Archive for the ‘Interviews’ Category

Some priceless stories from Stretch’s days at Def Jam and at college radio station WKCR…

Academy Award-winning filmmaker Michael Moore joins Bill to discuss his latest documentary, “Fahrenheit 11/9,” and the importance of engaging in democracy…

Salute to this man here, and shame on the job-shamers…

Latest Rap Radar ep. with hosts Elliot Wilson and Brian B. Dot Miller. Besides the new album by WSG (Supreme Blientele), you can also definitely catch his music on a lot of my mixes…

One of Craig Mack’s last interviews before he passed away…

Abstract turntablism from Maria Chavez…

Carlos ‘After Dark’ Berrios gives the backstory on the TKA Freestyle classic…

In the last post, I wrote about “Give Your Love To Me” and how it came to be. Well it seems that I didn’t have the entire story! And it’s a great story to tell.

In the Bronx, there was a small studio that was home to Blue Dog records, which released both Marc Anthony’s self penned “Rebel” and Chrissy I-Eece’s “Love Desire”.

The studio was run by Chrissy I-eece and was a regular hangout for producers and artists, myself included.

At any given time you would see people like Marc Anthony, who at the time was writing songs for, and tutoring the boy band Menudo back when Ricky Martin was still part of the group.

Marc would also sing background on their tours when he wasn’t experimenting in the studio. Marc eventually started recording Latin tracks in that little studio. But not before working on several Freestyle records as writer, producer and singer. Many people are not aware of his work in the dance genre.

It was in this studio in the Bronx that “Give Your Love To Me” was created. Written and recorded by K7, the demo was produced by Frankie Cutlass, with K co-producing, as a possible TKA record.

Chrissy I-eece and Marc Anthony were only feet away in the studio and were easily recorded on the break along with George Lamond, Danny “Holiday” Vargas and Joey Kidd. It was to be an All-Star finish to a TKA record.

The demo was then presented to TKA’s legendary producer, Joey Gardner. But Joey, who didn’t like the record, turned it down.

K7 tells me, “Joey Gardner would often reject my demo’s and it would drive me crazy. He would turn them down but then later come up with something similar only transformed in a different way. For examlple, “More Than Words Can Say” was also rejected at one time and came close to never being recorded.”

With “Give Your Love To Me” rejected, K7 suggested that Frankie Cutlass record and release it as his first solo record. (This is the version that I heard back in 1991)

The demo was presented to Fever Records with Frankie Cutlass’s vocal and was to be released. But there was a dispute as to the ownership of the master with the owner of the studio.

With no compromise being reached, Fever Records decided not to release the record.

But, Frankie had been playing the demo off a cassette tape for anyone that would listen. (That’s how I came to hear it.) Eventually, an underground buzz swirled around the demo with the All-Star ending.

After Joey Gardner heard about the buzz he changed his mind and decided to record the record after all. But it had to be re-created because the master was at the studio and could not be used.

The new version of “Give Your Love To Me” was to feature K7, George Lamond and Joey Kidd as the new TKA. But that lineup never materialized.

There was even a moment when Marc Anthony was considered for TKA, being that K7 and Marc had been best friends since High School. But according to K, Joey Gardner felt that Marc would outshine anyone that tried to sing next to him.

There was also concern over their notorious girl chasing. The idea of having K and Marc on the road together was seed for concern and eventually the label rejected the idea.

“To this day, I feel it was the worst mistake they ever made, to not put Marc in the group”, K says.

K7 finally recorded the TKA vocal with the guidance of Marc Anthony. “Marc coached me through that performance. I did what Marc told me to do”, K tells me.

Ultimately “Give Your Love To Me” found it’s home on the Louder than Love LP, without the All-Star break. The idea was rejected by the label.

For my Latin Freestyle heads out there, here is the Rios Sisters taking you back to a moment in time when they were suppose to perform at the legendary NYC nightclub The Funhouse…

A very interesting interview with the legendary music producer, to say the least…

You just mentioned the Clintons, who are friends of yours. Why is there still such visceral dislike of them? What are other people not seeing in Hillary, for example, that you see?

It’s because there’s a side of her — when you keep secrets, they backfire.

Like what secrets?

This is something else I shouldn’t be talking about.

You sure seem to know a lot.

I know too much, man.

What’s something you wish you didn’t know?

Who killed Kennedy.

Who did it?

[Chicago mobster Sam] Giancana. The connection was there between Sinatra and the Mafia and Kennedy. Joe Kennedy — he was a bad man — he came to Frank to have him talk to Giancana about getting votes.

What were your first impressions of the Beatles?

That they were the worst musicians in the world. They were no-playing motherfuckers. Paul was the worst bass player I ever heard. And Ringo? Don’t even talk about it. I remember once we were in the studio with George Martin, and RingoJones arranged a version of “Love Is a Many-Splendored Thing” for Starr’s 1970 solo debut album Sentimental Journey, which was produced by the Beatles’ frequent collaborator George Martin. The song, and album, are more than a bit gloopy. had taken three hours for a four-bar thing he was trying to fix on a song. He couldn’t get it. We said, “Mate, why don’t you get some lager and lime, some shepherd’s pie, and take an hour-and-a-half and relax a little bit.” So he did, and we called Ronnie Verrell, a jazz drummer. Ronnie came in for 15 minutes and tore it up. Ringo comes back and says, “George, can you play it back for me one more time?” So George did, and Ringo says, “That didn’t sound so bad.” And I said, “Yeah, motherfucker because it ain’t you.” Great guy, though.

Grandmaster Melle Mel tells the back-story of the now-classic ‘Message’ record…

Happy Turkey Day to everyone out there! Here’s a recent interview from NORE’s Drink Champs with Steve Stoute. Pretty interesting stuff. On hearing Nas’s original beat for his Ether diss of Jay Z: “I take off my coat like, we staying here all night. we gotta fix this. This is a mess.. If this shit comes out, your career is over”. Rumors say it was a Swizz Beats beat. Ouch!

Recently, Stretch and Bobbito (along w/ DJ Spinna!) had a sit-down with the one and only Stevie Wonder where he talks about his time at Motown Records and a whole lot more…

Former Zulu Nation member DJ Mark Luv speaks on the current state of the organization after the Bam child molestation allegations…

The full AZ interview is up now. You can catch this cut on my May Mixtape.

    The latest single “Save Them” features a snippet of a speech by Louis Farrakhan. Why was it important for you to take a clip from the Minister and place it in this song?

    Farrakhan is the voice of the hood. He’s a voice of the world. He’s for our people and he’s been there since the beginning. So at the end of the day, he has that powerful speech that was needed to reach the people. When you hear his voice, you will fall back and you’ll take notice and listen. And that’s what I was trying to get across to get the ears of the youth. When I was putting this record together, a lot of my peers and fans were like, ‘Yo, you got to save us!” And I use to be like, ‘Save you from what?’ and they would say, ‘The music now has no substance. We need substance. Save us.” So that’s where I got the title from.

    Why was it an important decision to add Raekwon and Prodigy on this album?

    They’re swords are sharp lyrically. And we all love lyrics. We wanted to bring that to the table. So me knowing that their discography contains nothing but that and they specialize in that.

For those that missed it, here is one of Prodigy’s last interview where he talks about his struggle with sickle cell anemia and receiving supernatural messages…

Here’s a snippet of an interview AZ did over at Billboard, which includes his Buckwild-produced new cut with Raekwon and Prodigy…

It’s wild that this is the 20th anniversary of The Firm. What was that whole experience like working with Dr. Dre and being on Aftermath?

I mean you got to understand, we all were popping before that, so dealing with Dre, I was appreciative and I could respect it, but at the same time, the family thing was better. We all could connect and had love, especially me and Nas, and [Foxy Brown] was doing her thing. So to come together and do a project — it was a blessing. Of course Dre was going through his transition at the time too. He represented that West Coast so crazy. I just wanted to really get some of that Dr. Dre music, and that “Phone Tap” really set it off.

That crew solidified two strong MCs. It put a blueprint together. What do you think The Firm brought to the game?

We brought something together that some people probably have never thought of. As of now, a lot of powerhouses come together, even in R&B. I think we set that off. Usually, groups came in the game [already together]. It never was people coming together individually. We were the first ones to get together after having our own lane.

Are you still collaborating with a lot of people from the era?

Yeah, [my new single] “Save Them.” The sound was shifting. A lot of brothers in the street were [telling me], “You got to save us.” And I’m like, “Save y’all from what?” So I took that title to save the people, then [producer] Buckwild played a joint in the studio called “Save Them,” and I was like, “This is it.” I just wanted to bring some brothers who I know respect the craft. Raekwon — that’s my brother from day one, and Prodigy [of Mobb Deep] is from that era as well. I just wanted to put something together that I know that audience will appreciate. Even the shorties will say, “Oh that’s what this about,” and they will gravitate towards it. So that’s the goal: We want to save the people and save them from themselves.

In R.A’s debut podcast he interviews journalist Lindsey Snell about her time being a Al-Qaeda captive and then being imprisoned in Turkey…

Here’s a short 2-part interview that UGHH did with Termanology, whose definitely gotten a lot of play on my mixtapes due to his dope wordplay and flow…

DJ Stretch Armstrong and Evan Auerbach talk to The Cipher about their latest book ‘No Sleep: NYC Nightlife Flyers 1988-1999’

DJ Stretch Armstrong takes us back to the Building club days

*pic from the personal archive of Stretch Armstrong*

THE STANDARD: How old were you when Building opened and what was your life like at that time?

STRETCH ARMSTRONG: I was 19, 20 years old. At that time, I was going to clubs every night. If I wasn’t working in them, I was hanging out at them. I was club-rich. I could go and drink for free. Anytime a new club opened that was the place to be, it was completely normal for me to go there three, four nights of the week. For a lot of us who were not just in the scene, but kind of connected to the scene, a club just became like everyone’s living room. When Building opened, it was the place to be and I was just kind of connected to that network of people.

Was the music the primary attraction for you?

That was a big part of it. Part of my reason for being in clubs every night was to be noticed, and to be a recognized face, so that it would make my chances of getting on easier. I totally wanted to play at Building. It was a great room to play in—massive, super high ceilings, big sound system, dark space. The dark space allowed people who might be self-conscious to lose their inhibitions and dance.

What was the most memorable thing you saw there, musically?

Building was where Kid Capri really made a splash. If you were into hip hop, you might know him, but if you were just more of a downtown club person who liked hip hop, you may not have known Kid Capri. He came to Building and utterly destroyed the place on a weekly basis. And, you know, that was before the internet, but the word of mouth was so strong, and what Kid was doing in that room, it just elevated him to a whole other plateau as a celebrity.

What was so unique about his style?

The DJs that I idolized coming up, like Clark Kent, they didn’t really talk. They were just nasty with their hands and their music. Kid Capri was the first deejay I ever saw who would regularly turn the music off, just like oozing with confidence, and with this super loud voice just command the crowd to do stuff. He would have them in the palm of his hand and the music would come back on at exactly the right time, just as he was getting the crowd into a frenzy. There was this give-and-take that was incredibly dynamic and powerful. He didn’t use the mic because he was making up for any deficiency as a deejay. It took his deejaying to another level because he was always nasty on the turntable, but the added dynamics of that crowd control, that was just something that people downtown hadn’t really seen.

Do you recall the people you’d see there?

De La Soul had a party there, Black Sheep did a party, A Tribe Called Quest. It was one of those clubs where the hip hop industry—whether people from labels, managers, or the artists themselves—were commingling with the club scene, the club clientele.

My favorite invite was for a short-lived night that Jessica [Rosenblum] started on Saturdays called Jessica’s Nickel Bag Lounge. The area was really, really high up, like four stories up, and it was closed off from the main floor. You took these industrial stairs. The flyer was a green piece of paper with a little Ziploc bag, the kind that you would cop marijuana in at Washington Square Park, with a chunk of oregano in the Ziploc, like a dime bag.

What made you keep the flyers from the club?

I think at some point I realized that these were ephemeral items that were a part of a really exciting time of my life. And I was right. Because as time goes on, you realize that that era from ’88, to maybe like ’92, was a really, really special time—in clubs, in music, and everything.

Are there specific tracks you associate with that time and the club?

Oh yeah sure. For house music: Lil Louis “I Called U”, Lidell Townsell “Nu-Nu”, Crystal Waters “Gypsy Woman (She’s Homeless)”, Underground Solution “Luv Dancin”, Frankie Knuckles feat. Robert Owens “I’ll Be Your Friend”, Jay Williams “Sweat”, Bobby Konders “The Poem”. For hip hop: Nice and Smooth “Hip-hop Junkies”, Jungle Brothers “J Beez Comin Thru”, Black Sheep “Choice Is Yours”, A Tribe Called Quest “Can I Kick It”.

What you’ve got to remember is that back then New York was still the center of the world when it came to clubs and music and particularly hip hop. I mean all these records were breaking out of New York on the weekend mix shows and in clubs like Building. Back then, people went to clubs to hear their favorite song, which they heard on the radio. You would go to a club, to hear records that were hot, but you’re also going to hear new music. And that wasn’t something that would frustrate people—that was something that people looked forward to.

How was Building different from other clubs that were around at the time?

Building was a short-lived club. People were genuinely heartbroken when it closed down. It never went through the normal lifecycle of a club where, when it opens it’s hot, and then it gets less popular, and then, sadly, it becomes a hip hop spot. Building was very pro hip hop. I mean they had a lot of different things going on, but the hip hop nights weren’t just an afterthought or a footnote to a club’s previous glory days. From the jump, they were doing hip hop nights.

Do you have any Building stories?

Actually, I do have a Building story…it’s kind of a sad story. Kid Capri and I eventually became friends, I would say this was probably like ‘93, ’94. And we were hanging out and he tells me that he wants to buy Building and reopen it as his own club. I said, “Oh that’d be so cool, a deejay opening a club.” And then later that day, I happened to be in that neighborhood and I drove by where the Building was and it had just been torn down. It was a pile of rubble.

Poison Pen and Torae tell a couple of funny Sean Price stories at last night’s candlelight vigil to mark the 1 year anniversary of his passing away. Rest easy, P.

Here’s a piece of an interview that 7th Boro did with Nonphixion’s Goretex p/k/a Gore Elohim a few days ago…

Spe27: Non Phixion got back together for some reunion shows last year. What lead up to you guys deciding to perform again?

Gore Elohim: A lot of reasons led up to us wanting to reform the group. We wanted to finish what we started, which, realistically, was a whole new genre at the time. As a group we had a certain power. Lyrically, spiritually and musically that we felt we needed to continue. The way it ended, which was not my choice, hurt a lot of fans. Simply put. We aren’t the kind of group you throw a record on and act casually about it. You’re in or out. And when you’re in, it’s a much bigger picture. Personally, I had a lot of unfinished business and wanted to make the fans happy and feel like we care about them. Most groups or rappers don’t give a shit. We actually loved / love our fans. Over the years, the impact of what you do sometimes is unknown until it’s not there anymore. It hurt the fans. Some of these kids were buried with Non Phixion albums, shirts and stuff. Sadly, in Tennessee, a kid hung himself while listening to “The Future Is Now”, trying to get off of drugs and didn’t make it. I can go on about stories. A young couple overdosed while on their way to a NP show. The girl contacted me via Myspace then and told me shed been waiting for years, and how excited she was to see us live finally. That bothered me. They died in the car in front of the venue. I don’t do this for me anymore.

Spek27: Tell us the reason behind the name change from Goretex to Gore Elohim?

Gore Elohim: Around 2006, I get an email from a lawyer from the company stating we had a big problem. I knew something wasn’t right. It was highly improbable this company would know anything about my career. This was right after the breakup, so I knew shit wasn’t right. Or someone was a rat. I was sued, went to court all of that. We worked it out and I became actually cool with Gore-Tex…but it was unpleasant at the time. The name change fucked everything up for a few years. Something which was planned, and I even got their lawyer to admit someone told on me. A rat will die in the street alone. I am still recovering from that now, and mad heads still don’t know what the fuck is up. All good. I had a dream one night and Gore Elohim appeared. I don’t have a permanent name to this day. Does it even matter anymore?

Spek27: On the original pressing of Legacy, it has “David Blaine” etched into the vinyl. What’s the story behind that?

Gore Elohim: The “Legacy” record back in the day, and the inclusion of David Blaine was interesting. MC Serch, who was in the group at this time, told me about this new cat David, who was not just some Copperfield kinda cat. I felt he was a warlock, under extreme magical subjugation. Otherworldly. Serch invited him to see the new group he was in. He came through, I rolled 20 blunts and that was it. He performed his rituals in the studio, and Serch thought it fitting to engrave his name on the wax as a tribute to our beginning and memory. I also got Serch high that night, so that may have been an additive.

Spek27: The Stretch & Bobbito documentary was recently released. You guys were regulars on the show. Any comment on that?

Gore Elohim: We had nothing to do with that documentary, nor asked. Surprising, since I was the one of the first 5 listeners of Bobbito in June of 1991.

Sa Neter TV drops a great interview with Immortal Technique…

Highly disappointing view from KRS One…

The ‘Funky One’ Lord Finesse hath spoketh

This is bit of an interview that Ego Trip released a few years ago, but was originally done in 1999. Also what the homey Brother Ethex was talking about when i asked him about the Rammellzee/Basquiat partnership

What are your recollections about the whole process of making “Beat Bop”? How did you meet Jean-Michel Basquiat?

Rammellzee: Jean-Michel wanted to do a rap song because rap was coming into power at the time and that was one of the things besides writing on the trains that he didn’t know how to do. He didn’t know how to do wild style or a true burner like some of these things in here [points around room]. And I was brung into the city by Fab 5 Freddy to interrogate this guy.

And the basis of the interrogation was…?

Rammellzee: What he knew about art. Why was he in the power play position? And to tell him: you need to leave this shit alone and let the real troopers who did do something on the trains get past you and Keith Haring and let these fools know there’s an ikonoklastic war about to happen…

During the process of interrogation I had made a bet with him: I can do what you can do, you can’t do what I can do. He had brought three canvases, set ’em up and got me the paint in the basement of Annina Nosei’s gallery, which was his first gallery [exhibition in] like 1982. And in the basement he decided to let me paint these canvases, and Annina Nosei sold all three at his price. My prices where nowhere near his because he was going off and selling well. She came into the gallery and she told him, “I sold three of your best artworks.” I said, “Give me my money!” [laughs] “Now you gotta do what I do!” He never did what I could do. He switched from trying to do [burners and wild style] and went to do the song.

Was that resentment towards the likes of Basquiat and Haring pretty much a common thing amongst the writers who wrote on trains at the time?

Rammellzee: A lot of writers just didn’t appreciate that that graffiti was overtaking what we were doing – the burner or wild style – and the light dwellers just didn’t like that we came up with sophisticated explanations [for what we were doing]. When [the establishment] said “graffiti” – [they believed that] you can’t have a sophisticated explanation [for it]: “Don’t come up with any theorems, and please don’t outshine anybody we wanna maintain our lies with.” And that’s what Jean-Michel was – he was a maintainer of lies. Even in music. He lied, he didn’t do shit. But give the money [to make “Beat Bop”]. Lies. LIES. LIES! [laughs] I get to have some fun too…

So [when it came time to do “Beat Bop”] me and K-Rob came in there [to the studio]. [Basquiat] had a whole pamphlet of this stuff written about girls. And I said, “I’m not rhyming to this!” I put it down. He picked it up and gave it to me, so I crushed it and put it down! And I told K-Rob: “I’ma play pimp on the corner, you play little kid coming home from school.” And that’s how [the lyrics] worked, and that’s how it sounds: somebody walking home all sad and upset about how school treating him, bullies picking on him, drug dealers wanting to recruit him. And all of a sudden I started rhyming about what pimp style would be at the time. Jean-Michel had to sit down and rock in his chair and take it! [laughs]

K-Rob was somebody you knew from the writing world?

Rammellzee: We was all writers. K-Rob was from the Bronx up in Mitchell Projects and I was from Far Rockaway [Queens] coming in with A-1 and Dondi and Fab 5 Freddy and stuff.

What else do you recall about the actual session?

Rammellzee: [Basquiat] didn’t even make that beat, man. That was made by one of his friends [percussionist and fellow writer, Al Diaz]… some dude made the beat and was playing the bongos that day. I remember the bongos and a little bit of drums, and I heard some type of other instrument I still don’t know what it is. But [Basquiat] only put up the money. He only put up the money. [Basquiat] wanted to rhyme too. And when he went to go pick up the mic we all started laughing and he went back over there and sat down and started rocking [in his chair] again. That’s what pissed him off the most. That [what we were doing] was workin’. What were [K-Rob and I] there for, just to be sittin’ there listening to someone talkin’ a lot of shit while they not saying anything? I consider that to be a waste of my time.*

[* Al Diaz’s recollection, as interviewed by Dave Tompkins in How To Wreck a Nice Beach: “Jean was involved with the process… It wasn’t like he was just doing lines and writing checks… K-Rob was kind of on this good-boy trip. Saying, ‘Your mind can’t function,’ ‘Waiting at home for Mr. Right,’ and then Rammel’s going on about cocaine. It was some sinister shit. The session was fairly controlled. There was a lot of cocaine, but we were focused.”]

How was your relationship with Basquiat?

Rammellzee: The first year [the song] came out that’s when me and him got into a damn fight. He came into [art critic, Edit DeAk’s] house, where I was staying. And pulled out of his pocket $7,000, or it looked like it. It was a big fat roll of money. I said, “I’m not interested in money, I’m interested in science.” This motherfucker threw a punch and I caught that shit and kissed it and backhanded him right in his fuckin’ head. He got up the floor and wanted to fight. And the critic, Edit DeAk, had to stop this fool from coming after me. Because I was talking science and he didn’t wanna hear nothing about it.

We sit down with this fool [Basquiat] at a meeting. And we started talking about the record. The second that the critic starts talking [Basquiat] shuts up. He’s got nothin’ else to say. Why? Because Jean-Michel only wanted drugs, sex, and rock n’ roll. He didn’t have no science. He didn’t know what to talk to no critics and if he wanted to talk he didn’t have enough to say. When I talk everybody tells me to be quiet. [laughs] Do you know why? Because I have information that comes to you either from [science], or it’s from something that comes from other people – from my peer group. Whether it came down to rap music, hip-hop music – which is slightly different, or whether it comes to break dancing.

After the fight and everything like that then everybody tried to say I was his friend. Why did I get in a fight with my friend? You don’t wanna be around somebody that thinks they know it all because these fool light dwellers is giving you money. You know? Because that’s what they were. They were giving [Basquiat] a lot of money to keep a certain art-form that I considered to be graffiti, abstract painting. Where it deals with letters on the side, cross out this over there. That’s graffiti to me. Because what I do is the burner. An aerodynamic aeronautical system of the letter flying on a rolling page in a wind tunnel known as the transit system. And that’s all that happens. A letter moves backwards with its own wings, it gained the wheels off the bottom of the train. And the page became a car with a year number on it. And the gallery was rollin’. Nobody liked to hear that because it was too well put together. They want you to be abstract and sit there and say nothing. He told me to shut up all the time.

They still doin’ it today. My own girlfriend still tell me to shut up now. Don’t want me to say nothin’. Why? [laughs] What did I do wrong? I don’t know either…

What is it about “Beat Bop” as a song that is aesthetically not pleasing to you?

Rammellzee: Another problem with that Jean-Michel song – it was too slow for me to rhyme then. But that [slow tempo] maybe causes a clearer tone of voice cuz I like to rhyme fast and yeah, sometimes I slur. I do drink a lot. [laughs] And at that time also that motherfucker was doing crazy crack, man. So when you take a hit of that how fast can you rhyme then? Your brain’s a little fried on that moment. But you know all of the drugs and everything like that you figure a guy would sit down and slow down and take his time and take himself apart. Re-evaluate himself. No, he’d rather go to an old friend of mines and get himself killed. Yeah.

I also wanna say that being out at Marine Moisture Control – which is a job that I had welding oil tankers and fixing flanges under the water in the gulf – I was perfectly happy doing that [before I got involved with all this]. Got $62 an hour, you know. Sometimes $80 an hour. You work with good people, you’re swimming, and you’re getting exercise and you’re fucking with sharks. You got a welding torch that ain’t going out in the water and you’re using five-minute epoxy under it, right? Sometimes two-minute epoxy. And you come in the city because they need you. Because the burner is being stopped and this particular guy is getting quite rich off off of what they, as light dwellers, want to see coming from what they call the subculture. I didn’t see a subculture, I saw a culture in development.

And somewhere around 1979, the burner went into a weapon slaved letter. I did that. I got a patent on the damn thing. You got people saying they got style or beyond style. They got borough style. But do you have patented style? If the government don’t approve of it that’s what you need to hear. And they don’t like me for that either. I said, well, I came up with a system that took everything that you wrote on the trains for: the wheels, the sound, the rolling pages, and came up with an [analogy] and I put it in a record with Jean-Michel and it gives him fucking fame. [laughs] And I’m stuck here wondering when the hell am I gonna get a dime from it? Never get a dime, so that’s one way to not like [“Beat Bop”].

Then [Basquiat’s] attitude about money was another way not to like it. Braggin’. I make money too now. I think all of us make money. We don’t make it the way some people make it. We don’t lose it the way some people lose jobs. You can make money. You just sell [what you create] right now. In my manuals I got seventeen different styles around here. And I do ’em in five different mediums – from shag rugs to this [points to a nearby rug]. I’ll cut this rug up later. Why waste all that beautiful paint and glue on the damn floor when it’s textured. You just slice the motherfucker up, paint on top of it, and sell it! You make your girlfriend happy. [laughs]

‘Hoppo’. ‘Honolulu’. ‘Bananas’. ‘A taste of cadbury’. *’89 Tek 9′. Only if you were a loyal listener of the Stretch & Bobbito 90’s radio show will you get these terms…

*The frequency that the show was located on was 89.9, thus >> 89Tek9