing that. 1:17:17.520 --> 1:17:19.360 So I was really involved with that. I would make 1:17:19.479 --> 1:17:21.120 beats here and there, I would you know, write the 1:17:21.240 --> 1:17:24.280 lyrics and have my input or whatever. But they were 1:17:24.360 --> 1:17:25.439 really the ones that did that. 1:17:26.479 --> 1:17:32.120 Okay. I was told that every sample on Paul's boutique, 1:17:32.160 --> 1:17:36.320 like for instance, Sounds of Science, that everything would just 1:17:36.400 --> 1:17:38.640 get like you would start with the drums and then 1:17:38.920 --> 1:17:43.040 try to match each sample to the drums. But basically 1:17:43.640 --> 1:17:47.400 instead of okay, the opposite of that is when when 1:17:47.479 --> 1:17:51.960 talking to public Enemy's engineer whose name I'm forgetting right now, 1:17:52.200 --> 1:17:57.439 that made Nation of Millions. Basically in making Nation of Millions, 1:17:57.920 --> 1:17:59.920 the best example, of course is not to Living Base. 1:18:00.120 --> 1:18:04.640 It's like literally there's a tracking sheet that accounts for 1:18:04.840 --> 1:18:09.000 every bar that happens in that thing. So literally, like 1:18:09.080 --> 1:18:12.840 they write it out as a science experiment, like all right, 1:18:12.920 --> 1:18:18.120 third verse planet rock sample comes in this you know, 1:18:18.360 --> 1:18:21.400 this salt and pepper snippet comes in at exactly bar 1:18:22.320 --> 1:18:30.240 seventy eight. We tuned down eighty five eatpm for Bowie's whatever. Yeah, 1:18:30.400 --> 1:18:37.479 like it's completely detailed, soup the nuts and execute it 1:18:37.520 --> 1:18:41.599 as such and pre eqed, so they barely did any 1:18:41.680 --> 1:18:44.559 equing on them. They did all the pre work, whereas 1:18:45.880 --> 1:18:50.200 I was told that for this album, you guys weren't like, okay, 1:18:50.400 --> 1:18:53.160 only on this when this baseline comes in on verse two, 1:18:53.960 --> 1:18:56.400 we'll program it. No, it's just like we will loop 1:18:56.560 --> 1:19:02.760 everything as is and then we'll automate it that way, 1:19:03.040 --> 1:19:05.519 which is a harder way to make a record. In 1:19:05.600 --> 1:19:09.760 other words, if there's sixteen tracks, Am I saying it? 1:19:09.880 --> 1:19:10.000 Right? 1:19:10.680 --> 1:19:13.679 I knew drum machine. I can use a drum machine, right, okay, 1:19:14.280 --> 1:19:17.840 And I can program drum machine dx DMX whatever eight 1:19:17.880 --> 1:19:19.439 await whatever the thing is. I've been doing that for 1:19:19.479 --> 1:19:23.680 a long time for a while, a few years. The 1:19:23.760 --> 1:19:26.639 licensed ill o. I know, there's a lot of tape loops, right. 1:19:26.560 --> 1:19:28.599 And that was Cincento, see what I was talking about. 1:19:28.680 --> 1:19:32.640 Sorry, Nick, shout out to Nick Sansano, And so that 1:19:32.800 --> 1:19:35.280 was tricky to get those things lined up. And I 1:19:35.360 --> 1:19:37.360 remember the dust for this had all this shit lined up, 1:19:37.479 --> 1:19:39.880 was like, it seemed very magical. And then they had 1:19:39.920 --> 1:19:42.200 a computer, so I was like, I don't know what 1:19:43.439 --> 1:19:47.479 I did. I didn't understand what computers did, so like 1:19:48.000 --> 1:19:49.640 that it was the music was coming out of a 1:19:49.640 --> 1:19:52.000 computer was fascinating to me. I was like, is that 1:19:52.120 --> 1:19:55.280 like craft work? I don't understand what that means. I 1:19:55.640 --> 1:19:58.160 didn't have much to do with it, and you know, 1:19:59.120 --> 1:20:01.680 so I couldn't. I can't answer the questions of the 1:20:01.800 --> 1:20:04.960 specifics of how those tracks were made because I kind 1:20:05.000 --> 1:20:06.680 of sort of dipped out when it came to that. 1:20:07.760 --> 1:20:12.200 What a reaction to that was For the next record, 1:20:12.240 --> 1:20:14.840 I was very, very involved in terms of I got 1:20:14.920 --> 1:20:17.960 a you know, SB twelve hundred, and I got I 1:20:18.040 --> 1:20:21.000 didn't like that. I wasn't able to touch everything. 1:20:21.720 --> 1:20:24.479 So you were in a studio in which engineers would 1:20:24.479 --> 1:20:27.160 not let you. No, no, no. 1:20:27.320 --> 1:20:30.120 I didn't understand it. I didn't understand computers, so I 1:20:30.200 --> 1:20:33.000 didn't know how to to do it, do you know 1:20:33.040 --> 1:20:36.320 what I mean? And Yak understood tape loops and me 1:20:36.400 --> 1:20:39.599 and him knew drum machines. He knew tape loops from 1:20:39.640 --> 1:20:42.080 working with the Latin rascals, all right. 1:20:42.120 --> 1:20:45.680 So can you explain. I'm still trying to understand when 1:20:45.720 --> 1:20:49.519 you guys talk about looping when the levy breaks for 1:20:50.160 --> 1:20:52.680 riman and still and how you had to have a 1:20:52.760 --> 1:20:56.960 pencil over here and tape around the room, Like exactly 1:20:58.640 --> 1:21:00.880 what is that process? Like, I've never seen that done. 1:21:01.680 --> 1:21:01.840 Is that? 1:21:02.520 --> 1:21:04.400 Are you saying to me that's the only way that 1:21:04.479 --> 1:21:05.400 you could loop something? 1:21:06.200 --> 1:21:08.639 Okay, So if music is on a on a tape, 1:21:09.160 --> 1:21:13.080 not like like on the tape and say the tape 1:21:13.200 --> 1:21:15.240 space where it goes around the loop that it goes 1:21:15.280 --> 1:21:18.960 around in the actual machine, say that's like whatever, like 1:21:19.240 --> 1:21:21.680 four inches of a loop from start to finish, right, 1:21:22.439 --> 1:21:24.280 and you take the piece of music. But that piece 1:21:24.360 --> 1:21:27.519 of music is actually like a bar of music that's 1:21:27.680 --> 1:21:31.120 like six point seven inches, So you can't just play 1:21:31.160 --> 1:21:32.760 it in the tape loop. You can't play it in 1:21:32.840 --> 1:21:35.200 the tape machine. So some of it has to come 1:21:35.479 --> 1:21:38.680 out of the tape machine to go back into the 1:21:38.760 --> 1:21:43.639 tape machine. It needs that extra space you're creating a loop, 1:21:44.280 --> 1:21:46.240 So you just make a bigger loop than it is 1:21:46.320 --> 1:21:47.799 on the actual machine. 1:21:48.439 --> 1:21:51.240 And this requires like the entire room of the studio. 1:21:52.000 --> 1:21:54.799 No, just some space, some good space, good amount. 1:21:55.800 --> 1:21:58.760 Are you there for when rhyming and still in is 1:21:59.560 --> 1:22:01.280 being a yeah. 1:22:01.760 --> 1:22:04.040 And I feel like, if my memory is right, we 1:22:04.200 --> 1:22:07.120 just hand played the kicks and snares. Could be wrong, 1:22:07.200 --> 1:22:10.800 but I definitely remember hand playing kicks and snares on 1:22:10.840 --> 1:22:11.599 a bunch of songs. 1:22:12.560 --> 1:22:16.639 Oh okay, I see, I'm sorry. I have to also 1:22:16.840 --> 1:22:21.760 just visualize it, so I get very over analytical with 1:22:21.920 --> 1:22:25.519 this stuff. What were your feelings after the mastering session 1:22:25.560 --> 1:22:26.320 of Paul's boutique? 1:22:27.080 --> 1:22:29.880 You know, I didn't actually say that I was a 1:22:30.040 --> 1:22:35.479 musician until into the nineties, right, Like I didn't know 1:22:35.520 --> 1:22:39.040 that was my job. I was still whatever, like early twenties, right, 1:22:40.200 --> 1:22:42.800 I was eighty nine, I was with twenty two, twenty three, 1:22:42.920 --> 1:22:47.080 twenty three, right. So I'm just still winging it. I'm 1:22:47.160 --> 1:22:50.720 just going like we live in La now, I can 1:22:50.800 --> 1:22:53.920 drive a car, I've got cash, I can get pot 1:22:54.280 --> 1:22:57.080 and sandwiches, you know what I mean. Like, I'm not 1:22:57.200 --> 1:23:00.880 really thinking like this is my career path. And I 1:23:01.080 --> 1:23:02.840 just assumed, like, oh, we put a record out and 1:23:02.880 --> 1:23:04.880 then we'd go on tour. I guess because that's what 1:23:05.000 --> 1:23:08.000 people do, That's what we did last time. We got 1:23:08.120 --> 1:23:11.519 to make sure. I don't know, I didn't. It didn't 1:23:11.600 --> 1:23:15.400 really give it a thought of, like I've never particularly 1:23:15.520 --> 1:23:18.960 given a thought of like demographics to sell to or 1:23:19.000 --> 1:23:21.439 to cater to, or how record sales are going to 1:23:21.479 --> 1:23:22.599 go or any of that stuff. 1:23:23.080 --> 1:23:24.840 Yeah, but I mean part of you had to get 1:23:24.920 --> 1:23:29.120 some sort of goosebump shit like, yeah, this is some shit, 1:23:29.280 --> 1:23:30.800 Like no one's making shit like this. 1:23:31.200 --> 1:23:33.639 I'll tell you this. So for our book, I wrote 1:23:33.680 --> 1:23:37.120 this short chapter called a short chapter called I Hate 1:23:37.160 --> 1:23:37.760 Dayla Soul. 1:23:39.479 --> 1:23:41.679 Okay, right, And so when. 1:23:41.560 --> 1:23:43.200 The record was all sat and downe and we're ready 1:23:43.240 --> 1:23:47.280 to go fucking three feet high and Rising came out, did. 1:23:47.160 --> 1:23:48.720 You know that was coming down the pike at all? 1:23:49.160 --> 1:23:51.200 No, I don't know. I mean I knew who they were. 1:23:51.360 --> 1:23:53.840 I listened to their twelve inch a lot, right, or 1:23:53.880 --> 1:23:56.200 the two ones they had out, and I was I 1:23:56.320 --> 1:23:59.040 was like, this is way better. So I was, you know, 1:23:59.240 --> 1:24:01.519 that didn't like, didn't ruin my day. I'm just saying 1:24:01.560 --> 1:24:04.360 it was a sort of in a way, I thought 1:24:04.400 --> 1:24:06.200 that we had done this weird thing that no other 1:24:06.280 --> 1:24:10.600 rappers that did. We made like this huge medley at 1:24:10.640 --> 1:24:13.080 the end of the second side. That's you know, it's 1:24:13.160 --> 1:24:16.479 like a beautiful yeah, right, and like, no one's done 1:24:16.520 --> 1:24:17.960 that on a rap record, and so we did all 1:24:18.000 --> 1:24:21.840 these things that we thought that were different, and so 1:24:21.960 --> 1:24:25.000 we thought it was cool. And right when the record 1:24:25.080 --> 1:24:26.920 came out, I went to Tower Records and they didn't 1:24:26.960 --> 1:24:31.000 have any okay, And I was like, oh, this is 1:24:31.040 --> 1:24:33.920 weird because also because the Tower Records was like ten 1:24:34.000 --> 1:24:37.840 blocks from the record label, right, like did someone just 1:24:37.920 --> 1:24:40.840 walk over with a box to sell so that nobody 1:24:41.680 --> 1:24:43.400 it just sort of died early. 1:24:48.840 --> 1:24:53.000 Were you at all impressed with the lead review from 1:24:53.200 --> 1:24:54.519 Rolling Stone at the time. 1:24:55.000 --> 1:24:56.280 I don't read reviews, so I don't know. 1:24:57.479 --> 1:25:00.439 So you did not read the lead review of Paul's 1:25:00.439 --> 1:25:01.320 boutique when it came. 1:25:01.240 --> 1:25:07.120 Out hair Less? Seriously, you know I'm paying rent off 1:25:07.280 --> 1:25:10.840 this stuff. I get it about my music. I don't care. 1:25:11.320 --> 1:25:13.240 You're not the person who's buying the records. You get 1:25:13.240 --> 1:25:16.120 it for free, no offense to anybody. 1:25:16.280 --> 1:25:20.640 I'm just saying, are you aware that it existed? And 1:25:20.800 --> 1:25:24.679 are you at least aware that nothing was aware that existed? 1:25:24.680 --> 1:25:26.960 Because we probably did a photo session for it, and 1:25:27.000 --> 1:25:29.280 that's the extent of any way. 1:25:29.280 --> 1:25:32.439 Well, I'm just saying that you know it was really 1:25:32.479 --> 1:25:36.439 hard for mainstream hip hop to get any sort of 1:25:36.600 --> 1:25:46.320 like real critical attention, like deserved critical attention. And normally, 1:25:47.200 --> 1:25:49.880 you know, at least that particular era of Rolling Stone, 1:25:50.520 --> 1:25:53.160 most guys born in the early forties or whatever, it 1:25:53.280 --> 1:25:56.320 was hard to impress them. Like they got Nation of Millions, 1:25:59.280 --> 1:26:01.840 and they were kind I really iffy on anything else 1:26:01.880 --> 1:26:07.040 that came down the pike. So you know, for Paul's 1:26:07.080 --> 1:26:11.000 boutique to get a lead review was like a major 1:26:11.720 --> 1:26:16.080 big deal and like I didn't even look at the stars, 1:26:16.120 --> 1:26:18.360 Like I held the hand over the review as I 1:26:18.479 --> 1:26:21.760 was reading, and I was like, yo, this, I've never 1:26:21.840 --> 1:26:24.880 seen a glowing I mean, besides the Village Voice, which 1:26:25.800 --> 1:26:29.640 you know, if you're kind of under the mentorship of 1:26:29.800 --> 1:26:33.920 the leader passing job, Robert Christigal, then you know that's 1:26:33.960 --> 1:26:37.080 a certain level of writing that's just you know, some 1:26:37.200 --> 1:26:39.960 of the greatest writers under the Village Voice. But that 1:26:40.160 --> 1:26:44.360 review was like poetic and for me, like that was 1:26:44.439 --> 1:26:47.760 the first time in which I felt like, yo, I 1:26:47.880 --> 1:26:50.320 want to create and you know, the roots didn't exist yet, 1:26:50.840 --> 1:26:53.840 but it was almost like yo, I could create something 1:26:54.040 --> 1:26:56.840 and get a glowing review like like this. I mean, 1:26:56.880 --> 1:27:00.680 I wasn't in the jaded, like fuck critics. And but 1:27:01.360 --> 1:27:04.240 for me, that was like a big fucking deal for 1:27:04.320 --> 1:27:08.200 you guys to get a glowing review that's usually reserved 1:27:08.320 --> 1:27:12.519 for like a certain act, but it wasn't because of 1:27:13.080 --> 1:27:15.760 the act. Like I think they had knives out ready 1:27:15.840 --> 1:27:21.880 to crucify you guys, and it was like, holy shit, 1:27:22.000 --> 1:27:25.960 they're artists and like knives down and it wound up 1:27:26.000 --> 1:27:29.080 being the opposite of that. So that's amazing that you 1:27:29.400 --> 1:27:30.280 weren't even aware of that. 1:27:30.960 --> 1:27:33.080 I'm sure I was aware of it, and probably our managers, 1:27:33.240 --> 1:27:34.719 you know what I'm saying. I just mean in terms 1:27:34.760 --> 1:27:37.960 of they were happy, but even us in general, I don't. 1:27:38.160 --> 1:27:40.000 I've always looked at it like coming from a punt, 1:27:40.400 --> 1:27:46.439 you know, upbringing right, They're not rolling Stone's not giving 1:27:46.479 --> 1:27:49.000 a huge review to the Germs or to the Slits 1:27:49.360 --> 1:27:52.080 or Eddie Bow or any you know, anybody that, like 1:27:52.200 --> 1:27:55.880 I I'm trying to think of anybody's names that like 1:27:55.920 --> 1:27:59.800 they're not giving Yeah, Prince Jasbo isn't getting a lead 1:28:00.040 --> 1:28:02.920 view or whatever. A lead review is like a big 1:28:03.000 --> 1:28:04.599 review and then there's other reviews. 1:28:05.479 --> 1:28:08.280 Is that what that means? Meaning like hear you, hear you? 1:28:08.400 --> 1:28:10.519 This is some life changes the shit right here is which. 1:28:11.320 --> 1:28:15.800 And because I guess we we gotta. You're saying that 1:28:15.880 --> 1:28:18.760 we got a good review Nobody Records, So what does 1:28:18.800 --> 1:28:19.120 it matter. 1:28:20.920 --> 1:28:22.120 I brought that record, damn it. 1:28:22.479 --> 1:28:22.760 Thank you? 1:28:23.400 --> 1:28:26.760 Have you guys at least changed your feelings towards it. 1:28:26.920 --> 1:28:30.400 I know that oftentimes if something doesn't work, you tend 1:28:30.439 --> 1:28:33.879 to cast it to the side, like in your canon, 1:28:34.840 --> 1:28:38.280 if there's one album that has to represent your life's work, like, 1:28:38.400 --> 1:28:40.360 what is that album that's. 1:28:40.240 --> 1:28:43.479 The last record we made, Well, it's too it's Hello 1:28:43.600 --> 1:28:46.600 Nasty and the last record we ever made, so for 1:28:46.720 --> 1:28:49.439 you hot, So the last record we ever made isn't. 1:28:49.479 --> 1:28:52.400 Like our best record, but I gotta understand for centimental 1:28:52.439 --> 1:28:55.680 reasons with y'all, can it well. 1:28:55.760 --> 1:28:58.840 It's also like full circle because as a band, we 1:28:58.960 --> 1:29:01.080 played all the music on record, all the samples. It 1:29:01.200 --> 1:29:03.680 was like sampling and all of the stuff, and we 1:29:03.800 --> 1:29:05.800 did all of it. We weren't sampling other records, so 1:29:05.840 --> 1:29:08.760 it was like full circle for a lot of different things. 1:29:09.560 --> 1:29:14.760 But basically, Paul's not even close to your that's just 1:29:15.560 --> 1:29:19.479 under the inside the storage unit, like it's not important 1:29:19.479 --> 1:29:20.320 to you. I think it's great. 1:29:20.600 --> 1:29:23.080 There's some there's definitely some lyrics on there that I'm like, 1:29:23.400 --> 1:29:25.479 I would, you know they're fucked up that I would 1:29:25.560 --> 1:29:28.640 you know, still in a sort of eighties mentality, do 1:29:28.640 --> 1:29:29.200 you know what I mean? 1:29:29.800 --> 1:29:32.240 I get it, I get it. Well, just as a 1:29:32.240 --> 1:29:34.040 piece of work, man, just accept the flowers. 1:29:34.120 --> 1:29:35.280 Yo. That well, thank you? 1:29:35.520 --> 1:29:37.040 That almost goddamn like that. 1:29:37.160 --> 1:29:39.240 You can't go back and change things, but you can 1:29:39.320 --> 1:29:40.719 go forward and change things. 1:29:41.320 --> 1:29:45.960 So I fully understand that. How was it introduced to 1:29:46.920 --> 1:29:51.240 incorporate live musicianship for the Check your Head record? And 1:29:51.760 --> 1:29:56.639 just how much different than that was besides the actual 1:29:56.720 --> 1:29:59.840 outcome of Paul's boutique versus Check your Head? 1:30:00.360 --> 1:30:01.040 What was the goal? 1:30:01.760 --> 1:30:04.639 And I have fun? You know, it's similar I guess 1:30:04.720 --> 1:30:09.200 from starting to rap, from you know, playing hardcore, playing 1:30:09.280 --> 1:30:13.680 punk music to rap music. We were We didn't go 1:30:13.760 --> 1:30:17.000 on a big tour for that record. We went, we 1:30:17.120 --> 1:30:20.680 played like we did a tour of maybe six discos. 1:30:20.880 --> 1:30:23.759 I don't know. It was such a bad idea literal disco. 1:30:24.760 --> 1:30:26.880 And it was when Business second album came out, and 1:30:27.000 --> 1:30:29.200 that's all we listened to is Business second album was 1:30:29.240 --> 1:30:29.639 so good? 1:30:29.880 --> 1:30:32.920 The Diabolical mart Yeah, it's. 1:30:32.840 --> 1:30:35.519 So good, and we we did a promotional thing where 1:30:35.560 --> 1:30:38.479 we took a train from New York to Philly or 1:30:38.520 --> 1:30:41.080 Philly to d C with Will Smith. It was just like, 1:30:41.160 --> 1:30:45.200 what are we doing? What are we doing? What's happening? 1:30:45.960 --> 1:30:46.280 All right? 1:30:46.840 --> 1:30:49.000 And so we just we had these apartments in LA 1:30:49.120 --> 1:30:53.519 We were having fun there, making friends, and uh Yauk 1:30:53.840 --> 1:30:57.519 was just like, oh, I bought a drum kit at 1:30:57.560 --> 1:30:58.719 a yard sale. 1:30:59.360 --> 1:30:59.680 Mm hm. 1:31:00.000 --> 1:31:02.760 So I set up this this shitty drum kit in 1:31:02.840 --> 1:31:06.240 my bedroom and I had a guitar and an amp, 1:31:06.400 --> 1:31:09.960 and Yaouk was just like, I'm gonna do you have 1:31:10.040 --> 1:31:12.479 a wah wah pedal? And I was like, I actually 1:31:12.520 --> 1:31:14.760 do have a wawa pedal. He's like, all right, I'm 1:31:14.800 --> 1:31:17.639 gonna come over tomorrow with my bass and Mike's gonna 1:31:17.640 --> 1:31:21.040 come over and we're just gonna play music. And because 1:31:21.080 --> 1:31:25.000 Mike plays drums, right, I was like okay. And then 1:31:25.080 --> 1:31:26.759 that just that's how it started. 1:31:27.600 --> 1:31:31.559 And then was Yauk always the lighthouse or the sort 1:31:31.600 --> 1:31:34.439 of anchor that starts whatever ideas next. 1:31:35.439 --> 1:31:38.080 No, he was the like task master, like he could 1:31:38.240 --> 1:31:41.280 get it done. Like everybody has like ideas, like oh shit, 1:31:41.320 --> 1:31:43.280 we should do this, but Yea was like yeah, we'll 1:31:43.320 --> 1:31:46.599 figure out how to do that in two hours. Yeah. 1:31:47.240 --> 1:31:50.400 So I went from we should be a band to yeah. 1:31:50.320 --> 1:31:52.599 No, tomorrow we're a band, you know what I mean. 1:31:52.640 --> 1:31:54.240 It was like, tomorrow, this is what we're doing. Tomorrow 1:31:54.280 --> 1:31:56.160 we're not. This isn't just an idea, this is what 1:31:56.240 --> 1:31:59.519 we're doing. We're gonna go back to a year before. 1:31:59.640 --> 1:32:02.519 We're all living together at this house off of mulhalland Drive, 1:32:03.080 --> 1:32:05.800 and Mike drove his car through the front gate, this 1:32:05.920 --> 1:32:09.800 wooden gate, and so Mario, Mario Caldado had a friend, 1:32:10.240 --> 1:32:13.000 this guy Mark Nasheeda, who is a carpenter who also 1:32:13.040 --> 1:32:16.120 played keyboards. He came and he fixed the gate. And 1:32:16.200 --> 1:32:19.200 then the year when we started playing, Mario was like, 1:32:19.760 --> 1:32:24.320 you should get my friend Mark to come and play keyboards. 1:32:24.840 --> 1:32:26.800 And it just literally that's like the next day, and 1:32:26.840 --> 1:32:27.759 then it just started. 1:32:28.360 --> 1:32:34.519 So whenever a disaster happens so uncrucial in the development 1:32:34.640 --> 1:32:40.320 of your sound enters the fold nice. So eventually you 1:32:40.439 --> 1:32:46.879 guys wind up platinum status, newfound fan base back in Arenas. 1:32:47.760 --> 1:32:50.840 Can you explain basically how that journey starts. There's just 1:32:51.000 --> 1:32:56.120 like every day it's just oh, this is happening, Like 1:32:56.920 --> 1:33:00.320 I don't think you can plan a comeback or I 1:33:00.400 --> 1:33:03.320 didn't necessarily call it comeback because you guys were consistent 1:33:03.400 --> 1:33:06.040 part of my listening. So I never once felt like 1:33:07.320 --> 1:33:09.120 a lack of Beastie boys, even though I know there's 1:33:09.120 --> 1:33:14.200 a difference between nine million units and five hundred thousand units. 1:33:14.479 --> 1:33:16.439 But well, I guess we learned the thing of like 1:33:18.120 --> 1:33:21.240 we severed ties with our manager who was the one 1:33:21.320 --> 1:33:23.080 during the Paul's Wutique thinger had his play at the 1:33:23.240 --> 1:33:26.920 discos in the train with Will Smith, right, and we 1:33:27.000 --> 1:33:29.559 got a new manager who's still our manager, John Silva. 1:33:30.520 --> 1:33:33.439 John yep Silva is still wrong with y'all. Oh yeah, 1:33:34.520 --> 1:33:35.200 damn son. 1:33:35.560 --> 1:33:40.240 We mat him because he was Sonic Youth manager and 1:33:40.520 --> 1:33:44.360 Vona's manager. And this is before Nevermind came out and 1:33:45.360 --> 1:33:49.040 we went and had like brunch, like a Hollywood brunch 1:33:49.080 --> 1:33:52.080 with him, and he was like, I'm not sure that 1:33:52.120 --> 1:33:53.840 I want to do this anymore. I'm thinking about moving 1:33:53.880 --> 1:33:57.679 to San Francisco and working with my brother. We're like, okay, 1:33:57.880 --> 1:34:00.479 that seems very on Hollywood, and so that's what we 1:34:00.600 --> 1:34:02.280 liked about him, and then we ended up pursuing him, 1:34:02.320 --> 1:34:06.479 and then he became our manager and he approached it 1:34:06.680 --> 1:34:09.000 more like something that we understood in terms of his 1:34:09.120 --> 1:34:12.600 background as a punk rock background, and he was just like, 1:34:12.680 --> 1:34:16.600 you gotta play shows, just play shows. And so we 1:34:16.680 --> 1:34:19.080 got back into that and the thing of like actually 1:34:19.200 --> 1:34:22.080 enjoying being on tour as opposed to license to ill, 1:34:22.120 --> 1:34:25.240 where it sucked after a while, it sucked pretty quick, 1:34:26.040 --> 1:34:29.720 and then on tour, you know, in ninety two was 1:34:29.840 --> 1:34:32.680 really fun and different. It was different. It was a 1:34:32.720 --> 1:34:33.559 whole different scene. 1:34:34.320 --> 1:34:34.479 You know. 1:34:34.640 --> 1:34:36.880 We were playing clubs, punk clubs and wherever. 1:34:37.040 --> 1:34:37.280 It was. 1:34:37.439 --> 1:34:41.360 Just it made sense, got it got it was going 1:34:41.400 --> 1:34:43.080 to get bigger and bigger, but it did. 1:34:43.680 --> 1:34:45.479 So second time around it felt better for you. 1:34:46.240 --> 1:34:46.839 Oh definitely. 1:34:47.320 --> 1:34:50.880 This is December when we're talking, and my birthdays in January. 1:34:50.920 --> 1:34:53.080 You know what a really cool gift would be. What 1:34:54.200 --> 1:34:57.559 are you able to locate every last issue of Grand 1:34:57.640 --> 1:34:58.439 Royal magazine? 1:34:59.120 --> 1:35:00.439 You're gonna have to talk to him about that. 1:35:00.640 --> 1:35:03.280 I hate you right now, Come on, dog your history. 1:35:03.479 --> 1:35:04.200 It wasn't my thing. 1:35:05.200 --> 1:35:07.080 You have articles in Grand Royal. 1:35:07.160 --> 1:35:09.560 Well, I was involved in like the first, first or 1:35:09.640 --> 1:35:16.960 second one, but then I lost interest. Man. I don't 1:35:16.960 --> 1:35:18.519 have any Latin quarter stories either. Man. 1:35:19.200 --> 1:35:20.800 I know I was gonna ask you, there's no Latin 1:35:20.840 --> 1:35:21.400 Quarter stories. 1:35:22.400 --> 1:35:24.759 Look, man, oh, I got plenty of everyonce. 1:35:25.439 --> 1:35:27.360 Everybody we talked to is like the Beastie Boys were 1:35:27.400 --> 1:35:29.080 at the fucking Latin Quarter. 1:35:29.200 --> 1:35:32.040 But apparently the stories in the Roxy though, but not 1:35:32.240 --> 1:35:32.920 Latin Quarters. 1:35:33.479 --> 1:35:37.840 The fuck all right, Look, man, no one enjoys the 1:35:38.080 --> 1:35:45.439 slow pin to a balloon deflation of any fantasies I 1:35:45.560 --> 1:35:48.680 have about what life was like back in the day 1:35:48.920 --> 1:35:50.000 than this guy right here. 1:35:51.439 --> 1:35:55.439 Green Roy was great though, because our studio we had 1:35:55.520 --> 1:35:58.439 in La, because we we also on pullsic. We spent 1:35:58.520 --> 1:36:01.519 all our money. We thought it was like we were 1:36:01.640 --> 1:36:04.120 rock stars and we would record these really expensive we 1:36:04.479 --> 1:36:08.439 record at these really expensive studios, and we were used 1:36:08.439 --> 1:36:12.400 to recording at Chunk King, which was nothing. When we 1:36:12.560 --> 1:36:15.880 recorded there, right literally, there was like a it was 1:36:15.960 --> 1:36:18.559 there were no lights on, there was a fish tank 1:36:18.640 --> 1:36:21.719 with dead fish in it. It was like it wasn't nice. 1:36:21.840 --> 1:36:25.920 There was no leather couches, right, And so we wanted 1:36:26.000 --> 1:36:28.640 to find a spot that we could record at and 1:36:28.760 --> 1:36:31.200 not have to pay an hourly fee or a lockout 1:36:31.280 --> 1:36:34.679 or anything. So Mike and Mario found a place out 1:36:34.760 --> 1:36:38.040 in at Water outside of La in La but outside 1:36:38.040 --> 1:36:41.439 of LA that was like this little mini ballroom and 1:36:41.960 --> 1:36:44.920 we just took over the whole thing and one room 1:36:45.120 --> 1:36:48.320 was Grand Royal Records, one room was the magazine or 1:36:48.320 --> 1:36:50.640 all these little closets that like people were working in 1:36:50.880 --> 1:36:53.759 and it was a good scene. A lot of creatives 1:36:54.000 --> 1:36:54.559 happened to them. 1:36:55.200 --> 1:36:58.799 Wait, I have signed questions to ask about certain songs 1:36:59.360 --> 1:37:02.400 get it together. Were you guys just in a circle 1:37:02.600 --> 1:37:06.400 just freestyling every four bars or like? Was that was 1:37:06.439 --> 1:37:09.120 that a written song? Because at some point it just 1:37:09.160 --> 1:37:10.320 sounds like y'all freestyling. 1:37:11.280 --> 1:37:15.800 Yes. So Mike and Mario made that track and Q 1:37:16.000 --> 1:37:18.160 Tip was visiting the studio and he was hanging out. 1:37:18.200 --> 1:37:20.439 We're like, do you want to get you know, do 1:37:20.520 --> 1:37:23.200 you want to do a song with us? And he 1:37:23.320 --> 1:37:25.000 was like yeah, and he was like, give me a mic. 1:37:25.120 --> 1:37:26.240 I think it was I don't know if he was 1:37:26.280 --> 1:37:27.920 serious and I was something of that, and we're like, oh, 1:37:27.960 --> 1:37:29.240 we on a track, you know, blah blah blah. So 1:37:29.320 --> 1:37:32.320 he just freestyled for like a bunch and so we 1:37:32.720 --> 1:37:36.320 somehow edited just the parts that of his and we 1:37:36.439 --> 1:37:40.080 weaved our way in through him. So somewhere there's a 1:37:40.120 --> 1:37:41.920 bunch of stuff that he said that we didn't use. 1:37:42.080 --> 1:37:47.040 Oh just random stuff and then yeah, ah so smart, Okay, 1:37:47.360 --> 1:37:50.599 that makes sense now. And the biz at that time 1:37:50.800 --> 1:37:52.880 was give me a good bit story man. 1:37:53.320 --> 1:37:56.720 First time it he came this the studio, he came in, 1:37:56.840 --> 1:37:58.880 it was nighttime. The area where our studio was at 1:37:58.960 --> 1:38:02.280 was nothing. It was like there were there were houses 1:38:02.360 --> 1:38:03.960 in this one area, but the rest was this big 1:38:04.040 --> 1:38:08.800 street and everything was closed. It was deserted except for 1:38:08.880 --> 1:38:12.120 a liquor store like kind of over there. And his 1:38:12.240 --> 1:38:15.640 first thing he said, was there a candy store. We're like, 1:38:15.680 --> 1:38:18.120 what's that? And he's like a candy store? Is there 1:38:18.120 --> 1:38:20.960 a candy store? And we're like, is this guy on 1:38:21.280 --> 1:38:21.960 fucking Heroin? 1:38:22.080 --> 1:38:22.479 Like why is he? 1:38:22.840 --> 1:38:26.280 Like why does he need an indy? It's like eleven 1:38:26.360 --> 1:38:28.840 at night or whatever it was. And so we went 1:38:28.840 --> 1:38:30.400 to the liquor store and he bought like a bag 1:38:30.560 --> 1:38:34.519 of fucking candy and then just was like every time 1:38:34.600 --> 1:38:38.479 we hung out with him was amazing, every every time, 1:38:38.960 --> 1:38:41.479 And all he wanted to do was sing weird songs 1:38:41.560 --> 1:38:44.880 from the seventies, and we'd have our instruments and he'd 1:38:44.920 --> 1:38:47.559 be like, do you know how to play Yesterday by 1:38:47.560 --> 1:38:50.560 the Beatles. He's like, you know Yesterday and we're like what, 1:38:51.000 --> 1:38:52.920 and he's like Yesterday by the Beatles. We're like, yeah, 1:38:52.920 --> 1:38:54.439 we know that song, and he's like, do you know 1:38:54.439 --> 1:38:56.400 how to play it? I'm like, I don't know how 1:38:56.400 --> 1:39:00.560 to just play Yesterday or top of my head and 1:39:00.640 --> 1:39:04.479 he would just start singing it. It just We've got 1:39:04.600 --> 1:39:07.559 a lot of tape of Biz just being. 1:39:07.439 --> 1:39:12.120 Biz bugging out. Yeah yeah. Biz is probably the second 1:39:12.160 --> 1:39:20.639 person to whom my pop culture boarding addiction. He started 1:39:20.680 --> 1:39:21.200 that shit like. 1:39:21.680 --> 1:39:23.640 Yeah, an old friend of mine. God, I'm a rock 1:39:23.680 --> 1:39:26.280 and socking robots, like still in a box and he's 1:39:26.320 --> 1:39:33.599 still mad that Biz never paid him for it. Biz 1:39:33.640 --> 1:39:38.720 also stole my Funkadelic Rennium my album really well. He 1:39:38.880 --> 1:39:39.599 never gave it back. 1:39:39.760 --> 1:39:40.519 Never gave it back. 1:39:40.720 --> 1:39:43.360 Okay, didn't steal it, he just kept it. 1:39:44.040 --> 1:39:47.080 This is something I gotta know the long term, and 1:39:47.280 --> 1:39:49.759 I won't give it away again. I insist that you guys, 1:39:49.880 --> 1:39:53.160 like it's hard doing this interview because the questions I 1:39:53.200 --> 1:39:55.519 want to ask I think are better told in the 1:39:55.600 --> 1:40:02.519 Beastie Boys book. But the long, long term prank that 1:40:03.439 --> 1:40:07.560 Yaouk played on you, oh yeah, with the ring do 1:40:07.680 --> 1:40:11.640 you still have that ring. No, no, no Ah, you 1:40:11.680 --> 1:40:12.360 don't have that ring. 1:40:13.479 --> 1:40:15.839 I mean it might be in a storage locker of yox. 1:40:15.960 --> 1:40:19.040 I threw it in a fountain in a hot outside 1:40:19.040 --> 1:40:23.000 of a hotel in South Paolo or somewhere in South America. 1:40:26.560 --> 1:40:31.000 All right, short version, guys is basically some random stranger 1:40:31.120 --> 1:40:34.679 gives Adam a ring, and I guess. 1:40:35.120 --> 1:40:37.840 It's the early nineties, where in San Francisco doing a 1:40:37.920 --> 1:40:41.240 record signing for Check your Head right out at a 1:40:41.479 --> 1:40:44.439 tower records, and so there's you know, kids are lined up, 1:40:44.479 --> 1:40:46.680 we signed the records. Say hi, you know, nice to 1:40:46.720 --> 1:40:49.000 meet you, nice to meet you know, everybody's interesting. It's 1:40:49.040 --> 1:40:50.960 fun to say hi. And then this one kid comes 1:40:51.040 --> 1:40:56.680 up very very very long arms, like oddly aren't long arms? Right, 1:40:58.040 --> 1:41:00.280 There's something about him that's weird. Maybe the it's like 1:41:00.560 --> 1:41:04.680 a like extra amount of piercings or something. And he's like, 1:41:04.840 --> 1:41:06.880 can I give you my ring? No? No, no no. 1:41:07.280 --> 1:41:10.000 So I meet this kid that night after the show 1:41:10.400 --> 1:41:13.240 in San Francisco. That guy who I was like, whoa, 1:41:13.360 --> 1:41:18.640 that guy was weird is backstage talking to him. He's like, 1:41:19.080 --> 1:41:21.920 can I give you my ring? I'm like no, it's cool. 1:41:21.960 --> 1:41:23.479 I don't wear jewelry. And he's like, no, it's really 1:41:23.479 --> 1:41:25.880 important to me. And he was like cornering me and 1:41:25.920 --> 1:41:28.080 it was getting weird. Gives me this weird ring that 1:41:28.240 --> 1:41:30.599 was like like a hot topp of ring. It wasn't 1:41:30.720 --> 1:41:34.439 like a family crester. This is like some random thing, right, 1:41:35.560 --> 1:41:37.000 And so I took it and I put it in 1:41:37.040 --> 1:41:38.800 my bag. And then when I got home New York, 1:41:38.920 --> 1:41:41.560 like weeks later, I put it on my shelf in 1:41:41.640 --> 1:41:46.240 my apartment. And then we were on the train going 1:41:46.280 --> 1:41:48.960 to play show in Philly and I found the ring 1:41:49.040 --> 1:41:51.960 in my bag. So I was really scared. Didn't know 1:41:51.960 --> 1:41:53.400 what happened. I don't know how the ring got in 1:41:53.640 --> 1:41:55.280 from the thing to the thing. It's just some fucking 1:41:55.320 --> 1:41:57.879 weird thing about this fucking ring. Throw on an Amtrak 1:41:57.920 --> 1:42:01.320 and I tell everybody, like, this thing, this ring that 1:42:01.400 --> 1:42:04.559 I'm holding is is doing something weird to my life. 1:42:05.000 --> 1:42:06.760 I throw it down the end of the train. Then 1:42:06.800 --> 1:42:09.639 I go to the bar the you know, the food 1:42:09.800 --> 1:42:13.400 cart truck area, and I get a metro Liner sandwich 1:42:13.920 --> 1:42:17.719 and I come back blah blah blah blah blah. Fourteen 1:42:17.840 --> 1:42:22.280 years later, twelve years later, we're in South America, and 1:42:22.400 --> 1:42:24.800 I opened my backpack and the fucking ring is in 1:42:24.960 --> 1:42:30.360 my backpack. Yes, And I'm telling you, I was shaking, 1:42:30.600 --> 1:42:35.120 almost crying. I don't know. And I told everybody like 1:42:35.200 --> 1:42:38.280 the shit telling me about the ring. And the next 1:42:38.360 --> 1:42:40.880 day adam ucause like, look I put I held onto 1:42:40.920 --> 1:42:41.800 the ring this whole time. 1:42:41.880 --> 1:42:43.600 I went, Ah, I wish he would have told you 1:42:43.720 --> 1:42:46.000 that to a long gig shit. 1:42:47.520 --> 1:42:49.360 He went to the end of the train and got 1:42:49.400 --> 1:42:53.080 the ring and held onto it for years. And so 1:42:53.320 --> 1:42:57.120 that is the luck of my life. Is one of 1:42:57.240 --> 1:42:59.080 the two lucks of my life. Well you know, I 1:42:59.120 --> 1:43:01.880 guess we all have several, but one of the main 1:43:01.960 --> 1:43:03.639 lucks of my life so to have my best friends 1:43:03.680 --> 1:43:06.960 in my band so I got to do all of 1:43:07.040 --> 1:43:10.679 this stuff with out of the mike. How what would 1:43:10.720 --> 1:43:14.240 have happened if it wasn't for them? You know, literally 1:43:14.320 --> 1:43:16.519 my bandmate played a preak on me for twelve years. 1:43:17.880 --> 1:43:19.120 I love that story so much. 1:43:19.200 --> 1:43:21.840 Man, the best year. And I did want to say something. 1:43:21.920 --> 1:43:26.200 My best best friend since kindergarten, not into Johnny. You 1:43:26.600 --> 1:43:28.360 DJ her party every year, and I want to say 1:43:28.400 --> 1:43:30.200 thank you. If I haven't thanked you, say thank you. 1:43:30.280 --> 1:43:31.120 It means a lot to her. 1:43:31.920 --> 1:43:35.000 Not he's my heart man. That's wait. So that party's 1:43:35.000 --> 1:43:37.920 been going on since like eighty four, for a long time, 1:43:39.439 --> 1:43:44.679 long time. All right, so quick backstories. Basically, I found 1:43:44.720 --> 1:43:49.640 out through this party that the night before Thanksgiving is 1:43:49.840 --> 1:43:53.320 the biggest bar night in America. I thought it was 1:43:53.360 --> 1:43:56.160 New Year's Eve. It's not. That's the second biggest bar night, 1:43:56.960 --> 1:44:01.120 but the night before Thanksgiving is the biggest bar night 1:44:01.120 --> 1:44:05.479 in America. And when I moved to New York, I 1:44:05.479 --> 1:44:07.400 don't know invited me. I think at the time is 1:44:07.479 --> 1:44:10.680 like Rassida Jones. Somebody invited me to this party and 1:44:11.439 --> 1:44:13.200 it was a private party in a bar and it 1:44:13.280 --> 1:44:17.200 was just actors, and you know, it felt like a 1:44:17.280 --> 1:44:19.160 hole in the wall thing, but it just happened to 1:44:19.240 --> 1:44:22.360 be like, oh, the cast of The Good Wife and 1:44:22.560 --> 1:44:26.920 the cast of Long Orders for you people from Saturday 1:44:26.960 --> 1:44:29.200 Night Live. And you know, like if you were a 1:44:29.320 --> 1:44:33.080 New York actor, a New York kind of legend, then 1:44:33.400 --> 1:44:35.800 you're at this party. And I think at the time 1:44:36.880 --> 1:44:40.679 Mark Ronson had started dejaying it. So you started first, 1:44:41.360 --> 1:44:46.919 and then Ronston was next, and then I started spending 1:44:47.920 --> 1:44:51.160 I think like twenty ten and what's really weird is that. 1:44:52.439 --> 1:44:55.800 I mean, we used to go hard, like I would 1:44:55.960 --> 1:44:58.600 end and it's like six seven in the morning, like 1:44:58.840 --> 1:45:05.800 that hard. And man, Thanksgiving was last week and I 1:45:05.880 --> 1:45:08.920 did the party and I'm going all in, and you know, 1:45:09.080 --> 1:45:12.519 it's just like you got topped last year and everyone's dancing, 1:45:13.040 --> 1:45:15.840 and I'm thinking, like, yeah, man, I'm all right. I 1:45:15.960 --> 1:45:19.040 made my mark. And I look at my I look 1:45:19.040 --> 1:45:21.800 at the clock and I'm like, it's got to be 1:45:22.120 --> 1:45:25.439 two thirty in the morning. And I look and it's 1:45:25.560 --> 1:45:26.760 like eleven nine. 1:45:27.920 --> 1:45:28.519 Perfect time. 1:45:28.960 --> 1:45:34.960 I blew my I blew my shot, and party wound 1:45:35.080 --> 1:45:38.600 up ending at like one fifteen, which I consider a 1:45:38.760 --> 1:45:41.639 major defeat, being as though we used to go till 1:45:41.800 --> 1:45:45.519 six in the morning. But now that's where we are 1:45:45.560 --> 1:45:48.519 in life. Napping early. You're not even a parent. 1:45:48.760 --> 1:45:49.720 It's a whole other shit show. 1:45:49.800 --> 1:45:49.880 Man. 1:45:49.920 --> 1:45:51.080 You don't even have to be up at six in 1:45:51.080 --> 1:45:51.479 the morning. 1:45:52.080 --> 1:45:53.799 I do, dude. I had to do the parade. 1:45:54.320 --> 1:45:59.920 That's well, that's once one day. What you're gonna ask 1:46:00.160 --> 1:46:01.600 I was gonna ask, Adam, you have a kid, what 1:46:01.720 --> 1:46:04.880 is parenthood like when you're the you know, when you're 1:46:04.920 --> 1:46:07.479 in a beastie boy, But what is that relationship like 1:46:07.520 --> 1:46:08.639 with your kid and I don't you relate. 1:46:09.080 --> 1:46:12.120 Well, it's different because he never saw his play, right 1:46:13.080 --> 1:46:16.519 because he's eleven, it's been a while. He doesn't care, 1:46:17.000 --> 1:46:20.320 you know, natural could really doesn't care. He likes kathleic 1:46:20.400 --> 1:46:23.960 he likes my wife's music way better. He's seen her play. 1:46:24.560 --> 1:46:29.160 I get it. It's okay. I'm not hurt. I'm not hurt. 1:46:29.200 --> 1:46:29.920 I'm just angry. 1:46:30.600 --> 1:46:34.639 Yeah, but does he at least understand that you have history? Yeah? 1:46:34.720 --> 1:46:37.360 Yeah, because the weird dad's at school, you. 1:46:37.400 --> 1:46:39.840 Know, or like at the let your dad's Okay, I 1:46:39.920 --> 1:46:40.360 get it now. 1:46:40.800 --> 1:46:43.400 Yeah, So that's it's awkward and he doesn't like it. 1:46:44.120 --> 1:46:46.760 He doesn't like it, but whatever, maybe when he gets 1:46:46.800 --> 1:46:50.519 to high school or when he understands it, like, you know, 1:46:51.479 --> 1:46:54.519 because he doesn't like that his parents are famous. And 1:46:55.439 --> 1:46:57.240 when he gets a little older and understands it like 1:46:57.280 --> 1:46:59.479 he has a swimming pool, like maybe being it's not. 1:46:59.560 --> 1:47:11.080 That bad, then they get it. Leading to Kathleen. First 1:47:11.120 --> 1:47:13.640 of all, I loved their book immensely, and especially with 1:47:14.360 --> 1:47:17.800 the story of how you two met and the pull 1:47:17.880 --> 1:47:20.840 out poster and all those things. But yeah, I was 1:47:20.880 --> 1:47:25.000 about to say, coming from two people that are sort 1:47:25.000 --> 1:47:30.360 of call figures in their respective areas like that, how 1:47:30.439 --> 1:47:33.960 do you make it work? I know that's a general question, 1:47:34.080 --> 1:47:37.519 but I think I'm more or less asking for advice because, 1:47:44.000 --> 1:47:46.880 you know, as a person with a career and a 1:47:46.960 --> 1:47:49.240 personal struggling to keep a girlfriend. 1:47:49.760 --> 1:47:53.840 Like I mean, I don't know, I don't know. I 1:47:53.960 --> 1:47:57.040 think things worked out differently because you know, we have this, 1:47:57.320 --> 1:48:01.360 We have our son, Julius. You know, my my band 1:48:01.439 --> 1:48:04.160 stopped being a band, you know, right before he was born. 1:48:05.000 --> 1:48:08.040 And so I just I love I don't need to, 1:48:08.080 --> 1:48:10.280 you know, And Cathleen tours a lot, so we're used 1:48:10.320 --> 1:48:12.360 to that because we used to tour. First whole part 1:48:12.400 --> 1:48:15.080 of our you know, relationship with us touring. You know, 1:48:15.240 --> 1:48:17.800 she'd be on here, I'd be there all over the 1:48:17.960 --> 1:48:20.840 you know whatever. But I really like being home. 1:48:22.200 --> 1:48:25.439 So are you still in the tender moments when Bridget 1:48:25.520 --> 1:48:26.280 goes out in the road. 1:48:27.000 --> 1:48:29.600 Oh, I left the tender moments. Bridget evert in the 1:48:29.640 --> 1:48:34.080 tender moments. I left when we moved left, I left. 1:48:34.120 --> 1:48:36.320 I was a bass player for my friend Bridget's band, 1:48:37.360 --> 1:48:40.200 and and the first gig of the new bass player, 1:48:40.280 --> 1:48:42.679 my friend Andre was like, oh man, that new bass player. 1:48:43.880 --> 1:48:47.080 He's doing all these walks and runs and he's so good. 1:48:47.560 --> 1:48:56.599 I just finished the SNL fifty documentary, and a big 1:48:56.680 --> 1:49:00.280 part of that is the Elvis Past Boys hookups. Wait, 1:49:00.479 --> 1:49:02.679 what's the infatus of the idea of you guys doing 1:49:03.439 --> 1:49:04.439 radio radio together? 1:49:05.439 --> 1:49:08.559 You know, I don't know. I feel like Kathleen said 1:49:08.560 --> 1:49:12.040 that it was her idea, so I want to say 1:49:12.080 --> 1:49:13.759 that it was my idea, but I'm not one hundred 1:49:13.760 --> 1:49:15.120 percent sure I know that. 1:49:15.400 --> 1:49:17.320 How long did it take you to learn those keyboard parts? 1:49:17.960 --> 1:49:20.000 My friend Michael Rohattan taught me how to play is 1:49:20.040 --> 1:49:23.000 my far fisa. I played keyboards and everything, but I 1:49:23.040 --> 1:49:25.360 don't actually know how. I never I never learned, so 1:49:25.640 --> 1:49:27.880 I don't really know what I'm doing. So he showed 1:49:27.880 --> 1:49:28.679 me a couple of chords. 1:49:29.400 --> 1:49:31.040 I was really impressed when you ran back there. I 1:49:31.080 --> 1:49:33.960 was just like, yo, I don't really knows this shit. 1:49:34.360 --> 1:49:37.439 I recorded records with that far fisa back in bec Boys. 1:49:37.439 --> 1:49:40.760 But anyway, I grew up listening to Elvis Costello. It 1:49:40.880 --> 1:49:43.200 was like one of my He's in my top ten, 1:49:43.280 --> 1:49:46.920 if not top five, okay, as his with my my 1:49:47.160 --> 1:49:51.200 older brother and sister, and so you know, Elvis is 1:49:51.200 --> 1:49:53.240 a big deal and that performance that he did was 1:49:53.280 --> 1:49:55.840 a big deal to us. Sound Live was a big 1:49:55.920 --> 1:49:59.920 deal to us. And so I don't know. I feel 1:50:00.280 --> 1:50:03.240 Kathleen is claiming that it was her idea, but it 1:50:03.240 --> 1:50:05.280 could have been my sister Rachel. I don't I don't remember, 1:50:05.960 --> 1:50:08.920 but got it fantastic. It was one of those things 1:50:08.920 --> 1:50:12.080 where like I didn't want to meet Elvis because you know, 1:50:12.360 --> 1:50:14.840 you don't want to meet people that are here of 1:50:15.000 --> 1:50:19.439 that statue to you, and uh, but we did. 1:50:19.479 --> 1:50:22.439 It was really Elvis lives up to it. So Steve 1:50:23.600 --> 1:50:26.599 one of his lifelong dreams was to produce an Elvis record. 1:50:26.720 --> 1:50:29.640 And so I really you're saying, Steve naive, okay, Steve. 1:50:30.000 --> 1:50:35.839 No, No, Steve. Steve has been a long time Electric 1:50:35.960 --> 1:50:40.559 Lady engineer. So back when I was starting my tenure there, 1:50:40.800 --> 1:50:43.320 like in the late nineties with you know, the D'Angelo 1:50:43.760 --> 1:50:46.439 record and the Common all the albums I worked on 1:50:46.680 --> 1:50:47.839 for that period of time. 1:50:49.360 --> 1:50:50.679 Was recorded an Electric Lady Land. 1:50:51.280 --> 1:50:55.479 Yeah, d'angelo's Voodoo comments like Water for Chocolate and Electric Circus. 1:50:55.640 --> 1:50:59.360 And it was at a real low point in the 1:50:59.560 --> 1:51:03.360 in the eighties when we were there, Nah, man. 1:51:03.320 --> 1:51:06.479 I mean anything that's going through has been legendary and so. 1:51:07.720 --> 1:51:10.040 But Steve's dream was to produce an Elvis record, and 1:51:10.240 --> 1:51:13.680 you know, not only that, but you really started in 1:51:13.680 --> 1:51:15.240 authentic friendship with him. 1:51:15.400 --> 1:51:18.920 So yeah, that's not even true though I couldn't dream 1:51:19.000 --> 1:51:22.000 that big to produce it was. My dream was to 1:51:22.040 --> 1:51:26.120 meet him, have a monograph, a record. That was my dream. 1:51:26.200 --> 1:51:28.960 But yeah, thanks to quest to turn into something much larger. 1:51:29.160 --> 1:51:32.519 Well yeah, I mean you know, like obviously you wanted 1:51:32.600 --> 1:51:36.599 to do something with him creatively, so so yeah, basically 1:51:36.640 --> 1:51:38.760 saying Elvis is one of the rare cases in which 1:51:38.880 --> 1:51:43.280 meeting your heroes can actually result into to something. 1:51:43.360 --> 1:51:45.800 Dope, you actually did it and it's done, it's been out. 1:51:46.720 --> 1:51:48.400 Yeah, it's called Wise Up Ghosts. He came out what 1:51:48.960 --> 1:51:53.559 twenty thirteen, Yeah, twenty thirteen. Yeah, yeah, yeah, it's really 1:51:53.680 --> 1:51:59.280 it's a quality album and I enjoyed immensely making it. 1:52:00.080 --> 1:52:01.719 The one thing I didn't get to ask you before 1:52:01.800 --> 1:52:06.160 we pull is, at one point you had a budding 1:52:06.320 --> 1:52:07.040 acting career. 1:52:07.880 --> 1:52:11.599 Why didn't you pursue Let you talk about myself because 1:52:11.640 --> 1:52:14.600 I want a Best Actor award at the Turks and 1:52:14.680 --> 1:52:19.880 Kekos Film Festival. It was and KOs, but it was somewhere. 1:52:21.600 --> 1:52:21.960 What was this? 1:52:22.680 --> 1:52:24.720 And I have a statue. They send it to me. 1:52:24.840 --> 1:52:26.479 They said, if you're here, we would love to have 1:52:26.600 --> 1:52:30.600 you at the film festival if you have it to 1:52:30.640 --> 1:52:36.720 be and cake, I didn't have the plans, but you know, so, yeah, 1:52:36.800 --> 1:52:39.240 Illustrious is a word that's been thrown out a lot 1:52:39.520 --> 1:52:40.519 about my acting career. 1:52:41.479 --> 1:52:45.000 What does creativity mean to you now in terms of 1:52:46.520 --> 1:52:49.960 all I mean, you know you've achieved a lot. Are 1:52:50.000 --> 1:52:51.600 you insatiable? Are you fine with it? 1:52:52.040 --> 1:52:52.080 Is? 1:52:52.680 --> 1:52:56.880 Just day at a time, your thing? Do you make? Beats? Sometimes? 1:52:56.960 --> 1:52:57.720 Like what do you do? 1:52:58.600 --> 1:53:01.320 I have in the past little while. But this is 1:53:01.360 --> 1:53:03.559 why I got this cabin, my little studio. I came 1:53:03.640 --> 1:53:05.080 here every day and I made a piece of music 1:53:05.160 --> 1:53:06.720 every day, a different piece of music. So I got 1:53:06.720 --> 1:53:09.960 a lot of music. I don't just to have I 1:53:10.000 --> 1:53:15.560 don't know, but just to be is different from what 1:53:15.680 --> 1:53:17.920 it used to be. What it is to other people, 1:53:18.479 --> 1:53:21.240 what it means to me is different. I'm in a 1:53:21.320 --> 1:53:24.960 fortunate situation that people really like fight your right to party, 1:53:25.120 --> 1:53:28.840 and so I can afford to just be creative and 1:53:28.960 --> 1:53:32.360 not put things out, you know what I mean? And 1:53:33.080 --> 1:53:35.759 my house is paid for like I bought a house, 1:53:36.720 --> 1:53:39.120 you know, you know what I mean? And so creativity 1:53:39.200 --> 1:53:42.160 is different. If I had to hustle, I couldn't just 1:53:42.760 --> 1:53:45.439 come here and make just weird little music every day. 1:53:45.439 --> 1:53:47.760 I'd have to fucking work at it and really take 1:53:47.840 --> 1:53:50.720 seriously what creativity means, what it means to me, what 1:53:50.840 --> 1:53:53.760 it means to who I'm putting it out to. Will 1:53:53.800 --> 1:53:55.679 I be able to pay my rent with this fucking music? 1:53:56.120 --> 1:53:58.720 Do you know what I mean? And if not, I 1:53:58.800 --> 1:54:00.600 can just be creative whatever where I want, But I 1:54:00.720 --> 1:54:05.639 have to work a job. So creativity is is it's tricky. 1:54:06.280 --> 1:54:08.280 What's your music like these days? What kind of things 1:54:08.320 --> 1:54:09.320 are you creating? 1:54:10.160 --> 1:54:14.160 Depends on you know, the drive over whatever. If I 1:54:14.240 --> 1:54:16.200 hear something that'd be like, oh, should make classical music today, 1:54:16.600 --> 1:54:17.760 and then I don't know how to do that, so 1:54:17.840 --> 1:54:19.080 it comes out with something and I'd be like, oh, 1:54:19.080 --> 1:54:20.439 I should just put a eight a weight on it, 1:54:20.520 --> 1:54:24.439 So don't be way better, you know, like guitar music 1:54:24.560 --> 1:54:27.120 or whatever. I just you know, I have the modern era. 1:54:27.280 --> 1:54:32.440 You can have any instrument you want, so you know, timpanies. 1:54:32.400 --> 1:54:34.240 What have you got it? 1:54:34.720 --> 1:54:39.080 Experimenting, which is another thing about creativity if you can 1:54:39.120 --> 1:54:40.800 afford it, you can be experimental. 1:54:41.360 --> 1:54:44.200 That's that's what I aim to be. All Right, Before 1:54:44.320 --> 1:54:46.280 I close, can you give. 1:54:46.200 --> 1:54:50.960 Me a relationship advice? I really don't you know. 1:54:51.040 --> 1:54:52.560 I'm going I'm going another oute. 1:54:52.720 --> 1:54:55.200 I'm going another I love Kathleen. That's the only thing 1:54:55.240 --> 1:54:57.080 that I can Kathleen's amazing, so. 1:54:57.800 --> 1:55:00.320 I can accept that and I absolutely just stand why 1:55:00.400 --> 1:55:05.920 you love Kathleen. All right. So in closing, what three 1:55:06.040 --> 1:55:08.760 hip hop factoids of your life? Do do you think 1:55:08.840 --> 1:55:13.000 I not know of me personally? You had to have 1:55:13.080 --> 1:55:15.919 been there for an important recording of someone's song. 1:55:16.160 --> 1:55:17.720 Or like I already told you that I was in 1:55:17.800 --> 1:55:22.440 the background of it's Yes, I was there is a 1:55:22.520 --> 1:55:24.640 little thing I was there for, like a bunch of 1:55:24.720 --> 1:55:27.360 the stuff. Oh. Also, do you know this fact to it? 1:55:28.440 --> 1:55:30.520 My best friend Nadia the Johnny who your DJ. Do 1:55:30.560 --> 1:55:32.520 you know her brother was yes? Uh? 1:55:32.720 --> 1:55:36.760 Nadia is her? Her brother was part of the st 1:55:36.920 --> 1:55:41.000 fifties the Stimulated Dummies, Yes, with John Gamble. Uh. 1:55:41.600 --> 1:55:46.920 Dante Ross Dante, he's been a guest on your show. Yes. First, 1:55:48.000 --> 1:55:51.440 first you called Dante? You didn't you didn't call me? 1:55:51.640 --> 1:55:52.320 That's that's okay. 1:55:53.680 --> 1:55:54.720 I've been the best for last. 1:55:54.920 --> 1:55:56.600 You know how long it took to make this happen. 1:55:57.800 --> 1:56:00.000 You have my phone number? What are you talking about? 1:56:00.480 --> 1:56:02.600 I know, by the way. Yeah, I was about to 1:56:02.640 --> 1:56:07.640 say Adam is probably responsible. None of you two are 1:56:07.680 --> 1:56:12.080 in it. But you know I'm currently in various New 1:56:12.200 --> 1:56:17.360 York Times games groups. Oh, I'm in wordle groups various 1:56:17.400 --> 1:56:21.480 word but Adam's the og. We play one online scrabble 1:56:21.520 --> 1:56:24.720 game together. I'm not lying, though. I'm in eight word 1:56:24.840 --> 1:56:26.680 groups right now and I can't take it anymore. 1:56:27.360 --> 1:56:31.880 I'm for these things. Is it like group therapy? It is? 1:56:32.600 --> 1:56:34.920 Especially now, are you kidding? 1:56:35.240 --> 1:56:35.280 Like? 1:56:36.640 --> 1:56:40.560 This is what I can say. One of my wordle 1:56:40.600 --> 1:56:45.600 groups who also has a secret spelling bee unit that 1:56:45.680 --> 1:56:50.800 I'm not a part of. Okay, So, as of late, 1:56:50.960 --> 1:56:54.920 the Lonely Island guys have kind of been talking about 1:56:55.000 --> 1:56:58.880 their prowess at getting Queen Bee, which is the highest 1:56:58.960 --> 1:57:02.160 rating that you can get, and so there's almost like 1:57:02.280 --> 1:57:06.600 a Jets and Sharks, Bloods and Crips level of shit 1:57:06.720 --> 1:57:10.120 talking going on. Really, so I'm gonna have to do 1:57:10.240 --> 1:57:13.120 some Michael Jacksons and just dance between them and get 1:57:13.160 --> 1:57:13.760 them to stop. 1:57:14.240 --> 1:57:14.280 No. 1:57:14.480 --> 1:57:18.920 Seriously, like game groups are now that's the new game night, 1:57:19.000 --> 1:57:21.360 even though I do have regular ass game nights, like 1:57:22.320 --> 1:57:23.880 where are you currently playing right now? 1:57:24.840 --> 1:57:27.960 Oh, I'm in a cross for puzzle I do every day. 1:57:28.000 --> 1:57:31.560 I do the month Archive times Monday, New York Times 1:57:31.600 --> 1:57:32.440 cross for a puzzle? 1:57:33.000 --> 1:57:36.320 Why Monday as opposed to the Sunday? 1:57:36.440 --> 1:57:38.520 Or I got sick and spelling Bee? 1:57:39.520 --> 1:57:40.360 Do you do connections? 1:57:43.120 --> 1:57:45.280 I get a lot of way too much spelling be. 1:57:45.440 --> 1:57:47.280 It's a lot of study. By the way, is Queen 1:57:47.360 --> 1:57:48.920 Bee like you get all the words? 1:57:49.160 --> 1:57:51.120 Yes, you have to get every last word right. 1:57:51.480 --> 1:57:53.240 That's that's insanity level. 1:57:53.360 --> 1:57:54.360 I can't do that. Ship. 1:57:54.720 --> 1:57:59.080 I've written to the person that does the thing because 1:58:00.080 --> 1:58:04.640 Tom tom is there's a lot of words that are 1:58:04.800 --> 1:58:06.920 like that, and there's other food things that are like that. 1:58:07.480 --> 1:58:12.400 We're like soake, the wine counts, but like some other 1:58:12.520 --> 1:58:13.360 thing doesn't count. 1:58:14.040 --> 1:58:18.200 Yeah. Whenever I complained to my plug at the times, 1:58:18.280 --> 1:58:22.120 they tell me that it's the machine generator and is 1:58:22.200 --> 1:58:23.000 not what we could do about that. 1:58:23.280 --> 1:58:25.040 But I love that you write to them. 1:58:25.200 --> 1:58:30.160 That's fantastic. Yeah, I know, not all I'm not. Like. 1:58:30.280 --> 1:58:33.200 One of the biggest hours of my life was during 1:58:33.280 --> 1:58:36.720 the time one hundred I got to write the word 1:58:37.120 --> 1:58:40.240 creator's entry for the time one hundred and I used 1:58:41.120 --> 1:58:44.160 only five letter words highlight of my life. You got 1:58:44.280 --> 1:58:46.880 to google it. I don't know by memory, but I 1:58:46.960 --> 1:58:50.320 wrote his entry in all five letter words and one 1:58:50.360 --> 1:58:53.520 of them no plural plurals. 1:58:53.640 --> 1:58:58.920 Oh okay, party, yeah no, No. 1:58:59.080 --> 1:59:03.400 For Adam, you're our a legend. That's all I can 1:59:03.440 --> 1:59:08.520 statement without making you feel uncomfortable. Your generosity and your 1:59:08.560 --> 1:59:12.960 creativity and your band literally did a lot for me 1:59:13.760 --> 1:59:17.160 just as a creative and also helped me a lot 1:59:17.280 --> 1:59:22.320 in my career. I mean, I'm not even exaggerating how 1:59:22.400 --> 1:59:24.960 much that has helped me and still has me here 1:59:25.760 --> 1:59:28.400 to this day with a career and my own house. 1:59:28.640 --> 1:59:32.040 So I thank you for that, and I appreciate it 1:59:32.080 --> 1:59:35.440 because you guys didn't have to bring us under the 1:59:35.480 --> 1:59:38.280 wing and all that stuff, but I appreciate that, man, 1:59:38.360 --> 1:59:40.520 and thank you for doing this episode. 1:59:40.600 --> 1:59:42.480 Finally, welcome, thanks for having me. 1:59:43.040 --> 1:59:46.040 Thank you all right on behalf of Adam Horwitz and 1:59:46.200 --> 1:59:49.680 Sugar Steve and Unpaid Bill. This is Quest Love Supreme. 1:59:49.720 --> 1:59:53.240 Y'all see you next go around. Thank you, Thank you 1:59:53.360 --> 1:59:56.960 for listening to Quest Love Supreme hosted by I'm here, 1:59:56.960 --> 2:00:01.720 a Quest, Love, Thompson, Are You Saying? Claire Sugar, Steve Mandel, 2:00:02.360 --> 2:00:07.880 and unpaid Bill Sherman. The executive producers are Amir Quest, Love, Thompson, 2:00:08.840 --> 2:00:15.840 Sean Che and Brian Calhoun. Produced by Britney, Benjamin Cousin, 2:00:15.960 --> 2:00:22.640 Jake Payne, Eliah Saint Clair, edited by Alex Convoy. Produced 2:00:22.720 --> 2:00:26.840 by iHeart by Noel Brown West. Love Supreme is a 2:00:26.880 --> 2:00:34.360 production of iHeart Radio. For more podcasts from iHeart Radio, 2:00:34.520 --> 2:00:38.240 visit the iHeartRadio app, Apple Podcasts, or wherever you listen 2:00:38.280 --> 2:00:39.160 to your favorite shows.