"RZA"

26:49So far, maybe about 600 people have heard it. Dude. That's amazing. Like, how do you, how do you, that's an incredible story. How do you protect the person who owns it from copying it and kind of, I don't know, it just got leaked or, you know, and then they act, you know. But there's a contract. This particular album is, on a macro level, considered the first NFT. Ah, very good. I understand. So that's the situation with it. So it's like a smart contract built in. You know what I mean? And this was your idea. I mean, it's such an incredible forward-thinking idea. I know. It's brilliant. Me and my student, Silver Rings, I won't take all the credit, It was a combination of ideas that led to it.

27:43Yeah. Would you ever do it again? I don't know. What about what Radiohead did something where they made an album and they put it up on the internet for free, basically said, pay whatever you want. And that kind of freedom made me, I think I ended up paying like 50 bucks for it or something like that. Like, just like, if you tell me I don't have to do anything, then I'll do it. That was the perfect thing. You're the perfect sucker, man. Exactly. You know what I mean? That's why your nickname is DJ Sucka. Dingbat. Hey, I mean, God, that is such a, you're right, Sean, like you said, it's so forward thinking.

28:25And you've, I mean, you constantly have looked for different ways to express yourself as an artist and kind of do things outside the body. You've acted in, I was looking it up, I mean, I don't know, 50 things. 60 things as an actor. You just, tell us a little bit about your film that's coming out that you directed. Thank you. First, let me say this to y 'all, gentlemen. First of all, Jason, I'm a big fan of yours. Come on. Yeah, there we go. Your timing, your style. Nice, man. I just love your style. I've seen almost everything you do, and so I just want to let you know that. That's very nice.

29:01You got a fan on this side of the microphone. Thank you, pal. And for myself, you know, I got a chance to study underneath Quentin Tarantino for about six years. And I caught the directing bug and understood what it could be. And I did my first film, of course, in 2011, came out 2012, called The Man with the Iron Fist. And I realized that directing movies is actually the epitome of expression art. because you have to be lyrical in the words, colorful in the production design and costume design. Music is a part of it. The storytelling element, the energy of getting other people to portray an idea that's written and describe it.

29:58It's like the total use of my brain for me. And so I became in love with it. and now this is my fourth my fourth directorial film it's called One Spoon of Chocolate wait oh this is your fourth film this is my fourth one yeah wow and this one probably my boldest one pretty bold to kind of take a chance like this and it took 13 years to get to this point like once I finished Man with the Iron Fist I wanted like so you know Universal gave me the money to make the movie and there was like, you know, when it came out the first week, I think Hurricane Sandy hit. And so to me, so the East Coast was kind of fucked up for me.

30:40Yeah. And so, so it didn't hit the numbers we wanted to hit. I think we probably ended up around 30 million total in box office on, sorry to talk numbers, that's when it kind of, that's okay. Yeah, yeah. We ended up about 30 million total in box office on a movie that cost about 17 million, right? Pretty good. Not, well, okay, not for Universal. For Universal, that's, I paid the lights that day. We paid the lights. Yeah, exactly. Yeah, yeah. But I waited till it recouped before I went back and sat down with the executive who was in charge of gaming the green light, which is Mr. Adam Folgersen.

31:17And I sat down and he said, okay, you know, you did cool. Nobody's over here, you know, we're not jumping up and down, nor are we sad, right? I said, okay, I got it now. I'd like to try another one. And so he said, okay, let me hear some ideas. And I pitched the ideas, and one of them was one spoon of chocolate. The other ones didn't really gravitate, but he said, that one seems like something you could chase. And then I started writing it, and I got writer's block, page 40. And it took almost, you know, this would be 13 years from the day of me starting it to it now being available. And it just kept taking time and time and time.

31:59And it didn't fully materialize until two summers ago. I'm on a tour bus with Nas, and we're doing the New York State of Mind. We're traveling across America, and my pen just started flowing. And so I wrote the whole movie. My wife was right beside me, just sitting right there. And we got home, and I said, okay. I got a movie written, and we had a chance to, we had some good economics blessings in our lives. And so I said, well, she was looking at another house. She likes to get nice houses and shit. That's kind of her thing. And so I said, well, I wrote the movie. You want to get another house or you want to make a movie?

32:41Yeah. And she said, well, what do you want to do? I said, to be honest, I really want to make a movie, like, with no interruptions. Like, just go ahead and do it. And she said, okay. She gave me the green light. She's the producer of the film. Wow. She's self-financed. Yeah. So she's, yeah, self-financed from, you know, leveraging some assets. And we did it. And we shot it in Atlanta. We finished it. And it's going to premiere at the Tribeca Film Festival on June 8th. I'm super excited about it. That's awesome. And so are you going to be looking for distribution at that festival or have you already sold it?

33:18Yeah, it's going to be like the first time we show it and we're looking for distribution. So, you know, I hate to use the word hopefully, but hopefully. What's it about? What was the pitch you gave to Adam? And did it remain the same once you got past page 40? Or did it morph into something else? You know what? It actually, I guess without giving a spoiler, it morphed into 200 pages. Oh, wow. Exactly. For the listener, usually a movie script is about 110. Yeah, it morphed to about 200 pages. And I think I got about 110 pages that we'll see. when we look at this thing. That's amazing. And now Kill Bill was famously, what, 200 and something, and so he had to split it up into two parts.

34:06Yeah. Right? Yeah, I actually read the 220-page Kill Bill. Yeah. Which, like I said, so Tarantino is my professor. I call him my godfather of film. He's incredible. Love to have you on the show, Quentin, if you're listening. Yeah, he's amazing. He's got to come to us. He's got to. guys um but now is it um i'm always amazed when people like us meaning in that our artists are in the entertainment business or whatever that create the stuff like your films and music and everything else and us our tv shows films whatever we do and that at some point in your life you became aware of the business side of it and what was that point and who or who was that person where you're like, because when I was on the set of Will and Grace, it's a TV show I did a long time ago.

34:58This is something. It's a lot of laughs. It's a lot of laughs. Hey, a masterpiece. A masterpiece. We, after, it took about five, six seasons for me to kind of look around.

35:14For me to look around and I was kind of like, wait a minute, I was really young and I was like, how did this all happen? Because I was just an actor who memorized my lines and showed up and went home. And then I was like, wait, how did this come together? Like, whose idea? And then the phone call. Then I got really interested. I was really young. I got interested in the business side of how to produce something and make something. So what was that moment for you? Or was there a person you were like, wait a minute, how did they do that? And then it kind of snowballed from there. Yeah, I think it was a couple of points for me.

35:45You know, first in music, of course, right? As a producer, you know, you could control. let's just say, like I said, making an album, maybe it's 20 people. But when I was composing films, the thing with Kill Bill is that I wasn't going to be the composure. Let me just be clear. Me and Quentin just used to watch movies together, and he gave me that script. And when I read the script of Kill Bill, it was just such an amazing script. I just said, yo, anything you may need from me, I'm here. I said, also, I would love to see how you're going to bring this to life. At the time, we were just buddies, film buddies.

36:27And he was like, yeah, sure. If you show up on set, you're going to be the eyes and ears behind me. And now they were shooting in China, in Beijing. But I showed up. Yeah, yeah. Great. And then I'm watching him. I'm watching Robert do the DP. and I'm the guy who's there with no job. Yeah, right. So I got to study every job. I'm just chilling, hanging, watching the study and I realized that this was... And how old were you then? Oh, no, I'm a man, yeah. This is, to kill Bill, I'm 32 at least, right? 30. Yeah. So I'm a man. Yeah, yeah. But I mean, I'm not a kid, meaning, you know, I was evolved as a...

37:13I guess you could say this too, Sean, right? You said after five or six years, right? Right. You're not economically thinking about those problems no more. That's right. Okay? Love is good in life most likely, right? Right. And the art is starting to really feel fulfilling, like a different type of fulfillment, almost a calling, right? And so that's what's happening to me. My love life is good. My economics is good. And my art is insaturable, though. It wants more. It wants more. And so that's what led me down that path. And then, of course, as a businessman, I think, you know, if you go back and look at Wu-Tang, you know, from the beginning, we was entrepreneurs, you know, from opening up our clothing stores to video games, like all those things was just part of it.

38:02And then the last lesson for me, and I'll just share this with your audience, why that you would say, why the heck would you self-finance a film? Which is probably, everybody says don't do that. That's like in the book. There's a book on that. Right, right. It's the first chapter, yeah. Yeah, exactly, right? But I got the chance from the year of 2018 to 2023 to be the showrunner of my own TV show, right? Which one? It's Wu-Tang of the American Saga on Hulu. Okay. So doing that show, it's just like, okay, the best way to do it is to do it. You know what I mean? Yeah, right, right, right. The best way to do it is to do it.

38:45And so I'm in that philosophy. Because me spending a dollar may take somebody else$10 to spend that dollar because they don't know how to spend a dollar. Right. We'll be right back.

39:01And back to the show. You know, people who are as accomplished as you in as many different skill sets, it takes an enormous amount of not only ambition, but concentration and focus and discipline. What would you say to the listeners who are trying to get their feet under themselves and really find that gear that it's going to take to hit the passing lane and get past the folks that they're competing with What is that special sauce for you and from whom did you learn it from or what happened that gave you that spark that you tap into that has fueled so much incredible accomplished work? I will share with anybody the first thing is mastery of something.

40:00If you master one thing and you mastered it, then you'll understand the relation of all things. That makes sense. And for me, of course, the first thing is going to be my lyrics. I've been writing lyrics since the age of nine. So by the time, and I'm the guy that finishes schoolwork first, so I can write another lyric. So mastery of your passion, I guess, should go together. Master your passion. That's great. And if you master your passion, I think that when it's time for other disciplines to come amongst you, you're going to have a foundation because you'll be able to apply it. And I think we all can agree, us here, all of us artists right here, that we could say that it is, the artist has, I use this word, artistry is a wavelength, right?

40:51It's like, if you got a, so let's take a trumpet, right? And let's call the trumpet the artist. Whatever plays through that trumpet though, it could be jazz, soul, rock, pop, doesn't matter. It's going to come through that trumpet to turn into music. but when the artist knows the wavelength he knows what to pass through his vessel you know what I mean that's really cool I know that's kind of amazing yeah that's really cool what if it's a piano just kidding Sean's an accomplished pianist I don't know if you knew that he really is my favorite instrument Sean okay there you go Yeah. We'll jam. We'll jam.

41:36How many can you play? How many different instruments? Yeah. I mean, I play, you know, I'm not going to, you know, I'm a producer, so producer is a lot of technology. But, you know, I play guitar, drums, of course, guitar is bass, there's no problem. I can blow some notes on my trumpet. And I spend a lot of time on the piano, too. But I'm very shy on the piano, meaning mostly my wife gets to hear me. Yeah. I mean, you know, I got to be nice to play in front of an audience. Yeah, yeah, yeah, yeah. Sean's very coy on a piano. He's very coy. You know, it's funny, you mentioned like different instruments and stuff.

42:13You've done so many different, and you've done a lot of collabs and different genres. I remember you did that. I love that record you put out with Paul Banks from Interpol, Banks and Steel. I love Paul, yeah. Dude, that was so rad, that record. Talk a little bit about that experience and how you guys got together. Let's shout out Paul Banks first and the whole Interpol family. I put an Interpol song in Black Rabbit coming out. Well, congrats, man. Thank you, thank you, thank you. And Paul's getting married this summer. Oh, is he? Yeah, I mean, one of the coolest bachelors. I was married while we was making that album.

42:47He wasn't, you know what I mean? And all the girls always scream for him. He's a cool dude, man. Oh, I mean, I don't know him, but I'm such a fan. Yeah, talk a little bit about that experience. Well, we met because he, I guess he had, he listened to some of my music and he was making it, he used, I guess one of his articles, he used me as a reference to something he was striving to do as an artist. And I think my manager read it and was like, oh, my manager's a fan of Paul. He's like, oh, Paul is a fan of yours. And he kind of quoted something about you. You guys are both New Yorkers, you know, hook up.

43:24I mean, he's not a native New Yorker, but he was living in New York at the time. He said, maybe you guys could hook up and chop it up. And we hooked up, and we both were chess players. And so we would just play chess. At the time, he did drink tequila. We met at a tequila bar. That's tequila and chess, and that built a friendship. And maybe a couple of years later, I think Warner Brothers approached us and was like, would you guys be interested in kind of collaborating on something together? We just think you guys are just too cool, too cool motherfuckers, just to be quite frank, was the slang they used.

44:02And we was like, yeah, whatever, yo, we hang anyway. Like, you want us to do music too? Cool. You want to pass, hang up? All right. I used that single, actually, as a temp track in my show. Jason, you mentioned quite drolly flake the other day, but we couldn't afford it. But we used it as a temp. in the show. So I was a big fan. Hold on. Anytime you can't afford something of mine, just hit me up. I'm going to hit you from now on. I discount so many things and one dollar gratis. If it gets to my desk, it gets easy. If it don't get to my desk, yeah, they won't smack it. I'm going to take you up on that.

44:40I'm coming. Hey, did you score your four films that you directed? No, I scored two. I scored the first one with my buddy Howard Drossen. The second one, Richard Gibbs, me and him collaborated on the second one. The third one I passed over to Danny Harrison, a good friend, George Harrison's son, him and his crew did it. And on the fourth one, I actually combined with Tyler Bates, which is, I think Tyler is an incredible composer, just very bold and brave in his sound selection. So the fourth film is me and Tyler together. Wow. I want to see that film. I know, me too. Yeah, go ahead, Jason. You had a follow-up.

45:22Well, I was unrelated, but one thing I keep forgetting to ask. Sorry, this is our new segment we're doing called Unrelated. Go ahead. Yeah. I like it. What about martial arts for you? Are you an accomplished martial artist, or is there any crossover there? That's a big word, accomplished. Look, no, I wouldn't say that. I don't know, right? Of course, I practice martial art. You do, okay. Yeah, but my philosophy is mental martial arts, cultural, artistic martial arts. You know what I mean? It's, you know, just to give you a little bit about the Wu-Tang philosophy in the martial world. So the Shaolin philosophy is known to be external, right?

46:06You train your body to be hard as iron, right? In the Wu-Tang, you train your body to be soft as cotton. The Shaolin martial artists would roll a thousand punches a day. the Wu-Tang martial artist would sit still and contemplate the thousand punches in his mind. So exercising the mind is known as, because it's kind of Taoist, so it's known as that's the Wu-Tang way. But exercising the body is Zen or Buddhist way. So being a Wu-Tang abbot, I'm going here. And so that's why, you know, my lyrics or my art is always formulating. Now, somebody was a step to me now. Okay. It's a mistake. Yeah, yeah.

46:56So Shaolin's going to jump up out of me. You know what I mean? Dude. Yeah, right. Dude, I am so, I'm entranced. I am now, this is like unbelievable. This is so great. I'm going into a Wu-Tang cave when this interview's over. Yeah, yeah. I've been into Wu-Tang. We were supposed to record a little while ago. I've been into Wu-Tang, just absolute cave for months now. Hey, speaking of Wu-Tang, And just your music in general, do you see, you guys have been so, like I said, you're so influential on other musicians for the last over 30 years. Can you see, can you catch glimpses of your influence in music now when you listen to hip-hop?

47:33Yeah, definitely. I mean, it's a blessing to be able to inspire anything or anybody after getting inspiration from life yourself. But yeah, it's constantly. You know, some of our greatest artists, they are not shy to, you know, give us a name drop. You know, I mean, Drake named the song Wu-Tang Forever, you know. Yeah, yeah. You know, one of Kendrick Lamar's first samples, you know, was a RZA sample, which I cleared for free. Nice, nice, nice. Very good, very good. You're welcome, man. I mean, you guys did so much. You did so much sampling over the years. I mean, you guys were like the masters of it.

48:12Was there ever a sample that you couldn't clear, that you wished you could have gotten and you were not able to get? What was, no, the worst, no, I wouldn't say that I, let me see. Yeah, there was a couple. Because some people would like become born again Christians and they wasn't letting hip hop go. But my biggest, one of my biggest glitches was this, and I don't mind sharing this with your audience, is that there's no floor or ceiling when it comes to sampling and the interpolation rights. and I totally disagree with that. The reason why I disagree is because if you sample a song, say you sample a James Brown song and you got Bootsy on bass, you got all these different people playing Maceo.

48:57They're all playing. The publisher will come and could potentially take 100 % of that song away from you and say that because you're copyright infringing And even though your song could be almost unrecognizable from their song. And then the musicians who, you're probably more into the musicians than the song itself. Like if I sampled a little bass part from here, a little horn from this guy, a little snare from this guy. And me, I'm the type of guy that had Peter Pan records. So I may get a string section from that, you know what I mean? And make a track. So it's like, what about those musicians?

49:38They never get compensated. It's just the publishing company. And then I said this last, to me, in my opinion, that it should be a floor and a ceiling. The ceiling should be 50%. That should be the ceiling. You should never take more than half because you got the lyrics, you got the talent, you got everything else that the other person is building to make the song, right? And then the floor should be then prorated by how much you took, you know, versus what the song is. But with a ceiling, so the floor could be, I'll put the floor at even 20 % to be merciful. 20 % floor, no matter what. If you put my record on, you take something, give me 20 % for that inspiration, right?

50:21But the most I could take from you, it's 50%. And we'll measure how to get to 50%. I got a situation where I did sample Marvin Gaye and Tammy Terrell's All I Need. And it was a double platinum selling song. won the Grammy Method Man and Mary J. Blige was the Coca-Cola commercial of the summer and all we received is 10 % of the song wow they took it all wow yeah and that I mean that song made yeah every time I made a dollar they only gave us a dime no way and look and one I could argue back they you know they said it was ours you took it and but But also, I didn't argue back, but we didn't know.

51:07We didn't know that that was a law. Because hip-hop started from a guy with a turntable, and he's scratching beats back and forth. We rapping over it. Then they made a sampler. The sampler says, sample an instrument. Okay, that's my new instrument. And now I'm sampling sounds and records from my collection, and I'm making my own thing. We didn't know that it was going to be a law or some type of thing that was going to stop us. And eventually hip-hop got slowed down because of sampling and interpolation laws. Because of lawyers. Yeah. And then all those fees were assessed retroactively in all of those songs that were created with some samples and stuff.

51:44Once the law went into effect, then they reached back. They reached back. And charged. Oh, wow. You got some songs now. I got a song of mine that is totally wrong. Two or three of my songs because they thought that it was it. And it wasn't it. right wow and it's like hold on that's not Roger Troutman what is I didn't even I wasn't I wasn't a Roger Troutman fan right I was a Thelonious Monk fan but I wasn't a Roger Troutman fan I love that I love your I love your floor and ceiling idea I think that that's something that should that should take root hopefully I think that that makes a lot of sense and seems really fair really really fair so I hope that works out alright before I let you go I want to talk a little bit about a ballet through mud because you released a classical album last year.

52:33I can't, I did not know this. I want to hear this. It's unbelievable. Like every time there's like something else that you did, talk a little bit about how that came about and your ambition with that. And where we can see it. Will it ever be done again? Well, the ballet was performed a few times already and so we don't know if I'm going to do it again, like perform it again, but we did perform it in LA. We did in Colorado, which I wrote it for Colorado. I was part of this artist-in-residence where for three years I would create something to take to the Colorado Symphony Orchestra and perform. So it was during the pandemic, of course, that I found this notebook of old lyrics.

53:17And then inside these lyrics, these are like my high school lyrics. So this book is so old. My buddy Ray Kwan made a joke, said that book is growing hair, man. It's that old, right? But in it is all of the ideas from ninth grade up into graduation. So you could see the first blunt, the first weed. You could hear the early sexual ideas and everything. And you could also hear the imagination growing. And so when I found the book, I said, I can't wrap these. What should I do? And then I eventually decided talking with my wife about it, of course, that what if I kind of composed it into like a ballet or something.

54:03Great, yeah. And so she thought it was a great idea as well. And I kind of went into it. The funny thing is that, let me share one of the lyrics that led to it, okay? Yeah. So one of the lyrics was about these six teenagers who are exploring life, right? So Sue was this girl who was really quite fly. And Brad was real cool. He was her guy. Lisa was freaky. She loved to have sex. Her brother's name was Dexter, but they called him Dex. His girlfriend's name was Monica. She was a verge. And Joe, he was their friend, and he was a nerd. Brad bought the beer. Sue bought the smoke. Lisa had sheets. Dexter had Coke.

54:48Joe was the type who didn't get high, nor did Monica, but she was willing to try. So Brad lit a blunt and passed it to Joe, saying, come on, man, smoke it. And Joe said, no. What's wrong? Are you scared? Was asked by Sue. Oh, you were just a nerd. Joe said, that's not true. Monica said, come on, Joe, just have a taste. And she puffed on the joint and blew smoke in his face. Now on Monica, Joe had a crush. He didn't want to do it, but felt that he must. Like many we know, love made him a fool. So he smoked a joint to prove he was cool. Then Lisa was like, yo, forget about Joe. Then say, hey, Dex, where the heck is the blow?

55:21He pulled out two grams, said, it's all that I bought. Well, it's more than enough. And they proceeded to snort. Now at this time, Joe had finished two beers. And Brad was like, here, have another, you queer. And Joe said no while holding his stomach. And while facing Monica, he suddenly vomited. She screamed, oh, my God. Shit, how absurd. And everyone laughed and said, Joe is a nerd. Joe is a nerd. Joe is a nerd. Joe felt embarrassed, so he did the bird. They chased him. He ran. They screamed and they laughed. into this abandoned house and with the sound of this crashing glass and it was dark in there so Brad had to get a light to check to see if Joe was alright but when they found him he was laying on his back with quartz of red blood spurting from his head and Monica said oh my god Joey is dead and they started to run and they never mentioned this incident again to anyone so wow that's beautiful that is amazing and then I turned that to a ballet that's unbelievable Unbelievable.

56:21Oh, I've got to see that. Just riveted, man. How in the world do you remember? I know. Not only remember that, but remember everything that you make. I mean, it's incredible. It's so good. Oh, God, man. We could talk for hours. We've taken up way too much of your time. What an absolute, like I said at the beginning, what an absolute honor to have you, man. I'm such a fan. Yeah, it really has been. You're such a creative juggernaut, dude, in every way. So just, you know, continued success. Yeah, thanks for coming. And I say in all respect, and I just say I'm a fan of all you guys' work as well.

56:51Thank you for what you contributed to my life. It's just, you know, I've watched you. I've watched as a fan, you know, the things you guys create, whether in the theater or in front of my TV set, and got my laughs, got my inspiration, and probably took something from your tree here and there. Remember, I'm hip-hop, so I sampled. You sampled us. You sampled us. I sampled, yes, indeed. right back at you you've touched all of us and millions and millions around the world so thank you for what you do you really inspired us today well thank you Rizzo for your time man thank you guys and yeah Spoonful Chocolate all the best of luck with it man can't wait for it we'll be watching respect peace thank you bye pal wow well Willie that was I didn't think you had it in you you know I know you always talk about them you've talked about them forever and I wanted to have him on for a long time and I'm so, I'm like, I knew the bar was high.

57:53I was like, oh, he's going to be inspirational. He's going to be cool. And I can't believe how he just exceeds expectations just as a creative, right? It's just unbelievable. It's like an endless well of creativity. Yeah. And also like just philosophies and like, I mean, spiritual, like I love the thing he said about the trumpet, like where the artist has to connect the energy to the vibrations that go through the thing that makes the sound, like whatever that was. But that was really cool. Yeah, we're like trumpet. Jay, you're more like a Waymo. You know what I mean? You're just like a automated car with nothing inside.

58:30Please rate me. Empty vehicle that goes from just destination to destination. But that's fine. That's fine. And we still love you. But honestly, yeah, he had so many right. He had so many cool philosophies. By the way, the whole Shaolin approach that he does and the way they created that community and kind of like there's just and he produced all those records for all those guys for you know for Ghostface and for all those dudes like Method Man it's insane it is wild I want to be in the music world a little bit they all just seem like they just they kind of got it all together they're super chill yeah no one's running they're just you know they're just doing their thing I'm really excited for him for I knew Jay you'd be excited that he's directing I didn't know he'd done four films but But I saw the trailer for his new film.

59:17It looks really, really good. Yeah. So I'm excited for that. And how cool. And it makes sense that he'd be a good director because he has been sort of the abbot, as he says, of the Wu-Tang for so long and wears so many hats. And Jay, as you know, as a director, that's what you have to do. Pulling on all those different levers. Yeah, yeah, yeah. And just a great leader. I've spent a lot of time on Abbott Kinney where there's a gay bar in Abbott Kinney. You know, a funny story about that gay bar. It's called... Roosterfish. the rooster fish how do you guys know that I think I think so when I that's totally true when I there's a light bulb out in the back alley behind anyway forget it oh no it doesn't matter wait there you go I used to live right around there and when I first moved into my house me and my buddy went down went down the street like well we gotta find our local bar right if we're gonna be living down here and this place is at the time I don't know if it still is it was painted this like this really cool like turquoise blue Yeah, yeah, yeah.

1:00:14And we're like, well, this place looks kind of cool. Walked in there, fucking sat at the bar and ordered a couple of beers and just sort of started talking to each other. And I get a little tap-tap on the shoulder. I don't think the guy had like a gag ball in his mouth, but it seemed something was very clear that we were in the wrong spot. Yeah. Almost immediately. Right, right. We finished the beer and we shook some hands. Yeah. So we only had three more beers. I only had three more, and then I was out of there. By the way, I forgot to mention... Happy Pride. I forgot to mention that for RZA, that they're on tour this summer, right?

1:00:56The Wu-Tang final tour. So I also wanted to mention that. Yeah, yeah, yeah. We should go. We should really go. How fun. Why didn't you mention that during the interview so we could lock up some tickies? I know, I forgot. We can still lock up. We can get tickies. Please don't say tickies. Look, he picked it up from Roosterfish. That's the way I would have phrased it with him, too. I'd say, hey, we get some tickies. And it would have been uncomfortable. Ambush him in the interview live. He would have had to give us some tickies. That would have been uncomfortable for anybody, dude. The way you sort of infantilize everything is so gross.

1:01:29By the way, I feel like that rooster fish story isn't over, but it can be for now. I'll tell you the ending after we got to shut down. That was the day that you discovered that you weren't gay, but that maybe you were gay adjacent. Bye! There he is. Smart. Less.

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