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On our 159th episode of the CTC Show, we had a great time catching up with the legendary DJ Evil Dee.We barely scratched the surface but we talked about his drive to be better than his brother, his love for house music, the making of Enta da Stage, Rawkus stories, and more! Round two is definitely already in the works!
We are joined by Ben Pedroche of Grown Up Rap and author of "Independent as Fuck" to do our latest fantasy draft, picking our favorite indie rappers of all time and placing them on records labels (both major and indie) to create the best alternate careers! Would RA the Rugged Man, Vordul Mega, and Tame One thrive in the major label system? Who goes to Def Jux, Backwoodz Studioz, and Rawkus? Tap in and find out!You can find Ben's book Independent as F**K here:https://www.amazon.com/Independent-As-Underground-Hip-Hop-1995-2005/dp/1913231879And you can find Grown Up Rap here:https://grownuprap.com/If you want exclusive content or wish to see the video of this episode you can become a Patreon member using the link below: https://www.patreon.com/calloutculturepodcastYou can find our music here:Zilla Rocca:https://5oclockshadowboxers.bandcamp.com/musicCurly Castro:https://curlycastro.bandcamp.com/album/little-robert-huttonhttps://shrapknel.bandcamp.com/Alaska:https://thatrapperalaska.bandcamp.com/
On this flashback of Take It Personal, we're hitting you with a combined remastered version of episodes 86 & 87, our Kool G. Rap Tribute. This 7+ hour episode features music from one of the most prolific rappers to ever touch mic. When you hear the term "your rappers favorite rapper", they're are talking about Kool G. Rap. Whether you consider him the G.O.A.T. or somewhere in your Top 5, there is no denying that Kool G. Rap is one most influential rappers of all-time. Whether you like Nas, Jay, Big, Pun, Em, Black Thought or any other great lyricist, just know they're great because of Kool G. Rap. The multis, the wordplay, the humor, the violence, the voice and god-like ability to tell a story, there is NOBODY quite like him. The man of the hour sat down with us to discuss his illustrious career. We talk Marley Marl, Eric B., Kane and the whole Juice Crew. We get into his favorite mobster movies, favorite verse of all-time and we even make him pick his own top 5. We discuss Nas, Black Thought, Masta Ace, Pun and Necro. We even cover the Rawkus debacle and much more. www.takeitpersonalradio.com www.patreon.com/TakeItPersonal
Nessa Preppy was on the Saturday Brunch and had a chat with Rawkus about her new album Little Miss Arima, calypso's influence on her career and some bacchanal about getting airplay in this business!! check it out!
FULL EPISODE: https://www.patreon.com/posts/company-flows-w-103477086 Today we're keeping it independent as fuck, rugged like Rwanda and hardcore like Kool G Rap music made for concert piano!! Yes, we are opening up our Rawkus Records Chronicles, to talk about their first major rap release - 1997's Funcrusher Plus from Company Flow. This here is a clip of what's happening over at our Patreon (https://www.patreon.com/crate808) where we've been building a hell of a dip back into the world of 90s hip hop, specifically the importance and legacy of Rawkus Records. And our first special guests are major - rapper Breeze Brewin from The Juggaknots is in the house, who features on this rap classic, as well as artist and producer GENG PTP and YouTuber Myke C-Town
On this flashback of Take It Personal Radio, we're hitting you with a remastered version of episode 32, our Pharoahe Monch Tribute. This 5 1/2 hour episode was recorded in 2018 and is now remastered in celebration of the 30th anniversary of Stress: The Extinction Agenda. We felt it was not only necessary, but equally important to do a tribute in honor of one of the greatest lyricists hip-hop has had. Additionally, what would a Take It Personal tribute be without the man of the hour stopping by to share some stories? We talk Paul C., Extra P, and even Kool Keith. We find out what it was like being passed on by Russell Simmons (along with Nas) and signing with Disney. We break down the Stress: Extinction Agenda album cover. We touch on his relationship with O.C. and the fact he thought the Time's Up beat was pretty wack. We talk Rawkus, ghostwriting for Puffy, sampling, sports, what went wrong on The Equinox; yes, we went there. We asked everything and he answered everything, including the possibility of an OK reunion. We also have 86 tracks displaying the brilliance of Pharoahe Monch. If you haven't heard this episode before or need a refresher, tap in because this one is TIP classic material. www.takeitpersonalradio.com www.patreon.com/TakeItPersonal
On this episode of the Saturday Brunch, Rawkus and Wendell Manwarren of 3canal, reflect on patriotism, what it means to be Trinbagonian and the role of Kaiso in nationalism.
Cette semaine, nous mettons le cap sur le Queens avec l'un de ses plus grands techniciens, Pharoahe Monch. Son parcours musical commence dans un environnement familial riche, avec un père passionné de jazz, une mère de gospel, une grande sœur fan des Jackson 5 et surtout un grand frère qui l'initie au heavy metal et au jazz-rock. C'est ce frère qui va façonner l'oreille musicale du jeune Pharoahe Monch, qui se décrit comme une véritable éponge artistique. Il découvre également la musique de rue à travers les block parties près de chez lui et enregistre toutes les émissions de rap diffusées sur les ondes FM.C'est au lycée que Pharoahe Monch commence à écrire, parmi ses camarades de classe on retrouve des talents tels que Havoc, Prodigy, Percee P et son acolyte Prince Po. C'est avec ce dernier qu'il écrit ses premiers textes et enregistre leurs premières démos sous le nom de STP, pour "Simply II Positive". Un personnage clé dans la professionnalisation du groupe sera le regretté Paul C, producteur et ingénieur du son de génie, qui va contribuer à structurer le duo. Le groupe se fait aussi remarquer sur l'émission de Stretch & Bobbito, pour finalement signer chez Hollywood Basics, une filiale musicale de Disney.STP évolue pour devenir Organized Konfusion, l'un des groupes phares de l'underground new-yorkais des années 90. Pharoahe Monch se distingue en tant que leader charismatique grâce à son écriture et son flow inspiré par les solos de John Coltrane. Il utilise sa voix comme un instrument et peaufine ses techniques de respiration. Organized Konfusion sortira 3 albums acclamés par la critique, puis Pharoahe Monch poursuivra sa carrière solo à la fin des années 90, contribuant au succès du label Rawkus.En résumé, Pharoahe Monch figure clairement sur la shortlist des rappeurs préférés de tes rappeurs préférés, il était donc évident pour nous de le mettre en avant à travers un mix d'une heure dédié à ce technicien, lyriciste et cinématographique : Pharoahe Monch.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
The production team known as Da Beatminerz came together in the late '90s to rejuvenate hip-hop with their purist aesthetics, which looked back to the genre's pioneering New York-based producers rather than the contemporary synthesizer-based sounds that were suddenly becoming the norm. Led by brothers DJ Evil Dee and Mr. Walt, they honed their beat-making skills individually before joining forces and crafting the collective's trademark "boom bap" sound: an emphasis on the bottom end, the bass lines, the hard kicks, and the snares. The collective's breakthrough came on their debut album for the prestigious Rawkus label in 2001, Brace 4 Impak, making them one of the few production-based acts in hip-hop to release an album under their own name.Fast Forwarding to 2024, they have a new album on the horizon, with a bunch of legendary MCs slated to join them...This week's episode is brought to you by Manscaped! Get 20% Off and Free Shipping with the code THECHOPSHOP at Manscaped.com. That's 20% off with free shipping at manscaped.com and use code THECHOPSHOP. Unlock your confidence and always use the right tools for the job with MANSCAPED™Support the showWEBSITE AND MERCH! - http://www.officialchopshoppod.com
We had a dope build with the super dope spitter Tiye Phoenix. She talked about being the first female signed to Rawkus, the low frequency of today's music, her study of astrology, and so much more! Apologies for the sound difficulties. --- Support this podcast: https://podcasters.spotify.com/pod/show/carryingtheculture/support
In this week's free preview, Armond & Doc begin their conversation about the most definitive songs from the heyday of Rawkus Records. To hear the full conversation and a lot more, head over to Patreon.com/crspodcast.
After many years of trying, and two years not trying, Kyle Hernandez is the 2023 First Citizens National Spoken Word Poetry Slam Champion! He chats with Rawkus about his victory, his trials over the past few years and the lessons learnt. Take a listen and be inspired by Kyle's Story!
Jessie just released a brand new book, "Ready, Mindset Go!" and he comes to face some tough but honest questions which turn into really interesting and inspiring conversation. Take a Listen!
Braveboy and Collis Duranty talk with Rawkus about the challenges of the music industry, how to stay positive and so much more. They also dropped a brand new song! Take a listen!
Hosts Jim DeRogatis and Greg Kot dissect De La Soul's iconic debut 3 Feet High and Rising. They discuss the innovative sampling and rapping style, as well as the legal troubles that plagued the record for decades. They also pay tribute to the late De La Soul rapper Trugoy the Dove and hear from some listeners. Join our Facebook Group: https://bit.ly/3sivr9T Become a member on Patreon: https://bit.ly/3slWZvc Sign up for our newsletter: https://bit.ly/3eEvRnG Make a donation via PayPal: https://bit.ly/3dmt9lU Send us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs: De La Soul, "Me Myself and I," 3 Feet High And Rising, Tommy Boy, 1989The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Capitol, 1967De La Soul, "Plug Tunin'," Plug Tunin' / Freedom Of Speak (Single), Tommy Boy, 1988De La Soul, "Tread Water," 3 Feet High And Rising, Tommy Boy, 1989De La Soul, "Intro," 4 Feet High And Rising, Tommy Boy, 1989Joe Bataan, "Rap-O Clap-O," Rap-O Clap-O (Single), Salsoul, 1979Eric B. & Rakim, "Eric B. Is President," Paid in Full, 4th & Broadway, 1987James Brown, "Funky President (People It's Bad)," Reality, Polydor, 1974Stetsasonic, "Sally," In Full Gear, Tommy Boy, 1988De La Soul, "Plug Tunin (Last Chance To Comprehend)," 3 Feet High And Rising, Tommy Boy, 1989Johnny Cash, "Five Feet High and Rising," Songs of Our Soil, Columbia, 1959The Invitations, "Written on the Wall," Hallelujah (Single), DynoVoice, 1965De La Soul, "Potholes In My Lawn," 3 Feet High And Rising, Tommy Boy, 1989Bob Dorough, "Three Is a Magic Number," Schoolhouse Rock! Rocks, Lava, 1996De La Soul, "The Magic Number," 3 Feet High And Rising, Tommy Boy, 1989De La Soul, "Jenifa Taught Me (Derwin's Revenge)," 3 Feet High And Rising, Tommy Boy, 1989De La Soul, "Say No Go," 3 Feet High And Rising, Tommy Boy, 1989Funkadelic, "Not Just Knee Deep," Uncle Jam Wants You, Casablanca, 1979Ohio Players, "Funky Worm," Funky Worm (Single), Westbound, 1972Edwin Birdsong, "Rapper Dapper Snapper," Funktaztik, Salsoul, 1981Loose Ends, "Gonna Make You Mine," Zagora, MCA, 1986Doug E. Fresh, "The Original Human Beatbox," The Original Human Beatbox (12" Single), Vintertainment, 1984The Turtles, "You Showed Me," You Showed Me (Single), White Whale, 1966The Mothers of Invention, "Louie Louie (Live At the Royal Albert Hall In London)," Uncle Meat, Reprise, 1969Buddy Guy, "First Time I Met the Blues," I Got My Eyes On You (Single), Chess, 1960Gilbert O'Sullivan, "Alone Again (Naturally)," Alone Again (Naturally) (Single), MAM, 1972Biz Markie, "Alone Again ," I Need A Haircut, Cold Chillin', 1991De La Soul, "Buddy," 3 Feet High And Rising, Tommy Boy, 1989Nico Segal & The Social Experiment, "Windows," Windows, (self-released), 2015Common, "I Am Music," Electric Circus, MCA, 2002Frank Ocean, "Sweet Life," Channel ORANGE, Island Def Jam Music, 2012Puff Daddy & Faith Evans, "I'll Be Missing You (feat. 112)," Tribute to the Notorious B.I.G. - EP, Bad Boy, 1989A Tribe Called Quest, "Electric Relaxation," Midnight Marauders, Jive, 1993Jungle Brothers, "Because I Got It Like That," Straight Out the Jungle, Warlock, 1988Black Star, "Brown Skin Lady," Mos Def and Talib Kweli Are Black Star, Rawkus, 1999Lupe Fiasco, "Kick Push," Lupe Fiasco's Food & Liquor, Atlantic, 2006Kanye West, "Spaceship," The College Dropout, Roc-A-Fella, 2004Murs, "The Pain," Murs 3:16: The 9th Edition, Definitive Jux, 2004Lady Gaga, "Paparazzi," The Fame, Interscope, 2008Richard Buckner, "Lil Wallet Picture," Devotion + Doubt, MCA, 1997The Speedies, "Let Me Take Your Photo," Let Me Take Your Photo (Single), Golden Disc, 1979The Cure, "Pictures of You," Disintegration, Fiction, 1989boygenius, "Not Strong Enough," the record, Interscope, 2023 Support The Show: https://www.patreon.com/soundopinionsSee omnystudio.com/listener for privacy information.
Lloyd Hopkins is the Executive Director and Founder of Million Dollar Teacher Project, an organization aimed at increasing support for teachers inside and outside of the classroom, raising the profile of highly effective teachers, and drastically improving teacher compensation to bring the teaching profession to the prestigious level it deserves so ALL students are able to receive excellent instruction every day. Lloyd has worked in and around the education system in varied capacities. He has worked with youth offenders, and dropout prevention and ran after-school recreation programs. But, it was his time spent as a Teaching Assistant in the Alhambra School District that impacted him the most. The combination of these experiences led to the creation of MDTP because he recognized that if we truly want to help students reach their full potential we must have amazing educators in every classroom. He's also one of the Greatest MCs to ever come out of Phoenix Az. Being introduced to the world on the hit MTV Show made. He later signed with Rawkus records after releasing many independent albums The Arizona native released his independent album, The King of AZ, in 2003 and followed up with the local chart-topping album, Hunger and Starvation. In 2005, he released The Birth of Caesar with DJ Kay Slay and was featured on The Drama King's album with Greg Street, The Champions, which was distributed on Koch last year. His latest mixtape, 2 Kings, with DJ Icon has already created a major buzz. The artist has been featured in major publications such as XXL's “Show and Prove” section and the Source's “Independent's Day” section, as well as top websites such as Allhiphop.com and Hiphopdx.com. BRUTAL BEATING Tekashi 6ix9ine was rushed to a Florida hospital with shock injuries after a ‘group jumped him in gym sauna in savage attack' --- Send in a voice message: https://podcasters.spotify.com/pod/show/damon-ellison4/message Support this podcast: https://podcasters.spotify.com/pod/show/damon-ellison4/support
The year is rapidly closing out and the QUANTUM LEAP crew is ever prepared for "inclusivity season." Find out what that means and if the crew understands the way of the water. Rawkus records demise might be in a latest documentary and Wu-Tang Clan is back with exclusive memorabilia, while Dopeako advises everyone to check in on their people. New music from Nems, Busta Rhymes, Scienz Of Life and more... Click play and take the leap!!!Follow us NOW on Spotify, iHeartRadio, Apple Podcasts, Google Podcasts, Spreaker, and more...!!You like what hear..? PROVIDE a donation on @kpft.org (DONATE button)QUANTUM LEAP RADIO broadcasting and streaming live from #HUEston T.X.Every Saturday from 4-6p.m. CST (KPFT 90.1FM Houston in HD2) & Thursday 3-5a.m. CST (on the F.M. dial)Worldwide@kpft.org/listenortunein app
In ep 113, we bring to you our interview from TTT's Now Morning Show with Kimberly De Souza and Rawkus. We spoke about how Caribbean businesses can get started with E-Commerce, and the importance of them being E-Commerce ready and even dove into how we can monetize our platforms to generate an income. If you want to check out the video version of the interview, you can right here --> Now Morning Show Video. To learn more about building your digital presence visit KeronRose.com. Stay up to date with the Digipreneur FM podcast via our website.
Before Jeffstaple (born Jeffrey Ng) built a creative empire he was sneaking into Parsons' silkscreening lab to hand print his first Staple tees. As the founder and creative director of Staple and Reed Art Department, Jeff's prolific work encompasses graphic design, fashion design, footwear design, and brand marketing for a range of from startup brands to Fortune 500 companies. Jeff and Rich Tu, sit down to talk about his humble beginnings growing up as the child of Chinese immigrants in New Jersey, the early days of Staple, helping HipHop mature with TheFader and Rawkus, and the launch of the iconic Pigeon Dunk. Also, they discuss the role of design in culture, how Jeff continues to embrace new technology, the ways in which Web3 reminds him of streetwear, and the time when Rich designed Staple tees based on theology. For even more, check out his new book Jeffstaple: Not Just Sneakers (with Rizzoli), chronicling his 25 year creative journey. LINKS This is a special collaboration with The OG magazine. For more, go to: TheOnline.Gallery SOCIAL MEDIA Check out FirstGenBurden.com for all the episodes Follow us @firstgenburden and Rich Tu / @rich_tu Audio produced by Timothy Simonson / @timwicked Illustration by Eugenia Mello / @eumiel _______________ --- Send in a voice message: https://anchor.fm/firstgenburden/message Support this podcast: https://anchor.fm/firstgenburden/support
B.Cox looks back at underground powerhouse label Rawkus Records and their first major compilation album Soundbombing, which turns 25. After releasing Company Flow's now legendary debut LP Funcrusher Plus earlier in the summer, the label released the compilation with previously released 12" singles in mixtape format. Mixed, scratched and hosted by DJ Evil Dee of Da Beatminerz and Black Moon, the album introduced us to future prominent emcees such as Yasiin Bey (fka Mos Def),Talib Kweli and Shabaam Sahdeeq and producers such as Hi-Tek, Nick Wiz and Shawn J. Period. Sticking to their underground roots with he mixtape format, Rawkus sought to appeal to their underground base and wanted to capitalize on the success that Company Flow had with their debut that summer.While the album did not chart commercially, it made its buzz in the underground with DJs and fans. Several songs are considered underground classics and the release started a run of compilation releases including the beginning of the Lyricist Lounge series and the continuation of Soundbombing series. It also led to the formation of two groups that would have great success: Black Star (Def and Kweli) and Reflection Eternal (Kweli and Hi-Tek); all which helped Rawkus to achieve rare success both in the underground and limited success commercially.Visit The Vault Classic Music Reviews Onlinewww.vaultclassicpod.comSupport The Vault Classic Music Review on Buy Me A Coffeehttps://www.buymeacoffee.com/vaultclassicpodShow NotesThe Hundreds: Counting Down Our 10 Favorite Rawkus Records Albumshttps://thehundreds.com/blogs/content/counting-10-favorite-rawkus-records-albumsSupport this podcast at — https://redcircle.com/the-vault-classic-music-reviews-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
durée : 00:59:01 - Cautionneries - Par La Caution. Embarquement immédiat pour un voyage musical avec Nikkfurie
YESSSIRRRRR Welcome back to into the jawn podcast!! Where find some music jawns and jump right into em' In this episode, we review Yasiin Bey's debut studio album Black on Both Sides. It was released on October 12, 1999 by Rawkus and Priority Records. Now let's dive into this jawn. Let us know if you agree with how we rated the albums or not! Get in contact with us via the linktree below! And have a great week ITJ familia. https://linktr.ee/Knsolesecret And lastly before we start Jalen what episode we on?? --- Support this podcast: https://podcasters.spotify.com/pod/show/intothejawn/support
The 80z Babies are joined by Nick Rosenberg in a full on rap nerd discussion stemming from the conversation on Madvillainy. The conversation takes us from Nick's hiphop beginnings as a fan of "Parents Just Don't Understand" to the early days of the Low Budget crew and even a stint at Rawkus Records. Enjoy the tangents! (1:20) Introducing Nick Rosenberg (3:05) Rap radio and WOL (5:15) Reminiscing about the DMC Hip Hop scene (8:02) What was it like being at an underground label? (8:45) The lost Kool G Rap album on Rawkus (10:58) Was Mos Def too "anti" for trying to level up? Why is his album on Luminary? (12:12) Did Mos have the most potential of any Hip Hop artist ever? (13:05) The beginnings of Rawkus Records (14:47) Why didn't Rawkus sign Kanye West? (17:28) Was there a Hot 97 reality show? (19:25) How does Nick get into music and entertainment law? (22:18) When did Nick start "managing" Peter? (23:43) What is Nick's relationship to Eminem and Paul Rosenberg? (25:14) Is there a lot of money in sample packs? The headache of sample clearances (33:33) Music nerd tangent discussing Brian Wilson from The Beach Boys (39:45) A random tangent discussing how music breaks cultural barriers (44:30) A random tangent discussing Lootpack and Planet Asia (46:16) Do you ever cringe at your takes from your younger years? Outlaw defends the younger, pretentious Outlaw from high school and college (50:09) Is Yinka too manly to bang Meg the Stallion in the car? (52:25) Nick shares his Spotify streaming challenge guessing game he plays with his friends (53:07) MF DOOM is inexplicably popular with Gen Z (56:40) Is Phonte one of the most talented artists around? (59:50) Turn it up to 11, Spinal Tap appreciation (1:02:45) Obligatory Biggie appreciation chat (1:03:45) Biggie ghost wrote every person's lyrics in Junior M.A.F.I.A (1:05:09) Is Biggie a "god"? Must you be dead before your portrait is painted on walls? (1:08:32) Ready to Die vs Life After Death (1:09:12) What's your top 5 albums? (1:10:36) Carter I vs Carter II vs Carter III (1:11:42) Mos Def and Mannie Fresh did an album together? Did Mos revoke his citizenship? (1:12:57) Did Pusha T live in Bethesda, MD? (1:14:18) Nick shares the most apt Nas description of all time (1:15:15) Revisiting the Smithsonian Anthology of Hip Hop and Rap (1:19:50) The run of music circa 2005 (1:21:45) G-Unit discussion (1:25:18) One last Doom story
Valorant Champions, roster moves, and an interview with Rawkus
In a bonus episode, B. Cox looks back at the impact and legacy of Company Flow's debut studio album and underground classic Funcrusher Plus as it turns 25. After negotiating a group friendly deal with Rawkus Records, the Brooklyn trio of Bigg Jus, El-P and Mr. Len crafted a debut that featured an unconventional production and rhyme style over 73 minutes that served as the launching pad for the brief success of Rawkus and also the blueprint for underground hip-hop for the next decade.Visit The Vault Classic Music Reviews Onlinewww.vaultclassicpod.comSupport The Vault Classic Music Review on Buy Me A Coffeehttps://www.buymeacoffee.com/vaultclassicpodShow NotesAlbumism: Company Flow's Debut Album "Funcrusher Plus" Turns 20 | Anniversary Retrospectivehttps://albumism.com/features/tribute-celebrating-20-years-of-company-flow-funcrusher-plusPopMatters: Company Flow "Funcrusher Plus"https://www.popmatters.com/110482-company-flow-funcrusher-plus-2496076296.htmlSupport this podcast at — https://redcircle.com/the-vault-classic-music-reviews-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Vu sur Beatume (85) : (02/04/2022) : Spéciale Talib Kweli « Bonjour à tous, aujourd'hui c'est une émission spéciale Talib Kweli. Originaire de Brooklyn, NY, il a émergé à la fin des années 90 sous le label Rawkus. Une carrière de plus de 20 ans avec des albums devenus des classiques. Que ce soit en solo (Quality), avec le producteur Hi-Tek sous la bannière Reflection Eternal (Train of Thought) […] Cet article provient de Radio AlterNantes FM
Kweli and co-host Jasmin sit down with underground legend Pharoahe Monch to talk about his career up and downs—from the smash success of “Simon Says” to the lawsuit that followed, and beyond. If you're a fan of pure lyricism, you know who Pharoahe Monch is. His layered, searing rhymes have influenced everyone from Kweli himself to Eminem, Proof, and the D12 crew. In this conversation, everyone's favorite rapper's favorite rapper holds nothing back. He gets raw and keeps everything 100—whether he's talking about his “sex bars,” his bout with depression, or the contract frustrations that nearly derailed his career.
They say that time flies when you're having fun. This week's episode was originally recorded 18 months ago. We had some technical difficulties. Local files got corrupted and whatnot, but this episode was so nice, we edited it twice, and here we are. Our guest is a friend of the show and a living legend in our culture. Shortee Blitz is one of the best DJs ever. His list of hits and accolades are longer than the Hammersmith and City line. He's rocked stages with HOF'ers, including De La Soul and LL Cool J and many more. He stays on the radio and his specialist Hip Hop show with DJ MK on Kiss plays actual music instead of favourites. When he's not mashing up the dance with his expert selections, he gets to that TV money nicely. We don't hate the player. Pun intended. Sumit and I got into so much of his business, it was like a police interrogation. We talked about his DJ roots, friendship with Ty, working at Rawkus and a lot more. Follow Sumit Instagram: https://www.instagram.com/hiphopchronicle Twitter: https://www.twitter.com/hiphopchronicle Follow Chris Instagram: https://www.instagram.com/iamkinetik Twitter: https://www.twitter.com/iamkinetik Connect with Breaking Atoms Instagram: https://www.instagram.com/breaktheatoms Facebook: https://www.facebook.com/breaktheatoms Twitter: https://twitter.com/breaktheatoms Website: https://www.breakingatoms.co.uk
Intro: Should we take offense that it's Women's History month? (history has not exactly honored women.) Gina had a rough re-entry from vacation, the Disney enchantment, the expense of having kids, the pleasures of one on one time, Junipero Serra was also a monster, Whitey Bulger, networking. Let Me Run This By You: Is Drag Race sexist?, Sasha Velour, Interview: We talk to Rebecca Spence about Hendrix College, Phantom of the Opera with Linda Eder, Ricky Schroeder and Silver Spoons, Erin Gray, taking the Christmas pageant quite seriously, Syler Thomas, being the preacher's daughter, playing Adelaide in Guys and Dolls and the Stage Manager in Our Town, Tisch, Zelda Fichandler, Mary Beth Fisher, Carmen Roman, Deanna Dunagan, Ora Jones, Amy Morton, Steppenwolf, Goodman Theatre, Every Brilliant Thing, Cyrano at Milwaukee Rep, beauty privilege, aging as an actress, Linda Evangelista, how Rebecca sees herself in terms of the cultural shift in American theatre, the accessibility benefit of digital theatre.FULL TRANSCRIPT (unedited):2 (10s):And I'm Gina Pulice. We went to theater school1 (12s):Together. We survived it, but we didn't quite understand.2 (15s):And it's 20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all.1 (22s):And you will too. Are we famous yet? February one, one month behind my friend one month by,2 (37s):Well, it's March 1st happy women's history month.1 (41s):I didn't even know that's how bad of a woman I am.2 (45s):Oh, well I was just thinking like, should we take offense that it's, you know, black history and women's history, like it's all in the past, you know, like why with both of those groups of people, we don't really want to be in the past.1 (1m 2s):Oh. And in fact there is a t-shirt that says that people love that. I have the same thought that says the future. Wait, the future of film is female. And I'm like, what about the present of film?2 (1m 17s):Right, right. Write1 (1m 19s):About like, I don't have a lot of time. I'm 46. Like what are you talking about the future? I mean, I can't be talking about the future. So I, I think the more we can get things in the present, the better off we are,2 (1m 33s):The better off we are now you're back. I'm back. I'm back. I'm back. I'm back. I did not want to come back. I did not leave my vacation. I did not wanna leave 80 degree weather and no responsibilities and fun all day. And it was our, a free entry1 (1m 53s):Monday, really? For everybody, just2 (1m 55s):You or well, for everybody. But for my part, it was getting in on a very late plane, not getting home till one 30 in the morning. It's two inches of ice on my driveway. So I'm like doing slapstick, trying to get my luggage to my door. My daughter's asleep. Oh my, I took the wrong key. I didn't have the right. I didn't have my house key. I don't know what the key is that I took. And so luckily, I mean, I guess I, nobody knows my address, but luckily we have a door that we often leave unlocked and it was unlocked.2 (2m 45s):So we got in and I got my daughter upstairs and I said, just go to sleep. I'll take care of everything. And she was like, yeah, of course, of course. I'm like, I'm not taking care of anything right now. So I remembered that we had some snow melt. I smelled, I go get it. And of course, when I walked into this door, that's usually unlocked. I immediately locked it saying like, we really shouldn't be leaving this open all the time. Oh my God. I know what's coming. I think, keep going, keep going though. And then I get my little ice smell and I go to the back and I closed the door because it's 20 degrees. And I don't want to let all the more mare out. And I happily salt my steps and get the luggage and bring it back up.2 (3m 30s):And the door was locked because the door was locked and I still don't have a key. And that my daughter is fast asleep. And not only is she slowly, I've already turned on the white noise machine. So if I ring the doorbell, if I had any chance of her hearing me, which it's pretty scant. And in any case, because she's a heavy sleeper, I've now masked the sound and it's cold, it's cold. And you, I immediately would be like, I have to eat this ice melt. That's not sane. That did not occur to me. Here's what occurred to me. I'm wearing leggings a t-shirt and a thin sweatshirt because I was just in 80 degree weather and sneakers.2 (4m 12s):I have no hat. I have no code. I have no gloves. I don't even have a key to the car. That's in the driveway because it's my husband's car. And why would I have a key to that? And we do have a garage code that has been broken for like a year. So I guess I should fix that for next time. I'm in this situation. Yeah. And I just tried ringing the doorbell and I tried yelling her name, you know, from down to like I'm in Romeo and Juliet, just yelling up to her window to the family in Utah. They weren't back. Oh my God.2 (4m 55s):I'm like, what the hell am I going to do? Walk to my neighbors at two in the morning and, and do what use, oh, and I didn't mind my phone was inside of, oh my God. Even if I had my phone, what am I going to do? Call my daughter. She doesn't have a cellphone. So I was in a real quandary. I was, I was in a pickle. So here's what I'd come to. I'm going to throw a heavy Boulder through our glass door so that I could get in. And then I'm going to tape it up with cardboard because I must get inside of my house. And then I remembered that another security breach we have is that our window in our dining room that goes directly onto our porch is never locked and very easy to climb through.2 (5m 43s):So that's what I did. And I didn't get to sleep until 3:00 AM. And that's just, that was just like, that was just, of course that was my reentry. Like there could have been no other reentry because ending your vacation sucks, sucks,1 (5m 60s):Bad. It2 (6m 0s):Really sucks. The greatest period of time is like the two weeks before your vacation, when you're getting psyched and then your vacation. And then for me, about two days before it's over, I'm like, oh God, I have to go.1 (6m 12s):I, I, I mean, you know, we're, I am really bad at transitions. Like I remember as an actor being told that to like, and I remember thinking that, and I remember thinking that's perfect. Like that, that makes perfect sense. I'm not shocked. And it makes perfect sense. I, there were no transitions in my childhood. It was like, you're being thrown here and then you're being thrown it. And so this all makes sense. And also it to be fair, your vacation did look fucking brilliant.2 (6m 43s):Like my vacation was like a1 (6m 46s):Dream.2 (6m 47s):It was like a dream come true. Honestly, like I kept being like, why is this so amazing? And I, I do. I do think, I, I think I understand now why Disney has the stranglehold on everybody's wallets that it does. It's because for many people, it is a place where your childhood is openly defended and encouraged and people don't get that. You know, and most people don't get that in other realms of their life. And you know, there's a lot of adult, only groups of people at Disney.2 (7m 28s):Like I even read a review of our hotel that was complaining about the number of children there. It's a, it's a, it's a, it's called the all star movies. It's like the it's 101 Dalmatian themed and toy story and Fantasia. And I'm thinking, wow, this couple went here thinking, oh,1 (7m 50s):People visionary tear like they without no, no, no. There are. Yeah, no, you're right on eighties. I think you've really, really hit the nail on the head. When you said that it's people's childhood encouraged, like, are you kidding me? Like senior pictures. I was like, oh, I'm going there. And I don't care if I go alone. Like, I don't give a fuck. You're going to see me alone. Wandering through Disneyland. Happy as a fucking clam.2 (8m 19s):Do you like rollercoasters? No. Oh, you don't like roller coasters. I was going to say, well, let's go together because I didn't get to ride one single roller coaster.1 (8m 25s):I will go with you. I would go if I trusted the person, I'm always just like, because I'm so neurotic. I'm like, do I want to die with this person? If I'm with some weird, like, you know, whatever. No I would go with you.2 (8m 40s):Well, let me tell you that. I don't know when the last time you went to like a six flags was, but the difference between your run of the mill amusement park and Disney is like the difference between coach on spirit, airline and first class Emirates. Yeah, exactly. It's just, they really, they really curate the experience for you. And I'm so fascinated by all of the work that has gone into just that, like all of the work that has gone into, and we, we had a classmate at the theater school who worked at Disney before she went to theater school and I'm drawing a blank on her name, blonde blonde hair.2 (9m 23s):And she told us about some of the rules. They have rules about how long your fingernails could be. And they had rules about your earrings and they had rules. I think some of those rules have changed because I'm pretty sure you didn't used to be able to show tattoos. I think you couldn't have dreadlocks before. Like it was a whole thing. It was a whole thing. So, so they've put a lot of effort into preserving the magic, right? Like you can't, there's this underground tunnel system. So you don't see the characters in there. Cause my daughter kept saying, oh, it was so sweet. She said, there's this hotel that's right near the park. And she said, why didn't we stay at that hotel? And I said, because it's like $3,000 a night. And she said, oh, I bet that's where the princess is live.2 (10m 7s):And I said, yeah, maybe. And I, and it was, as you recall, we went through this whole Santa's Easter bunny thing and she's she's hip to that. So I didn't challenge her assumption, but a couple of days later she did. And she said, well, they're not really princesses. They're really people who put on princess dresses. So they probably don't live here. I said, yeah, they probably don't. She said, where do I live? And I said, in an apartment, and I just saw the look on her face, like imagining, you know, Ariel living in her studio in like Florida. Right. And I live in Orlando having gone to theater school and then like, what am I doing? But you know what she's doing? She's fucking making dreams come fucking true is what she's done is like, honestly, it's the Lauren's work.2 (10m 53s):I felt like because they have these opportunities for you to meet the princesses, you know? And these people know their characters so well to the point that I can never hear Cinderella, she talks so quietly. I can never hear what she's saying. The, the girl, the woman who plays Rapunzel, that character talked a million miles an hour, she talks a million miles an hour. They read and they just know the ins and outs of their movies, such that they're constantly referencing. Like when, when we met Jasmine, she said, have you seen my monkey?2 (11m 35s):A pu I mean, and Clarissa was like, no, is she around here? Like, we'll, we'll go look for him. They really draw you in to the world. Do they are master storytellers? That's what they are Disney is. And these people, their whole,1 (11m 54s):I know people that go on Disney cruises that are like, I would live on this boat if I could.2 (12m 2s):Yeah, man. It's so enticing. It, it really is. And I, and I found myself being like, okay, this is like a museum product. It's a vacation. Like, but I think it made it harder to leave Mo a lot of times I have to say, especially since having kids, no offense to my kids. A lot of times when I come back from vacations, I'm like so relieved for it to be over because I've had to do so much work. I mean, traveling with one kid, who's pretty, self-sufficient was very easy to put a whole new spin on a family vacation.1 (12m 38s):It's my new thing, which is one-on-one time. So what I noticed in your pictures and social media was that when it's one-on-one time and I just had my niece here, right? Yes. I want to hear all about that. One-on-one time is so much different than family time. And I never had one-on-one time with either of my parents. Not that I really wanted it, but like, it was always trying to force groups or other families with our family. And I think one-on-one time people don't like to do because it's so intimate. And I, and I get that. But I also think when I saw your pictures, what I noticed was a genuine happiness and a knot in your face and your daughter's face, but also like a fun, it looked like fun.1 (13m 27s):And a lot of times when you see family fucking pictures, everyone looks miserable, miserable, miserable, miserable, miserable, and it's no one's fault, but that is the jam. It is miserable to be in a group.2 (13m 37s):It is miserable. And actually, as we were walking around, she kept saying, why is that? Dad's screaming at his kid? Like there was a moment where somebody was, I didn't observe it, but there was a baby crying. And how she reported it to me was that this mother told the baby to stop crying. And I said, well, you know, we're not having that experience because you're not a baby. And because we're not all together, but we've had a lot of experiences like that. You know, I'm glad that you don't necessarily think, look at that and say, oh, that's just like our family. But that is just like our family when we're all together,1 (14m 17s):It's a dynamic. So this is my whole, my whole like new way of seeing things. Not new way. But like w what helps me get through situation is like, oh, this is a dynamic problem. It is, it is a energetic, interpersonal problem. It's not one, one person's fault. But like, I now will never, I said to my niece, like, I only want to do one on one time with, with each of you. Great2 (14m 45s):Idea. Great idea. So how did that whole thing1 (14m 47s):Come to be? So I really wanted to, so each I have taken my nephew and my niece, the oldest one on solo trips, right. To two different places. But the youngest has never been, and then the pandemic hit. And so I was like, wait a second. This isn't fair. Not that life is fair, but I like to keep things kind of like, I don't want her being like, what the hell? I'm the youngest? Cause I was the youngest. I get it. So I was like, all right, I want a lease to come out here. But by herself, without my sister, without the kids, without George, like, no, no, no, no, no. Also our place is so small. Only one person could fit in it. Right. So a small person.1 (15m 28s):And so I said to my sister for her 13th birthday, which was Sunday, I want to fly Elise out. And so that's what I did. And she, she had president's day, right? So she, she missed one day of school because me and Mr. Davis school to do something with my sister and at least came and we had a blast one-on-one man, I'm all about trying to help the dynamic, not be unmanageable for myself and for others, but I'm really thinking about myself. Like2 (15m 60s):Probably so appreciated the attention she got. Right. Because I'm sure there's not much opportunity for her to get individual attention.1 (16m 8s):It's not practical. It just doesn't happen. There's so much going on. And you know, and, and so we had a blast. Now look, one thing that I was telling my therapist yesterday, I was like, oh, this is what I realized about children. They're fucking a lot of energy, even one brilliant child, right. That is, is just being a child. That's turning 13, no problems. Still, a lot of energy goes out cause she's, you know, and they're fucking expensive. So I don't care. I mean, I don't, I know nothing about, I know 100th of what the costs would be, but I'm like, oh my God.1 (16m 48s):And we weren't even doing crazy shit. We were so like, for people to say like, oh, a family of four or five can live on 50,000, $50,000. I'm like, are you, I spent like $50,000 in three days that I don't have, what are you talking about?2 (17m 3s):This is why, I mean, I have avoided saying miss in the past, but this is why we make so much money and have nothing. I mean, we have our house, we have a house, we own a house and we own cars. Yeah. But we have nothing else. We have nothing else. We have no savings. We have nothing else because 100% of our money goes to this very expensive thing we've chosen to do, which is1 (17m 28s):Yeah. And, and I have so much, I'm like, oh my God. Just even light. Yeah. Just life. Just not even buying. I mean, we didn't go crazy. We didn't go to Beverly Hills. We're not like living. Okay. So we went to, she got in really late Friday night and we went to, then we slept in a little bit. And then we went to the beach, went to my favorite beach, which is a unibrow beach who I found out was a terrible ruler that killed a lot of indigenous people, which is sad. But anyway, yeah. Paradise, Sarah that bad, bad, bad, bad, bad, man. I thought he was a Franciscan monk. I don't know my okay. I don't know.1 (18m 9s):Anyway. So it was like, oh, you know, he killed a bunch of indigenous people. I'm like, oh, that's great. Anyway. So we went to that beach in long beach, my favorite beach. Cause it's super chill. It's not a scene. It's not like Malibu. It's not like it's like down home. I love long beach. Right. And I also have an affinity to long beach because my ex lived there who passed away. So I like long beach, a lot. I have like special memories of that. And so we did that. We went, we ate like I now, because we moved to the pandemic. I had no reference for good food in my, in my neighborhood, in Pasadena, in LA none. So I was like, all right, we're gonna use this as an opportunity to explore dude, look, it has no, it doesn't hold a candle to Chicago.1 (18m 55s):Cause that's just how, you know, Chicago. I always tell people like Chicago is the best food and you'll die of a heart attack, but like, you'll eat the best food. We found great restaurants that we ate at. We, so we did a lot of eating. We did a lot of walking, walking around. We did some walks, some hikes. She obsessed with my dog Doris. And she was really, really good with her. Like trained her. Like she's really, she and her brother are both really into training dogs. So she did a lot of training with Torres, which I kept up zero. And then I just, I just don't care. And then I just don't, that's the truth. And we just really spent time together talking about life and about, you know, her, her life as a 13 year old and teenage stuff.1 (19m 42s):And, but it was, it was only, it was like she got in Friday night, she was here Saturday, all day, Sunday, all day, Monday, all day. She left Tuesday afternoon. I was so exhausted. I was like, I don't know. I have. So again, I have so much respect for her parents and people who are engaged with their kids. That's what I'll say. Like people who actually are trying to fucking be engaged. It's it's insane. I don't know how anyone has time to do anything else. Let me run this by, You know, I go into my little phases with the content I'm consuming and right now I'm really deep into con reconsider.1 (20m 31s):This is an old love that I kind of got away from drag race. Oh, right. Yeah. And I never had this thought before and I'm not, I don't have a judgment about it really either way. It's truly just a curiosity.2 (20m 47s):Curious to know what your thoughts are. Did you ever watch1 (20m 49s):That show? So I watched it a long time ago when it first came out. Did they remounted like, is there's different incarnations?2 (20m 57s):Yeah. They're on like season 13 or something like that. Yeah.1 (21m 0s):I watched it at the beginning when I also got into project runway and I got into America's next top model and all that stuff. Yeah. I, I, it wasn't my thing. It just didn't, it didn't compel me. Like I wanted it to love it and I, it's not, what is it about me? It is that, or the show. It's not my type of reality show in that. I just don't care enough. It's you know, about fat, like the fashion, the fashion. I, I'm more interested in the psychological component and at least at the beginning, it wasn't a huge part of the show.2 (21m 45s):Yeah. Well, for me it is the clue. Remember on star search when they used to have acting that acting component and it was so boring to watch, you know, because it's just not the same as singing and dancing. Right. Even I, as a little kid was like, this is boring. I didn't want to watch the acting part of star search. So we don't have an acting reality competition show. Drag race is the closest thing we have to because drag is theater, you know, it's creating character it's it's and, and there, the art has elevated to such a degree that the people who are really killing it are doing things that you would not imagine are drag and they're not wearing breastplates and they're not, they're just there.2 (22m 37s):And it's part of this whole concept of gender fluidity, which I'm really interested in. But my, my question is, is it inherently sexist that these men are doing female impersonations, right? Because, and a big part of it is the humor. And I just had this mode of being like, wait, is the fundamental conceit here that we're laughing at men being women, because why would you be a woman when you can be a man? I just, yeah, it may not be. And, and many, many drag artists may be feminists may consider themselves feminist.2 (23m 22s):I think RuPaul is not necessarily a feminist and he's not, he's not necessarily anti-racist. I mean, I think he's problematic in his own way, but it just occurred to me like, what am I laughing at this idea about just being a woman? Are we, are we trivializing? And we're making it frivolous.1 (23m 43s):It's so interesting. Like, I mean, think that it goes, what comes to mind is also like, how do the artists identify? Like, do they identify as, as, as non, you know, non-conforming or, or, or, or how, how did they feel?2 (23m 60s):Right. That's been an interesting evolution in the show actually from the first season. I think they they've had, they had at least one person who through the course of doing, it said, actually, I'm not, I don't really want to do drag. I want to be a woman. I am a woman. There's, there's been that. And I haven't really followed it closely, but there has been some controversy about like, well, if you have a woman, a trans woman on the show, then is it still drag? Right. So there's all these questions. I don't really know where that debate sits at the present moment, but I do know that very many people who consider themselves drag artists don't consider themselves men in any way.1 (24m 43s):So it's like, right. I, so that, that then leads me to be super curious about yes, like can cat it become one. It reminded me of Shakespeare when she experienced time pretending to be women. And it was always, you know, women weren't allowed to be actors or whatever, and they, and they also like, you know, they would make fun in a higher sort of, even a intellectual way. They were making fun of the, the weaker sex, whatever. So, yes, I think there's a part of it that we're just laughing at the horror show that is being a woman. And then the other thing that I was thinking about was I think you're onto something when, if we can transform it from being about that, to being about elevating art too.1 (25m 29s):Like when you said things that you wouldn't that piques my interest, wouldn't consider quote, drag. That is like, where I think we're headed in theater, right?2 (25m 38s):Like, oh yes, we must be. I mean, if we are to survive, we must be headed in that way.1 (25m 44s):Can you give me an example of like what, what you wouldn't consider drag that is like,2 (25m 50s):I got there's this drag artists named Sasha Valore and sh I'm right now, I'm on season. I forget if it's eight or nine, it might be nine. And she Sasha the lore does L well, first of all, and I think he identifies as a man. He does his art is political and intellectual. And he's one of these people who doesn't wear fake breasts. He does, he, what he does is he covers his nipples with pastries and, and, but builds the most beautiful garments around a look around an idea blend.2 (26m 31s):And, and it's rough. What I love is when it's referencing so many different things, when he explains his outfit later, he's like, well, this is a reference to Marlena Dietrich. And this is, this is a reference to, you know, the, how the gay culture in Russia exists because it's, you know, it's illegal to dress in drag there and, and homosexuality is not outright illegal, but it's, you know, obviously not a way that you want to go around presenting yourself. It's just this elevated conversation. I mean, the first time I ever saw actual drag was in Las Vegas at a show, I was a teenager and I couldn't believe I'd never seen it before.2 (27m 15s):I couldn't believe how much this man looked like a woman. And that's what the drag was. It was all about pretty much straight forward, like glamor looking as feminine as possible. And it has just come a long way since then. And now it's about, it's really just about embodying characters.1 (27m 34s):So yeah, you love storytelling. So this is what I'm getting at from the Disney thing. And from this is that you love detailed nuance, researched and referenced storytelling. Totally. That is your jam. So2 (27m 51s):It was my mind when, when all of these disparate things can come together into one cohesive piece of art. That's what I like in plays. That's what I like in books. That's what I like him.1 (28m 1s):So that's really interesting to know. Like, I think also like, yeah, for me, what I like is yes, super detailed, specific thought out things like I remember my favorite thing as a kid was pop-up books that had teeny little hidden parts that you wouldn't expect to have a tab that have it. That was my fucking jam. I was like, that is what I like about television is when there's callbacks or references or little Easter eggs, or like where you're like, oh my God, oh my God. Oh my God. Did you notice that the, you know, like I get into that because it means ultimately that people fucking care what they're doing.1 (28m 45s):Yeah,2 (28m 46s):Yeah, yeah. Oh, yes. That's what really gets you. That people care Today on the podcast we are talking to Rebecca, Rebecca is an actor. And if you live in Chicago and see theater, there's a very good chance that you've seen her on more than one occasion in more than one brilliant star Trek. She also does film and television. She's got actually a television series, 61st street. She's in Candyman, that's out in theaters right now.2 (29m 26s):She was in one of my favorite shows, easy, which featured a lot of great Chicago actors. We didn't really talk about any of that. We talked about her as dying love for Chicago theater and her absolute respect for the actors that make it happen. So please enjoy our with Rebecca Spence3 (29m 52s):Podcast or a voiceover.2 (29m 55s):What's the matter with you? Why don't you get with it podcast or be a professional podcast? It's so easy. Honestly, you just break right into the market. You get tons of downloads. And3 (30m 9s):This is what I hear. It's amazing that I haven't jumped on this bandwagon yet. I don't know.2 (30m 14s):I will say the number, the apex of active podcasts or podcasts that were downloadable in the pandemic was 2 million up from 750,000 before the pandemic.3 (30m 29s):I absolutely2 (30m 30s):Believe it's trending back down because I think people realize like it's kind of a lot of work to maintain something every week. So, you know, we're just hoping to get back into that sweet spot. Maybe even less people will do it and we'll get down to like half a million. So then we'll really have a chance. Anyway, congratulations, Rebecca Spence, you survived theater school. Wait, wait. You're, you're looking, you're looking like you don't agree with me.3 (30m 59s):I, I I'd like to reframe it a little bit. I, I survived a theater major. I did not survive the grad school audition process. I Did not into the theater school.2 (31m 18s):We've often said we should call it. We should really call this. I survived my desire to be famous, whether you became famous or not, you know, like you have to contend with your, with your desire for us,1 (31m 29s):Never went to grad school for you went to undergrad and you got a theater major, and then you, and then you went to you, you auditioned for grad schools and didn't get it. What, how could Rebecca Spence that fucking get into grad school? Are you kidding me?3 (31m 43s):No. What I was doing, I didn't have a clue what I was doing. So I, but I can say that my audition process for grad school is what brought me to Chicago and, and made me fall in love with Chicago. And ultimately helps me choose Chicago as a home base, which is where I've had my education. I, my entire education in theater has been through observing and watching people very, very, very good at what they do. And2 (32m 15s):Just observing or asking people. I mean, you said you didn't know what you were doing when you were auditioning, but3 (32m 21s):Yeah, I went to my, I had, I don't know anything to compare it to. I think I had a great theater experience in, at my tiny little school. We had a three professor department and they were wonderful. I, I looked at some conservatories for undergrad and I just wasn't entirely sure if that was what I wanted to do. Cause I didn't know anything about professional theater, not a thing I grew up in, in, in Texas. I had, I think I saw maybe one professional production.3 (33m 2s):I had a friend whose parents were into musicals and they gifted me with an evening to go see Phantom of the opera with Linda ETR of all people. So I'm like, if you're going to get an experience seeing it, that was great. But I knew I wasn't a musical person. I didn't have that kind of gift. And I didn't know what, like I never had seen regional theater. I had never gone to1 (33m 29s):Like a play3 (33m 30s):Play. No, I think my parents took me to a community college production of glass, menagerie,1 (33m 39s):Light fodder for a child have to say like, what is coming forward for me when you're talking about, you're not the first person to say like a musical with the first introduction to any kind of acting and they get a bad rap, sometimes musicals, but they're a gateway for so many kiddos. It's like magic. I'm like obsessed with musicals now.3 (34m 7s):Yeah. I I'm the youngest of three girls by a large margin. My sisters are nine and 11 years older than I am. And so they would put on plays and then stick me in them. So I was kind of dressed up a lot and they'd be like, go say this. And I would do that. And I've got1 (34m 27s):Actors now. What's that? Are3 (34m 29s):They actors now? Okay. No, not at all. No. We just had very active imaginations. And so I, but I loved it. I, I always wanted to be, I had a very active imagination and, and wanted to, I knew I wanted to act like I, I want it to be on silver spoons. Oh,1 (34m 50s):Well, here we are facing. I always, I always thought that the line was here. We are faced to face a Comella silver spoons. Somehow someone informed me that Kamala, wasn't a real word. You guys. And so I was like, wait, what do you, they were like, what did you just say? They're like, say it again. And they were like, you know, that's not the line, but anyway, you want it to be in silver. Did you want to be on like, Ricky's like sister or anything? Like you just wanted to be in that world?3 (35m 26s):Oh no. I had a whole, I had a whole plot line. Oh yeah, no. I was also going to be adopted into the family. Oh yeah. They were, I, I was also going to be adopted into the family, but then of course we were going to become love interest. Of course it's very twisted. I was, I was quite convinced. I, you know, Aaron Gray was going to be my mother. Oh. I also loved buck Rogers. So it was a big club look, Roger. So I kind of followed Erin gray. I thought she was quite possibly the most glamorous woman I'd ever seen. And that's not true.3 (36m 6s):Doris Day was, but I wanted to be parented by1 (36m 13s):Yes. I mean, that's like me and like my modern day telling Brian Cox, I wanted him to be my new father. Right. And that didn't, he was like, people have told me that before. It was actually, it's a real thing. So like, okay, so you, you want it to be that. And then how did that translate Rebecca into like actually studying it? Because like, how did you know? It was a thing3 (36m 37s):I started doing a lot of plays in church. I did a lot of church. Like I was married about 12 times. It feels like, and I remember taking, I remember my like little, my first like actual play. I remember, I think I had been four and I was married and I took it really seriously. And the little boy who was playing Joseph, who also happened to be named Joey was not taking it seriously. And he kept taking his little robe and throwing it over his head. And I remember being livid, absolutely livid. I just was, I was so disappointed because I really felt like I was giving off as many, like holy maternal vibes as I possibly could.3 (37m 26s):And he, he wasn't up to the task.1 (37m 28s):Did you find it, did he get fired or like, did he get recast recast?3 (37m 33s):I I, no. No, no. I mean, my memory is being up in front of the, I don't remember any group kind of rehearsal process. I just remember being up there and holding my little baby doll and feeling very pious Over. And Joey was like screwing with a shepherd.1 (37m 54s):That's fantastic. I am Joey, by the way, I would be the Joey. I'd be like doing dance moves and they'd be like this one, but here's the thing3 (38m 3s):Laughing. And that's why it was because people were laughing and they, you know, he was drawing attention and laughing. And I was like, I don't remember this being a comedy. This is a comment1 (38m 19s):Here's, what's interesting about that story for me is that you w I've never worked with you as an actor, but I know from being around you and seeing you work, that you are not enough, and this is not, well, I'll just say it like, you are like a consummate per actor. Like you, you take this shit seriously, which I adore, which I actually learned from people like that. But like, you are very kind and lovely, but you also are a fucking professional actor. And there is like, I know that sounds so obvious, but you know what I mean? Like there are people like Joey that fuck around at age four, which is fine. He's four. But like the fact that you didn't fuck around as Mary at age four, I think is actually an important thing in your, in your history because you take this shit seriously.1 (39m 7s):Also. You're like you work all the time, which is fantastic, which I don't think there's a coincidence there. That's all I'm saying. That's all. Yeah.3 (39m 19s):Thank you. I mean, I knew I wanted to do, I played a lot alone. I mean, I was alone all the time. So I was constantly like perfecting different personalities. I mean, because I moved as much as I did, we moved every two and a half to three years. I had like an opportunity to like, be put into different scenarios. And that was just like a playground for me to, to, well, first of all, it was survival. It was trying to figure out where am I? How do I fit in? How do I make friends? What what's like that group of people doing and how do I sort of evolve and adapt. So that they'll speak to me.1 (39m 57s):Did you move because of your family? Were you a military situation?3 (40m 2s):God's military? My, my father was an Episcopal priest, tiny segue. I listened to your podcasts and I'm the one that, that I just delighted and was listening to Siler. Thomas. I knew Siler Thomas from church camp. I had no idea Seiler Thomas. Wasn't cool. We, I grew up sort of adjacent to, to him. He's older than I am. So he was in a much like cooler hipper, older church crap. And, but we went to like all of the same, like regional functional things.3 (40m 47s):Cause my father was an Episcopal priest. And so he was very active in youth stuff. And so I went with him. That's how I know Seiler camp counselor. And I was a camper and I had no clue that he was a theater person. No, I can't2 (41m 5s):Wait to tell him. I can't wait to tell him3 (41m 7s):We reconnected sort of over Facebook, but I haven't seen him, but I listened to his entire podcast and I, I, I got really, I got really excited.2 (41m 15s):Yeah. Yeah. He's, he's fantastic. What I would have done if I had to move every couple of years is I would have pretended that I was British. When I came to a new school. Did you ever adopt new, like a really different3 (41m 31s):Personality? No, I couldn't. We were always sort of presented, like we were kind of presented as a family so that wouldn't have ever worked out for me. I did have a friend though in the sixth grade, my friend, Susan. And it was the first time we in, I was in Waco, Texas, and we went to all the sixth graders, went to one school for me, entire city were busted into a sixth grade center and we would rotate classes and she, and I would come up with like each class that we were in. We would have completely different personalities. We would like today where the really loud Rawkus girls and today were very shy and reserved, but today where the pranksters.3 (42m 17s):And1 (42m 18s):So you did go to theater school cause that's all we did. So there2 (42m 23s):Starting at four years old, you started your year to school3 (42m 25s):Training.2 (42m 28s):Yeah. So when you finally, when it was time for college, you were considering conservatories, but decided not to. How did you pick the school that you went to Hendrix?3 (42m 41s):I picked Hendricks because they had a theater program and my parents said that I had to be within a day's drive. And so they said, we can, you can go to school, but we have to be able to be able to drive to you within 12 hours, if anything happens. So I went 10 and a half hours away to two Hendricks college in Arkansas and had a pretty campus. And I, I knew, I, I knew I wanted to do theater. I had started doing more professional place, not professional, but, but really high quality plays in high school.3 (43m 21s):And I knew that I wanted to keep doing that. I really loved it. I just sort of disappeared into that. And that was, that was a safe way to build quick family, you know, do you found your people really fast? And I, I, that, that felt good to me. So I really enjoyed it. And2 (43m 41s):Were they known for having a great theater department?3 (43m 45s):No, but they built, so I did my freshman year, we moved in the middle of my eighth grade year and I had one freshman year in a, in a really small, small town in Southeast Texas or S yeah, it was near the coast and that didn't, that didn't go so well for me. And I ended up being sent to boarding school.1 (44m 13s):What did you do? Were you depressed?3 (44m 15s):Very poor choices and trying to, in trying to, to fit in, what is it,1 (44m 21s):Does that mean? What does that mean? Did you smoke cigarettes or like kill people? What happened like3 (44m 27s):In the middle? No, I, I had some substance stuff happened. I found the substances are pretty early in like, like an eighth grade. Yeah, yeah, yeah, no. I mean, we, we lived in the town that I lived in was known for grass farming and rodeo, and we didn't have anything to do. There was no, there was no movie theater. We didn't have a Walmart. We didn't have a skating rink there. It was,1 (44m 57s):It's like Footloose the toast.3 (44m 60s):So what we did is we went out to fields and drank like, that's true. That was what you did. So I, I, I wanted to do that. So I drank a lot and then I got caught a lot. And so my parents had a panic and sent me to boarding school in Austin, which they had a, really a growing theater department. And by the time I graduated, they had built this huge complex. So my senior year was the first year they sort of became an art school. So I kind of said goodbye. I mean, our first production was like, I remember they flew in some flats from Las Vegas.3 (45m 42s):I want to say we did guys and dolls, but we had like actual professional flats. And it was like my senior year. I was like, oh my God1 (45m 51s):Star, were you the star Rebecca? I was3 (45m 53s):Adelaide Adelaide. And then I got to be the stage manager in our town. So that was, but of course I, I didn't know what that meant. I wanted to be Emily,1 (46m 5s):Emily, of course. And then there were3 (46m 7s):Like stage manager and I was like, what? I'm stage managing the play? Like, I clearly hadn't read the whole play. I just read what I was like. I didn't know that that meant I had more to do. And it ended up being like a really, really meaningful, beautiful experience.2 (46m 24s):And just getting back to like the making. Cause I, I really love talking about making bad decisions. Would you say that you kind of did the, there is a trope of a preacher's daughter getting in to trouble? Is that what happened to you? Yeah, it was a rebellion against,3 (46m 43s):I mean, I, I just, you know, is there either the really, really good girl or the really, really bad girl and I, I, I didn't want to be the really, really,1 (46m 56s):Really hard position to be like, I can't imagine, like, even if your parents are like the nicest people there, again, there's a status thing that happens when there's someone in the community is touted as a certain thing. Like it's like royalty a little bit in America. Like we don't have, you know, so it's like you it's like, and then you're expected to behave a certain way. And as much as I had, like, I would say very little care and guidance in some ways I also didn't have a lot of pressure to be a certain way because we were all just like, there was no title. Like my parents didn't do anything. So it's, it's a tricky situation. But what I'm, what I'm also noticing is that the, the poor decision making and the drinking and they're getting caught actually was, it led to some really good fucking theater like that.1 (47m 46s):You went to Austin and you got to do like really good acting work. So it worked. I mean, you know, it wasn't a, it wasn't an all a bad thing. So you were like, yes,3 (47m 58s):I have learned more from my, my failures than I have ever learned from my successes. And I've had a lot of failures. I've had a lot of,1 (48m 8s):You know, something that I can speak to from being in like an insider in Chicago or formerly, and now in California, but being at a Chicago actor is like, everybody, I want to talk about the pressure in Chicago. So you are one of those people in Chicago that everyone's like, oh, Rebecca Spence books, everything. And I know it's not, I listen. I'm not saying it's true. This is what I'm saying. Let's get to the heart of the thing that I want to ask, which is from being on the I'm now on the outside looking in. Right. So what is it like? Cause that's always something that I heard and it has actually very little to do with you with other people's shit.1 (48m 48s):Right? It's not, I'm not saying you are doing anything, but what I'm asking as a woman and a performer, what is it like? And it's easy for me to do now because I'm in LA. So I don't give a, you know, like it's like, what does it feel like to have that kind of pressure of people, first of all, are you aware of it? That people are like Rebecca spins, books, everything. And then how does that affect you? And do you want to tell them to go fuck off? Or are you like, I work really hard.3 (49m 14s):Well, this, if this I'll take it two steps back, because this is a Testament to how much I, I love and admire Chicago theater. My understanding, I, I didn't get into theater school because I sabotage my auditions because I didn't know what kind of an actor I wanted to be. I actually, I choked. I freaked out because I thought that if you wanted to be an actor that meant that you wanted to be famous. And, and so I went to NYU, I came to Chicago to audition for theater school that I did the errata and auditioned for NYU Tisch.3 (49m 56s):And then I crashed the Harvard art. I didn't know you could crash. And somebody said you did. So I just got in line and I crashed the Harvard auditions. I made it to the final rounds of, of Tish. And I flew to New York and had a solid panic attack. I just, I didn't know anything about New York. I had, I came from tiny town in Texas. I had never been to Chicago. I had never been to New York. I didn't have a smartphone. I didn't know how to get around. I, I met Zelda. I met, you know, I did all the stuff. I was like, I can't afford this. I don't, I don't know what this is. I don't know what I'm doing. And I, I P I straight up chokes and, and really sabotage my own audition.3 (50m 40s):But I liked Chicago and my husband got a job here and we moved here and then somebody said, you know, I needed to find a job. I didn't even know. They were like, what about the Goodman theater? And I, I was like, I don't even know what that is. And I didn't know what, like actual regional theater was. And I ended up getting a job in development at, at the Goodman theater, because I was too scared to act. Cause I thought I don't actually know what I'm doing. I didn't know how to do like prepare a monologue very well. I had done that my senior year in college. Like we prepared one monologue. I didn't know like how to go through that whole process. But I started working at the Goodman. I started watching, I saw Chicago actors come on stage.3 (51m 24s):And it was people like Mary Beth Fisher, people like Carmen, Roman people like Deanna Dunnigan. Like people, people like Ora Jones. Like that was when I started hearing when they were like, oh, oh, oh my God. Or Jones is going to be on say, oh my God, Amy Morton. I'm like, who wait, who are these people who wait, who are these people? And like, people that I started hanging out like the theater crowd, when they started speaking about these people and their work ethic, I was like, that's what I want. I want to be a well-respected name in a medium sized town.3 (52m 5s):That's that to me is how I know I've made it. If people are like, oh, oh, we want to go see that show because I guarantee you, you're going to see someone who has put in the time, put in the effort, they're going to bring nuance. They're going to bring, you know, a craft to it. That was my goal. That's. And so when I hear that, there's part of me, that's like, I still don't know what I'm doing, but the little ego part in the back of my brain is like, it's what we've always wanted.1 (52m 38s):Yeah, no.3 (52m 39s):I wanted to be a respected actor in a town that who, whose work? I respect so much. I fucking love Chicago actors. And I love Chicago theater. I don't think there's any better theater in the country. I think that, that the work ethic and the quality of people that go in and do the work and bring, bring their hearts and their souls to it. That's all I've ever wanted to be a part of. So when you say, when you're like, oh, she works all the time. I'm like, I, I, I don't, I mean, I do work, but there's part of me. It's like, oh my God, maybe we're doing it. Maybe1 (53m 17s):I can tell you right now, Rebecca Spence, that you are doing the thing. Because when I saw you in, what was it? Every brilliant thing is that the, It was, it was beautiful. And when I saw it, I was like, oh yeah, this is why she, she books. She works all the time. It's all relative. Right. But that thing of she works all the time. But like, this is why it actually is because you're good at what you do. And you're also, like you said, you actually really care about the thing we were talking about. Caring, like Disney really cares how they take care of their parks. Like, that's a, that's a segue, but like, that's the, the point is that you, you, the care that you put into your, your art is very desirable, right?1 (54m 5s):Like people want to work with that. And I think in Chicago, there is this sense of, we're just sometimes we're just there to make it to the next place. But what it sounds like for you is like, this is your place3 (54m 18s):I'm here. Like this is, I have no desire to move to New York. I have no desire to move. I'm doing exactly what I always like. I'm doing more than I ever thought I ever hoped that I could do.2 (54m 33s):Like, wow.1 (54m 34s):I mean,3 (54m 35s):I ever thought that I hook could hope to do so. I am. I'm always really grateful because I,2 (54m 46s):Yeah, honestly, I, I really think that more people could stand to do that, to have as their goal. You know what, one of the things that has come out of this glut of information put out us all the time is this concept of like exceptionalism and that you only really hear reflected or, or echoed or amplified stories of people who are exceptional. People who make millions of dollars or people who, whatever graduate Harvard when they're 10 years old. And it, one of the casualties of it is that I think people who are forming their identities don't necessarily get enough examples of people who are achieving anything in the middle, you know, any kind of other success.2 (55m 36s):And, and we know how much these extreme successes lead to like tragedy. In a lot of cases, we'd be doing ourselves a favor. If we could put more stories of like, I aimed for this thing, that is not the, you know, the outer limit, but is, you know, difficult to do, but was obtainable for me. I think that would be,1 (55m 57s):I think it's so good. And I think that the, the also the, the irony or whatever it is is that now you, you, in terms of, in terms of film and television, you do book that work too, but it's not because your it's like you, that was your goal. And, and all this theater stuff is just sort of there it's like that work comes because of the, what you have done build the platform. And I think Gina, what you're speaking about is nobody's building the fucking platform on which to stand. So it's like all of a sudden, they're just catapulted on this platform at the top of the sky, and there's nowhere to go, but fall. Right. So you've done the work to build the platform, Rebecca.1 (56m 40s):And I think that that's, that's rare that doesn't happen. And I think that's fricking amazing because you have something to stand on. You're not like floating in LA like on a pedestal about,3 (56m 53s):I wouldn't do well in LA. I don't think I, I don't think I would do well there. I could maybe hang out in New York, but I don't think LA would, I liked LA. I went out there for just a brief moment just to see what it felt like. And people are like, oh, you're going to love it, or you're going to hate it. And I didn't feel either way. I, I liked it. I mean, I, I, wasn't responsible for living there and getting rent, paying rent. I was staying in a friend's pool house. And so I had a place to live for a month and I had one audition. So I hiked, it did a lot of hiking, which was great. And I found little pockets there, but I've thought, I don't think I could live in a town that is just constantly cycling around one industry.3 (57m 41s):And that was kind of how I've always operated. I didn't want to go to a conservatory because I was like, there's way more to me than just acting like, I, I love, I, I like, I love what I do it's but it's not the only thing that drives me. Like I like theater and acting is, is the thing that I love most, most of all, but I really there, I love Chicago, so there's so much more to do than just2 (58m 10s):So true. So I keep thinking about a little Rebecca and little Joey, we've heard a lot of stories about people who, when they were in college, feeling resentful about P other people who they felt like didn't take it seriously enough people, you know, like a common thing is a person who had to work really hard to get a full ride because they couldn't have afforded it to go to college otherwise. And then to be there with people who are partying instead of, you know, spending a hundred percent of their time dedicated to what they're doing. Does that come up for you now working on something now, do you encounter people who you feel maybe aren't fully appreciating the opportunity they're being given or, or at this level now, are you mostly with people who take it very seriously to,3 (59m 3s):Yeah, I haven't had that. And I mean, most of the people that I work with are really just so excited to be in the room. I mean, I, I, I th I can think of one instance when I was doing non-equity theater in a basement somewhere for, for, I was the only female in the entire, in the entire production, like cast, crew, everything. It was, it was me. And it was a bunch of guys that were kind of jerking around a little bit and it affected, it was like a really serious play.3 (59m 45s):And I remember one of them pulled up a pretty, I don't want to say dangerous, dangerous is too extreme of a term, but it was a play. It was days of wine and roses, which was, and you know, where I have to, the character ends up drink in some, but they, they changed the bottle and put actual alcohol in it onstage, and didn't tell me. And so I chugged and had like a thing of alcohol and I was like, and nobody would fess up to it. Like nobody who did, who did it? Y'all who did that? Just like tell me, and no one would, would, would fess up to it.3 (1h 0m 26s):And then I was like, this sucks. Yeah. That's actually, that's the only time I can think of when I was like, I'm, I'm putting my heart and soul into it for the most part. No, I've never, I thought, what about upset or like, is everyone you're working with really like, to joke around too. I mean, I, yeah, what I do on stage, I take very silly, but I love to play. I'm a prankster. I liked to, I I'm very silly. I like to be silly. I, I love people that are having a fantastic time. And when I know that it's not like messing up somebody else's process I'll jump right in.3 (1h 1m 7s):Cause I, I like it. So I haven't had any, what's a, what's a favorite project. Gosh, there've been, there've been a lot. I did a production of a three person Cyrano up at Milwaukee rep and it was the first time I'd ever left Chicago. And we did a three person version of, of Cyrano where we did made all of the sound effects ourselves.3 (1h 1m 49s):And so we switched characters and jumped and I had never done anything like that of like sort of it wasn't devised, but it, it, it was much more deconstructed than anything that I had ever been a part of. And it was, and we toured it. We toured it all around Wisconsin and into Minnesota and I'd, I'd never done it. I'd never done summer stock. I had never done anything like that. And we were this little Merry band of three, plus our manager in a, in a van driving all over making, you know, I was, we would do the sword fights and I would, I would use the foils and make all the sound effects and sheets.3 (1h 2m 30s):And I just thought that was, it was, it was a great time. I love it.1 (1h 2m 34s):Why did you love it? Like what, what you just love doing the like, cause it was the first time you did it or like what was the feeling that you were like, this is fucking awesome. Wow.3 (1h 2m 44s):Creative thing. And we surprise so many people because we made like the set was made out of ladders and like we would make the set and I love surprising the audience cause they would come in, they'd be like, what the, what is this? Like, are you like, oh God, we're gonna watch people like create out of boxes. See it, like, you're going to take me on one of these like craft paper theater projects and what am I getting myself into? And with just like a little thing of twinkle lights and we, and I was working with these two phenomenal actors, Reese, Madigan, and Ted Daisy, who work at Milwaukee rep all the time out and, and Oregon Shakespeare.3 (1h 3m 25s):And they do a lot of Oregon Shakespeare work. And we just played, we played in, played in, played in plate. It was, it was playing. And yet then we would have these like gut punch moments and it, I had just never done anything like that. I had always been put in sort of very traditional roles and nobody usually allowed me to step outside of those boxes. And I, I did it and had such, such a good time doing it.1 (1h 3m 53s):That leads me to my question about beauty. Okay. So I'm obsessed with this idea of beauty as, as a, as it relates to how people that are, are how we relate to our own beauty or feeling lack thereof or so, you know, you, I would say for me, you like a stunning, stunning woman. And, and I would like to know what is your relationship like? I mean, it's a very, it's a very intense question, but I am obsessed with it. What is your relationship like to your own idea of your beauty? Because people, because what you said, really trait triggered something in me of like people usually put me in these traditional roles, which to me means like beautiful wife, a beautiful mother, a girlfriend, a blah.1 (1h 4m 46s):And as you age, like talk all about that because people will say like Rebecca Spence is gorgeous and I agree and I want to know what is it like? And I guess it's sort of hard if you're the fish in the water, but like tell me, what's your relationship like to the way your own looks?3 (1h 5m 2s):Sure. You know, I, I, I fully acknowledged that I've had duty privilege. Like I've fully acknowledged that that has been a part of my progress. And you know, it has been something that has put me in roles. Like I was never the ingenue ever. I was never the Juliet. I was always the lady capital. I was always, cause I had always had a lower register and I always looked mature. I had a very classic features. And so I was always like lady Croom, lady Capulets.3 (1h 5m 43s):I was always like the bitter aunt. And it's kind of, I was Jean Brody, you know, like I got to, to have these sort of larger power play or things, which I always wanted. I wanted to play more powerful than I wanted to play pretty because I knew that I was always viewed as such. And you know, it's, I know that I've been allowed into a lot of rooms because of how I look. I think maybe that's why my drive is so strong because I want to back it up.3 (1h 6m 24s):Like I don't, it's very important to me that I bring work ethic and integrity and talent to, to, to that so that as I age and as I grow and as this goes away or transforms and evolves that I'm leaning more on, on, on the thing behind it. And, and aging as, as someone who is it's real, like it's, it's a real ego check when you were always called in for the beautiful wife and now you're starting to be called in for, you know, other roles.3 (1h 7m 11s):And, and this isn't a it's I know how it sounds like I always like know and feel1 (1h 7m 18s):No, no, no, no. Here's the thing. You're the one, you're the first person that we've talked to that we've said like, Hey, like I remember we interviewed someone and Gina brought this up to someone and was like, you're very beautiful. Like, what's it like to, and the person could not acknowledge that they, because they were, I think, I don't know what was going on. I assume they were afraid to sound vain, but here's the thing. It doesn't sound any kind of way. What sounds, what it sounds is like, you're trying to make sense of the way the world sees you, which actually isn't about you either. It's like, and yet acknowledge the privilege.1 (1h 8m 0s):So you're the first woman that we've talked to that has said, yeah, like I acknowledged like this got me into rooms, but I want to back it up instead of pretending that it doesn't exist. Right. Because,3 (1h 8m 12s):Because for anybody to lie, I, you know, I remember being, I remember being in a room and I was like, I was like, you're beautiful. And she was like, oh, I just am fat. And I'm like, come on. You know, I was like, come on, don't do it. Like it doesn't, it's, it's, it's so insulting to people that, that, that, that, like, let's be the thing I've tried to do is truly be objective about my work and, and who I like to. So you have to be objective about, like, I know what I look like. I know what I bring in, so what else do I add to it?3 (1h 8m 52s):And I it's something that I will never forget because, and after that, I know when we were very young, who is doing really, really well right now, and she is, you know, a self identified fat actress and like that, that is how she works in the world. And it's, she's, she's just phenomenal. But she was the daughter of a, of a beauty queen. Like her mother was a beautiful, beautiful woman. And she was like having to grow up with, you know, under, under someone that was beautiful. She's like I had to watch watching her age was one of the most painful things I could have ever witnessed because she was so used to being the most beautiful woman in the world, in the room.3 (1h 9m 42s):Like that was her identity was she didn't have to do too much else because she was the most beautiful woman in the room. And when she aged and those things started to fade it, she had sort of lost her identity. And that, that conversation has stuck with me for forever. I was like, don't ever be the person that, that your exterior is the only thing you have.2 (1h 10m 4s):Yeah. Well, I mean, I think it's awesome. I think it's fantastic that you acknowledge your beauty privilege, but I also acknowledge that there is a prison aspect to it too, or certainly when one is young, you know, where you can only be considered, you know, for a certain type of role, it can be just as limiting. And then if you go to that,3 (1h 10m 28s):Because of it, I mean, I I've been told, I lost I've lost roles where something is really, really, really excited about. And they were like, you're too, you are too classically attractive to be relatable. And I was like,2 (1h 10m 45s):Yeah,3 (1h 10m 46s):Being relatable is my jam. Right, right. What I worked so hard to do, I wouldn't be relatable. And I'm, you won't allow me out of that. And then of course, you know, I've got to sit back and I'm like, look, people have to face this kind of feedback on a completely dip. So, you know, I was like, then I mean that it sucked. And I, and I grieved that. I was like, but, but this is this industry that, and other people face that in tote for D for a myriad of different other reasons, they are told based off of how they look that they aren't right for the role. And I, I always knew that, but I was like, God, that sucks.1 (1h 11m 26s):And I'm thinking of like, yeah. And, and,3 (1h 11m 31s):And know it. And you don't want to tell anybody about it because no one, no one's going to be like, oh, that's horrible.1 (1h 11m 37s):Right. Right. I mean, it's this thing of you don't of course you don't want to, but I'm also just aware of like, like, I was obsessed with this whole story of Linda Evangelista who got face surgery, and then she finally showed her face and she looks fucking fine to me. Like, it's not about that. It's not about her face. It was about, it was no, no. I mean, literally it she's. I read the whole thing too. She, she calls herself deformed. She has like some fat that comes up over her bra3 (1h 12m 13s):Solidified. It's hard. Like, oh, that's true. Yeah. It's painful and hard. And,1 (1h 12m 20s):But the thing is like the, it is for me, what, what it brought forward was like from the outside, right outside, looking at Linda Evangelista, she's still one of the most beautiful people I've ever seen with her without her deformity. But it doesn't matter because she is not her identity was this model. Right. Which probably screwed her for life and also offered her privileges beyond my wildest dreams. Both are true. So I guess what it brings forward is like, everything about this journey is a combo fucking platter. You kinda have the privilege of beauty without also being in a prison.1 (1h 13m 1s):You cannot have the privilege of, you know, like for me, I kind of have the compassion that I have for humans. If I had not gone through what I had gone through as a child, especially an overweight child, like gum, it comes together. And I think we're so used to seeing people as, oh, that's Rebecca Spence. This is what she does. And this is how her life, it's not that way. And I think that's one of my life goals is to just show people through my writing and my work. Like this is a fucking combo platter. People like you don't get one way, like Linda Evangelista said, she feels like the most ugly person. And she acknowledged that she was a model and made millions of dollars doing it.1 (1h 13m 42s):So like, it's both, you're both, you're both things I give you permission. I give everyone permission to have both the prison and the privilege. I know it's not my job to do, but that's what I would wish on the world if I was running shit, which I'm not. So there we go. But anyway, that's my rant about you. I just really am focused on like asking women, especially like, what is it like, you know, especially as we get older to like change and it's a real3 (1h 14m 10s):Ego knock, I'm, you know, I'm not going to lie. I, I filmed something recently and I, my son went on, said, took a picture of the monitor and gave it to me. I was like, you know, I was like, oh shit. Okay.
Howie and Curtis discuss: R.I.Ps (Cody McLaggan, Blacastan(Demigodz)), Kayne doc, Bow Wow last album on the Row, Russia v Ukraine. QOTD: What if Kayne went to Rawkus instead of Roc-a-Fella? Don't forget to like, share and subscribe. This is dedicated to Cody McLaggan...R.I.P --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
From the window to the wall. This week, Jimmy and Larry are getting together a bit earlier than usual to discuss throwing fastballs at the strip club with your girlfriend at 4:30 in the morning, wearing a bathrobe in public, quirked up white boy origins, pre-lunch cocktails, upcoming merch, fashion's lax cancellation policy, bodega credit card minimums, group chat supremacy, NYC neighbor madness, making cool guys in a lab, the demise of Julia Fox, finally getting air fryerpilled, a deluge of embarrassing on mic moments, ska, Supreme's new creative director Tremaine Emory, Denim Tears, Awake, one-sided beefs, commenting on celebrity Instagram posts, designing for the black gaze, the skeet generational divide, joining your high school's step team, the 2k22 leather wave continuing to roll on, Noah, making J.Crew great again, what are losers wearing these days, a Jeen-yuhs: A Kanye Trilogy episode 1 review, backpack rap, Rawkus vs. Roc-A-Fella, throwback jersey era fashion and much more. For more Throwing Fits, check us out on Patreon: www.patreon.com/throwingfits. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
A tribute to Rawkus Records. Mos Def, Kweli, Common, Dilla, Pharaoh...What's understood ain't gotta be explained.
Community Support and Building In this episode, I speak with Mike Porter, my comic book store guy about how community impacts artists and the need to build a community around yourself. Although Mike didn't think of himself as an artist, I thought it was important to have him speak about the impact of community on his business and practice as a shop owner and burgeoning writer. Hello friend, this is Timothy Kimo Brien your head instigator at Create Art Podcast where I bring my 20 years in art and education to help you tame your inner critic and create more than you consume. In 2022 I am rebroadcasting my former podcast KDOI Podcast here so you can catch up on what we have been doing for the past 4 years. KDOI Podcast was my first serious attempt at podcasting after spending many years just creating content without regard to the final product. KDOI started in 2016 and had 3 seasons until I closed it down in 2019. I wanted to make sure that these gems didn't get relegated to my external hard drives, so here you go, there will be interviews, commentary, and projects that you can do for yourself. Enjoy these rebroadcasts and Create More Than You Consume. This episode is about the novel, so enjoy. Topics Discussed Definition of Community : a unified body of individuals, the people with common interests living in a particular area. A group of people with a common characteristic or interest living together within a larger society, a body of persons of common and especially professional interests scattered throughout a larger society, a body of persons or nations having a common history or a common social economic and political interests. A group linked by a common policy, joint ownership, or participation social activity, Quote from Gothe on Community : The world is so empty. If one thinks only of mountains, rivers, and cities, but to know someone who thinks feels with us and who through distance and who though distance is close to us in spirit, this makes the earth for us and in the inhabited. Quote From Fred Rogers on community : Reaching Out To reach out to me, email timothy@createartpodcast.com I would love to hear about your journey and what you are working on. If you would like to be on the show or have me discuss a topic that is giving you trouble write in and let's start that conversation. Email: timothy@createartpodcast.com YouTube Channel: Create Art Podcast YT Channel IG: @createartpodcast Twitter: @createartpod Transcripts of the show KDOI Rebroadcast Conversations On Community with Mike Porter Tim: Create art podcast. KDOI rebroadcast conversations on community with like Porter. Hello friends. This is Timothy Kimo. Brian, your head instigator for create art podcast where I use my twenty years. Plus. From my experiences in the arts and education world to help you tame your inner critic and create more than you consume. Now, a few years ago, I used to run a podcast called K D O I podcasts, which stood for Kimo's den of iniquity. I closed down that podcast and started up create art podcast because I felt. That is a better way to communicate to you what this podcast is about. So in 2022, I'll be rebroadcasting season three of Katie or podcasting. Now for this episode, I'll be talking with Mike Porter and we're going to be discussing community. And in each of these episodes, I start off with the definition of community and then two quotes. And then I talked to my guest to see what their opinion is on that topic. So I hope you enjoy. Welcome back friends. Welcome to KDOI podcasting Kimo's den of iniquity, where we create more than we consume. I am your head instigator, Timothy Kimo, Brian, many times creating art is done in an imposed isolation or away from our audience. When we do that, we can often feel like we're the only person doing the art we are doing. And we may never find our intended audience. It's important to find our community, to learn, to challenge and to inspire our creativity. I never went to conferences while in college, but since I left academia, I've gone to three conferences in two years about podcasting. Now, each time. The other weirdos that do what I do. I have a sense of family that I'm not the only crazy one out there doing this. It makes me want to push through blockages and create more. Now let's listen to what Merriam Webster says, a unified body of individuals, the people with common interests living in a particular area. A group of people with a common characteristic or interest living together within a larger society, a body of persons of common and especially professional interests scattered throughout a larger society, a body of persons or nations having a common history or a common social economic and political interests. A group linked by a common policy, joint ownership, or participation social activity, our quotes come from Goethe or girthy. However, you'd like to pronounce his name. The world is so empty. If one thinks only of mountains, rivers, and cities, but to know someone who thinks feels with us and who through distance and who though distance is close to us in spirit, this makes the earth for us and in the inhabited. We also have Fred Rogers, Mr. Rogers, to the most of us, we live in a world in which we need to share responsibility. It is easy to say it's not my child at my community, not my world, not my problem. Then there are those who see the need and respond. I consider those people. My heroes Guthy was a German writer in state. Is works, include four novels, epic and lyric poetry, prose, verse dramas, memoirs, autobiography, literary, and aesthetic criticism, and true to seize on botany and anatomy and color. Fred Rogers, otherwise known as Mr. Rogers was an American television personality, musician, puppeteer writer, producer, and I didn't know this Presbyterian minister. Dictionary definition was very long-winded. But what really spoke to me was body of persons of common and a specifically professional interests scattered throughout through a larger society. You know, we have shared interest in our exploration in inter interpretation of art. Yes, we are all over the world and we can always find a kindred soul that. For me, you can't go wrong with Fred Rogers. We do have a shared responsibility and isn't it great to know that we can help each other out. In fact, many artists I know are only too happy to help other artists out with supplies or a space to express themselves. Just like I'm doing here today. So let's get this conversation started. Mike Porter: making off of your art. Do you consider yourself a professional artist? Tim: All right, so it's $400. $400 a year. Is it 400 American or 400 Canadian or 400 Australian? It's $400 American Mike Porter: wise, unless you're a dual citizen and you're living in Australia, in which case it's whatever their tax codes is. Tim: Well, why does it have to be 400 Mike Porter: American? Because that is the amount Tim: that, but who determines that it has to be American, who is the determining factor who was saying that it has to be 400. Who says that the government they get, what, which government, the American government, why is Mike Porter: there an American government? There is definitely an off and on occasionally, Tim: every four years might be an American government. We get an extra day. If we want to be open. I like being open. I'm all about giving and being open Mike Porter: and honest. Tim: Oh no, I don't know. I didn't say that. No, Mike Porter: no, no, no. So open and dishonest, ask me anything. I'll tell you anything. Not necessarily the truth openly Tim: dishonest is a beautiful thing. Openly dishonest. That's that's the way I like to be. That's that's what I'm going to run my platform on that you are going to be the head Mike Porter: off, right? Except that can't be because I'm a Canadian citizen. Tim: That's. That's okay. We're going to run you for president. I'll be your vice president. And when you are elected, then you can just kind of go. I Mike Porter: don't, I don't even think I Tim: can run. Sure. You care. Anybody can run. No, Mike Porter: I think you have to be with the 35 years old and an American citizen Tim: technicalities, or you can run, you just can't win. Mike Porter: I don't think that's true. I think this is one of those openly dishonest. It sounds good. Tim: And folks, you have tuned into another episode of K D O I podcast, where we create more than we consume. And as you know, I'm Timothy Kimo. Brian and I have with me here are wonderful merchants of mercy, our purveyor of books of glean and happiness. Mr. Mike Porter with now is little fish, still an official thing, or is it not Mike Porter: a little fish? Comics died? Sasha's dead. I do have a secret nerd Panda, which is up and running. It is doing okay. But you can find me in person at Sage manages game evening, Tim: which we just came from this very afternoon before we recorded this podcast. And it was a very mirthful place. It, it, there's a lot of happiness in that place Mike Porter: For the people coming in. Yes. For the employees, not so much. Tim: See folks. That's why, when you go into these places, you need to provide either mirth or leave the employees. Don't feed the employees, help Mike Porter: feed Tim: what kind of food. Provide you with a sustainable amount of happiness for about two hours. Mike Porter: We do have a one customer who is a professional chef and he brings me pastries, apple pastries all the time. And I appreciate him very much. Tim: You know, so folks pastries, if you go into Sage manners, pastries is the way to go. Mike Porter: Now I am Canadian. So a. Donuts. They're an official food group in Canada. Oh, I did Tim: not know that I'm shocked being parked Canadian myself. I was not aware of that. Now. It doesn't have to be a certain type of donut. Mike Porter: Now us personally, I personally prefer jelly donuts, but jellies are great. Tim: What type of deal they needs to be in that donut? It Mike Porter: doesn't matter. It can be, it can be a custard, it can be a jelly. It can be they're all Tim: jellies. So a filling of some sort that is not cream, or it can even be a cream, like a Boston cream, Mike Porter: like a Boston cream is a jelly Tim: donuts. All right, fantastic. So folks, you know, Some donuts stacked. He needs them. He is not happy. He's happy where he's at and he's happy to serve the public and customers, but in order to get them even more happy, which I believe you could be more happy who couldn't be more happy. One of there's a few people that couldn't be more happy. Name one. One of my daughters, I'm sure couldn't be more happy. She could not be more happy. Cause she's my daughter. Oh, how could you be more happy than being. You would not know that you're not know Mike Porter: the answer to that. Tim: I do not have the answer to that, but you don't even a few years you could interview one of my daughters. It doesn't matter either one, they're both interchangeable and you can see, you know, what it takes to be more happy than what they are. Teenagers. Yeah, that's not loud then we'll get it out now. We're not missing. No, no, no, no, no. Don't curse me like that. That's just that's mean that's growing for Canadian kind of shocked and in awe that, I'm sorry. Thank you. Thank you. That's what we're looking for here today, folks. So how Mike Porter: many apologies will you get out of me? Tim: In this episode? Okay. And we already got one 11 to go 11 to go. Let's see if we can do it. All right. So today's topic that we're going to be discussing today. Here is a community, right? So in the pre-show I've already read the definition of community and given the the two quotes that we're using today, one from Fred Rogers and one from Guthy or Gerta. So SuperNet people pronounce it, correct though. Healthy. My first question, he likes, how do you pronounce his narrative? Mike Porter: It's definitely Gurtis anyone who pronounces it go theme. You get to punch. Tim: Really? It's true. You get the punch that in my philosophy class. Okay. So the reason why he pronounced it, go for it. He is because some people do pronounce it that way before you go ahead and strike me down. Right. But I just, you know, for some of the folks out there, they, they want to pronounce it that way you prefer Gerta and that's. And that's okay. I Mike Porter: appreciate you allowing me to be right. Well, I Tim: like it when you're right, because then that means that I'm right. And you know, couldn't you be more happier if you were more right? I don't think you could be Mike Porter: many things would make me happier pronunciation of people's names. Probably not high on that list. Not high on the Tim: list. Okay. What do you think about the quotes that we had from from Gerta and from Fred Rogers? Okay. So Fred Rogers quote is and I have it right here. If you'd like to take a look at it again. Oh no, no. It is tattooed on your chest. I did see a tattooed on your chest. I don't know why you showing me his chest areas, but he is doing that right now. As we're sitting in this coffee shop for the Mike Porter: folks at home, the, just for the Tim: quote. Mike Porter: Him and talking about how the people that actually are involved in the community or the people that he sees as being heroes, that there are people that walk by or somebody is in trouble. They don't feel invested in that person, right. As, as part of a community and the people that stop and help that person or the people that fed Rogers consider as a hero, Tim: remembering the program. You want to remember this correctly. So you enjoy that E that really spoke to you. Right? My, Mike Porter: my rebuilt, I think that there's a lot of. Sidelines people and more now, I mean, it's weird to give an example when we moved into the neighborhood that we're currently in I went with home-baked goods to the neighbors and introduced myself and he was like, Hey, we're neighbors. We're just moving in. And they looked at me like I was insane. Because he was a stranger coming over and knocking on the door and, and introducing themselves, you only go to people's houses if there's an emergency, not a Tim: fear. Now let me ask you a question on this, because I've known you now for about five years. What color was your hair when you did that? Like the color of my hair was probably brown. It was brown. Okay. So it was a natural color, right. Okay. That's fine. Nevermind. Nevermind. Go ahead. The reason why that's, because I've had purple Mohawks and I can understand if somebody was a little. For clubs, shall we say a little bit alarmed. If I came up with baked goods to their house and said, hi, I'm your neighbor. Right. Mike Porter: But the point I, well, I don't know if this is a 409, but what, I'm, what I'm trying to move, maneuver myself towards. Is that the idea of what is a community it's changed in that? The face-to-face. Sort of interactions with people that, that community I think has drifted apart, but it's sort of been replaced with a digital community now, like the online people, you have the GoFund me's and the. Hey, help me out two pages and people will give money to the people in need and that's fantastic. But if they saw them on the street, wouldn't, wouldn't stop in and help. Wouldn't, you know, they look at the person who's homeless is an inconvenience when they're walking, but that same person will give money to somebody they don't know to have their window fixed or to help them get into college or to. So the idea of community, the what, what is the community has changed in that re in some ways it's a lot broader because we live in this digital world, but at the same time, the interpersonal in-person community is, has suffered, Tim: I think. And I can't Verify the information that I'm going to share with you. So I'm gonna share it with you anyways, right? Because just making this up because that's what we do know. I actually heard it someplace. I, I heard it on NPR and like they're very reliable, more reliable than my shell. I don't know. Okay. But certainly more viewers. Well, just three more viewers, three, just three more, you know, and that's, that's on statistics that I have created, right. And I don't have any viewers. I have listeners, but that's okay. I've got, you know, they've got three more than I do. So, but they were saying with the go fund me accounts that well, over half are dedicated to people's medical bills. So they're like one of the largest insurers in the country. Right. That doesn't surprise me at all. You know? So, you know, w we, we have a tendency to develop the community around us to better ourselves, well, to, you know, for an emerging. If we need it, but in order to enrich and enliven ourselves, we need to have the community around us. Right. Mike Porter: When, when I had little fish comics, at one point, there was. Vandalism incident with involving a what do you call them? Slingshots. And somebody broke the window in Tim: the front. It wasn't me. I know. I'm not saying it was just because I'm from Chicago. The way we don't use slingshots in Chicago, by the way, Mike Porter: that would be an amazing town. If it was a city, if it was Tim: just all slingshots, there would be, Hey, you know what? It'd be a lot nicer place to leave. Zack a lot nicer, fewer rocks, fewer rocks would be new. That's true. But somebody, one of our customers set up a GoFundMe for a little fish comics. Didn't didn't talk to me about it. Just set it up that, that day. And the community of people that were coming to the store donated enough to have the window repaired within 24 hours. Mike Porter: So that was crazy. And that's like, that's a cool way that the digital world can interact with. The actual sort of meat Tim: world, the meat world, as in like cow ham, Limburger cheese. Yep. Physical world, the physical world. Okay. I got you. As opposed to digital well understood digital meat I hear is making a breakthrough. Mike Porter: It's not as filling Tim: it really. Isn't looking at Mike Porter: pictures of cows. Tim: It's just not the same. And it's, you know, it's, it's satisfying yet. Not fulfilling. And I'll give you that, but in a satisfying to look at pictures of cows, I often look at videos of cows myself, but that's what I do, Mike Porter: nothing to say to that, Tim: nor am I looking for you to say anything to that? You know, what more can you say after that? So now Gerta is a thing is the world is empty. If one things only of mountains, rivers, and cities, but to know someone who thinks and feels with us and who through though distant is close to us in spirit, this makes the earth. And inhabited garden. How does that make you feel? Do you have a community now? You know, there's an arts program. We would talk a lot about arts here, obviously. And, and we had our I don't really want to call it a disagreement. We had our miscommunication we define words different. In our last conversation. Okay. Mike Porter: I have to refresh me in, what Tim: were your artists, the term artist, right. You were referring to a professional artist. I was referring to ameture artistry as, as being an artist. So for this, your community, do they provide you an inhabited. Artistically Mike Porter: artistic. Well, here's the thing that I think is kind of interesting about artistic community. I think that up to a certain point, they're incredibly helpful that they, they can inspire you to continue. They can push you to, to create when a community is made up of the same sort of. I'm going to use, let's say podcasting as an example, my impression of having listened to several people, talking about making podcasts and how to make podcasts. Up to the inception point of creating the podcast incredibly helpful and wonderful to each other. Once you actually have that podcast up and running, and it becomes a competitive competition, the community sort of doesn't help as much right now. That they're up and running. Now that you've gotten them creatively going now, you don't want them to have viewers because, or listeners, because you want those listeners for yourself. If they're talking about the same sorts of things, there's a a measure of where the pendulum is going to go and you want it to go towards you rather than towards them. Kind Tim: of like a territorial kind of thing, what you're saying. Right. Mike Porter: I've I've experienced it with writing in the sense of once as when you're a struggling writer. Professional writers will give you a lot of advice. Well, I'll give you a lot of helpful advice. As soon as you are a published author and you're interacting with another published author, it becomes weird because they, they're not talking to you like Like a mentor mentee. Not even at a, as peers, like getting equals you're, you're more guarded because if I have a story idea and I'm trying to flush it out or flesh it out I might not talk to somebody that I know has published a book because I'm worried that they will take that idea and publish it, because I know that they have the ability to do that because they've published before. Whereas somebody who is struggling as a writer, I might be, feel more free to talk about an idea in front of it and workshop an idea because I'm not as concerned that it's going to be stolen. So there's, there's a. Among communities of the same sort of art, art history. There's a guardedness. I think that happens at after a certain point at a certain level that doesn't help. Yeah. And I don't know if there's any way to get past that beyond. Proprietary thinking of that idea as being yours and getting to where I think is a more evolved state of, Hey, here's an idea. And even if they do something with that idea, it doesn't diminish what you're doing with the idea at all. So I think that's the sort of the next level of community is where, where you can get to that point. Openly discussing things without the fear, but generally speaking in, in sort of a consumer capitalist kind of, kind of base where you're chasing that the monetary value of things there's always going to be a guardedness that we're getting in the way of producing a creative idea in a community, in a group because who owns that idea? Tim: Exactly exactly who does own that idea. If a bunch of people developing it, if you workshop an idea, if you bring a short story to. And they toss him, their critiques windows become theirs when he does come. When does it become the communities and see speaking to yours. Right. You know and that, that can be a, a downfall of communities as well. Folks that are in the same disciplines, you know, a group of writers or group of podcasters. Absolutely. I've witnessed that too. You know, you get. You, you, you know what you're saying? That, that certain level of force no longer your amateur doing it for fun, doing it for a hobby it's Ooh. I just, you know with podcasting it's I scored my first advertiser. And then that was that next phase. How do I get my next advertiser on here? How do I get, you know, a beeline beeline B-level celebrities on my show, right. And there's really no way of going about doing it. Three conferences and it's all be pushed on monetization, monetization, monetization, and then they're going to show you how to do that, but you gotta pay a little, you gotta pay, you know, 40 bucks a month, 50 bucks a month for that. Right. And so it's no longer mentor mentee. The business, providing Mike Porter: a service at that point. It's not a, it's not that mentoring you they're, they're offering their expertise as a service to be mine and the fear and the, the, at least for me, like my still discomfort, when we go back to that idea of workshopping an idea. If I put, put forward a short story in a group and they add things in and I, I make use of that. There comes a point where you're. You have to give credit, right. And it's never clear at what that level is at what point you, you say, thank you for lying to the group for helping me workshop this, versus giving somebody an author credit versus, you know, the different levels of, of contribution. And then at the expectation of Reimbursement. If, if you say, well, this person did a lot of editing on, on my, my story. I'm going to give them a, a writing credit on it and being nice about it. Nice being, just being honest in saying, Hey X person helped the lawn experts and given, then go look at my, my name is on this too. I should be getting 50% of whatever. Exactly. So it becomes how much credit can you give and still make money with what you're doing. Tim: You kind of lose the the, the, the giving aspect of a community. Versus the what's in it for me. Right. Mike Porter: And that's, that goes to the Fred Rogers quote, actually, if you're, I think that that's sort of the fear of giving a credit or helping out. You're not going to get any, anything out of it. That's the person that Mr. Rogers is saying, isn't that isn't their hero. The person that's, that's volunteering, their, their expertise and help to solve. Is the person that he's looking at as Tim: being easier. Fantastic, fantastic thoughts there. Do you think and I'm going to play a little devil's advocate here and that's not just because that, you know, the drink that I have has a is an ex gold cup in the most of my tattoos have skulls on them. You get to keep that. No, I do not. As far as well, I don't know. I might, I could fit my bag nicely and I would assume, no, I wouldn't want to do that. I like these people here at this coffee shop that were fantastic, Mike Porter: but I'm Tim: going to play the devil's advocate here with that. And could it be that that what you, you know, published that first book once you get that first sponsor once you get that first a thousand dollars on Patrion. Sure. The other people that have. Guided you, mentored you at that point, then they kind of go, okay, well you've made it over that hurdle. You've made it over that goal. Fly be free. Now, now it's up to you to do that. Now it's up to you to repeat Mike Porter: that. Absolutely. Absolutely. There's a, there comes a point when mentors become peers. And that that fits into community somewhere. I mean, you can have a community of peers, you can never I'm not sure. I'm not sure what your, your, your point is to it. Other than, other than just say that. Yes. I think that at some point you know, the student has become the master grasshopper that you've learned as much. Ken from somebody in a practical sense, but at least artistically since it's a creative endeavor, there's no limit on creativity. So you can keep learning from the same person and seeing how they create things and learn something new from them. As long as they're willing to let you observe or interact In terms of a community it, it becomes more difficult for peers in a competitive industry to help each other out Tim: their world is a very competitive thing. And there's Mike Porter: only so much wall space for your, for who gets to hang their P their paintings. Right. So that's true. If, if you get that, that showing, that means somebody else is, and I don't, I get, I think that goes to that, that idea that The more involved, artistic ideal would be congratulations. You've gotten this space and I will get my space. And it's, it's not a competition. But as long as we're looking at trying to make a living at it, we're going to be the professional versus the amateur. I mean, that's it, that's when it, when you can. You can't be as altruistic as you might want to be because you're going for a limited Tim: resource. So it basically, once you hit that point of you no longer to have that, your, your professional, then you don't necessarily. Cutthroat about it, but you have to you you've taken on a new master per se, instead of the the inspiration ferry that, you know, flies around that, you know, it's everybody, you have to think of it as a business. You have to go on that left side of the brain. Right? Mike Porter: I think, I think that the community is a lot more willing to help you out on the creative end of things, and a lot less willing to help you out on the business. End of things, because creative. We helping you develop an idea that you've come up with and right. That you, or tell your, your own or whatever that doesn't cost me anything. Right. Getting you to the, so once you have that idea and develop, once you have that painting done, once you have that story. And you're trying to get it published. That's where we start getting into competition. And that's where the community, I think, breaks down in the sense that we can work very well together on workshopping an idea. But as soon as you're trying to get it published, and if you're wearing the same art form, I'm writing a science fiction stories and you're writing science fiction stories. There's only so many places that are accepting science fiction stories. And I might not want to tell you that about an idea where you could actually sell that idea if I'm intending to submit something to that place, to And that doesn't make you a bad person, as I'm thinking about it. I'm thinking that it's also misguided in the sense that while you and I are both submitting something to the same people, we're not in competition with each other, we're in competition for their attention. My, you, you putting in. A great story. Isn't stopping me from putting in a great story and both of us feel accepted, but it's hard to get past that idea that it is a competition that even. I guess a more involved. I think you, you don't look at it as being in competition with each other. When you're living paycheck to paycheck to paycheck, it, I'm going to stop hitting the table because of you get Tim: the typical questions you want me to focus? He's about ready to flip over the table because he knows that if we were to go ahead in the science fiction, writing contest, he would beat the crap out of me. He's a better writer than. Mike Porter: It is very kind of you to Tim: say, well, I try to be kind like that because you know, I, I do fear you. I just, I thought I should let everyone know. I do. I do fear Mr. Porter here light mighty brain hit his mommy brain and is something that I have been eating all of ever since I lived in Chicago and he actually reviewed some of my work a long time ago in a galaxy. And provided some good criticism for me. And this was a long time ago. You may or may not remember it. Mike Porter: I think that you gave it to me at one of these spoken word. Open mics. Tim: I'm remembering correctly. I saw, and I give it to you when I lived in Chicago and we in tele my wife passed about two and that he can help me. I don't. Am I a minute spoken when I could be, you know, there's been many, you know, it serves so much time has passed. We've known each other for so long. Excellent. So with this community idea here do you think you would be better to have a community of different disciplines? W would you be more willing to do it? I think we need different disciplines. So let's say you wanted to do some writing and then you were in a group of painters, podcasters dancers. No, that congestion Mike Porter: first, first we have to overcome the idea that one discipline is better than another. No, I'm not. I'm not just, just trying to think of, of how that community would work because you would tend to. Collaboration. Because as a writer, I can sit in this coffee shop that we're in right now, and I can look at the paintings on the wall. Tim: It'd be inspired to write something because of that painting. I've my, one of my books of poetry wisdom from the it was 60 pounds, 30 poems in 30 days. I did it twice, you know, so I had 60 poems in 60 days. And I give it to my good friend, Heather, and I said, I need some illustrations paintings. What have you, anything grabbed me? And she did all the illustrations for it. And she did the editing on that poetry book. So I think. Our forms can influence and inspire each other. She's also a writer. She's also a poet and musician and all that kind of jazz. You know, she's got a lot like me, which is scary. She's the female version of me. Mike Porter: Well, do you think that makes it easier when you're a Jack of all trades like that? You can put a master of none you can look at at how other disciplines can interact in, you know, when you, when you're painting. And that inspires you to write a poem about that piece. Well, and good. You're you you've worked those two disciplines together. But if you're only. Tim: Oh, you're just a writer, just a lowly writer. Cause you know, we all know that the writers are the lowest ones on the totem pole. There are, what do they got a piece of paper and something to put it on. You don't even need a pen. You, you know, you can take a mark who decides example and be in the insane asylum and write a whole book with poop. I don't, I don't think that's true. That is true. I saw it on a movie once. Mike Porter: I don't think he wrote a book in feces. I think that's a great story. Tim: That's true. We will put it in the show notes. We will find out we'll do some investigative journalism here with all the money that you guys are putting in my patriotic. Oh, what, Mike Porter: what I think with a community of a diverse community of different art artists, artists, and artistic types. First you'd have to overcome the, the tendency for groups to come together. And that's where people who are like yourself that are able to bring together a diverse set of skills and different forms of artistry to bridge that gap because. Wow most, well, not most, but a lot. A lot of artists tend to be insular creatures. They live inside their own heads. And so when you get a group of artists together, it's usually a very quiet sort of, or it's incredibly Rawkus and has nothing to do with art. So in order to facilitate a productive community, you would have to have people that are able to bring up, bring people into the conversation. Okay. If you leave things to their own devices, I think that the painters would clump with Peters, right? As you'd pump with writers, and then they would maybe wave at each other across the room and say, your thing really inspired me. Thank you. And you're welcome sort of thing. But in order to actually get collaborations, you would need somebody to say, Hey, Hey, come in, Kevin, come into this conversation. What do you think. About X and, and make that that person share. And once you get those, those boundaries down, I think you would have an amazing group that that would fire off of each other. But until you have those, those facilitators in inside of a community of artists, I think it's, it's just going to be a lot of so quiet introspection and every so often, very hesitantly showing something to somebody else. Tim: So what's stopping you from creating this. Me, you might stopping you from this. Yes. It's Mike Porter: all your fault. Usually it's my fault for myself. Tim: Why would you want to partaking up the cup? You're picking up the cup now. He is, you know, deep in thought and he's being very contemplated here, folks. But my question to him is going to be, you know, would, do you feel yourself or would thrive if that community was presented to you? No. No. You don't think you would thrive that. Mike Porter: I, I think I can see how other people would thrive in that and how beneficial it would be. But I am, you're very handsome. I'm crazy shy. And I don't like groups of people and I would much rather, you know, My wife has said in the past, we'll go have fun and going into, into groups and we have very different, different definitions for fun in those things. I, I sort of at any gathering and up against a wall. Sort of watching and then every so often I'll make the effort to dive back in like one of those Valiant sea turtles, just sort of pushing, it's trying to get given the tide of the party will push me back up against the wall and get my breath back. Kind of get that energy back up being by myself and then I'll dive back into the party, but I'm Tim: telling you, it's not for you. Yeah. I'm not, Mike Porter: I'm not a big sharing kind of kind of person. Tim: Do you think that that would it's not for you, but do you, would you get benefit from it? Do you feel you would get benefit from it? Mike Porter: The. Brutal honesty of, of self-reflection reflection. I would probably benefit very much from it. I'm not sure anybody would benefit from me being there because I would not be sharing as much as I wouldn't be sort of quietly in the corner, listening and taking notes and bettering myself because I just, I don't deal with groups very well. Just not extroverted enough. Tim: Okay. We're not, we're not, we don't have the couch here today, so we're not going to psychoanalyze. I hope you're okay with that. Sure. Okay. Good. I mean, I, if you want to, we can go to my house in the man cave in the studio. I have a couch there with a vibrating chair. It doesn't have heat, but I do have a little, a little, a little firebox there that we can turn on and have some heat pour on us. And we can say, I call the sideline long as you, if you like. Mike Porter: Well, I'm just saying that right now. There's two of us. Tim: Yeah. Well, there's, there's three. There's you and me and the listener. Right. Mike Porter: But they're not Tim: interacting. Sure. They are. They're judging us as we're talking over Mike Porter: there quietly, what is he talking to him? He does not know what we're up. He speaks, but I don't know what they're thinking. So their judgment of me has no impact on me talking to you. I feel no. Wait. I have people around me judging what I'm saying. I feel a little bit because I'm in a coffee shop and I'm sure that other people can hear me and then feeling a little nervous, more nervous now that I'm thinking about that, Tim: but you're here with me. Right. And I'm a very, yeah, you can take, you can take them a very extroverts. I've been known to be that way on occasion. Okay. So I'll take them on for you. If anyone, everyone harasses you, Chicago Tims. But, but the point being that Mike Porter: There was a point something oh, that I, that I don't mind the, the, the idea of the listener, because I, it's not going to effect what I'm saying right now. On the other hand, if I was in a, in a room. With the expressed purpose of us as a group, doing something together, I would feel a great deal of weight in expressing my, my opinion to a bunch of people that would be judging that opinion in real time. In front of me, which again goes back to that idea of digital community. I'm a lot more comfortable sharing stuff on a, on a forum than I am in in person. Tim: So maybe what we need to do is to set up a community where you can be cloistered in a room where you can view what's going on, and then you provide your feedback without having. Actually be in the physical presence of the people that would be in the room and then they could get a read out of it, you know, that you could write your paragraph or whatever it is and say what you liked and what you didn't like about it. And then, and just leave it at that. And then that way you don't have to interact with these. Yeah, that's weird. Okay. We won't do that for you kind of prompt. So this idea of community things that the artists communities are not necessarily your cup of tea and it's understandable. It's understandable. You've explained yourself. Mike Porter: I love the idea of You know, that the artists, community of painters that are off and they all have the same thing that they're painting and PG moves around and looks at their stuff and it gives them pointers in that you're there to develop your skill at painting. And I'm sure the same thing can work for, for almost any artistic endeavor. But when it's more. Interactive when it's more on the level of peers, that's where I get really nervous. So that's comfortable. And I don't think I would be the hero that Mr. Rogers would want me to be. Tim: And you need to be the hero, Mr. Rogers, much. Mike Porter: Everybody should be the hero that Mr. Rogers minds, Tim: folks, you heard it here for student Mr. Rogers. She's going to move you coming out here Mike Porter: on Netflix and Tim: it's fantastic. It is on Netflix. Did I miss it in the theater? Yeah. I Mike Porter: don't know if it was released in theaters. I'm not sure Tim: Tom Hanks, right. It was a play Mr. Mike Porter: Rogers. Oh. And we're thinking of something else. There's a movie coming out with Tom Hanks. I wasn't aware of, but there is a biography of Mr. Rogers there on Netflix currently. And it was really good. Tim: I know. I was actually talking there is. From what I understand now, again, you know, NPR has better information than I do because they have three more listeners than I do through our viewers than not listeners, but viewers. But yeah, there's a movie that's supposed to come out with Tom Hanks being, playing a part of. Mike Porter: But you're listening to a higher caliber. Tim: They're they're they're they're very good looking folks. More discerning. They are more discerning they're way more intelligent. That's what I heard. That's Mike Porter: that's what I know. I heard that recently, Tim: I, I know that they are way more intelligent, way more. They're nicer people. There are people that you want to, you know, bring over to your house. And have a wonderful conversation with, well, bring over to your house. I'll bring over to my house. Absolutely. I'd love to bring all the people that listen to this podcast over to my house. Right. And you know, I, I would cook some poutine for some of them, man, that would be enjoyable. And for the other people, I would you know, bust out my grill in a grilled from steaks. Some asparagus grilled asparagus is very tasty and the the the little dish that I made last night for my wife, with the Alfredo sauce, the pasta shells asparagus, and we had not scaling. Scallops scallops. Thank you. You're welcome. Oh my gosh. The scalps animated that my wife and I had three bowls off in less than 24 hours and she thoroughly enjoyed. She's probably going to have some more tonight. Mike Porter: We'll see. Before this is a community. You can define the community by what foods you do. Okay. Tim: And you really can't, you really can't, you know, there's, there's people that like the. The farm farm to table stuff. There's people that are you know, raw they like nothing cooked, vegans, vegetarians, pescatarians, pescatarians, peanut, the buck Tarion's, you know, all that kind of good stuff and the omnivores. And of course the carnivores, which they'd all the carnivores have tiny little arms just saying, all right. Well, Mike, thank you so much for this conversation with us here on community. You provided a lot of great insights, I think. And you know, folks community is out there for you. I think you can create community if you really want to, they might bring up some fantastic points about once it comes from a mentor mentees situation to a appear situation. I think he made some great points with that. Is there anything else that you'd like to leave us with with community? I think that the only other thing that I would say about community is that almost by definition, it's an investment. You have to be willing to invest time and effort in order to build community communities. Mike Porter: Don't just happen if they did, when I brought Cookie's over to the neighbors. They would have just been, Hey neighbor, thank you. Sort of thing. You, you have to continually reinforce the idea that the people that you want to be in a community with are important to you, that they have value and that you have. Insight or value for them. And that's what keeps the community together. I think the idea that you're in something together, or you have something to share with each other in common. Excellent. Tim: Excellent. And yeah, just like we're building this community with you, our listeners. He must end up iniquity where we create more than we consume. Can't wait for y'all to listen to this episode and the rest of our episodes. Go back through our catalog. You can always reach out to us at kdoipodcastingatgmail.com. Let us know if you would like to get involved in this. We have 11 topics for you to choose from Mike here. He chose this topic. I well, you chose two topics. And I we picked this one. We may get him to talk on the other topic at a later time. But that's how easy it is. Mike did was this pretty easy? This was Mike Porter: fantastic. I love doing this. This is a painless way of expressing opinion. It's like, if you don't like, I, everybody likes talking about themselves. And an extension of that. I think it's you asking? I think about X. Well, let me tell you about and why I think that my opinion, why my opinion matters. Tim: So next episode with Mike here, we are going to ask him when he thinks about the letter X. That's right. We'll probably use the capital X versus the lowercase X because you know, Mike has a lot of thoughts about the I believe it's true. He had more thoughts about the upper case versus the lower case. So again, thank you for gratuity. We will see your next episode. Remember you consume All right. Well, thank you for joining me. As I go down memory lane in discussing community with Mike Porter, he was my cartoon, not my comic book guy, not my cartoon guy, but he was my comic book. Way back in the day. Unfortunately he had closed his shop, but it was a fantastic conversation that we had at a local coffee shop here in town. So you got to hear a little bit of the ambiance as it were. I really enjoyed doing these conversations on specific topics with a lot of my artistic friends. And I hope you got something on. Now I would ask you if you did get something out of it, go ahead and subscribe or follow on your podcast app of choice. Or you can go right ahead to the website, create art podcast.com and subscribe right there in 2022, we're going to be doing these KDOI rebroadcasts there'll be 10 episodes. This is the first one and we'll have our regular episodes. And I also want it. Remind you that I run another podcast called find a podcast about, and that's where we help you find your next spring, where the podcast and outsmart the algorithm. And you can find that at find a podcast about dot X, Y, Z. For creating art podcast, you can email me timothy@createartpodcast.com. Twitter and a Instagram account and a YouTube page for you as well. All the links will be in the show notes. So it's been my pleasure to help you team your inner critic and create more than you consume. Now. Go out there and create some art for somebody you love yourself. We'll see you next. This has been a gaggle pod, east studio production gagglepod pod, where we've been helping creatives tell their story through podcasting. Since 2017, you can find all of our network shows at gagglepod.com. You can contact with. We want to help you tell your story to the world through .
Featuring in this month's Tech House episode: Cardillo DJ, Charles Ramirez, George Privatti, Mauro Venti, Hayz, Mochakk, Rawkus, Cadiz, Amine Edge & DANCE, RSquared, and many more! Drop a ❤ if you enjoy the music and subscribe/follow us! It will support the show so much and the algorithm will push it to more people. Thank you :)
An album that never happened. The Last Emperor was an incredibly talented artist rising through the hip hop scene in the late 90's early 2000's know for his artistic and unique story telling ability. After signing with Dr. Dre's aftermath and never having an album release he was signed to Rawkus records where his fate was the same. Perhaps lost in the mix of Eminem and Blackstar this underground hero never got his time to shine. This compilation of unreleased tracks is one of BWBC favorite albums of all time because of it's unique and raw sound. Enjoy listening to and watching a truly great emcee that unfortunately not too many got to hear.
We're back and we're going back, way back. Back to the new millennium where hip-hop was thriving, the DIY backpack era started to fizzle, but the major labels swooped in and were plucking groups one by one. Collabos were in full effect and more noticeably than in years past, very cross-coast friendly. The independent game was coming off a stellar '99 with the release of Operation: Doomsday, but powerhouse labels like Interscope, Def Jam and MCA started to infiltrate and influence while changing landscape of hip-hop. Outkast released Stankonia. Eminem dropped he Marshall Mathers LP and the Wu came with the underwhelming The W. Each week we were force-fed videos by Black Eye Peas, Wyclef Jean, Jay-Z and Mystikal. 2000 was a pivotal time in music. The Rawkus dominance was slowly winding down and many of our favorite rappers starting yearning more and more for that commercial success, indirectly alienating their fan bases. Jimmy Iovine and Dr. Dre controlled much of the market and Dre's 2001 album, which released in 1999, made everyone rethink their production. No longer were the days of lo-fi beats or low-budget anything. Production had to be sonically rich, with heavy bass lines, strings, powerful synths and sporting soulful vocals. On episode 96, we play some of our favorites that came out in the new millennium with music from Ghostface Killah, Xzibit, Dilated Peoples, Zion I, Blackalicious, Screwball and M.O.P. to name a few. At the break, we reminisce about 2000, The Spitkicker Tour, burning CDs off Napster and Limewire, Sega Dreamcast and select or sleeper albums of the year. www.takeitpersonalradio.com www.patreon.com/TakeItPersonal Follow us on Instagram @takeitpersonalradio
When you hear the term "your rappers favorite rapper", they're are talking about Kool G. Rap. Whether you consider him the G.O.A.T. or somewhere in your Top 5, there is no denying that Kool G. Rap is one most influential rappers of all-time. Whether you like Nas, Jay, Big, Pun, Em, Black Thought or any other great lyricist, just know they're great because of Kool G. Rap. The multis, the wordplay, the humor, the violence, the voice and god-like ability to tell a story, there' is NOBODY quite like him. The man of the hour sat down with us to discuss his illustrious career. We talk Marley Marl, Eric B., Kane and the whole Juice Crew. We get into his favorite mobster movies, favorite verse of all-time and we even make him pick his own top 5. We discuss Nas, Black Thought, Masta Ace, Pun and Necro. We even cover the Rawkus debacle and much more.
When you hear the term "your rappers favorite rapper", they're are talking about Kool G. Rap. Whether you consider him the G.O.A.T. or somewhere in your Top 5, there is no denying that Kool G. Rap is one most influential rappers of all-time. And when celebrating a god like KGR, you don't half-ass it with some 60 minute tribute mix. You know on Take It Personal, when we do a tribute, we go all-out. So, this Kool G. Rap Tribute is a 2-parter where each episode will contain two 1+ hour mixes as well as our exclusive Kool G. Rap interview. Whether you like Nas, Jay, Big, Pun, Em, Black Thought or any other great lyricist, just know they're great because of Kool G. Rap. The multis, the wordplay, the humor, the violence, the voice and god-like ability to tell a story, there' is NOBODY quite like him. The man of the hour sat down with us to discuss his illustrious career. We talk Marley Marl, Eric B., Kane and the whole Juice Crew. We get into his favorite mobster movies, favorite verse of all-time and we even make him pick his own top 5. We discuss Nas, Black Thought, Masta Ace, Pun and Necro. We even cover the Rawkus debacle and much more. Don't forget to follow us @takeitpersonalradio, as we'll be announcing the winners of our Michael Kreiser Hip-Hop Comic Art contest on this tribute. www.takeitpersonalradio.com www.patreon.com/TakeItPersonal Follow us on Instagram @takeitpersonalradio
If there was a poster that defined the indie hip-hop movement, it would have the face of The Mighty Mos Def on it. Whether you first heard him on My Kung Fu, The Love Song or Stakes Is High Remix, you immediately knew what you heard was special. We're talking a generational talent. Mos Def had the voice, the sound, the style, the charm, the humor, the endless stories and the ability to spit bars as great as singing those melodic hooks. A real dual-threat. Triple-threat when you factor in his acting chops. If LL Cool J is the face of Def Jam, Mos Def is the face of Rawkus. He breathed new life into hip-hop in the late 90s. Mos was the last Jedi able to carry on that Native Tongues torch. On Episode 85, we cover the catalog, the guest spots and discuss our favorite Mos Def moments. Don't forget to follow us @takeitpersonalradio, as we have an exciting giveaway on this episode. R.I.P. Shock G www.takeitpersonalradio.com www.patreon.com/TakeItPersonal Follow us on Instagram @takeitpersonalradio
In this Episode Car Radio has a chat with YouTuber Bit of Pizza about his some say unhealthy obsession with Fiat Abarths, tuning advice on said Abarths and a 350HP VW Golf GTi with carbon upgrades and something about a Pagani Huayra and a Lexus LFA. Bit of Pizza's YouTube channel: https://www.youtube.com/channel/UC6_hz35P61IrKzBsiJkIKrQ @BitofPizza insta: https://www.instagram.com/bitofpizza/ Rawkus Tv Youtube Channel: @rawkustv insta: https://www.instagram.com/rawkustv/ More from Rawkus tv and Car Radio Latest CAR RADIO Podcast : https://linktr.ee/Rawkustv MERCH STORE ○ https://rawkuswear.com MY GEAR ○ Camera: https://www.amazon.co.uk/dp/B00K2XG1O... MICROPHONE ○ https://www.amazon.co.uk/dp/B007HYVMY... LENSES ○ https://www.amazon.co.uk/dp/B011GEMHU... MEMORY CARD ○ https://www.amazon.co.uk/dp/B079NPZLD... // Back Pack // https://www.amazon.co.uk/shop/influen...
Episode 64 is the 4th show we've recorded during this damn quarantine. Despite some technical difficulties and R.A. battling what we thought was the coronoavirus, we put together a 30-track homage, including a lengthy comedic and sometimes contentious interview. Check out part 2 that features our interview! We discuss the new album All My Heroes Are Dead. We talk Biggie and boxing. We discuss the days of Jive Records and working with Rawkus. We even learn about the super-group he was once apart of with Prince Paul & Bumpy Knuckles. Like most of our interviews, we do a chronological trip back to memory lane. Check-out R.A.The Rugged Man's new album All My Heroes Are Dead. It happens to be our favorite of the year (so far). R.A. The Rugged Man – Lessons R.A. The Rugged Man – Chains feat. Killah Priest & Masta Killa Black Market Militia – Renaissance 2.0 feat. R.A. The Rugged Man Jedi Mind Tricks – Uncommon Valor: A Vietnam Story feat. R.A. The Rugged Man R.A. The Rugged Man – The Dangerous Three feat. Brother Ali & Masta Ace R.A. The Rugged Man – Gotta Be Dope feat. A-F-R-O & DJ Jazzy Jeff R.A. The Rugged Man – The Slayers Club feat. M.O.P., Vinnie Paz, Chris Rivers, Onyx, Chino XL, Brand Nubian & Ice T R.A. The Rugged Man – Dragon Fire feat. Ghostface Killah, Masta Killa, Kool G. Rap & XX3eme Reef The Lost Cauze – Three Greats (Unreleased Version) feat. Kool G. Rap & R.A. The Rugged Man Celph Tilted & Buckwild – Mad Ammo feat. R.A. The Rugged Man R.A. The Rugged Man – Holla-Loo-Yuh feat. Tech N9ne & Krizz Kaliko R.A. The Rugged Man – Definition of A Rap Flow (Albee 3000) R.A. The Rugged Man – Supa R.A. The Rugged Man – On The Block R.A. The Rugged Man – Golden Oldies feat. Slug & Eamon R.A. The Rugged Man – Life of The Party R.A. The Rugged Man – Learn Truth feat. Talib Kweli R.A. The Rugged Man – Malice of Mammon feat. Chuck D R.A. The Rugged Man – Stanley Kubrick R.A. The Rugged Man – Don't Wanna feat. Havoc & Mr. Eon Godfather Don – 3 The Hard Way feat. Prince Poetry & R.A. The Rugged Man R.A. The Rugged Man – 50,000 Heads feat. Sadat X R.A. The Rugged Man – Smith Haven Mall Smut Peddlers – Bottom Feeders feat. R.A. The Rugged Man R.A. The Rugged Man – E.K.N.Y. (Ed Koch New York) feat. Inspectah Deck & Timbo King R.A. The Rugged Man – All Systems Go R.A. The Rugged Man – Sam Peckinpah feat. Sadat X & Vinnie Paz J-Live & R.A. The Rugged Man – Give It Up R.A. The Rugged Man – Every Record Label Sucks D*ck R.A. The Rugged Man – Cunt Renaissance feat. The Notorious B.I.G. www.takeitpersonalradio.com www.patreon.com/TakeItPersonal Follow us on Instagram @ takeitpersonalradio
Episode 64 is the 4th show we've recorded during this damn quarantine. Despite some technical difficulties and R.A. battling what we thought was the coronoavirus, we put together a 30-track homage, including a lengthy comedic and sometimes contentious interview. We discuss the new album All My Heroes Are Dead. We talk Biggie and boxing. We discuss the days of Jive Records and working with Rawkus. We even learn about the super-group he was once apart of with Prince Paul & Bumpy Knuckles. Like most of our interviews, we do a chronological trip back to memory lane. Check-out R.A.The Rugged Man's new album All My Heroes Are Dead. It happens to be our favorite of the year (so far). www.takeitpersonalradio.com www.patreon.com/TakeItPersonal Follow us on Instagram @ takeitpersonalradio
Episode 60 is the 2nd installment of our indie hip-hop tribute. This time we're joined by Shawn J. Period, a major player in the indie movement. Shawn has given us with countless classics and we discuss each and every one of them. Only on TIP will you get to hear Shawn tell his story like this. We discuss his days on Big Beat, his first group Down South and his collabos with Mos Def, Heltah Skeltah, Bush Babees, Mad Skillz and The Artifacts. This is an XXL episode clocking in over 5 ½ hours of music and discussion. We got joints from Company Flow, Kool Keith, Mos Def, Blackalicous, Talib Kweli, Non Phixon, MF DOOM, J-Live, Aceyalone, Lootpack, Styles of Beyond, Wee Bee Foolish, The Arsonists, Eminem, People Under The Stairs, 7L & Esoteric, Jedi Mind Tricks, Natural Elements, Godfather Don, Buc Fifty, Defari, Juggaknots, Aesop Rock, Rasco, Royce Da 5'9, Pharoahe Monch, Common, Sir Menelik, Mr. Lif, Atmosphere and so much F*CKING MORE! We're talking 5 ½ hours of music, with over 100 tracks of quintessential indie era anthems. If you were all up on IRC, AOL or Prodigy chat, copped records at Fat Beats after a slice of Joe's Pizza, maybe ordered from Sandboxautomatic or Hiphopsite and repped labels like Fondle ‘Em, Rawkus, Def Jux, Stones Throw, Hydra, GuessWyld, Eastern Conference, ABB, Anticon, Hiero or Rhymesayers, then THIS episode is for your! Sincerely, The Take It Personal Crew www.takeitpersonalradio.com www.patreon.com/TakeItPersonal Follow us on Instagram @takeitpersonalradio
Episode 60 is the 2nd installment of our indie hip-hop tribute. This time we're joined by Shawn J. Period, a major player in the indie movement. Shawn has given us with countless classics and we discuss each and every one of them. Only on TIP will you get to hear Shawn tell his story like this. We discuss his days on Big Beat, his first group Down South and his collabos with Mos Def, Heltah Skeltah, Bush Babees, Mad Skillz and The Artifacts. This is an XXL episode clocking in over 5 ½ hours of music and discussion. We got joints from Company Flow, Kool Keith, Mos Def, Blackalicous, Talib Kweli, Non Phixon, MF DOOM, J-Live, Aceyalone, Lootpack, Styles of Beyond, Wee Bee Foolish, The Arsonists, Eminem, People Under The Stairs, 7L & Esoteric, Jedi Mind Tricks, Natural Elements, Godfather Don, Buc Fifty, Defari, Juggaknots, Aesop Rock, Rasco, Royce Da 5'9, Pharoahe Monch, Common, Sir Menelik, Mr. Lif, Atmosphere and so much F*CKING MORE! We're talking 5 ½ hours of music, with over 100 tracks of quintessential indie era anthems. If you were all up on IRC, AOL or Prodigy chat, copped records at Fat Beats after a slice of Joe's Pizza, maybe ordered from Sandboxautomatic or Hiphopsite and repped labels like Fondle ‘Em, Rawkus, Def Jux, Stones Throw, Hydra, GuessWyld, Eastern Conference, ABB, Anticon, Hiero or Rhymesayers, then THIS episode is for your! Sincerely, The Take It Personal Crew Be sure to follow us on Instagram @takeitpersonalradio for all the latest updates, giveaways and exclusives! www.takeitpersonalradio.com www.patreon.com/TakeItPersonal
In the wake of a decisive victory to end the impeachment hoax, voting begins in our nation's first caucuses & primaries on the way to decide which Corporate Democrat will have the honor of losing to Donald Trump in 2020. The gang does its best to keep carnie-nation informed. Also: the SOTU and New Stings!
What would a Take It Personal tribute be without the man of the hour stopping by to share some stories? We talk Paul C., Extra P, and even Kool Keith. We find out what it was like being passed on by Russell Simmons (along with Nas) and signing with Disney. We break down the Stress: Extinction Agenda album cover. We touch on his relationship with O.C. and the fact he thought the Time's Up beat was pretty wack. We talk Rawkus, ghostwriting for Puffy, sampling, sports, what went wrong on The Equinox; yes, we went there. We asked everything and he answered everything, including the possibility of an OK reunion. We have 86 tracks displaying the brilliance of Pharoahe Monch; we're proud as hell of this tribute, and honored to have had Pharoahe Monch as our guest. We usually say, we hope you enjoy, but it would be damn near impossible if you didn't. This is - our Pharoahe Monch Tribute!
Episode 8 is our Jansport (backpack) special. A tribute to the independent hip-hop movement that helped spawn labels like Fondle ‘Em, Hydra, Rawkus, Stones Throw, Def Jux and ABB records. A time, where the internet played a major role in the music. This era allowed people to DIY, giving them an outlet never had. This movement created dreams, jobs, life-long careers and of course, some amazing music too. Speaking of music, if we covered everything this episode would be 20 hours instead of 2. We picked obscure cuts all the way to classics heard from the late 90s to the early 00s. We got everybody from Mos Def, Company Flow, MF Doom, Murs, Planet Asia, J-Live, Juggaknots, Weatherman, Saukrates, Jigmastas, Cannibal Ox, L-Fudge, Godfather Don, All Natural, Non-Phixon, Cage, Latryx, Mr. Voodoo, K-Otix, and Vakill to name a few. You don't want to miss this!
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