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Speaker 1: Questloft Supreme is a production of iHeartRadio. All Right, ladies

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Speaker 1: and gentlemen, as promised, welcome back to Quest Loft Supreme.

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Speaker 1: To our second part of our conversation with the prolific

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Speaker 1: Masterful Rizza aka Prince Raqem, the Abbot, Bobby Digital, Bobby Steeles,

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Speaker 1: the Scientist, Prince de Light, Prince Dynamite was exact exact. Allah,

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Speaker 1: what's up brother?

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Speaker 2: How you doing?

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Speaker 3: Says simple lessings, Thanks for inviting me back.

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Speaker 1: I have to tell you that, you know, when they

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Speaker 1: initially told me that you were coming out to do

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Speaker 1: the back Mud project, just based on the title alone,

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Speaker 1: I didn't know what to expect. And for those who

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Speaker 1: don't know it's out now. I mean this is as

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Speaker 1: straight ahead as classical music as I've heard it. I

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Speaker 1: knew it his classical music, but I thought it would

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Speaker 1: be rizified, but he kind of went straight ahead with it.

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Speaker 1: Can you give me the basic genesis of how this

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Speaker 1: project came to be?

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Speaker 2: I mean yeah, I mean it started from finding one

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Speaker 2: of my old lyrical notebooks during the pandemic, like a

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Speaker 2: notebook to have my lyrics from the age of like

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Speaker 2: fourteen to nineteen, and in that book is like all

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Speaker 2: types of stories and ideas of being younger, first time, smoking, drinking, sex,

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Speaker 2: et cetera. And certain lyrics in there. You know, back

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Speaker 2: in those days there's writing three page lyrics, so certain

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Speaker 2: lyrics had these long stories and these ideas, and I

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Speaker 2: was like, I should record these lyrics and write music

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Speaker 2: to it. You know, I'm busy doing my TV show,

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Speaker 2: I'm doing post and that, so my brain is in

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Speaker 2: composer mode. And I said, I want to actually try

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Speaker 2: to write an opera or something with these lyrics. And

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Speaker 2: as I started doing it, first of all, somebody corrected me.

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Speaker 2: It was a guy named Evanberg. It was like, operas

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Speaker 2: are usually an Italian wizzard, so I think you're gonna

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Speaker 2: be able to do that. So okay, cool, he said,

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Speaker 2: but you know ballet or sweet so like the Nutcracker

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Speaker 2: or Peter and the Wolf, that type of thing. And

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Speaker 2: so I said, okay, let me take that approach, and

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Speaker 2: then I did. But when I started writing the music

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Speaker 2: or playing music and composing it, it all started to

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Speaker 2: not need lyrics. It started to not be something that

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Speaker 2: would just be a continuation of what I'm known for,

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Speaker 2: that to show an evolution of of of my creative

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Speaker 2: mind and yet still to me have the story and

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Speaker 2: the spirit of what I was trying to say in

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Speaker 2: the music. You know what I mean. She said something

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Speaker 2: that you're a scientist or history and all that. But

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Speaker 2: I'm gonna correct you on one thing you said. It

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Speaker 2: wasn't rizzified. But if you actually take a listen right,

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Speaker 2: and you will hear the staccatoists of Triumph burn a

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Speaker 2: lotus arriving you're here, like the Bobby Digital like on

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Speaker 2: the song the type of track about it do much

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Speaker 2: is actually saying here he comes Bobby Digital. So it's

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Speaker 2: like the cats of Howard Ryan or the cats of

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Speaker 2: the vibe that I bring, like MCing shows up in

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Speaker 2: some of the melody lines and then the keys of

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Speaker 2: which a lot of my tracks come out in, right,

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Speaker 2: you know, or the sample heroes like you know Marcone

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Speaker 2: a hero. You know, it's one of my heroes. Quincy

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Speaker 2: Jones of course, rest in peace, Isaac Hayes, like a

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Speaker 2: lot of my heroes, and how they would do something,

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Speaker 2: you know, they did it with soul and with rhythm

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Speaker 2: right music right. I removed all all the rhythm, all

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Speaker 2: the percussion, all the lyricism, and then left that as

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Speaker 2: the ballet.

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Speaker 1: So well when I'm at Riz, like for me your

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Speaker 1: relationship would this chords sort of classing I mean some

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Speaker 1: like knowledge God, which to me, it's the type of

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Speaker 1: composition that I guess the term is uh with synesthesia,

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Speaker 1: like where you could see, like you can visualize, you

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Speaker 1: can see the notes you paint such these pictures with

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Speaker 1: dissonance minimalism. That that's what I thought. We're based on

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Speaker 1: the title the Ballet through Mud. But this isn't the

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Speaker 1: first time that you've done kind of full circle, fully

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Speaker 1: realized thing like, if anything, I mean you're in full

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Speaker 1: renaissance move like be it, you know, directing your movies,

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Speaker 1: your various projects that you've done with other artists and whatnot.

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Speaker 1: If anything, I think you're probably the most prolific figure

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Speaker 1: that we have as far as someone actively putting creative

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Speaker 1: prints and almost in every creative medium. For you, though,

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Speaker 1: was the story that you wanted to convey with Bellion.

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Speaker 2: Well, one of the lyrics that it started with, right,

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Speaker 2: it's called Joe was a nerd, right and Uh in

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Speaker 2: that lyric, I could do a few bars of the lyric. Right.

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Speaker 2: I don't think I did it last time. I was here,

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Speaker 2: but you didn't know.

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Speaker 3: Okay, So Joe was a nerd, right, so part in

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Speaker 3: the cadence and part in the lack.

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Speaker 2: Of MC love.

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Speaker 1: Apologize.

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Speaker 3: It starts off like a Sue was this girl who

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Speaker 3: was really quite fly.

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Speaker 2: Brad was real cool when he was her guy. Lisa

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Speaker 2: was freaky, she loved to have sex. Her brother name

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Speaker 2: was Dexter, but they called him Decks. His sister name

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Speaker 2: was Monica, and she was a verge. Joe was just

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Speaker 2: their friend and he was a nerd. Brad bought the beer,

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Speaker 2: Shoe bought the smoke. Lisa had sheets Decks that had coke, but.

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Speaker 3: Joe was the type who didn't get high, nor did Monica.

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Speaker 3: She was willing to try, so Brad did a joint, passed.

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Speaker 2: It that Joe said, come on, man smoking and Joe said, no,

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Speaker 2: what's wrong? Are you scared? Was asked by Sue or

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Speaker 2: you was just a nerd? Joe said that's not true.

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Speaker 2: Monica said come on, just have a taste, and she

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Speaker 2: puffed on the joint due to smoke in his face.

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Speaker 2: Now on Monica, Joe had a crush. He didn't wanted

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Speaker 2: to smoke the weed, but felt that he must and

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Speaker 2: like many we know, love made him a fool, so

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Speaker 2: he pulled on the joint to prove he was cool.

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Speaker 2: At Lista was like, yo, forget about Joe. They said, yo, decks,

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Speaker 2: where the heck is the blow? He pulled out two grams,

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Speaker 2: said it's all that I bought, but it's more than

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Speaker 2: enough that they proceeded to snort. Now, at this time,

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Speaker 2: Joe had finished three beers and Brad was like, here,

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Speaker 2: have another, you queer, and Joe was like no, while

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Speaker 2: holding his stomach, and while face said Monica, he saiddenly vomit.

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Speaker 2: She sed, oh my god, shit, how observed, and every

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Speaker 2: want to laugh and said, Joe is a nerd. Joe

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Speaker 2: is a nerd. Joe was a nerd. Joe brought embarrassed,

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Speaker 2: so he did the bird. They chased him. He ran

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Speaker 2: inside of old shack, and then was this sound, the

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Speaker 2: crashing glass. It was dark inside, so Brad had to

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Speaker 2: get a light and they checked to see it. Jee's

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Speaker 2: all right. But when they found them, he had quarts

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Speaker 2: of red blud spitting from his head. And Monica said,

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Speaker 2: oh my god, Jorvia's dad and he all started to

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Speaker 2: run and never mentioned this incident again to anyone.

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Speaker 1: So so anyway, I'm amazed at anyone that's able to

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Speaker 1: sort of retain that amount of text in their heads.

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Speaker 1: You when did you write this year?

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Speaker 4: I probably was sixteen, So yeah, wow, man, Okay, so

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Speaker 4: you actually quoted a good friend of mine, Jazzy Jeff,

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Speaker 4: when Jeff once famously said a quote to like leave

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Speaker 4: nothing behind.

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Speaker 1: A lot of our hip hop generation we know that

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Speaker 1: like a figure like a Tupac leaves earth. But has

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Speaker 1: you know, so much product left over? Like Prince has

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Speaker 1: over five thousand songs in his arsenal. But for you,

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Speaker 1: you said that you subscribe to the theory that you know,

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Speaker 1: get it all out, leave nothing behind, like just on

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Speaker 1: a daily for now, assuming that you're not in the

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Speaker 1: fight or flight hustle mentality that you were back in

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Speaker 1: ninety two ninety three when you were putting the clan together,

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Speaker 1: you know, trying to shoot your shot. How is just

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Speaker 1: your daily creative muscles flowing at this stage.

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Speaker 3: It's like creativity is the energy it's to flow.

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Speaker 2: It's it's almost like we're breathing in a way right

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Speaker 2: in the sense of it's just seen you right, even

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Speaker 2: how we talk.

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Speaker 3: It's just it's a creative cadence or a flow to that.

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Speaker 2: So for me, you know, to say that, how do

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Speaker 2: I take that energy and put it into a structure

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Speaker 2: that's to say, right, mm hmm. Yeah. Daily, you know

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Speaker 2: I make I'm either making music or writing down, you know,

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Speaker 2: ideas for a film, or writing lyrics or or making beats.

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Speaker 2: It's like I never stopped treating. It's like I can't

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Speaker 2: stop treating. To be quite frank with you, like like

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Speaker 2: you know, like not to get too personal here, but

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Speaker 2: you know, my wife, she made a joke. So the

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Speaker 2: god from Supreme he rebuild it. One day I saw

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Speaker 2: him on Instagram and he was talking to He kind

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Speaker 2: of quoted me or something. But he came to my

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Speaker 2: crib and you know, you know, I was showing on

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Speaker 2: no Videl and showing in my crib. But I don't

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Speaker 2: know what was what got U say every room?

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Speaker 1: But we right up.

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Speaker 2: You know in the bedroom because of my bedroom, I

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Speaker 2: have beat machines. I gotta I got my bed and

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Speaker 2: I got my piano. You know what I mean to

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Speaker 2: my wife, you know she sleeps beside the piano. Just

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Speaker 2: say she called that, you know what I mean, She's

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Speaker 2: life right, So she went roll with me because that's

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Speaker 2: what she's with right, get it right? So what point

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Speaker 2: being made. I'm just saying that to say of how

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Speaker 2: much that creativity is around me and in me. So

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Speaker 2: talking of the Valley through Mud, a lot of it

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Speaker 2: was written right in front of my wife when I

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Speaker 2: found the book.

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Speaker 3: I can tell her, so she became my first audience.

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Speaker 2: Right then I'm playing something and she gonna be sitting

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Speaker 2: there watching, you know, you know, like I said, started

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Speaker 2: doing the pandemic, So she might be watching the news

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Speaker 2: and she's watching the news and me scoring or writing

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Speaker 2: something to this story I got and I'm scoring her world,

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Speaker 2: you know what I mean at the same time, You

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Speaker 2: know what I mean, I got it. The creativity is

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Speaker 2: like that for me and even for whether it's lyrics.

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Speaker 2: I got a phone full of lyrics, you know what

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Speaker 2: I mean that? And Jeff gave us some wisdom. He said,

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Speaker 2: try to die empty, but it's probably not possible. I

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Speaker 2: don't think it's possible for me because at the end

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Speaker 2: of the day, the book that I'm talking to you about,

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Speaker 2: it's four hundred lyrics in that one and I got

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Speaker 2: two of them. It's just like if I didn't say

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Speaker 2: Joe was a nerd. Nobody's going to hear Joe was

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Speaker 2: in nerd except for if he was hanging out with

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Speaker 2: me back in high school. Right. So that's just how

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Speaker 2: it is, right, But that's the art of growth, art

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Speaker 2: of creativity. It evolves right in all of us. And

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Speaker 2: at the level that at my level of creativity, it's

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Speaker 2: like I understand more about what I what inspired me. Right,

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Speaker 2: if you mentioned knowledge Guard, or if you mentioned anything

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Speaker 2: from the treatment from the Purple tape, right, it's almost

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Speaker 2: like even my experience then was more darker, more gritty,

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Speaker 2: more aggressive towards the world, you know what I mean?

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Speaker 2: And not saying that I couldn't get like that anytime.

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Speaker 2: And stuff on my feet, right, Like see, I might

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Speaker 2: Tyson slap Jake when he stepped on his feet, but

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Speaker 2: Jake shond have stepped on his toe in the.

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Speaker 1: Ring, right, But oh yeah, woke, come up.

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Speaker 2: Right, I'm just saying, give your stuff on his toe

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Speaker 2: and then deep right made is that you know that

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Speaker 2: energy you're always gonna exist. But we've been blessed to

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Speaker 2: put that in our back pocket and put in our

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Speaker 2: front pockets. We could wear our creativity, you know, wear

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Speaker 2: our cheet wear our positivity. And not to tip this

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Speaker 2: to you, but it's just like yo. You know, you

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Speaker 2: get get up there every United at at any moment,

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Speaker 2: you're gonna you may catch a wave, you know what

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Speaker 2: I mean. You know, thought might go into something. You

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Speaker 2: know what I mean? You might You know it ain't

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Speaker 2: that be hurt like that. It's just like yo, you might.

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Speaker 2: You may start going, you may go. You may bunk

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Speaker 2: bunk out the band and the dudes may come in

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Speaker 2: on the on the one may come in on the three.

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Speaker 2: You may whatever it seems, you can't. You can't get

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Speaker 2: rid of it.

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Speaker 1: You know what I mean?

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Speaker 2: And so I'm the same.

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Speaker 1: What are your current preferred weapons of choice when it

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Speaker 1: comes to beat making? Now?

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Speaker 2: I think once again, like all of us, all these

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Speaker 2: I got so many toys, it's ridiculous.

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Speaker 1: But but that in Sonic, don't call it.

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Speaker 2: They got two of those. I got one in my

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Speaker 2: office that uh with the floppy disks, Yeah, with the

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Speaker 2: floppy disc.

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Speaker 1: I got a dog. To this day, D'Angelo you you

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Speaker 1: must have said something to D'Angelo back in ninety five.

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Speaker 1: To this day, to this day, still uses that in Sonic.

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Speaker 1: And I don't know how he finds floppy discs and

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Speaker 1: scuzzies like for for for listeners out there, you know,

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Speaker 1: this is this is pre pre pre pre pre pre pre,

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Speaker 1: but pre gigabytes, you know what I mean. Like and

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Speaker 1: but to this day he still has his original nineteen

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Speaker 1: ninety five and sonic and and scuzzy and the floppy discs.

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Speaker 1: And he said that, like you said something to him

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Speaker 1: about that machine, and that's been his inspiration since then.

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Speaker 2: Like you know, it was a powerful machine and it

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Speaker 2: still has something you know, I think, Yeah, still got

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Speaker 2: a couple a lot of mathematics, you know, a lot

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Speaker 2: of thematics.

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Speaker 3: Actually did something really cool a few years ago.

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Speaker 2: We did an album for The Soccer Continues where he

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Speaker 2: had the musicians play and then he just ran everything

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Speaker 2: through the ASR and it shit sounded like it sounded adventage,

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Speaker 2: like you know what I mean. It wasn't totally totally

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Speaker 2: bunk bung, but it was over eighty percent closer to

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Speaker 2: what the invented sample would be. But it wasn't the sample.

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Speaker 2: It was just musicians playing through the ASR. So for

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Speaker 2: anybody out there who can't find the ASR, there's another

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Speaker 2: thing called the DP four which is Sonic made, which

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Speaker 2: has a lot of the effects of the ASR. So

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Speaker 2: the ASR had like fifty built in effects that you

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Speaker 2: can put your sample to do right Vanderpoles and and

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Speaker 2: it would have low pass filters and et cetera, et cetera.

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Speaker 2: But the DP four was the flagship effects model for it.

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Speaker 2: So if you can't find an ASR ten or or

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Speaker 2: EPs sixteen plus and you can find a DP four,

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Speaker 2: you can actually still get that ASR sound by running

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Speaker 2: your new equipment through that. So that's one of the

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Speaker 2: share that which the viewers my listenership. And then I'll say,

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Speaker 2: right now, for me, I think what MPC did, right,

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Speaker 2: I think MPC has for hip hop and for creativity

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Speaker 2: mastered the way uh the newer the PC the mp

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Speaker 2: But yeah, but it's a software and it's a hardware

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Speaker 2: all at once, you know what I mean. And so

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Speaker 2: that to me is my favorite piece right now because

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Speaker 2: at the end of the day I can put it

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Speaker 2: at the center of everything and then have the simple

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Speaker 2: no with of how to work with the MPC right,

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Speaker 2: and then run all my ship through it without even

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Speaker 2: looking at my pro toubs.

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Speaker 1: Speaking of leaving empty, what becomes of all the residual

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Speaker 1: riser beats that were not used between when you first

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Speaker 1: got your machine, and these even dates back to the

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Speaker 1: Prince of Queen days of ninety one. What becomes of

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Speaker 1: the volumes and volumes of just leftover beats and whatnot.

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Speaker 2: Well, for what people will consider, you know, my prime time,

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Speaker 2: it's not a lot. Because I had two floods, you

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Speaker 2: know what I mean.

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Speaker 1: That's my worst night, man.

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Speaker 2: Yeah, I had two of them.

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Speaker 3: Though, It's like, how'd you get two?

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Speaker 2: Right? And you said left on the floor, Yeah, because

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Speaker 2: I'll be thinking decent and the floppy disk being those

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Speaker 2: little cases eighty in the case, and you don't mind

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Speaker 2: you said it on the floor under the keyboard. I didn't.

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Speaker 2: I never expected that to be an issue until it was.

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Speaker 2: Until my just was floating, right, And then I build

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Speaker 2: my ship differently, and the water can't come from the bottom,

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Speaker 2: motherfucker comes from the top. But I laughed at it,

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Speaker 2: right because at the end of the day, I had

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Speaker 2: a flood right after thirty six chambers, right before we

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Speaker 2: get to that. Then I had a flood right after

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Speaker 2: Liquid Swords, you know what I mean. And then and

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Speaker 2: then I moved to another studio build that up and

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Speaker 2: had another water issue then, and that's to run it

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Speaker 2: all together.

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Speaker 3: Here go the funniest part.

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Speaker 2: And while we're filming the Wu Tang series and I'm

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Speaker 2: composing the music for it, and it's an episode that

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Speaker 2: Malluo van Peebles is directing, which is about the flood

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Speaker 2: it cost me that morning, and I'm talking about in

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Speaker 2: my Charlie house. Water is coming into my house. We

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Speaker 2: got the street line backed up and it's and I

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Speaker 2: told him, yo, gee, this ship is real.

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Speaker 1: Are you a water signed person or like I'm a cancer.

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Speaker 2: So I don't know what that means. I know it's

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Speaker 2: a moon, but I don't know if it's water mud.

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Speaker 2: But I will say that at the end of the

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Speaker 2: day though, it means sometimes you gotta be set. Noah

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00:18:06,720 --> 00:18:09,080
Speaker 2: had to get in that arc, you know what I mean,

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Speaker 2: had to close those doors and move.

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Speaker 1: So are your archives protected? Now?

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Speaker 2: No, not like that. I'm gonna say you didn't learn. No,

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Speaker 2: I'm gonna say no, I don't think you could protect

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Speaker 2: what's going to go. That's just my opinion. So I

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Speaker 2: might be too philosophical there. But at the end of

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Speaker 2: the day, you know you're gonna get it out what

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Speaker 2: you get out for the time. You have to get

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Speaker 2: to do what you do, and don't be shy to

333
00:18:36,240 --> 00:18:38,399
Speaker 2: get a lot of it out if you can, right.

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00:18:38,720 --> 00:18:41,040
Speaker 2: I remember Sky was something that ever could that on

335
00:18:41,119 --> 00:18:44,399
Speaker 2: that versus he was like, girl, drop that shit, you

336
00:18:44,520 --> 00:18:47,120
Speaker 2: know what I mean, So get out what you can.

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Speaker 2: But of course some of it, it just existed for

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Speaker 2: the moment. It's still in the universe. It's still there

339
00:18:56,000 --> 00:18:57,840
Speaker 2: even if you on even play that track one time,

340
00:18:57,920 --> 00:19:02,560
Speaker 2: it's still captured in that cube of time. But yeah,

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Speaker 2: my archivan, I've never been good at that, I said,

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Speaker 2: I will say I never really good at archiving.

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Speaker 1: I feel you living in the moment. Yeah, I always

344
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Speaker 1: wanted to know what your feelings were of your level

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Speaker 1: of soul kind of having two renaissance periods. One could

346
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Speaker 1: say that the quote unquote Chipmunk soul movement like two

347
00:19:29,600 --> 00:19:32,080
Speaker 1: thousand and two thousand and one to two. You know,

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Speaker 1: like basically I will say, when just blazing kind of

349
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Speaker 1: with with Justin and and with Kanye as well. But

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Speaker 1: also I definitely feel now, especially like post Griselda stuff

351
00:19:46,960 --> 00:19:51,520
Speaker 1: your old drug and you know, rock Manciano your old drug.

352
00:19:51,760 --> 00:19:55,280
Speaker 1: I mean just there's like almost a second wave of it.

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Speaker 1: How do you feel that have you ever got the itching?

354
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Speaker 1: And I know, like most creatives don't want to go back,

355
00:20:01,840 --> 00:20:04,160
Speaker 1: They want to push for it, and you're definitely pushing forward.

356
00:20:04,840 --> 00:20:06,560
Speaker 1: But is it a part of you that when you

357
00:20:06,800 --> 00:20:13,000
Speaker 1: hear your ideas still resonating twenty thirty forty years later,

358
00:20:13,640 --> 00:20:18,480
Speaker 1: does that give you the itching to reaching your stax

359
00:20:18,600 --> 00:20:22,040
Speaker 1: records politics, to come back in laces again.

360
00:20:22,880 --> 00:20:25,520
Speaker 2: I don't think so, to be quite honest, it's almost

361
00:20:25,680 --> 00:20:28,320
Speaker 2: like damn, okay, no, seriously, I don't think so.

362
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Speaker 3: It's more like for me, if something happens naturally right.

363
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Speaker 2: Then I'm just gonna do it. But but I won't

364
00:20:36,080 --> 00:20:40,639
Speaker 2: be like if everybody start going shell to Adidas, am

365
00:20:40,680 --> 00:20:43,159
Speaker 2: I gonna throw on those shelteres in that, you know

366
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Speaker 2: what I mean? One of my blessings in my flaws

367
00:20:48,160 --> 00:20:53,320
Speaker 2: is kind of you know, probably personality thing putty self

368
00:20:53,400 --> 00:20:57,520
Speaker 2: centered on me pretty sure that you know what I mean,

369
00:20:57,800 --> 00:21:00,760
Speaker 2: Like like I'm mean, you know, like you know what

370
00:21:00,800 --> 00:21:04,520
Speaker 2: I mean? Pretty pretty, you know, and and and and strive.

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00:21:05,840 --> 00:21:07,800
Speaker 2: It's hardly even say it because as I'm older, my

372
00:21:07,960 --> 00:21:10,080
Speaker 2: humbleness is here and my humility is here, and I said,

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Speaker 2: all praise is due to a law.

374
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Speaker 3: But I definitely came from that personality.

375
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Speaker 2: Just like you know what I mean, Like like dudes,

376
00:21:19,040 --> 00:21:22,160
Speaker 2: is you know, kind of my humility. But like me said,

377
00:21:22,359 --> 00:21:26,879
Speaker 2: you feel some certain way. It's almost like I'm Bruce Lee. Yo.

378
00:21:27,160 --> 00:21:31,320
Speaker 2: They doing what they doing, like yo, you know this. Look,

379
00:21:31,359 --> 00:21:32,560
Speaker 2: let me let me do a little ego in it.

380
00:21:32,960 --> 00:21:36,160
Speaker 2: They breaking boards and you gotta respect them. They trained

381
00:21:36,200 --> 00:21:40,000
Speaker 2: themselves to break a board. But I'm breaking bricks all right,

382
00:21:40,800 --> 00:21:43,280
Speaker 2: I'm breaking bricks. And so if you want me to

383
00:21:43,359 --> 00:21:46,200
Speaker 2: come back to the gym and break some bricks for you,

384
00:21:46,640 --> 00:21:47,800
Speaker 2: you know what I mean, I'll do that. But I

385
00:21:47,840 --> 00:21:50,359
Speaker 2: don't need to break bricks no more. Right, It's like

386
00:21:50,400 --> 00:21:52,040
Speaker 2: I don't need it for the external. I better now

387
00:21:52,160 --> 00:21:55,200
Speaker 2: be in the internal. So so if we go back

388
00:21:55,200 --> 00:21:59,400
Speaker 2: to the ballet, it's like yo, okay, do that kid, right,

389
00:22:00,520 --> 00:22:00,760
Speaker 2: get it?

390
00:22:00,920 --> 00:22:01,680
Speaker 1: And then you do that.

391
00:22:01,760 --> 00:22:05,080
Speaker 2: Okay, now you're doing that. Cool guess what. Okay you

392
00:22:05,160 --> 00:22:08,280
Speaker 2: did that. Now watch me do virtue OsO shit that

393
00:22:08,400 --> 00:22:10,000
Speaker 2: you can't do because now you got put it into

394
00:22:10,000 --> 00:22:14,240
Speaker 2: ten thousand dollars in So that part of me is

395
00:22:14,280 --> 00:22:15,720
Speaker 2: a is a thing so let me say though, but

396
00:22:15,920 --> 00:22:18,880
Speaker 2: it's a but it's flattering too, and it's complementary because

397
00:22:18,920 --> 00:22:21,080
Speaker 2: at the end of the day, and I said this

398
00:22:21,200 --> 00:22:23,520
Speaker 2: to Uh, I think I said it's to Kanye doing

399
00:22:23,840 --> 00:22:28,040
Speaker 2: twisted dark fantasy sessions. When I said WHU Tank Forever,

400
00:22:28,160 --> 00:22:32,040
Speaker 2: I wasn't just talking about us as the figures of it.

401
00:22:32,600 --> 00:22:34,439
Speaker 2: I was just talking about to be brought to the game. Yo.

402
00:22:35,200 --> 00:22:38,399
Speaker 2: That energy, man, that energy ain't going nowhere. Y'a somebody

403
00:22:38,480 --> 00:22:39,840
Speaker 2: gonna pick that up. I don't care if you pick

404
00:22:39,880 --> 00:22:41,840
Speaker 2: it up from old Dirty, you know what I mean.

405
00:22:41,920 --> 00:22:44,320
Speaker 2: My in my analogy, and this may sound crazy, but

406
00:22:44,560 --> 00:22:48,399
Speaker 2: in my analogy, you know, Dirty helps the South, you

407
00:22:48,440 --> 00:22:52,920
Speaker 2: know what I mean, Dirty helps another energy expound is

408
00:22:53,119 --> 00:22:58,680
Speaker 2: expand Dirty helps miss the Elliott right in my analogy. Right.

409
00:22:59,200 --> 00:23:01,480
Speaker 2: So it's just like, because I'm seeing him as I'm

410
00:23:01,480 --> 00:23:04,120
Speaker 2: seeing the one artist him as an example, I'm seeing

411
00:23:04,160 --> 00:23:05,880
Speaker 2: that artist able.

412
00:23:05,920 --> 00:23:09,000
Speaker 3: To inspire other artists, you know what I mean, to

413
00:23:09,560 --> 00:23:10,040
Speaker 3: make them.

414
00:23:10,640 --> 00:23:12,440
Speaker 2: Like Buster once said to me, he was like, Yo,

415
00:23:14,080 --> 00:23:17,080
Speaker 2: when he heard his album, they freed his brain, you

416
00:23:17,119 --> 00:23:19,600
Speaker 2: know what I mean. Freedom? So so you made somebody

417
00:23:19,640 --> 00:23:21,560
Speaker 2: may get that from meth. They may get it from

418
00:23:21,680 --> 00:23:24,080
Speaker 2: ray like briz alday they ripping.

419
00:23:24,160 --> 00:23:26,040
Speaker 3: I love Brizil. They put this shit on. You listen

420
00:23:26,080 --> 00:23:27,639
Speaker 3: to this ship for two hours and.

421
00:23:27,760 --> 00:23:30,639
Speaker 2: Still be and still be zoning in with another joint, right,

422
00:23:31,040 --> 00:23:34,240
Speaker 2: because the catalogue has grown like that. But yeah, but

423
00:23:34,359 --> 00:23:37,480
Speaker 2: do I hear ghosts driven here when it may be

424
00:23:37,560 --> 00:23:40,920
Speaker 2: an unknown MC like is lord indictus of their m

425
00:23:41,000 --> 00:23:43,879
Speaker 2: C who took and who it might whether he did

426
00:23:43,960 --> 00:23:47,800
Speaker 2: it consciously or subconsciously, is able to see that she

427
00:23:48,800 --> 00:23:51,119
Speaker 2: be inspired and then put it back out in a

428
00:23:51,160 --> 00:23:53,920
Speaker 2: different way. And I just and with this. So they say,

429
00:23:53,960 --> 00:23:56,920
Speaker 2: brush Lee is the father of m M A. You

430
00:23:56,960 --> 00:23:57,439
Speaker 2: know what I mean?

431
00:23:57,960 --> 00:24:03,679
Speaker 3: He makes G Condo, Right, So G Condos took boxing, fencing, judo,

432
00:24:04,119 --> 00:24:07,760
Speaker 3: ju jitsu, wing, chun cho, a young fat you.

433
00:24:07,760 --> 00:24:09,800
Speaker 2: Know what I mean? Hung god, you know what I mean?

434
00:24:09,840 --> 00:24:12,320
Speaker 2: He put all that, you know what I'm saying into

435
00:24:12,440 --> 00:24:17,600
Speaker 2: one thing, studying Muhammad Ali and studying Japanese kimbo. Right.

436
00:24:18,000 --> 00:24:19,840
Speaker 2: So point being made is that he's one of the

437
00:24:19,920 --> 00:24:22,840
Speaker 2: first ones that pioneered at But as time goes on,

438
00:24:23,880 --> 00:24:26,119
Speaker 2: maybe somebody else will say, oh, that's the man, like

439
00:24:26,160 --> 00:24:28,000
Speaker 2: the ain't a whiteson man, you know what I mean?

440
00:24:28,119 --> 00:24:30,680
Speaker 2: Or whatever not like that. The bute point being made

441
00:24:30,760 --> 00:24:33,640
Speaker 2: is that so it's flattering. It's a blessing to see

442
00:24:33,720 --> 00:24:36,440
Speaker 2: that that whatever we added to the culture is still

443
00:24:36,480 --> 00:24:39,359
Speaker 2: there and the others are able to find their voice.

444
00:24:39,960 --> 00:24:42,440
Speaker 2: You know. I think Drew did a joint recently with

445
00:24:42,600 --> 00:24:44,520
Speaker 2: with with one of my woul brothers, you know what

446
00:24:44,560 --> 00:24:47,880
Speaker 2: I mean. I was with Rock a few months ago,

447
00:24:49,760 --> 00:24:51,800
Speaker 2: just you know, just chilling and he's just like yo,

448
00:24:52,440 --> 00:24:54,040
Speaker 2: you know what I mean. He's like yo, you know

449
00:24:54,560 --> 00:24:56,640
Speaker 2: at being an abbot. Cause I say this real quick.

450
00:24:57,040 --> 00:25:00,720
Speaker 2: So a habit is the one at the temple. He

451
00:25:00,840 --> 00:25:03,560
Speaker 2: don't fight really, no more like that, you know what

452
00:25:03,640 --> 00:25:07,000
Speaker 2: I mean. He's let it throw a little wisdom out now.

453
00:25:07,119 --> 00:25:09,760
Speaker 2: He could fight, though I don't get a twisted now

454
00:25:10,280 --> 00:25:12,760
Speaker 2: the average is staying on one finger, you know what

455
00:25:12,800 --> 00:25:13,080
Speaker 2: I mean.

456
00:25:13,480 --> 00:25:16,480
Speaker 3: But he should be past that. He should be a

457
00:25:16,680 --> 00:25:18,760
Speaker 3: spiritual guide an example.

458
00:25:18,880 --> 00:25:22,400
Speaker 2: So for me, going back to the ballet, I'm continuing

459
00:25:22,480 --> 00:25:24,680
Speaker 2: to show us that there is no limitation of the

460
00:25:24,880 --> 00:25:27,400
Speaker 2: art that founded in us, that started as hip hopp

461
00:25:27,680 --> 00:25:30,280
Speaker 2: is our entry into art and culture, you know what

462
00:25:30,320 --> 00:25:33,359
Speaker 2: I mean? And connect the same entry, connect same energy

463
00:25:33,720 --> 00:25:37,080
Speaker 2: find itself in a classical place where you're sitting there

464
00:25:37,400 --> 00:25:40,040
Speaker 2: and everybody got on a suit and tie and there's

465
00:25:40,080 --> 00:25:43,240
Speaker 2: somebody from our to no nah that's presenting that night.

466
00:25:43,720 --> 00:25:45,760
Speaker 2: Can you sit there and and and and watch a

467
00:25:45,880 --> 00:25:49,040
Speaker 2: film and be like, oh shit, that film was done.

468
00:25:49,560 --> 00:25:51,200
Speaker 2: Like right now, Frank Ocean is about to do his

469
00:25:51,320 --> 00:25:53,840
Speaker 2: first movie. Yo. You know what I'm meaning? Oh that

470
00:25:53,880 --> 00:25:56,879
Speaker 2: shit is wow, Frank Ocean is what is this artist

471
00:25:56,920 --> 00:25:59,760
Speaker 2: who who had this hip hop on be foundation? What

472
00:26:00,000 --> 00:26:03,880
Speaker 2: it's his cinematic expression? Right? I've seen Zoey Kravitz movie

473
00:26:03,920 --> 00:26:07,720
Speaker 2: Blake twice, Right, you watch that one same thing, Like,

474
00:26:07,840 --> 00:26:11,960
Speaker 2: look at this artist evolved right where some actresses will

475
00:26:12,040 --> 00:26:14,920
Speaker 2: never be brave enough to even take that chance. So

476
00:26:15,119 --> 00:26:18,080
Speaker 2: I'm I'm doing that as well in my travels.

477
00:26:19,440 --> 00:26:22,760
Speaker 1: All right, I feel you, but I definitely feel as

478
00:26:22,800 --> 00:26:29,520
Speaker 1: though it's an homage to you and how your you know,

479
00:26:29,600 --> 00:26:32,280
Speaker 1: your styles is influential. But I definitely see the importance

480
00:26:32,400 --> 00:26:38,600
Speaker 1: of taking steps forward and not looking back. But sometimes

481
00:26:38,640 --> 00:26:41,359
Speaker 1: I just get it itching and you know, go back

482
00:26:41,400 --> 00:26:44,320
Speaker 1: to the old neighborhood and have a fish sandwich exactly,

483
00:26:44,760 --> 00:26:45,000
Speaker 1: you know what.

484
00:26:45,359 --> 00:26:46,720
Speaker 3: But like I said, if you get that inch and

485
00:26:46,760 --> 00:26:48,800
Speaker 3: if I get that itch, I do it. You know what,

486
00:26:48,880 --> 00:26:50,680
Speaker 3: there's a couple of joints that's in the that's in

487
00:26:50,760 --> 00:26:51,200
Speaker 3: the oven.

488
00:26:52,160 --> 00:26:53,919
Speaker 2: You know. Sometimes be in the studio or somebody one

489
00:26:53,920 --> 00:26:57,159
Speaker 2: of my little brothers may pop over. Okay, just hit

490
00:26:57,240 --> 00:27:00,200
Speaker 2: play and be called something, and it'd be like and

491
00:27:00,359 --> 00:27:02,080
Speaker 2: is it? It may just stand stay in the studio.

492
00:27:02,160 --> 00:27:04,080
Speaker 2: But there's always something in there, right. And it's like

493
00:27:04,160 --> 00:27:06,560
Speaker 2: I said, when I made beats or make music. No,

494
00:27:06,760 --> 00:27:10,439
Speaker 2: of course, of course there's days where you know I'm digging.

495
00:27:11,720 --> 00:27:14,919
Speaker 2: At our last Vegas show, I bought my MPC right

496
00:27:15,640 --> 00:27:17,680
Speaker 2: because sometime I like to open the show with just

497
00:27:17,760 --> 00:27:19,680
Speaker 2: a lot of eight O eights and stuff. But in

498
00:27:19,760 --> 00:27:21,480
Speaker 2: this particular and I got like fort these joints, but

499
00:27:21,520 --> 00:27:26,639
Speaker 2: in this particular one there's a there's a sample and

500
00:27:26,760 --> 00:27:29,840
Speaker 2: so since we had some downtime, I loaded it and

501
00:27:29,920 --> 00:27:33,960
Speaker 2: it just start hitting play. Uh and scratch was there?

502
00:27:34,520 --> 00:27:36,840
Speaker 2: Deck was that capit It was yo. They was like

503
00:27:37,200 --> 00:27:38,200
Speaker 2: give us that ship.

504
00:27:39,040 --> 00:27:41,879
Speaker 3: It was it was it was sounds and records that

505
00:27:42,040 --> 00:27:45,320
Speaker 3: dudes happened stumbled the poor chet. It wasn't even stack ship.

506
00:27:45,920 --> 00:27:48,000
Speaker 2: It was just you know, whenever you dig, you dig,

507
00:27:48,119 --> 00:27:50,000
Speaker 2: and you you sample it and you hold it right

508
00:27:50,520 --> 00:27:53,440
Speaker 2: but I was like, I told Scratch Show, just come

509
00:27:53,480 --> 00:27:55,040
Speaker 2: and see you how give it you? He ain't come,

510
00:27:55,880 --> 00:27:58,560
Speaker 2: you know, not that I wasn't moving, but if you

511
00:27:58,560 --> 00:28:01,240
Speaker 2: would the guy there within that hour, I'll be like, oh, yeah,

512
00:28:01,280 --> 00:28:02,920
Speaker 2: you play with it and do and do what you're

513
00:28:02,960 --> 00:28:03,719
Speaker 2: gonna do with it. Then.

514
00:28:08,840 --> 00:28:13,000
Speaker 1: So I'll ask you in your arsenal, can you name

515
00:28:13,119 --> 00:28:14,400
Speaker 1: five of your favorite creations.

516
00:28:14,920 --> 00:28:16,159
Speaker 2: I don't know if I could do that, but I

517
00:28:16,280 --> 00:28:18,480
Speaker 2: can tell you, like certain ones that that I felt

518
00:28:18,520 --> 00:28:21,720
Speaker 2: that'd be interesting. Let be uh like there's some there's

519
00:28:21,720 --> 00:28:25,240
Speaker 2: always a moment when you feel like there was a boom. Yeah,

520
00:28:25,440 --> 00:28:28,640
Speaker 2: yeah that nobody nobody did that, and they I did

521
00:28:28,720 --> 00:28:30,520
Speaker 2: that and they can't do it and they might can

522
00:28:30,600 --> 00:28:34,240
Speaker 2: never do it. Well maybe they can, especially technology back then.

523
00:28:34,359 --> 00:28:37,080
Speaker 2: So when I did Glaces of Ice, you know what

524
00:28:37,080 --> 00:28:42,000
Speaker 2: I mean? Yes, yeah, niggas and niggas can't fuck with me, right,

525
00:28:42,360 --> 00:28:46,800
Speaker 2: I was that feeling of with that track, And it

526
00:28:46,840 --> 00:28:49,160
Speaker 2: took a few days to make it. So that's another thing.

527
00:28:49,200 --> 00:28:51,360
Speaker 2: It wasn't like I made it in fifteen minutes, but

528
00:28:51,440 --> 00:28:54,280
Speaker 2: I made that in fifteen minutes, right, But you could

529
00:28:54,320 --> 00:28:57,880
Speaker 2: tell just lookes drums and and fucking actually doing the

530
00:28:58,080 --> 00:29:00,880
Speaker 2: mutes and and and solos on the spot. That's what

531
00:29:01,040 --> 00:29:03,320
Speaker 2: makes it so bouncy. I'm just doing that ship live, right,

532
00:29:03,720 --> 00:29:09,200
Speaker 2: But on Glaciers It's just like I really composed it

533
00:29:09,320 --> 00:29:11,080
Speaker 2: in a way, you know what I mean, and I

534
00:29:11,440 --> 00:29:14,160
Speaker 2: kept changing it. I was very cool with the idea

535
00:29:14,200 --> 00:29:16,840
Speaker 2: of what it would of what it became, and then

536
00:29:16,920 --> 00:29:19,440
Speaker 2: I did that right because lasers, I made Lasism before

537
00:29:19,520 --> 00:29:22,480
Speaker 2: Randy Days and then Randy Day sat on the grill

538
00:29:22,560 --> 00:29:25,840
Speaker 2: for three days too, right, And what I like about it,

539
00:29:25,920 --> 00:29:29,200
Speaker 2: it's just that there was just a vibe of feeling right.

540
00:29:29,240 --> 00:29:33,280
Speaker 2: It's not that complicated in all reality, but everything from

541
00:29:33,360 --> 00:29:37,800
Speaker 2: the sample that intros to the thunderstorm to the girl

542
00:29:37,960 --> 00:29:40,760
Speaker 2: I sing for him but he isn't here, yo, son,

543
00:29:41,120 --> 00:29:46,880
Speaker 2: and that fucking that fucking string uh fucking trimblo down

544
00:29:47,520 --> 00:29:52,320
Speaker 2: to fucking boom boom. It's like base, It's like what

545
00:29:52,440 --> 00:29:54,400
Speaker 2: the fuck? All that shit just came to that moment

546
00:29:55,040 --> 00:29:58,080
Speaker 2: and then the hook, Like when I told Blue Vaysberry,

547
00:29:58,080 --> 00:29:59,400
Speaker 2: I want you do the same this ship.

548
00:29:59,720 --> 00:30:03,000
Speaker 1: Yo, Can you please tell me how did Blue Raspberry

549
00:30:03,080 --> 00:30:06,720
Speaker 1: get in the game, because to me, like she doesn't

550
00:30:06,720 --> 00:30:11,440
Speaker 1: get enough credit or whatever for like her ad lives

551
00:30:11,560 --> 00:30:13,239
Speaker 1: and what she adds to the game, like how did

552
00:30:13,280 --> 00:30:14,560
Speaker 1: she wind up in the Click?

553
00:30:15,400 --> 00:30:18,880
Speaker 2: Well, I think Ray Kwalm met her first early on too,

554
00:30:19,040 --> 00:30:21,720
Speaker 2: back in Atlantic City. I think at one of those

555
00:30:22,400 --> 00:30:26,120
Speaker 2: early rap things he got contact with her. She actually

556
00:30:26,800 --> 00:30:29,440
Speaker 2: sung for us that night. She sung Whitney.

557
00:30:29,160 --> 00:30:33,480
Speaker 3: Houston as good as Whitney Houston like then she went

558
00:30:33,560 --> 00:30:36,000
Speaker 3: and blew. She hit that patty note as you hit

559
00:30:36,040 --> 00:30:37,040
Speaker 3: that note in places that.

560
00:30:38,880 --> 00:30:39,479
Speaker 2: Yeah right.

561
00:30:39,960 --> 00:30:42,280
Speaker 3: She was one of the only person to do it

562
00:30:42,400 --> 00:30:43,840
Speaker 3: beyond you know, in real life.

563
00:30:44,640 --> 00:30:47,400
Speaker 2: And so I just always brought her to the studio,

564
00:30:47,840 --> 00:30:49,320
Speaker 2: and when I would do her, it was just like,

565
00:30:49,800 --> 00:30:51,600
Speaker 2: I'll just tell her to say this song, saying this song,

566
00:30:51,680 --> 00:30:54,240
Speaker 2: say this song. And she had such a good repertoire,

567
00:30:54,720 --> 00:30:59,160
Speaker 2: like on method Man saying man right, this this is

568
00:30:59,720 --> 00:31:02,920
Speaker 2: that's again. I'll tell her sing these songs and then

569
00:31:03,160 --> 00:31:04,800
Speaker 2: I would take them and then put them in the

570
00:31:04,840 --> 00:31:07,280
Speaker 2: ASR and chop them into something else. And I just

571
00:31:07,320 --> 00:31:08,920
Speaker 2: thought it was as unique that she was like a

572
00:31:09,040 --> 00:31:12,680
Speaker 2: living two box. So her name was Candy, of course.

573
00:31:13,080 --> 00:31:14,920
Speaker 2: But let me say one thing about her that I'm

574
00:31:15,000 --> 00:31:19,640
Speaker 2: proud to say. Earlier this year January of this year,

575
00:31:20,720 --> 00:31:23,560
Speaker 2: I did a concert in Colorado. So I'm part of

576
00:31:23,600 --> 00:31:26,800
Speaker 2: this imagination artist, so I have to owe them three concerts.

577
00:31:27,000 --> 00:31:30,360
Speaker 2: This was my second one. I did do the links orchestrated,

578
00:31:30,560 --> 00:31:32,719
Speaker 2: you know what I mean. So we trotted it out.

579
00:31:32,760 --> 00:31:35,120
Speaker 2: We got the Officer to play, and I bought Blue

580
00:31:35,200 --> 00:31:38,120
Speaker 2: Raspberry to do her parts. And Bro, she got a

581
00:31:38,120 --> 00:31:41,040
Speaker 2: stand at the ovation. She just was and she came

582
00:31:41,120 --> 00:31:41,840
Speaker 2: out like she was.

583
00:31:42,240 --> 00:31:43,880
Speaker 3: She was like a She came out like a week

584
00:31:43,880 --> 00:31:44,479
Speaker 3: being Gladys.

585
00:31:44,520 --> 00:31:46,920
Speaker 2: She had this dress on. She I mean, she felt

586
00:31:46,960 --> 00:31:48,680
Speaker 2: so good that night and I was so proud of her,

587
00:31:49,200 --> 00:31:54,240
Speaker 2: and Yo, she was flawless. She's like a celebrity, you know,

588
00:31:54,320 --> 00:31:57,440
Speaker 2: one of those every celebrity don't make it, Bro, you

589
00:31:57,520 --> 00:32:00,000
Speaker 2: know what I mean, somebod are locked in jail.

590
00:32:00,040 --> 00:32:03,000
Speaker 3: Well, some of our greatest it could be an a

591
00:32:03,080 --> 00:32:03,800
Speaker 3: mental asylum.

592
00:32:03,880 --> 00:32:05,560
Speaker 2: Some of our greatest are stuck right in that home

593
00:32:06,040 --> 00:32:10,720
Speaker 2: because they pregnancy or or from something like that turned

594
00:32:10,760 --> 00:32:13,040
Speaker 2: that rote a different way, and not saying that. You know,

595
00:32:13,120 --> 00:32:16,040
Speaker 2: she didn't get some accolades, and she had some success

596
00:32:16,080 --> 00:32:19,640
Speaker 2: in her life, but for her level of talent, the

597
00:32:19,760 --> 00:32:23,240
Speaker 2: crowd like they just they I didn't tell them to

598
00:32:23,280 --> 00:32:25,280
Speaker 2: stand up. She just was chilling that ship.

599
00:32:25,840 --> 00:32:29,200
Speaker 1: Was there ever going to be a Blue Raspberry album? Yeah?

600
00:32:29,200 --> 00:32:31,440
Speaker 2: I wanted to do a Blue Raspberry album. I had

601
00:32:31,440 --> 00:32:35,920
Speaker 2: to assign the foundation the fourth disciple, Okay, but he

602
00:32:36,960 --> 00:32:39,120
Speaker 2: you know, he was kids and ship being kids and

603
00:32:39,920 --> 00:32:42,320
Speaker 2: focus kids being kids and shit.

604
00:32:43,320 --> 00:32:46,400
Speaker 1: All right, So you said Glaciers of Ice and.

605
00:32:47,800 --> 00:32:48,640
Speaker 2: I mentioned rand.

606
00:32:50,560 --> 00:32:52,600
Speaker 3: I was just stand special. I think Brandon Ruck is

607
00:32:52,640 --> 00:32:55,120
Speaker 3: a special really, yeah, I'll tell you.

608
00:32:55,200 --> 00:32:58,640
Speaker 2: I think Brandon Ruck is a special follow it right,

609
00:32:59,400 --> 00:33:01,960
Speaker 2: so hard to follow it that that's what makes it

610
00:33:02,000 --> 00:33:02,560
Speaker 2: special to me.

611
00:33:02,960 --> 00:33:05,360
Speaker 1: I don't even count that as the first song on

612
00:33:05,440 --> 00:33:08,800
Speaker 1: thirty six Chambers like for me, like same on is

613
00:33:08,880 --> 00:33:09,400
Speaker 1: the first.

614
00:33:09,800 --> 00:33:12,240
Speaker 2: Makes it same? It's contained, but even though same goes

615
00:33:12,240 --> 00:33:16,080
Speaker 2: a little bit off the rails, it is prettyktanined. I'm

616
00:33:16,120 --> 00:33:20,320
Speaker 2: gonna challenge you, okay, no, to go ahead and follow

617
00:33:20,360 --> 00:33:24,520
Speaker 2: it because it actually and I didn't know that, right,

618
00:33:25,240 --> 00:33:30,520
Speaker 2: but it's actually a composition, almost like an orchestrated composition. Yes,

619
00:33:30,800 --> 00:33:33,040
Speaker 2: it starts one way, it builds up it gets to this.

620
00:33:33,520 --> 00:33:37,040
Speaker 2: So I just think that the part of beat making

621
00:33:37,120 --> 00:33:40,400
Speaker 2: that I that I feel confident in. If I want

622
00:33:40,440 --> 00:33:43,080
Speaker 2: to say, you ask me about what I think is dope.

623
00:33:43,560 --> 00:33:46,320
Speaker 2: I think that when I'm able to tell a story

624
00:33:46,400 --> 00:33:48,760
Speaker 2: with the music before the MC even gets on it,

625
00:33:49,280 --> 00:33:51,040
Speaker 2: Like if you take the rap off and just listen,

626
00:33:51,400 --> 00:33:54,200
Speaker 2: it's still shit happen and the shit is going. It

627
00:33:54,280 --> 00:33:57,000
Speaker 2: ain't just like a full ball phrase that I'm just

628
00:33:57,120 --> 00:33:59,400
Speaker 2: dropping the snare, dropping the drum, add in the high

629
00:33:59,440 --> 00:34:02,840
Speaker 2: ask and doing the one on a four drop. It

630
00:34:02,920 --> 00:34:03,240
Speaker 2: ain't that.

631
00:34:03,760 --> 00:34:05,440
Speaker 3: It's a lot going on in that motherfucker.

632
00:34:05,560 --> 00:34:08,239
Speaker 2: You know what I mean? That to me, it's my

633
00:34:09,400 --> 00:34:12,640
Speaker 2: thoughts when you actually like what impresses me? When I'm

634
00:34:12,680 --> 00:34:14,560
Speaker 2: able to do that, you know what I mean?

635
00:34:15,280 --> 00:34:19,200
Speaker 1: Got it for me? I'll say that. I know you're

636
00:34:19,200 --> 00:34:21,880
Speaker 1: always tired of cats asking you like, if you were

637
00:34:21,920 --> 00:34:25,480
Speaker 1: to pare down WU Tank Forever to a single album,

638
00:34:27,400 --> 00:34:34,239
Speaker 1: would you be able to for me deadly Medley, I

639
00:34:34,400 --> 00:34:37,840
Speaker 1: want to redo that joint because that, to me is

640
00:34:37,920 --> 00:34:41,080
Speaker 1: one of the heaviest I don't know that was a

641
00:34:41,120 --> 00:34:43,320
Speaker 1: crazy That was the value that makes me want to

642
00:34:43,400 --> 00:34:46,680
Speaker 1: card drack a garbage truck and just ramming in a wall.

643
00:34:46,600 --> 00:34:49,840
Speaker 2: Like uh see, now you see. So I'm glad you

644
00:34:49,920 --> 00:34:52,200
Speaker 2: respond to stuff like that. So some stuff is for

645
00:34:52,360 --> 00:34:56,960
Speaker 2: the aggression. It's straight up for fuck that we kicking it.

646
00:34:57,600 --> 00:34:59,440
Speaker 1: That's that's my walking music in the morning, when I

647
00:34:59,520 --> 00:35:03,680
Speaker 1: do my five thousand steps in the morning. Nellie Melly

648
00:35:03,840 --> 00:35:06,880
Speaker 1: is on that mixes. It just makes you walk different.

649
00:35:06,920 --> 00:35:10,320
Speaker 2: Man, that's crazy. That's what you know what I like

650
00:35:10,400 --> 00:35:19,120
Speaker 2: on that album m that was a wall that would

651
00:35:19,120 --> 00:35:21,279
Speaker 2: be called bum. Yes, the track like that.

652
00:35:21,640 --> 00:35:24,919
Speaker 3: I like the track like that because once again, if

653
00:35:24,960 --> 00:35:26,840
Speaker 3: you don't have the lyrics, it's telling your story.

654
00:35:27,560 --> 00:35:31,920
Speaker 1: Look now now that you open up that record, I

655
00:35:32,200 --> 00:35:35,440
Speaker 1: gotta ask you man, first of all, let me finish

656
00:35:35,480 --> 00:35:41,319
Speaker 1: my my other four Stroke of Death on on ghost

657
00:35:41,360 --> 00:35:48,920
Speaker 1: Face record with the backwards record. Shit. Oh god, yo

658
00:35:48,960 --> 00:35:51,879
Speaker 1: almost now I literally almost crashed my card that ship.

659
00:35:52,000 --> 00:35:54,160
Speaker 2: Like you know, I just like I said, that's that

660
00:35:54,320 --> 00:36:02,120
Speaker 2: was a question. But it's like it's remember remember I

661
00:36:02,160 --> 00:36:05,520
Speaker 2: don't I know you remember this look Sometimes at the

662
00:36:05,560 --> 00:36:08,680
Speaker 2: block party mm hm, the DJ throw something on and

663
00:36:08,760 --> 00:36:14,160
Speaker 2: somebody get punched in the face. That's how hip hop was,

664
00:36:14,280 --> 00:36:14,440
Speaker 2: you know.

665
00:36:15,040 --> 00:36:18,160
Speaker 1: For this podcast, a lot of those that have been

666
00:36:18,280 --> 00:36:22,840
Speaker 1: privy to going to Latin Quarter would tell me that

667
00:36:23,000 --> 00:36:29,120
Speaker 1: when Steti Sonics goes, Stetsa comes on exactly that man, Yo, run.

668
00:36:31,160 --> 00:36:32,240
Speaker 2: Run exactly.

669
00:36:34,080 --> 00:36:38,400
Speaker 1: My third joint, probably my all time favorite Wu Tang

670
00:36:38,800 --> 00:36:43,720
Speaker 1: Cannon song, is the stomp by ODB.

671
00:36:45,640 --> 00:36:49,480
Speaker 2: To this day, like he started the foundation of that

672
00:36:49,600 --> 00:36:53,360
Speaker 2: beat though he so so od B he bought that

673
00:36:53,480 --> 00:36:56,360
Speaker 2: beat to me. I got him an as r. He

674
00:36:56,520 --> 00:37:00,960
Speaker 2: made four beats in his life, okay, right, or four

675
00:37:01,040 --> 00:37:03,160
Speaker 2: that he played me, and this was one of them,

676
00:37:04,160 --> 00:37:06,319
Speaker 2: you know what I'm saying. And I was like, all right,

677
00:37:06,360 --> 00:37:08,239
Speaker 2: and all I did was after beats and you know,

678
00:37:08,280 --> 00:37:13,160
Speaker 2: a few souschool but that group too too. Toom Zoom

679
00:37:13,480 --> 00:37:18,359
Speaker 2: doom the boat. I put that little thing in there

680
00:37:18,360 --> 00:37:21,640
Speaker 2: that's to add to it. But that was the total groove.

681
00:37:21,760 --> 00:37:25,120
Speaker 2: It's total rhythm and Brooklyn's dowers. Well, people don't give

682
00:37:25,160 --> 00:37:27,600
Speaker 2: od B the credit for that either. To Mask get

683
00:37:27,680 --> 00:37:30,800
Speaker 2: most of the credit, and I get some credit for

684
00:37:30,840 --> 00:37:34,120
Speaker 2: it too, But no, od b Uh, he only made

685
00:37:34,120 --> 00:37:37,719
Speaker 2: a few beats, even though he was a human beat box.

686
00:37:37,760 --> 00:37:39,640
Speaker 2: He could have made a hundred beats, but he just

687
00:37:40,040 --> 00:37:42,200
Speaker 2: he was the equipment, you know what I mean. And

688
00:37:42,280 --> 00:37:44,759
Speaker 2: ship but that's one of them. So I'm glad to

689
00:37:44,800 --> 00:37:45,680
Speaker 2: hear that that's one of.

690
00:37:46,040 --> 00:37:50,719
Speaker 1: My last one. And again it's only because when we

691
00:37:50,840 --> 00:37:58,640
Speaker 1: were living in London, broke, hungry, borderline depressed. We have

692
00:37:58,760 --> 00:38:01,040
Speaker 1: a way different relations and shit with Ta Cal than

693
00:38:01,080 --> 00:38:03,360
Speaker 1: you did, like and I know Metha always says like

694
00:38:03,480 --> 00:38:06,960
Speaker 1: I hate that album, but that album kept our sanity.

695
00:38:07,040 --> 00:38:08,759
Speaker 1: Like we were living in London at the time when

696
00:38:09,080 --> 00:38:13,760
Speaker 1: just like all you had there was no internet, no streaming,

697
00:38:13,920 --> 00:38:17,120
Speaker 1: so you were forced to listen to against your will

698
00:38:17,400 --> 00:38:24,760
Speaker 1: like I'm a scatman and like just all of whatever.

699
00:38:24,800 --> 00:38:26,600
Speaker 1: It was on pop radio at the time, so we

700
00:38:26,920 --> 00:38:33,200
Speaker 1: just always kept but PLO style on to Cal was

701
00:38:33,440 --> 00:38:40,479
Speaker 1: like that was you know what, actually, you know, it's weird.

702
00:38:41,320 --> 00:38:44,880
Speaker 1: There was one time, I'll say like maybe around ninety

703
00:38:44,880 --> 00:38:51,280
Speaker 1: four ninety five we were basically pick a Western European

704
00:38:51,320 --> 00:38:55,359
Speaker 1: country and stay there for a month and just hit

705
00:38:55,480 --> 00:38:59,239
Speaker 1: every city, every club and whatnot. There was one time

706
00:38:59,280 --> 00:39:02,400
Speaker 1: when we played in the south of France, and this

707
00:39:02,560 --> 00:39:06,560
Speaker 1: is how sneaky pre internet life was. There was a

708
00:39:06,719 --> 00:39:15,080
Speaker 1: crew in France that basically committed the entire to Cal,

709
00:39:15,200 --> 00:39:19,720
Speaker 1: the entire built for Cuba Links and the entire returned

710
00:39:19,800 --> 00:39:24,239
Speaker 1: to the thirty six chambers and we sat backstage, We're like, yo,

711
00:39:24,440 --> 00:39:30,160
Speaker 1: these motherfuckers are actually doing the whole entire thirty album

712
00:39:30,239 --> 00:39:32,280
Speaker 1: from start to fit, as if it was their joints,

713
00:39:33,000 --> 00:39:35,480
Speaker 1: Like I know these lyrics from somewhere, and you know

714
00:39:35,600 --> 00:39:37,880
Speaker 1: they use other instrumentals and try it, but the audience

715
00:39:37,960 --> 00:39:45,879
Speaker 1: didn't know any better. I mean, two of your most

716
00:39:46,000 --> 00:39:52,799
Speaker 1: eccentric creations I'm obsessed with. First one, how did black

717
00:39:52,880 --> 00:39:53,759
Speaker 1: Shampoo come to be?

718
00:39:57,120 --> 00:40:01,960
Speaker 2: Fucking uh? I think that's the coast well right right,

719
00:40:02,120 --> 00:40:03,840
Speaker 2: So I think it was I think the machines, but

720
00:40:04,480 --> 00:40:07,919
Speaker 2: you you know, I knew the lyric. He had the lyric,

721
00:40:08,080 --> 00:40:10,719
Speaker 2: and so I was like, fuck it, let him loose

722
00:40:10,800 --> 00:40:14,120
Speaker 2: on it. It was definitely very It was that, to

723
00:40:14,239 --> 00:40:16,080
Speaker 2: be honest with you, it was Black Shampoo. And there's

724
00:40:16,080 --> 00:40:19,759
Speaker 2: another one that wasn't on the American album called sun Shower.

725
00:40:20,040 --> 00:40:23,640
Speaker 1: Wait sun Showered from wait that ghost released?

726
00:40:23,800 --> 00:40:26,120
Speaker 3: Or no no, not the Sun with slip Wick and

727
00:40:26,160 --> 00:40:26,400
Speaker 3: all that.

728
00:40:27,280 --> 00:40:30,640
Speaker 1: Okay, no, no, no, I'm talking about son Showers the

729
00:40:30,800 --> 00:40:35,480
Speaker 1: Power Nope, because there's a ghost version of Okay.

730
00:40:35,560 --> 00:40:35,880
Speaker 2: It's one.

731
00:40:36,040 --> 00:40:36,279
Speaker 1: It's one.

732
00:40:36,360 --> 00:40:38,040
Speaker 2: It was on a Who Tank Forever album, but only

733
00:40:38,120 --> 00:40:41,239
Speaker 2: on the European person Okay, I'm not understand that that.

734
00:40:41,360 --> 00:40:45,160
Speaker 2: In Black Sampool were two of the last tracks and

735
00:40:45,280 --> 00:40:47,800
Speaker 2: it was kind of at the time, I think I

736
00:40:47,960 --> 00:40:48,560
Speaker 2: was really.

737
00:40:49,440 --> 00:40:52,520
Speaker 3: Falling into Bobby Digital creatively, right.

738
00:40:53,360 --> 00:40:55,960
Speaker 2: You know that we recorded Whutank Forever and the Grave

739
00:40:56,040 --> 00:40:57,840
Speaker 2: Digger second album at the same time. You know that.

740
00:40:59,360 --> 00:41:00,600
Speaker 1: I didn't know that he did it. Okay.

741
00:41:00,960 --> 00:41:03,719
Speaker 2: I had everybody live in La well for at least

742
00:41:03,719 --> 00:41:05,440
Speaker 2: two months. He mus a ping pon, but we had

743
00:41:05,440 --> 00:41:07,560
Speaker 2: to stay in LA for two months. Grave Biggas came out,

744
00:41:08,040 --> 00:41:11,239
Speaker 2: We had an American studio, had the whole shit locked down.

745
00:41:11,360 --> 00:41:14,160
Speaker 2: I was just going to room the room making both albums,

746
00:41:14,480 --> 00:41:17,080
Speaker 2: you know what I mean. So I think, and then

747
00:41:17,080 --> 00:41:18,839
Speaker 2: at the end of the day, Bobby Isuel was coming.

748
00:41:18,920 --> 00:41:24,200
Speaker 2: So I think that I started like stop sampling and

749
00:41:24,320 --> 00:41:27,239
Speaker 2: started playing all of the machines and black Wool as

750
00:41:27,280 --> 00:41:30,480
Speaker 2: a result of that, and you got a lyric, you know,

751
00:41:30,840 --> 00:41:31,919
Speaker 2: some baby oil shit.

752
00:41:32,000 --> 00:41:32,200
Speaker 1: You know.

753
00:41:33,840 --> 00:41:34,919
Speaker 2: We got it. Okay.

754
00:41:35,560 --> 00:41:37,640
Speaker 1: Yeah, I was gonna say in your second most eccentric

755
00:41:37,719 --> 00:41:40,560
Speaker 1: beat that I'm obsessed with how many people ask you

756
00:41:40,600 --> 00:41:45,040
Speaker 1: about the Guitar Center commercial. Oh shit, you don't understand, yo,

757
00:41:45,280 --> 00:41:50,279
Speaker 1: there's an obsession with trying to figure out like it's

758
00:41:50,360 --> 00:41:52,000
Speaker 1: so wild and crazy.

759
00:41:52,320 --> 00:41:55,680
Speaker 2: I don't remember it told me, but I knew you

760
00:41:55,719 --> 00:41:56,320
Speaker 2: weren't aware of it.

761
00:41:56,480 --> 00:42:01,520
Speaker 1: There is an underground society of beat makers that like,

762
00:42:01,600 --> 00:42:04,520
Speaker 1: I'm trying to get my boys Jroe Elliott right now,

763
00:42:04,560 --> 00:42:08,360
Speaker 1: who's in the roots to like flip it? Like you

764
00:42:08,560 --> 00:42:10,360
Speaker 1: you remember you doing a demonstration beat.

765
00:42:10,320 --> 00:42:11,880
Speaker 2: Up on the spot of some shit on that on

766
00:42:11,960 --> 00:42:15,640
Speaker 2: the spot, right. I remember Dallas Foston had made this

767
00:42:15,760 --> 00:42:19,200
Speaker 2: machine called the beat Thing. Right. It was the first

768
00:42:19,560 --> 00:42:23,880
Speaker 2: machine that I saw that had a battery power for

769
00:42:24,000 --> 00:42:27,120
Speaker 2: two three hours, meaning you can make the beats on

770
00:42:27,200 --> 00:42:30,279
Speaker 2: the plane on the plane and exactly right. And so

771
00:42:31,280 --> 00:42:33,400
Speaker 2: you know I bought it, yes for that. I never

772
00:42:33,520 --> 00:42:36,239
Speaker 2: released a song from it or nothing. But it's just

773
00:42:36,400 --> 00:42:39,080
Speaker 2: like I'm on a play. I'm not wasting just messing around, right,

774
00:42:39,160 --> 00:42:42,080
Speaker 2: I get it. And then that Good Talk Center I

775
00:42:42,120 --> 00:42:43,880
Speaker 2: remember him talking. I said, you gotta bother that s

776
00:42:44,120 --> 00:42:47,040
Speaker 2: was just this ship and you can just do this ship. Yeah,

777
00:42:47,200 --> 00:42:49,560
Speaker 2: I don't remember the beat at all, bru.

778
00:42:49,800 --> 00:42:54,480
Speaker 1: There's a whole underground society trying to figure out because

779
00:42:54,840 --> 00:42:58,719
Speaker 1: you know, the crazier your beats are. It's like we

780
00:42:58,920 --> 00:43:01,680
Speaker 1: just sit and try to analyze that ship, like try

781
00:43:01,760 --> 00:43:02,399
Speaker 1: to figure it out.

782
00:43:02,960 --> 00:43:05,279
Speaker 3: But even if it's ugly appreciated.

783
00:43:05,760 --> 00:43:09,439
Speaker 1: No when it's ugly and stinking and unorthodox, it's even

784
00:43:09,520 --> 00:43:12,520
Speaker 1: better for me. You know, I don't I don't consider

785
00:43:12,640 --> 00:43:13,960
Speaker 1: like a good song bat song.

786
00:43:14,000 --> 00:43:16,879
Speaker 2: It's just like us Thomas doing the dog.

787
00:43:18,200 --> 00:43:18,399
Speaker 4: Yes.

788
00:43:19,080 --> 00:43:23,600
Speaker 1: Absolutely, of the many disciples that also like co produce

789
00:43:23,680 --> 00:43:28,239
Speaker 1: what you who's the disciple of your arsenal of or

790
00:43:28,320 --> 00:43:33,560
Speaker 1: your generals of producers that you worked with that later

791
00:43:33,640 --> 00:43:36,360
Speaker 1: went to, you know, Helm for the projects, not like

792
00:43:36,560 --> 00:43:38,279
Speaker 1: which which ones? Do you feel like?

793
00:43:38,560 --> 00:43:38,799
Speaker 2: Really?

794
00:43:41,040 --> 00:43:44,680
Speaker 1: I mean, I'm not trying to make it play favorite.

795
00:43:44,480 --> 00:43:47,000
Speaker 2: So I can pat those bumpers down a little bit

796
00:43:47,080 --> 00:43:49,959
Speaker 2: from my you know, from the avid seat. Look, first

797
00:43:49,960 --> 00:43:53,239
Speaker 2: of all, I think fourth had the most potential. I'm

798
00:43:53,280 --> 00:43:57,000
Speaker 2: gonna say something my Foult disciples, you know, for those times.

799
00:43:57,040 --> 00:43:59,000
Speaker 2: I don't know how as Tom said, but during that

800
00:43:59,080 --> 00:44:01,240
Speaker 2: time period he didn't have a lot of records.

801
00:44:02,400 --> 00:44:06,600
Speaker 3: He made his collection of beats and songs almost from

802
00:44:06,640 --> 00:44:07,120
Speaker 3: one crate.

803
00:44:07,760 --> 00:44:08,920
Speaker 1: Okay, you know what I mean.

804
00:44:09,640 --> 00:44:15,280
Speaker 2: This one create that he had contained one hundred tracks

805
00:44:15,320 --> 00:44:19,799
Speaker 2: for him. They have sample Love Story four or five,

806
00:44:20,160 --> 00:44:23,320
Speaker 2: maybe even ten times for his catalog. You see what

807
00:44:23,320 --> 00:44:25,840
Speaker 2: I mean? Because of really the way he did it,

808
00:44:26,719 --> 00:44:30,680
Speaker 2: the pieces that excited him or the rendition of the

809
00:44:31,280 --> 00:44:33,800
Speaker 2: version of that song, you know what I mean. So

810
00:44:33,960 --> 00:44:37,279
Speaker 2: I think he was very special, but yet don't have

811
00:44:37,320 --> 00:44:40,719
Speaker 2: a lot of material. True Master, I think, who was

812
00:44:40,800 --> 00:44:44,600
Speaker 2: already making beats and you know he was hanging with us,

813
00:44:44,680 --> 00:44:47,160
Speaker 2: hanging with Premier. You know, he introduced us to Premier.

814
00:44:47,320 --> 00:44:50,640
Speaker 2: You know, I knew Keep before that. But but True Master,

815
00:44:51,960 --> 00:44:55,359
Speaker 2: I think if you listen to True Master tracks, he's

816
00:44:55,520 --> 00:44:58,600
Speaker 2: I think he's the most consistent at staying at a

817
00:44:58,800 --> 00:45:01,759
Speaker 2: sound right. He stays at that.

818
00:45:01,880 --> 00:45:04,160
Speaker 1: He did fish I think, yeah, I know you did

819
00:45:04,239 --> 00:45:08,239
Speaker 1: fish on on on Goods joint. You've been warned, and

820
00:45:08,360 --> 00:45:10,839
Speaker 1: he did a Brooklyn Zoo too correct.

821
00:45:11,000 --> 00:45:16,200
Speaker 2: Yeah, exactly got it. So he's consistent with like it's

822
00:45:16,239 --> 00:45:18,000
Speaker 2: going to be hip hop, it's going to sound like

823
00:45:18,520 --> 00:45:21,479
Speaker 2: it ain't going to sound too far fetched on the left,

824
00:45:21,560 --> 00:45:23,399
Speaker 2: you know what I mean. But then the brother who

825
00:45:23,440 --> 00:45:25,600
Speaker 2: I think put the most time into it is the

826
00:45:25,640 --> 00:45:29,279
Speaker 2: fifth the last people who is Mathematics. You know, he

827
00:45:29,600 --> 00:45:33,879
Speaker 2: he he came in late, but he never stopped. He's

828
00:45:33,920 --> 00:45:36,320
Speaker 2: still you know, right now, Mathill dropped some ship on

829
00:45:36,400 --> 00:45:38,120
Speaker 2: you right now, and it's like, yo, you know tu

830
00:45:38,200 --> 00:45:40,560
Speaker 2: Mass has sent me a few tracks recently and for

831
00:45:40,680 --> 00:45:43,040
Speaker 2: something he wanted me to, you know, help him with

832
00:45:43,160 --> 00:45:46,320
Speaker 2: and and you know it sounds like I said, he's consistent.

833
00:45:46,880 --> 00:45:51,239
Speaker 2: But math Math can make a stacks album with musicians

834
00:45:51,320 --> 00:45:52,759
Speaker 2: and make it sound like a Wu Tang thing.

835
00:45:53,760 --> 00:45:57,360
Speaker 1: I believe. He said in an interview that trailing Quentin

836
00:45:57,440 --> 00:46:03,960
Speaker 1: Tarantino for Kill Bill prepared you for your your directing debut,

837
00:46:04,320 --> 00:46:06,520
Speaker 1: Man with the Iron Fists. What's it like to work

838
00:46:06,520 --> 00:46:09,280
Speaker 1: with Eli Roth? Because I only know Eli Roth because

839
00:46:10,040 --> 00:46:14,200
Speaker 1: he makes one of the most disturbing, uh you know,

840
00:46:15,120 --> 00:46:17,200
Speaker 1: her afflicts of all time?

841
00:46:17,760 --> 00:46:21,080
Speaker 2: So well, first of all, in Man with the Iron Fist,

842
00:46:21,640 --> 00:46:25,760
Speaker 2: Man Eli, we laughed because I vote the first draft myself.

843
00:46:26,400 --> 00:46:28,200
Speaker 2: But I was still you know, at the at the

844
00:46:29,719 --> 00:46:32,839
Speaker 2: I won't say novice level. I was at the intermediate level.

845
00:46:32,880 --> 00:46:36,000
Speaker 2: I wasn't good enough to really write a whole movie.

846
00:46:36,360 --> 00:46:39,160
Speaker 2: I was getting there, you know, for so let's just

847
00:46:39,160 --> 00:46:42,600
Speaker 2: say this was my college sheet. But I needed help.

848
00:46:42,960 --> 00:46:45,040
Speaker 2: And Eli you know, he used to always be at

849
00:46:45,040 --> 00:46:47,200
Speaker 2: Clinton House. You know, we watched a lot of movies together.

850
00:46:47,200 --> 00:46:50,560
Speaker 2: I considered him a classmate. It's like four of us,

851
00:46:50,680 --> 00:46:53,160
Speaker 2: you know, like maybe Edgar Wrighter be up there, you

852
00:46:53,200 --> 00:46:57,640
Speaker 2: know what I mean. So he, you know, helped me finish,

853
00:46:57,880 --> 00:47:00,440
Speaker 2: help me write now with the Iron Fists, and because

854
00:47:00,480 --> 00:47:02,840
Speaker 2: I got it written, I was ready to direct it.

855
00:47:02,920 --> 00:47:05,200
Speaker 2: But the funny thing is, as a writer and we

856
00:47:05,320 --> 00:47:06,880
Speaker 2: did the film, it was like some of the stuff

857
00:47:06,960 --> 00:47:11,440
Speaker 2: that is gry, like he'll, I say, they're gonna.

858
00:47:11,239 --> 00:47:13,040
Speaker 3: Blame him for it in Mail Dyan Fense, like they

859
00:47:13,080 --> 00:47:14,279
Speaker 3: chop his arms off, all that shit.

860
00:47:14,719 --> 00:47:18,080
Speaker 2: No, and then some of the stuff that was actually

861
00:47:19,520 --> 00:47:23,920
Speaker 2: funny and soft it was him, which is interesting because

862
00:47:24,280 --> 00:47:25,759
Speaker 2: exactly it doesn't make right.

863
00:47:25,880 --> 00:47:26,280
Speaker 1: Exactly.

864
00:47:26,760 --> 00:47:28,399
Speaker 2: Funny thing is, you know, don't forget I'm a grave.

865
00:47:29,960 --> 00:47:30,360
Speaker 1: I got you.

866
00:47:30,719 --> 00:47:34,200
Speaker 2: But the thing, you know, startying with Quinn was a blessing.

867
00:47:34,480 --> 00:47:35,600
Speaker 2: That's got to say that. You know a lot of

868
00:47:35,640 --> 00:47:38,600
Speaker 2: people got to go to college, uh and get there

869
00:47:38,719 --> 00:47:41,520
Speaker 2: and get their education. I was blessed to get it through.

870
00:47:41,880 --> 00:47:43,759
Speaker 2: I'm gonna just use this world as a definition of it.

871
00:47:43,840 --> 00:47:46,000
Speaker 2: Do apprenticeship, you know what I mean. I was willing

872
00:47:46,200 --> 00:47:49,080
Speaker 2: to sit beside great masters. You know, every every time

873
00:47:49,120 --> 00:47:50,640
Speaker 2: I acted in the film, like you know, when I

874
00:47:50,680 --> 00:47:53,759
Speaker 2: was an American gangster, I'm sitting beside really scott y know,

875
00:47:54,560 --> 00:47:56,319
Speaker 2: and being the resid helps you know what I mean

876
00:47:56,760 --> 00:47:58,920
Speaker 2: meaning like I'm not doing some bomb some bare related

877
00:47:59,040 --> 00:48:01,560
Speaker 2: like you know what I mean. Right, I traveled well

878
00:48:02,000 --> 00:48:04,840
Speaker 2: you know, not to use money here by my multimillionaires,

879
00:48:04,840 --> 00:48:08,560
Speaker 2: so it's not like I need anything, right, So so yeah,

880
00:48:08,600 --> 00:48:10,520
Speaker 2: I could beat you in Italy, you know what I mean?

881
00:48:10,600 --> 00:48:11,560
Speaker 2: And we could talk about it.

882
00:48:12,120 --> 00:48:15,759
Speaker 1: So what was camp Quinton like? Because for me, one

883
00:48:15,800 --> 00:48:18,279
Speaker 1: of the things I'd like to do the most if

884
00:48:18,320 --> 00:48:21,360
Speaker 1: I ever have free time. I love going to his

885
00:48:21,440 --> 00:48:24,680
Speaker 1: two movie theaters. I always go to New Beverly Nice,

886
00:48:24,760 --> 00:48:28,200
Speaker 1: like I'm always. I'm always because his collection is just

887
00:48:28,280 --> 00:48:32,960
Speaker 1: the illness as far as but I know that studying

888
00:48:33,040 --> 00:48:36,080
Speaker 1: under him, and he's so like he likes the energy

889
00:48:36,160 --> 00:48:38,719
Speaker 1: of creative people. Like what was the whole process like

890
00:48:38,840 --> 00:48:41,080
Speaker 1: with kill Bill? How do they call you?

891
00:48:41,320 --> 00:48:45,000
Speaker 3: And well, like you said, his movie theaters before his

892
00:48:45,160 --> 00:48:45,960
Speaker 3: movie theaters.

893
00:48:45,719 --> 00:48:50,120
Speaker 2: It was his house, right, all those prints he would

894
00:48:50,120 --> 00:48:52,439
Speaker 2: show him at his home and invite his friends over,

895
00:48:52,760 --> 00:48:55,240
Speaker 2: you know what I mean? And I was amongst those friends.

896
00:48:55,360 --> 00:48:59,920
Speaker 2: And then I was, you know, brave enough or humbling

897
00:49:00,040 --> 00:49:02,160
Speaker 2: enough to be like, y, can you teach me? You know?

898
00:49:02,160 --> 00:49:04,680
Speaker 2: I want to learn? And him also he doesn't know

899
00:49:04,719 --> 00:49:06,799
Speaker 2: how to use music equipment. But he's a very musical guy.

900
00:49:06,840 --> 00:49:09,480
Speaker 2: He could have been a music producer based on him here,

901
00:49:10,400 --> 00:49:11,759
Speaker 2: you know what I mean. So he was like, okay,

902
00:49:11,880 --> 00:49:14,680
Speaker 2: share you share that knowledge. And so we shared knowledge

903
00:49:14,719 --> 00:49:18,040
Speaker 2: with each other and sportship, friendship and spent a lot

904
00:49:18,080 --> 00:49:21,480
Speaker 2: of time together. But the time is. If you want

905
00:49:21,520 --> 00:49:24,600
Speaker 2: to make movies, then watch movies. If you want to

906
00:49:24,640 --> 00:49:27,879
Speaker 2: write books, then read books. Right, want to write a movie,

907
00:49:28,040 --> 00:49:32,359
Speaker 2: then study scripts. I bought fifty scripts just to read them.

908
00:49:33,200 --> 00:49:36,480
Speaker 2: I'm like, I'm reading Breakfast the Tiffany's you know what

909
00:49:36,520 --> 00:49:38,719
Speaker 2: I mean, I'm reading the Breakfast Club. Fuck it. I

910
00:49:38,880 --> 00:49:42,000
Speaker 2: read both of them, right, because these are successful scripts,

911
00:49:42,520 --> 00:49:44,040
Speaker 2: you know what I mean. And then at the end

912
00:49:44,040 --> 00:49:45,600
Speaker 2: of the day, though, I also get to you know,

913
00:49:46,560 --> 00:49:49,080
Speaker 2: like before kill Bill was finished, you know, he read

914
00:49:49,120 --> 00:49:50,800
Speaker 2: it to me parts of it, and then when it

915
00:49:50,920 --> 00:49:52,440
Speaker 2: was finished, he gave me a copy, you know what

916
00:49:52,440 --> 00:49:56,160
Speaker 2: I mean. You know Jango I was writing now nine

917
00:49:56,320 --> 00:49:58,560
Speaker 2: is while he was writing Jangos, he was on page forty.

918
00:49:58,600 --> 00:50:01,840
Speaker 2: I was on page ninety. So I was blessed and

919
00:50:01,960 --> 00:50:03,719
Speaker 2: Eli as well, you know what I mean. It was

920
00:50:03,840 --> 00:50:07,160
Speaker 2: it was you know that crew, Elvis Mitchell, you know

921
00:50:07,160 --> 00:50:10,360
Speaker 2: a certain crew with people and all that knowledge, and

922
00:50:10,640 --> 00:50:13,719
Speaker 2: me I was sponging the knowledge like I was.

923
00:50:13,960 --> 00:50:15,719
Speaker 3: I was allowing the knowledge to sponge on me.

924
00:50:16,160 --> 00:50:18,640
Speaker 2: Take it and the doorb it uh and then just

925
00:50:18,680 --> 00:50:21,840
Speaker 2: give you one idea of how something like how a

926
00:50:21,920 --> 00:50:22,360
Speaker 2: day would go.

927
00:50:22,840 --> 00:50:25,920
Speaker 3: It was like, yeah, I got I'm doing a double

928
00:50:25,960 --> 00:50:27,640
Speaker 3: feature tonight, you know what I mean?

929
00:50:27,760 --> 00:50:32,040
Speaker 2: It could be uh, Paul Mazerke's film, right, fucking you

930
00:50:32,120 --> 00:50:35,279
Speaker 2: know what I mean, Chris Christofferson's fucking four films or

931
00:50:35,360 --> 00:50:39,400
Speaker 2: something like we're gonna do Convoy and maybe casting over

932
00:50:39,520 --> 00:50:42,719
Speaker 2: Wong one of his joints, right, And so I'm like cool,

933
00:50:43,239 --> 00:50:46,160
Speaker 2: and and so we go and watch them. You know,

934
00:50:46,520 --> 00:50:48,640
Speaker 2: we've watched so many films. The Queen was such a

935
00:50:49,520 --> 00:50:54,120
Speaker 2: film cinephile, right, Yeah, that he had thirty five million

936
00:50:54,320 --> 00:50:55,520
Speaker 2: to print, so you watched it in a big d

937
00:50:55,719 --> 00:50:57,760
Speaker 2: that's one thing. But then he had sixty milli plints.

938
00:50:58,120 --> 00:50:59,320
Speaker 2: So now that means you got to watch it in

939
00:50:59,400 --> 00:51:04,000
Speaker 2: the living room, right, what it's going the morning? Now?

940
00:51:05,040 --> 00:51:07,840
Speaker 2: Who tapped out? Who made it? For the next one? Me?

941
00:51:09,200 --> 00:51:11,960
Speaker 2: I I'm you know, we hipot that's studio time. But

942
00:51:12,040 --> 00:51:14,239
Speaker 2: us I got older, I could go to six in

943
00:51:14,280 --> 00:51:16,920
Speaker 2: the morning, and then he had all the books and

944
00:51:17,160 --> 00:51:19,879
Speaker 2: that that he allowed access to, like yeah, you want

945
00:51:19,920 --> 00:51:22,239
Speaker 2: to take a book, the book whatever, you know what

946
00:51:22,239 --> 00:51:23,200
Speaker 2: I mean, you.

947
00:51:23,239 --> 00:51:29,400
Speaker 1: Know, yeah, yeah, like that to me is that's the dream,

948
00:51:30,000 --> 00:51:33,680
Speaker 1: like for real, like I love old archives and movies

949
00:51:33,760 --> 00:51:35,920
Speaker 1: like i'm I'm I was. I was so envious that

950
00:51:37,120 --> 00:51:39,480
Speaker 1: you had access to that man. That's that's I.

951
00:51:39,440 --> 00:51:42,040
Speaker 2: Would say something about him real quick too, so people would,

952
00:51:42,200 --> 00:51:44,840
Speaker 2: you know, just for sometimes people like he says this

953
00:51:44,960 --> 00:51:47,680
Speaker 2: world and this movies a lot and all that, and

954
00:51:47,760 --> 00:51:52,000
Speaker 2: it's like this hospitality. It's like, you know, my brother freedom,

955
00:51:52,520 --> 00:51:54,560
Speaker 2: my younger brother. You know, there's some time and all that.

956
00:51:55,520 --> 00:51:59,520
Speaker 2: You know, even if I wasn't in town and Quinn

957
00:51:59,560 --> 00:52:01,600
Speaker 2: was sewing movie, you'll let my brother come and watch

958
00:52:01,640 --> 00:52:03,120
Speaker 2: it with him and give him a room to spend

959
00:52:03,120 --> 00:52:03,400
Speaker 2: the night.

960
00:52:04,560 --> 00:52:07,600
Speaker 3: And freedom is straight up. And it's just like when

961
00:52:07,600 --> 00:52:09,520
Speaker 3: you family, you family and.

962
00:52:09,600 --> 00:52:11,600
Speaker 2: If you know. And that's so he was the godfather,

963
00:52:12,280 --> 00:52:13,320
Speaker 2: you know what I mean. It was he was the

964
00:52:13,560 --> 00:52:15,879
Speaker 2: abbot of film for me, you know what I mean.

965
00:52:16,000 --> 00:52:17,880
Speaker 2: And I would come with my peoples and he always

966
00:52:18,239 --> 00:52:22,480
Speaker 2: had supreme hospitality and and also always would give us

967
00:52:22,480 --> 00:52:24,399
Speaker 2: a little bit of wisdom. You know, remember one day

968
00:52:25,520 --> 00:52:28,800
Speaker 2: one of my mans that got murdered, and this was

969
00:52:28,800 --> 00:52:30,600
Speaker 2: the night that we had a plan to do something

970
00:52:30,640 --> 00:52:34,000
Speaker 2: together and I was gonna you know, I came because

971
00:52:34,000 --> 00:52:34,680
Speaker 2: I said I'll be there.

972
00:52:34,760 --> 00:52:36,960
Speaker 3: So I got there, I said, I'm actually don't.

973
00:52:36,920 --> 00:52:38,600
Speaker 2: I don't want to go. I got you know, I

974
00:52:38,640 --> 00:52:40,759
Speaker 2: got a problem I gotta deal with. So what you're

975
00:52:40,760 --> 00:52:43,080
Speaker 2: talking about? Hold on? Hold on? We playing this ship

976
00:52:43,400 --> 00:52:46,080
Speaker 2: like a month ago, right, So I'm like, yeah, so

977
00:52:46,440 --> 00:52:48,880
Speaker 2: hold on, let me make your margama to talk about it.

978
00:52:48,880 --> 00:52:50,480
Speaker 2: And I sold. So we talked about the problem, like yeah,

979
00:52:50,520 --> 00:52:54,279
Speaker 2: my man that and so you know, maybe I don't know, right,

980
00:52:54,960 --> 00:52:58,719
Speaker 2: Bong bong, right, yeah, and also deal with some things, right,

981
00:52:58,800 --> 00:53:02,560
Speaker 2: he said, hold on the miss playing style to you said,

982
00:53:02,600 --> 00:53:07,360
Speaker 2: you gotta understand. You said you're up here, right, and

983
00:53:07,440 --> 00:53:10,799
Speaker 2: there's not a lot of people from your community, from

984
00:53:10,840 --> 00:53:14,239
Speaker 2: your generation, from your culture that's up here. Say you're

985
00:53:14,360 --> 00:53:16,680
Speaker 2: up here just so that you can reach down and

986
00:53:16,800 --> 00:53:20,160
Speaker 2: pour somebody else up. That's why you're here, so you

987
00:53:20,239 --> 00:53:22,680
Speaker 2: can always be able to reach down and pour somebody

988
00:53:22,760 --> 00:53:26,319
Speaker 2: up if you ever go down. There's nobody up here

989
00:53:26,360 --> 00:53:29,080
Speaker 2: that can reach down. M You know what I mean,

990
00:53:29,320 --> 00:53:30,520
Speaker 2: so keep moving up here.

991
00:53:31,440 --> 00:53:33,360
Speaker 1: That's kind of what I want to close with. You know,

992
00:53:33,680 --> 00:53:38,840
Speaker 1: I've been studying you, and this is kind of what

993
00:53:39,000 --> 00:53:44,000
Speaker 1: I brought up the last episode for you personally. And

994
00:53:44,080 --> 00:53:47,000
Speaker 1: I feel like there's a few of us that, you know,

995
00:53:47,160 --> 00:53:51,360
Speaker 1: when we make it, there is a survivor's guilt that

996
00:53:52,440 --> 00:53:55,800
Speaker 1: sort of overshadows us a little bit. How do you

997
00:53:56,000 --> 00:53:59,320
Speaker 1: deal with the idea of survivor's guilt or the idea

998
00:53:59,320 --> 00:54:03,120
Speaker 1: of like, not everyone can come with you that sometimes

999
00:54:03,200 --> 00:54:07,600
Speaker 1: you have to save yourself, put your own oxygen mask

1000
00:54:07,719 --> 00:54:11,600
Speaker 1: on first before you can help other people.

1001
00:54:11,800 --> 00:54:13,440
Speaker 2: At the end of the day, I do help, right,

1002
00:54:14,120 --> 00:54:17,520
Speaker 2: I continue, you know, you know, that's just what we

1003
00:54:17,719 --> 00:54:20,600
Speaker 2: we gotta do that because that's that's part of our blessing.

1004
00:54:21,239 --> 00:54:23,839
Speaker 2: Right at minimum that just use the Bible on this one.

1005
00:54:24,640 --> 00:54:27,960
Speaker 2: At minimum, you got ten percent times, you know what

1006
00:54:27,960 --> 00:54:31,399
Speaker 2: I mean. So at minimum, you know, so I start

1007
00:54:31,520 --> 00:54:35,279
Speaker 2: to compartmentalize it. You know, I have my wife, you know,

1008
00:54:35,560 --> 00:54:38,200
Speaker 2: as a good head on her shoulder, and I have

1009
00:54:38,360 --> 00:54:41,080
Speaker 2: my older sister, and sometimes we'll choose who to help.

1010
00:54:41,840 --> 00:54:44,000
Speaker 2: Who've been helped five times already? All right, that's the

1011
00:54:44,040 --> 00:54:46,759
Speaker 2: fifth time. Let them go, you know, what I mean,

1012
00:54:47,040 --> 00:54:50,400
Speaker 2: But we all here to help believe that and know that, right.

1013
00:54:51,239 --> 00:54:53,759
Speaker 2: And the blessing though, hope, I hope you feel the same,

1014
00:54:55,160 --> 00:54:57,320
Speaker 2: is that sometimes you do go out to the world

1015
00:54:58,520 --> 00:55:01,200
Speaker 2: and you see, you know, whether it's homeless people. You know.

1016
00:55:01,560 --> 00:55:04,239
Speaker 2: I remember lying with Jay one day and we got

1017
00:55:04,280 --> 00:55:06,080
Speaker 2: to a light and he stopped the call your old

1018
00:55:06,120 --> 00:55:09,319
Speaker 2: stop stop stop and going down this windows just pulled

1019
00:55:09,320 --> 00:55:11,000
Speaker 2: out from under his getting some homeless that all right,

1020
00:55:11,080 --> 00:55:16,040
Speaker 2: go you know what I mean? And yeah, I do

1021
00:55:16,120 --> 00:55:18,000
Speaker 2: the same shit. That's what that's why, it's my man

1022
00:55:18,480 --> 00:55:21,399
Speaker 2: and whatever. But it's like I've seen the natural I've

1023
00:55:21,400 --> 00:55:24,120
Speaker 2: seen goes through the same thing. Right, It's that's how

1024
00:55:24,160 --> 00:55:26,600
Speaker 2: we are, That's how. But the beauty of it is

1025
00:55:26,680 --> 00:55:31,319
Speaker 2: that because we deal with hopefully we deal with all

1026
00:55:31,360 --> 00:55:36,239
Speaker 2: the stress and the and the obligatory thing of helping others, uh,

1027
00:55:36,440 --> 00:55:38,799
Speaker 2: the pressure of family needing.

1028
00:55:38,560 --> 00:55:42,600
Speaker 3: Help a lot and not never satisfied.

1029
00:55:42,520 --> 00:55:45,920
Speaker 2: Because you may help them five times, they won ten times, right,

1030
00:55:47,280 --> 00:55:50,320
Speaker 2: But then you're still able to go home to your peace.

1031
00:55:51,680 --> 00:55:54,200
Speaker 2: If I wasn't able to go home, you know what

1032
00:55:54,200 --> 00:55:55,440
Speaker 2: I mean, Like if I go back to East and

1033
00:55:55,480 --> 00:55:57,680
Speaker 2: I go to the room mansion, that ship is in

1034
00:55:57,760 --> 00:56:00,680
Speaker 2: the woods. Bro it's quiet. So I go back to

1035
00:56:00,760 --> 00:56:05,200
Speaker 2: that temple. Then I'm able to calm my shit down, reevaluate,

1036
00:56:05,280 --> 00:56:08,759
Speaker 2: and go back out again. So the best way I

1037
00:56:08,800 --> 00:56:11,000
Speaker 2: can say that is that you gotta be able to

1038
00:56:11,000 --> 00:56:14,799
Speaker 2: plug them back into yourself right. And then the last

1039
00:56:14,840 --> 00:56:18,480
Speaker 2: thing I say is that at this age, I realize

1040
00:56:18,520 --> 00:56:21,200
Speaker 2: that really helping people don't mean giving them no money.

1041
00:56:22,040 --> 00:56:24,200
Speaker 2: You know, that's the first that they want, you know

1042
00:56:24,239 --> 00:56:26,719
Speaker 2: what I mean, That's not what they need, you know

1043
00:56:26,719 --> 00:56:29,759
Speaker 2: what I mean? The money, it's almost.

1044
00:56:29,520 --> 00:56:31,680
Speaker 3: Like it's like food, You're gonna eat it and ship

1045
00:56:31,719 --> 00:56:32,000
Speaker 3: it out.

1046
00:56:33,000 --> 00:56:35,719
Speaker 2: You know. They need to know how to fast, They

1047
00:56:35,800 --> 00:56:38,759
Speaker 2: need to know something else. And at this age, I've

1048
00:56:38,800 --> 00:56:44,200
Speaker 2: been doing that more, you know, like striv into like Okay, hey,

1049
00:56:44,560 --> 00:56:46,120
Speaker 2: I'm gonna give them a little blessing.

1050
00:56:46,200 --> 00:56:48,239
Speaker 1: But now help people now. But now I got to.

1051
00:56:48,640 --> 00:56:50,919
Speaker 2: Now let me hit them with this. If they don't

1052
00:56:50,960 --> 00:56:55,000
Speaker 2: take this after I gave them this, then that means

1053
00:56:55,040 --> 00:56:58,400
Speaker 2: they don't want me. They want this, and they go

1054
00:56:58,520 --> 00:57:02,439
Speaker 2: better go find that someone else. Because money, uh, money

1055
00:57:02,640 --> 00:57:04,600
Speaker 2: is something that you bless your family with. But I

1056
00:57:04,680 --> 00:57:10,239
Speaker 2: will say this too, money is something that is earned. Man.

1057
00:57:10,280 --> 00:57:13,440
Speaker 2: It's It's something that is earned. If you don't earn it,

1058
00:57:14,520 --> 00:57:15,719
Speaker 2: you know what I mean, you will never know the

1059
00:57:15,880 --> 00:57:16,600
Speaker 2: value of it.

1060
00:57:18,040 --> 00:57:22,040
Speaker 1: There it is, brother, Thank you, brother, Thank you. I

1061
00:57:22,160 --> 00:57:24,600
Speaker 1: appreciate you. This is a Quest Love Supreme our our

1062
00:57:24,760 --> 00:57:29,840
Speaker 1: Part two conversation with Riza uh Man of Renaissance. And

1063
00:57:30,120 --> 00:57:33,080
Speaker 1: you know, I'm not even going to ask you what

1064
00:57:33,160 --> 00:57:34,760
Speaker 1: do you have next down the pipe because I know

1065
00:57:34,880 --> 00:57:36,680
Speaker 1: You're always going to have something down the pipe. But

1066
00:57:37,320 --> 00:57:41,280
Speaker 1: thank you man for for just years of blessing us

1067
00:57:41,320 --> 00:57:42,040
Speaker 1: and inspiring us.

1068
00:57:42,120 --> 00:57:42,240
Speaker 2: Man.

1069
00:57:42,320 --> 00:57:44,720
Speaker 1: I appreciate that. Thank you for coming on Quest Love Supreme.

1070
00:57:44,760 --> 00:57:47,600
Speaker 2: Man, Thank you question asp Baz.

1071
00:57:49,240 --> 00:57:52,120
Speaker 1: Thank you for listening to Quest Love Supreme. Hosted by

1072
00:57:52,600 --> 00:57:56,320
Speaker 1: a Mere Quest Loft Thompson, Are you saying clear? Sugar,

1073
00:57:56,400 --> 00:58:01,520
Speaker 1: Steve mandell An unpaid, Bill Sherman. The executive producers are

1074
00:58:02,120 --> 00:58:08,480
Speaker 1: Amir quest Love, Thompson, Sean g and Brian Calhoun. Produced

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Speaker 1: by Brittany Benjamin Cousin, Jake Payne, Hyah Sainclair, edited by

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Speaker 1: Alex Conroy. Produced by iHeart by Noel Brown. West Love

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Speaker 1: Supreme is a production of iHeart Radio. For more podcasts

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Speaker 1: from iHeart Radio, visit the iHeart Radio app Apple podcasts,

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Speaker 1: or wherever you listen to your favorite shows.