November 17, 2023 • 29 mins
Celebrating 50 years of HipHop Michael talks to Icon Rap Genius Chuck D. This RapARTivist is plugged into the pulse of society in a magical way. Let’s talk about it. He’s funny,too.
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Speaker 1 (00:05):
Who you all ready let's go well, so missus, Michael
called this world, started doing Venice Peach. Now he reached
in the world. He'll make you left, take the stomach cars, superfly,
nice girl's bready to me to work. Trust kidding old
he ain't ready for the stars, hurts winner and oh
g three times this thing on beginner, whether you went
now house, you want your brother's a dinner on your
job and your brother that I mean, it's Amber Michael.
Speaker 2 (00:28):
Trust that everybody I call yes, Michael, Trust that everybody
I can call yes, Michael taus that everybody you know
what Shin called Michael Tuck to everybody called Michael. Trust
to everybody Michael Tosa.
Speaker 3 (00:43):
My goody, everybody every.
Speaker 4 (00:52):
Yeah, boy what I don't even have a right to
play that, So I just played like fourteen seconds maybe
seven anyways, your boy bacher guy and Michael talks to everybody.
Speaker 3 (01:03):
I hope that was a hint enough for y'all to
know who.
Speaker 4 (01:06):
I'm having the honor and the pleasure speaking with today,
you know, and I mean this time to talk to
them is so great because we're celebrating the fiftieth year
of hip hop and this guy's a hip hop pioneer
when originated.
Speaker 3 (01:17):
You know, when when this thing began, he was in it.
Speaker 4 (01:19):
He didn't even he was talking about he didn't even
know there would be such a thing as a hip
hop album. Then them boys come out Sugarhill Game. He said, Oh,
that's how you make it with rappers Delight. So this
guy's from the beginning, he's all the way through it
and he knows what it was then what it is.
Speaker 5 (01:34):
Now.
Speaker 4 (01:34):
Get your hands together and you get your little chubby
fingers together for the great Chuck d Hey brother, Welcome, Welcome, welcome,
Welcome to the.
Speaker 3 (01:42):
Show for you.
Speaker 5 (01:43):
You know, Mike, really appreciate this opportunity to come on
to your show.
Speaker 6 (01:49):
You've always been one of my favorites.
Speaker 5 (01:50):
I tell you, listen, you changed the way I look
at airports because I always talk about people washing their hands,
and you know, and I would go in the bathroom
and the airport and of course, you know, like I
would see like business people going there and they go
(02:11):
use the stall or whatever, and they come out and
you think.
Speaker 6 (02:14):
That they turned on the water.
Speaker 5 (02:15):
Some up, I see a person and the first thing
they do is brush their hair, and they go out
and meet chad of their business.
Speaker 3 (02:23):
Don't cut no water on at all.
Speaker 6 (02:24):
So as I see that, I'll be thinking about Michael Kallier.
Speaker 5 (02:28):
You know how many people go to the bathroom and
don't wash their damn hand? And then you was You
was a precursor to the rules that came down and
let people reassure like, yo, the pandemic is here, wash
your damn hands.
Speaker 4 (02:43):
I forgot i'd even done that video, right, We did
one called wash your damn hands, and I'm sure it
save lives too, because it's some nasty mother. There's some
nasty folks out there, man, and they're touching people. You
know what's so weird for us as celebrities. Everybody want
to shake our hand.
Speaker 6 (02:59):
That's the thing.
Speaker 5 (03:00):
It's like, it's like and my daughter tossing me the See,
it's a certain antiquette that hadn't even taken place, Like
you don't want to shake one hundred hands, and then
all of a sudden, after you do it, everybody see
you going putting on the sanitizer. But after the pandemic
they understand. Before they does, yeah, people be like, yo,
(03:20):
so what's what's up with my hand?
Speaker 6 (03:22):
Yeah?
Speaker 3 (03:22):
Before you had the hide and you have to turn
your back.
Speaker 4 (03:25):
He'll turn your back as you poured a little that
little fluid on your hands and wiping it.
Speaker 3 (03:28):
What's he doing my hands back?
Speaker 4 (03:30):
Now you just pull it right in their fig You
know about them germs. Dude, Come on now, I go ahead.
Speaker 6 (03:35):
Thank you. Thank you for that, Mike. You changed, You
changed my world on that.
Speaker 4 (03:39):
I appreciate you even listening to the things I'm out
here saying. You know, I've been trying to do conscious
calmedy since I started. You know, I was always talking
about safe sex. I talk about safe sex when people
weren't even talking about selling condoms. They wouldn't do advertisement
for him in eighty six on radio or TV because
it was too dirty a thing to talk about it
in public.
Speaker 3 (03:58):
But all you need was a condom to say.
Speaker 4 (03:59):
But I was out there talking about, you know, save sex,
talking about racism, talking about my addiction, and talking about recovery.
Because I think we can heal through our art, man,
we can heal through our craft. If I could make
you laugh and then you walking down the street and
it hits you, I said something, damn manute he put oh,
he treat me, he puts some knowledge in it. Then
I feel like we're really doing something, you know. So
(04:21):
I'm glad to still be here. Brother, we've both been
here for a minute.
Speaker 5 (04:24):
To me, artist is almost a cultural It is a
cultural religion. To me, if I knock it down and
this is this is my military, I don't I don't
go up again, hate and all that stuff I fight
with for love and stuff like that.
Speaker 6 (04:37):
Artists loved.
Speaker 5 (04:38):
Everybody got art in him, but very few of us
could get art out of ourselves. And this is why
people need entertainment to be. Entertainment for them is therapy,
you know. So I really appreciate the opportunity to be
able to spend most of my life being able to create.
I create like a furnace.
Speaker 6 (04:57):
Bro.
Speaker 3 (04:58):
Wow, And this is your thirty eighty.
Speaker 6 (05:00):
I don't even know.
Speaker 5 (05:01):
I ain't keep it count I know I'm sixty three,
so I don't keep counting on how many years.
Speaker 4 (05:05):
I'm sixty six. I think this is my thirty seventh.
I think this is thirty eight for you. They're younger, bro, bro,
Yes sir, yes, sir, And they think that we're still
doing it and we're still relevant. That's what's important, you know,
Because I've seen a lot of cats come and go
doing these things we do.
Speaker 5 (05:21):
You know, number one thing I think, Mike, is that
the relevancy. You got to be relevant to yourself. I
don't create art for nobody else. When I'm in front
of a public who knows and have supported my art,
I got one hundred percent obligation and responsibility to turn
that art and that performance out. But when I'm creating art,
(05:45):
you know, and if I'm collaborating with people that I'm
creating the arts as our collaboration calls for it. But
side of that, this is what it is. And you
got to be confident of what you do and be
like and leave it there. It's not an arrogance, it's confident.
And I just think you can't just go follow something
and just try to follow something that is not you.
(06:08):
You make your art, you hold it right there, and
so yeah, of course things could be dangled in front
of you.
Speaker 6 (06:14):
But when you do that, you have a sense of yourself.
Speaker 5 (06:18):
And I'm not the type of person that will go
in the mirror and then go outside and ask the
person and how I look.
Speaker 3 (06:25):
You already looked in the mirror. You cover it.
Speaker 5 (06:27):
Yeah, So I think I tell artists I'm not an
art coach. I tell artists. I said, hold your art ground.
Don't try to have anybody sway your art. You could
ask for advice, you can ask for techniques and stuff
like that, but your art comes out of yourself.
Speaker 6 (06:44):
Don't try to compromise the art.
Speaker 5 (06:46):
Now, at the end of the day, you got to
explain for it if you want to go into the
world of commerce. Of course, he very clearly, he said, yeah, art,
you know, art is great arts in us. But once
money starts coming and God walks out the.
Speaker 4 (06:59):
Room, that's true, then some people ask them to leave.
Speaker 3 (07:04):
Because you know we're gonna have to. Oh, I'm gonna
feel bad about how it's gonna work out.
Speaker 6 (07:08):
You know, I got right, I see what I talked
to you. I gotta write down notes.
Speaker 3 (07:15):
This is so cool. So so we.
Speaker 5 (07:17):
Gave me a little additional part to the Yes, please
add that on along, Please add that on.
Speaker 4 (07:25):
By all means, I were speaking to the co founder
and the front man of Public Enemy, which is like,
you know, these originators of what the.
Speaker 3 (07:33):
Great art form of hip hop is.
Speaker 4 (07:35):
I'm old enough to remember when we were scoffed at
and laughed at the idea of hip hop, white folks
talking about there y'all go with that devil music. That
that that that uh, the vicious music. The music is
not for society.
Speaker 3 (07:50):
Now. You can't cut on your TV without here and
hip hop.
Speaker 4 (07:54):
You can't hear a commercial or anything else going on
on TV without the hip hop influence, you know. And
why is it we always have to beat the drum
first and then folks get it later.
Speaker 3 (08:06):
That's because we've been blessed with all the cool what
is it?
Speaker 6 (08:09):
Well?
Speaker 5 (08:09):
Number one, if you take a history and a geography
away from a people, then that's where you got slavery.
Speaker 6 (08:15):
Then we don't know where we're coming from.
Speaker 5 (08:17):
Who we are right then we at you got slavery
and we were enslaved people, stripped from having a thard
of voice or a voice of equality in this place
for so long.
Speaker 6 (08:28):
I ain't gonna be long on this talk, but it's
quite simple.
Speaker 5 (08:32):
If you told that if you open your mouth, you're
gonna get killed, or your baby get taken away, your
wife getting done whatever to her, then you're gonna be quiet.
But outside of that, the expression of music meant so much. So,
you know, church, it wasn't just praying to God it
was like, yo, man, I want to kill these devils.
Speaker 6 (08:50):
You know what I'm saying.
Speaker 4 (08:50):
But it was directions too, like you know, we're gonna
go around the back of the Red Bond this afternoon,
and we got the actions and the actions and stuff
with white he catch us, we kill them down Battle River,
but we would encode it in the music, so they
just what unfortunately is still going on today in that
the coding are things that aren't as as delicious. I mean,
(09:12):
now we're talking about the big booty. Is what you're
wearing in the jewelry. All that's encoded in the music,
and we are still mesmerized by the music, so sometimes
we don't hear what the words are and what's being
said to us.
Speaker 3 (09:24):
I'm sorry, go.
Speaker 5 (09:25):
Ahead it no, no, no, no, don't possit because you're
totally right. But today with technology, we getting a whole
nother discussion on that. People listen too much with their eyes.
The gadgets that we all have now made us screen
ages and so screen yeah, these screen ages. So screen
ages look for the good, bad, ugly and everything else
through the screens. We operate through the screens, but we're
(09:47):
operating through a production, through the screens. We have receivers
that look to the screens for to fill up their time.
Speaker 6 (09:53):
So let's eye to eye.
Speaker 5 (09:55):
Let's listening with your ears more like, I got to
see what my eyes give me the answer, And so
right now we You know, when I grew up, it
was like believe half of what you hear, none of
what you see. Now it's like believe you know none
of what you see. Maybe half of what you hear.
But because people ain't listening at all, you know what
I'm saying. Got to see it to believe it. Remember that,
(10:16):
you know.
Speaker 4 (10:17):
Yeah, people think that seeing is believing, but really it's
the opposite, because you really got to believe it to
see it. If you really want it to come to four,
you have to visualize it and hold on to it
until it actually materializes. And I've been saying showing time
and time again by the Lord that it actually works.
All you got to do is believe in the thing
with everything, don't let it go no matter what other
(10:39):
people say. Rather than your friends or family members. You know,
sometimes one of the worst mother fuckers in your.
Speaker 3 (10:44):
Life is a family member. You know, so you don't
know where it's coming from.
Speaker 4 (10:47):
But if it's not purely of the thought and the
idea that you're already holding on to let that go
and stay focused and you'll slowly see the thing up here.
Speaker 3 (10:54):
Yeah.
Speaker 5 (10:55):
Yeah, well it's one of the things that when people
talk about hip hop, you know, and it's fifty year
I was thirteen at the time it came about.
Speaker 6 (11:04):
I wasn't fascinated. But I'm a Long Island and you know,
my past.
Speaker 5 (11:08):
From Harlem through its Bronx because it started from even
a younger movement that couldn't get in into the clubs
that older people were doing. If anybody knows the makeup
of the Bronx that back then, it wasn't it wasn't Harlem.
Speaker 6 (11:21):
Harlem is the main spot.
Speaker 5 (11:23):
So black folks moved out to the Bronx because it
was you know, I mean further out and cheaper income.
It's like somebody that goes from South Central to Compton.
Back in the day, it's like, okay, white folks is
moving out and they got some availability out there. So
if you were a young person or young family or whatever,
we're gonna have to move to the Bronx. So it's
really like a suburb. But so in in the seventies.
(11:45):
What the city had did is like the white folks
moved out because they put the Cross Bronx Expressway through it,
and it just kilt all the other ethnic communities. But
white folks especially, you know, the ones with money, they
moved to Florida, but they own the buildings, and the
city stops servicing the outskirt areas and stop servicing the
(12:06):
Bronx where black folks in Puerto Ricans have moved in
for about a fifteen to twenty year period.
Speaker 6 (12:11):
They left it for dead.
Speaker 5 (12:13):
And so start taking things out of the schools, You
start taking community centers away, You start taking the best
food away, services that really make a community a community.
Speaker 4 (12:24):
And you start like and you take away the arts too.
Forget but that's the first thing to go with the arts.
Speaker 5 (12:29):
And then you're covering up this young energy angst with
more police. So don't live there.
Speaker 6 (12:36):
They kind of patrol it, you know what I'm saying.
Speaker 5 (12:38):
Right, situation the Bronx by the seventies, it's like, man,
this place is a ghost, dead town and out of
you know, a lot of circumstances happening, but out of
that those ashes, like a phoenix rose disability to create
something from nothing. It wasn't really nothing, but they just
like the Blues, they say, oh man, black people, man
(12:58):
in the Delta. You know, they made something out enough.
There's always something. We have a different thing. We have
our own code.
Speaker 3 (13:05):
Right.
Speaker 5 (13:05):
Hated something that sprouted even bigger because we was happy
with it. And when I saw this come about, I
was like, that's interesting coming from the Bronx. And and
like I said, I've seen an art form being able
to be created with a whole technical aspect, and you know, like,
here's another thing.
Speaker 6 (13:23):
Mike in New York, you're from La.
Speaker 4 (13:26):
Rightcho, I'm from Chicago South Side, Chicago South.
Speaker 5 (13:29):
Side, birthplace of the first hip hop record and that's
Pigmy Markham.
Speaker 3 (13:33):
Yes you know about pick me Mark Well.
Speaker 5 (13:36):
Jean Daddy gen Gene Barge is ninety seven and he's
a good, great friend, mentor hero thought the Gina Barge
is a great friend.
Speaker 6 (13:46):
Lee Farmer's son in law. He create.
Speaker 5 (13:48):
He was a producer over at Chess Records for many,
many years. Holland Wolf Cocho Taylor.
Speaker 3 (13:53):
He also I know Coco Taylor.
Speaker 6 (13:56):
Nineteen sixty eight.
Speaker 5 (13:57):
Here comes the Judge right with the same play is
from Rotary connection. So also in the middle of here
come the judge is Mini Rippleton. He said, I'll take
two orders of being please. That's Mini Ripperton. Mmmm so
so yeah, so yeah, shutdown. You know with the New
York thing, it was like the hip hop thing. It's
(14:21):
like there was bands out there, but whenever you heard
a band play a record, I play a song.
Speaker 6 (14:27):
They never played that like you heard it on the radio.
Speaker 3 (14:30):
Hold on, hold on one second. We have a quick break,
quick break, gotta sell something.
Speaker 4 (14:34):
I don't know what they're selling, but something fabulous, cause
he's selling right here at iHeart, I'm your boy, Michael Kye.
Michael talks to everybody and today on with the Great
Chuck d Man, we learning some things and I ain't
even got to my notes yet.
Speaker 3 (14:45):
We'll be right black and we're back. Thank you, Chuck.
Now what were you saying?
Speaker 6 (14:59):
Now? I was actually the first rap records.
Speaker 5 (15:01):
Seriously, pig Meat markham Chess record on Checker Records.
Speaker 6 (15:06):
Here comes to judge.
Speaker 5 (15:07):
Many rippertenders in that song and Bean Barges, the Great
gene Barser turned ninety seven this year.
Speaker 3 (15:13):
Wow. Wow.
Speaker 4 (15:15):
Pig Meat marking all the judges hides a Georgia path
everybody going to jail to his moaning. People think Flip
Wilson came up, will he come to judge?
Speaker 3 (15:25):
Now? Twenty six years before that.
Speaker 6 (15:28):
It's easy to see on TV.
Speaker 5 (15:29):
Remember first of on TV all jime and people have
been thought Sammy Davis Junior had it.
Speaker 4 (15:35):
Remember right, for a while he was saying he come
to judge. He was having fun with it.
Speaker 5 (15:40):
Chicago is really the serious birthplace of electric blues records.
Speaker 3 (15:47):
Definitely blues.
Speaker 5 (15:48):
Yes, you know, Barry Guardy and Smokey Robinson cut their
first records at Chess Records in Chicago. So Chicago doesn't
get crops for being the center point of recorded music
for black folks.
Speaker 6 (16:01):
So we make that note and I make sure you know.
Speaker 4 (16:04):
Who else there's a white there's a black guy named
Bert Williams.
Speaker 3 (16:09):
Yes, Bert Williams was.
Speaker 4 (16:11):
Bert Williams had an album called Nobody that he did
through Columbia. Pitch through Columbia Records sold three hundred thousand
copies in nineteen ten. Black men juster thousand copies that
that's crazy, that's amiable.
Speaker 6 (16:27):
Or we have Maimie Smith.
Speaker 5 (16:29):
I think she sold two million blues records in nineteen
twenty two.
Speaker 6 (16:35):
The history.
Speaker 5 (16:36):
Well, you take history in geography away from a people,
did it make it seem like we got nothing, and
we go chase anything that somebody dang go up there
right right, Well, we get into hip hop. The thing
about hip hop is like it's made out of records.
It comes to you with reminders of the past. Even
if you ain't got the detailed notes. Is all you
(16:56):
need is a teacher to go alongside and let people
know it's been done before.
Speaker 6 (17:00):
It's whenever.
Speaker 5 (17:01):
Whenever we run into somebody that says it's been done before,
and then they start to illuminate what how it was
done before, we become less angry at each other. We
take that anger we might all jealousy at each other.
We say, oh, that's why we all well the way
we are, that's why we do. So let's let's let's
feel good and understand. That's Grandmam and them. They see,
(17:24):
we know a lot of times in our generation is
what we think is hip. We think it's just hip
when it starts with us, when we're at our younger
ages thinking this, we started this hipness. Meanwhile, you got
a grandmama somewhere up just shaking our head be like,
you don't even know, You don't have no idea how
we had it proper.
Speaker 4 (17:43):
Yeah, they were hip and they knew what was going on.
I say, go back and look at our clothes. We've
been dressing forever, twenties, thirties, forties, fly hats. Everybody want
to be black, except black people, and that's just because
we've been through it and we understand the heavy lifting
that's involved. I'm about to ask you about studio, but
once again, let me set you up for the audience
(18:03):
so they know when I'm talking to co founder and
frontman for a public enemy, who was like, come on,
nineteen eighty five starting all this off him and Flavor.
Flav did that thing together. But now you're even in
a rock supergroup. I got the found out what profits
or rage is about. But come on, don't believe the hype,
fight the power. I've been playing nine one one all
(18:26):
day long. He got game, you know. I mean, this
guy is legendary and also in his voices, you're putting
voices in the gaming I've.
Speaker 6 (18:34):
Done many voiceover jobs throughout the year.
Speaker 5 (18:38):
I tried when I got into the industry and asked
to be in the industry.
Speaker 6 (18:42):
I'm a behind the scenes person. I don't like the front.
Speaker 5 (18:45):
But everything that I've done that the people know me
us doing and publicly known, I've been asked to do it.
I'm a behind the scenes person. But you know, in
the business, I think you got to construct the way
your life is. Just like in your life, you gotta
make your life. I got a record contract, but I said, well, look,
I'm gonna put a group around me. I don't like
being out front all the time. I'm gonna call one
(19:07):
of my guys who want to be in front all
the time. And I love it. Yes, And the fact
flavor flavor, you'll step in the room and you'll suck
to start them out of any room. And I played
to the back and do my thing. So that's why
Public Enemy happened to work. It's a group. It's a
group of diverse individuals people live, love and even don't
(19:28):
like each other a lot. So it's it's it's what
happens with a group. And we were got into Rock
and Roll Hall of Fame twenty thirteen. Profits of Rage.
I was asked to do that in twenty sixteen. I
decided to do that alongside what I do. My dad
passed in twenty sixteen, so I thought there was something
new for me to do that would be in the arts,
(19:49):
that be therapeutic to get that out of my mind.
And that was a great experience. For twenty sixteen to
twenty nineteen and four years we played in front of
seven million people and that was I'm Morello, Brad and
you know Timmy from Rage against the Machine, my brother
Bill from Cypress Hill and DJ Lowck and we played
(20:10):
in front seven million people in thirty eight countries and
did that for four years. And this closed like a play.
When it closed, I could play. Then the pandemic came,
and then it allowed me to regroup. So I'm not
going to be the person that's going to be out
there like saying that. I was happy that the pandemic came,
but it allowed me to really grab my time back.
Speaker 6 (20:32):
Mike.
Speaker 4 (20:32):
But me too, me to the pandemic. I've done my
best work during the pandemic. I mean I started my
morning show, which now done seven hundred and three shows
I started that caused the pandemic. We wanted to create
a show where people could come and laugh and pray
every day, and we still doing it five days a
week I got my first lead in the movie called
The Pandemic.
Speaker 3 (20:51):
I think a lot of people didn't want to go work.
It's an all pandemic. I ain't going to them cameras.
I'll take it, sir.
Speaker 4 (20:57):
Anyway, gave me my first lead after what thirty thirty
seven years in the game. So I'm not saying I'm
glad we had no pandemic, but it showedn't hurt my feelings.
Speaker 3 (21:06):
I just won't say that.
Speaker 5 (21:09):
Did you ever think that that there would be a
time where the whole world was to be told like,
y'all stay inside. Everybody's everybody stayedid and the hardest, toughest
people that you even know, they be inside too.
Speaker 6 (21:24):
That was amazing. I never thought that everybody would.
Speaker 5 (21:27):
And they were like in the governments, and I say
in plural, the government said listen, you either stay inside
because if the virus don't get you, we gonna get
your ass.
Speaker 6 (21:38):
Pay attention. That was April twenty twenty.
Speaker 5 (21:41):
And the toughest cats I knew, they were like, yeah,
you know the reason I ain't going outside because I mean,
ain't nobody out there?
Speaker 4 (21:50):
Yeah?
Speaker 6 (21:51):
Right? They going the overnight martial law.
Speaker 4 (21:54):
Tell me about the graphic novels. Oh should you say
the Naffik Gravel our trilogy of Chuck D called Studio
stw Like you're having some studio stw D. I, oh,
tell me about that?
Speaker 5 (22:10):
This was formed out of like we really around twenty sixteen,
because when you're I did one hundred and sixteen tours,
one hundred and sixteen countries. So I don't know what
you do. But what do you do in hotel time?
If you like in Buenos Aires for three days, it's
only but so much going down to the bar or
going to this club or whatever that you can do. Me,
(22:30):
I'm like, I, you know, I'm going to a city
for the fifteenth time. I already know where everything is.
So really, basically, I don't care how nice your hotel
room is. You want out, I don't care how nice
it is. So I turned with my downtime. That was
the year I turned my hotel room in the art studios.
Because you got nothing but time, I turned into an
(22:53):
art studio. Roddy Wood from the Rolling Stones with another
hero on mind and how we share the same book.
Company of Genesis was my first art book. I heard
the story that Rodney Wood is a bad.
Speaker 6 (23:04):
That's artist. A matter of fact, this is this is him, right.
I don't need to be getting up.
Speaker 4 (23:09):
That's all right, that's okay. You know this is all audio.
Ain't nobody see us for me and you?
Speaker 6 (23:13):
Right? And that was spoiled out.
Speaker 3 (23:15):
Oh I like that.
Speaker 4 (23:16):
Let me see a couple of that again, Living Loud,
Living Loud.
Speaker 6 (23:20):
Chuck it over to you. The two different companies. This
is from the UK.
Speaker 3 (23:24):
I would love to see that book.
Speaker 5 (23:26):
Now. The story is here. This is ronney Wood. I mean,
this is the type of stuff. You know, that's ronney Wood.
You know when I heard that rodney Wood goes every
hotel room he goes into, he sketches. A light went
off in my head, like, damn, okay, he knows what
to do with that hotel downtime. I don't care. It's
only but so much TV you could watch make music
(23:48):
in you. I turned every hotel room into an art studio.
The paints, the you know that. Of course, I got
a technique where it phones out. Long story short, Mike.
That's when I relentlessly did our kept the everyday journal.
Speaker 6 (24:02):
I would go in the cities and sketch out the city.
Speaker 5 (24:05):
I would go to places I would go to museums,
and that's been like a seven year run and out
and and and after I did Alahuasca.
Speaker 3 (24:13):
Uh, you did that Alawaska.
Speaker 6 (24:15):
Yeah, because my dad I wanted. I didn't want to
hear no religion.
Speaker 5 (24:19):
I didn't want to hear no philosophical I wanted to
feel where my dad's spirit went.
Speaker 6 (24:24):
I wanted to do and I got my answer too.
But I did it with a.
Speaker 5 (24:29):
Shaman and people that I knew, and I didn't I
didn't have to go and do it. I did it twice.
That did a year after that with a community. But
I was asked to do that, and that was it
for me. I didn't because once I got my first answer. Also,
that shaman said, well, because you've been in the arts
so long, you already have the ability to elevate in
(24:51):
yourself in terms.
Speaker 6 (24:52):
Of switch on.
Speaker 3 (24:53):
You already plugged in in.
Speaker 6 (24:54):
Yeah, I got trauma. I don't have trauma. I got
scar tissue. I ain't you know what I'm saying.
Speaker 5 (24:59):
All I've been is living in art, and so I
have the ability to go inside myself. But that time
was I was like, well, I'm talking to the man
every day for fifty five years right with how to
deal with the silence, and that helped me.
Speaker 6 (25:13):
But out of that, especially after the next year, I've created.
Speaker 5 (25:16):
I've created thirty five thousand pieces of art since twenty sixteen.
Speaker 3 (25:20):
Now when you say created, what what do you mean?
You created art? You you painted, you drew your musical.
Speaker 5 (25:27):
Well, well, number one, I'm gonna paint and draw on
paths and things I could carry around. It's not like
I could carry, you know, like a sixteen by twenty
five whatever. You know what I'm saying. But yeah, I've created.
I've got books, and.
Speaker 3 (25:39):
I know you got enough money to pay a neg
to carry them.
Speaker 4 (25:43):
Canvases, they can just follow around with the big ass canvas.
You I'm gonna stop on painting here for a minute,
just got leave it.
Speaker 5 (25:49):
So why I would keep I would keep journals so
you know, this is like a next book and you know.
Speaker 3 (25:55):
And your journals, you would do the art and everything.
Speaker 6 (25:58):
You know, these things that you could get at.
Speaker 3 (26:00):
It's a schedule, yea.
Speaker 5 (26:01):
Let me tell you this much, Mike, for years and
you can you share the first name to it. I know,
I get a little winded. I want to hear the story.
You share the first name of a place that been
ripping me off forever. This is not the commercial for Michaels.
Speaker 6 (26:15):
You know this story Michaels.
Speaker 5 (26:16):
Yes, yo, man, you go to Michaels and and they'd
be like you coming out of here bleeding, like I
just got let me tell you what asked Mike Below.
You're familiar with five below, h.
Speaker 6 (26:31):
It's a oh everything.
Speaker 3 (26:33):
Is five dollars under. Oh yeah we have one here, yeah.
Speaker 6 (26:36):
Yo, five below art supplies and canvases. Michaels was forced
to come down. Bro. Anyway, the place at these sketchbooks
for like you know, built like fifty of them, bro.
Speaker 4 (26:51):
So anyway, I'm trying to I'm trying to train myself, Chuck,
to do that, to write things out because so much
wonderful shit happens around me every day.
Speaker 3 (27:00):
But I haven't.
Speaker 5 (27:00):
I don't think it's a training. I think it's you
have to do as you feel and what you're comfortable with.
You know, Like I write music and lyrics and somebody
might say, well, you need to take the recorder, and
I said, nah, it's just that in my natural flow.
So years I would write songs people talk about don't
text and drive. I've been writingever, but I got a
(27:23):
technique by write in the passenger seat, and it's a
little sloppy when I read it later, but I always
got my eyes on the road.
Speaker 4 (27:30):
Oh, you're actually a writing in Longhand while you're driving.
Speaker 3 (27:36):
I'm out of time. Hold on, hold on, I'm out
of time. Can we gotta do a part two? Can
you stick around for a part two?
Speaker 4 (27:42):
Yes, sir, Okay, okay, we gotta do a part two
because with this only a thirty minute show and I
still got to get deeper into studio. I really want
to know about this. Did you have something to do
with bus to rhyme stage name? I want to know
what you think makes a legend. I mean so many questions.
I'm just cratching the surface. So we're gonna come back.
We're gonna so we're gonna do this as a two parter.
(28:03):
I'm gonna get out of here right now, and then
we'll come back and do part two. I'm your boy,
Michael Kay.
Speaker 3 (28:07):
I'm with the Great.
Speaker 4 (28:09):
Chuck d a legend in the game hip hop and
rap art. This activists art art to this, I'm gonna
get it wrap part to this on the next show.
You'll explain it on the next show, and we'll be
right black on your boy, Michael guy. You know, Michael
talks to everybody. We do three new shows every week
right here on iHeart. Also, you can catch me on
(28:30):
my morning show, The Mikeya Morning Show Monday through Friday.
We will see you soon. Remember life as a garden.
If you dig it and if you keep God first,
you should be able to work everything else out. I'll
see it on a rebound. Catch you on the rebound.
If you play basketball, he say, catch you on anyway.
I don't even really know sports. I was in the library.
Speaker 3 (28:47):
Okay, see y'all later. Bye woo. I had a good
time today. I hope y'all did too.
Speaker 4 (28:56):
Man, Thank y'all for checking us out here at Michael
talk to everybody. Hey, you can follow me, man, I'm
easy to follow. I'm on Instagram, just under act Michael Kaya.
I'm on TikTok. That's Michael Kaye one three five. I
have a very sexy webpage called the Realmichael Kaye dot com.
You know, you go over there you can find out
about my merchandise and what I'm.
Speaker 3 (29:15):
Doing and where all my shows.
Speaker 4 (29:16):
Our airthing is right there or if you really love me,
you can go to my cash shapp that's dollar sign
Michael Kaya's money. I'm playing with y'all, but I accept
green Stand foods and Canadian money. I'll take your bus
transfer if you got some time left on it. And
my morning show, oh my goodness, the Michael Kaye Morning Show.
That's seven eight m Pacific time, YO, five days a week.
Speaker 3 (29:37):
This has been a ray Lock Group production. I see
y'all later
Who you all ready let's go well, so missus, Michael
called this world, started doing Venice Peach. Now he reached
in the world. He'll make you left, take the stomach cars, superfly,
nice girl's bready to me to work. Trust kidding old
he ain't ready for the stars, hurts winner and oh
g three times this thing on beginner, whether you went
now house, you want your brother's a dinner on your
job and your brother that I mean, it's Amber Michael.
Speaker 2 (00:28):
Trust that everybody I call yes, Michael, Trust that everybody
I can call yes, Michael taus that everybody you know
what Shin called Michael Tuck to everybody called Michael. Trust
to everybody Michael Tosa.
Speaker 3 (00:43):
My goody, everybody every.
Speaker 4 (00:52):
Yeah, boy what I don't even have a right to
play that, So I just played like fourteen seconds maybe
seven anyways, your boy bacher guy and Michael talks to everybody.
Speaker 3 (01:03):
I hope that was a hint enough for y'all to
know who.
Speaker 4 (01:06):
I'm having the honor and the pleasure speaking with today,
you know, and I mean this time to talk to
them is so great because we're celebrating the fiftieth year
of hip hop and this guy's a hip hop pioneer
when originated.
Speaker 3 (01:17):
You know, when when this thing began, he was in it.
Speaker 4 (01:19):
He didn't even he was talking about he didn't even
know there would be such a thing as a hip
hop album. Then them boys come out Sugarhill Game. He said, Oh,
that's how you make it with rappers Delight. So this
guy's from the beginning, he's all the way through it
and he knows what it was then what it is.
Speaker 5 (01:34):
Now.
Speaker 4 (01:34):
Get your hands together and you get your little chubby
fingers together for the great Chuck d Hey brother, Welcome, Welcome, welcome,
Welcome to the.
Speaker 3 (01:42):
Show for you.
Speaker 5 (01:43):
You know, Mike, really appreciate this opportunity to come on
to your show.
Speaker 6 (01:49):
You've always been one of my favorites.
Speaker 5 (01:50):
I tell you, listen, you changed the way I look
at airports because I always talk about people washing their hands,
and you know, and I would go in the bathroom
and the airport and of course, you know, like I
would see like business people going there and they go
(02:11):
use the stall or whatever, and they come out and
you think.
Speaker 6 (02:14):
That they turned on the water.
Speaker 5 (02:15):
Some up, I see a person and the first thing
they do is brush their hair, and they go out
and meet chad of their business.
Speaker 3 (02:23):
Don't cut no water on at all.
Speaker 6 (02:24):
So as I see that, I'll be thinking about Michael Kallier.
Speaker 5 (02:28):
You know how many people go to the bathroom and
don't wash their damn hand? And then you was You
was a precursor to the rules that came down and
let people reassure like, yo, the pandemic is here, wash
your damn hands.
Speaker 4 (02:43):
I forgot i'd even done that video, right, We did
one called wash your damn hands, and I'm sure it
save lives too, because it's some nasty mother. There's some
nasty folks out there, man, and they're touching people. You
know what's so weird for us as celebrities. Everybody want
to shake our hand.
Speaker 6 (02:59):
That's the thing.
Speaker 5 (03:00):
It's like, it's like and my daughter tossing me the See,
it's a certain antiquette that hadn't even taken place, Like
you don't want to shake one hundred hands, and then
all of a sudden, after you do it, everybody see
you going putting on the sanitizer. But after the pandemic
they understand. Before they does, yeah, people be like, yo,
(03:20):
so what's what's up with my hand?
Speaker 6 (03:22):
Yeah?
Speaker 3 (03:22):
Before you had the hide and you have to turn
your back.
Speaker 4 (03:25):
He'll turn your back as you poured a little that
little fluid on your hands and wiping it.
Speaker 3 (03:28):
What's he doing my hands back?
Speaker 4 (03:30):
Now you just pull it right in their fig You
know about them germs. Dude, Come on now, I go ahead.
Speaker 6 (03:35):
Thank you. Thank you for that, Mike. You changed, You
changed my world on that.
Speaker 4 (03:39):
I appreciate you even listening to the things I'm out
here saying. You know, I've been trying to do conscious
calmedy since I started. You know, I was always talking
about safe sex. I talk about safe sex when people
weren't even talking about selling condoms. They wouldn't do advertisement
for him in eighty six on radio or TV because
it was too dirty a thing to talk about it
in public.
Speaker 3 (03:58):
But all you need was a condom to say.
Speaker 4 (03:59):
But I was out there talking about, you know, save sex,
talking about racism, talking about my addiction, and talking about recovery.
Because I think we can heal through our art, man,
we can heal through our craft. If I could make
you laugh and then you walking down the street and
it hits you, I said something, damn manute he put oh,
he treat me, he puts some knowledge in it. Then
I feel like we're really doing something, you know. So
(04:21):
I'm glad to still be here. Brother, we've both been
here for a minute.
Speaker 5 (04:24):
To me, artist is almost a cultural It is a
cultural religion. To me, if I knock it down and
this is this is my military, I don't I don't
go up again, hate and all that stuff I fight
with for love and stuff like that.
Speaker 6 (04:37):
Artists loved.
Speaker 5 (04:38):
Everybody got art in him, but very few of us
could get art out of ourselves. And this is why
people need entertainment to be. Entertainment for them is therapy,
you know. So I really appreciate the opportunity to be
able to spend most of my life being able to create.
I create like a furnace.
Speaker 6 (04:57):
Bro.
Speaker 3 (04:58):
Wow, And this is your thirty eighty.
Speaker 6 (05:00):
I don't even know.
Speaker 5 (05:01):
I ain't keep it count I know I'm sixty three,
so I don't keep counting on how many years.
Speaker 4 (05:05):
I'm sixty six. I think this is my thirty seventh.
I think this is thirty eight for you. They're younger, bro, bro,
Yes sir, yes, sir, And they think that we're still
doing it and we're still relevant. That's what's important, you know,
Because I've seen a lot of cats come and go
doing these things we do.
Speaker 5 (05:21):
You know, number one thing I think, Mike, is that
the relevancy. You got to be relevant to yourself. I
don't create art for nobody else. When I'm in front
of a public who knows and have supported my art,
I got one hundred percent obligation and responsibility to turn
that art and that performance out. But when I'm creating art,
(05:45):
you know, and if I'm collaborating with people that I'm
creating the arts as our collaboration calls for it. But
side of that, this is what it is. And you
got to be confident of what you do and be
like and leave it there. It's not an arrogance, it's confident.
And I just think you can't just go follow something
and just try to follow something that is not you.
(06:08):
You make your art, you hold it right there, and
so yeah, of course things could be dangled in front
of you.
Speaker 6 (06:14):
But when you do that, you have a sense of yourself.
Speaker 5 (06:18):
And I'm not the type of person that will go
in the mirror and then go outside and ask the
person and how I look.
Speaker 3 (06:25):
You already looked in the mirror. You cover it.
Speaker 5 (06:27):
Yeah, So I think I tell artists I'm not an
art coach. I tell artists. I said, hold your art ground.
Don't try to have anybody sway your art. You could
ask for advice, you can ask for techniques and stuff
like that, but your art comes out of yourself.
Speaker 6 (06:44):
Don't try to compromise the art.
Speaker 5 (06:46):
Now, at the end of the day, you got to
explain for it if you want to go into the
world of commerce. Of course, he very clearly, he said, yeah, art,
you know, art is great arts in us. But once
money starts coming and God walks out the.
Speaker 4 (06:59):
Room, that's true, then some people ask them to leave.
Speaker 3 (07:04):
Because you know we're gonna have to. Oh, I'm gonna
feel bad about how it's gonna work out.
Speaker 6 (07:08):
You know, I got right, I see what I talked
to you. I gotta write down notes.
Speaker 3 (07:15):
This is so cool. So so we.
Speaker 5 (07:17):
Gave me a little additional part to the Yes, please
add that on along, Please add that on.
Speaker 4 (07:25):
By all means, I were speaking to the co founder
and the front man of Public Enemy, which is like,
you know, these originators of what the.
Speaker 3 (07:33):
Great art form of hip hop is.
Speaker 4 (07:35):
I'm old enough to remember when we were scoffed at
and laughed at the idea of hip hop, white folks
talking about there y'all go with that devil music. That
that that that uh, the vicious music. The music is
not for society.
Speaker 3 (07:50):
Now. You can't cut on your TV without here and
hip hop.
Speaker 4 (07:54):
You can't hear a commercial or anything else going on
on TV without the hip hop influence, you know. And
why is it we always have to beat the drum
first and then folks get it later.
Speaker 3 (08:06):
That's because we've been blessed with all the cool what
is it?
Speaker 6 (08:09):
Well?
Speaker 5 (08:09):
Number one, if you take a history and a geography
away from a people, then that's where you got slavery.
Speaker 6 (08:15):
Then we don't know where we're coming from.
Speaker 5 (08:17):
Who we are right then we at you got slavery
and we were enslaved people, stripped from having a thard
of voice or a voice of equality in this place
for so long.
Speaker 6 (08:28):
I ain't gonna be long on this talk, but it's
quite simple.
Speaker 5 (08:32):
If you told that if you open your mouth, you're
gonna get killed, or your baby get taken away, your
wife getting done whatever to her, then you're gonna be quiet.
But outside of that, the expression of music meant so much. So,
you know, church, it wasn't just praying to God it
was like, yo, man, I want to kill these devils.
Speaker 6 (08:50):
You know what I'm saying.
Speaker 4 (08:50):
But it was directions too, like you know, we're gonna
go around the back of the Red Bond this afternoon,
and we got the actions and the actions and stuff
with white he catch us, we kill them down Battle River,
but we would encode it in the music, so they
just what unfortunately is still going on today in that
the coding are things that aren't as as delicious. I mean,
(09:12):
now we're talking about the big booty. Is what you're
wearing in the jewelry. All that's encoded in the music,
and we are still mesmerized by the music, so sometimes
we don't hear what the words are and what's being
said to us.
Speaker 3 (09:24):
I'm sorry, go.
Speaker 5 (09:25):
Ahead it no, no, no, no, don't possit because you're
totally right. But today with technology, we getting a whole
nother discussion on that. People listen too much with their eyes.
The gadgets that we all have now made us screen
ages and so screen yeah, these screen ages. So screen
ages look for the good, bad, ugly and everything else
through the screens. We operate through the screens, but we're
(09:47):
operating through a production, through the screens. We have receivers
that look to the screens for to fill up their time.
Speaker 6 (09:53):
So let's eye to eye.
Speaker 5 (09:55):
Let's listening with your ears more like, I got to
see what my eyes give me the answer, And so
right now we You know, when I grew up, it
was like believe half of what you hear, none of
what you see. Now it's like believe you know none
of what you see. Maybe half of what you hear.
But because people ain't listening at all, you know what
I'm saying. Got to see it to believe it. Remember that,
(10:16):
you know.
Speaker 4 (10:17):
Yeah, people think that seeing is believing, but really it's
the opposite, because you really got to believe it to
see it. If you really want it to come to four,
you have to visualize it and hold on to it
until it actually materializes. And I've been saying showing time
and time again by the Lord that it actually works.
All you got to do is believe in the thing
with everything, don't let it go no matter what other
(10:39):
people say. Rather than your friends or family members. You know,
sometimes one of the worst mother fuckers in your.
Speaker 3 (10:44):
Life is a family member. You know, so you don't
know where it's coming from.
Speaker 4 (10:47):
But if it's not purely of the thought and the
idea that you're already holding on to let that go
and stay focused and you'll slowly see the thing up here.
Speaker 3 (10:54):
Yeah.
Speaker 5 (10:55):
Yeah, well it's one of the things that when people
talk about hip hop, you know, and it's fifty year
I was thirteen at the time it came about.
Speaker 6 (11:04):
I wasn't fascinated. But I'm a Long Island and you know,
my past.
Speaker 5 (11:08):
From Harlem through its Bronx because it started from even
a younger movement that couldn't get in into the clubs
that older people were doing. If anybody knows the makeup
of the Bronx that back then, it wasn't it wasn't Harlem.
Speaker 6 (11:21):
Harlem is the main spot.
Speaker 5 (11:23):
So black folks moved out to the Bronx because it
was you know, I mean further out and cheaper income.
It's like somebody that goes from South Central to Compton.
Back in the day, it's like, okay, white folks is
moving out and they got some availability out there. So
if you were a young person or young family or whatever,
we're gonna have to move to the Bronx. So it's
really like a suburb. But so in in the seventies.
(11:45):
What the city had did is like the white folks
moved out because they put the Cross Bronx Expressway through it,
and it just kilt all the other ethnic communities. But
white folks especially, you know, the ones with money, they
moved to Florida, but they own the buildings, and the
city stops servicing the outskirt areas and stop servicing the
(12:06):
Bronx where black folks in Puerto Ricans have moved in
for about a fifteen to twenty year period.
Speaker 6 (12:11):
They left it for dead.
Speaker 5 (12:13):
And so start taking things out of the schools, You
start taking community centers away, You start taking the best
food away, services that really make a community a community.
Speaker 4 (12:24):
And you start like and you take away the arts too.
Forget but that's the first thing to go with the arts.
Speaker 5 (12:29):
And then you're covering up this young energy angst with
more police. So don't live there.
Speaker 6 (12:36):
They kind of patrol it, you know what I'm saying.
Speaker 5 (12:38):
Right, situation the Bronx by the seventies, it's like, man,
this place is a ghost, dead town and out of
you know, a lot of circumstances happening, but out of
that those ashes, like a phoenix rose disability to create
something from nothing. It wasn't really nothing, but they just
like the Blues, they say, oh man, black people, man
(12:58):
in the Delta. You know, they made something out enough.
There's always something. We have a different thing. We have
our own code.
Speaker 3 (13:05):
Right.
Speaker 5 (13:05):
Hated something that sprouted even bigger because we was happy
with it. And when I saw this come about, I
was like, that's interesting coming from the Bronx. And and
like I said, I've seen an art form being able
to be created with a whole technical aspect, and you know, like,
here's another thing.
Speaker 6 (13:23):
Mike in New York, you're from La.
Speaker 4 (13:26):
Rightcho, I'm from Chicago South Side, Chicago South.
Speaker 5 (13:29):
Side, birthplace of the first hip hop record and that's
Pigmy Markham.
Speaker 3 (13:33):
Yes you know about pick me Mark Well.
Speaker 5 (13:36):
Jean Daddy gen Gene Barge is ninety seven and he's
a good, great friend, mentor hero thought the Gina Barge
is a great friend.
Speaker 6 (13:46):
Lee Farmer's son in law. He create.
Speaker 5 (13:48):
He was a producer over at Chess Records for many,
many years. Holland Wolf Cocho Taylor.
Speaker 3 (13:53):
He also I know Coco Taylor.
Speaker 6 (13:56):
Nineteen sixty eight.
Speaker 5 (13:57):
Here comes the Judge right with the same play is
from Rotary connection. So also in the middle of here
come the judge is Mini Rippleton. He said, I'll take
two orders of being please. That's Mini Ripperton. Mmmm so
so yeah, so yeah, shutdown. You know with the New
York thing, it was like the hip hop thing. It's
(14:21):
like there was bands out there, but whenever you heard
a band play a record, I play a song.
Speaker 6 (14:27):
They never played that like you heard it on the radio.
Speaker 3 (14:30):
Hold on, hold on one second. We have a quick break,
quick break, gotta sell something.
Speaker 4 (14:34):
I don't know what they're selling, but something fabulous, cause
he's selling right here at iHeart, I'm your boy, Michael Kye.
Michael talks to everybody and today on with the Great
Chuck d Man, we learning some things and I ain't
even got to my notes yet.
Speaker 3 (14:45):
We'll be right black and we're back. Thank you, Chuck.
Now what were you saying?
Speaker 6 (14:59):
Now? I was actually the first rap records.
Speaker 5 (15:01):
Seriously, pig Meat markham Chess record on Checker Records.
Speaker 6 (15:06):
Here comes to judge.
Speaker 5 (15:07):
Many rippertenders in that song and Bean Barges, the Great
gene Barser turned ninety seven this year.
Speaker 3 (15:13):
Wow. Wow.
Speaker 4 (15:15):
Pig Meat marking all the judges hides a Georgia path
everybody going to jail to his moaning. People think Flip
Wilson came up, will he come to judge?
Speaker 3 (15:25):
Now? Twenty six years before that.
Speaker 6 (15:28):
It's easy to see on TV.
Speaker 5 (15:29):
Remember first of on TV all jime and people have
been thought Sammy Davis Junior had it.
Speaker 4 (15:35):
Remember right, for a while he was saying he come
to judge. He was having fun with it.
Speaker 5 (15:40):
Chicago is really the serious birthplace of electric blues records.
Speaker 3 (15:47):
Definitely blues.
Speaker 5 (15:48):
Yes, you know, Barry Guardy and Smokey Robinson cut their
first records at Chess Records in Chicago. So Chicago doesn't
get crops for being the center point of recorded music
for black folks.
Speaker 6 (16:01):
So we make that note and I make sure you know.
Speaker 4 (16:04):
Who else there's a white there's a black guy named
Bert Williams.
Speaker 3 (16:09):
Yes, Bert Williams was.
Speaker 4 (16:11):
Bert Williams had an album called Nobody that he did
through Columbia. Pitch through Columbia Records sold three hundred thousand
copies in nineteen ten. Black men juster thousand copies that
that's crazy, that's amiable.
Speaker 6 (16:27):
Or we have Maimie Smith.
Speaker 5 (16:29):
I think she sold two million blues records in nineteen
twenty two.
Speaker 6 (16:35):
The history.
Speaker 5 (16:36):
Well, you take history in geography away from a people,
did it make it seem like we got nothing, and
we go chase anything that somebody dang go up there
right right, Well, we get into hip hop. The thing
about hip hop is like it's made out of records.
It comes to you with reminders of the past. Even
if you ain't got the detailed notes. Is all you
(16:56):
need is a teacher to go alongside and let people
know it's been done before.
Speaker 6 (17:00):
It's whenever.
Speaker 5 (17:01):
Whenever we run into somebody that says it's been done before,
and then they start to illuminate what how it was
done before, we become less angry at each other. We
take that anger we might all jealousy at each other.
We say, oh, that's why we all well the way
we are, that's why we do. So let's let's let's
feel good and understand. That's Grandmam and them. They see,
(17:24):
we know a lot of times in our generation is
what we think is hip. We think it's just hip
when it starts with us, when we're at our younger
ages thinking this, we started this hipness. Meanwhile, you got
a grandmama somewhere up just shaking our head be like,
you don't even know, You don't have no idea how
we had it proper.
Speaker 4 (17:43):
Yeah, they were hip and they knew what was going on.
I say, go back and look at our clothes. We've
been dressing forever, twenties, thirties, forties, fly hats. Everybody want
to be black, except black people, and that's just because
we've been through it and we understand the heavy lifting
that's involved. I'm about to ask you about studio, but
once again, let me set you up for the audience
(18:03):
so they know when I'm talking to co founder and
frontman for a public enemy, who was like, come on,
nineteen eighty five starting all this off him and Flavor.
Flav did that thing together. But now you're even in
a rock supergroup. I got the found out what profits
or rage is about. But come on, don't believe the hype,
fight the power. I've been playing nine one one all
(18:26):
day long. He got game, you know. I mean, this
guy is legendary and also in his voices, you're putting
voices in the gaming I've.
Speaker 6 (18:34):
Done many voiceover jobs throughout the year.
Speaker 5 (18:38):
I tried when I got into the industry and asked
to be in the industry.
Speaker 6 (18:42):
I'm a behind the scenes person. I don't like the front.
Speaker 5 (18:45):
But everything that I've done that the people know me
us doing and publicly known, I've been asked to do it.
I'm a behind the scenes person. But you know, in
the business, I think you got to construct the way
your life is. Just like in your life, you gotta
make your life. I got a record contract, but I said, well, look,
I'm gonna put a group around me. I don't like
being out front all the time. I'm gonna call one
(19:07):
of my guys who want to be in front all
the time. And I love it. Yes, And the fact
flavor flavor, you'll step in the room and you'll suck
to start them out of any room. And I played
to the back and do my thing. So that's why
Public Enemy happened to work. It's a group. It's a
group of diverse individuals people live, love and even don't
(19:28):
like each other a lot. So it's it's it's what
happens with a group. And we were got into Rock
and Roll Hall of Fame twenty thirteen. Profits of Rage.
I was asked to do that in twenty sixteen. I
decided to do that alongside what I do. My dad
passed in twenty sixteen, so I thought there was something
new for me to do that would be in the arts,
(19:49):
that be therapeutic to get that out of my mind.
And that was a great experience. For twenty sixteen to
twenty nineteen and four years we played in front of
seven million people and that was I'm Morello, Brad and
you know Timmy from Rage against the Machine, my brother
Bill from Cypress Hill and DJ Lowck and we played
(20:10):
in front seven million people in thirty eight countries and
did that for four years. And this closed like a play.
When it closed, I could play. Then the pandemic came,
and then it allowed me to regroup. So I'm not
going to be the person that's going to be out
there like saying that. I was happy that the pandemic came,
but it allowed me to really grab my time back.
Speaker 6 (20:32):
Mike.
Speaker 4 (20:32):
But me too, me to the pandemic. I've done my
best work during the pandemic. I mean I started my
morning show, which now done seven hundred and three shows
I started that caused the pandemic. We wanted to create
a show where people could come and laugh and pray
every day, and we still doing it five days a
week I got my first lead in the movie called
The Pandemic.
Speaker 3 (20:51):
I think a lot of people didn't want to go work.
It's an all pandemic. I ain't going to them cameras.
I'll take it, sir.
Speaker 4 (20:57):
Anyway, gave me my first lead after what thirty thirty
seven years in the game. So I'm not saying I'm
glad we had no pandemic, but it showedn't hurt my feelings.
Speaker 3 (21:06):
I just won't say that.
Speaker 5 (21:09):
Did you ever think that that there would be a
time where the whole world was to be told like,
y'all stay inside. Everybody's everybody stayedid and the hardest, toughest
people that you even know, they be inside too.
Speaker 6 (21:24):
That was amazing. I never thought that everybody would.
Speaker 5 (21:27):
And they were like in the governments, and I say
in plural, the government said listen, you either stay inside
because if the virus don't get you, we gonna get
your ass.
Speaker 6 (21:38):
Pay attention. That was April twenty twenty.
Speaker 5 (21:41):
And the toughest cats I knew, they were like, yeah,
you know the reason I ain't going outside because I mean,
ain't nobody out there?
Speaker 4 (21:50):
Yeah?
Speaker 6 (21:51):
Right? They going the overnight martial law.
Speaker 4 (21:54):
Tell me about the graphic novels. Oh should you say
the Naffik Gravel our trilogy of Chuck D called Studio
stw Like you're having some studio stw D. I, oh,
tell me about that?
Speaker 5 (22:10):
This was formed out of like we really around twenty sixteen,
because when you're I did one hundred and sixteen tours,
one hundred and sixteen countries. So I don't know what
you do. But what do you do in hotel time?
If you like in Buenos Aires for three days, it's
only but so much going down to the bar or
going to this club or whatever that you can do. Me,
(22:30):
I'm like, I, you know, I'm going to a city
for the fifteenth time. I already know where everything is.
So really, basically, I don't care how nice your hotel
room is. You want out, I don't care how nice
it is. So I turned with my downtime. That was
the year I turned my hotel room in the art studios.
Because you got nothing but time, I turned into an
(22:53):
art studio. Roddy Wood from the Rolling Stones with another
hero on mind and how we share the same book.
Company of Genesis was my first art book. I heard
the story that Rodney Wood is a bad.
Speaker 6 (23:04):
That's artist. A matter of fact, this is this is him, right.
I don't need to be getting up.
Speaker 4 (23:09):
That's all right, that's okay. You know this is all audio.
Ain't nobody see us for me and you?
Speaker 6 (23:13):
Right? And that was spoiled out.
Speaker 3 (23:15):
Oh I like that.
Speaker 4 (23:16):
Let me see a couple of that again, Living Loud,
Living Loud.
Speaker 6 (23:20):
Chuck it over to you. The two different companies. This
is from the UK.
Speaker 3 (23:24):
I would love to see that book.
Speaker 5 (23:26):
Now. The story is here. This is ronney Wood. I mean,
this is the type of stuff. You know, that's ronney Wood.
You know when I heard that rodney Wood goes every
hotel room he goes into, he sketches. A light went
off in my head, like, damn, okay, he knows what
to do with that hotel downtime. I don't care. It's
only but so much TV you could watch make music
(23:48):
in you. I turned every hotel room into an art studio.
The paints, the you know that. Of course, I got
a technique where it phones out. Long story short, Mike.
That's when I relentlessly did our kept the everyday journal.
Speaker 6 (24:02):
I would go in the cities and sketch out the city.
Speaker 5 (24:05):
I would go to places I would go to museums,
and that's been like a seven year run and out
and and and after I did Alahuasca.
Speaker 3 (24:13):
Uh, you did that Alawaska.
Speaker 6 (24:15):
Yeah, because my dad I wanted. I didn't want to
hear no religion.
Speaker 5 (24:19):
I didn't want to hear no philosophical I wanted to
feel where my dad's spirit went.
Speaker 6 (24:24):
I wanted to do and I got my answer too.
But I did it with a.
Speaker 5 (24:29):
Shaman and people that I knew, and I didn't I
didn't have to go and do it. I did it twice.
That did a year after that with a community. But
I was asked to do that, and that was it
for me. I didn't because once I got my first answer. Also,
that shaman said, well, because you've been in the arts
so long, you already have the ability to elevate in
(24:51):
yourself in terms.
Speaker 6 (24:52):
Of switch on.
Speaker 3 (24:53):
You already plugged in in.
Speaker 6 (24:54):
Yeah, I got trauma. I don't have trauma. I got
scar tissue. I ain't you know what I'm saying.
Speaker 5 (24:59):
All I've been is living in art, and so I
have the ability to go inside myself. But that time
was I was like, well, I'm talking to the man
every day for fifty five years right with how to
deal with the silence, and that helped me.
Speaker 6 (25:13):
But out of that, especially after the next year, I've created.
Speaker 5 (25:16):
I've created thirty five thousand pieces of art since twenty sixteen.
Speaker 3 (25:20):
Now when you say created, what what do you mean?
You created art? You you painted, you drew your musical.
Speaker 5 (25:27):
Well, well, number one, I'm gonna paint and draw on
paths and things I could carry around. It's not like
I could carry, you know, like a sixteen by twenty
five whatever. You know what I'm saying. But yeah, I've created.
I've got books, and.
Speaker 3 (25:39):
I know you got enough money to pay a neg
to carry them.
Speaker 4 (25:43):
Canvases, they can just follow around with the big ass canvas.
You I'm gonna stop on painting here for a minute,
just got leave it.
Speaker 5 (25:49):
So why I would keep I would keep journals so
you know, this is like a next book and you know.
Speaker 3 (25:55):
And your journals, you would do the art and everything.
Speaker 6 (25:58):
You know, these things that you could get at.
Speaker 3 (26:00):
It's a schedule, yea.
Speaker 5 (26:01):
Let me tell you this much, Mike, for years and
you can you share the first name to it. I know,
I get a little winded. I want to hear the story.
You share the first name of a place that been
ripping me off forever. This is not the commercial for Michaels.
Speaker 6 (26:15):
You know this story Michaels.
Speaker 5 (26:16):
Yes, yo, man, you go to Michaels and and they'd
be like you coming out of here bleeding, like I
just got let me tell you what asked Mike Below.
You're familiar with five below, h.
Speaker 6 (26:31):
It's a oh everything.
Speaker 3 (26:33):
Is five dollars under. Oh yeah we have one here, yeah.
Speaker 6 (26:36):
Yo, five below art supplies and canvases. Michaels was forced
to come down. Bro. Anyway, the place at these sketchbooks
for like you know, built like fifty of them, bro.
Speaker 4 (26:51):
So anyway, I'm trying to I'm trying to train myself, Chuck,
to do that, to write things out because so much
wonderful shit happens around me every day.
Speaker 3 (27:00):
But I haven't.
Speaker 5 (27:00):
I don't think it's a training. I think it's you
have to do as you feel and what you're comfortable with.
You know, Like I write music and lyrics and somebody
might say, well, you need to take the recorder, and
I said, nah, it's just that in my natural flow.
So years I would write songs people talk about don't
text and drive. I've been writingever, but I got a
(27:23):
technique by write in the passenger seat, and it's a
little sloppy when I read it later, but I always
got my eyes on the road.
Speaker 4 (27:30):
Oh, you're actually a writing in Longhand while you're driving.
Speaker 3 (27:36):
I'm out of time. Hold on, hold on, I'm out
of time. Can we gotta do a part two? Can
you stick around for a part two?
Speaker 4 (27:42):
Yes, sir, Okay, okay, we gotta do a part two
because with this only a thirty minute show and I
still got to get deeper into studio. I really want
to know about this. Did you have something to do
with bus to rhyme stage name? I want to know
what you think makes a legend. I mean so many questions.
I'm just cratching the surface. So we're gonna come back.
We're gonna so we're gonna do this as a two parter.
(28:03):
I'm gonna get out of here right now, and then
we'll come back and do part two. I'm your boy,
Michael Kay.
Speaker 3 (28:07):
I'm with the Great.
Speaker 4 (28:09):
Chuck d a legend in the game hip hop and
rap art. This activists art art to this, I'm gonna
get it wrap part to this on the next show.
You'll explain it on the next show, and we'll be
right black on your boy, Michael guy. You know, Michael
talks to everybody. We do three new shows every week
right here on iHeart. Also, you can catch me on
(28:30):
my morning show, The Mikeya Morning Show Monday through Friday.
We will see you soon. Remember life as a garden.
If you dig it and if you keep God first,
you should be able to work everything else out. I'll
see it on a rebound. Catch you on the rebound.
If you play basketball, he say, catch you on anyway.
I don't even really know sports. I was in the library.
Speaker 3 (28:47):
Okay, see y'all later. Bye woo. I had a good
time today. I hope y'all did too.
Speaker 4 (28:56):
Man, Thank y'all for checking us out here at Michael
talk to everybody. Hey, you can follow me, man, I'm
easy to follow. I'm on Instagram, just under act Michael Kaya.
I'm on TikTok. That's Michael Kaye one three five. I
have a very sexy webpage called the Realmichael Kaye dot com.
You know, you go over there you can find out
about my merchandise and what I'm.
Speaker 3 (29:15):
Doing and where all my shows.
Speaker 4 (29:16):
Our airthing is right there or if you really love me,
you can go to my cash shapp that's dollar sign
Michael Kaya's money. I'm playing with y'all, but I accept
green Stand foods and Canadian money. I'll take your bus
transfer if you got some time left on it. And
my morning show, oh my goodness, the Michael Kaye Morning Show.
That's seven eight m Pacific time, YO, five days a week.
Speaker 3 (29:37):
This has been a ray Lock Group production. I see
y'all later
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