WEBVTT - The Staten Island Problem - Part  4: Wu-Tang vs. Shaolin

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<v Speaker 1>Pushkambe. One of my favorite books is Middle March by

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<v Speaker 1>George Elliott. It's about the life and manners of a

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<v Speaker 1>small English town in the nineteenth century. It's also a

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<v Speaker 1>cautionary tale for the kind of person I am. There's

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<v Speaker 1>a character in the book named Edward Kasabon, a dreary,

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<v Speaker 1>middle aged man who's engaged in a decades long writing project.

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<v Speaker 1>Kasabon collects facts he writes on little sheets of paper

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<v Speaker 1>that he stores in the pigeonholes of his library shelves.

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<v Speaker 1>He claims that someday he's going to use these facts

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<v Speaker 1>to prove that all the myths of the world are

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<v Speaker 1>really one myth. He's obsessed. He calls it the key

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<v Speaker 1>to all mythologies, and he sees it everywhere. I'm not

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<v Speaker 1>middle aged, and I am fairly uppeed, but I fear

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<v Speaker 1>that last bit is me. I see the Statine Island

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<v Speaker 1>secession movement everywhere in our world today. I've carried my

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<v Speaker 1>facts about the Staten Island secession movement around with me

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<v Speaker 1>for quite a while. Now they burn a hole in

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<v Speaker 1>my pocket. I go to parties, and inevitably I wind

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<v Speaker 1>up in the corner with the Staten Islander who has

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<v Speaker 1>suddenly revealed themselves. They look interested and then mildly concerned

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<v Speaker 1>as I pull from memory the facts that I have

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<v Speaker 1>stored in the pigeonholes of a document I have titled

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<v Speaker 1>Excellent Staaten Island Facts. Did you know the towers of

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<v Speaker 1>the Verizonto and Narrows Bridge are so far apart that

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<v Speaker 1>they had to take into account the curvature of the

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<v Speaker 1>earth when they built them. Did you know that Staten

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<v Speaker 1>Island claims to have been home to the true and

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<v Speaker 1>forgotten inventor of the telephone? Am i kazabon God? I

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<v Speaker 1>hope not. I caution myself against seeing my project everywhere.

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<v Speaker 1>Don't be the hammer to whom everything looks like a nail.

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<v Speaker 1>Don't try to write the key to all mythologies. And

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<v Speaker 1>then I learned something like this. Wu Tang Clan, arguably

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<v Speaker 1>the most important group in hip hop history, is from

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<v Speaker 1>Staten Island. They made their first album, Enter the Wu

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<v Speaker 1>Tang thirty six Chambers, entirely during the height of the

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<v Speaker 1>secession movement, and it came out in nineteen ninety three,

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<v Speaker 1>just one week after the island was gonna vote on secession.

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<v Speaker 2>I'm going to klomp sat the new joke chaf Sa

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<v Speaker 2>saying the love was no job at second hand.

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<v Speaker 1>Mons bells don't know a man. So then we moved

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<v Speaker 1>the salon land. I began to listen to this record

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<v Speaker 1>every day. I worked on this project on the ferry

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<v Speaker 1>to the archives, on the subway to work. Shall in

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<v Speaker 1>what they called Staten Island is all over it.

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<v Speaker 2>I'll come from the Sallins slump and the halo whom

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<v Speaker 2>it's come a wopn meggas and guns.

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<v Speaker 1>Their music is all about their lives, what they witnessed

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<v Speaker 1>on the island at the time. Like listen to this

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<v Speaker 1>from the song Wu Tang seventh Chamber. They bring up

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<v Speaker 1>the projects in northern Staten Island where Wu Tang formed

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<v Speaker 1>nicknamed Kill a Hill.

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<v Speaker 3>Like clash the Russia Slash a switt and they go

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<v Speaker 3>back like a Dutch mask of Chilla now jumped off

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<v Speaker 3>and Chilla Pilla. I was the thrilla in the Ali

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<v Speaker 3>Faisa Manila.

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<v Speaker 1>It's all about their lives in New York City in

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<v Speaker 1>the early nineteen nineties, who they were becoming, and what

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<v Speaker 1>it all had to do with being from the rugged

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<v Speaker 1>lands of Shaolin. I considered putting this on my list

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<v Speaker 1>of excellent Staten Island facts and leaving it at that.

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<v Speaker 1>But I had no choice. I put on my headphones,

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<v Speaker 1>I picked up the phone, I opened my notebook. Casiman

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<v Speaker 1>rides again. You're listening to revisionist history. I'm Ben Thatt

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<v Speaker 1>of Haaffrey, and this is the Staten Island Problem, the

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<v Speaker 1>series about the movement that threatened to bring down the

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<v Speaker 1>greatest city in the country. In this episode, I bring

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<v Speaker 1>you the story of the rise of one of the

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<v Speaker 1>greatest rap groups in history. That happened all while the

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<v Speaker 1>Secession movement unfolded in the background. We're going to zero

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<v Speaker 1>in on an entirely different experience taking place on the

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<v Speaker 1>island at the same time, one that reveals just how

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<v Speaker 1>entrench the Staten Island problem really is, but one that

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<v Speaker 1>also I think might show us a way to solve it.

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<v Speaker 1>This is episode four, Wu Tang versus the Shoutlin. I

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<v Speaker 1>should say off the bat that I was unable to

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<v Speaker 1>reach the Wu Tang clan. For a brief moment, the

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<v Speaker 1>manager of a lesser known member of the group considered

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<v Speaker 1>giving me an interview. Then he stopped taking my calls. Domingo,

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<v Speaker 1>if you hear this, I'm ready when you are. But

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<v Speaker 1>luckily I was able to track someone else down.

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<v Speaker 4>I was actually one of the first journalists to ever

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<v Speaker 4>deal with Wu Tang because their record label, Loud called

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<v Speaker 4>me up.

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<v Speaker 1>Fernando was a hip hop journalist in the eighties and nineties.

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<v Speaker 1>He covered Wu Tang from the beginning. Had he ever

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<v Speaker 1>considered the crucial overlap of Wu Tang's formation in Staten

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<v Speaker 1>Island secession? He had not.

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<v Speaker 4>I had no idea any of that stuff was going

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<v Speaker 4>on at the time.

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<v Speaker 1>I don't even know if they did. Like it was

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<v Speaker 1>the they must have. It was the biggest story on

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<v Speaker 1>Staten Island. What was it going to be?

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<v Speaker 4>Just like Staten Island was just going to be a city.

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<v Speaker 1>Yeah. When the Wu Tang cland first formed their label

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<v Speaker 1>called Skiz to write their bio, so he connected with

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<v Speaker 1>the group's to facto leader, a guy named Bobby Diggs

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<v Speaker 1>who went by the name Rizza.

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<v Speaker 4>And I was immediately struck by this guy, like I

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<v Speaker 4>could detect like some serious intelligence in this sky.

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<v Speaker 1>Rizza was a former drug dealer with no professional prospects

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<v Speaker 1>living out on Staten Island. That alone was strange in

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<v Speaker 1>the pantheon of hip hop. Brooklyn and the Bronx Reign Supreme.

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<v Speaker 1>Nobody is from Staten Island.

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<v Speaker 4>All of the five Borrows in New York were pretty

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<v Speaker 4>represented in hip hop in the nineties.

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<v Speaker 1>You had the you know you had like the Boogie

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<v Speaker 1>Down Bronx. It's one of them.

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<v Speaker 4>So obviously Brooklyn.

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<v Speaker 1>From the next team a man saying.

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<v Speaker 4>That from the projects the money make in Manhattan.

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<v Speaker 2>Now I'm the guy named Curtis blow Ain't Christmas is

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<v Speaker 2>one thing I know? So every year just about this time,

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<v Speaker 2>I celebrate kids with a rhyme.

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<v Speaker 4>You know, queens you had Queensbridge projects produced so many

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<v Speaker 4>amazing artists like nas Mob.

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<v Speaker 2>Deep every day deal with the Russia and mixed up in.

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<v Speaker 4>And like Staten Island. You know who was from Staten Island.

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<v Speaker 4>There was not a lot of acts coming out of

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<v Speaker 4>Staten Island.

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<v Speaker 1>You know you had.

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<v Speaker 4>Jesus I'm blanking.

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<v Speaker 1>This is all to say. Skiz was surprised. Here was

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<v Speaker 1>the relatively unknown MC from the island with an encyclopedic

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<v Speaker 1>knowledge of kung fu movies and a crew of eight

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<v Speaker 1>other EMCs who named themselves after a form of martial

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<v Speaker 1>arts invented by a Taoist hermit.

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<v Speaker 4>Skiz was like, what, Wow, this guy is something else.

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<v Speaker 1>So Skiz journalist that he is began a decades long

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<v Speaker 1>process of figuring out how exactly the Wu Tang clan

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<v Speaker 1>came to be. Rizza decided what he wanted to do

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<v Speaker 1>with his life on America's two hundredth birthday. He was

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<v Speaker 1>in the park Hill projects of Staten Island, who was

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<v Speaker 1>July nineteen seventy six, and there was a party in

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<v Speaker 1>the courtyard. A DJ was spinning records and rapping over them.

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<v Speaker 4>He dip dip dive and socialized. I think those are

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<v Speaker 4>the exact words that Rizza remembered, and that kind of

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<v Speaker 4>just just that energy and just the excitement of that

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<v Speaker 4>whole thing of seeing this free party happening in this environment.

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<v Speaker 4>You know, all these kids running around and adults and

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<v Speaker 4>people just enjoying the music and enjoying each other's company.

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<v Speaker 4>This was how this was how hip hop started.

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<v Speaker 1>Rizza was seven at the time, and.

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<v Speaker 4>When you're a young kid exposed to this and this

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<v Speaker 4>is like the excitement that's happening in your neighborhood, you

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<v Speaker 4>want to be a part of it. And he wanted

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<v Speaker 4>to be a part of it.

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<v Speaker 1>He stayed up late into the night transfixed.

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<v Speaker 4>So immediately he goes home and he starts writing rhymes,

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<v Speaker 4>you know, and then as soon as he could, he

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<v Speaker 4>starts DJing.

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<v Speaker 1>Riza moved around a lot as a kid. He was

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<v Speaker 1>born in Brooklyn, spent some of his childhood in North Carolina,

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<v Speaker 1>but he landed in the park Hill Projects on the

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<v Speaker 1>north shore of Staten Island. The buildings were built in

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<v Speaker 1>nineteen sixty five, around the same time as the bridge

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<v Speaker 1>and the express that split the island down the middle

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<v Speaker 1>into north and south shore. North was where the black

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<v Speaker 1>people lived, South was where the white people lived. Several

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<v Speaker 1>Staten Islanders told me the Expressway was their equivalent of

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<v Speaker 1>the Mason Dixon Line.

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<v Speaker 5>People like, where are you from? And I'm like so.

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<v Speaker 5>I used to say, if I tell you, I have

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<v Speaker 5>to kill you, and you're like why, And then I'm

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<v Speaker 5>like Staten Island.

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<v Speaker 1>One day, when I was listing excellent Staten Island facts

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<v Speaker 1>to a friend, she told me you should meet Daphne McWilliams.

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<v Speaker 1>She's a filmmaker from Staten Island.

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<v Speaker 5>There were only three houses on my parents' block, and

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<v Speaker 5>then as from the lake was park Hill Projects.

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<v Speaker 1>Her parents were from Trinidad and Jamaica and didn't really

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<v Speaker 1>know the intricate racial codes of Staten Island. Her family

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<v Speaker 1>moved to the white area across from the Park Hill

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<v Speaker 1>projects back in the nineteen seventies.

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<v Speaker 5>But when my mother found that house, she got a threatening,

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<v Speaker 5>I guess call or something where they were like, oh

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<v Speaker 5>you something like you better hope that you don't see

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<v Speaker 5>your kids floating in and in the pond.

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<v Speaker 1>By one estimate, there were fewer than a thousand people

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<v Speaker 1>have called her South of the Expressway. Daphne stuck out.

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<v Speaker 1>She told me a story from when she was a

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<v Speaker 1>kid about having a crush on an Italian American boy

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<v Speaker 1>named Billy. One day she called his.

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<v Speaker 5>House and his mother picked up, and she was like,

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<v Speaker 5>don't ever call this house again. So I went to

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<v Speaker 5>school the next day. I was upset and I went

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<v Speaker 5>and speak to this priest. I don't know what I

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<v Speaker 5>did wrong. I don't know what I did wrong, And

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<v Speaker 5>telling the guy goes, well, you see, he says something

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<v Speaker 5>to like almost like this that's a little happened for

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<v Speaker 5>white kids, and it's like a little.

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<v Speaker 1>Heaven for black kids segregated.

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<v Speaker 5>I was like, oh my god, Like I had no

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<v Speaker 5>idea when I look back and think about it, we

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<v Speaker 5>always stood out because we were always the.

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<v Speaker 4>The black family.

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<v Speaker 5>My parents didn't raise us in a segregated mindset. We

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<v Speaker 5>just never It was the community that made us feel different,

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<v Speaker 5>especially as you get older.

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<v Speaker 1>But the truth is all of New York City was segregated.

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<v Speaker 1>Then it seemed like there was a defining race riot

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<v Speaker 1>every year. Very do the right thing. The reality that

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<v Speaker 1>Mayor Dinkins's vision of a beautiful mosaic obscured is that

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<v Speaker 1>if one bit of colored glass from the mosaic crossed another,

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<v Speaker 1>someone might end up shot or run over, and then

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<v Speaker 1>the riots would begin again. But Southern Staten Island was

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<v Speaker 1>a particularly dramatic case. It may as well have been

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<v Speaker 1>the Deep South. When one Wu Tang member went to

0:11:50.880 --> 0:11:54.079
<v Speaker 1>Daphne's area, he remembered getting chased out by white kids

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<v Speaker 1>with motorcycles. They spray painted KKK on the rocks to

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<v Speaker 1>warn the black kids away. This was the Staten Island

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<v Speaker 1>Riza grew up on, but he had a way of

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<v Speaker 1>escaping that reality. Hip hop. By the time Rizza was

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<v Speaker 1>in his early twenties, hip hop had gone stratospheric from

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<v Speaker 1>the courtyards and wreck rooms of the New York City

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<v Speaker 1>projects to the top of the Billboard charts. The labels

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<v Speaker 1>were grabbing at any artists they could. Rizza got a deal.

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<v Speaker 1>He brought his new label a bunch of songs, and

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<v Speaker 1>they said, we think girls will like you. So we

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<v Speaker 1>wound up releasing an EP called Ooh We Love You Rakkim,

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<v Speaker 1>a record that presented him as a sweet ladies man

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<v Speaker 1>named Prince Rakim Many Ladies. It was an attempt to

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<v Speaker 1>do something extremely commercial, totally inoffensive and upbeat, and also

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<v Speaker 1>fundamentally false and corny, and maybe for that reason it bombed.

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<v Speaker 1>Rizza got dropped from his label and he was back

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<v Speaker 1>to zero. That's when he started dealing drugs and almost

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<v Speaker 1>went to prison for attempted murder. He argued self defense

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<v Speaker 1>and beat the charges in the end, and he had

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<v Speaker 1>ten thousand dollars left. It was enough to buy some

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<v Speaker 1>drugs and sell them. But he had a kid on

0:13:17.079 --> 0:13:19.959
<v Speaker 1>the way. He had to make a choice, and this

0:13:20.040 --> 0:13:23.360
<v Speaker 1>choice became so legendary that he's still talking about it.

0:13:24.640 --> 0:13:26.999
<v Speaker 1>Here he is on a recent episode of a podcast

0:13:27.040 --> 0:13:31.119
<v Speaker 1>called Flagrant.

0:13:29.520 --> 0:13:33.199
<v Speaker 6>I had t k and the gag was The plan

0:13:33.479 --> 0:13:36.160
<v Speaker 6>was to get a brick, so so we figured, oh,

0:13:36.199 --> 0:13:39.200
<v Speaker 6>if we flipped this twenty we could at least get eighty.

0:13:40.160 --> 0:13:43.040
<v Speaker 6>The thing was, Joe I had a baby in the

0:13:43.120 --> 0:13:46.479
<v Speaker 6>oven or maybe just born right, So life was like

0:13:46.800 --> 0:13:47.960
<v Speaker 6>what are you going to do? Yeah?

0:13:49.640 --> 0:13:50.479
<v Speaker 1>But then.

0:13:51.760 --> 0:13:54.480
<v Speaker 6>I was like, nah, I have a second chance.

0:13:55.719 --> 0:13:58.959
<v Speaker 1>That's when he started calling himself Rizza r z A.

0:13:59.920 --> 0:14:02.959
<v Speaker 1>He would later say it was short for rakeem zig

0:14:03.040 --> 0:14:07.040
<v Speaker 1>zag zig allah. While everyone else zigged, it was time

0:14:07.120 --> 0:14:10.480
<v Speaker 1>for him to zag. And so, moving on a Staten

0:14:10.520 --> 0:14:12.679
<v Speaker 1>Island that was in the middle of its own very

0:14:12.679 --> 0:14:15.920
<v Speaker 1>big zag, he began to make a bold plan for

0:14:16.000 --> 0:14:20.960
<v Speaker 1>an independence movement of his own, something called Wu Tang Clan.

0:14:37.200 --> 0:14:40.320
<v Speaker 1>After he beat his charges, Bobby Diggs aka there is

0:14:40.359 --> 0:14:44.440
<v Speaker 1>A began to walk around Staten Island and he started

0:14:44.479 --> 0:14:48.320
<v Speaker 1>to take these long, drawn out walks day after day.

0:14:49.280 --> 0:14:52.400
<v Speaker 6>So I'm walking and I'm thinking, yo, and I'll walk

0:14:52.400 --> 0:14:53.920
<v Speaker 6>in off step, I'll walk up the stand and people

0:14:54.080 --> 0:14:57.080
<v Speaker 6>people thought there was the people who thought I was

0:14:57.080 --> 0:15:00.879
<v Speaker 6>losing my mind because I'm walking and I'm talking to myself.

0:15:00.920 --> 0:15:07.960
<v Speaker 1>And he would walk the island and think Staten Island

0:15:08.040 --> 0:15:10.999
<v Speaker 1>was more than twice the size of men, and Rizza

0:15:11.080 --> 0:15:14.080
<v Speaker 1>could just walk and walk. He would start at the

0:15:14.080 --> 0:15:16.960
<v Speaker 1>projects on the north shore, then maybe journey along the

0:15:17.000 --> 0:15:24.720
<v Speaker 1>coastline through the suburban streets. Rizza was ready to make

0:15:24.800 --> 0:15:27.520
<v Speaker 1>music again, but the first time out with his Prince

0:15:27.560 --> 0:15:31.440
<v Speaker 1>Rakim project had gone badly. But the idea he was

0:15:31.440 --> 0:15:34.520
<v Speaker 1>coming up with now was going to be different. And

0:15:34.560 --> 0:15:36.600
<v Speaker 1>I want to argue here that it has everything to

0:15:36.640 --> 0:15:40.440
<v Speaker 1>do with Staten Island. Let me share with you some

0:15:40.440 --> 0:15:44.920
<v Speaker 1>writing from Rizza's book, The Tao of Wu. I spent

0:15:44.960 --> 0:15:48.800
<v Speaker 1>my formative years on an island, Staten Island, which is

0:15:48.840 --> 0:15:53.240
<v Speaker 1>a blessing I've taken with me through life in Staten Island.

0:15:53.320 --> 0:15:55.840
<v Speaker 1>Wu Tang were set apart from all the influences and

0:15:55.920 --> 0:15:59.360
<v Speaker 1>fads that were happening in the other four boroughs. A

0:15:59.479 --> 0:16:02.600
<v Speaker 1>nine man hip hop crew based on mathematics, chess, comics

0:16:02.600 --> 0:16:05.239
<v Speaker 1>and kung fuflicks wasn't springing up in the middle of

0:16:05.239 --> 0:16:09.440
<v Speaker 1>a Manhattan arts scene. Only on a remote island can

0:16:09.479 --> 0:16:12.519
<v Speaker 1>some thing like King Kong grow to his full capacity.

0:16:15.880 --> 0:16:18.680
<v Speaker 1>But the projects in Staten Island were a difficult place

0:16:18.680 --> 0:16:21.080
<v Speaker 1>to live. A few of the Wu Tang members have

0:16:21.160 --> 0:16:24.360
<v Speaker 1>written books, and reading them it's clear that it wasn't

0:16:24.440 --> 0:16:26.680
<v Speaker 1>just the remoteness of Staten Island that led them to

0:16:26.680 --> 0:16:30.720
<v Speaker 1>the Wu Tang clan. It was also what they experienced there,

0:16:31.000 --> 0:16:35.080
<v Speaker 1>especially in the projects. One Wu Tang member. You God

0:16:35.440 --> 0:16:38.480
<v Speaker 1>wrote about the first time he saw somebody die. He

0:16:38.600 --> 0:16:41.399
<v Speaker 1>was five years old, sitting with his mom listening to

0:16:41.479 --> 0:16:44.440
<v Speaker 1>Loving You by Minnie Ripperton play on the radio outside.

0:16:45.600 --> 0:16:47.600
<v Speaker 1>When he heard a crowd forming in the courtyard. He

0:16:47.680 --> 0:16:50.239
<v Speaker 1>ran out to look. A woman was standing on the

0:16:50.320 --> 0:16:54.320
<v Speaker 1>roof screaming. He watched so long his neck one stuff.

0:16:55.320 --> 0:16:58.760
<v Speaker 1>Then she jumped or fell, You, God wrote in his

0:16:58.800 --> 0:17:02.600
<v Speaker 1>book called Raw. I was a toddler. The sound of

0:17:02.640 --> 0:17:06.000
<v Speaker 1>her hitting the concrete steps would resonate with me forever.

0:17:07.800 --> 0:17:10.439
<v Speaker 1>So when Rizza walked Staaten Island, and it wasn't just

0:17:10.520 --> 0:17:13.159
<v Speaker 1>this utopian vision of the isolated island where you can

0:17:13.200 --> 0:17:16.800
<v Speaker 1>dream big. It was also the deeply segregated place where

0:17:16.920 --> 0:17:19.920
<v Speaker 1>kids living on their own little island watched adults fall

0:17:19.960 --> 0:17:24.640
<v Speaker 1>to their death, a kind of paradox. And my theory

0:17:24.720 --> 0:17:28.760
<v Speaker 1>is that paradox was expressed in the word Shao limb.

0:17:32.320 --> 0:17:34.480
<v Speaker 4>Yeah.

0:17:34.520 --> 0:17:36.760
<v Speaker 1>When Rizza was a kid, he and his cousin used

0:17:36.760 --> 0:17:40.119
<v Speaker 1>to go to a Times Square porno theater. Sometimes it

0:17:40.200 --> 0:17:44.000
<v Speaker 1>showed Kung Fu and one movie that they loved, in particular,

0:17:44.560 --> 0:17:46.880
<v Speaker 1>the thirty sixth Chamber of Shao Lim.

0:17:47.480 --> 0:17:50.520
<v Speaker 7>But sure or a man choose, Oh well armed, what

0:17:50.560 --> 0:17:51.160
<v Speaker 7>can we do?

0:17:51.560 --> 0:17:53.720
<v Speaker 4>No man so we he cannot help.

0:17:54.720 --> 0:17:56.960
<v Speaker 1>Most people came to that Times Square movie theater to

0:17:57.040 --> 0:18:00.040
<v Speaker 1>jerk off, sniff glue, or shoot heroin. But Rizza would

0:18:00.080 --> 0:18:02.320
<v Speaker 1>later say in interviews that he and his cousin were

0:18:02.400 --> 0:18:05.480
<v Speaker 1>locked in on this poorly dubbed movie about a small

0:18:05.560 --> 0:18:08.680
<v Speaker 1>village in China that was being oppressed by a distant government.

0:18:09.680 --> 0:18:12.440
<v Speaker 1>Hero of the movie is a villager who journeys to

0:18:12.520 --> 0:18:15.720
<v Speaker 1>the Shaolin temple in China to learn to fight back.

0:18:16.920 --> 0:18:22.320
<v Speaker 1>Rizza saw this movie over three hundred times. He hadn't

0:18:22.360 --> 0:18:26.119
<v Speaker 1>realized that kind of oppression happened to people who weren't black.

0:18:27.560 --> 0:18:29.880
<v Speaker 1>This is from the thirty six Chamber when our hero

0:18:30.000 --> 0:18:31.600
<v Speaker 1>learns what Shaolin.

0:18:31.360 --> 0:18:33.640
<v Speaker 7>Is shallin school is restricted.

0:18:35.000 --> 0:18:39.040
<v Speaker 4>Only monks had taught that if Shaolin techniques could be

0:18:39.080 --> 0:18:42.280
<v Speaker 4>taught here and the people could use it to fight

0:18:42.320 --> 0:18:44.600
<v Speaker 4>the Manchu troops, that would be good.

0:18:45.480 --> 0:18:48.600
<v Speaker 1>At some point, Rizza started to call Staten Island Shaolin,

0:18:49.200 --> 0:18:52.000
<v Speaker 1>the place he learned his secret weapon to fighting oppression

0:18:52.080 --> 0:18:55.600
<v Speaker 1>hip hop but Staten Island was also a version of

0:18:55.600 --> 0:18:59.560
<v Speaker 1>that distant oppressive government he saw in the films. And

0:18:59.600 --> 0:19:01.520
<v Speaker 1>as he walked the island trying to come up with

0:19:01.560 --> 0:19:04.240
<v Speaker 1>his next play, he didn't decide to start a group

0:19:04.280 --> 0:19:07.160
<v Speaker 1>called the Shaolin Clan. He came up with an idea

0:19:07.240 --> 0:19:10.880
<v Speaker 1>for something called the Wu Tang Clan, named after Chao

0:19:10.960 --> 0:19:14.680
<v Speaker 1>Lin's rival. This is from another kung fu movie they loved,

0:19:14.800 --> 0:19:16.920
<v Speaker 1>called Shao Lin Versus Wu Tang.

0:19:17.440 --> 0:19:19.200
<v Speaker 3>Isn't it true that you think you're better than us,

0:19:19.240 --> 0:19:20.960
<v Speaker 3>but you're afraid that one day the Wu Tang will

0:19:20.960 --> 0:19:21.600
<v Speaker 3>overtake you?

0:19:21.360 --> 0:19:23.160
<v Speaker 7>You so you he was your special person to get

0:19:23.200 --> 0:19:23.400
<v Speaker 7>rid of.

0:19:23.360 --> 0:19:25.160
<v Speaker 8>By master, who was your biggest threat on sen No,

0:19:25.240 --> 0:19:27.960
<v Speaker 8>it isn't nice song with my own earnsense, Chao Lynn, I'm.

0:19:27.880 --> 0:19:29.800
<v Speaker 6>Afraid of the Wu Tang will Wu Tang will find

0:19:29.840 --> 0:19:30.280
<v Speaker 6>Listen to me.

0:19:30.920 --> 0:19:32.160
<v Speaker 3>Someone is trying to frame me.

0:19:34.720 --> 0:19:39.760
<v Speaker 1>Rizza kept walking and thinking Shao Lin Wu Tang thirty

0:19:39.800 --> 0:19:46.440
<v Speaker 1>six chambers, Shao Ln Wu Tang thirty six chambers. Wu

0:19:46.480 --> 0:19:50.080
<v Speaker 1>Tang biographer Skiz Fernando knew all about those walks Rizza

0:19:50.120 --> 0:19:50.520
<v Speaker 1>would take.

0:19:51.520 --> 0:19:53.720
<v Speaker 4>That's one good thing about state. Neile and you can

0:19:53.800 --> 0:19:58.880
<v Speaker 4>walk around in these nice neighborhoods with like Victorian mansions,

0:19:58.920 --> 0:20:01.760
<v Speaker 4>you don't have to worry about getting bugged necessarily.

0:20:02.920 --> 0:20:04.800
<v Speaker 1>And what would have been on the lawns of all

0:20:04.840 --> 0:20:08.960
<v Speaker 1>those Victorian mansions. Rizza was walking by signs that said

0:20:09.080 --> 0:20:12.280
<v Speaker 1>vote yes for the City of Staten Island, secession means

0:20:12.320 --> 0:20:16.359
<v Speaker 1>a better life, billboards for secession above the streets, the

0:20:16.440 --> 0:20:18.400
<v Speaker 1>same thing as was on the front page of the

0:20:18.440 --> 0:20:21.800
<v Speaker 1>paper all the time, the same thing the NAACP of

0:20:21.840 --> 0:20:25.320
<v Speaker 1>Staten Island was hosting meetings about, worrying that this could

0:20:25.360 --> 0:20:28.080
<v Speaker 1>be really bad for black people living on Staten Island.

0:20:29.280 --> 0:20:32.320
<v Speaker 1>Let me be clear, I have never found Riza himself

0:20:32.360 --> 0:20:35.720
<v Speaker 1>talking about Staten Island secession, but in my Kasmon mode

0:20:35.840 --> 0:20:39.120
<v Speaker 1>I see a connection. Because as he walked a Staten

0:20:39.160 --> 0:20:41.400
<v Speaker 1>Island that felt like it wasn't welcome in New York

0:20:41.440 --> 0:20:44.480
<v Speaker 1>City and was striking out on its own, this guy,

0:20:44.520 --> 0:20:46.680
<v Speaker 1>who had had every reason not to feel welcome on

0:20:46.760 --> 0:20:49.920
<v Speaker 1>Staten Island formed a plan for an unlikely hip hop

0:20:49.960 --> 0:20:52.800
<v Speaker 1>group from Shoolin that was about to do the same.

0:20:53.920 --> 0:20:56.920
<v Speaker 1>Maybe he thought they could skip the whole major label

0:20:56.960 --> 0:20:59.720
<v Speaker 1>thing that had screwed him before. Maybe he didn't have

0:20:59.800 --> 0:21:03.639
<v Speaker 1>to sanitize his life in character to succeed. Maybe there

0:21:03.680 --> 0:21:05.879
<v Speaker 1>could be a hip hop group from the forgotten borough

0:21:06.400 --> 0:21:09.040
<v Speaker 1>that made it all happen on its own, and that

0:21:09.080 --> 0:21:13.800
<v Speaker 1>group would be Wu Tang Clan. He began to assemble

0:21:13.840 --> 0:21:17.200
<v Speaker 1>his crew, and the core ideology for Riza I think

0:21:17.640 --> 0:21:20.040
<v Speaker 1>had a whole lot in common with the Secession movement.

0:21:20.400 --> 0:21:25.159
<v Speaker 1>It's the exact same fantasy. If some central authority is

0:21:25.200 --> 0:21:27.760
<v Speaker 1>dominating you and you don't like it, what do you do?

0:21:28.680 --> 0:21:32.200
<v Speaker 1>Go away to shoolin, learn the truth, build a movement,

0:21:32.760 --> 0:21:35.800
<v Speaker 1>and go to war with the oppressor till you remake

0:21:35.840 --> 0:21:51.160
<v Speaker 1>it in your own image. Let me put my kasavon

0:21:51.360 --> 0:21:53.720
<v Speaker 1>rode back on and bring you back into my library.

0:21:54.120 --> 0:21:59.080
<v Speaker 1>Please sit at the table, have a mug of tepid tea.

0:21:59.160 --> 0:22:01.960
<v Speaker 1>I believe that the fantasy Wu Tang Clan had was

0:22:02.000 --> 0:22:03.880
<v Speaker 1>that there's a way to strike out on your own,

0:22:03.960 --> 0:22:07.520
<v Speaker 1>independently and take over the forces that oppressed you. And

0:22:07.560 --> 0:22:11.119
<v Speaker 1>that's the exact fantasy of the secessions emanating from the

0:22:11.280 --> 0:22:14.160
<v Speaker 1>exact remote island at the exact moment. So many people

0:22:14.200 --> 0:22:18.040
<v Speaker 1>on the island experienced it, and it was the spirit

0:22:18.160 --> 0:22:21.400
<v Speaker 1>of what skiz that Wu Tang biographer told me that

0:22:21.520 --> 0:22:22.680
<v Speaker 1>Riza did next.

0:22:23.760 --> 0:22:26.560
<v Speaker 4>He took the whole mythology that was in the movies

0:22:27.560 --> 0:22:35.119
<v Speaker 4>and he appropriated it to his current conditions of a

0:22:35.200 --> 0:22:40.920
<v Speaker 4>black man living in Staten Island doing battle in this

0:22:41.200 --> 0:22:44.639
<v Speaker 4>game call rap against the music industry.

0:22:45.040 --> 0:22:47.520
<v Speaker 1>Walking the island. Rizza had come up with a five

0:22:47.600 --> 0:22:51.280
<v Speaker 1>year plan. He'd go to the greatest underrated mcs he

0:22:51.360 --> 0:22:53.680
<v Speaker 1>knew on the island and banned them together into the

0:22:53.720 --> 0:22:56.640
<v Speaker 1>Wu Tang clan. He'd been burned by the labels before

0:22:56.720 --> 0:22:59.320
<v Speaker 1>with that Prince Rackim album, so now he wanted to

0:22:59.360 --> 0:23:02.440
<v Speaker 1>go it alone. He'd take the ten thousand dollars he'd

0:23:02.440 --> 0:23:05.119
<v Speaker 1>saved and use it to start a production company.

0:23:05.800 --> 0:23:09.280
<v Speaker 4>These guys had absolutely no future. They're all caught up

0:23:09.280 --> 0:23:14.280
<v Speaker 4>in the same They're all selling crack, you know, two

0:23:14.320 --> 0:23:16.560
<v Speaker 4>for five on the street.

0:23:17.120 --> 0:23:20.320
<v Speaker 1>They didn't want to be doing that. The guys all

0:23:20.320 --> 0:23:23.360
<v Speaker 1>went out to a diner on Staten Island. They toasted

0:23:23.400 --> 0:23:26.440
<v Speaker 1>Wu Tang with a bottle of champagne. Each member put

0:23:26.520 --> 0:23:29.600
<v Speaker 1>up one hundred dollars for studio time. The next day

0:23:29.880 --> 0:23:33.639
<v Speaker 1>they started recording what became their first single, protect Yanik,

0:23:37.480 --> 0:23:39.720
<v Speaker 1>putting eight mcs on a track and making it all

0:23:39.720 --> 0:23:42.920
<v Speaker 1>blend together is as difficult as making five burrows feel

0:23:42.960 --> 0:23:46.280
<v Speaker 1>like one city. The difference is that Rizza was about

0:23:46.280 --> 0:23:49.800
<v Speaker 1>to pull it off. It took days of recording until

0:23:49.840 --> 0:23:52.960
<v Speaker 1>all the verses were in place. Like students at Shaolin

0:23:53.080 --> 0:23:55.879
<v Speaker 1>and Wu Tang, each MC was trying to one up

0:23:55.920 --> 0:23:59.119
<v Speaker 1>the other, pushing farther and farther beyond the reaches of

0:23:59.120 --> 0:24:02.160
<v Speaker 1>what existed in hip hop at the time. Rizza knew

0:24:02.200 --> 0:24:04.440
<v Speaker 1>each one's style and how to draw out what made

0:24:04.480 --> 0:24:07.840
<v Speaker 1>them unique. It was the opposite of some oppressive label

0:24:07.840 --> 0:24:10.480
<v Speaker 1>telling him we think girls will like it and new

0:24:10.560 --> 0:24:14.240
<v Speaker 1>tering his art. He didn't need the label. By December

0:24:14.280 --> 0:24:17.720
<v Speaker 1>of nineteen ninety two, the song was finished. The group

0:24:17.840 --> 0:24:20.640
<v Speaker 1>took the cassette of Protecting Neck to the hottest hip

0:24:20.640 --> 0:24:25.200
<v Speaker 1>hop radio show in Town Stretch and Babido Babido was

0:24:25.240 --> 0:24:26.240
<v Speaker 1>alone in the studio.

0:24:27.240 --> 0:24:31.720
<v Speaker 8>I'm not quite sure how members of the Wu Tang

0:24:31.840 --> 0:24:36.520
<v Speaker 8>clan got into our hallway, but I hear a knock

0:24:36.600 --> 0:24:41.400
<v Speaker 8>on the studio door. I open it and there's five

0:24:41.520 --> 0:24:44.800
<v Speaker 8>dudes out there, and then, not smiling.

0:24:45.440 --> 0:24:48.720
<v Speaker 1>They shoved an unmarked record into his hands. They're like

0:24:48.800 --> 0:24:51.640
<v Speaker 1>yo man, Yo, you got played this. You got played Yo,

0:24:51.680 --> 0:24:52.680
<v Speaker 1>we played it right now.

0:24:52.880 --> 0:24:54.400
<v Speaker 4>I was like, yo, fella is like, I can't.

0:24:54.520 --> 0:24:57.800
<v Speaker 8>I felt like I was being strong armed to play

0:24:58.080 --> 0:25:00.800
<v Speaker 8>their record immediately I was.

0:25:01.040 --> 0:25:02.360
<v Speaker 4>I was like, all, I fella's cool.

0:25:02.840 --> 0:25:03.960
<v Speaker 1>So I took the record.

0:25:04.200 --> 0:25:05.280
<v Speaker 4>I threw it all because I was.

0:25:05.320 --> 0:25:08.000
<v Speaker 8>I was intrigued. I was like, how did these does

0:25:08.040 --> 0:25:09.480
<v Speaker 8>mysteriously get into the studio.

0:25:10.480 --> 0:25:12.480
<v Speaker 1>He listened to it privately first.

0:25:13.440 --> 0:25:16.920
<v Speaker 8>And I hear the earner and earner, you know, the

0:25:17.000 --> 0:25:20.760
<v Speaker 8>martial arts, and uh, I'm like, oh, this this is dope.

0:25:21.000 --> 0:25:23.720
<v Speaker 8>You know I'm gonna play it.

0:25:23.720 --> 0:25:26.040
<v Speaker 1>It was the premiere that launched the Wu Tang clan.

0:25:26.600 --> 0:25:29.240
<v Speaker 2>Tell me about the damn like tups in Pakistan, swinging

0:25:29.280 --> 0:25:31.560
<v Speaker 2>through your town like your neighborhood spot a man so

0:25:31.720 --> 0:25:33.400
<v Speaker 2>on TikTok ticket.

0:25:34.400 --> 0:25:38.240
<v Speaker 8>But yeah, I mean immediately the phone lines let up. Immediately.

0:25:38.360 --> 0:25:40.680
<v Speaker 8>I'll never forget my friend. He called up and was.

0:25:40.640 --> 0:25:42.760
<v Speaker 1>Like, Yo, Wow, what the EPP is Dad?

0:25:42.880 --> 0:25:44.040
<v Speaker 8>I was like, Yo, I don't.

0:25:43.840 --> 0:25:46.440
<v Speaker 1>Know, I don't know, I don't know what the record is.

0:25:47.200 --> 0:25:49.440
<v Speaker 1>All right. I love this song And my favorite part

0:25:49.520 --> 0:25:52.880
<v Speaker 1>is the final verse, when Jesse explains the entire philosophy

0:25:52.880 --> 0:25:55.800
<v Speaker 1>of Wu Tang is that they don't need some centralized

0:25:55.880 --> 0:25:58.440
<v Speaker 1>music industry to take over the world. They can do

0:25:58.520 --> 0:25:59.240
<v Speaker 1>it all on their own.

0:25:59.400 --> 0:26:01.720
<v Speaker 2>The woe was too slammon, but he's called killing label,

0:26:01.800 --> 0:26:04.000
<v Speaker 2>so he had to hit. Since I sing can't table,

0:26:04.160 --> 0:26:06.320
<v Speaker 2>he doing one on a sitting like Tang did table.

0:26:06.360 --> 0:26:08.760
<v Speaker 1>Now, any money's getting stuck till the gum under the table.

0:26:09.000 --> 0:26:15.200
<v Speaker 1>That's what what I avent poles And basically, you had

0:26:15.240 --> 0:26:18.400
<v Speaker 1>your chance, you lost it. We don't need you. It's

0:26:18.400 --> 0:26:22.080
<v Speaker 1>our time now the song blew up. You know what

0:26:22.120 --> 0:26:23.680
<v Speaker 1>I want here? What you want to hear? I want

0:26:24.760 --> 0:26:32.640
<v Speaker 1>Wu Tang again. So of course the labels came knocking.

0:26:33.160 --> 0:26:36.400
<v Speaker 1>But this time Rizza was ready no more Prince Rakim.

0:26:36.760 --> 0:26:38.800
<v Speaker 1>He was the king and he had a plan for

0:26:38.880 --> 0:26:42.040
<v Speaker 1>world domination. They would make a deal for Wu Tang

0:26:42.040 --> 0:26:46.240
<v Speaker 1>as a group, but he would do something totally unprecedented

0:26:46.240 --> 0:26:49.440
<v Speaker 1>in the industry. In the contract, there would be a clause.

0:26:50.000 --> 0:26:52.640
<v Speaker 1>Though all the mcs and Wu Tang might be consolidated

0:26:52.720 --> 0:26:55.359
<v Speaker 1>under the name Wu Tang Clan, and Wu Tang might

0:26:55.400 --> 0:26:58.119
<v Speaker 1>sign a record deal. Each MC was going to retain

0:26:58.280 --> 0:27:01.960
<v Speaker 1>local control of their own career. Each one could make

0:27:02.080 --> 0:27:05.840
<v Speaker 1>any deal he wanted with any other record label. Loud

0:27:05.880 --> 0:27:11.720
<v Speaker 1>Records agreed to Rizza's terms. Skiz Fernando a revolutionary deal

0:27:11.760 --> 0:27:12.800
<v Speaker 1>in the music industry.

0:27:12.960 --> 0:27:16.960
<v Speaker 4>The whole first round of Wu Tang solo albums was

0:27:17.040 --> 0:27:21.000
<v Speaker 4>like that, all on different labels and different artists, but

0:27:21.120 --> 0:27:25.600
<v Speaker 4>like all the Wu Tang's on each album, So they're

0:27:25.720 --> 0:27:29.600
<v Speaker 4>using the major label system to spread their own brand

0:27:29.680 --> 0:27:31.680
<v Speaker 4>out there. That was the genius of it, Like no

0:27:31.720 --> 0:27:34.879
<v Speaker 4>one had ever done anything like that before.

0:27:36.040 --> 0:27:38.880
<v Speaker 1>On November ninth, Wu Tang Clan played their album release

0:27:38.920 --> 0:27:41.879
<v Speaker 1>show for Enter the Wu Tang thirty six Chambers at

0:27:41.920 --> 0:27:45.640
<v Speaker 1>Webster Hall in the heart of Manhattan. Skiz was there.

0:27:46.200 --> 0:27:51.320
<v Speaker 4>The floor was packed with people. They were showing thirty

0:27:51.320 --> 0:27:56.440
<v Speaker 4>six Chambers the original on the big screen, and then

0:27:57.320 --> 0:28:02.680
<v Speaker 4>when the group got on to perform, Honestly, it seemed

0:28:02.720 --> 0:28:06.400
<v Speaker 4>like all of Staten Island was on stage. You didn't

0:28:06.400 --> 0:28:08.560
<v Speaker 4>know who was in the group and who wasn't because

0:28:08.560 --> 0:28:12.160
<v Speaker 4>it was just like the whole stage was packed, The

0:28:12.200 --> 0:28:18.400
<v Speaker 4>whole floor was packed. That whole floor was just bouncing

0:28:18.720 --> 0:28:22.560
<v Speaker 4>up and down these wooden rafters. I thought the whole

0:28:22.560 --> 0:28:25.760
<v Speaker 4>thing was going to collapse. It was just like people

0:28:25.840 --> 0:28:29.600
<v Speaker 4>were ready to tear shit down, the energy, the excitement

0:28:30.400 --> 0:28:32.760
<v Speaker 4>because they came from Staten Island. It was like a

0:28:32.800 --> 0:28:35.240
<v Speaker 4>sneak attack, like no one saw it coming.

0:28:36.040 --> 0:28:40.960
<v Speaker 1>Riza executed his plan flawlessly. Wu Tang released their debut album,

0:28:41.080 --> 0:28:44.760
<v Speaker 1>an absolutely bizarre hour long hip hop record full of

0:28:44.840 --> 0:28:48.400
<v Speaker 1>kung fu samples and weird jazz and nine unheard of mcs,

0:28:48.520 --> 0:28:51.600
<v Speaker 1>most of whom hailed from a forgotten island, an island

0:28:51.960 --> 0:28:55.440
<v Speaker 1>they'd renamed after a Chinese martial arts school, and it

0:28:55.520 --> 0:28:59.480
<v Speaker 1>went quadruple platinum. Here's method man on TV.

0:29:00.000 --> 0:29:02.280
<v Speaker 2>And we tried to lock down the industry, which you

0:29:02.360 --> 0:29:04.440
<v Speaker 2>cannot do because they already set in their ways, like

0:29:04.480 --> 0:29:06.440
<v Speaker 2>I said before, So what we have to do is

0:29:06.480 --> 0:29:08.240
<v Speaker 2>build our own industry to make it right.

0:29:10.640 --> 0:29:14.040
<v Speaker 1>Wu Tang's still playing together. So for me, in this

0:29:14.120 --> 0:29:16.840
<v Speaker 1>series on Secession, it's a lesson in how to keep

0:29:16.840 --> 0:29:19.960
<v Speaker 1>a group of people together. Not that the clans without

0:29:20.000 --> 0:29:23.000
<v Speaker 1>its problems, but the genius of the whole thing is

0:29:23.040 --> 0:29:26.400
<v Speaker 1>that Riza figured out how to showcase each rapper's own

0:29:26.480 --> 0:29:30.600
<v Speaker 1>personality and give them their own career. He went on

0:29:30.680 --> 0:29:32.800
<v Speaker 1>to produce a round of solo albums for each of

0:29:32.840 --> 0:29:35.720
<v Speaker 1>the mcs in the group hit after hit after hit,

0:29:36.080 --> 0:29:38.960
<v Speaker 1>each one on different record labels who were feverishly trying

0:29:38.960 --> 0:29:41.800
<v Speaker 1>to ride the Wu Tang wave method. Man on def

0:29:41.880 --> 0:29:46.640
<v Speaker 1>Jam Platinum, Old Dirty Bastard on WMG platinum, Rayquon on

0:29:46.840 --> 0:29:50.960
<v Speaker 1>RCA Platinum, Ghost Face Killer on Epic Platinum, Jizz on

0:29:51.000 --> 0:29:56.280
<v Speaker 1>Geffen Gold. Six hit albums in three years. Wu Tang

0:29:56.320 --> 0:30:00.400
<v Speaker 1>Clan ran the industry. These guys who had so much

0:30:00.440 --> 0:30:04.080
<v Speaker 1>working against them went to shoolin, came back on their

0:30:04.120 --> 0:30:06.360
<v Speaker 1>own terms and toppled the oppressor.

0:30:07.600 --> 0:30:10.480
<v Speaker 3>Don't think that because he has a solo deal and

0:30:10.520 --> 0:30:12.240
<v Speaker 3>I have a solo deal, this man may get a

0:30:12.280 --> 0:30:15.360
<v Speaker 3>solo deal that we all we all just separating and

0:30:15.360 --> 0:30:17.160
<v Speaker 3>breaking up. It's not that type of thing, man. We

0:30:17.320 --> 0:30:20.120
<v Speaker 3>just we just expanded because the talent is so great.

0:30:20.160 --> 0:30:22.600
<v Speaker 3>It's like we have we have mad talent in this,

0:30:22.800 --> 0:30:23.280
<v Speaker 3>you know, and.

0:30:23.240 --> 0:30:24.480
<v Speaker 4>We just got the spread out.

0:30:25.000 --> 0:30:26.800
<v Speaker 3>You know, you can't come out on one chain when

0:30:26.840 --> 0:30:27.360
<v Speaker 3>you just got the.

0:30:27.400 --> 0:30:35.600
<v Speaker 1>Spread This is the fantasy of secession. You break away,

0:30:36.080 --> 0:30:38.000
<v Speaker 1>you come back with a crew of guys from Staten

0:30:38.000 --> 0:30:41.680
<v Speaker 1>Island and you dominate. That's what Wu Tang did. That's

0:30:41.680 --> 0:30:45.640
<v Speaker 1>what the Staten Island secessionists dreamed of doing. It's the zeitgeist,

0:30:45.760 --> 0:30:48.560
<v Speaker 1>the key to all mythologies. Some force in the early

0:30:48.640 --> 0:30:51.720
<v Speaker 1>nineties of New York City was shouting secede, seceede.

0:30:52.880 --> 0:30:53.000
<v Speaker 3>Oh.

0:30:53.080 --> 0:30:57.080
<v Speaker 1>And by the way, the vote on secession it happened

0:30:57.120 --> 0:31:00.520
<v Speaker 1>seven days before the Wu Tang Clan put out their album,

0:31:00.760 --> 0:31:03.240
<v Speaker 1>and that vote was going to leave an even bigger

0:31:03.280 --> 0:31:07.360
<v Speaker 1>mark on our world today. That's coming up on the

0:31:07.440 --> 0:31:09.960
<v Speaker 1>last episode of The Staten Island.

0:31:09.840 --> 0:31:14.560
<v Speaker 2>Problem live here on Channel seventy seven from Secession headquarters

0:31:14.560 --> 0:31:17.320
<v Speaker 2>at the Island Chateau, Channel seventy seven bringing you that

0:31:17.480 --> 0:31:18.960
<v Speaker 2>live happening as.

0:31:19.080 --> 0:31:20.840
<v Speaker 4>It's so parallel.

0:31:21.160 --> 0:31:23.080
<v Speaker 1>Who gets to be in this position?

0:31:23.720 --> 0:31:24.920
<v Speaker 4>What's fair and what's not?

0:31:25.360 --> 0:31:26.440
<v Speaker 6>Who gets to wheel power?

0:31:26.520 --> 0:31:27.600
<v Speaker 4>Who doesn't?

0:31:27.880 --> 0:31:32.960
<v Speaker 9>These sentiments show up in so many places and parts

0:31:33.000 --> 0:31:39.560
<v Speaker 9>of our population right that sense of low boiling resentment

0:31:39.680 --> 0:31:44.800
<v Speaker 9>towards the people in charge, Like who doesn't feel that?

0:31:44.960 --> 0:31:45.400
<v Speaker 6>Right now?

0:31:46.640 --> 0:31:48.960
<v Speaker 9>Do you realize as a city that can plan for

0:31:49.000 --> 0:31:51.320
<v Speaker 9>its own, that doesn't have to say may I, may

0:31:51.360 --> 0:31:52.720
<v Speaker 9>I do this, and may I do that?

0:31:53.120 --> 0:31:54.120
<v Speaker 4>Where are we going?

0:31:54.960 --> 0:31:57.160
<v Speaker 1>What are we standing on top of? Right now?

0:31:57.400 --> 0:32:00.000
<v Speaker 7>We're standing on the story of New York City. If

0:32:00.000 --> 0:32:02.040
<v Speaker 7>you lived here between nineteen forty eight and two thousand

0:32:02.040 --> 0:32:05.480
<v Speaker 7>and one. You're here somewhere, maybe not in this exact mound,

0:32:05.560 --> 0:32:08.440
<v Speaker 7>but some piece of you, even if you just passed through,

0:32:08.520 --> 0:32:10.840
<v Speaker 7>some piece of you is underneath us.

0:32:18.880 --> 0:32:21.280
<v Speaker 1>The Staten Island Problem is written and produced by me

0:32:21.640 --> 0:32:25.120
<v Speaker 1>Ben Matta Haffrey, with Lucy Sullivan and Nina Bird Lawrence.

0:32:25.920 --> 0:32:30.040
<v Speaker 1>Our editor is Karen Schakerji. Our executive producer is Jacob Smith.

0:32:30.440 --> 0:32:33.760
<v Speaker 1>Fact checking by Sam Russick, Sound design and mastering by

0:32:33.800 --> 0:32:38.880
<v Speaker 1>Jake Gorsky. Original music by Stellwagon, Symfinette, Luis Gara, Jake Gorsky,

0:32:39.160 --> 0:32:41.720
<v Speaker 1>and thanks to Todd Reynolds for his track The Solution

0:32:42.040 --> 0:32:46.240
<v Speaker 1>from the album Outer Borrow Special thanks to Malcolm Gladwell.

0:32:46.960 --> 0:33:04.400
<v Speaker 1>I'm Ben mattap Haaffrey. Here. Episodes of Revisionist History The

0:33:04.480 --> 0:33:08.160
<v Speaker 1>Staten Island Problem early and ad free by subscribing to

0:33:08.200 --> 0:33:11.720
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0:33:11.840 --> 0:33:15.040
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0:33:15.520 --> 0:33:19.680
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0:33:19.680 --> 0:33:23.120
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