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Speaker 1: Quest Loft Show is a production of iHeart Radio. All right,

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Speaker 1: ladies and gentlemen, welcome back to the Quest Loft Show.

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Speaker 1: I'm here at iHeart Studios, LA today. My guests maybe

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Speaker 1: one thousand miles away, but he's right up here on

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Speaker 1: your screen. An Oscar, an Emmy winner who's left to

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Speaker 1: mark on film and TV. Be it the Night of

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Speaker 1: Sounds of Metal, the Long Goodbye. You already know the range.

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Speaker 1: And this artist is using his talents and to raise

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Speaker 1: discussion and awareness. And right now he's bringing Hamlet back

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Speaker 1: to theaters, starring in and producing a new Amazon series Bait,

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Speaker 1: and beyond all that, he's a musician. Two awesome MC.

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Speaker 1: We're going to get into it. So many people tell

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Speaker 1: me how amazing it is to talk to him, and

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Speaker 1: I got to see for myself. So please welcome Rizama

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Speaker 1: to the Quest Love Show. How are you doing, brother?

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Speaker 2: What's up doing well? Man? It's an honor to be

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Speaker 2: talking to you.

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Speaker 3: Man.

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Speaker 2: Yeah, thank you for the kind intro.

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Speaker 1: Thank you, thank you. Where you talking to me from?

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Speaker 1: Right now?

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Speaker 2: I'm in New York. I'm here doing press for.

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Speaker 1: Hablet okay, and I know that's a taxing thing, so

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Speaker 1: I appreciate you taking the time to do this for us.

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Speaker 1: My first question to you is what is the early

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Speaker 1: snapshot you have of yourself as a kid as far

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Speaker 1: as your memories are concerned.

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Speaker 2: Now, one of the most prominent memories I would have

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Speaker 2: I was a few, you know. One of them is

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Speaker 2: like playing cricket and basketball in my driveway with my

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Speaker 2: big brother and spending the whole summers doing that. But

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Speaker 2: another thing I used to do on my own the

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Speaker 2: whole time is act out movies, fake movies. So I

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Speaker 2: would like kind of decide on like a genre, like

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Speaker 2: this is a crazy violent like action movie, or this

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Speaker 2: is like a Home Alone had just come out, so

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Speaker 2: I was like, this is like a kid comedy or whatever,

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Speaker 2: and just like act out these elaborate entire stories from

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Speaker 2: start to finish. I used to make a note of it.

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Speaker 2: I used to I used to name the film, give

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Speaker 2: it a title and a rating. If there was you

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Speaker 2: PG parental guidance to twelve or eighteen. And I had

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Speaker 2: this teenage mutant Ninja Tell's like book notepad with all

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Speaker 2: the list of all these, My favorite, the banger that

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Speaker 2: I was most proud of was Black Dragon. There was

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Speaker 2: a Motorcycle Kung Fu Trilogy. And this is like from

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Speaker 2: when I was young man. I just always used to

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Speaker 2: do that when I was like into like Bruce Lee

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Speaker 2: films and then Jackie Chan. So yeah, I used to

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Speaker 2: do that.

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Speaker 1: Wait, did you film these or you just imagine them

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Speaker 1: that you were in it yourself?

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Speaker 2: No, no, this is much less impressive than you imagining.

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Speaker 2: I'd neither wrote these things down nor did I film them,

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Speaker 2: just run around and acting out the entire story and

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Speaker 2: playing all the different characters of these weird movies. The

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Speaker 2: only evidence of them left behind is somewhere in that

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Speaker 2: the turtle's note pad. It says black Dragon one, Black

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Speaker 2: Dragon two, Black Dragon three, eighteen R rated. Or you know,

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Speaker 2: it was just like this. I just was obsessed with it,

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Speaker 2: and I used to just make these, you know, action

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Speaker 2: explosion sound effects like that. Was My mom's nickname for me,

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Speaker 2: was Tush.

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Speaker 1: Tush, just because you were your own a fixed guy.

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Speaker 2: Yeah, I was my sound guy. I was. Yeah, wrote

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Speaker 2: the theme tune.

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Speaker 1: Okay, Yeah. What was the vibe in your house growing up?

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Speaker 1: What did your parents do for a living. Were they

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Speaker 1: artistically inclined or they.

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Speaker 2: Weren't overtly artistic in a sense. But a lot of

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Speaker 2: my early memories with my mom would be sat down

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Speaker 2: in front of the TV watching VHS cassettes of Bollywood

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Speaker 2: films or of Pakistani TV that had been sent asscross

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Speaker 2: from Pakistan. My dad was a way a lot. He

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Speaker 2: was in shipping. My mom was a homemaker, and she

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Speaker 2: was a career for her sister, and she lost her

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Speaker 2: mom young, so she was kind of like the oldest

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Speaker 2: sibling holding a lot of different things together at the

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Speaker 2: same time without my dad around as much as he

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Speaker 2: would have liked to have been as well. He was

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Speaker 2: working on ships and stuff in different countries. And I

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Speaker 2: just remember like sitting in her lap watching these Pakistani

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Speaker 2: comedy sketch shows, soap operas, pop music videos, Bollywood films,

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Speaker 2: and the Bob Marley legend VHS tape with all the

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Speaker 2: music videos on there, like one of the earliest music videos.

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Speaker 2: I remember, the Buffalo Soldier, and yeah, it was just

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Speaker 2: it was so it was the TV and the music

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Speaker 2: and the film and the comedy and the drama. They

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Speaker 2: were all mixed together always, you know, on whatever VHS

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Speaker 2: cassette had just been sent over from Pakistan or whatever,

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Speaker 2: or someone had gone there and visited and brought it back.

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Speaker 2: That was like a happy place. You know, that was

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Speaker 2: a happy place for my mom, and you know, me

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Speaker 2: and her are home. You know, my older siblings were

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Speaker 2: at school, so it was kind of present in the house,

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Speaker 2: even though they weren't performers themselves. But you know, it's

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Speaker 2: interesting I say that, like sometimes there's this trope that

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Speaker 2: kind of like immigrant families are like often not artistically

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Speaker 2: inclined or kind of dissuade the kids from doing that

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Speaker 2: because it's unstable or whatever. But culture takes many forms,

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Speaker 2: and like we're steeped in culture obviously, from our food

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Speaker 2: to the fashion, to the clothes, the music, to the

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Speaker 2: religious songs to the you know, so like culture was

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Speaker 2: in the house. We brought so much culture with us

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Speaker 2: as an immant family, even if it wasn't kind of

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Speaker 2: turned into our over way.

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Speaker 1: What was the cool kid item that you always wanted

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Speaker 1: in your household that you never got to have?

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Speaker 2: Do you remember Mask Mask? Ask the movie Mask Mask. Yeah,

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Speaker 2: it was like it was like an animated non not

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Speaker 2: Jim Carrey. There was an animated there was an animated

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Speaker 2: action kind of cartoon.

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Speaker 1: Called Mask Okay.

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Speaker 2: It was like central you know that kind of thing,

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Speaker 2: and it was one of them toys. It was. It

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Speaker 2: was just like it was like a car that fired

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Speaker 2: plastic discs or whatever. You know. I just loved it.

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Speaker 2: It was kind of like a night Rider rip off. Really, okay,

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Speaker 2: I wanted that or the RoboCop truck. I never got

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Speaker 2: the RoboCop truck. Never got that. I've probably watched a

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Speaker 2: lot of violent films too young to be honest, if

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Speaker 2: I think about it. I remember my uncle was just

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Speaker 2: showing me Nightmare on Elm Street when I was like

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Speaker 2: six years old, and I'm watching like like RoboCop like

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Speaker 2: too young, you know, and RoboCop too, and so I

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Speaker 2: just wanted the RoboCop toys, but I never got them.

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Speaker 1: You want to know something now, that Nightmare on Elm

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Speaker 1: Street just had its fortieth anniversary, like maybe a year

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Speaker 1: or two ago. I went to watch it for the

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Speaker 1: very first time in a movie theater, and I'm so

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Speaker 1: shocked because I don't know if this is general knowledge.

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Speaker 1: I've already seen those things because I thought, like, I

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Speaker 1: don't like bludgeon films or anything. Nightmare on Elm Street

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Speaker 1: you literally see no act of violence. Like I didn't

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Speaker 1: realize that at no point does he ever stab someone

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Speaker 1: or whatever, Like he'll grab someone from behind a curtain,

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Speaker 1: you'll hear screaming or whatever. But I just realized that

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Speaker 1: the genius of that whole thing is that all the

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Speaker 1: violence we think happens is inside our heads, Like besides

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Speaker 1: the suspense music. I never knew that, at least for

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Speaker 1: the first one. I've not watched the other one, so

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Speaker 1: you know, as far as I know, he was on

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Speaker 1: a stab of mission. But wow, I didn't realize.

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Speaker 2: Yeah, And I always remember just being so terrified of it.

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Speaker 2: This day, I can't watch horror movies. It was like, yeah,

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Speaker 2: my uncles would like be renting these movies and babysitters

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Speaker 2: and they were on Elm Street on one after another.

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Speaker 2: But I'm still kind of like remembering some crazy like images.

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Speaker 2: But you're right, it was more like images and the

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Speaker 2: imagination and the sound and the suspense. It wasn't like

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Speaker 2: people having their heads culled.

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Speaker 1: Right, even the Johnny Depp see with the blood, like

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Speaker 1: it's just blood splattering everywhere, but at no point does

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Speaker 1: he get stabbed. And halfway through the film, I was like, Yo,

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Speaker 1: this is no violence.

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Speaker 2: We're disappointed by that. Or is it like what did

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Speaker 2: you think? It's just kind of like a masterclass.

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Speaker 1: When I left, I was just jaw drop that, like, wow,

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Speaker 1: there's no And I only noticed this only because Tarantino.

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Speaker 1: I told him a story about you know, verse of

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Speaker 1: our dogs or whatever, and he's like, no, correction, you

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Speaker 1: never see the ear getting sliced off. And he's like,

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Speaker 1: I turned the camera away. You hear it, but you

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Speaker 1: never see it. And I was like, oh, I never

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Speaker 1: knew that, but yeah, but still, yeah, that's even scarier

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Speaker 1: to me. Who's the one person in your life that

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Speaker 1: keeps you in check no matter what that grounds you?

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Speaker 2: I mean I feel like most of my family do that,

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Speaker 2: you know. I mean it's good and important to have

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Speaker 2: people in your life do not give two ships about

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Speaker 2: your quote unquote success, right, you know, who were just

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Speaker 2: like there to like have the same relationship with you

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Speaker 2: before you started doing you know, any anything or any

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Speaker 2: note and and kind of anchor you in that, you know.

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Speaker 2: I remember when we won an Oscar for Best Short Film.

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Speaker 2: I remember my cousin's group chat. Someone was like, yo,

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Speaker 2: you know, congratulations Risman PI four winning and one of

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Speaker 2: my cousins was just like really, not up on that

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Speaker 2: kind of stuff. Was like, okay, cool, is that like

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Speaker 2: a big deal?

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Speaker 1: Is that?

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Speaker 2: Is that like when I won Regional Employee of the Month.

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Speaker 1: They know what.

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Speaker 2: Direction this actually wasn't when I Want? Is when I

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Speaker 2: got nominated for Sound of Metal? And I said, is

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Speaker 2: that like when I got when I Want Regional Employee

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Speaker 2: of the Month. And then just before I could respond,

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Speaker 2: another cousin came in and said, now it's different because

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Speaker 2: you actually won that. You need people to take you

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Speaker 2: in that way and keep you know, it's important, and

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Speaker 2: you know, I don't want to be surrounded by like

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Speaker 2: sickophants and like transactional relationships. I'm kind of most of

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Speaker 2: my friends kind of kind of pre date any of

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Speaker 2: that or any of this.

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Speaker 1: So right, Yeah, I've visited or at least performed at

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Speaker 1: the Oxford campus twice, but I've always wanted to get

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Speaker 1: a different perspective on it. So, as a person of color,

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Speaker 1: what was the reality of being in an environment such

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Speaker 1: as Oxford?

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Speaker 2: I felt like a fish out of water? Really yeah,

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Speaker 2: on a cultural point of view, but also on a

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Speaker 2: class point of view, because actually you have different people

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Speaker 2: of color there from like different countries, like you got

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Speaker 2: the kids of princes and kings and dignitaries and the

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Speaker 2: zero point zero zero one percent of Bakistan or Nigeria

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Speaker 2: or whatever. They're there as well. But in terms of

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Speaker 2: like Black British Pakistani British like particularly that in that time,

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Speaker 2: it's like twenty something, you know, twenty years ago, twenty

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Speaker 2: five years ago. I definitely felt like an outsider, and

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Speaker 2: in many ways it was a great kind of lesson

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Speaker 2: for me, for like a training ground for going into

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Speaker 2: the film industry, where like, okay, your difference is also

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Speaker 2: something that can no know that can empower you. I

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Speaker 2: remember basically at Oxford I had been kind of like

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Speaker 2: m seeing at raves and on pirate radio stations and

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Speaker 2: stuff in London, and the whole kind of grime scene

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Speaker 2: was just exploding. Dizney Rascal was coming up, BBC Radio

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Speaker 2: had just launched music station Radio one Extra, and it

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Speaker 2: was just whole. There was just all this energy around,

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Speaker 2: this kind of boom of UK rap and UK sound

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Speaker 2: system culture going mainstream, and I was I felt missing

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Speaker 2: out on it. So I said, you know what, that

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Speaker 2: doesn't exist in Oxford. Let me let me try and

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Speaker 2: stop some of that. And so I started a club

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Speaker 2: night there was like hip pop and drum and bass,

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Speaker 2: and every week I was there on State, you know,

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Speaker 2: hosting and emceeing of a drum and bass and stuff

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Speaker 2: and got to like hone my craft. And it was

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Speaker 2: a kind of reminder in a way that if you

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Speaker 2: feel like you don't belong in a place, you can

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Speaker 2: kind of like try and I don't know, stretch, stretch

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Speaker 2: the parameters of that environment, you know, to make space

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Speaker 2: for you and others like you that actually that space

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Speaker 2: might be hungry for that. It might just you to

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Speaker 2: stick around in it rather than just be like, nah,

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Speaker 2: I don't belong here and leaving. So it was. It

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Speaker 2: was I think it was a gift and a curse

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Speaker 2: in many ways. It was. It was lonely at times,

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Speaker 2: it was challenging. It was a lot of friction around

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Speaker 2: like just be existing there, I felt. But it also

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Speaker 2: drove me to kind of like kind of, yeah, create

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Speaker 2: space for myself and people like me, And in many

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Speaker 2: ways I kind of continue trying to do that. In

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Speaker 2: the film business, what.

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Speaker 1: Was the best album that you purchased yourself?

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Speaker 2: I remember purchasing cassettes of singles, okay, more than albums.

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Speaker 2: Does that count? Do you definitely want an album? No?

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Speaker 1: No, what's your own money? Like, what's what's the first

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Speaker 1: single you purchased? Would you?

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Speaker 2: I remember? Was it Jade Don't walk Away?

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Speaker 1: Yeah? Of course, yeah, I remember that.

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Speaker 2: And then also it was actually the first album might

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Speaker 2: have been a Prince album. It was Diamonds and Pearls?

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Speaker 2: Was that an album? Was it a single?

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Speaker 1: Ninety one? Diamonds and Pearls the album?

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Speaker 2: I think it might have been that, And to be honest,

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Speaker 2: I think I just it was like I was in

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Speaker 2: Woolworths or whatever and it was just like on sale

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Speaker 2: and you don't. I was like it was cool, But

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Speaker 2: Jade was like intentional. I bought the cassette. I accidentally

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Speaker 2: put myself onto Prince. It was just like the in

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Speaker 2: the like bargain bucket or whatever. But that and I

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Speaker 2: remember I had I had that, I very much like

264
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Speaker 2: kind of loved, but they would been gifted to me.

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Speaker 2: And that was Michael Jackson. That was Michael Jackson.

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Speaker 1: Bad Okay, that was.

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Speaker 2: The one that I was just like kept, but I

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Speaker 2: didn't I didn't buy that amount of money?

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Speaker 1: Yeah I got it?

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Speaker 2: Remember what yours was?

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Speaker 1: I mean, look for years I've lied to the press

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Speaker 1: and said, like, it was a Jackson five record, but

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Speaker 1: my first Gifted Records. Yeah, my mind was a Neils.

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Speaker 1: I liked Neil Saidaka's bad Blood because I like the

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Speaker 1: way that the logo looked spinning on the forty five.

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Speaker 2: I meet my diamonds and just thought that's cool. I mean,

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Speaker 2: I like the colors, dude.

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Speaker 1: For me, I'll say that the first ten years of

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Speaker 1: record collecting, like was just based on if I like

280
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Speaker 1: the way that the print of the logo looked on

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Speaker 1: the turntable, and thus I didn't like Capitol Records. So

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Speaker 1: I was not into the Beatles until actually until I

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Speaker 1: moved to London. Then I got into the Beatles.

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Speaker 2: But yeah, like, wow, we're just buying books.

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Speaker 1: No no, no, no, I group. Yeah, well, yeah, I judge.

286
00:15:24,480 --> 00:15:29,120
Speaker 1: I judge books based on exactly. It's funny to say

287
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Speaker 1: that because one of my favorite films, Ega Wright's Showing

288
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Speaker 1: of the Dead is a brilliant Prince joke where I

289
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Speaker 1: guess they're trying to fight off zombies and they ran

290
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Speaker 1: out of weapon, so now they have to use records,

291
00:15:44,640 --> 00:15:48,280
Speaker 1: and they're going through the entire alphabet and they get

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Speaker 1: to the letter P and the guy's like, I can't

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Speaker 1: waste my Prints records, And then even as their lives

294
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Speaker 1: are on the line, they're like judging Prints albums, like, well,

295
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Speaker 1: this album was shited, so let's use the Batman album

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Speaker 1: and like so.

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Speaker 2: Hearing oh the Batman. The Batman Album was at a

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Speaker 2: special place in my heart because I was a kid

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Speaker 2: when that came out. What do you feel about that album?

300
00:16:10,120 --> 00:16:13,360
Speaker 2: I loved it, man, you know, it's so weird and cooler,

301
00:16:14,120 --> 00:16:18,080
Speaker 2: like had this weird, like acid kind of situation going

302
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Speaker 2: on in it. And I just remember the hype around

303
00:16:20,800 --> 00:16:23,440
Speaker 2: that Batman film coming out as a kid, and you

304
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Speaker 2: just feel the biggest deal ever that you know. It

305
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Speaker 2: just it was special to me at the time.

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Speaker 1: As a long like long time Prince fans kind of

307
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Speaker 1: say that that's the beginning of the end, But I

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00:16:38,600 --> 00:16:41,440
Speaker 1: see that as a necessary album for him to have

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Speaker 1: a longer career, like Purple Rain sustained him for the eighties,

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Speaker 1: but then he needed another platform album to sustain him

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Speaker 1: for another decade. So from a term of effectiveness, I'll

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Speaker 1: let it go. But as as a knowing what Prince

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Speaker 1: is capable of, and as Cannon, we were kind of

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Speaker 1: indifferent on it at the time, but I loved it

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Speaker 1: only because the day after I graduated high school, my

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Speaker 1: dad let me he My dad was a world famous

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Speaker 1: like music being shopper, so basically that was like the

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Speaker 1: last time he let me just go ape ape shit

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Speaker 1: inside of a record store and buy whatever I wanted

320
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Speaker 1: because I graduated at high school and so that album

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Speaker 1: came out that day. So I still have like fond

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00:17:30,280 --> 00:17:33,679
Speaker 1: memories of that album, even though it's not in my

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Speaker 1: top five Prince albums of all time, but you know,

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Speaker 1: it just it just.

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Speaker 2: Had a special place in my heart because the memories.

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Speaker 1: You know, I can see that, what was the very

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Speaker 1: first live show that you attended?

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Speaker 2: Wow, that's a good you know. I don't know if

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00:17:49,760 --> 00:17:53,040
Speaker 2: it was like the very first one I attended, but

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Speaker 2: it was. I mean the earliest ones I attended would

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Speaker 2: have been like some Pakistani pop kind of bands, and

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Speaker 2: like Bollywood, there were a lot of like touring Bollywood shows.

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Speaker 2: So I grew up in Wembley right and so close

334
00:18:07,640 --> 00:18:10,120
Speaker 2: to the arena and stuff like that, and so back

335
00:18:10,119 --> 00:18:11,920
Speaker 2: in those days, how a lot of the Bollywood stars

336
00:18:11,960 --> 00:18:14,160
Speaker 2: would make money is they would go on world towards

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Speaker 2: where they would perform the songs from the hits, the

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00:18:16,800 --> 00:18:19,280
Speaker 2: hit songs from the hit films, right, so you'd acts

339
00:18:19,280 --> 00:18:24,040
Speaker 2: like Saman Khan whatever, these guys would come to London

340
00:18:24,320 --> 00:18:27,800
Speaker 2: and like do song and dance kind of things. And

341
00:18:27,880 --> 00:18:32,920
Speaker 2: I remember those for sure, and going to like Pakistani

342
00:18:33,000 --> 00:18:37,080
Speaker 2: pop things like Vital Signs and Jannon and these kind

343
00:18:37,119 --> 00:18:39,679
Speaker 2: of these kind of bands, you know, like nineties like

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00:18:40,160 --> 00:18:42,560
Speaker 2: pop and rock bands from Pakistan that would come and

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00:18:42,560 --> 00:18:45,280
Speaker 2: play like Wembley Conference Center or whatever, like you know,

346
00:18:45,280 --> 00:18:46,959
Speaker 2: the whole community would show up. It was like it

347
00:18:47,000 --> 00:18:50,359
Speaker 2: was a vibe. But really the first thing I thought,

348
00:18:50,440 --> 00:18:52,840
Speaker 2: so I saw those technically before, but the answer came

349
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Speaker 2: to my mind. One of the most impactful was I

350
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Speaker 2: think the ten year anniversary of Ninja Tune Records.

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Speaker 1: Okay, yeah Tune yeah yeah.

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Speaker 2: I think it was like a ten anniversary or something

353
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Speaker 2: of that. And I went to that and Kid Kowala

354
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Speaker 2: was playing ah yeah, and I bumped into Talvin sing

355
00:19:14,600 --> 00:19:17,840
Speaker 2: over there, and Talvin Singh, who's like, you know, incredible

356
00:19:17,840 --> 00:19:22,800
Speaker 2: like Doubler electronic fusion artists from you know, big part

357
00:19:22,800 --> 00:19:25,359
Speaker 2: of that South Asian nineties kind of wave of music.

358
00:19:25,440 --> 00:19:27,359
Speaker 2: Him and It and Sonia and people like that Asian

359
00:19:27,440 --> 00:19:32,520
Speaker 2: Dub Foundation. I remember there was a cipher of teenagers

360
00:19:32,520 --> 00:19:36,679
Speaker 2: that we were like freestyling on the staircase, right, and

361
00:19:36,760 --> 00:19:41,879
Speaker 2: I remember Talvin sing like we stood there watching really

362
00:19:41,920 --> 00:19:45,280
Speaker 2: saw me, and he like yeah, and he like complimented me.

363
00:19:45,440 --> 00:19:48,760
Speaker 2: And I remember just feeling so gashed and I'm just

364
00:19:48,840 --> 00:19:52,560
Speaker 2: so encouraged. Like that sustained me for five years.

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Speaker 1: You know.

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Speaker 2: That was like Talvin Singh thought I was doing something,

367
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Speaker 2: you know, and he was like a cool guy in

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Speaker 2: the underground of that.

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Speaker 1: Have you ever still go back and seen him since or.

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Speaker 2: You know, we connected once like many many years later,

371
00:20:09,880 --> 00:20:12,480
Speaker 2: but not not really not particularly. Yeah, I don't know

372
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Speaker 2: if he's listening, you know, shout out Talvin Singh's like

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Speaker 2: a real innovator there.

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Speaker 1: You go, shout out to Talvim Singh, who are your

375
00:20:20,359 --> 00:20:25,080
Speaker 1: north star? Well, I would ask for five who are

376
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Speaker 1: your five north star mcs?

377
00:20:28,840 --> 00:20:34,520
Speaker 2: It's just ems well I meant for you Yeah, yeah, okay,

378
00:20:35,400 --> 00:20:35,840
Speaker 2: just as.

379
00:20:35,720 --> 00:20:38,040
Speaker 1: A lyricist, like who are your north Stars?

380
00:20:38,480 --> 00:20:41,119
Speaker 2: I feel like it's changed a lot. I feel like

381
00:20:41,160 --> 00:20:43,639
Speaker 2: before it was just all about kind of lyricism, and

382
00:20:43,840 --> 00:20:45,959
Speaker 2: you know, you know, as a teenager, it was just

383
00:20:46,040 --> 00:20:51,240
Speaker 2: all about kind of common and most entirely quality and

384
00:20:51,680 --> 00:20:53,919
Speaker 2: you know, the whole raucous kind of camp and all

385
00:20:53,960 --> 00:20:54,680
Speaker 2: of those guys.

386
00:20:55,000 --> 00:20:55,800
Speaker 1: Right And to this.

387
00:20:55,840 --> 00:20:58,159
Speaker 2: Day, I think Most Death is up there for me.

388
00:20:58,400 --> 00:21:00,600
Speaker 2: But I think it's changed now because it's more about

389
00:21:00,600 --> 00:21:03,320
Speaker 2: the range and the versatility of these artists and they're

390
00:21:03,359 --> 00:21:06,359
Speaker 2: kind of big bench that's really interesting to me now.

391
00:21:06,720 --> 00:21:10,359
Speaker 2: So whereas I would never have said this before, I

392
00:21:10,400 --> 00:21:13,120
Speaker 2: think now one of them is probably Mike Skinner from

393
00:21:13,119 --> 00:21:14,000
Speaker 2: the Streets.

394
00:21:13,600 --> 00:21:14,600
Speaker 1: The Streets, you know what I mean.

395
00:21:14,720 --> 00:21:18,359
Speaker 2: Yeah, I would say Mike Skinner is up there. I

396
00:21:18,400 --> 00:21:21,480
Speaker 2: would say m i A is up there. You know,

397
00:21:21,560 --> 00:21:24,320
Speaker 2: I'm interested more now more than ever the genre bending.

398
00:21:24,800 --> 00:21:27,520
Speaker 2: I guess you could call them mcs who are kind

399
00:21:27,520 --> 00:21:30,000
Speaker 2: of like bending the form to their style. But I'd

400
00:21:30,000 --> 00:21:33,240
Speaker 2: still say Most Death. I mean, you know, honestly, I'm

401
00:21:33,240 --> 00:21:36,480
Speaker 2: a I'm just a huge, huge Kendrick fan again because

402
00:21:36,520 --> 00:21:38,600
Speaker 2: of the range of what he does and how he

403
00:21:38,680 --> 00:21:42,639
Speaker 2: bends as well. And I think I know someone who

404
00:21:42,720 --> 00:21:46,400
Speaker 2: I just really really love and rate that's like kind

405
00:21:46,400 --> 00:21:50,800
Speaker 2: of more contemporary to right now is Jay huss.

406
00:21:50,800 --> 00:21:51,440
Speaker 1: In the UK.

407
00:21:52,080 --> 00:21:54,720
Speaker 2: So yeah, that's that's not necessarily my all time top five,

408
00:21:54,720 --> 00:21:56,119
Speaker 2: but off the top of my head, I mean I

409
00:21:56,119 --> 00:21:59,560
Speaker 2: think those a some mcs just always kind of think

410
00:22:00,240 --> 00:22:02,560
Speaker 2: they're just themselves, do you know what I mean? I

411
00:22:02,600 --> 00:22:04,479
Speaker 2: think that's the thing that I rate more than anything

412
00:22:04,520 --> 00:22:08,040
Speaker 2: now is someone who sounds like no one else, someone

413
00:22:08,040 --> 00:22:11,840
Speaker 2: who's like that could only be averse by them. You know.

414
00:22:11,880 --> 00:22:14,280
Speaker 2: It's just immediately distinctive in that way, in the way

415
00:22:14,320 --> 00:22:19,000
Speaker 2: that ODB was. I think, more than anything, I'm inspired

416
00:22:19,040 --> 00:22:22,920
Speaker 2: by people who are unapologetically themselves and doing something different,

417
00:22:23,880 --> 00:22:27,119
Speaker 2: Whereas before it was all about just lyricism and I

418
00:22:27,160 --> 00:22:30,760
Speaker 2: was skilling them junkie, right, yeah, just just just like

419
00:22:30,880 --> 00:22:32,960
Speaker 2: technical craft, you know what I mean, That's what I

420
00:22:33,040 --> 00:22:35,680
Speaker 2: was a big junkie. I think it's a different skill

421
00:22:35,800 --> 00:22:38,040
Speaker 2: to be like purely yourself.

422
00:22:37,720 --> 00:22:42,120
Speaker 1: Yourself, Like, yeah, I feel for you.

423
00:22:42,760 --> 00:22:46,240
Speaker 2: What was Can I just pause? Was going to say,

424
00:22:46,280 --> 00:22:48,320
Speaker 2: I'm talking to quest Love. I can't move on from

425
00:22:48,400 --> 00:22:52,199
Speaker 2: that question without asking you the same question me, I

426
00:22:52,359 --> 00:22:55,160
Speaker 2: really you got an all time top five.

427
00:22:55,760 --> 00:23:00,199
Speaker 1: Well you just reminded me. I totally forgot when like

428
00:23:00,280 --> 00:23:05,040
Speaker 1: my period in London was between like ninety three and

429
00:23:05,119 --> 00:23:07,960
Speaker 1: I think we gave up our flat ninety seven ninety

430
00:23:08,000 --> 00:23:13,920
Speaker 1: eight in kennish Town, and but coming back I definitely remembered.

431
00:23:14,160 --> 00:23:17,119
Speaker 1: I think we did some shows with the streets. You

432
00:23:17,240 --> 00:23:19,919
Speaker 1: reminded me how much I used to listen to his

433
00:23:20,000 --> 00:23:24,520
Speaker 1: first record, his first few records. I like weird EMCs,

434
00:23:24,800 --> 00:23:29,160
Speaker 1: you know, like I dig and I'll chance, yeah, of course,

435
00:23:29,240 --> 00:23:31,680
Speaker 1: like I know that I have a world class athlete

436
00:23:31,720 --> 00:23:35,720
Speaker 1: in my own band, which I think because Tarika is

437
00:23:35,760 --> 00:23:40,879
Speaker 1: so technically proficient as an MC, I'll tend to champion

438
00:23:41,880 --> 00:23:45,439
Speaker 1: those that might not ever wind up on anyone's like

439
00:23:46,200 --> 00:23:48,199
Speaker 1: top ten list, even though I think, you know, I

440
00:23:48,280 --> 00:23:57,760
Speaker 1: still early cool Keith Edon Cool, Keith Paul Barman, Pastuus

441
00:23:57,800 --> 00:24:01,080
Speaker 1: of De La Soul, you know, of course, like Doom,

442
00:24:01,440 --> 00:24:04,359
Speaker 1: like just anyone that's like super weird like that too

443
00:24:04,560 --> 00:24:08,760
Speaker 1: out into Right now, I'm going through like my Doom

444
00:24:08,800 --> 00:24:11,920
Speaker 1: phase again, so I'll go through stages.

445
00:24:12,119 --> 00:24:14,120
Speaker 3: But you know what's really interesting about Doom is that

446
00:24:14,280 --> 00:24:16,200
Speaker 3: he's right in the middle of that ven diagram of

447
00:24:16,280 --> 00:24:19,320
Speaker 3: weird m season like technical masters that like just really

448
00:24:19,320 --> 00:24:22,639
Speaker 3: headsy lyrically oriented fans would always also turn to.

449
00:24:23,040 --> 00:24:24,960
Speaker 2: It's interesting, you know, I can't move on without talking

450
00:24:24,960 --> 00:24:27,239
Speaker 2: about Black dought for a minute because I think in

451
00:24:27,280 --> 00:24:30,000
Speaker 2: that period when I was most just like purely listening

452
00:24:30,040 --> 00:24:33,440
Speaker 2: to rap, I think, you know, most it would have

453
00:24:33,440 --> 00:24:35,840
Speaker 2: been Black Dot. And I actually got to tell you

454
00:24:35,880 --> 00:24:37,879
Speaker 2: that that Things for the Part album was just a

455
00:24:37,920 --> 00:24:40,840
Speaker 2: life changing album for me. Man. It was life changing

456
00:24:40,880 --> 00:24:45,439
Speaker 2: on so many levels in particular, like, yeah, just to

457
00:24:45,480 --> 00:24:48,200
Speaker 2: find a certain period of time in my life. And

458
00:24:49,520 --> 00:24:51,720
Speaker 2: I tell you something that I was just really gassed off,

459
00:24:52,000 --> 00:24:54,439
Speaker 2: and so many people in London were so gassed off.

460
00:24:54,920 --> 00:24:57,159
Speaker 2: Is I'm sure you heard this. The drum and bassed

461
00:24:57,200 --> 00:24:59,560
Speaker 2: lick at the end, the drum and bass break at

462
00:24:59,560 --> 00:25:04,000
Speaker 2: the end, Yeah, yeah, worry about me, you know what

463
00:25:04,000 --> 00:25:06,720
Speaker 2: I mean? Yeah, And so at the end when it

464
00:25:06,760 --> 00:25:08,320
Speaker 2: just drops and drummer and it only does it for

465
00:25:08,359 --> 00:25:10,520
Speaker 2: like twenty seconds or whatever. But I just felt, I

466
00:25:10,520 --> 00:25:13,720
Speaker 2: don't know, you know, that was that was like mid nineties, right,

467
00:25:13,800 --> 00:25:15,960
Speaker 2: so it's like the heyday of jungle and drummer bass.

468
00:25:16,000 --> 00:25:18,280
Speaker 2: I'm going to this and it just brought in together

469
00:25:18,359 --> 00:25:20,240
Speaker 2: in a way that was just I don't know, man,

470
00:25:20,280 --> 00:25:22,800
Speaker 2: it just felt like I felt seen. I feel like

471
00:25:23,280 --> 00:25:26,720
Speaker 2: it made that track even more beloved in the UK

472
00:25:27,119 --> 00:25:29,399
Speaker 2: that it just went into that double time drummer based

473
00:25:29,400 --> 00:25:31,680
Speaker 2: thing at the end of that track. But yeah, I

474
00:25:31,680 --> 00:25:33,959
Speaker 2: mean that's that's probably one of the first That and

475
00:25:34,000 --> 00:25:36,560
Speaker 2: I think the Mystery of chess Boxing were the first

476
00:25:36,600 --> 00:25:39,399
Speaker 2: two things that I like learned off by heart, you

477
00:25:39,440 --> 00:25:39,840
Speaker 2: know what I mean?

478
00:25:39,960 --> 00:25:44,000
Speaker 1: Yeah, you know my I've told the story before of

479
00:25:45,200 --> 00:25:48,000
Speaker 1: you know, I was. I was fortunate enough to kind

480
00:25:48,040 --> 00:25:50,439
Speaker 1: of be there at the very beginning of when like

481
00:25:50,560 --> 00:25:52,960
Speaker 1: jungleists and drum and bass were like starting to be

482
00:25:53,000 --> 00:25:56,880
Speaker 1: a thing, and when we decided to move to London

483
00:25:57,840 --> 00:26:00,000
Speaker 1: for real, for real. The first thing we did was

484
00:26:00,160 --> 00:26:04,160
Speaker 1: we went to a nightclub and they started playing Anita

485
00:26:04,240 --> 00:26:06,960
Speaker 1: Baker and we were like laughing at London, like, oh

486
00:26:07,000 --> 00:26:09,080
Speaker 1: my god, why are they listening to like slow jams?

487
00:26:09,080 --> 00:26:11,720
Speaker 1: Why are they playing sweet Love in the in the

488
00:26:12,040 --> 00:26:17,520
Speaker 1: in the nightclub? And then when that hook came up, Yo,

489
00:26:17,680 --> 00:26:22,239
Speaker 1: I was scared for my like, we I wish did

490
00:26:22,280 --> 00:26:22,840
Speaker 1: you guys.

491
00:26:22,640 --> 00:26:25,479
Speaker 2: Meet to London? Why did you meet to London? You

492
00:26:25,480 --> 00:26:28,400
Speaker 2: guys just wanted to change up, taking some new influences.

493
00:26:28,680 --> 00:26:32,280
Speaker 1: You know, it's weird. Okay. So we had spent two

494
00:26:32,359 --> 00:26:36,040
Speaker 1: years in this massive bidding war. We got the record

495
00:26:36,040 --> 00:26:39,800
Speaker 1: deal of our dreams and then the album was finished,

496
00:26:39,920 --> 00:26:44,280
Speaker 1: and then we realized that the label not only did

497
00:26:44,320 --> 00:26:47,479
Speaker 1: the label who just started a black division we were

498
00:26:47,480 --> 00:26:51,240
Speaker 1: on Geffen Records, that they weren't prepared to really promote us.

499
00:26:51,440 --> 00:26:54,359
Speaker 1: But then on top of that, you know, ninety three

500
00:26:54,560 --> 00:26:58,359
Speaker 1: was kind of like a shifting year for creativity and

501
00:26:58,400 --> 00:27:03,040
Speaker 1: black music, of which we got by because suddenly it

502
00:27:03,080 --> 00:27:06,120
Speaker 1: was a novelty being a band, like we were one

503
00:27:06,160 --> 00:27:08,760
Speaker 1: of that when we got first got signed, I think

504
00:27:08,840 --> 00:27:12,119
Speaker 1: seven black bands still had a record deal, whereas you

505
00:27:12,119 --> 00:27:14,399
Speaker 1: know in the seventies there were thousands, you know what

506
00:27:14,440 --> 00:27:19,040
Speaker 1: I mean. So we just decided the very last minute,

507
00:27:19,720 --> 00:27:22,960
Speaker 1: we have to do what Jimmy Hendrix did. So the

508
00:27:23,000 --> 00:27:26,200
Speaker 1: second we finished our album, we met Giles Peterson. We

509
00:27:27,359 --> 00:27:30,520
Speaker 1: booked a week at the Jazz Cafe, and then with

510
00:27:30,560 --> 00:27:32,199
Speaker 1: the money we made from that, we just got a

511
00:27:32,240 --> 00:27:37,360
Speaker 1: flat in Kennish Town and just never came back home.

512
00:27:37,400 --> 00:27:40,720
Speaker 1: We decided to make London our hub, and then we

513
00:27:40,840 --> 00:27:45,639
Speaker 1: just worked Europe literally for four years, and eventually the

514
00:27:45,720 --> 00:27:47,280
Speaker 1: label was like, all right, you guys got to come

515
00:27:47,280 --> 00:27:50,640
Speaker 1: back home and like be for real. So for things

516
00:27:50,640 --> 00:27:54,199
Speaker 1: fall apart. We finally came back to America, but for

517
00:27:54,240 --> 00:27:57,159
Speaker 1: the most part, Like I don't think we would have

518
00:27:57,520 --> 00:28:02,040
Speaker 1: made a dent had we just relied on on whatever

519
00:28:02,119 --> 00:28:04,280
Speaker 1: buzz we were going to get America, Like we felt

520
00:28:04,280 --> 00:28:08,080
Speaker 1: we had to go to London to the world and

521
00:28:08,119 --> 00:28:12,160
Speaker 1: then come back home newly, newly improved, and you.

522
00:28:12,119 --> 00:28:15,320
Speaker 2: Know, asol, I love that. I love that. Yeah, And

523
00:28:15,560 --> 00:28:19,000
Speaker 2: it's so it's so kind of amazing to see more

524
00:28:19,000 --> 00:28:22,400
Speaker 2: of that cross pollination between you know, music coming out

525
00:28:22,400 --> 00:28:25,119
Speaker 2: of London in the UK and the US and seeing

526
00:28:25,119 --> 00:28:28,320
Speaker 2: the moment that the UK rappers also having as well

527
00:28:28,359 --> 00:28:30,480
Speaker 2: over there just out of interest, would you say you

528
00:28:30,560 --> 00:28:36,520
Speaker 2: got me? Is still like the most played and like beloved.

529
00:28:36,160 --> 00:28:39,360
Speaker 1: Yeah, that's that's our most popular And I literally did it.

530
00:28:39,440 --> 00:28:42,960
Speaker 1: Like when we left London and you know, came back

531
00:28:42,960 --> 00:28:46,800
Speaker 1: home to start recording, I knew that, Like the last

532
00:28:46,840 --> 00:28:50,040
Speaker 1: project I worked on that was like London Base, I

533
00:28:50,080 --> 00:28:55,400
Speaker 1: did something with Ronnie Size, and you know, I was

534
00:28:55,480 --> 00:28:57,320
Speaker 1: just like, yo, man, I want to I want to

535
00:28:57,320 --> 00:29:00,480
Speaker 1: do something that you know, it gives us a a

536
00:29:00,520 --> 00:29:02,880
Speaker 1: tip of the hat or not to where we came from.

537
00:29:02,920 --> 00:29:07,680
Speaker 1: Like I thought Jungle was going to be like the

538
00:29:07,760 --> 00:29:10,560
Speaker 1: biggest thing ever. So I was just like, I want

539
00:29:10,560 --> 00:29:13,360
Speaker 1: to come out the gate before like America catches on

540
00:29:13,760 --> 00:29:19,080
Speaker 1: and America didn't. However, I do believe now that we're

541
00:29:19,200 --> 00:29:22,880
Speaker 1: flirting with like Jersey house, especially where like where lil

542
00:29:23,000 --> 00:29:26,400
Speaker 1: Uzi Verd is going and like these artists that are

543
00:29:26,480 --> 00:29:31,480
Speaker 1: using Jersey House music and the speed of it. I

544
00:29:31,520 --> 00:29:35,120
Speaker 1: think maybe now we might be ready for it, because

545
00:29:35,400 --> 00:29:37,400
Speaker 1: at least where we are as far as where the

546
00:29:37,440 --> 00:29:41,320
Speaker 1: country is, even though we're trying to remain zen and

547
00:29:41,360 --> 00:29:45,880
Speaker 1: calm through this ordeal that we're going through. I almost

548
00:29:45,880 --> 00:29:49,760
Speaker 1: feel as though the soundtrack to junglest is like this

549
00:29:49,840 --> 00:29:53,240
Speaker 1: is the time to unleash it, like that feeling of

550
00:29:53,400 --> 00:29:57,320
Speaker 1: urgency in the air. So yeah, man, I just wanted

551
00:29:57,320 --> 00:29:59,880
Speaker 1: to do it just as a tip of the hat

552
00:30:00,040 --> 00:30:01,320
Speaker 1: to the place where we came.

553
00:30:01,160 --> 00:30:04,400
Speaker 2: From a ran that deep. I thought maybe you guys

554
00:30:04,400 --> 00:30:06,400
Speaker 2: were just playing around with different drum breaks, but it's

555
00:30:06,400 --> 00:30:08,640
Speaker 2: so beautiful to know that it came from being steeped

556
00:30:09,080 --> 00:30:10,440
Speaker 2: in that and around that.

557
00:30:10,840 --> 00:30:11,080
Speaker 1: Yeah.

558
00:30:11,120 --> 00:30:14,640
Speaker 2: I mean, jungle music is like, you know, a very particular,

559
00:30:14,760 --> 00:30:16,640
Speaker 2: very UK thing, and I think it caught on a

560
00:30:16,640 --> 00:30:20,280
Speaker 2: lot more in Canada, Toronto in particular, because the kind

561
00:30:20,280 --> 00:30:23,360
Speaker 2: of Caribbean kind of connection. It's obviously, so much of

562
00:30:23,440 --> 00:30:25,640
Speaker 2: UK black music comes out of that connection to like

563
00:30:25,760 --> 00:30:28,800
Speaker 2: dance or and Caribbean music and how that blends with

564
00:30:28,880 --> 00:30:31,880
Speaker 2: like electronic music. But but of course it's always been

565
00:30:31,960 --> 00:30:34,520
Speaker 2: that bridge. Like if you think of garage, garage came

566
00:30:34,520 --> 00:30:36,800
Speaker 2: out of like what it's called garage because the Paradise garage, right,

567
00:30:37,200 --> 00:30:40,160
Speaker 2: and it was like US H and G as they

568
00:30:40,520 --> 00:30:42,640
Speaker 2: see H and G was house and garage that was

569
00:30:42,720 --> 00:30:46,840
Speaker 2: American stuff and your two step carriage which is called

570
00:30:46,920 --> 00:30:49,640
Speaker 2: UK garage, right, and then that was just you know,

571
00:30:49,720 --> 00:30:52,600
Speaker 2: slightly different. But to this day, I would say that Gabriel,

572
00:30:52,680 --> 00:30:55,680
Speaker 2: that the Roy Davis Junior pevn ever Itt sung is

573
00:30:55,760 --> 00:30:57,720
Speaker 2: at least for my generation, a lot of people's number

574
00:30:57,720 --> 00:31:00,560
Speaker 2: one track, you know, of all time. That's the kind

575
00:31:00,600 --> 00:31:04,000
Speaker 2: of redemption song or whatever of garage heads. Do you

576
00:31:04,000 --> 00:31:06,640
Speaker 2: know what I mean? Is it's a US track, is

577
00:31:06,720 --> 00:31:11,040
Speaker 2: Roy David Junior and Peven Ever So, yeah, I'm glad

578
00:31:11,080 --> 00:31:13,080
Speaker 2: to see that kind of like that dance floor kind

579
00:31:13,120 --> 00:31:14,920
Speaker 2: of cross put pollination more.

580
00:31:15,120 --> 00:31:18,600
Speaker 1: It's funny you mentioned him because one of my favorite

581
00:31:18,600 --> 00:31:22,320
Speaker 1: songs of his that I spend there's a jazzy tune

582
00:31:22,360 --> 00:31:26,800
Speaker 1: that he did call you get Me, which it's more

583
00:31:26,840 --> 00:31:32,920
Speaker 1: of a two step uh production. But yeah, that's that's

584
00:31:32,920 --> 00:31:35,920
Speaker 1: a song that I think has fallen under people's radar,

585
00:31:36,160 --> 00:31:38,720
Speaker 1: and I feel as though that song is waiting to

586
00:31:38,720 --> 00:31:39,360
Speaker 1: be discovered.

587
00:31:40,840 --> 00:31:42,480
Speaker 2: So is this a Roy Davis Junior's track or.

588
00:31:44,440 --> 00:31:45,400
Speaker 1: Yeah you got Yeah?

589
00:31:45,480 --> 00:31:49,080
Speaker 2: Yeah, he's kind of like he's just he's so incredible

590
00:31:49,160 --> 00:31:53,000
Speaker 2: and so talented and and from what I understand, it's like,

591
00:31:54,240 --> 00:31:56,400
Speaker 2: you know that there was like a whole crazy backstory

592
00:31:56,400 --> 00:31:59,600
Speaker 2: around that track, and yeah, I.

593
00:31:59,640 --> 00:32:02,320
Speaker 1: Got one day and find out about it. I finally

594
00:32:02,360 --> 00:32:04,800
Speaker 1: connected with him, like I think like two or three

595
00:32:04,880 --> 00:32:07,240
Speaker 1: years ago, finally got to meet him and give him

596
00:32:07,240 --> 00:32:21,520
Speaker 1: his his flowers. I always wanted to know, So, what

597
00:32:21,680 --> 00:32:26,160
Speaker 1: is the one lesson in life that you had to

598
00:32:26,240 --> 00:32:27,120
Speaker 1: learn the hard way?

599
00:32:28,520 --> 00:32:34,560
Speaker 4: So many man, but I think I think, like I'm

600
00:32:34,560 --> 00:32:36,480
Speaker 4: trying to find a way of saying is that doesn't

601
00:32:36,560 --> 00:32:40,360
Speaker 4: sound super basic, but I'm gonna say it.

602
00:32:40,440 --> 00:32:42,280
Speaker 1: Just come with it.

603
00:32:42,280 --> 00:32:47,280
Speaker 2: It's about kind of like not of like just just

604
00:32:47,280 --> 00:32:52,080
Speaker 2: just not the power of not performing. And what I

605
00:32:52,080 --> 00:32:54,240
Speaker 2: mean by that is I grew up code switching a lot,

606
00:32:54,320 --> 00:32:56,320
Speaker 2: you know, I grew up in a certain kind of

607
00:32:56,560 --> 00:33:01,760
Speaker 2: word that was not privilege, but you know, it wasn't

608
00:33:01,800 --> 00:33:05,000
Speaker 2: like crazy intense or violent or anything which was not privileged.

609
00:33:05,000 --> 00:33:09,120
Speaker 2: And I've got a government scholarship to a private school.

610
00:33:09,120 --> 00:33:11,880
Speaker 2: So there was like this class code switching that came

611
00:33:11,880 --> 00:33:15,800
Speaker 2: from an immigrant Pakistani background and household. But I was

612
00:33:15,840 --> 00:33:18,000
Speaker 2: in Britain and there was that code switching, and it

613
00:33:18,120 --> 00:33:19,760
Speaker 2: was the nineties of it said, and it was like,

614
00:33:20,360 --> 00:33:23,320
Speaker 2: you know, this explosion of South Asian British culture and

615
00:33:23,760 --> 00:33:25,640
Speaker 2: you know, garage and drum and base, and there was that,

616
00:33:25,720 --> 00:33:27,760
Speaker 2: and I had all these different identities and I feel

617
00:33:27,800 --> 00:33:29,840
Speaker 2: like for so much in my life I had been

618
00:33:29,880 --> 00:33:32,719
Speaker 2: code switching, so much so that when I was starting

619
00:33:32,720 --> 00:33:34,960
Speaker 2: out both as a professional actor and MC, I was

620
00:33:35,000 --> 00:33:37,840
Speaker 2: really eager to keep those two things different, just kind

621
00:33:37,840 --> 00:33:41,120
Speaker 2: of some kind of just like instinctive compartmentalizing I would do.

622
00:33:41,640 --> 00:33:45,000
Speaker 2: And I think I feel like I'm almost making up

623
00:33:45,000 --> 00:33:48,480
Speaker 2: for lost time now of just really bringing together those

624
00:33:49,120 --> 00:33:53,200
Speaker 2: supposedly contradictory parts of myself in the things that I'm

625
00:33:53,240 --> 00:33:56,600
Speaker 2: making and bringing together the music with the film, bringing

626
00:33:56,640 --> 00:34:00,560
Speaker 2: together the just those unapologic sides that I would sometimes

627
00:34:00,560 --> 00:34:03,640
Speaker 2: instinctively like edit right. And it sounds like a kind

628
00:34:03,640 --> 00:34:06,120
Speaker 2: of pretty basic lesson to learn. But even when I

629
00:34:06,160 --> 00:34:08,600
Speaker 2: thought I was being unapologetically myself, I was still kind

630
00:34:08,600 --> 00:34:11,759
Speaker 2: of like shifting gears instinctively, you know. And I want

631
00:34:11,800 --> 00:34:14,000
Speaker 2: to kind of like come into the room with all

632
00:34:14,040 --> 00:34:15,719
Speaker 2: of my mess and just be like, yeah, this is

633
00:34:15,760 --> 00:34:18,239
Speaker 2: my mess, this is it is all of it. And

634
00:34:18,280 --> 00:34:25,200
Speaker 2: I think that's something that has just helped me feel

635
00:34:25,440 --> 00:34:31,000
Speaker 2: more calm and in touch with who I am, you know. Yeah,

636
00:34:31,120 --> 00:34:33,879
Speaker 2: so like with a show like Bait that we made,

637
00:34:33,920 --> 00:34:38,560
Speaker 2: you know, bringing a soundtrack together around that and having

638
00:34:38,600 --> 00:34:41,200
Speaker 2: tracks on them myself and bringing to my favorite artists

639
00:34:41,640 --> 00:34:44,399
Speaker 2: from around the world into that, or with the Long

640
00:34:44,440 --> 00:34:46,480
Speaker 2: good Bye the short film, you know, just kind of

641
00:34:47,360 --> 00:34:51,640
Speaker 2: blending almost like soliloquies and spoken word with like that

642
00:34:51,920 --> 00:34:56,400
Speaker 2: action thriller kind of film language and just trying to

643
00:34:56,440 --> 00:34:57,920
Speaker 2: kind of put it all in one part. And I

644
00:34:57,960 --> 00:35:02,600
Speaker 2: think that's what I like, you know, I have that

645
00:35:02,680 --> 00:35:04,960
Speaker 2: kind of eclictic taste, and I have those different sizes

646
00:35:05,000 --> 00:35:06,600
Speaker 2: of myself and I want to kind of express it

647
00:35:06,640 --> 00:35:10,880
Speaker 2: all and not kind of whole different parts of myself back.

648
00:35:11,719 --> 00:35:13,920
Speaker 1: Yeah, so you have to build your own platform so

649
00:35:13,960 --> 00:35:16,000
Speaker 1: that you can express all the facets of yourself.

650
00:35:17,360 --> 00:35:19,600
Speaker 2: Thank you very succinctly put yeah.

651
00:35:19,400 --> 00:35:24,440
Speaker 1: Yeah, it's understandable. You once said that you'd rather be

652
00:35:24,560 --> 00:35:28,799
Speaker 1: broke than to be type cast. Now looking back, what

653
00:35:28,960 --> 00:35:33,879
Speaker 1: was the hardest what was the hardest know you had

654
00:35:34,000 --> 00:35:36,960
Speaker 1: ever had to say? And you know, I know how

655
00:35:37,040 --> 00:35:41,080
Speaker 1: integrity and personal code is to manage in an industry

656
00:35:41,200 --> 00:35:44,759
Speaker 1: in which, you know, minorities are constantly having to jump

657
00:35:44,800 --> 00:35:51,560
Speaker 1: hurdles and codes, which but like for you, what was

658
00:35:51,760 --> 00:35:55,480
Speaker 1: one of the knows that you had to give that

659
00:35:55,520 --> 00:35:57,839
Speaker 1: would have been like either lucrative for you or.

660
00:35:59,239 --> 00:36:03,279
Speaker 2: I mean, I I guess I'm just wondering if I

661
00:36:03,320 --> 00:36:08,880
Speaker 2: should say it, But like there's a there's you know,

662
00:36:08,960 --> 00:36:09,880
Speaker 2: I mean, I don't want to say.

663
00:36:09,800 --> 00:36:13,200
Speaker 1: Oh yeah, you don't just say the movie or whatever.

664
00:36:13,239 --> 00:36:16,120
Speaker 2: I mean, yeah, I mean, when I came off the

665
00:36:16,120 --> 00:36:20,600
Speaker 2: back of the Night Of, I offered a big lead

666
00:36:20,719 --> 00:36:24,759
Speaker 2: role in a big TV series on net Please, playing

667
00:36:24,760 --> 00:36:26,920
Speaker 2: a lead roles like an actually kind of thriller thing,

668
00:36:27,080 --> 00:36:29,399
Speaker 2: And it went on to be a huge, huge, huge hit,

669
00:36:29,440 --> 00:36:32,319
Speaker 2: and it was very successful, and you know, I think

670
00:36:32,320 --> 00:36:33,560
Speaker 2: it probably would have done a lot for me kind

671
00:36:33,560 --> 00:36:35,239
Speaker 2: of straight off the Night Of into something like that,

672
00:36:35,440 --> 00:36:38,279
Speaker 2: And and I couldn't do It wasn't even so much

673
00:36:38,280 --> 00:36:40,080
Speaker 2: about the role that I was playing in terms of

674
00:36:40,360 --> 00:36:43,160
Speaker 2: type casting. It was definitely for me kind of like

675
00:36:43,320 --> 00:36:45,520
Speaker 2: would have been a great look. It was just the

676
00:36:45,920 --> 00:36:50,760
Speaker 2: basic storyline was was about terrorism, and it was very stereotypical,

677
00:36:50,880 --> 00:36:54,040
Speaker 2: and it's portrayal of Muslim characters. And even if I

678
00:36:54,080 --> 00:36:57,319
Speaker 2: would get to transcend that stereotype and I would get

679
00:36:57,360 --> 00:37:00,799
Speaker 2: to play that, you know, just kind of like lead

680
00:37:00,840 --> 00:37:04,440
Speaker 2: guy role and be unshackled by that, I saw what

681
00:37:04,440 --> 00:37:07,040
Speaker 2: it was doing to everyone else around me and the story,

682
00:37:07,080 --> 00:37:11,120
Speaker 2: and it was I just do it, And sometimes I

683
00:37:11,200 --> 00:37:12,520
Speaker 2: kind of look back it was like, man, that would

684
00:37:12,520 --> 00:37:15,240
Speaker 2: have you know, that would have been a great look.

685
00:37:15,360 --> 00:37:18,719
Speaker 2: But if you at the overall of my journey, I'm

686
00:37:18,840 --> 00:37:23,279
Speaker 2: very pleased that I didn't do it because to me,

687
00:37:23,520 --> 00:37:26,200
Speaker 2: like having a career is not an end in itself,

688
00:37:26,360 --> 00:37:30,280
Speaker 2: Like telling stories, it's kind of not an end in itself.

689
00:37:30,280 --> 00:37:31,920
Speaker 2: It's about what you're saying with it. It's about how

690
00:37:31,920 --> 00:37:34,080
Speaker 2: you're trying to push culture and try and challenge people,

691
00:37:34,200 --> 00:37:37,640
Speaker 2: challenge yourself, you know, and like falling back on some

692
00:37:37,680 --> 00:37:41,040
Speaker 2: of the lazy narratives for me is like that's the

693
00:37:41,040 --> 00:37:43,479
Speaker 2: opposite of what I want to be doing with my time?

694
00:37:43,840 --> 00:37:48,480
Speaker 1: Are you given agency to have a conversation with the

695
00:37:48,520 --> 00:37:52,919
Speaker 1: screenwriter or the director or the producer that, look, I'd

696
00:37:53,000 --> 00:37:56,000
Speaker 1: like to adjust some things in this character or given

697
00:37:56,080 --> 00:37:56,719
Speaker 1: more of a soul.

698
00:37:57,880 --> 00:38:00,360
Speaker 2: Course I've done that loads, But I mean, I just like,

699
00:38:00,440 --> 00:38:02,920
Speaker 2: sometimes it's baked into the story. You're not going to

700
00:38:03,040 --> 00:38:04,359
Speaker 2: change a thing, Like do you know what I mean?

701
00:38:04,400 --> 00:38:07,799
Speaker 2: If it's that is it's not like icing on the cake.

702
00:38:07,920 --> 00:38:12,080
Speaker 2: It is the cake. Sometimes it was that okay.

703
00:38:12,520 --> 00:38:17,240
Speaker 1: So Baita is a series that draws some parallels frankly

704
00:38:17,320 --> 00:38:20,160
Speaker 1: that you know that we're living in right now as

705
00:38:20,239 --> 00:38:24,799
Speaker 1: far as like you know, xenophobia, anti immigration views. But

706
00:38:25,760 --> 00:38:28,919
Speaker 1: when when did the idea start to crystallize as far

707
00:38:29,000 --> 00:38:30,879
Speaker 1: as you developing this.

708
00:38:32,040 --> 00:38:34,839
Speaker 2: Well, crystallized quite late on. But I've been scribbling down

709
00:38:34,960 --> 00:38:38,880
Speaker 2: kind of ideas and anecdotes for about since about twenty fourteen.

710
00:38:39,760 --> 00:38:42,359
Speaker 2: Obviously what started happening started to become more well known

711
00:38:42,360 --> 00:38:46,000
Speaker 2: in America, and kind of there was this widening gap

712
00:38:46,040 --> 00:38:50,560
Speaker 2: between my public and private self. You know, it's I

713
00:38:50,560 --> 00:38:52,560
Speaker 2: don't know. The same week that it got announced I

714
00:38:52,600 --> 00:38:54,399
Speaker 2: was in Star Wars was the same week I got

715
00:38:54,960 --> 00:38:59,600
Speaker 2: banned from my local Tesco supermarket for suspected shoplifting just

716
00:38:59,600 --> 00:39:02,760
Speaker 2: because I was like wearing bizarre clothes. My washing machine

717
00:39:02,800 --> 00:39:05,239
Speaker 2: had broken. I was dragging around a massive laundry bag

718
00:39:05,239 --> 00:39:07,520
Speaker 2: full of dirty clothes. They thought, like, who is this guy?

719
00:39:07,600 --> 00:39:09,800
Speaker 2: Is he like unhoused, like you know whatever. It was.

720
00:39:09,840 --> 00:39:12,640
Speaker 2: The whole thing was just it was just like you know,

721
00:39:12,960 --> 00:39:14,920
Speaker 2: people think as soon as people think you're going to

722
00:39:14,960 --> 00:39:16,799
Speaker 2: be on a yacht with hand solo, but it's like

723
00:39:16,920 --> 00:39:19,120
Speaker 2: you still go to your laundry washing me see still breaks.

724
00:39:19,160 --> 00:39:22,560
Speaker 2: It's still human world. Yeah, And so that gap between

725
00:39:22,600 --> 00:39:26,360
Speaker 2: your public and private self started creating more stressful and

726
00:39:26,440 --> 00:39:29,920
Speaker 2: kind of slightly hilarious situations, and I just kept starting

727
00:39:29,920 --> 00:39:31,680
Speaker 2: making a note of them. And I knew I wanted

728
00:39:31,719 --> 00:39:35,920
Speaker 2: to make something about that. And someone once told me

729
00:39:35,960 --> 00:39:38,080
Speaker 2: that gap between your public and private self is how

730
00:39:38,160 --> 00:39:41,959
Speaker 2: much shame you carry, right, And I knew I wanted

731
00:39:42,000 --> 00:39:45,920
Speaker 2: to make a kind of suppersive comedy within that playground

732
00:39:45,920 --> 00:39:49,799
Speaker 2: of shame, and and and so I started drawing from

733
00:39:49,800 --> 00:39:53,759
Speaker 2: all these very very specific and personal things, and so

734
00:39:53,880 --> 00:39:58,680
Speaker 2: many things in the show. I mean, I remember in

735
00:39:58,680 --> 00:40:00,239
Speaker 2: the end of You doing My Kennich Town at the

736
00:40:00,320 --> 00:40:02,280
Speaker 2: end of episode one. My character has a panic attack

737
00:40:02,280 --> 00:40:05,640
Speaker 2: at Kenish Town Forum. Okay, that that happened to me

738
00:40:06,640 --> 00:40:09,959
Speaker 2: when I was booed off stage supporting Wu Tang clan.

739
00:40:10,520 --> 00:40:13,040
Speaker 2: What yeah, yeah, Wu Tang were like two and a

740
00:40:13,080 --> 00:40:16,240
Speaker 2: half hours late. So when someone finally came out on stage,

741
00:40:16,360 --> 00:40:18,160
Speaker 2: you know, I came out and I was like, yeah,

742
00:40:18,160 --> 00:40:19,120
Speaker 2: that's not method.

743
00:40:18,840 --> 00:40:22,000
Speaker 1: Man, oh you got Oh no, that's unfortunate.

744
00:40:22,800 --> 00:40:26,600
Speaker 2: Yeah, but I stayed. I stayed the course and just

745
00:40:26,640 --> 00:40:28,400
Speaker 2: did an a cappella and I knew there would be

746
00:40:28,520 --> 00:40:30,200
Speaker 2: kind of a more lyric our in the crowd, and

747
00:40:30,239 --> 00:40:32,759
Speaker 2: you know, the booze turned to cheers. Short set I've

748
00:40:32,760 --> 00:40:35,320
Speaker 2: ever done two minutes, turned the booze around some cheers.

749
00:40:35,080 --> 00:40:36,279
Speaker 1: And got out of it.

750
00:40:37,600 --> 00:40:38,319
Speaker 2: Thank you very much.

751
00:40:38,400 --> 00:40:38,759
Speaker 1: That was me.

752
00:40:38,880 --> 00:40:43,319
Speaker 2: Yeah, too many, thank you. And and so there's so

753
00:40:43,360 --> 00:40:45,279
Speaker 2: many things like you know, my character gets jumped as

754
00:40:45,280 --> 00:40:47,680
Speaker 2: a kid in a park in Wembley. That was the

755
00:40:47,719 --> 00:40:50,360
Speaker 2: park behind my parents' house. You know, it's a sweet

756
00:40:50,360 --> 00:40:53,040
Speaker 2: shot they do to get sweets on Eve. We'd go

757
00:40:53,080 --> 00:40:56,160
Speaker 2: there like it's even being approached by m I five

758
00:40:56,239 --> 00:40:57,960
Speaker 2: to spy for them. That's happened to me like three

759
00:40:58,000 --> 00:40:59,160
Speaker 2: times since I've becoming actor.

760
00:40:59,160 --> 00:41:00,799
Speaker 1: I was going to ask you, as you mentioned that,

761
00:41:01,640 --> 00:41:07,920
Speaker 1: have you ever unfortunately had to name drop who you

762
00:41:08,120 --> 00:41:11,680
Speaker 1: are in terms of getting out of a situation that

763
00:41:12,080 --> 00:41:16,360
Speaker 1: if you weren't who you were, it would have gone downhill?

764
00:41:17,040 --> 00:41:19,319
Speaker 2: This is what I'm talking about is the opposite. They

765
00:41:19,360 --> 00:41:23,160
Speaker 2: approached me because I was an actor that was increasingly

766
00:41:23,239 --> 00:41:26,040
Speaker 2: well known. When when the security services were approaching me,

767
00:41:26,160 --> 00:41:28,640
Speaker 2: they were like, you're an actor with a profile almost

768
00:41:28,760 --> 00:41:30,520
Speaker 2: can you can you inspire for us? Can like? Can

769
00:41:30,560 --> 00:41:33,200
Speaker 2: we talk to you? Can you help us with messages? So?

770
00:41:33,280 --> 00:41:35,120
Speaker 2: And I just kind of shut the door to that,

771
00:41:35,239 --> 00:41:38,560
Speaker 2: you know, But that's why I's depicted in the show. Right,

772
00:41:39,480 --> 00:41:42,359
Speaker 2: let's happened to you several times. But what in terms

773
00:41:42,360 --> 00:41:43,840
Speaker 2: of name dropping who I am? Now, it wasn't that,

774
00:41:43,880 --> 00:41:46,239
Speaker 2: But I had a weird thing happened actually once at

775
00:41:46,280 --> 00:41:50,719
Speaker 2: the airport in America. Was in Canada, Canadian border.

776
00:41:51,280 --> 00:41:55,120
Speaker 1: Next thing he threw, Yes, they're the most intense he

777
00:41:55,280 --> 00:41:57,680
Speaker 1: throw in Canada.

778
00:41:58,640 --> 00:42:03,360
Speaker 2: Canada is intense, and MYAMMI is intense. Miami with the

779
00:42:03,440 --> 00:42:06,920
Speaker 2: Cuban staff there who are like super like you know, Patriot,

780
00:42:07,040 --> 00:42:08,359
Speaker 2: like there's a whole thing there.

781
00:42:08,680 --> 00:42:10,480
Speaker 1: Yeah, that's ass backwards.

782
00:42:11,080 --> 00:42:12,520
Speaker 2: I went to this thing while I was getting pulled

783
00:42:12,520 --> 00:42:14,440
Speaker 2: aside in Canada or something, and they will keep you

784
00:42:14,480 --> 00:42:16,600
Speaker 2: there for a long time. And this guy called me

785
00:42:16,680 --> 00:42:19,320
Speaker 2: up and he goes. Finally, after the age is waiting

786
00:42:19,320 --> 00:42:21,840
Speaker 2: and being rude, he goes and usually talk to someone.

787
00:42:23,000 --> 00:42:25,360
Speaker 2: And I took the phone from him and it was

788
00:42:25,400 --> 00:42:29,680
Speaker 2: a woman and she goes, can I tell you at

789
00:42:29,680 --> 00:42:32,120
Speaker 2: home we have a light sabered pizza cutter.

790
00:42:32,760 --> 00:42:35,040
Speaker 1: Oh my god.

791
00:42:35,760 --> 00:42:39,879
Speaker 2: What. I was like, okay, And he took the phone

792
00:42:39,880 --> 00:42:41,759
Speaker 2: back and he goes to my wife and I was

793
00:42:41,800 --> 00:42:44,799
Speaker 2: like okay, and he starts nodding and filling in the paperworkers. Okay,

794
00:42:44,800 --> 00:42:46,839
Speaker 2: now you've done that and performed for me in some

795
00:42:46,880 --> 00:42:49,480
Speaker 2: way like you can bounce. And then I go with

796
00:42:49,480 --> 00:42:51,560
Speaker 2: your wife, yeah, he goes, yeah, he goes, she's over there,

797
00:42:51,560 --> 00:42:54,320
Speaker 2: and he points down the desk and like five kiosks

798
00:42:54,360 --> 00:42:58,640
Speaker 2: down it's his wife is also a border control person

799
00:42:58,719 --> 00:43:01,839
Speaker 2: of the desk, didn't me. I was like, this is

800
00:43:01,920 --> 00:43:04,759
Speaker 2: so surreal. So it probably did help it go me

801
00:43:04,800 --> 00:43:09,880
Speaker 2: out in some situations. And I didn't get stopped as

802
00:43:09,920 --> 00:43:12,239
Speaker 2: much off that. But it was like a decade where

803
00:43:12,400 --> 00:43:14,680
Speaker 2: coming to the US was like three and a half hours.

804
00:43:14,840 --> 00:43:19,480
Speaker 1: You know, I apologize it, trust me. It got different

805
00:43:19,520 --> 00:43:22,720
Speaker 1: once I turned forty five and suddenly people my age

806
00:43:22,760 --> 00:43:29,279
Speaker 1: were the border patrol people. But even then I knew

807
00:43:29,280 --> 00:43:31,040
Speaker 1: I had to look like questlove. So I had to

808
00:43:31,040 --> 00:43:34,439
Speaker 1: wear a lego heart and have my afro pick out

809
00:43:34,600 --> 00:43:35,359
Speaker 1: and you know.

810
00:43:35,600 --> 00:43:40,080
Speaker 2: And yeah before your public self. Yeah, it's guess what

811
00:43:40,160 --> 00:43:42,640
Speaker 2: bait is about. Really, it's about that, you know, Yeah,

812
00:43:42,800 --> 00:43:44,719
Speaker 2: trying to see what people expect you to be.

813
00:43:44,840 --> 00:43:48,520
Speaker 1: You made this for me wearing like a so let

814
00:43:48,520 --> 00:43:51,359
Speaker 1: me ask. So, Shakespeare has been a passion of yours

815
00:43:51,360 --> 00:43:56,600
Speaker 1: since your teens, and this year you're in Hamlet. So

816
00:43:57,040 --> 00:44:01,520
Speaker 1: what about the classics, especially for this one attracted you

817
00:44:01,680 --> 00:44:06,000
Speaker 1: to this role and in this particular interpretation of it? Like,

818
00:44:06,120 --> 00:44:07,919
Speaker 1: what was the journey that it took to get here?

819
00:44:10,960 --> 00:44:13,600
Speaker 2: You know, it was a long journey, he said. Like

820
00:44:14,440 --> 00:44:16,840
Speaker 2: when I was a teenager, I felt like Shakespeare was

821
00:44:16,880 --> 00:44:20,080
Speaker 2: the exact thing that I was. Epitomized everything that I

822
00:44:20,120 --> 00:44:22,680
Speaker 2: was on the outside of. Right, it's like this stuffy

823
00:44:22,760 --> 00:44:28,480
Speaker 2: British establishment thing. And I had an amazing teacher, a

824
00:44:28,520 --> 00:44:32,839
Speaker 2: white Jewish guy from Wolverhampton who happened to speak fluent Punjabi.

825
00:44:34,239 --> 00:44:36,200
Speaker 2: He took me under his wing, he gave me the plane, said,

826
00:44:36,200 --> 00:44:39,040
Speaker 2: you feel like an outsider. Well, actually, sort of the

827
00:44:39,080 --> 00:44:41,560
Speaker 2: characters the heart of these plays. So this guy Hamlet,

828
00:44:41,600 --> 00:44:44,680
Speaker 2: you know, the most famous was Revered Shakespeare plays the

829
00:44:44,680 --> 00:44:46,759
Speaker 2: heart of all this stuffiness you feel like doesn't belong

830
00:44:46,800 --> 00:44:48,440
Speaker 2: to you. Check it out. He feels like you feel,

831
00:44:48,840 --> 00:44:52,120
Speaker 2: And like so many teenagers and so many people of

832
00:44:52,160 --> 00:44:55,120
Speaker 2: all ages around the world, like I saw what this

833
00:44:55,200 --> 00:44:56,920
Speaker 2: guy's feeling, and I think it's actually how we're lot

834
00:44:56,960 --> 00:45:00,200
Speaker 2: also feeling right now, which is like, is the world

835
00:45:00,320 --> 00:45:02,839
Speaker 2: going crazy? Or have I lost my mind? You know,

836
00:45:03,160 --> 00:45:06,360
Speaker 2: that's the central kind of thread in a way in Hamlet,

837
00:45:06,920 --> 00:45:10,520
Speaker 2: and that feeling is something I latched onto and I've

838
00:45:10,560 --> 00:45:13,279
Speaker 2: felt to different degrees throughout my life, and I think

839
00:45:13,400 --> 00:45:15,360
Speaker 2: we all feel that way right now, and so I

840
00:45:15,400 --> 00:45:18,480
Speaker 2: just really connected with it emotionally. I created connected with

841
00:45:18,520 --> 00:45:22,640
Speaker 2: the language, the rhythm, the flow, the percussion of it.

842
00:45:22,640 --> 00:45:25,960
Speaker 2: It reminded me of rap music in that way. But

843
00:45:26,280 --> 00:45:29,080
Speaker 2: also a thing that really kind of struck me was

844
00:45:29,120 --> 00:45:31,880
Speaker 2: that this quintessentially British play felt like this is the

845
00:45:31,920 --> 00:45:34,279
Speaker 2: brownest thing I've ever read. This is like growing up

846
00:45:34,280 --> 00:45:39,200
Speaker 2: in Wembley. This is about family due to honor, love

847
00:45:40,760 --> 00:45:43,680
Speaker 2: kind of being you know, who you can and can't marry,

848
00:45:43,680 --> 00:45:47,480
Speaker 2: being a family decision. You know, spirits in the afterlife

849
00:45:47,480 --> 00:45:50,440
Speaker 2: feeling like they're part of people's lived experience. It just

850
00:45:50,480 --> 00:45:54,880
Speaker 2: felt like very very relatable to me coming from an

851
00:45:54,920 --> 00:45:59,120
Speaker 2: immigrant community. You know a lot of these old classic

852
00:45:59,400 --> 00:46:02,600
Speaker 2: feel more relevant and more real almost setting some of

853
00:46:02,600 --> 00:46:06,239
Speaker 2: these kind of just now. So yeah, all of those

854
00:46:06,280 --> 00:46:08,839
Speaker 2: things kind of blew me away and it changed out

855
00:46:08,880 --> 00:46:10,880
Speaker 2: how I saw myself in relation to the culture, and

856
00:46:11,040 --> 00:46:13,040
Speaker 2: I thought I wanted to. I want to make a

857
00:46:13,040 --> 00:46:15,400
Speaker 2: film of Hamlet, Like when I was seventeen, I remember

858
00:46:15,520 --> 00:46:19,399
Speaker 2: thinking that. I was like, I want to, you know, yeah,

859
00:46:19,520 --> 00:46:21,759
Speaker 2: kind of blow it open and create a version that

860
00:46:22,840 --> 00:46:24,600
Speaker 2: like a lot of people can see themselves in.

861
00:46:26,320 --> 00:46:28,640
Speaker 1: Right now, What is your relationship with making music?

862
00:46:29,480 --> 00:46:31,000
Speaker 2: I just put out of track two days ago. It

863
00:46:31,040 --> 00:46:32,600
Speaker 2: was my first track in about four and a half

864
00:46:32,680 --> 00:46:36,360
Speaker 2: years with Cass is Dead. You know Cass, the UK rapper.

865
00:46:37,040 --> 00:46:39,440
Speaker 1: I've heard, but not not overly familiar.

866
00:46:40,360 --> 00:46:42,879
Speaker 2: It's amazing, man, you You've got to checking stuff out.

867
00:46:42,920 --> 00:46:44,600
Speaker 2: He's like a cult kind of figure.

868
00:46:44,920 --> 00:46:45,440
Speaker 1: Okay, UK.

869
00:46:45,880 --> 00:46:49,440
Speaker 2: So yeah, we've got the Bait as a soundtrack, and

870
00:46:49,680 --> 00:46:52,320
Speaker 2: I've got a couple of tracks on there, so I

871
00:46:52,440 --> 00:46:55,399
Speaker 2: exec produced the soundtrack. Georgia Smith is doing the lead

872
00:46:55,440 --> 00:46:55,960
Speaker 2: song on it.

873
00:46:56,160 --> 00:46:58,040
Speaker 1: Ah damn sure you know, of course.

874
00:46:58,280 --> 00:47:02,279
Speaker 2: Yeah, it's a Bond themed TV show, right, so we

875
00:47:02,320 --> 00:47:04,919
Speaker 2: needed a Bond song. So Georgia is doing our Bond song.

876
00:47:04,960 --> 00:47:06,839
Speaker 2: It is a timeless, four blown Bond song.

877
00:47:06,880 --> 00:47:10,640
Speaker 1: It's like nice, she's doing her shairly bassy thing.

878
00:47:11,680 --> 00:47:12,879
Speaker 2: She's doing that full blown.

879
00:47:12,960 --> 00:47:13,520
Speaker 1: Yeah nice.

880
00:47:13,600 --> 00:47:15,400
Speaker 2: And then and so I just dropped this track with

881
00:47:15,480 --> 00:47:17,680
Speaker 2: cass is Dead. All we good. It's just dropped two

882
00:47:17,719 --> 00:47:19,800
Speaker 2: days ago. And that's also on the Bait soundtrack.

883
00:47:20,920 --> 00:47:24,600
Speaker 1: Okay, My second to last is how has fatherhood changed you?

884
00:47:25,120 --> 00:47:26,440
Speaker 2: It's maybe a lot more tired.

885
00:47:32,160 --> 00:47:34,560
Speaker 1: Just look on your face right now, tell.

886
00:47:34,480 --> 00:47:39,400
Speaker 2: Me, you know see how he's changing broke Like I

887
00:47:39,440 --> 00:47:41,719
Speaker 2: mean it just you just have less time to like

888
00:47:42,520 --> 00:47:44,680
Speaker 2: fuck around with stuff that you can't be bother to do,

889
00:47:44,840 --> 00:47:47,080
Speaker 2: or you just start at the time, just you just

890
00:47:47,120 --> 00:47:49,840
Speaker 2: start stripped back to the essentials that what do you

891
00:47:49,880 --> 00:47:52,319
Speaker 2: really care about? Who do you really care about? It's

892
00:47:52,360 --> 00:47:54,200
Speaker 2: just that you know, and if you're going to kill

893
00:47:54,239 --> 00:47:56,800
Speaker 2: yourself make a TV show over like ten years or

894
00:47:56,800 --> 00:48:00,000
Speaker 2: a movie over fifteen years, you better really care about it.

895
00:48:00,480 --> 00:48:02,520
Speaker 2: So I'm proud to say, like these two things that

896
00:48:02,560 --> 00:48:04,880
Speaker 2: are at the same time, they're very different, but I'm

897
00:48:04,920 --> 00:48:07,960
Speaker 2: deeply passionate about what they have to say and putting

898
00:48:07,960 --> 00:48:09,839
Speaker 2: them out there in the world. And yeah, I hope

899
00:48:09,880 --> 00:48:12,480
Speaker 2: people can feel that when they experience it.

900
00:48:13,800 --> 00:48:17,799
Speaker 1: Well, my final question is food related though, what is

901
00:48:17,880 --> 00:48:22,400
Speaker 1: what is your local food heaven destination spot.

902
00:48:21,960 --> 00:48:26,880
Speaker 2: Local food heaven destination spot. Yes, I'm going to shout needus.

903
00:48:26,880 --> 00:48:33,879
Speaker 2: Grill Needs is a classic East London curry house and

904
00:48:34,080 --> 00:48:37,520
Speaker 2: it features heavily an episode four of Bait. It is

905
00:48:37,600 --> 00:48:39,680
Speaker 2: like every episode of Bait is like almost takes place

906
00:48:39,680 --> 00:48:42,200
Speaker 2: in the different genre. And episode four is like Richard

907
00:48:42,200 --> 00:48:44,440
Speaker 2: Lincolay a walk and talk, and it's a walk and

908
00:48:44,480 --> 00:48:48,000
Speaker 2: talk through immigrant East London rather than like touristic Paris, right,

909
00:48:48,040 --> 00:48:51,160
Speaker 2: And so it starts in Needs and it's in Needws

910
00:48:51,200 --> 00:48:54,600
Speaker 2: and it's just banging Beryanni and Helem and Nihari and

911
00:48:54,640 --> 00:48:58,200
Speaker 2: my mouth is watering even talking about it. But yeah,

912
00:48:58,280 --> 00:49:00,640
Speaker 2: sharing Needs, man, it's just one of my faves.

913
00:49:01,120 --> 00:49:06,480
Speaker 1: Well, I thank you for doing this, uh, I appreciate

914
00:49:06,520 --> 00:49:09,319
Speaker 1: your artistry. Man, and you know, hopefully we can have

915
00:49:09,360 --> 00:49:12,480
Speaker 1: a longer conversation about your because I have a billion

916
00:49:12,560 --> 00:49:15,719
Speaker 1: questions about sound of metal. But I really admire you

917
00:49:15,760 --> 00:49:19,520
Speaker 1: as everything that you've done in music and in film

918
00:49:19,560 --> 00:49:20,800
Speaker 1: and and your artistry.

919
00:49:20,880 --> 00:49:25,000
Speaker 2: Man, And thank you so much brother. Likewise, man, you

920
00:49:25,040 --> 00:49:28,359
Speaker 2: know your music and what you what you've created, it has

921
00:49:28,360 --> 00:49:31,560
Speaker 2: been a has inspired me for years and years man,

922
00:49:31,600 --> 00:49:33,359
Speaker 2: And what you're doing now is doing the same thing.

923
00:49:33,440 --> 00:49:36,200
Speaker 1: So thank you, Bro, appreciate it. Ris I met on

924
00:49:36,280 --> 00:49:39,040
Speaker 1: the Quest Love Show and we'll see you guys next Gogram,

925
00:49:39,120 --> 00:49:51,320
Speaker 1: Thank you. Quest Love Shows hosted by Me Mirror Questlove Thompson.

926
00:49:52,360 --> 00:49:58,120
Speaker 1: Executive producers are Sean g Brian Calhoun and Me. Produced

927
00:49:58,440 --> 00:50:04,360
Speaker 1: Brittany Benjamin Jacob Payne. Produced for iHeart by Noel Brown,

928
00:50:05,560 --> 00:50:12,320
Speaker 1: Edited by Alex Conroban. iHeart Video supported by Mark Canton, Logos,

929
00:50:12,360 --> 00:50:17,319
Speaker 1: graphics and animation by Nikol and Loewe. Additional support by

930
00:50:17,400 --> 00:50:23,200
Speaker 1: Lance Cordon. Special thanks to Kathy Brown. Special thanks to

931
00:50:23,239 --> 00:50:28,080
Speaker 1: Sugar Steve Mandeli. Please subscribe, rate, review, and share The

932
00:50:28,160 --> 00:50:31,799
Speaker 1: Quest Love Show wherever you stream your podcast, make sure

933
00:50:31,840 --> 00:50:38,080
Speaker 1: you follow us on socials that's at q LS. Check

934
00:50:38,120 --> 00:50:41,600
Speaker 1: out hundreds and hundreds of QLs episodes, including Quest Love

935
00:50:41,640 --> 00:50:47,160
Speaker 1: Supreme Shows, and our podcast archives. Quest Love Show is

936
00:50:47,160 --> 00:50:48,879
Speaker 1: a production of iHeart Radio