1 00:00:08,200 --> 00:00:13,360 Speaker 1: Pushkin. When Rizza put the nine members of the Wu 2 00:00:13,440 --> 00:00:16,080 Speaker 1: Tang clan together, he didn't just form a rap group, 3 00:00:16,360 --> 00:00:20,279 Speaker 1: he created a universe. Their debut album entered the Wu 4 00:00:20,360 --> 00:00:23,759 Speaker 1: Tang Thirty six Chambers was released in nineteen ninety three, 5 00:00:23,880 --> 00:00:25,560 Speaker 1: at the peak of what many considered to be the 6 00:00:25,600 --> 00:00:28,480 Speaker 1: Golden Age of hip hop. It was so packed with 7 00:00:28,520 --> 00:00:31,040 Speaker 1: the classic releases that, if you can believe it, Snoop's 8 00:00:31,080 --> 00:00:35,000 Speaker 1: Doggie Style Tribes, Midnight Marauders, and Woo's thirty six Chambers 9 00:00:35,120 --> 00:00:38,720 Speaker 1: all came out in the same month, But Wu Tang 10 00:00:38,800 --> 00:00:42,400 Speaker 1: was different. Sonically. Rizza produced dark and gritty beats by 11 00:00:42,440 --> 00:00:45,599 Speaker 1: manipulating old soul samples and splicing together sound bites from 12 00:00:45,680 --> 00:00:48,839 Speaker 1: Kung fu films, and lyrically, all nine members had a 13 00:00:48,920 --> 00:00:53,479 Speaker 1: unique style that was untouchable. Rizza spent three decades as 14 00:00:53,520 --> 00:00:56,360 Speaker 1: one of hip hop's elite producers and has gone on 15 00:00:56,400 --> 00:00:59,520 Speaker 1: to become an actor, director, and film composer, working with 16 00:00:59,560 --> 00:01:02,760 Speaker 1: people like went In, Tarantino, Bill Murray, and Denzel Washington. 17 00:01:03,400 --> 00:01:05,639 Speaker 1: Rick Rubin caught up with the Rizzar recently on Zoom. 18 00:01:05,959 --> 00:01:09,800 Speaker 1: Riz says his creativity is peaking. In Quarantine, he reminisces 19 00:01:09,800 --> 00:01:12,000 Speaker 1: with Rick about running around Staten Island with od B 20 00:01:12,120 --> 00:01:14,200 Speaker 1: as a kid. He also talks about the time he 21 00:01:14,240 --> 00:01:20,959 Speaker 1: almost left everything behind to move to Wootang Mountain in China. 22 00:01:22,120 --> 00:01:24,880 Speaker 1: This is broken record liner notes for the Digital Age. 23 00:01:25,000 --> 00:01:34,000 Speaker 1: I'm justin Richmond. Here's Rick, Rubin and Rizza. What's been 24 00:01:34,000 --> 00:01:37,080 Speaker 1: going on, man, man yo. I've been sitting in my 25 00:01:37,200 --> 00:01:41,840 Speaker 1: house doing doing zooms. It's been good because for me, 26 00:01:43,200 --> 00:01:46,200 Speaker 1: I have the Rivers Room going for season two of 27 00:01:46,680 --> 00:01:51,040 Speaker 1: Amernic Ossaga, So a lot of workers getting done. Ironically, 28 00:01:51,160 --> 00:01:54,840 Speaker 1: like people are still working in and we're actually all 29 00:01:54,960 --> 00:01:59,440 Speaker 1: schedule because the best of orders, we're all confusion. There's 30 00:01:59,480 --> 00:02:03,680 Speaker 1: certainly distractions from the outside world. So it's a good 31 00:02:03,680 --> 00:02:07,160 Speaker 1: time to get work done. I gotta agree, especially the 32 00:02:07,200 --> 00:02:10,680 Speaker 1: kind of work that we do, creative work. Uh, it's 33 00:02:10,720 --> 00:02:14,359 Speaker 1: like it's been for me. My creativity is it's it's 34 00:02:14,680 --> 00:02:16,280 Speaker 1: peaking in a way, right, you know what I mean. 35 00:02:16,360 --> 00:02:18,680 Speaker 1: Like it's like I've been in the gym and I've 36 00:02:18,720 --> 00:02:21,480 Speaker 1: got creative muscles I need to use and they ever 37 00:02:21,520 --> 00:02:25,000 Speaker 1: ready to use. I've been playing with the MPC. I mean, 38 00:02:25,360 --> 00:02:28,200 Speaker 1: I think I mean a fifteen beat doing the quarantine 39 00:02:28,280 --> 00:02:31,239 Speaker 1: so far, incredible. That's a yeah, that's a nice amount. 40 00:02:31,320 --> 00:02:33,720 Speaker 1: And I'm usually that usually take a year to get 41 00:02:33,720 --> 00:02:35,000 Speaker 1: that minute, you know what I mean from the way 42 00:02:35,000 --> 00:02:37,679 Speaker 1: I've been working in the film, but be at home 43 00:02:38,600 --> 00:02:41,520 Speaker 1: every day. You know what it is, right, the hours 44 00:02:41,560 --> 00:02:46,400 Speaker 1: we used for commuting, it's gone, right, yeah, so those 45 00:02:46,440 --> 00:02:48,560 Speaker 1: hours now come back to me and I get to 46 00:02:48,560 --> 00:02:51,160 Speaker 1: play when it played playing those hours. How how has 47 00:02:51,160 --> 00:02:54,720 Speaker 1: your relationship to making beats change from when you were 48 00:02:54,760 --> 00:02:59,120 Speaker 1: starting to now? Wow, Um, the relationship changed in the 49 00:02:59,160 --> 00:03:01,840 Speaker 1: sense of before I think I made Beast for the 50 00:03:01,919 --> 00:03:06,600 Speaker 1: purpose of a purpose, you know what I mean, A 51 00:03:06,639 --> 00:03:09,600 Speaker 1: purpose of it's going to be a record, a purpose 52 00:03:09,600 --> 00:03:12,600 Speaker 1: of maybe I'm gonna get some money, for a purpose 53 00:03:12,720 --> 00:03:16,080 Speaker 1: of being the best. I mean, I definitely wanted to 54 00:03:16,080 --> 00:03:18,400 Speaker 1: be the best producer or the best hip hop producer 55 00:03:18,400 --> 00:03:22,000 Speaker 1: in the world that had the summer I'm feeling. And 56 00:03:22,120 --> 00:03:23,680 Speaker 1: now when I make it, I just make it as 57 00:03:23,680 --> 00:03:29,960 Speaker 1: an expression of of almost like just entertaining myself, you 58 00:03:30,000 --> 00:03:32,520 Speaker 1: know what I mean. There's no goal, there's no purpose 59 00:03:32,600 --> 00:03:35,160 Speaker 1: for it. It's just like I'm just doing it, like 60 00:03:35,320 --> 00:03:38,000 Speaker 1: just if if I was playing the video game. That's 61 00:03:38,040 --> 00:03:40,600 Speaker 1: if I was playing my piano my beat machine becomes 62 00:03:40,640 --> 00:03:43,680 Speaker 1: that fun moment for me to go down DJ a 63 00:03:43,720 --> 00:03:45,640 Speaker 1: little bit of my old dal on my DJ set, 64 00:03:46,280 --> 00:03:48,200 Speaker 1: take a couple of samples, you know what I mean, 65 00:03:48,440 --> 00:03:51,360 Speaker 1: find some new sim sounds. It's just it's just that's 66 00:03:51,360 --> 00:03:53,920 Speaker 1: my day. I'm entertained by that. You think if you 67 00:03:53,920 --> 00:04:00,480 Speaker 1: could zoom out and look over your work from earlier 68 00:04:00,600 --> 00:04:04,360 Speaker 1: when it was goal oriented to now, you think that 69 00:04:04,440 --> 00:04:08,600 Speaker 1: the goal oriented part of your old work is what 70 00:04:08,840 --> 00:04:11,920 Speaker 1: drove it or was it just one of the aspects. 71 00:04:12,680 --> 00:04:18,559 Speaker 1: To be honest, the majority of my critically acclaimed work 72 00:04:19,320 --> 00:04:22,840 Speaker 1: that you know, like thirty six Shameless, those beasts were 73 00:04:22,880 --> 00:04:27,039 Speaker 1: made with no I could say no goal in the 74 00:04:27,080 --> 00:04:30,880 Speaker 1: sense of or can I say, what's no economic goal? 75 00:04:32,360 --> 00:04:34,039 Speaker 1: A lot of those beats was made because I was 76 00:04:34,080 --> 00:04:36,000 Speaker 1: in my house, I had my beat machine, and I'm 77 00:04:36,040 --> 00:04:39,800 Speaker 1: making beats. It's fun, you know, I mean, blame the 78 00:04:39,880 --> 00:04:46,360 Speaker 1: pain that was made having fun. Maybe after I had 79 00:04:46,400 --> 00:04:49,440 Speaker 1: a flood, you know that lost a lot of my 80 00:04:49,560 --> 00:04:53,240 Speaker 1: tracks away, like in nineteen right before this whole, right 81 00:04:53,279 --> 00:04:56,200 Speaker 1: before the big solo U Tank solo albums, right, so 82 00:04:56,240 --> 00:04:59,680 Speaker 1: maybe ninety four then. But I had made record deals 83 00:04:59,720 --> 00:05:04,159 Speaker 1: with people, right, so I had to turn out a 84 00:05:04,200 --> 00:05:07,159 Speaker 1: lot of work. And I sat in that basement for years, 85 00:05:07,160 --> 00:05:10,600 Speaker 1: turning out a lot of work, meeting deadlines, and I 86 00:05:11,000 --> 00:05:13,720 Speaker 1: succeeded at that, and it still wasn't a lot of money. 87 00:05:13,760 --> 00:05:16,279 Speaker 1: But I think when the money got involved, I think, 88 00:05:16,279 --> 00:05:18,479 Speaker 1: at one point, and I'm not sorry to say this 89 00:05:19,920 --> 00:05:22,400 Speaker 1: now a day, at one point, you know, maybe I 90 00:05:22,480 --> 00:05:24,560 Speaker 1: was getting a hundred one hundred plus a track right 91 00:05:25,200 --> 00:05:28,880 Speaker 1: and around that range, I'm not even making music unless 92 00:05:28,880 --> 00:05:31,240 Speaker 1: you call me with that money, you know what I mean. 93 00:05:31,600 --> 00:05:36,479 Speaker 1: So the money became the dictator of my creativity, you 94 00:05:36,520 --> 00:05:38,200 Speaker 1: know what I mean. So what I could say for 95 00:05:38,360 --> 00:05:41,560 Speaker 1: nowaday and it could be from the blessings of being 96 00:05:41,600 --> 00:05:43,800 Speaker 1: able to do to express myself in film or the 97 00:05:44,200 --> 00:05:47,800 Speaker 1: blessing to express myself in other mediums, that when I 98 00:05:47,880 --> 00:05:52,200 Speaker 1: make music, I'm making music purely for the expressing themselves, 99 00:05:52,320 --> 00:05:57,760 Speaker 1: purely for my own entertainment. And maybe maybe it's the 100 00:05:57,760 --> 00:06:00,359 Speaker 1: best stuff I ever made. Maybe it's not, but it 101 00:06:00,440 --> 00:06:04,479 Speaker 1: sounds like from what you're describing your earliest and and 102 00:06:04,760 --> 00:06:08,080 Speaker 1: maybe some say I think your most important work to 103 00:06:08,200 --> 00:06:15,600 Speaker 1: breakthrough works were made without without that pressure from the outside. Yeah. 104 00:06:16,240 --> 00:06:20,320 Speaker 1: I had a conversation with my woutang brothers about about 105 00:06:20,360 --> 00:06:23,800 Speaker 1: a similar conversation, not as on the nose is this, 106 00:06:23,960 --> 00:06:28,600 Speaker 1: but it was was talking about making an album right 107 00:06:28,640 --> 00:06:31,440 Speaker 1: this is before we did our last album was called 108 00:06:31,440 --> 00:06:36,640 Speaker 1: it Better Tomorrow. And you know I had to actually negotiate, 109 00:06:37,200 --> 00:06:39,040 Speaker 1: you know, our neighbor brothers to get him to come 110 00:06:39,040 --> 00:06:41,039 Speaker 1: and do the album undue and this much when do 111 00:06:41,080 --> 00:06:42,880 Speaker 1: wanted that much? And I haven't go through it was 112 00:06:42,880 --> 00:06:45,520 Speaker 1: a self funded album. In the beginning meeting, you know, 113 00:06:45,880 --> 00:06:47,720 Speaker 1: I think I had I'll take a million hours and 114 00:06:47,839 --> 00:06:49,720 Speaker 1: invested in myself, you know what I mean, into my 115 00:06:49,760 --> 00:06:52,320 Speaker 1: clu So I broke everybody off hunt ads for dcs 116 00:06:52,360 --> 00:06:55,200 Speaker 1: there or whatever. But I tried to bring it to 117 00:06:55,279 --> 00:06:59,920 Speaker 1: that conversation, like yo, it's another course money to make 118 00:07:00,120 --> 00:07:04,800 Speaker 1: music in the old days, the songs like take the 119 00:07:04,839 --> 00:07:08,839 Speaker 1: song method that that song came about because he came 120 00:07:08,880 --> 00:07:12,640 Speaker 1: to my house on a Friday night with the week Okay, 121 00:07:12,960 --> 00:07:15,400 Speaker 1: I had an eight track recorder in my house, had 122 00:07:15,440 --> 00:07:17,320 Speaker 1: a micah, had just made a beat because I was 123 00:07:17,360 --> 00:07:19,880 Speaker 1: making beats all day. He showed up. He had a 124 00:07:19,880 --> 00:07:23,560 Speaker 1: couple of comic books, two bags of weed, and some blunts. 125 00:07:23,840 --> 00:07:29,680 Speaker 1: He had jestment is doing his his uh pharmaceutical work, 126 00:07:30,520 --> 00:07:33,960 Speaker 1: and he came. He came forward some downtime. He rolled 127 00:07:34,000 --> 00:07:35,600 Speaker 1: it up, we let it up, we smoked it. I 128 00:07:35,720 --> 00:07:37,520 Speaker 1: picked the beat on a fuck the mic and he 129 00:07:37,560 --> 00:07:40,720 Speaker 1: did the song. In fact, the electricity went out. We 130 00:07:40,760 --> 00:07:44,120 Speaker 1: had to plug into my aunt's electricity downstairs and we 131 00:07:44,240 --> 00:07:48,280 Speaker 1: recorded it right. And that's because that's what we wanted 132 00:07:48,280 --> 00:07:51,160 Speaker 1: to do. And a lot of the woofs wool in 133 00:07:51,160 --> 00:07:53,520 Speaker 1: the early days is that you will come to my 134 00:07:53,560 --> 00:07:57,160 Speaker 1: trip and come hang out and make a song. You 135 00:07:57,280 --> 00:07:59,320 Speaker 1: wanted to do it. So I'll try to be mind 136 00:07:59,400 --> 00:08:01,440 Speaker 1: the brothers that yo. We used to make music because 137 00:08:01,520 --> 00:08:03,160 Speaker 1: that's what we wanted to do. You came to my house. 138 00:08:03,200 --> 00:08:05,880 Speaker 1: I didn't actually to come. I didn't pay you to come. 139 00:08:06,600 --> 00:08:08,760 Speaker 1: It's that's what's the place. You came to let loose 140 00:08:08,800 --> 00:08:10,680 Speaker 1: your verse, to hang out, smoke a blind, plays some 141 00:08:10,840 --> 00:08:13,840 Speaker 1: video games, watching food flick you know what I name. 142 00:08:13,920 --> 00:08:18,360 Speaker 1: Make some music, you know. So a lot of ours 143 00:08:18,440 --> 00:08:20,200 Speaker 1: early stuff, a lot of songs. Even you listened to 144 00:08:20,240 --> 00:08:24,400 Speaker 1: the ODB first album, it's just the first album, the 145 00:08:24,560 --> 00:08:30,200 Speaker 1: thirty six Chambers. A lot of that is like remakes 146 00:08:30,200 --> 00:08:32,600 Speaker 1: of what we did as kids, like we had the 147 00:08:32,679 --> 00:08:36,640 Speaker 1: foundation listen Liquid Spards, that same routine and Liquid Spards 148 00:08:36,880 --> 00:08:39,480 Speaker 1: when the MCS came, you know that we made that 149 00:08:39,800 --> 00:08:44,160 Speaker 1: probably when we was fifteen years old with a pause 150 00:08:44,200 --> 00:08:46,480 Speaker 1: tape you know what I name. And then when we 151 00:08:46,520 --> 00:08:48,800 Speaker 1: got an album Deil, I'm like, yo, let's bring back 152 00:08:48,960 --> 00:08:51,200 Speaker 1: that a whole routine we used to play and we 153 00:08:51,240 --> 00:08:53,960 Speaker 1: did it and it became when it became How old 154 00:08:53,960 --> 00:08:56,240 Speaker 1: were you guys when you made the first album? Um 155 00:08:56,720 --> 00:09:00,360 Speaker 1: first album? Officially, I was twenty one. As far as 156 00:09:00,400 --> 00:09:02,840 Speaker 1: the first just well just Just's album. You want to 157 00:09:02,880 --> 00:09:07,960 Speaker 1: count that nineteen when he made Worse Margenius. Yeah, so 158 00:09:08,400 --> 00:09:12,520 Speaker 1: not bad, no incredible, But you guys had already been 159 00:09:13,200 --> 00:09:17,960 Speaker 1: percolating for five or six years. Yeah, yeah, running around 160 00:09:17,960 --> 00:09:22,800 Speaker 1: New York trying. You know, they're trying. You know, I 161 00:09:22,880 --> 00:09:24,680 Speaker 1: got a question for you. I got used with this 162 00:09:24,920 --> 00:09:30,960 Speaker 1: of course. So rock the Bells, Yeah right, you program 163 00:09:31,040 --> 00:09:36,720 Speaker 1: the drums on that one. And and then how about 164 00:09:36,800 --> 00:09:40,320 Speaker 1: Jack the Rapper, Jack the Ripper with the seven or 165 00:09:40,360 --> 00:09:43,880 Speaker 1: seven cow bells? I can't remember because I can't remember 166 00:09:43,960 --> 00:09:45,280 Speaker 1: is that was that on the first album or the 167 00:09:45,320 --> 00:09:46,760 Speaker 1: second album. If it was on the second album, I 168 00:09:46,760 --> 00:09:49,520 Speaker 1: didn't produce it. It It wasn't even on an album. It 169 00:09:49,600 --> 00:09:53,040 Speaker 1: was like like a B side single that I think 170 00:09:53,080 --> 00:09:56,000 Speaker 1: you guys had dropped back at back. Honestly, can't remember. 171 00:09:56,200 --> 00:09:58,800 Speaker 1: I'd have to listen back, I'd have to listen. But 172 00:09:58,840 --> 00:10:00,440 Speaker 1: let me talk about Rock the Bells one moment if 173 00:10:00,440 --> 00:10:03,559 Speaker 1: you don't mind, no, not at all. So Rock the 174 00:10:03,679 --> 00:10:08,719 Speaker 1: Bells one of the hardest beasts to hit the streets, okay, 175 00:10:09,720 --> 00:10:16,400 Speaker 1: and really a pioneering production for hip hop. And then 176 00:10:16,600 --> 00:10:19,360 Speaker 1: The bell Man. Now that my producer, I could have 177 00:10:19,360 --> 00:10:23,479 Speaker 1: imagine that that hit was a good tar hit, basically 178 00:10:23,640 --> 00:10:29,480 Speaker 1: elpo with Jay It's all that's a right, yes, and 179 00:10:30,000 --> 00:10:34,440 Speaker 1: it changes hip hop, it evolves it to be totally honest. 180 00:10:35,120 --> 00:10:36,920 Speaker 1: And I'm only bringing this up to give me some 181 00:10:37,000 --> 00:10:42,840 Speaker 1: points on this right because I remember being very egotistic 182 00:10:42,880 --> 00:10:46,679 Speaker 1: about hip hop myself, Like you know, it took me. 183 00:10:46,760 --> 00:10:48,560 Speaker 1: It took me, like I had to go to France 184 00:10:48,640 --> 00:10:51,320 Speaker 1: and after the album called water Court, in the rest 185 00:10:51,400 --> 00:10:53,000 Speaker 1: of the year two thousand and I had to travel 186 00:10:53,040 --> 00:10:55,760 Speaker 1: around all these different countries and do music right, and 187 00:10:55,800 --> 00:10:58,199 Speaker 1: I'm seeing rappers everywhere, and I realized hip hop as 188 00:10:58,240 --> 00:11:03,320 Speaker 1: a world wide but it did have his roots in America. Right. 189 00:11:04,200 --> 00:11:08,240 Speaker 1: But at one point people said hip hop was black music. 190 00:11:09,240 --> 00:11:12,240 Speaker 1: Wait a minute, and I said in an interview, wait 191 00:11:12,240 --> 00:11:14,719 Speaker 1: a minute, and I was said, I'm glad that I 192 00:11:14,760 --> 00:11:19,600 Speaker 1: was why I said, Rick Rubin may rock the bounce. Okay, 193 00:11:19,760 --> 00:11:23,959 Speaker 1: that's in the early phasis of hip hop. So I'm 194 00:11:23,960 --> 00:11:25,680 Speaker 1: not gonna say that as the black and white music. 195 00:11:25,679 --> 00:11:28,680 Speaker 1: Because Charlie Chase and and and the and the and 196 00:11:29,160 --> 00:11:32,559 Speaker 1: the Fielders four, he had Tito in the group. We 197 00:11:32,679 --> 00:11:36,839 Speaker 1: got Rick Rubin producing the early drums on L L. 198 00:11:36,960 --> 00:11:43,120 Speaker 1: Cuge probably run DMC. Okay. Point I'm making is that 199 00:11:43,200 --> 00:11:46,120 Speaker 1: you got the Latin brother, you got the white brother, 200 00:11:46,160 --> 00:11:49,480 Speaker 1: you got the black brother or naked hip hop. So 201 00:11:50,360 --> 00:11:52,280 Speaker 1: when I so when I was going through you know, 202 00:11:52,400 --> 00:11:55,280 Speaker 1: going through that to the to these countries, you know, 203 00:11:55,360 --> 00:11:57,160 Speaker 1: they was like, yeah, black, you know block, I know, 204 00:11:57,160 --> 00:12:00,800 Speaker 1: hold on hip hop. We can't say it's an American right. 205 00:12:01,200 --> 00:12:03,560 Speaker 1: We should say American before we said it, because actually 206 00:12:03,960 --> 00:12:10,079 Speaker 1: it's been pioneers from every aspect of our culture. Hip 207 00:12:10,120 --> 00:12:14,240 Speaker 1: hop is actually a melting pot of our culture. It's true. 208 00:12:14,240 --> 00:12:16,240 Speaker 1: But maybe that I will say in the early days, 209 00:12:16,800 --> 00:12:18,760 Speaker 1: I always felt like the only white person in the 210 00:12:18,840 --> 00:12:22,640 Speaker 1: room for a long time. Right. Look, you know what, 211 00:12:22,920 --> 00:12:25,240 Speaker 1: in the early days, even in my hood, there's only 212 00:12:25,240 --> 00:12:27,400 Speaker 1: one white dude that lived in the project. But that 213 00:12:27,520 --> 00:12:30,760 Speaker 1: was I'm mad. You know, if you got dog chocolate, 214 00:12:31,000 --> 00:12:33,520 Speaker 1: you put a muspoonful of milk in it, it breaks 215 00:12:33,520 --> 00:12:34,760 Speaker 1: it down a little bit, you know what I mean. 216 00:12:35,160 --> 00:12:37,200 Speaker 1: So point on the point being made is that hip 217 00:12:37,200 --> 00:12:41,840 Speaker 1: hop is was one of the first, not one of 218 00:12:41,840 --> 00:12:44,839 Speaker 1: the first, but definitely part of the American culture that 219 00:12:44,960 --> 00:12:48,520 Speaker 1: is emerging of different people from walks of life, you 220 00:12:48,520 --> 00:12:52,520 Speaker 1: know what I mean. Now, Now, the Asian influence may 221 00:12:52,559 --> 00:12:56,960 Speaker 1: have not been identified or identifiable or in it, and 222 00:12:57,040 --> 00:12:59,280 Speaker 1: it came in but it but it was in it 223 00:12:59,320 --> 00:13:02,000 Speaker 1: in a even my sterious way. If you go back 224 00:13:02,040 --> 00:13:04,840 Speaker 1: and talk to Grand Master Flash and talk to some 225 00:13:04,880 --> 00:13:07,920 Speaker 1: of these guys, you realize that some of their names, 226 00:13:07,920 --> 00:13:11,120 Speaker 1: some of their vibes did come from Come to Movies. Right. 227 00:13:11,679 --> 00:13:15,080 Speaker 1: You go back and you talk to some of the breakdances, 228 00:13:15,080 --> 00:13:17,400 Speaker 1: you'll see that they picked up a couple of moves 229 00:13:17,440 --> 00:13:20,600 Speaker 1: from some of the forty seconds three Come to Movies, Right. 230 00:13:20,640 --> 00:13:23,240 Speaker 1: But it still it didn't but it wasn't identifiable. Then 231 00:13:23,240 --> 00:13:26,320 Speaker 1: woul Tang comes and we put it right into music. Basically, 232 00:13:26,400 --> 00:13:32,200 Speaker 1: hip hop is that culture that allowed the entire spectrum 233 00:13:32,240 --> 00:13:36,839 Speaker 1: of American culture to exist creatively and caban and then 234 00:13:36,920 --> 00:13:41,320 Speaker 1: eventually become the culture of the world. What was the 235 00:13:41,760 --> 00:13:45,160 Speaker 1: what was the hip hop scene that you grew up in? Like, 236 00:13:45,400 --> 00:13:49,439 Speaker 1: what were you seeing around? For me? The first time 237 00:13:49,520 --> 00:13:54,000 Speaker 1: I heard hip hop was on stat Nolan nineteen seventy six. 238 00:13:55,280 --> 00:14:00,839 Speaker 1: It was a DJA named DJ Jones. The other guy 239 00:14:00,920 --> 00:14:05,520 Speaker 1: named was Quincy. These these are unknown DJs who who 240 00:14:05,600 --> 00:14:08,559 Speaker 1: who unknown to the rest of the world and uh 241 00:14:08,840 --> 00:14:12,680 Speaker 1: and then an MC named MC punch And they would 242 00:14:12,760 --> 00:14:16,840 Speaker 1: bring that system out between the building two forty and 243 00:14:17,000 --> 00:14:20,280 Speaker 1: two sixty park Hill, there was a parking lot there. 244 00:14:20,320 --> 00:14:23,040 Speaker 1: They would plug up and they would do their jams. 245 00:14:23,360 --> 00:14:28,080 Speaker 1: How many people would come, maybe, you know, eighty ninety 246 00:14:28,160 --> 00:14:30,480 Speaker 1: even if one hundred people the whole because it's park Hill, 247 00:14:30,520 --> 00:14:32,800 Speaker 1: so everybody from all the kids, from all the builders 248 00:14:32,800 --> 00:14:34,800 Speaker 1: would come. I shouldn't be out there. I got my 249 00:14:34,840 --> 00:14:37,480 Speaker 1: ass well from being out there because I'm I'm seven 250 00:14:37,600 --> 00:14:43,520 Speaker 1: eight years old, mesmerize, hypnotized by the music and what 251 00:14:43,720 --> 00:14:50,840 Speaker 1: he was playing was apache that deep, that vibe, it 252 00:14:51,240 --> 00:14:54,120 Speaker 1: it was whatever that song made me want to get 253 00:14:54,120 --> 00:14:57,480 Speaker 1: on the floor and roll around, you see. And the 254 00:14:57,520 --> 00:15:00,440 Speaker 1: first thing I did was I tried to len how 255 00:15:00,440 --> 00:15:02,880 Speaker 1: to do it wasn't even called breakdance and was called 256 00:15:02,920 --> 00:15:06,400 Speaker 1: freak style or freaking freaking off through the freestyle, you 257 00:15:06,440 --> 00:15:08,960 Speaker 1: know what I mean. And so that was my first thing. 258 00:15:09,000 --> 00:15:11,560 Speaker 1: But then when the rapper was like dip dip dive 259 00:15:11,720 --> 00:15:14,400 Speaker 1: so socialized to clean out to ears, then you open 260 00:15:14,440 --> 00:15:17,240 Speaker 1: your eyes right that that was probably a rap that 261 00:15:17,360 --> 00:15:19,560 Speaker 1: he probably got from someone else. Who knows, right, because 262 00:15:19,600 --> 00:15:24,280 Speaker 1: somebody rappers said it, but it hit me and my 263 00:15:24,360 --> 00:15:27,200 Speaker 1: cousin just a couple of years older than me. He's 264 00:15:27,240 --> 00:15:29,800 Speaker 1: the one that took me to the block party. He 265 00:15:29,840 --> 00:15:32,520 Speaker 1: was already writing lymics at that time, you know what 266 00:15:32,520 --> 00:15:34,240 Speaker 1: I mean, Because I was living down South for a 267 00:15:34,280 --> 00:15:36,400 Speaker 1: few years. So I just got back from down South, 268 00:15:36,440 --> 00:15:38,320 Speaker 1: so imagine it. I'm coming back from down South for 269 00:15:38,400 --> 00:15:41,360 Speaker 1: seven years old, going on eight. I hear this music. 270 00:15:41,640 --> 00:15:47,000 Speaker 1: I'm mesmerized. How how popular was the music at that time? 271 00:15:47,000 --> 00:15:50,600 Speaker 1: Would you say everyone your age liked it or no? 272 00:15:51,520 --> 00:15:53,640 Speaker 1: I won't. I don't know if everyone my age liked it, 273 00:15:53,680 --> 00:15:56,440 Speaker 1: but I think no more than a hundred and fifty 274 00:15:56,440 --> 00:16:00,320 Speaker 1: people knew how to do it, you know what I mean. Unity, 275 00:16:00,360 --> 00:16:03,800 Speaker 1: It was a small still a very small community, small community. 276 00:16:04,240 --> 00:16:06,720 Speaker 1: Just A told me he got it from he learned 277 00:16:06,800 --> 00:16:09,360 Speaker 1: it from the Bronx, from sound View Projects. He had 278 00:16:09,400 --> 00:16:12,360 Speaker 1: a cousin up the sound View Projects. He would go 279 00:16:12,400 --> 00:16:15,320 Speaker 1: to their house and people will bring out sound systems 280 00:16:15,360 --> 00:16:17,400 Speaker 1: there and they would do it. That's where it hit him. 281 00:16:17,440 --> 00:16:20,240 Speaker 1: So so my style really could be traced back to 282 00:16:20,320 --> 00:16:23,200 Speaker 1: the Bronx, from the just you know what I mean, 283 00:16:23,560 --> 00:16:27,640 Speaker 1: he boarded the stat now. Um, and then of course 284 00:16:27,680 --> 00:16:29,600 Speaker 1: you know, by the age of nine, I started writing lyrics. 285 00:16:29,640 --> 00:16:32,880 Speaker 1: But in hip hop is still new. It's never been 286 00:16:32,880 --> 00:16:36,160 Speaker 1: on the radio yet, you know what I mean. Um, 287 00:16:36,200 --> 00:16:41,800 Speaker 1: I don't think even w BLI, HBI whatever, HBI, w 288 00:16:42,000 --> 00:16:46,840 Speaker 1: HPI hasn't hasn't hit it yet. Remember mister Magic, don't 289 00:16:46,880 --> 00:16:50,360 Speaker 1: mister Magic. No Supreme Team. Yeah, but you're still talking 290 00:16:51,520 --> 00:16:55,280 Speaker 1: seventy eight, seventy nine. That sugar Hill Game comes in 291 00:16:56,240 --> 00:16:59,840 Speaker 1: seventy nine. But anyway, it wasn't a lot of people 292 00:16:59,840 --> 00:17:04,800 Speaker 1: doing it, answer your question, and it was mostly DJ's 293 00:17:04,840 --> 00:17:09,280 Speaker 1: catching a break beat. The samplers wasn't happening. I remember 294 00:17:10,200 --> 00:17:13,199 Speaker 1: the first time I heard a sampler. I mean, you know, 295 00:17:13,280 --> 00:17:15,800 Speaker 1: of course Molly in the early days, but that's like 296 00:17:15,880 --> 00:17:19,159 Speaker 1: Marley's one eighty eighty five. Now, yeah, he comes in 297 00:17:19,640 --> 00:17:21,920 Speaker 1: and when ye, when ye rock the bells for us. 298 00:17:22,600 --> 00:17:24,520 Speaker 1: I don't know. I'm not good with dates, but but 299 00:17:24,560 --> 00:17:26,480 Speaker 1: I know, I do know that when we made those 300 00:17:26,520 --> 00:17:28,840 Speaker 1: first records, there was not a sampler yet. We didn't 301 00:17:28,880 --> 00:17:31,760 Speaker 1: yet happen exactly, no sampler exactly. So that's the point 302 00:17:31,760 --> 00:17:34,399 Speaker 1: I'll make. No samplers. So it's just the break beat, 303 00:17:35,119 --> 00:17:40,080 Speaker 1: the DJ cutting it in. Maybe you had a four track, right, yeah, 304 00:17:40,200 --> 00:17:43,480 Speaker 1: and so it was primitive. But I do remember hearing 305 00:17:43,600 --> 00:17:46,600 Speaker 1: Flash ran Master Flats had a song called Flashes on 306 00:17:46,760 --> 00:17:50,640 Speaker 1: the beat box, like An and Me and Dirty went 307 00:17:51,240 --> 00:17:54,520 Speaker 1: the fourteen Street because fourteen Street had all the electronics stores, 308 00:17:54,560 --> 00:17:57,719 Speaker 1: remember that, of course, and we tried to go and 309 00:17:57,760 --> 00:18:00,520 Speaker 1: find what the heck was a bat box, and we 310 00:18:01,080 --> 00:18:04,159 Speaker 1: end up getting was one of those rhythm boxes that 311 00:18:04,280 --> 00:18:07,639 Speaker 1: they use in church her rhythms. Yeah, and we now, 312 00:18:07,680 --> 00:18:09,760 Speaker 1: I don't know if that's the Is that what the 313 00:18:09,840 --> 00:18:12,520 Speaker 1: Flash is talking about? No, I don't know. I don't 314 00:18:12,520 --> 00:18:16,199 Speaker 1: think I think so, but maybe maybe, Well that's the 315 00:18:16,240 --> 00:18:18,639 Speaker 1: first thing I've ever had. Those were like like rhythm 316 00:18:18,760 --> 00:18:21,320 Speaker 1: like rhythm king. It's like it just has like a 317 00:18:21,400 --> 00:18:24,359 Speaker 1: bunch of buttons to pick the style of beat. You 318 00:18:24,400 --> 00:18:27,000 Speaker 1: don't you don't program a beat. You don't program it. 319 00:18:27,000 --> 00:18:30,240 Speaker 1: It has pre program beat and you can just control 320 00:18:30,280 --> 00:18:33,080 Speaker 1: the tempo, control the tempo. But if you press two 321 00:18:33,119 --> 00:18:36,600 Speaker 1: of them together, yeah, it will do something awkward absolutely 322 00:18:37,720 --> 00:18:41,680 Speaker 1: well if you keep holding the phil In button. Yeah. Yeah. 323 00:18:41,680 --> 00:18:44,080 Speaker 1: So that was the first That was my first way 324 00:18:44,080 --> 00:18:46,560 Speaker 1: of trying to produce. I had two time tables and 325 00:18:46,640 --> 00:18:50,640 Speaker 1: one of those beat rhythm boxes. And then one day 326 00:18:50,840 --> 00:18:55,320 Speaker 1: there's a guy on stand allan named uh silly phil Right. 327 00:18:56,160 --> 00:19:00,280 Speaker 1: He comes outside with a six h six drum machine. Now, 328 00:19:00,280 --> 00:19:03,359 Speaker 1: I mean that changed the game. But we thought that 329 00:19:03,400 --> 00:19:06,760 Speaker 1: was the masterpiece, right, But then Doctor Rock or the 330 00:19:06,840 --> 00:19:12,280 Speaker 1: fours MDS or foursomcsmember remember DJ Doctor Rocke. So Doctor 331 00:19:12,359 --> 00:19:15,919 Speaker 1: Rock he comes out with a seven h seven. So 332 00:19:16,000 --> 00:19:18,119 Speaker 1: this is nineteen Now I'm going I might I might 333 00:19:18,160 --> 00:19:20,280 Speaker 1: be in nineteen eighty two. Now I'm in eighty two, 334 00:19:20,920 --> 00:19:24,159 Speaker 1: nineteen eighty two, eighty three, the seven h seven is 335 00:19:24,160 --> 00:19:27,760 Speaker 1: on the block. Doctor Rock has it, and he invites me, 336 00:19:29,080 --> 00:19:32,400 Speaker 1: Justiz and odb Over to do a demo. I'm fourteen 337 00:19:32,480 --> 00:19:37,160 Speaker 1: years old, yeah at most, and we recorded a demo 338 00:19:37,560 --> 00:19:40,040 Speaker 1: and we just felt like we was headed. We was 339 00:19:40,080 --> 00:19:42,040 Speaker 1: gonna be on top of the world. And this is 340 00:19:42,080 --> 00:19:45,520 Speaker 1: before the fourso mds had dear Tommy Boy deal. They 341 00:19:45,680 --> 00:19:48,400 Speaker 1: they gonna get a Tommy Boy deal for another year maybe. 342 00:19:48,760 --> 00:19:51,280 Speaker 1: So anyway, point being made is that the seven h 343 00:19:51,400 --> 00:19:55,040 Speaker 1: seven was like the machine that has And then I 344 00:19:55,160 --> 00:19:58,560 Speaker 1: had a DJ on Stanton Island named Scotty Rock right 345 00:19:58,600 --> 00:20:00,760 Speaker 1: not to because not to be complete with Scott mo Rock, 346 00:20:01,800 --> 00:20:04,600 Speaker 1: but his name was Scotty Rock and he came. He 347 00:20:04,720 --> 00:20:08,200 Speaker 1: brought the nine O nine. He had a pair of s, 348 00:20:08,440 --> 00:20:10,159 Speaker 1: he had a pair of twelve running techniques and a 349 00:20:10,240 --> 00:20:12,720 Speaker 1: nine on nine drum machine. And I stayed at his 350 00:20:12,760 --> 00:20:16,960 Speaker 1: house every day after school making beats and making demos 351 00:20:16,960 --> 00:20:19,760 Speaker 1: with him and another guy named b Dub. And we 352 00:20:19,800 --> 00:20:22,679 Speaker 1: had another guy from my high school named DJ Skain 353 00:20:24,080 --> 00:20:28,520 Speaker 1: who also had to had a dope echo machine had 354 00:20:28,560 --> 00:20:30,320 Speaker 1: to He's the one that he asked. He's the one 355 00:20:30,320 --> 00:20:33,520 Speaker 1: that had the Yamaha Forts track, you know what I mean. 356 00:20:33,920 --> 00:20:36,159 Speaker 1: And I borrowed it. I bawed this and balled that 357 00:20:36,240 --> 00:20:38,199 Speaker 1: and balld that wanning over my house, and I just 358 00:20:38,200 --> 00:20:42,080 Speaker 1: started making neighborhood albums. Me and ODB would make albums 359 00:20:42,080 --> 00:20:44,520 Speaker 1: and put him out in the hood. But that's that's 360 00:20:44,560 --> 00:20:47,480 Speaker 1: my earliest memories, memories of hip ho hop. You know, 361 00:20:47,640 --> 00:20:50,720 Speaker 1: going back from eight to fourteen. I have to ask 362 00:20:50,760 --> 00:20:56,360 Speaker 1: you what was ODB like as a kid? Wow? Beautiful, funny, crazy? 363 00:20:57,400 --> 00:21:02,040 Speaker 1: Uh at this age to say, around the age of nine, 364 00:21:02,119 --> 00:21:06,040 Speaker 1: ten eleven, um he lived, he lives in Brownsville. Then 365 00:21:06,040 --> 00:21:07,840 Speaker 1: he is a movie se up. But I was going 366 00:21:07,920 --> 00:21:10,359 Speaker 1: to point out he was one of those kids that 367 00:21:11,000 --> 00:21:15,240 Speaker 1: we had this thing called cat agility. So cat agility 368 00:21:15,280 --> 00:21:18,080 Speaker 1: means you you got to jump from one balcony to another, 369 00:21:18,640 --> 00:21:21,480 Speaker 1: run up the walls and order. This is before popcor 370 00:21:23,359 --> 00:21:26,800 Speaker 1: It is basically the foundation of popcorps. And old Dirty 371 00:21:26,920 --> 00:21:29,879 Speaker 1: was nice at it. Yo. Was it inspired by the 372 00:21:29,960 --> 00:21:33,280 Speaker 1: Kung Fu movies? It may have been. I just feel 373 00:21:33,320 --> 00:21:36,960 Speaker 1: like kids. It's like some kids that always started doing something, 374 00:21:37,080 --> 00:21:39,679 Speaker 1: you know, not kids. Uh can you jump from this 375 00:21:39,720 --> 00:21:42,160 Speaker 1: bank to this year, about this to this? And then 376 00:21:42,200 --> 00:21:43,840 Speaker 1: every day it got more and more and next thing 377 00:21:43,840 --> 00:21:45,919 Speaker 1: you know, it's five kids and we are running in 378 00:21:45,920 --> 00:21:48,080 Speaker 1: the road and I was running with him. I wasn't 379 00:21:48,280 --> 00:21:50,640 Speaker 1: never as good as him. He was like a national. 380 00:21:51,240 --> 00:21:52,879 Speaker 1: He could run up the wall to do a flip. 381 00:21:53,720 --> 00:21:55,600 Speaker 1: So when Brave Dance it came out, he could do 382 00:21:55,640 --> 00:21:57,480 Speaker 1: the windmill. I had to set the poplock and I 383 00:21:57,520 --> 00:22:02,359 Speaker 1: cannot woke the floor. And you know, he got into 384 00:22:02,440 --> 00:22:06,280 Speaker 1: hip hop first as a DJ, you know what I mean. 385 00:22:06,720 --> 00:22:09,439 Speaker 1: I kind of forced him to be an MC. You 386 00:22:09,480 --> 00:22:11,520 Speaker 1: know what I mean, Like look like you know, I 387 00:22:11,600 --> 00:22:13,880 Speaker 1: was his younger cousin, but I had I was taller, 388 00:22:13,960 --> 00:22:17,399 Speaker 1: you know what I mean, And I had had had 389 00:22:17,400 --> 00:22:19,880 Speaker 1: a little spirit, like a little pushy spirit. I think 390 00:22:19,920 --> 00:22:22,720 Speaker 1: that at that age I had got knowledge of myself 391 00:22:23,080 --> 00:22:25,840 Speaker 1: at eleven and a half, you know what I mean. 392 00:22:25,920 --> 00:22:29,040 Speaker 1: So you know, by the time I'm fourteen, I'm already 393 00:22:29,359 --> 00:22:31,440 Speaker 1: you know, young Malcolm x mine, you know what I mean. 394 00:22:31,640 --> 00:22:36,159 Speaker 1: And and that energy kind of uh was pushy. How 395 00:22:36,359 --> 00:22:39,679 Speaker 1: how do you decide to form? When I think of 396 00:22:39,720 --> 00:22:43,359 Speaker 1: Wu Tang, For me, it's the first group of its kind. 397 00:22:43,400 --> 00:22:46,800 Speaker 1: It doesn't feel like a continuation of a lineage. But 398 00:22:47,000 --> 00:22:49,800 Speaker 1: for you who did you did you feel like it 399 00:22:49,880 --> 00:22:52,639 Speaker 1: was part of a lineage of groups that had come before. 400 00:22:53,520 --> 00:22:56,200 Speaker 1: To be honest, it felt I mean, look, there's other groups. 401 00:22:56,200 --> 00:22:59,320 Speaker 1: I gotta give respect to Cold Crush brothers, like I said, 402 00:22:59,400 --> 00:23:02,359 Speaker 1: Fantastic Freaks or the Fantastic you know, the Fantastic Five, 403 00:23:03,359 --> 00:23:07,520 Speaker 1: the Furious Five, Treacherous three till there's four. I mean, 404 00:23:07,560 --> 00:23:10,080 Speaker 1: I give all respects to those brothers. But I didn't 405 00:23:10,119 --> 00:23:14,159 Speaker 1: see Woutang clan as none of that. It's not it's 406 00:23:14,200 --> 00:23:18,720 Speaker 1: it's nothing of those. It was more of a Kung 407 00:23:18,840 --> 00:23:22,680 Speaker 1: Crue clan, you know what I mean. So there's there's 408 00:23:22,720 --> 00:23:25,400 Speaker 1: certain movies that just really touched me when I was young. 409 00:23:25,440 --> 00:23:28,800 Speaker 1: You know, there's a movie called The The Brave Archer. 410 00:23:29,520 --> 00:23:32,120 Speaker 1: And in this movie The Brave Archer, there's a banker clan. 411 00:23:32,600 --> 00:23:35,680 Speaker 1: There's hundreds of them, man, and and you know them, 412 00:23:35,960 --> 00:23:39,000 Speaker 1: you know, or even Shallon, you know, the Shalon movies. 413 00:23:39,080 --> 00:23:41,080 Speaker 1: Just like there was a movie where if every Shalon 414 00:23:41,200 --> 00:23:44,040 Speaker 1: guy Shalon got burnt down and everybody had to flee 415 00:23:44,400 --> 00:23:47,280 Speaker 1: and take their secret techniques and you're a new one. 416 00:23:47,280 --> 00:23:51,560 Speaker 1: When they had certain hand signals that became like my psyche, 417 00:23:52,400 --> 00:23:55,359 Speaker 1: you know what I mean, The Five Deadly Venoms, you 418 00:23:55,400 --> 00:23:58,520 Speaker 1: know what I mean. The Ten Tigers of Quantan, in fact, 419 00:23:58,560 --> 00:24:02,040 Speaker 1: the ten Tigers of Quanta um or Canton if you've 420 00:24:02,040 --> 00:24:08,359 Speaker 1: fronounced it properly. It's probably the the movie that I 421 00:24:08,359 --> 00:24:11,800 Speaker 1: could have modeled. Some of the Wou Tang members asked, 422 00:24:12,000 --> 00:24:14,640 Speaker 1: you know what I mean? And there's another movie called 423 00:24:14,640 --> 00:24:18,840 Speaker 1: The Eight Diagram Pole Fightless with eight brothers all fighting 424 00:24:18,920 --> 00:24:23,280 Speaker 1: for the country, layalless. And those two movies could be 425 00:24:24,040 --> 00:24:28,920 Speaker 1: the movies that inspired me to realize that we can 426 00:24:29,000 --> 00:24:31,720 Speaker 1: move as a clan, you know what I mean, Not 427 00:24:31,880 --> 00:24:34,440 Speaker 1: just five deli ventos, because five is a lot too. Yeah, 428 00:24:34,920 --> 00:24:36,879 Speaker 1: you know what I mean, but the move as a clan. 429 00:24:37,520 --> 00:24:39,920 Speaker 1: I would think that I kind of was inspired by 430 00:24:39,920 --> 00:24:43,320 Speaker 1: the art of martial art films, the shivalry, the brotherhood, 431 00:24:43,800 --> 00:24:46,000 Speaker 1: the one man would die for the other. How do 432 00:24:46,080 --> 00:24:48,560 Speaker 1: you how do you get into martial arts films? My 433 00:24:48,680 --> 00:24:53,040 Speaker 1: first movie I ever saw was Tom Sawyer Huckleberry Finn movie. 434 00:24:55,000 --> 00:25:00,399 Speaker 1: My second movie it's Star Wars. My third movie is 435 00:25:00,440 --> 00:25:04,119 Speaker 1: The Swarm In. My fourth movie is a double feature, 436 00:25:04,640 --> 00:25:07,760 Speaker 1: which was a Bruce Lee movie called A Furia the Dragon, 437 00:25:07,880 --> 00:25:09,840 Speaker 1: which was that's an edited movie of all his Cato 438 00:25:10,000 --> 00:25:14,440 Speaker 1: things but together, and Black Samarai with Jim Kelly. Right, 439 00:25:15,000 --> 00:25:18,040 Speaker 1: those are my first five movies, and if you look 440 00:25:18,080 --> 00:25:20,720 Speaker 1: at me as if you look at what that means 441 00:25:20,720 --> 00:25:28,040 Speaker 1: to me. The force is my spirituality, right, Lightsaber, the swarm, 442 00:25:28,400 --> 00:25:32,240 Speaker 1: killer bees, who tank killer bees? Okay, the kung Fu 443 00:25:32,359 --> 00:25:35,040 Speaker 1: movies is all of my blood, you know what I mean? 444 00:25:35,800 --> 00:25:39,520 Speaker 1: And I think the writing of Mark Twain and the 445 00:25:39,640 --> 00:25:43,480 Speaker 1: storytelling is all in my blood. I think those early 446 00:25:43,600 --> 00:25:47,240 Speaker 1: movies really like imprinted it something on me. And plus 447 00:25:47,280 --> 00:25:48,760 Speaker 1: the people who I was seeing him with. I was 448 00:25:48,800 --> 00:25:52,960 Speaker 1: seeing with my uncle who was just you know, a 449 00:25:53,000 --> 00:25:55,600 Speaker 1: father figure in my life. He's the one that that 450 00:25:55,640 --> 00:25:57,560 Speaker 1: took the time to take me to see a movie, 451 00:25:57,800 --> 00:26:00,239 Speaker 1: you know, and we're talking, you know, the the man 452 00:26:00,280 --> 00:26:02,119 Speaker 1: who would take it to the movie and talked to 453 00:26:02,200 --> 00:26:04,880 Speaker 1: you after the movie was over, which I now doing 454 00:26:04,920 --> 00:26:07,200 Speaker 1: my children out. We don't we don't just watch a movie. 455 00:26:07,200 --> 00:26:09,240 Speaker 1: We watch it after the movies, don't. We sit down 456 00:26:09,240 --> 00:26:11,720 Speaker 1: and we spent fifteen to thirty minutes, maybe even an 457 00:26:11,760 --> 00:26:14,000 Speaker 1: hour depending on the movie, and we talked about it. 458 00:26:14,600 --> 00:26:18,879 Speaker 1: So those movies probably uh have the big inspiration, but 459 00:26:19,000 --> 00:26:22,600 Speaker 1: the kung fu movie had the biggest And so then 460 00:26:22,640 --> 00:26:24,639 Speaker 1: what my cousin Vince had took me down to forty 461 00:26:24,640 --> 00:26:30,240 Speaker 1: seconds stry it was a kung Fu triple feature, so 462 00:26:30,359 --> 00:26:33,320 Speaker 1: you can imagine for a dollar fifty and so that 463 00:26:33,400 --> 00:26:36,840 Speaker 1: became my my my stimulation to the point that by 464 00:26:36,840 --> 00:26:39,159 Speaker 1: the time I was a teenager, me and od B, 465 00:26:39,320 --> 00:26:42,680 Speaker 1: we would play hooky and those students, you know, were 466 00:26:42,680 --> 00:26:45,920 Speaker 1: those kids in the theaters would a joint cut in 467 00:26:46,000 --> 00:26:50,320 Speaker 1: school watching movies. We'll be back with more from Rizza 468 00:26:50,359 --> 00:26:57,560 Speaker 1: after a quick break. We're back with more from Rizzina. 469 00:26:58,280 --> 00:27:04,040 Speaker 1: How much would you say, um, smoking influences your creativity. 470 00:27:04,920 --> 00:27:10,320 Speaker 1: That's a great question. I there, um, and I gotta 471 00:27:10,359 --> 00:27:14,880 Speaker 1: be honest, right, I started creating before I was smoking. 472 00:27:16,359 --> 00:27:19,960 Speaker 1: I created a lot doing my smoking. I got to 473 00:27:20,000 --> 00:27:23,000 Speaker 1: an argument with my little brother about five years ago. 474 00:27:25,000 --> 00:27:27,120 Speaker 1: My little brother he's in a group called Killer Army, 475 00:27:27,200 --> 00:27:30,240 Speaker 1: and you know, he's he's he's he's maybe eight years 476 00:27:30,320 --> 00:27:33,200 Speaker 1: nine years younger than me. And so he's the guy 477 00:27:33,240 --> 00:27:37,480 Speaker 1: that looked at me, learned from me, and continues and 478 00:27:37,560 --> 00:27:39,280 Speaker 1: hip hop. You know, he wanted you know, he's he's 479 00:27:39,280 --> 00:27:43,040 Speaker 1: he I'm like his big brother that he's copient. And 480 00:27:43,200 --> 00:27:45,960 Speaker 1: the more I got into drugs and more he got 481 00:27:46,240 --> 00:27:50,040 Speaker 1: drug I smoked it. He smoked it. Okay, whatever I did, 482 00:27:50,080 --> 00:27:54,600 Speaker 1: he did. If I chewed it, he chewed it, and uh, 483 00:27:54,640 --> 00:27:57,280 Speaker 1: I stopped about five years ago. I don't like I 484 00:27:57,320 --> 00:27:59,159 Speaker 1: haven't you know, I don't even smoke weed right now, 485 00:28:00,040 --> 00:28:01,359 Speaker 1: you know what I mean. I just chilled out like 486 00:28:01,400 --> 00:28:03,879 Speaker 1: I'm good. Like if I smoked weed. Now it has 487 00:28:03,920 --> 00:28:07,280 Speaker 1: to be a total celebration of something great. I gotta 488 00:28:07,320 --> 00:28:10,560 Speaker 1: get the Grammy or the hostile, something really great for 489 00:28:10,600 --> 00:28:12,359 Speaker 1: me to say, I'm want to celebrate with that, with 490 00:28:12,480 --> 00:28:15,600 Speaker 1: that drug and nothing to guess that I smoked enough 491 00:28:15,600 --> 00:28:19,120 Speaker 1: for two lifetimes. But the point I want to make 492 00:28:19,280 --> 00:28:22,200 Speaker 1: is that he was like, yo, because I told him 493 00:28:22,200 --> 00:28:24,399 Speaker 1: you should quit. You know, you just quite especially the 494 00:28:24,400 --> 00:28:26,680 Speaker 1: hard drugs, you should quit them. And he was like, nah, 495 00:28:26,800 --> 00:28:30,960 Speaker 1: many crazy, all the greats. Man made this ship of 496 00:28:31,080 --> 00:28:35,680 Speaker 1: the drugs, Jimmy Hendricks, Jane Brown, Jannys jep He started 497 00:28:35,760 --> 00:28:39,640 Speaker 1: naming motherfucker's the even you that's the Wait a minute, 498 00:28:39,680 --> 00:28:43,120 Speaker 1: let me think about that. I said, Nah, I made 499 00:28:43,200 --> 00:28:46,120 Speaker 1: thirty six chambers sober because remember I went on trial. 500 00:28:46,840 --> 00:28:49,800 Speaker 1: I cook and get high and I just kept making 501 00:28:49,880 --> 00:28:54,720 Speaker 1: music and doing things sober. I said, Actually, I made 502 00:28:54,760 --> 00:28:59,360 Speaker 1: my company. Everything I did was the best. Met was 503 00:28:59,400 --> 00:29:02,440 Speaker 1: the sober me. Right. He was like he didn't believe it. 504 00:29:02,480 --> 00:29:04,320 Speaker 1: I said, yeah. Then I said, you know what, two nice. 505 00:29:04,680 --> 00:29:06,720 Speaker 1: When I went to do my movie Man with the 506 00:29:06,800 --> 00:29:11,200 Speaker 1: Eye insist, I sobered up. I had to be I 507 00:29:11,280 --> 00:29:13,800 Speaker 1: wrote it. I went to China. No drugs in China anyway. 508 00:29:14,880 --> 00:29:19,240 Speaker 1: I stayed there for nine months and I directed a film. 509 00:29:19,280 --> 00:29:22,040 Speaker 1: I couldn't afford to be high, and I was able 510 00:29:22,080 --> 00:29:25,440 Speaker 1: to operate all my creative abilities. So I'm only saying 511 00:29:25,440 --> 00:29:28,840 Speaker 1: that I made a lot of music while Bobby digitals 512 00:29:28,920 --> 00:29:32,360 Speaker 1: and all type of ship. Bro. But I honestly gotta say, 513 00:29:32,920 --> 00:29:35,640 Speaker 1: and I can speak from the truth that my creative 514 00:29:35,720 --> 00:29:40,000 Speaker 1: energy is not generated from drugs. It's it's a self 515 00:29:40,080 --> 00:29:44,080 Speaker 1: generating desire to create. And like I said, I made 516 00:29:44,120 --> 00:29:49,240 Speaker 1: fifteen beats so far on this quarantine. No drugs in 517 00:29:49,320 --> 00:29:51,720 Speaker 1: my house, bro, tell me about what was it like 518 00:29:51,800 --> 00:29:54,400 Speaker 1: living in China for nine months? Thanks for asking, But 519 00:29:54,400 --> 00:29:59,360 Speaker 1: that was the first world I'm gonna say, lonely. And 520 00:29:59,400 --> 00:30:02,480 Speaker 1: it's not a lot blocks over there, Bro, I sold 521 00:30:02,520 --> 00:30:05,680 Speaker 1: like two blocks in nine months, you know what I mean. 522 00:30:05,880 --> 00:30:07,720 Speaker 1: Let's say, let's say came over with me, you know 523 00:30:07,760 --> 00:30:09,680 Speaker 1: what I mean, not a lot of us over there. 524 00:30:10,280 --> 00:30:13,120 Speaker 1: I'll tell you how lonely. It was. Now we could 525 00:30:13,160 --> 00:30:15,800 Speaker 1: say in America we got red system. All right. If 526 00:30:16,240 --> 00:30:19,080 Speaker 1: you know, an average black guy dressed him in my 527 00:30:19,120 --> 00:30:21,440 Speaker 1: hoodie stown and I don't know I made dressed. If 528 00:30:21,480 --> 00:30:24,440 Speaker 1: I come across an average white guy, he might feel like, Yo, 529 00:30:24,680 --> 00:30:28,000 Speaker 1: what this dude gonna do? Right, I'm in China, bro 530 00:30:29,320 --> 00:30:32,560 Speaker 1: at an elevator, about to go to my room whatever, 531 00:30:32,680 --> 00:30:36,600 Speaker 1: sitting there, and here comes a white guy, average white 532 00:30:36,600 --> 00:30:42,000 Speaker 1: guy from the Midwest. He he hits the button. He 533 00:30:42,040 --> 00:30:45,520 Speaker 1: looks at me. I look at him. How you knowing 534 00:30:45,520 --> 00:30:46,959 Speaker 1: that my name is Bob? I think what's your name? 535 00:30:47,320 --> 00:30:53,160 Speaker 1: We became immediate friends, Bro, because first of all, you 536 00:30:53,200 --> 00:30:57,400 Speaker 1: don't even here in English, okay, and we talked about sports. 537 00:30:57,440 --> 00:30:58,880 Speaker 1: He was out. That's what you're going out here. He's 538 00:30:58,880 --> 00:31:01,520 Speaker 1: out my head with the fort the Fourth Corporation building 539 00:31:01,560 --> 00:31:03,760 Speaker 1: a whole new plant. I'm there, I'm building a plant. 540 00:31:04,000 --> 00:31:06,360 Speaker 1: It's what you're doing something. I'm making a movie. We 541 00:31:06,480 --> 00:31:09,680 Speaker 1: became for him. So now, maybe in Arabica that wouldn't 542 00:31:09,680 --> 00:31:11,280 Speaker 1: have happened. Even the gout in the elevator that got 543 00:31:11,280 --> 00:31:14,320 Speaker 1: the offer, But it was so lonely that even they here, 544 00:31:14,400 --> 00:31:18,080 Speaker 1: somebody speak your own language and understand the culture of 545 00:31:18,200 --> 00:31:21,520 Speaker 1: what America because it's a different we have a unique 546 00:31:21,520 --> 00:31:25,280 Speaker 1: coaching bro, good, bad or ugly, it's different, you know 547 00:31:25,320 --> 00:31:28,080 Speaker 1: what I mean? And when I was over there, I 548 00:31:28,960 --> 00:31:33,280 Speaker 1: recognized that I felt that describe a bit about that culture, 549 00:31:33,360 --> 00:31:35,880 Speaker 1: like what are some of the differences for those of 550 00:31:35,920 --> 00:31:40,720 Speaker 1: us who haven't been well on a on a micro 551 00:31:41,200 --> 00:31:44,040 Speaker 1: on a I'm gonna macro first, on a macro level, 552 00:31:44,840 --> 00:31:49,479 Speaker 1: it's almost like everything looks like it's like the building 553 00:31:49,560 --> 00:31:51,960 Speaker 1: looks like the building is gonna be you walk in, 554 00:31:52,000 --> 00:31:54,280 Speaker 1: the building's going to be the same, right, but it's 555 00:31:54,280 --> 00:31:56,280 Speaker 1: not going to be the same because the coach it's 556 00:31:56,280 --> 00:32:00,280 Speaker 1: a communist country. Bro, Okay, you did them a common zoon. 557 00:32:01,000 --> 00:32:04,800 Speaker 1: That means that the freedom of speech, the freedom of 558 00:32:04,800 --> 00:32:07,160 Speaker 1: what you want to say. It's not really like that 559 00:32:07,280 --> 00:32:10,560 Speaker 1: you can't say it like I couldn't say they like 560 00:32:10,600 --> 00:32:14,120 Speaker 1: they had to check my script and make sure that 561 00:32:14,240 --> 00:32:17,480 Speaker 1: I was saying the right shiit yo. Now I respect that, 562 00:32:17,520 --> 00:32:20,960 Speaker 1: I respect their culture. But if you want to know 563 00:32:21,040 --> 00:32:25,440 Speaker 1: about censorship and and being controlled at the highest level, 564 00:32:26,080 --> 00:32:27,840 Speaker 1: but that's what they do, you know what I mean? 565 00:32:28,520 --> 00:32:32,720 Speaker 1: And it's law. Any of the things that were you 566 00:32:32,760 --> 00:32:35,040 Speaker 1: were not allowed to do anything that you said or 567 00:32:35,080 --> 00:32:38,680 Speaker 1: any themes in the movie that were questioned. I couldn't. 568 00:32:38,760 --> 00:32:43,120 Speaker 1: I couldn't say Shalon in my movie because because Shalon 569 00:32:43,280 --> 00:32:48,960 Speaker 1: is historically a place in China that's historically real, and 570 00:32:49,040 --> 00:32:53,920 Speaker 1: so they didn't want me to dampen their culture by 571 00:32:54,200 --> 00:32:58,560 Speaker 1: saying Shalon in my movie on a story that wasn't 572 00:32:59,280 --> 00:33:04,200 Speaker 1: real to shout l now, I don't know why, because 573 00:33:04,240 --> 00:33:08,400 Speaker 1: I don't see a hundred movies with different stories about Shallette, 574 00:33:08,760 --> 00:33:10,680 Speaker 1: and I've been to China. Vary sounds. So I went 575 00:33:10,720 --> 00:33:13,480 Speaker 1: on the pilgrimage to China as well. And when I 576 00:33:13,520 --> 00:33:15,920 Speaker 1: went on that pilgrimage, it was one of the greatest 577 00:33:15,960 --> 00:33:19,560 Speaker 1: sxpienities of my life because I went to Shalotte Temple, 578 00:33:19,640 --> 00:33:23,440 Speaker 1: I went to Woutang Mountain and and the history of 579 00:33:23,440 --> 00:33:28,600 Speaker 1: their culture, of what they preserved in their culture, it's 580 00:33:28,600 --> 00:33:31,240 Speaker 1: a blessing for the entire world because they got history 581 00:33:32,280 --> 00:33:38,080 Speaker 1: four thousand years still contained beautiful and when I went there, 582 00:33:39,600 --> 00:33:42,080 Speaker 1: it's not commercialized. Well, when I went it wasn't commercialized 583 00:33:42,160 --> 00:33:45,360 Speaker 1: yet Shalon became a little commotionalized based on a lot 584 00:33:45,360 --> 00:33:49,040 Speaker 1: of movies and a lot of tourism Wu Tanging Mountains. 585 00:33:49,080 --> 00:33:51,400 Speaker 1: It's hard to get to first of all, it's not 586 00:33:51,440 --> 00:33:54,320 Speaker 1: as easy to get to a shallete. And when I 587 00:33:54,360 --> 00:33:58,560 Speaker 1: went there, it was really interesting because they had a 588 00:33:58,600 --> 00:34:03,480 Speaker 1: different type of serenity about them, you know. So Wu 589 00:34:03,560 --> 00:34:08,240 Speaker 1: Tang malant is considered the birthplace of tai Chi Zingy 590 00:34:09,480 --> 00:34:17,560 Speaker 1: and bah Wah of course, and the months there. Although 591 00:34:17,920 --> 00:34:23,480 Speaker 1: they're not celibate, they don't practice selimancy, but they practiced 592 00:34:23,520 --> 00:34:28,840 Speaker 1: internally before external right, and it shows in their demeanor 593 00:34:29,000 --> 00:34:35,080 Speaker 1: because their smile starts from their belly and it comes 594 00:34:35,080 --> 00:34:37,239 Speaker 1: out their face, you know what I mean. And it 595 00:34:37,400 --> 00:34:41,879 Speaker 1: was big strong smiles, big strong energy. If I didn't 596 00:34:42,040 --> 00:34:45,319 Speaker 1: have a family, and this is gonna sound funny because 597 00:34:45,320 --> 00:34:47,839 Speaker 1: does only happened to me twice in my life. Now 598 00:34:47,960 --> 00:34:50,120 Speaker 1: my Jenny is both let me. If I didn't have 599 00:34:50,120 --> 00:34:53,000 Speaker 1: a family and children back home, I would never have left. 600 00:34:54,160 --> 00:34:57,680 Speaker 1: I felt almost like Superman when felt when he left 601 00:34:57,719 --> 00:35:01,200 Speaker 1: pripped on and landed on earth. That happened to me 602 00:35:01,640 --> 00:35:04,319 Speaker 1: at the Ru Tang Mountain, and then it happened to 603 00:35:04,360 --> 00:35:07,920 Speaker 1: me when I was when I visited Africa, when I 604 00:35:07,960 --> 00:35:09,719 Speaker 1: went to visit ghost Face, he was in Africa and 605 00:35:09,760 --> 00:35:12,200 Speaker 1: I had to go. I promise Monatico I would visit him, 606 00:35:12,239 --> 00:35:14,879 Speaker 1: and so I visited him. Promise I had to keep. 607 00:35:16,040 --> 00:35:19,440 Speaker 1: But something about the way the sun was hitting me, 608 00:35:20,600 --> 00:35:24,279 Speaker 1: it felt like, wow, I understand what Superman feels like. 609 00:35:24,840 --> 00:35:28,560 Speaker 1: So the Star Wars, the forcing Star Wars was your 610 00:35:28,600 --> 00:35:34,960 Speaker 1: first introduction and spirituality basically from yah on the Baptist church. 611 00:35:35,239 --> 00:35:37,720 Speaker 1: Ye tell me about that, like, tell me about all 612 00:35:37,719 --> 00:35:42,960 Speaker 1: of your the roots of your spirituality from the beginning. Well, yeah, first, 613 00:35:42,960 --> 00:35:45,239 Speaker 1: of course, a Baptist church. You know, I went to church. 614 00:35:45,360 --> 00:35:47,560 Speaker 1: My mother said me to church. My uncle who took 615 00:35:47,600 --> 00:35:50,080 Speaker 1: me to church. But my uncle who took me the church, 616 00:35:51,680 --> 00:35:53,320 Speaker 1: the same one who took me to see Star Wars. 617 00:35:54,080 --> 00:35:56,440 Speaker 1: The church was scary to me, you know what I mean, 618 00:35:56,440 --> 00:35:59,400 Speaker 1: when people stopped falling out screaming the Holy Ghost and 619 00:35:59,440 --> 00:36:01,120 Speaker 1: all that. Man, I ain't want to stand them parts 620 00:36:01,120 --> 00:36:04,960 Speaker 1: of that. Was it a very musical service that you 621 00:36:04,960 --> 00:36:08,360 Speaker 1: went to, Yeah, it with musical services, but somebody always 622 00:36:08,360 --> 00:36:11,359 Speaker 1: caught the Holy Ghost, bro, And I'm like, how could 623 00:36:11,360 --> 00:36:13,200 Speaker 1: the ghost be holy? You know what i mean? And 624 00:36:13,320 --> 00:36:15,000 Speaker 1: I'm looking you know, I mean, you gotta think the 625 00:36:15,040 --> 00:36:18,000 Speaker 1: Exorcist is out too. All right, So the Holy Ghost 626 00:36:18,040 --> 00:36:22,040 Speaker 1: don't add up to me. But I didn't understand what 627 00:36:22,080 --> 00:36:25,160 Speaker 1: that meant, and I didn't understand how they was displaying it. 628 00:36:25,239 --> 00:36:32,680 Speaker 1: So that pushed me away. Star Wars attracting me. Okay, 629 00:36:32,800 --> 00:36:37,080 Speaker 1: so that's my first like personal attraction. The church was 630 00:36:37,120 --> 00:36:42,600 Speaker 1: forced on me. Yeah. Ten years later, of course, still 631 00:36:42,680 --> 00:36:45,719 Speaker 1: church was being pushed on me until around the age 632 00:36:45,760 --> 00:36:50,840 Speaker 1: of eleven eleven and a half, my cousin Schulza taught 633 00:36:50,880 --> 00:36:55,040 Speaker 1: me about the mathematics and about Islam. And it was 634 00:36:55,120 --> 00:36:58,279 Speaker 1: there that I began to study. In my studying the 635 00:36:58,360 --> 00:37:03,360 Speaker 1: Islam and studying our lessons. Our lessons mentioned Buddhism and 636 00:37:03,520 --> 00:37:08,439 Speaker 1: mentioned the Indians, and mentioned Jesus, you mentioned the plos 637 00:37:08,520 --> 00:37:12,080 Speaker 1: of Muhammad, you know what I mean. And so it's 638 00:37:11,600 --> 00:37:14,080 Speaker 1: just so. So it's then it being that it mentioned 639 00:37:14,080 --> 00:37:20,120 Speaker 1: all those religions, I began to research those religions and understand, 640 00:37:20,800 --> 00:37:22,520 Speaker 1: you know, because in our lessons and it's like in 641 00:37:22,560 --> 00:37:24,520 Speaker 1: the lessons it mentions the Bible. There's a version of 642 00:37:25,200 --> 00:37:27,640 Speaker 1: it from the Book of Ezekiel. If you read the 643 00:37:27,640 --> 00:37:31,160 Speaker 1: Book of Ezekiel, what what a book? Okay, there's also 644 00:37:31,239 --> 00:37:33,960 Speaker 1: a lesson from the from the Book of Matthew. What 645 00:37:34,120 --> 00:37:37,160 Speaker 1: another beautiful book. But then it tells about then it's 646 00:37:37,160 --> 00:37:39,840 Speaker 1: a lesson about Buddhism. It's like, wait a minute too. 647 00:37:40,080 --> 00:37:42,239 Speaker 1: So I had to study that. But I got deeper 648 00:37:42,280 --> 00:37:46,480 Speaker 1: into Buddhism and Taoism because when I've seen thirty six 649 00:37:46,520 --> 00:37:49,680 Speaker 1: Chambers of Shall and there was a quote in the 650 00:37:49,760 --> 00:37:53,960 Speaker 1: movie that just pierced my heart. And the quote was 651 00:37:54,600 --> 00:38:00,520 Speaker 1: the five colors blond VII repeat, repeat that one more time. 652 00:38:01,320 --> 00:38:07,520 Speaker 1: He said, the five colors blinds the eyes, the five 653 00:38:07,680 --> 00:38:17,520 Speaker 1: tones deafens every year without wisdom, no game. That was 654 00:38:17,520 --> 00:38:20,600 Speaker 1: in the movie that sent me right to Chinatown. Looked 655 00:38:20,600 --> 00:38:24,840 Speaker 1: at for books and I found the couple, you know 656 00:38:24,880 --> 00:38:27,919 Speaker 1: what I mean? Um and uh and And I've never 657 00:38:27,960 --> 00:38:32,520 Speaker 1: turned away from that, always kept researching that um and 658 00:38:33,560 --> 00:38:36,279 Speaker 1: that led to Taoism. How did how did Jessy get 659 00:38:36,280 --> 00:38:40,080 Speaker 1: into the mathematics? Do you know? I think I think 660 00:38:40,440 --> 00:38:43,200 Speaker 1: my cousin of life from Ou the Queens may have 661 00:38:43,480 --> 00:38:46,080 Speaker 1: inspired him. And as the far as far as I know, 662 00:38:46,160 --> 00:38:48,360 Speaker 1: far as the root of it, you know, so it 663 00:38:48,440 --> 00:38:51,919 Speaker 1: started with life. That's what he took from this verbal 664 00:38:52,400 --> 00:38:55,279 Speaker 1: from them telling me and then him telling me and 665 00:38:55,320 --> 00:38:57,799 Speaker 1: what what what the reason why the mathematics was it 666 00:38:57,920 --> 00:39:00,759 Speaker 1: through Nation of Islam at that point, do you think, yeah, 667 00:39:00,960 --> 00:39:03,040 Speaker 1: because that was around at the time, Like that's what 668 00:39:03,160 --> 00:39:05,960 Speaker 1: was hot in the neighborhood. You had to be the nation. 669 00:39:06,200 --> 00:39:09,560 Speaker 1: Nation of Islam is a foundation. And then a man 670 00:39:09,640 --> 00:39:11,879 Speaker 1: named Climates thirteen next Smith breaks away from the Nation 671 00:39:11,880 --> 00:39:14,959 Speaker 1: of Islam and he starts teaching the right to the youth. 672 00:39:15,880 --> 00:39:18,400 Speaker 1: I think what he did, if we could talk about that, 673 00:39:18,600 --> 00:39:21,560 Speaker 1: is that usually if you're in a Nation of Islam, 674 00:39:21,600 --> 00:39:24,879 Speaker 1: and I know, I can't someone speaking this by here. 675 00:39:25,360 --> 00:39:27,520 Speaker 1: This is not personal experience. I haven't joined the Nation 676 00:39:27,520 --> 00:39:29,640 Speaker 1: of Islam to notice. But for what I was told 677 00:39:30,080 --> 00:39:32,479 Speaker 1: in the Nation of Islam, you have to go through 678 00:39:32,719 --> 00:39:35,640 Speaker 1: like a period of time or a period of service 679 00:39:36,000 --> 00:39:41,359 Speaker 1: before you're given one hundred or twenty lessons, right, and 680 00:39:41,400 --> 00:39:43,120 Speaker 1: that it could take you five years to get that 681 00:39:43,400 --> 00:39:45,600 Speaker 1: ten years either get all you know, whatever it takes. 682 00:39:46,719 --> 00:39:51,640 Speaker 1: The father took those lessons and put them in the 683 00:39:51,719 --> 00:39:56,600 Speaker 1: hands of the youth in one day. Okay, you could 684 00:39:56,640 --> 00:40:00,000 Speaker 1: study at your own pace. I lunk the whole hundred 685 00:40:00,080 --> 00:40:03,080 Speaker 1: twenty lessons in seven months. By the time I was twelve, 686 00:40:03,080 --> 00:40:09,239 Speaker 1: I knew it. That's you know, there's grown men who 687 00:40:09,320 --> 00:40:14,160 Speaker 1: didn't know it, you know what I mean. So the 688 00:40:14,160 --> 00:40:16,480 Speaker 1: beauty of it, I think is that it just allowed 689 00:40:16,960 --> 00:40:19,160 Speaker 1: it pushed me into deep study. But let me share 690 00:40:19,160 --> 00:40:23,560 Speaker 1: something that the mathematics did, right. It had this lesson 691 00:40:24,239 --> 00:40:26,400 Speaker 1: that I heard people talking about, like in the neighborhood, 692 00:40:26,400 --> 00:40:28,320 Speaker 1: you got the twelve Jews, you got the twelve Jewels. 693 00:40:28,320 --> 00:40:31,120 Speaker 1: Everybody would say this, right, And I'm like, what are 694 00:40:31,160 --> 00:40:33,760 Speaker 1: they talking about? Twelve Jews? And I lived in Brooklyn 695 00:40:33,760 --> 00:40:35,759 Speaker 1: Browns at the time, so twelve Jews. I thought they 696 00:40:35,800 --> 00:40:39,839 Speaker 1: were saying the twelve Jews, like twelve Jews. Rights, that's 697 00:40:39,840 --> 00:40:42,160 Speaker 1: what it sounds like, the twelve Jews. And at the 698 00:40:42,200 --> 00:40:45,840 Speaker 1: same time, my mother had gave me a gift of 699 00:40:46,040 --> 00:40:50,359 Speaker 1: Bible stories, right, So because I'm I'm gonna leven years 700 00:40:50,360 --> 00:40:57,520 Speaker 1: old and I'm reading about Joe, Abraham, lot Uh, Samuel, 701 00:40:58,320 --> 00:41:02,640 Speaker 1: David Solomon, I'm beating about all these great, great great men, right, 702 00:41:02,840 --> 00:41:05,960 Speaker 1: and and these small Bible stories. I'm memolizing stuff. The 703 00:41:06,040 --> 00:41:08,480 Speaker 1: one thing about me, Rick, I gott a good memory. 704 00:41:09,000 --> 00:41:11,680 Speaker 1: So I'm memolizing this stuff. And then they say the 705 00:41:11,719 --> 00:41:15,240 Speaker 1: twelve Jews. I'm thinking, like the twelve Sons of Jacob 706 00:41:15,320 --> 00:41:20,400 Speaker 1: was twelve right, you know so, But it wasn't twelve jews, 707 00:41:20,719 --> 00:41:24,600 Speaker 1: I mean, Jay Jay, it was duels, yes, and those 708 00:41:24,640 --> 00:41:38,920 Speaker 1: twelve jewels was knowledge, wisdom, understanding, freedom, justice, equality, food, clothing, shelter, love, peace, happiness, 709 00:41:39,280 --> 00:41:43,520 Speaker 1: beautiful and it said it. But man obtained that he's 710 00:41:43,600 --> 00:41:49,239 Speaker 1: truly wealthy. And I went on a mission to obtain that, 711 00:41:50,320 --> 00:41:53,520 Speaker 1: you know what I mean. And uh, I feel like 712 00:41:53,600 --> 00:41:55,279 Speaker 1: I got it, you know what I mean. Because it's 713 00:41:55,280 --> 00:41:59,480 Speaker 1: because at the end of the day, food, clothing, and shelter, 714 00:42:00,520 --> 00:42:02,880 Speaker 1: as long as there's food on the table, clothed on 715 00:42:02,960 --> 00:42:05,640 Speaker 1: your back, and some type of selling to you good yo, 716 00:42:06,400 --> 00:42:07,920 Speaker 1: you know what I'm saying. I know I've been blessed, 717 00:42:08,440 --> 00:42:10,520 Speaker 1: you know, to have a nice home, you know what 718 00:42:10,520 --> 00:42:14,560 Speaker 1: I mean. But even when I was fourteen years old 719 00:42:15,120 --> 00:42:19,160 Speaker 1: living in an apartment with nineteen people, because I had 720 00:42:19,239 --> 00:42:22,319 Speaker 1: those twelve jewels in my heart, I was still good 721 00:42:22,719 --> 00:42:25,320 Speaker 1: sleeping on the floor, you know, I mean, next to 722 00:42:25,680 --> 00:42:28,600 Speaker 1: three other people. And then it never I'm never was unhappy, 723 00:42:29,640 --> 00:42:32,600 Speaker 1: you know what I mean. So those things are are 724 00:42:33,400 --> 00:42:38,520 Speaker 1: more valuable than some of these physical material things. Yeah, 725 00:42:38,520 --> 00:42:43,839 Speaker 1: it's like the outer pleasures are much more temporary than 726 00:42:44,360 --> 00:42:48,280 Speaker 1: the inner Wisdom. We'll be back with more Rix Conversation 727 00:42:48,360 --> 00:42:55,439 Speaker 1: with Rizza after the break. We're back with the rest 728 00:42:55,480 --> 00:42:59,839 Speaker 1: of Ricks Conversation with Rizza. So technically on the new 729 00:43:00,440 --> 00:43:02,600 Speaker 1: beat your making, technically, how are you doing it? What 730 00:43:02,920 --> 00:43:06,799 Speaker 1: equipment are you using? Oh? Um, I'm using MPC still 731 00:43:06,840 --> 00:43:09,520 Speaker 1: as the as the as the brain of things. But 732 00:43:09,640 --> 00:43:11,719 Speaker 1: I played with all the programs. You know, I may 733 00:43:11,880 --> 00:43:16,440 Speaker 1: play with uh logic. I played with able t UM. 734 00:43:17,200 --> 00:43:20,040 Speaker 1: I got a great keyboard that I'm I'm really loving 735 00:43:20,160 --> 00:43:22,600 Speaker 1: right now called the wad Off. It's a great sim. 736 00:43:23,200 --> 00:43:27,359 Speaker 1: I like doing the physical sims, you know what I mean. So, UM, 737 00:43:27,880 --> 00:43:31,160 Speaker 1: I use the physical sims. I got my UH, I 738 00:43:31,280 --> 00:43:35,640 Speaker 1: got the UM. The Artaria has a great sim as 739 00:43:35,680 --> 00:43:39,960 Speaker 1: well called the group uh. And just really those two 740 00:43:40,040 --> 00:43:45,080 Speaker 1: SEMs mixed with the MPC UH. And of course I've 741 00:43:45,080 --> 00:43:49,160 Speaker 1: got my DJ set up, so yeah, you know, and 742 00:43:49,280 --> 00:43:52,040 Speaker 1: through other toys I keep I keep toys, but the 743 00:43:52,160 --> 00:43:55,719 Speaker 1: MPC is the brain right now. And what's your h 744 00:43:56,400 --> 00:43:58,880 Speaker 1: Craig digging? How does how do you find how do 745 00:43:58,960 --> 00:44:06,600 Speaker 1: you find sample and inspiration music? Well, well, I sampled 746 00:44:06,680 --> 00:44:11,640 Speaker 1: maybe only thirty percent now, so like like I kind 747 00:44:11,680 --> 00:44:16,320 Speaker 1: of like sample on weekends because I DJ, so I 748 00:44:16,360 --> 00:44:20,400 Speaker 1: started playing the music DJ and oh wow. But fortunately 749 00:44:20,920 --> 00:44:25,200 Speaker 1: I was able about ten years ago to transfer most 750 00:44:25,239 --> 00:44:29,640 Speaker 1: of my library to digital. So you know, I think 751 00:44:29,680 --> 00:44:34,800 Speaker 1: I got about I mean, I got friends of my 752 00:44:34,920 --> 00:44:41,000 Speaker 1: personal transfer transferred library. I probably got about forty thousand songs. 753 00:44:42,040 --> 00:44:47,040 Speaker 1: And then Shovo, my buddy seen Shago of course bass 754 00:44:47,080 --> 00:44:50,920 Speaker 1: player system of a down exactly. He gave me for 755 00:44:51,000 --> 00:44:53,360 Speaker 1: my birthday because when I started hanging up with Shavo, 756 00:44:53,840 --> 00:44:56,480 Speaker 1: I was unfamiliar with heavy metal, when rock, I wasn't 757 00:44:56,520 --> 00:44:59,239 Speaker 1: good at it. I knew a few, you know. He 758 00:44:59,400 --> 00:45:02,479 Speaker 1: gave me a iPad for Christmas one year of thirty 759 00:45:02,560 --> 00:45:07,640 Speaker 1: thousand songs that covered that genre, and I just download 760 00:45:07,680 --> 00:45:10,400 Speaker 1: all that into my computer. So I'm sitting on, you know, 761 00:45:10,600 --> 00:45:13,200 Speaker 1: hundreds of thousands of songs. It's already on my hard drives, 762 00:45:13,280 --> 00:45:16,239 Speaker 1: and that's my digging technique. I just go through all 763 00:45:16,320 --> 00:45:19,680 Speaker 1: the songs, you know what I mean. I still got 764 00:45:20,080 --> 00:45:22,880 Speaker 1: about you know, I still got some a lot of 765 00:45:22,920 --> 00:45:26,000 Speaker 1: boxes of vinyls. That's back East. And when I go 766 00:45:26,120 --> 00:45:30,120 Speaker 1: back East, I normally dig through vinyl because I had 767 00:45:30,160 --> 00:45:33,359 Speaker 1: the breastings of getting economics and getting able to travel 768 00:45:33,400 --> 00:45:36,280 Speaker 1: around the wall. So I bore boxes of records almost 769 00:45:36,320 --> 00:45:38,800 Speaker 1: every stop, you know what I mean. I got a 770 00:45:38,960 --> 00:45:47,839 Speaker 1: box from Italy that's all seventies Italian rock soul. Yeah, 771 00:45:47,880 --> 00:45:50,560 Speaker 1: because they cover all this ship with their bands. So 772 00:45:50,680 --> 00:45:54,040 Speaker 1: the intro is different, the vibe is different, you know 773 00:45:54,040 --> 00:45:56,239 Speaker 1: what I mean. So and every once in a while 774 00:45:56,239 --> 00:45:59,440 Speaker 1: I'll dig through that stuff and find a loop, you 775 00:45:59,480 --> 00:46:02,319 Speaker 1: know what I mean. But you know, hopefully it ain't 776 00:46:02,320 --> 00:46:03,960 Speaker 1: got to clear them right, but I do clear. I 777 00:46:04,040 --> 00:46:09,319 Speaker 1: clear my samples. Let a couple of questions and on you. Yeah, 778 00:46:09,719 --> 00:46:14,359 Speaker 1: it was a drum machine. First drum machine was an 779 00:46:14,480 --> 00:46:16,960 Speaker 1: eight O eight and it was not mine. It was 780 00:46:17,440 --> 00:46:20,719 Speaker 1: I was going to NYU, living in the dorm. There 781 00:46:20,880 --> 00:46:23,279 Speaker 1: was a kid named Eric who was in a band 782 00:46:23,440 --> 00:46:26,640 Speaker 1: or like a new wave band called the Speedies who 783 00:46:26,760 --> 00:46:30,320 Speaker 1: played at places like Danceteria or the you know Roxy, 784 00:46:30,440 --> 00:46:32,960 Speaker 1: the maybe not the Roxy, the Rits like those kind 785 00:46:33,000 --> 00:46:37,480 Speaker 1: of clubs, yeah, maybe mud Club if you remember that Downtown, 786 00:46:38,800 --> 00:46:43,480 Speaker 1: but they played more like alternative music clubs and uh. 787 00:46:44,280 --> 00:46:46,279 Speaker 1: And even though he was in a rock band, he 788 00:46:46,440 --> 00:46:49,400 Speaker 1: had an eight oweight drum machine. Um and this was 789 00:46:49,960 --> 00:46:52,680 Speaker 1: there had eight awaits had not really been used in 790 00:46:52,800 --> 00:46:56,359 Speaker 1: hip hop yet, and there wasn't really so much hip hop. 791 00:46:57,480 --> 00:47:00,239 Speaker 1: The culture existed, but there weren't so many records. There 792 00:47:00,280 --> 00:47:03,200 Speaker 1: were were twelve inches, and the twelve inches that there 793 00:47:03,280 --> 00:47:06,400 Speaker 1: were more often than I think, I'm trying to think 794 00:47:06,440 --> 00:47:12,520 Speaker 1: there were any exceptions. It was almost always a band 795 00:47:12,640 --> 00:47:17,239 Speaker 1: played track, because even though like if you went to 796 00:47:17,320 --> 00:47:20,960 Speaker 1: a hip hop party, what you'd what you'd hear in 797 00:47:21,560 --> 00:47:24,480 Speaker 1: at a hip hop party would be breakbeats and scratching 798 00:47:25,239 --> 00:47:27,960 Speaker 1: and maybe a DJ using a drum machine. I mean 799 00:47:28,120 --> 00:47:30,279 Speaker 1: maybe Grand Wizard Theodore was the first one I saw 800 00:47:30,360 --> 00:47:33,600 Speaker 1: use a drum machine as part of his DJ set. 801 00:47:35,320 --> 00:47:42,080 Speaker 1: The records were still being made like disco club records, 802 00:47:42,160 --> 00:47:44,120 Speaker 1: but with guys rapping on them, you know, like all 803 00:47:44,160 --> 00:47:46,759 Speaker 1: the sugar Hill. The sugar Hill records were not programmed, 804 00:47:46,800 --> 00:47:49,279 Speaker 1: you know, they were played by a band, a house band. 805 00:47:50,680 --> 00:47:53,200 Speaker 1: Even the Enjoy records were played by a house band. 806 00:47:54,160 --> 00:47:57,440 Speaker 1: So I bought these records wanting it to sound like 807 00:47:57,600 --> 00:48:00,800 Speaker 1: what I heard at the club, and never did. It 808 00:48:00,920 --> 00:48:04,560 Speaker 1: always sounded like a band playing and a guy rapping. 809 00:48:05,120 --> 00:48:07,959 Speaker 1: Where the thing that first excited me about the music 810 00:48:08,120 --> 00:48:12,160 Speaker 1: was the djaying more even than the MC's you know, 811 00:48:12,200 --> 00:48:14,319 Speaker 1: it's like I love the Treacherous Three and they were 812 00:48:14,360 --> 00:48:19,319 Speaker 1: exciting as MC. Yeah, but when I got to see 813 00:48:20,239 --> 00:48:23,160 Speaker 1: you know, Jazzy Jay cutting up breaks beat beat, you know, 814 00:48:23,280 --> 00:48:26,840 Speaker 1: break records and Octopus records, if you remember yep, I 815 00:48:26,920 --> 00:48:31,120 Speaker 1: got ye Octopus incredible. So that felt more like what 816 00:48:31,320 --> 00:48:34,640 Speaker 1: hip hop was to me. And again I'd buy these 817 00:48:34,680 --> 00:48:36,719 Speaker 1: records every week and none of them sounded like that. 818 00:48:37,480 --> 00:48:40,279 Speaker 1: So when I so I decided to start making them 819 00:48:40,760 --> 00:48:44,719 Speaker 1: not I never thought of it in any commercial way. 820 00:48:44,760 --> 00:48:47,000 Speaker 1: I never knew that anybody would like it. I just 821 00:48:47,120 --> 00:48:49,120 Speaker 1: tried to make a record that sounded like the club 822 00:48:49,200 --> 00:48:52,520 Speaker 1: that I went too, almost like a documentarian, you know, 823 00:48:52,640 --> 00:48:55,120 Speaker 1: like I just want to I want to hear this sound. 824 00:48:55,160 --> 00:48:58,279 Speaker 1: I don't get to hear this sound and m and 825 00:48:58,360 --> 00:49:03,359 Speaker 1: then it kind of spread from there. So now one 826 00:49:03,400 --> 00:49:06,000 Speaker 1: of my trade I mean, of course all the bcs 827 00:49:06,200 --> 00:49:08,680 Speaker 1: and then you produced all that and that's all that's 828 00:49:08,719 --> 00:49:11,120 Speaker 1: it was the first album. Of course, that first time 829 00:49:11,120 --> 00:49:13,840 Speaker 1: talking about the first album. First of all, I was 830 00:49:14,000 --> 00:49:19,000 Speaker 1: so when y'all had the Horns, like that was the 831 00:49:19,239 --> 00:49:21,520 Speaker 1: breakbeat was called the Horns, But what's the real name 832 00:49:21,560 --> 00:49:27,400 Speaker 1: of it? Though I don't know. I was like me, 833 00:49:27,680 --> 00:49:30,160 Speaker 1: me and old because see, we was also going to 834 00:49:30,280 --> 00:49:33,400 Speaker 1: the going to those recket stores, buying all the octopus breaks, 835 00:49:33,680 --> 00:49:36,880 Speaker 1: put them on our four tracks, making our demos right, 836 00:49:37,080 --> 00:49:39,600 Speaker 1: no sampler, so you gotta cut it. We gotta cut 837 00:49:39,640 --> 00:49:41,600 Speaker 1: it on the four track. Then the wrapper raps on 838 00:49:41,719 --> 00:49:44,800 Speaker 1: top of the that right, and we was trying to 839 00:49:44,880 --> 00:49:48,080 Speaker 1: get uh. But when y'all came with that, man, it 840 00:49:48,200 --> 00:49:51,120 Speaker 1: was like it did it first? It was one song 841 00:49:51,320 --> 00:49:54,520 Speaker 1: no no, because you know you were all dreaming were 842 00:49:54,840 --> 00:49:56,600 Speaker 1: Once I heard a sugar Hill game on the radio. 843 00:49:57,800 --> 00:50:00,800 Speaker 1: That's why I was heaving. I would say. When I 844 00:50:00,920 --> 00:50:05,200 Speaker 1: heard them on the radio, I knew that's where I was. 845 00:50:05,400 --> 00:50:09,000 Speaker 1: I had to be one day. One day, that's what 846 00:50:09,160 --> 00:50:12,280 Speaker 1: I'm gonna be. I knew it was possible run anyway, 847 00:50:13,160 --> 00:50:15,200 Speaker 1: you know. So you produced all those ill joints and 848 00:50:15,239 --> 00:50:17,200 Speaker 1: you took the great Beasts based it with the drummers, 849 00:50:17,200 --> 00:50:21,000 Speaker 1: say but on together forever. That's your programming together forever. 850 00:50:21,120 --> 00:50:23,840 Speaker 1: One DMC top for another. It was either me or 851 00:50:23,920 --> 00:50:26,080 Speaker 1: jam Master Jay, and I can't remember because we would 852 00:50:26,120 --> 00:50:28,000 Speaker 1: work together in the studio on all the records, and 853 00:50:28,480 --> 00:50:30,680 Speaker 1: sometimes he would program the beat sometimes I would program 854 00:50:30,800 --> 00:50:32,680 Speaker 1: to beat. It was not exclusive. But the coolest thing 855 00:50:32,760 --> 00:50:35,000 Speaker 1: about that track was that that was all eight oh 856 00:50:35,120 --> 00:50:41,239 Speaker 1: eight and getting the eight O wait first of all, 857 00:50:41,480 --> 00:50:43,879 Speaker 1: always not It wasn't an easy machine in the program either. 858 00:50:44,440 --> 00:50:49,239 Speaker 1: Awkward it wasn't easy, very awkward way of thinking getting one. 859 00:50:50,080 --> 00:50:53,480 Speaker 1: There wasn't even a lot of them out there. I 860 00:50:53,520 --> 00:50:55,760 Speaker 1: mean there was more seven H sevens than eight O eights, 861 00:50:55,920 --> 00:50:59,279 Speaker 1: right yeah, nine O nine is more of those with 862 00:50:59,480 --> 00:51:01,719 Speaker 1: eight O ways, was like, no, you don't have one, 863 00:51:01,719 --> 00:51:04,440 Speaker 1: You're not getting one, and so I never I never 864 00:51:05,320 --> 00:51:07,720 Speaker 1: on the eight O eight until after I was famous. 865 00:51:07,920 --> 00:51:10,520 Speaker 1: It was it was considered a failed drum machine, you know. 866 00:51:10,640 --> 00:51:13,240 Speaker 1: It was it was a flop of a drum machine 867 00:51:13,840 --> 00:51:17,240 Speaker 1: when it came out right, because it didn't really sound 868 00:51:17,320 --> 00:51:19,040 Speaker 1: like drum. The whole idea of the drum machine was 869 00:51:19,080 --> 00:51:22,759 Speaker 1: supposed to sound as much like drums. So there was 870 00:51:22,800 --> 00:51:26,160 Speaker 1: already like Lynn drums and the d X and DMX. 871 00:51:26,600 --> 00:51:29,160 Speaker 1: We had. We had a d I think we had 872 00:51:29,200 --> 00:51:31,440 Speaker 1: a d X also, and on a lot of like 873 00:51:31,560 --> 00:51:33,560 Speaker 1: the Openheimer right yeah, and on a lot of the 874 00:51:33,640 --> 00:51:37,080 Speaker 1: run DMC records, we would sync up the d X 875 00:51:37,360 --> 00:51:40,200 Speaker 1: and the eight to eight together and just pick certain 876 00:51:40,320 --> 00:51:43,600 Speaker 1: sounds from each and get them to play in sync. 877 00:51:44,239 --> 00:51:46,000 Speaker 1: And then it made it sound like a new machine 878 00:51:46,040 --> 00:51:48,080 Speaker 1: you hadn't heard before, because it wasn't just either one 879 00:51:48,080 --> 00:51:50,800 Speaker 1: of those drum machines fol both. Yeah, I recognized that. 880 00:51:50,920 --> 00:51:53,320 Speaker 1: And I think suck MCS is that the d X 881 00:51:54,719 --> 00:51:57,400 Speaker 1: because I feel like Suck MCS was like an attempt 882 00:51:58,040 --> 00:52:04,600 Speaker 1: like a DJ, a program of action yea, and Russell 883 00:52:05,000 --> 00:52:08,480 Speaker 1: was Russell had that beat for action, and then he 884 00:52:08,600 --> 00:52:14,440 Speaker 1: got Larry to program Sucker MCS based on action. Okay. 885 00:52:14,760 --> 00:52:17,279 Speaker 1: I would always thought that as a moment, I'm a 886 00:52:17,360 --> 00:52:20,720 Speaker 1: young deep so I'm I'm I'm that young DJ scratching 887 00:52:20,760 --> 00:52:23,200 Speaker 1: it all day, trying, you know, few years or three 888 00:52:23,280 --> 00:52:26,879 Speaker 1: years behind you guys, just dreaming, you know what I mean. Um, 889 00:52:27,440 --> 00:52:29,520 Speaker 1: But the d X. I love how that one sounded. 890 00:52:29,600 --> 00:52:32,960 Speaker 1: I think the shakers on that one did you agree? Absolutely? 891 00:52:33,040 --> 00:52:36,759 Speaker 1: And it had that uh the swing function where you 892 00:52:36,800 --> 00:52:40,000 Speaker 1: can get into which was really like the whole what 893 00:52:40,320 --> 00:52:44,360 Speaker 1: ended up becoming New Jack swing. That machine was the 894 00:52:45,000 --> 00:52:49,520 Speaker 1: was the first drum machine that could create the beat 895 00:52:49,640 --> 00:52:54,360 Speaker 1: that skipped in that way, that particular way. Okay, let 896 00:52:54,400 --> 00:52:55,799 Speaker 1: me get to it. Let me get a couple more 897 00:52:55,840 --> 00:52:59,160 Speaker 1: in on you. So no, no, because come on, they do. 898 00:53:00,239 --> 00:53:03,520 Speaker 1: We could do this forever. So you so you did 899 00:53:03,680 --> 00:53:05,600 Speaker 1: when you did, I'm glad postpone, glad we got a 900 00:53:05,719 --> 00:53:08,960 Speaker 1: chance to work together finally on a on a better tomorrow. 901 00:53:08,960 --> 00:53:10,360 Speaker 1: I was like, man, I said, how can I be 902 00:53:10,440 --> 00:53:12,560 Speaker 1: on the planet and not get his hands to work 903 00:53:12,560 --> 00:53:15,000 Speaker 1: with Rick group? And that's not that's that's not that's 904 00:53:15,040 --> 00:53:18,839 Speaker 1: not supposed to be because I really, I really appreciate 905 00:53:19,480 --> 00:53:21,279 Speaker 1: what you did for hip hop, what you do for 906 00:53:21,360 --> 00:53:25,120 Speaker 1: hip hop, what you do for music. And I watched you, right, 907 00:53:25,960 --> 00:53:29,000 Speaker 1: I watched you as an example, right, and you did 908 00:53:29,120 --> 00:53:31,640 Speaker 1: something that you know what you did. But I just 909 00:53:31,680 --> 00:53:36,160 Speaker 1: want to say, my whome mouth, even after you help 910 00:53:36,280 --> 00:53:42,640 Speaker 1: build Death Chin right, and can can be you know, well, 911 00:53:42,640 --> 00:53:44,360 Speaker 1: I know you got people around you or whatever that 912 00:53:44,440 --> 00:53:49,680 Speaker 1: helped out, but can be the spinhead who combine hippop 913 00:53:49,760 --> 00:53:53,319 Speaker 1: and rock together. Bro Okay? Even with this good tar 914 00:53:53,480 --> 00:53:57,719 Speaker 1: hit on rock the Bells to the Arrow Smep song 915 00:53:57,840 --> 00:54:01,680 Speaker 1: said all this stuff that eventually became a movement to 916 00:54:01,800 --> 00:54:05,480 Speaker 1: help spread this culture. Even after you separated from hip hop, 917 00:54:05,840 --> 00:54:09,320 Speaker 1: you went to and made Death of Monitor right and 918 00:54:09,600 --> 00:54:16,120 Speaker 1: then continue to push the culture. Like I just remember 919 00:54:16,400 --> 00:54:17,920 Speaker 1: some of the records that was coming out on it. 920 00:54:18,040 --> 00:54:21,359 Speaker 1: I was like, it's it's, it's, it's, it's, it's it's 921 00:54:21,440 --> 00:54:26,480 Speaker 1: still has a hip hop vibe in it, even though 922 00:54:26,719 --> 00:54:29,560 Speaker 1: the average critic didn't know what to write. No, they 923 00:54:29,600 --> 00:54:33,080 Speaker 1: could write whatever, but no, it's it's still had those foundations. 924 00:54:33,640 --> 00:54:36,320 Speaker 1: And that's because you are producing it. Yeah, right, and 925 00:54:36,480 --> 00:54:40,799 Speaker 1: and and then you took it from there. And then 926 00:54:40,840 --> 00:54:44,560 Speaker 1: we talked about Shavo. But you produced that first album 927 00:54:44,640 --> 00:54:47,880 Speaker 1: for it. I produced all the System of the Down albums. O, 928 00:54:48,160 --> 00:54:51,719 Speaker 1: come on bro, all right here? Like did you go 929 00:54:51,840 --> 00:54:54,880 Speaker 1: to NYU to study music? Like? Who would you study here? No? 930 00:54:55,560 --> 00:54:58,800 Speaker 1: I started as a philosophy major and then switched to 931 00:54:58,840 --> 00:55:00,840 Speaker 1: film and television because all of my friends were in 932 00:55:00,880 --> 00:55:03,839 Speaker 1: film and television. Just seemed like the classes were more fun, 933 00:55:04,000 --> 00:55:07,520 Speaker 1: So I just switched watch. I'd rather watch movies than 934 00:55:07,880 --> 00:55:12,720 Speaker 1: discuss philosophy at that point in time. Right, that's crazy 935 00:55:12,719 --> 00:55:16,360 Speaker 1: because because you think about all the records you produced 936 00:55:16,880 --> 00:55:24,279 Speaker 1: that you know, that's Grammy winning, ground ground breaking, Like 937 00:55:24,840 --> 00:55:27,120 Speaker 1: if somebody go and of course you know, you know 938 00:55:27,160 --> 00:55:28,640 Speaker 1: you people bring you up to the you know, say 939 00:55:28,680 --> 00:55:31,600 Speaker 1: the Dixie Chicks or whatever whatever, Right, but if somebody 940 00:55:31,760 --> 00:55:35,480 Speaker 1: was just say it's it's it's somebody like take fifty years, 941 00:55:35,520 --> 00:55:38,239 Speaker 1: a hundred years, twenty years from now, somebody start off 942 00:55:39,000 --> 00:55:45,279 Speaker 1: with one of your Dixy Chicks songs, right, how deep, 943 00:55:45,320 --> 00:55:48,239 Speaker 1: big out a day or how would their constouness go, 944 00:55:48,960 --> 00:55:51,320 Speaker 1: Wait a minute, this is the same guy who made 945 00:55:51,960 --> 00:55:56,000 Speaker 1: rock the bells. They you know what I mean? They 946 00:55:56,680 --> 00:56:00,840 Speaker 1: and hip hop? You know so certain the pop like myself, 947 00:56:00,920 --> 00:56:02,520 Speaker 1: like you know, jay Z came to you for ninety 948 00:56:02,560 --> 00:56:05,160 Speaker 1: nine problems. We understand that, but I think a lot 949 00:56:05,239 --> 00:56:10,759 Speaker 1: of motherfuckers don't understand this subjectory in this role. You 950 00:56:11,120 --> 00:56:15,080 Speaker 1: you you've traveled and you've paid. Because when I look 951 00:56:15,120 --> 00:56:17,600 Speaker 1: at me, if did the album with Paul banks Um 952 00:56:18,719 --> 00:56:20,719 Speaker 1: last year, A couple of years of other think too, 953 00:56:20,760 --> 00:56:22,960 Speaker 1: we did in twenty sixteen, k My twenty seventeen. Yeah, 954 00:56:23,040 --> 00:56:26,719 Speaker 1: but Court Banks and Stills. But it's still it's just 955 00:56:28,920 --> 00:56:32,360 Speaker 1: on the road you carved already. You see me and 956 00:56:32,360 --> 00:56:35,560 Speaker 1: the black remember me and the Black Teasers doing songs together? Right, 957 00:56:35,960 --> 00:56:37,480 Speaker 1: We didn't release it, but I remember they took it. 958 00:56:37,560 --> 00:56:39,640 Speaker 1: They they they took it. They say, people taking the 959 00:56:39,719 --> 00:56:42,440 Speaker 1: rick and see what he thinks because they if you 960 00:56:42,480 --> 00:56:44,239 Speaker 1: don't like it, it ain't working, you know what I mean. 961 00:56:45,400 --> 00:56:50,399 Speaker 1: But the point being made is that you actually pioneered 962 00:56:51,840 --> 00:56:55,960 Speaker 1: um this melding, you know what I mean. So I's 963 00:56:56,000 --> 00:56:59,360 Speaker 1: gonna thank you for that, because as a composer, you know, 964 00:56:59,800 --> 00:57:03,359 Speaker 1: I have to do that anyway. And I always felt 965 00:57:03,400 --> 00:57:06,600 Speaker 1: like at one point and I don't At one point, 966 00:57:06,640 --> 00:57:08,880 Speaker 1: I was strictly hip hop bro I got nauseous from 967 00:57:09,000 --> 00:57:13,600 Speaker 1: R and B right, and I didn't understand where rock was, 968 00:57:13,920 --> 00:57:18,680 Speaker 1: what rock was because I didn't equate great beasts with rock. 969 00:57:19,160 --> 00:57:22,560 Speaker 1: But meanwhile, I'm cutting up hockey tonk woman, I'm cutting 970 00:57:22,600 --> 00:57:26,760 Speaker 1: up saloon rocking in the pocket. Yeah, okay, I'm cutting 971 00:57:26,880 --> 00:57:31,440 Speaker 1: up back in black ac DC. I'm cutting all that. 972 00:57:31,640 --> 00:57:34,320 Speaker 1: Another one bites the dust. Now, I think another one 973 00:57:34,360 --> 00:57:37,120 Speaker 1: bites the dust. He was inspired by the other. I 974 00:57:37,160 --> 00:57:38,920 Speaker 1: think that was a verse. I think that might have 975 00:57:38,960 --> 00:57:43,440 Speaker 1: been me verse inspiration on that one thing. Yeah, But regardless, 976 00:57:44,080 --> 00:57:46,680 Speaker 1: I'm cutting up these these joints. I know what's when 977 00:57:46,720 --> 00:57:49,920 Speaker 1: I'm cutting up that that we lost them this year, 978 00:57:50,120 --> 00:57:54,520 Speaker 1: we lost them Rush Tom Sawyer. Nobody never really came 979 00:57:54,560 --> 00:57:57,200 Speaker 1: over that track yet, There's never really been been a 980 00:57:57,240 --> 00:58:00,200 Speaker 1: total hip hop song. Off of that, I did four 981 00:58:00,240 --> 00:58:03,240 Speaker 1: of them, never released them because I thought that break 982 00:58:03,680 --> 00:58:09,120 Speaker 1: Tom Sawyer your mama name. Yeah. I mean so meanwhile, 983 00:58:09,240 --> 00:58:12,360 Speaker 1: I'm not knowing that rock is always part of it, 984 00:58:13,320 --> 00:58:15,400 Speaker 1: you know what I mean? Um, A lot of our 985 00:58:15,520 --> 00:58:18,000 Speaker 1: drums and break beats as coming from rock. We're not 986 00:58:18,080 --> 00:58:22,880 Speaker 1: realizing it, um. But the man who I think did 987 00:58:23,080 --> 00:58:28,400 Speaker 1: realize it, it's you, and I thank you, constantly added 988 00:58:28,440 --> 00:58:33,520 Speaker 1: it to the music. Yo. I'll say that I rarely 989 00:58:33,720 --> 00:58:37,440 Speaker 1: looked it at it by genre. It was more the 990 00:58:37,600 --> 00:58:40,240 Speaker 1: feeling that it gave me, you know, Like I'll say, 991 00:58:40,960 --> 00:58:44,520 Speaker 1: as a as a genre, I never really listened to 992 00:58:44,720 --> 00:58:47,040 Speaker 1: R and B. I never really liked R and B. 993 00:58:47,640 --> 00:58:50,560 Speaker 1: But I love James Brown and I love Barry White, 994 00:58:51,200 --> 00:58:55,920 Speaker 1: you know so like. But as a as a style, 995 00:58:57,000 --> 00:58:59,440 Speaker 1: it didn't speak to me. But the cases spoke to me. 996 00:58:59,680 --> 00:59:01,720 Speaker 1: Samee and hip hop. I don't like all hip hop. 997 00:59:02,040 --> 00:59:04,160 Speaker 1: I liked certain flavor. As a matter of fact, after 998 00:59:04,800 --> 00:59:07,240 Speaker 1: leaving Deaf Jam and stopping doing hip hop for a while, 999 00:59:07,720 --> 00:59:10,680 Speaker 1: I felt, I don't know if I don't know if 1000 00:59:10,680 --> 00:59:13,200 Speaker 1: we ever talked about this before, but like when when 1001 00:59:13,240 --> 00:59:15,440 Speaker 1: I started making hip hop, it was a very creative 1002 00:59:15,520 --> 00:59:19,080 Speaker 1: time in hip hop. Everyone who was doing it was 1003 00:59:19,480 --> 00:59:22,040 Speaker 1: finding their own way of doing it. And if you 1004 00:59:22,160 --> 00:59:26,600 Speaker 1: listen to the like the master mix shows on BLS 1005 00:59:26,720 --> 00:59:30,720 Speaker 1: or HBO or or Kiss at that time, during the 1006 00:59:30,760 --> 00:59:36,320 Speaker 1: Deaf Jam time, early the mix shows set, which was 1007 00:59:36,360 --> 00:59:37,880 Speaker 1: the only place you heard hip hop by the way, 1008 00:59:37,880 --> 00:59:39,720 Speaker 1: it wasn't on the regular station. It would only be 1009 00:59:39,840 --> 00:59:42,720 Speaker 1: on the mix show two Baby. So if you listen 1010 00:59:42,720 --> 00:59:45,920 Speaker 1: to the mix show, the records didn't sound alike. They 1011 00:59:46,000 --> 00:59:50,920 Speaker 1: all sounded different. They were interesting, eclectic takes on what 1012 00:59:51,120 --> 00:59:56,440 Speaker 1: hip hop could be. And once the Deaf Jam records 1013 00:59:56,520 --> 00:59:59,919 Speaker 1: got very popular, I started listening to the mix show 1014 01:00:00,240 --> 01:00:02,439 Speaker 1: and they just started sounding like all our records, whether 1015 01:00:02,520 --> 01:00:05,160 Speaker 1: we made them or not, it just felt like it. 1016 01:00:06,120 --> 01:00:09,560 Speaker 1: And it felt like, well, this community, this community of 1017 01:00:09,640 --> 01:00:13,760 Speaker 1: people making interesting things, isn't doing that anymore. Now. They're 1018 01:00:13,800 --> 01:00:16,800 Speaker 1: just trying to follow the one that people liked. And 1019 01:00:17,040 --> 01:00:19,960 Speaker 1: that's it's boring. You know. It's like it's almost like 1020 01:00:20,040 --> 01:00:24,040 Speaker 1: a conversation, you know, like you you put out something 1021 01:00:24,520 --> 01:00:27,400 Speaker 1: and then somebody puts out something you know, maybe not 1022 01:00:27,560 --> 01:00:31,200 Speaker 1: inspired by, but like they got a glimpse into what 1023 01:00:31,400 --> 01:00:33,960 Speaker 1: was possible. Because it's something you made and then they 1024 01:00:34,040 --> 01:00:38,320 Speaker 1: made something completely different and just as interesting, and then 1025 01:00:38,440 --> 01:00:40,560 Speaker 1: that would excite you. Was like, oh wow, I never 1026 01:00:40,600 --> 01:00:43,480 Speaker 1: thought of it like that. That means that means we 1027 01:00:43,560 --> 01:00:47,120 Speaker 1: could go way over here now, right, So it's it's 1028 01:00:47,160 --> 01:00:50,360 Speaker 1: a it's like a So I died that part of it, 1029 01:00:50,480 --> 01:00:52,920 Speaker 1: died out, died out. So I kind of lost interest 1030 01:00:53,000 --> 01:00:55,360 Speaker 1: at that point, and that's when I started making more 1031 01:00:55,440 --> 01:01:02,400 Speaker 1: rock records. And then the two um, the two artists 1032 01:01:02,840 --> 01:01:06,680 Speaker 1: who got me excited about hip hop again, We're Nwa 1033 01:01:07,280 --> 01:01:10,920 Speaker 1: and Moutang. Those were the next lot that was where like, oh, 1034 01:01:12,000 --> 01:01:14,560 Speaker 1: somebody cares again, do you know what I mean? Like 1035 01:01:14,680 --> 01:01:19,080 Speaker 1: somebody's not just doing the same thing. Someone's their new 1036 01:01:19,200 --> 01:01:24,200 Speaker 1: voices and it's exciting. Thank you for that, bro, truth, 1037 01:01:24,640 --> 01:01:27,120 Speaker 1: thank you for being one of those people. Because I 1038 01:01:27,240 --> 01:01:30,760 Speaker 1: will say what I would say as a producer when 1039 01:01:30,800 --> 01:01:35,080 Speaker 1: I thought I was doing or I didn't, and I 1040 01:01:35,200 --> 01:01:39,000 Speaker 1: love my hip hop piers. I didn't want nobody to 1041 01:01:39,080 --> 01:01:41,040 Speaker 1: say that my record was nothing else for hip hop, 1042 01:01:41,800 --> 01:01:43,920 Speaker 1: you know what I mean? I think hip hop aft 1043 01:01:43,920 --> 01:01:48,080 Speaker 1: though while we started wanting to be something else, you 1044 01:01:48,160 --> 01:01:50,600 Speaker 1: know what I mean? Like you remember people like everybody 1045 01:01:50,600 --> 01:01:52,880 Speaker 1: who put a reggae record on their on the album, 1046 01:01:53,120 --> 01:01:56,680 Speaker 1: or r B record on the album, or you know, 1047 01:01:56,960 --> 01:02:00,120 Speaker 1: because once l May the love song, everybody got niggah. 1048 01:02:00,200 --> 01:02:01,959 Speaker 1: So you know, it started, like I said, people started 1049 01:02:02,040 --> 01:02:05,720 Speaker 1: cookie cutting. I was like, no category for me but 1050 01:02:05,920 --> 01:02:08,600 Speaker 1: hip hop. And I'm gonna give a fuck when nobody's doing. 1051 01:02:09,120 --> 01:02:12,760 Speaker 1: I don't care what they're doing. Like, you know, that's 1052 01:02:12,880 --> 01:02:15,200 Speaker 1: that's a that's a bold thing. And you and you 1053 01:02:15,240 --> 01:02:17,520 Speaker 1: know what I think. You look. I think, as I 1054 01:02:17,800 --> 01:02:20,800 Speaker 1: said to myself, you actually lose that. Somewhere down the line. 1055 01:02:20,800 --> 01:02:23,800 Speaker 1: I lost that, you know, I lost that, like I said, 1056 01:02:23,800 --> 01:02:26,560 Speaker 1: when they started sharing one hundred thousand and beat, you 1057 01:02:26,680 --> 01:02:30,240 Speaker 1: know what I mean. And it started being like, you know, 1058 01:02:31,640 --> 01:02:33,240 Speaker 1: I guess when the I guess I think when the 1059 01:02:33,320 --> 01:02:35,880 Speaker 1: radio graph control again, because the radio had lost control 1060 01:02:35,960 --> 01:02:38,960 Speaker 1: for a little while too. When they grabbed control again, 1061 01:02:38,960 --> 01:02:40,520 Speaker 1: it was like, you gotta make it for the radio. 1062 01:02:40,600 --> 01:02:43,080 Speaker 1: You gotta be on this station. You know, I didn't 1063 01:02:43,080 --> 01:02:46,280 Speaker 1: even know, Like I learned later on a high ninety 1064 01:02:46,360 --> 01:02:50,439 Speaker 1: seven turned to hip hop station that when they turned 1065 01:02:50,440 --> 01:02:53,160 Speaker 1: to hip hop station, it was based on the success 1066 01:02:53,240 --> 01:02:57,400 Speaker 1: of Wool. I learned that later. Wow, Yeah, there was 1067 01:02:57,440 --> 01:03:00,960 Speaker 1: a dance station, but the woof songs was getting so 1068 01:03:01,080 --> 01:03:04,840 Speaker 1: much requested that it helped change their format. Yeah, you 1069 01:03:04,920 --> 01:03:07,560 Speaker 1: know what I mean. And and then at a but 1070 01:03:08,240 --> 01:03:10,080 Speaker 1: by time we got to nineteen ninety seven, they stopped 1071 01:03:10,120 --> 01:03:12,200 Speaker 1: playing well we got to like a war with them. 1072 01:03:12,720 --> 01:03:15,160 Speaker 1: But it's like wow, And then we started trying to 1073 01:03:15,240 --> 01:03:19,479 Speaker 1: make something or I as a producer, uh rabe around 1074 01:03:19,600 --> 01:03:21,400 Speaker 1: nineteen ninety nine, I would say ninety seven, I still 1075 01:03:21,440 --> 01:03:23,160 Speaker 1: don't kid, But nineteen ninety nine I started thinking I 1076 01:03:23,240 --> 01:03:25,640 Speaker 1: want to make something so they could play it on 1077 01:03:25,720 --> 01:03:30,600 Speaker 1: the radio. And it never worked for me because that's 1078 01:03:30,640 --> 01:03:32,520 Speaker 1: not why. That's not why you made it in the 1079 01:03:32,560 --> 01:03:35,000 Speaker 1: first place. That's not why people like your music in 1080 01:03:35,040 --> 01:03:38,600 Speaker 1: the first place. It came from you led the radio. 1081 01:03:39,600 --> 01:03:42,760 Speaker 1: They didn't leave you. And but like I said, it's 1082 01:03:42,800 --> 01:03:44,880 Speaker 1: a point. I guess. I guess it's a part in 1083 01:03:44,960 --> 01:03:47,040 Speaker 1: the artist. I know it's a part in my life. 1084 01:03:47,080 --> 01:03:51,360 Speaker 1: That you began you have a doubt. Why you start 1085 01:03:51,520 --> 01:03:55,400 Speaker 1: thinking it's I think the world is called conformity. Yeah, 1086 01:03:55,800 --> 01:03:59,000 Speaker 1: you begin to conform to what you think is normal, 1087 01:04:00,040 --> 01:04:03,440 Speaker 1: and at the end of the day, do a lot 1088 01:04:03,520 --> 01:04:07,400 Speaker 1: of yourself or you acself a lot. And I think 1089 01:04:07,480 --> 01:04:11,440 Speaker 1: that happened to me, and I think I realized that, 1090 01:04:11,480 --> 01:04:14,640 Speaker 1: you know that I stually became creatively weak. If you're 1091 01:04:14,720 --> 01:04:18,040 Speaker 1: noticed that after the year two thousand and I had 1092 01:04:18,040 --> 01:04:20,000 Speaker 1: a personal thing in my life. You know, I lost 1093 01:04:20,040 --> 01:04:24,080 Speaker 1: my mother in the year two thousand, I stopped. I left. 1094 01:04:24,320 --> 01:04:26,520 Speaker 1: In two thousand and one, I left New York and 1095 01:04:26,640 --> 01:04:31,320 Speaker 1: came to Cally. Basically, I just became friends with Tarantin. 1096 01:04:31,400 --> 01:04:38,200 Speaker 1: Though I kind of understood. I just kind of understood 1097 01:04:38,280 --> 01:04:41,240 Speaker 1: music theory myself by studying books, and I was like, 1098 01:04:41,280 --> 01:04:42,680 Speaker 1: I want to be a composed I had to. I 1099 01:04:42,760 --> 01:04:47,520 Speaker 1: had composed postal, took some critical critical got critical success 1100 01:04:47,520 --> 01:04:49,320 Speaker 1: out of it. Now I was like, I want to 1101 01:04:49,360 --> 01:04:51,720 Speaker 1: do this, and I want to And I ended up 1102 01:04:52,280 --> 01:04:55,680 Speaker 1: just composing. From the year two thousand but to two 1103 01:04:55,760 --> 01:04:58,560 Speaker 1: thousand and five, all I did was composed movies. And 1104 01:04:58,720 --> 01:05:01,400 Speaker 1: then in two thousand and uh five, I guess I 1105 01:05:01,520 --> 01:05:04,600 Speaker 1: showed up in a movie and then they said they 1106 01:05:04,720 --> 01:05:07,680 Speaker 1: gave me they saw pick me in movies, right and 1107 01:05:07,960 --> 01:05:09,560 Speaker 1: uh and then I wanted to be a director, and 1108 01:05:09,560 --> 01:05:11,920 Speaker 1: I kind of studied that for like six years, and 1109 01:05:12,040 --> 01:05:14,360 Speaker 1: then I became a director. And that's now as a director, 1110 01:05:14,360 --> 01:05:22,000 Speaker 1: I would say all my creative energy became stimulated. It 1111 01:05:22,280 --> 01:05:27,640 Speaker 1: was my music, my aunt, my visual everything about creativity, 1112 01:05:28,920 --> 01:05:33,200 Speaker 1: my writing, it all would stimulate it. It's actually, to me, 1113 01:05:33,920 --> 01:05:38,920 Speaker 1: the highest form of creative expression. A director who was 1114 01:05:38,960 --> 01:05:41,960 Speaker 1: considered our tour, someone who who asked me writes it 1115 01:05:43,560 --> 01:05:46,800 Speaker 1: all that. So I became that right, and I'm glad 1116 01:05:46,880 --> 01:05:49,400 Speaker 1: that I did. I'm satisfied in the life that it 1117 01:05:49,480 --> 01:05:53,200 Speaker 1: brought me. Um. But it's but after a few years, 1118 01:05:53,280 --> 01:05:55,560 Speaker 1: it took me to about two thous took like I said, 1119 01:05:55,600 --> 01:05:59,560 Speaker 1: maybe five or six years ago. It's not that moment 1120 01:05:59,600 --> 01:06:04,320 Speaker 1: ago that I became creatively free again. Like I don't 1121 01:06:04,360 --> 01:06:09,320 Speaker 1: make music for no reason or nobody, but for what 1122 01:06:09,680 --> 01:06:13,080 Speaker 1: Rizzo is doing for Rita. But if I want to 1123 01:06:13,120 --> 01:06:17,840 Speaker 1: be controlled, I'll go and do a movie. You know 1124 01:06:17,880 --> 01:06:21,200 Speaker 1: what I mean. Because in a movie, the character, if 1125 01:06:21,240 --> 01:06:23,920 Speaker 1: he's dying, he's dying. Okay, that's what it says in 1126 01:06:24,000 --> 01:06:28,960 Speaker 1: the script. Okay. But musically there's no way to control 1127 01:06:29,000 --> 01:06:31,480 Speaker 1: me anymore. And I feel grateful that, and I think 1128 01:06:31,480 --> 01:06:33,040 Speaker 1: I'm gonna have a sell musically again. I don't know 1129 01:06:33,080 --> 01:06:35,160 Speaker 1: what that means far as for a commercial level, that 1130 01:06:35,360 --> 01:06:38,960 Speaker 1: it doesn't have to mean nothing. I'm satisfied with the 1131 01:06:39,120 --> 01:06:42,320 Speaker 1: idea that it's not an economical need for me to 1132 01:06:42,400 --> 01:06:46,680 Speaker 1: do it, and that economically I have found the way 1133 01:06:47,360 --> 01:06:51,600 Speaker 1: to to to express art and get economics for it, 1134 01:06:51,680 --> 01:06:55,000 Speaker 1: which is my filmmaking commits. Right. It's a great place. 1135 01:06:55,200 --> 01:06:56,800 Speaker 1: It's a great place to be. It's a great place 1136 01:06:56,840 --> 01:07:00,520 Speaker 1: to be where you can support yourself making art and 1137 01:07:00,680 --> 01:07:04,320 Speaker 1: then still be able to examine all of the different 1138 01:07:04,480 --> 01:07:09,000 Speaker 1: creative areas that are exciting to you, regardless of whether 1139 01:07:09,040 --> 01:07:13,440 Speaker 1: they're you know, whether they're for commercial purposes or not. Right, 1140 01:07:14,040 --> 01:07:16,760 Speaker 1: I agree, brother, exactly. How's your relationship with the other 1141 01:07:16,840 --> 01:07:20,480 Speaker 1: woo the rest of the woo? Always that peace, always 1142 01:07:20,520 --> 01:07:22,400 Speaker 1: that peace. Man. Yeah, well we are, we are, we 1143 01:07:22,520 --> 01:07:27,600 Speaker 1: are brotherhood. My best example, right is that I got 1144 01:07:27,680 --> 01:07:31,320 Speaker 1: a lawsuit you God issuing me, right, and it's this 1145 01:07:31,760 --> 01:07:33,919 Speaker 1: lawsuit been going off for about three years now, maybe 1146 01:07:33,960 --> 01:07:37,400 Speaker 1: the fourth year. And we was in Australia last year. 1147 01:07:37,720 --> 01:07:40,280 Speaker 1: They did a U tank tour in Australia, Sydney our 1148 01:07:40,360 --> 01:07:44,920 Speaker 1: house and he gets there and his credit card isn't working, 1149 01:07:46,520 --> 01:07:49,120 Speaker 1: and so I took my credit card to them in 1150 01:07:49,200 --> 01:07:52,240 Speaker 1: a suite take care of everything for him, and then 1151 01:07:52,360 --> 01:07:56,000 Speaker 1: he was just like only WO could do that, this 1152 01:07:56,240 --> 01:08:00,680 Speaker 1: niggasuing you. You're feeding them and lending them money. I said, 1153 01:08:01,080 --> 01:08:04,840 Speaker 1: in this business, I love his motherfucker. I love my 1154 01:08:05,000 --> 01:08:08,200 Speaker 1: brothers man, and we have that, you know, we we 1155 01:08:08,320 --> 01:08:11,160 Speaker 1: have that love for each other. And I think and 1156 01:08:11,280 --> 01:08:14,280 Speaker 1: I'm proud, I think our passed to be proud to 1157 01:08:14,440 --> 01:08:17,760 Speaker 1: see that this was a community. Wuchang wasn't just a 1158 01:08:18,040 --> 01:08:19,560 Speaker 1: you know, a bunch of guys like you know some 1159 01:08:19,720 --> 01:08:21,599 Speaker 1: of some a lot of these bands maybe two guys 1160 01:08:21,640 --> 01:08:23,840 Speaker 1: didn't know each other or whatever, you know, they put together. No, 1161 01:08:23,960 --> 01:08:29,080 Speaker 1: this is a group of men who at minimum twenty 1162 01:08:29,120 --> 01:08:32,280 Speaker 1: five thirty year relationships some mere Ray Kuan go back 1163 01:08:32,320 --> 01:08:35,960 Speaker 1: to the third grade. Bro. Amazing. Yeah, So that's a 1164 01:08:36,040 --> 01:08:40,160 Speaker 1: blessing and it's uh in that part of it permeates 1165 01:08:40,200 --> 01:08:45,280 Speaker 1: and seems to you know, trump anything else. Yeah, beautiful man, 1166 01:08:45,920 --> 01:08:49,040 Speaker 1: Thank you for talking, brother, Thank you for having me. Man. 1167 01:08:49,640 --> 01:08:52,720 Speaker 1: It's a blessing seeing you. Blessing to you, n bum bum, 1168 01:08:52,880 --> 01:08:58,960 Speaker 1: Thanks brother Taste. Thanks to Rizzard for catching up with Rick. 1169 01:08:59,360 --> 01:09:01,519 Speaker 1: You can hear all of our favorite Rizard produced songs 1170 01:09:01,600 --> 01:09:04,439 Speaker 1: by heading to Broken record podcast dot com and be 1171 01:09:04,479 --> 01:09:06,240 Speaker 1: sure to check out our YouTube channel. We can find 1172 01:09:06,320 --> 01:09:09,439 Speaker 1: some great bonus material from this innerview. You can subscribe 1173 01:09:09,479 --> 01:09:12,640 Speaker 1: to our YouTube channel at YouTube slash Broken Record Podcast. 1174 01:09:13,439 --> 01:09:16,439 Speaker 1: Broken Record is produced with help from Jason Gambronil Lobell, 1175 01:09:16,760 --> 01:09:20,400 Speaker 1: Leah Rose, and Martin Gonzalez for Pushkin Industries. Our theme 1176 01:09:20,479 --> 01:09:23,559 Speaker 1: music is by Kenny Beats. I'm justin Richmond. Thanks for listening.