Classic Interview: Raekwon of Wu-tang Clan

The Raekwon event at Varsity theater on Friday night (October 2006) was so laid back, so informal, that I joked to a buddy of mine, Carlos, that I could probably just walk backstage if I had wanted to. Then I decided to give it a shot. Earlier, I had spoken to John, a wu-tang promoter who I knew from my previous run-in with the clan, about possibly hooking up a quick interview. He told me twice that I should contact him after the show and he would see what Rae wanted to do. When I snuck backstage I had almost made it all the way there but was told I needed to brandish a red wristband to verfiy my authorization. So, what ended up happening was when I went over to wait for John by the portal to the backstage, Rae was right behind him on his way out of the building, through a side door at the left of the stage. So I quickly approached Rae and fired off as many questions as I could read from my pad in the darkness.

DRONKMUNK: Hey Raekwon, you mind if I get a quick interview with you? For my website?

Ok, go ahead.

DM: First, can you sign this for me?

Nah, nah, man. You gonna start a whole trend with that.

DM: Alright, I can respect that.

Aiight.

DM: Ok, I have some food questions since you’re the chef.

Ok. DM: During the recording of the "Biters" skit on Cuban Linx, were you guys eating candy?

Nah, man.

DM: Really? Cause it sounds like someone was eating some Mike n' Ikes or something.

Uh-uh.

DM:Ok, What is your favorite food?

Fish.

DM: Ok, you mean "fish" as in cocaine, or like actual fish?

Fish.

DM: What rappers are you really feeling that are doin’ it right now?

Me. Me, myself, and I. That’s it.

DM: So, who are you not really feeling these days?

I ain't likin' nobody.

DM: So, you don’t like any of the new rappers coming out today?

Nah. Well, I’m not impressed by them. They don’t impress me. Say that.

DM: What is your favorite drink?

Hennessy. I’m out. Bye.

Wu-Tang Clan ain't nothing to fuck with (seriously)

I had a mind-bending experience back in 2006 which involved the entire Wu-tang clan, a journalist from the Star Tribune, and a drunk ex-associate of mine who almost got the both of us killed by the world's most dangerous rap crew. It was either one of the worst or best experiences I have ever had. The date was August 11th. I had been looking forward to the Wu-tang show at First Avenue that evening for the previous couple of months, so when I got off from work that day I immediately made way just down the street to wait in line for the show, which wasn't for hours.

As I headed there on my bike, I passed right by none other than Cappadonna himself. He was on his way back from a nearby Jimmy John's with some food. I couldn't believe my eyes. I turned my bike around and rode past him, stopping at his feet. "Yo Cap, is that you?" I said. He let out a big smile and said "Yeah, what's up." I told him I was going to the show later. He asked me about the venue, whether it was inside or outside. I asked him if I could go with him to hang

out with the Clan to get some autographs. There was a write up about Wu-tang in the Star Tribune that day that I wanted to get signed.

I pulled the paper out of my back pocket and showed it to him. Cap pulled out a pen and was about to sign when I sputtered, "Hey, look what they wrote about you. It's kind of disparaging: "Cappadonna: Once a reserve member of the Clan, now lost in oblivion," I read to him. He said "Aw I can't sign that, man. Who wrote that shit?" At the bottom of the article was the name and phone number of the author of the article Tom Horgen. At my urging, Cappadonna pulled out his cell phone and dialed the number. A few moments later, he was barking into the mouthpiece: (I paraphrase here) "Yo, dude, you don't even know me son. You don't know anything. ...I am your father...we are the original man. How could you ever know about me...you live in Minnesota writing for a newspaper. You live in the black and white newspaper world.." And on like that for about 3 awesome minutes. Then after hanging up he turned to me and said "I like the way I handled that." He asked if he could keep my paper.

Cappadonna

I said yes.

Suddenly he looked up and around and said, "Yo, this is 7th and 2nd ave..I need to figure out where I'm going...oh, there's my hotel." He was staying at the Crown Plaza. I followed his gaze and saw what must have been at least half of the Wu tang Clan taking their bags out of a truck and walking into the hotel. My idol at that time, The Rza, stood out the most, towering over the other members. I asked Cap if he thought it would be ok for me to roll over there and say hi. He said I could go try, but not to mention that he said it was ok. When I got across the street the Rza was gone so I walked inside the front doors to try to find him. Various Wu bag handlers straggled around the lobby. Ghostface was checking in at the counter. I calmly walked up to the counter and told him that I have been a fan of his for a really long time and that I was looking forward to the show later. He gave me some dap, and I walked on looking around.

Ghostface

I ran into Cappadonna again at the elevator and told him I would see him later. I was about to leave, but then realized I could probably get another paper at the hotel so i asked the front desk and they told me to go to the convience store, which was back through the big glass double doors. The store was closed, but Ghostface was inside getting some soda and snacks. When he finally came out I told him about the article and that I wanted to show it to him, but he just seemed interested in getting back up to his room. However he did hold the door open for me when I asked the lady if she would sell me a paper. As he was leaving, I shouted, "Hey Ghost, thanks for coming to our city!" He turned and said "Oh, no doubt, baby." The woman who ran the store did not have change for a 20 so I could not get a paper. I headed back to the venue. There was hardly anyone in line so I decided I needed a drink to calm myself down after all that. I went to the Loon bar and met D there, the aforementioned ex-associate, who was also coming to the show. My father would also be joining us later. D and I had a couple drinks before deciding to go wait in line, which was considerably longer at this point.

Cappadonna and RZA rock the stage at The First Avenue in Minneapolis

The Wu-tang put on the best show I have ever seen, to this day. They did every single hit song from their catalog as well as some other favorites. All of them showed up and graced the stage one by one. I was in the front and shook hands with almost all of them. Cappadonna recognized me and acknowledged me many times. Afterword, we waited outside along with some other fans. I saw Inspectah Deck outside. He was carrying a bottle in one hand and a cup in the other. He saw me and said whats up. It was surreal when asked me if I had seen the RZA anywhere. I said no and asked if he could sign my paper. He told me to hold on while he looked around. He walked over and said a few words to D and when Deck came back i asked him again to sign the paper and told him it would really mean a lot. He said "ok, ok" and signed it "INS the Rebel" real quick.

Inspectah Deck, earlier that night.*

D and I decided to walk down to the hotel and see if we could get some more signatures. When we got there Wu-tang were getting off of their buses. Some of them were headed inside and some hung out in the front of the hotel. After my run-in with Deck, which made me feel like a groupie, I wasn't feeling very bold. It was very difficult for me to even fathom my surroundings. But I knew I had to get some signatures, so I had D approach them for the autographs. First U-God came by and signed it, then Masta Killa, then Gza, and finally Cappadonna, who had apparently not connected the dots between that and what had happened earlier. Either that or he just said "fuck it" and let his outrage at Tom Horgen subside. He and everyone else seemed to be glowing still from the strength of the performance earlier that night. Gza and Inspectah Deck were hanging outside of the hotel, sipping on some mixed drinks and talking to some girls and some members of their entourage, who were also supervising the entire situation. Then there was D and I, in the middle of all of it. Me still on my bike. Inspectah deck cracked some jokes and seemed eager to talk, but I didn't know what to say. We just sat there just watching the scene and waiting to see who else we could meet.

Finally, one of the entourage members, a white guy that we didn't recognize, however obviously very close friend to the Wu-tang, headed into the hotel. D got his attention and waved him over. I thought for sure he was going to try to slick talk our way up stairs, where there was no doubt plent of booze, blunts and beautiful women (at least in my mind) to be pilfered. That would have been the icing on the cake. Instead, D leaned over and mumbled "hey, uh.." then all of sudden lunged toward the man and wrestled him down to the ground and started hitting him. I looked over at Inspectah Deck and Gza and they were watching in awe and disbelief. Deck's sunglasses had slid down to the end of his nose, and he was watching from the top of the lenses; a toothpick hung from his agape mouth. D ripped the chain off the guy's neck and began to run. But The White Dude grabbed his arm while Gza, Deck and another guy from the entourage ran over and started beating the holy shit out of D.

GZA the Genius, earlier that evening.

Gza looked especially pissed, and was getting in some good punches and kicks to D's head. I watched in total horror and at the same time, amusement. They got D's eye pretty good and his mouth. One of them even took my bike and was about to land it on D when i tried to stop him, mostly in the interest of preserving my most desirable m-e-t-h-o-d of transportation. They then turned to me and asked me if I was with him. "Yeah that is my boy," I said, not really sure at that moment if it was true. Then I quickly sputtered, "But I don't know what the fuck he is doing or why he did that." They let me know then that I was lucky that they didn't beat my ass too. The White Dude, who I would later learn was John, the tour manager, got right in my face and demanded that I compensate him with something valuable of mine, since my "boy" had ruined his expensive cuban link. I told him that I didn't have anything to give him, hoping he wouldn't be alerted to the fact that I had half of the Clan's signatures on paper in my pocket.

They eventually told me to get the fuck out of their presence. I rolled up to D asked him what the hell was going through his head. He said "I really wanted that chain." He seemed unapologetic and triumphant. I had noticed while he was on the ground getting punched in the face and slammed up against walls, that he had this sick grin on his face. I was mad at D for embarrasing me in front of the Wu and making them eventually turning their anger on me. But at the same time, because of him, I had front-row seats to one of the most mind-twisting things I have ever ever seen. Ever.

I wrote Gza an apology letter this morning on myspace and told him that I hoped things would be cool with us when we met again, and that I hoped that they would come back to minneapolis one day. As you can see, I got the newspaper framed, which has autographs from 5 of the 9 members (no RZA, Ghost, Raekwon, or Meth, no doubt the most illustrious members) as well as the ticket stub and an advertisement. It was an amazing night, but in a bittersweet way; perhaps it would have been more legendary had D not lost his fucking mind.

Wu-Tang Forever.

*Rebel INS photo courtesy of Bonita Applebum

UPDATE: Star Tribune columist Tom Horgen (who received the nasty voicemail from Cappadonna) has responded to this article:

Hey... Wow, that shit is crazy. Nice narrative. So your homie tried to snatch dude's chain in front of the Wu?! And I thought all that knowledge shit Cappa was trying to drop on me (about the history of black and white men) was kind of silly, SINCE I'm not white. So I kind of wish I would'a been at my desk to answer the phone.

Interview: Carl Verheyen of Supertramp

Unless you have been a fan of the British prog-rock outfit Supertramp since 1985 onward, you have probably never heard the name Carl Verheyen, who is that band's current lead guitarist; however, you are probably more familiar with some of his work than you realize. Carl is a versatile and constantly traveling musician, and has been an uncredited contributor to many popular commercial jingles and television theme songs. Carl spoke with us to talk about his latest solo album Trading 8s and to share some of the insight he's acquired from over two decades of making music.

How long have you been a solo artist?
Well, I have done my own band pretty much since 1988. but we didn't get on the road until 1997. Then I started touring. I got going in Europe pretty well in those days, and just kept that going. I actually just got back from a tour that took me from Italy to Spain, to England. It was fun.
I bet its hard to come home after a tour like that.
Well yeah, but it's hard to leave the family too. So you kind of end up with a little bit of heartache. But its a lot of fun. My band is actually leaving Wednesday for a tour from Seattle, Washington all the way down to San Diego. So there's another tour coming up.
A lot of people I know have heard of Supertramp, but can't name a lot of their songs. It's funny when I start naming the songs, you see this look of recognition on people's faces and they start to go 'Yeah!' Like 'Take the Long way home..'
...'Goodbye Stranger', 'The Logical Song'...
Did you have a hand in writing a lot of that?
I didn't, because that was all written before I showed up. I joined Supertramp in 1985, and so my experience has been sort of the latter-day part of it. That's been about 24 years in the band. We just had a really cool reunion not too long ago. We played over in The Hamptons where Rick Davies lives, the leader of the band. That was really fun to go over to his 40 million dollar house; we had a great party and it was really fun to play.
Has it been hard to keep you guys together all these years?
I guess you could say it has, because we all live in very very different places. I'm in California, and one of the keyboard players is here. But the sax player is in Yorkshire, England. The bass player is in Napa Valley..it just goes on and on. Everybody is in different places.
Do you have any interesting tour experiences or stories?
Oh yeah, with Supertramp and with my own band. I've played with Supertramp in places like a Roman Colosseum, and I've watched the moon come up right in between these two Roman arches. I have played with my own band in many different places. I mean, you name it, we've played there.
What is the significance of your album's title Trading 8s?
'Trading 8s" is sort of a jazz term, and its when you trade 8 bar phrases with another player. And in the jazz era, they would have these blowing sessions where, you know, the sax player, the trumpet player, the piano player would all play solos, and then at the end of the tune, they would trade 8 bar phrases with the drummer over the form of the tune. So I decided how fun that would be..I mean, you've heard rock bands do it too. Like what The Beatles do at the end of Abbey Road. The Allman Brothers will trade 8s for a while on their songs also. That's been going on forever in Rock n' roll. What I tried to do was enlist some of my peers and some of my heroes and say 'Can you play on my record?' It was a really wonderful thing; just the spirit in which everybody came together and was enthusiastic about the project.
I've seen that you have done some instructional work.
I have done two instructional DVDs I've done two books and 10 Cd's and a live DVD. I have been around for quite a while and a studio musician for almost 30 years. You may not realize it but you hear me everyday. I am on every episode of "Cheers", I played on the movie "Up", and I played on "Star Trek" this year. "Land of the Lost", "Scrubs", dozens of jingles, other peoples records. When I am not on the road with my band, I am definitely working here in LA.
So you play the "Scrubs" theme song?
Yeah, I play the main title and the little incidental music in between cues. You won't see my name on the credits though; all you get is the damn composers name. They never list the musicians on those shows. You know that movie "Ratatouille"?
Yeah sure.
I was one of the principal soloists on that movie. Which means me and a harmonica player and an accordion player and a violinist were the principal soloists and I didn't even get a credit for that. [laughs]
Did you get to go to the premiere?
Yeah, at least I got to go the premiere and take my family.
So you do a lot of commercials as well, right?
Yeah, there is a little bit of that, but its mostly touring. When you're like me you want to go out on the road with your band. I've always felt that I have had too much music inside of me just to be a side man for the rest of my life and play jingles and stuff. I've got my own music I want get out and play. So for that reason I'm leaving town for 3 or 4 months a year. But that's OK. i look at it like there's nothing more exhilarating than playing to a live audience and the people in the front row are singing along to a song I wrote in my kitchen, you know? That's a really beautiful feeling that you cant get when you play on people's jingles and stuff.
You are known for many different styles of guitar playing. What can we expect to hear on Trading 8s, as far as styles of music?
Well there's definitely some blues on there, and then I go into a real pretty ballad. I've got almost like a James Taylor style tune which is a duet with a female vocalist. There is some acoustic stuff on there, and a ska version of George Harrison's "Taxman" and that goes into a jazz fusion jam. I have a song called "Highway 27." I wrote it because this is the road that goes from my house down to the beach. I wanted to make a tune that I could listen to in my car when I'm driving. That was the impetus for writing it.
What kind of music do you listen to nowadays?
I pretty much hear everything. I like a lot of guitar music but I'm also listening to Sonny Rollins, and Miles Davis, and jazz singers like Betty Carter. Today I was listening to some Little Richard and some Weather Report. But then again, we'll put on some bossanova or samba music and stuff like that, some Brazilian stuff, occasionally during cocktail hour. I like to hear classical music on a Sunday morning...so I really listen to a lot of stuff.
I'm sure that informs a lot of the music that you make.
I think so. I mean, if you're a shred guy or a heavy metal guy, and all you listen to is heavy metal guys, you're not really going to expand the genre because everything you've heard has been done. But if you're a guy like Jaco Pastorius, who was thinking like a guitar player on the bass, almost like classical flamenco guitar playing, he was able to take the electric bass into a whole new area.
Do you do a lot of social networking? Like Twitter or Facebook?
I do the Facebook thing occasionally because I consider that to be like a marketing tool. Getting a whole lot of fans and friends on Facebook. Every once in a while I'll mention I have a tour coming up or something like that. I have a Myspace page where you can hear my tracks. I have been holding off on twitter, but I will probably have to [use it] one of these days.
What are your thoughts on the record industry?
I have been with various record companies for 22 years, but I decided this time to make my own record, because I realized that the advances that the European labels would give me, they would pretty much make back on the first European tour supporting that record. I realized what I should do is just advance the money to myself and I will make it all back and more that way on the first tour. Which I did. So my latest record has recouped itself and its only been out a few months. In my position, not being a Britney Spears or a Rhianna, it makes the perfect sense to keep it a cottage industry and do it yourself.
Is there anything else you would like fans to know?
If you're a budding musician, be true to what you believe in, but also try to open your mind and learn as many styles as you can. That way you'll ensure yourself a long career in the music business.

I played the academy awards this year. Three days before the actual taping of the show, they came up to me and said 'Can you play an acoustic guitar version of the song "Moon River?"' Sitting on the front of the stage. They told me 'You should have it memorized [rather than playing it from the sheet music] because you'll be sitting on the front of the stage with the host Hugh Jackman. Meryl Streep and Brad Pitt and Angelina, and Penelope Cruz and all these movie stars will be about 3 feet away from your toes, and it would be better not to have a piece of music in front of you. Oh, and remember 65 million people will be watching.' So I went home and pulled out the music and memorized it and made myself a little solo guitar arrangement and I did it. If I hadn't spent the time learning jazz and different styles of music, I never would have gotten that gig. It turned out to be really, really big gig for me, financially.
Was it nerve-racking playing in front of all those people?
Well, I had to forget about the TV audience. 65 million is incomprehensible. The biggest crowd I have ever played for was about 180 thousand, with Supertramp. The Kodak theatre where they do they Academy Awards only seats about 3 thousand people. But when you add in the 65 million, that changes. So I just put them out of my mind, and looked at the beautiful movie stars.

The Balls on this Guy

I heard this sick freestyle from a Lil' Wayne mixtape today, and it made me remember how he released a track from his upcoming rock album, which I never got to hear. I remember the general internet backlash that took place, but then again, that always takes place. After searching a bit, I found the song on youtube. After a couple of "hmm?"'s and a few "wtf?"'s I started thinking about the motivations behind the song, and I came to the realization that Lil' Wayne knows exactly what he's doing.

The song kind of reminds me of some late-ninties post grunge-pre-nu-metal era shit until the vocals come in. The sound that it makes after that isn't at all unfamiliar; but because it sounds to me like some shitty band that I would never listen to enough to know the name of, I can't really place it. The tinny autotune vocals recall a Prince influence too, I suppose. I'm actually one of the 5 living people that don't really like that prince that much, not to mention Minnesota's only one.

Aside from being an endangered species, I know my music. And when Lil Wayne's rock opus drops, it's going to sell faster than free pussy. Prom Queen really takes three listens to appreciate: It takes the first one to convince you that he's lost his mind, the second to get the feeling that he's utterly selling out; and the third to realize that he isn't alienating his fan base, he's actually playing to them.

Let's face it: if you are reading this, chances are you have heard The Carter III. Chances are even better that you didn't pay to hear it. Those that did? Suburban tweens, and all the boys that thought it might help them "hit that shit." I can also tell you for a fact that everyone 15 and under that plays Xbox live has a copy of it laying around somewhere. This is his demographic now-and has been ever since Carter III went halfway diamond and he became a superstar; It certainly isn't you and me.

That being said, I am really not a Wayne fan. I have been listening to him since Get It How U Live!, and watching him blow up in 2008 was kind of wild to me. However, he hasn't done anything that has really impressed me musically since some parts of Carter II a few of the mixtape freestyles around that time. But his business sense is very keen, and I respect that.

Kanye definitely had the idea first, releasing 808's and Heartbreak despite much of that internet backlash he received due to the excessive use of autotune in "Love Lockdown" when that got leaked. It went on to go platinum, although by judging some of his behavior I can't be sure if this was Mr. West's most foremost intention or if he just needed to vent a little.

Like him or not, Wayne is just that guy, the one bringing in that lethal combination of charisma and unpredictability to the table right now. Not the hip-hop or rap table though; I'm talking about the pop music table, where the grown-up money sits.

The Rap attitude, and for the most part, Rap music itself, does not sell anymore. Some hip-hop artists, like Andre 3000 have been able to see this and branch out. And if there is something that he, Kanye and Wayne have in common, it's that they have the ability to see the game for what it is and adapt to the way it's changing now.

As well as enormous balls.

Interview: Tyler Mane

Tyler Mane, perhaps best known as former WCW wrestler Big Sky, is the current star of Rob Zombie's rebooted Halloween series in which he plays the terrifying Michael Myers. Having acted in numerous other films such as Troy and X-men, Mane is now starting his own production company Mane Entertainment, which will specialize in low-budget, independent films. He took a some time to speak with us about working on the Halloween sequel, discovering what makes a killer tick, and Kanye West.

You are currently starring in the new Halloween movie, and you were in the first one as well, right?
Yes, Rob's first one in 2007. I played Michael Myers and reprise the role in 2009.

Are you going to be in the next one?
We are in talks. We shall see.

So you don't die in this new one, then?
Well, it's Michael Myers. It's the tenth movie I think now, and he hasn't died yet. Who knows, maybe they will hook the life support up to him and bring him back to life. You never know.

How was filming Halloween 2 different from filming the first Halloween?
You know, the first one kind of followed the format of the original Halloween movies. It told that story along with giving the back-story of Michael Myers and how he became a product of his environment. The second one picked up where that one left off, but with the second one, you see inside the mind of Michael Myers and how he perceives himself. And it's kind of creepy that he sees himself as that 10 year old little boy just before he made that decision to go out and start killing people. So he perceives himself as total innocence. And he's talking to the only person that's ever loved him, his mother. And he feels that she’s driving his thoughts. Which, of course, is totally in his mind. And then parallel to that you have Lori Strode, with her downhill spiral into total madness from what has happened to her in her life. The second one is more of Rob's interpretation of the Halloween movies and what happens with it, and I think he's just done a brilliant job with it.

Have you noticed any differences or growth in Zombie's style of directing? He really is a relatively new director. He had House of 1000 Corpses in 2003...
Right. And then he did The Devil's Rejects where I first met him, playing the Rufus character. And then the two Halloweens.

It's just been fantastic to watch Rob and see how he's evolved as a director. The thing is, he comes from an entertainment background and he realizes what an actor needs to get the best performance out of them. He, before directing the movies, directed all his own music videos. So, he's got visualization for what he wants to see. And, working with [him] was just fantastic.

Do you have any lines in this film?
I'm gonna be doing some grunting and groaning. It's kinda funny because my wife appears in this, and she plays one of the cops-she's the one with the princess Leia buns-and she likes picking on me and getting under my skin. And she goes "How many movies have you done? 2? I have more lines in a few seconds than you had in two movies!" [Laughs]

Well, she does have a point. Although, I think fans of the first Halloween movie that Rob Zombie did would agree that you are still a very effective and terrifying villain even without speaking any lines.
Yeah, that's why I took the project. Because it was a great opportunity to give this character some depth with body movement and body language. That is the one thing that I wanted to do with it. When Rob first talked to me about it he said 'I don't want just a one-dimensional killer, here. I want to give some depth to this character so that people perceive him more as a human.’ And that's what we did I think, and it came across great. People were even sympathetic to Michael Myers.

Is there any research or preparation that goes into playing Michael Myers?
I definitely did my research. The first thing I did was go back and watch the other Halloween movies that Myers appears in and watched their performances. Not to mimic them, but to see what they brought to the character. I noticed that they were mainly one-dimensional characters, and I wanted to bring more to that. So then I went from there and started researching serial killers and seeing how they interacted in society, and people [actually] perceived them as being this innocent person that could and did interact with society. No one ever thought that that person was who they turned out to be. So I wanted to bring that to the character just with my body language and how I moved and all of that. It’s kinda funny because the "Iceman" Richard Kuklinksi, who was a hit man for the mob, had the same traits as Michael Myers. He started with tormenting and torturing and killing animals and moved his way up from there. I think that’s how those killers become numb to the fact that they’re able to kill people. There’s definitely a chemical thing in their brains too that is different than the normal person, but it was fantastic to be able to research that and just see how that does happen.

Are you a big fan of Rob Zombie’s music?
Yeah. He is a fantastic artist. It was funny while working on the first Halloween, the sound guys had one of his music videos playing, where he had the dreadlocks and he’s whipping them around and going crazy, and then I’d look over and see Rob sitting behind the monitors in his director’s chair chewing his gum, analyzing the shot. And I’d look at the video and back to Rob…it was surreal. You wouldn’t think they were the same person.

Did you learn a lot about Rob Zombie from working with him?
He’s just a fantastic guy to work with. He’s not what a lot of people think. And I understand and I get it, because when I was wrestling, people would go ‘You’re a wrestler? You’re married and have kids? How could that be?’ It’s kinda like two different worlds, you know?

Did you wrestle for the WWE?
I wrestled for the WCW and the UWF. I did a lot of my wrestling overseas, internationally. In Japan, Germany, Austria, England, Mexico, places like that.

What name did you wrestle under?
I wrestled as Big Sky and Nitron. I was in there on two different occasions, and I was Kevin Nash’s tag partner for a while.

Do you ever wish you could go back to doing wrestling?
Oh hell no.

It doesn’t look very glamorous, the way that movie The Wrestler depicted it. Plus all the stuff you hear about steroids and that sort of thing.
Yeah, it’s a wild and crazy lifestyle. I used it as a stepping stone to get to where I am today, and I’m thankful I had all the opportunities and everything, but I’m glad that I’m not stuck in that lifestyle.

It’s good that you aren’t stuck in that lifestyle, but when you think of the Vince McMahon’s in the wrestling business, they probably not too different from the Hollywood sharks that are out there.
Yeah, that’s true. That is true. You just gotta try and avoid the shark infested waters.[laughs]

You ever use music to get you pumped up before you wrestle or before you start acting?
Oh yeah, all the time. I’ll be throwing in some good 70’s rock and have that on my headphones before I go to work and do my thing. I play the Pandora classic rock station all the time when I’m working out at the gym.

Are there any bands in particular that you listen to?
I’m a big fan of Rush, Led Zeppelin, the oldies.

What was the last concert that you attended?
Probably Rob’s, the show he had back at the Staple Center. He’ll do movies, and go on tour for a while, and just go back on forth. He’s got a tour he’s preparing for right now.

You have a new production company called Mane Entertainment. Tell me a little about the new film your company is releasing, Penance Lane.
We’re in the pre-production stages right now. We’re hopefully going to start filming at the beginning of the year. It’s going to be an indie low-budget horror thriller. It’s a smart horror film and there’s a lot of twists and turns, and people aren’t who you would perceive them to be. The reason why I picked this was to please the horror fans, and also to be able to do a picture and keep the budget down. I believe as indie film-makers, we owe it to the investors to get the best return for the dollar. I’ve been in a lot of big productions where I’ve seen them just take the money out to the middle of the street, pile it up and light a match to it, so to speak. I don’t think you need to do that to make a top-quality picture. I’m using all my years of experience in the business and compiling my resources and talented friends, and we’re well on the way.

Are you directing Penance Lane?
I’m producing and going to be acting in it. I have a director attached but we’re not going to be naming him yet because we don’t have the contract signed. I would like to get into directing eventually, but I don’t think the time is just right just yet.

That does seem like the natural progression.
Yeah, and the reason why I wanted to set up Mane Entertainment is to do the indie films and keep control of the picture. So many times you get into a studio with a picture and everybody has to put their two cents in and they come up with totally absurd ideas that end up ruining the film. It becomes more about people trying to put their two-cents in so that they can keep their job than it is to put out the best picture possible. I think we owe it to the fans to do that and get back to grassroots and go smaller to get bigger. Bigger results.

Do you have anything in the pipeline for after Penance Lane?
Yeah, we have about 4 or 5 different projects that we’re looking at, in various genres. There is a book that I just finished reading that a gentleman had sent me, and I’m going to be in the process of optioning that right away, for one of our projects. There’s one that I’m working on with my wife at the present time [as well], so we have several projects in the pipeline.

Are there any forthcoming acting gigs that are separate from Mane Entertainment that you’re going to be doing?
Yeah, I just finished filming a comedy-western in Canada called Gunless, that’s coming out in March of 2010 I believe. I play a blacksmith that gets into a shootout. It’s kind of comical because it’s set in a Canadian town where we don’t have any pistols to do any dueling with. This gunslinger comes into town and challenges me to a duel. And it’s kind of comical that I don’t have any pistols. But then I do end up finding a pistol and I end up getting shot in the ass. I come out and be a hero in the end though, so it’s all good.

I know everyone is already sick of talking about the Kanye West thing at the VMA’s, and actually a lot of wrestlers have been giving their opinion on it, saying they would beat Kanye’s ass if he ever did that to them. Do you have any input on that at all?
It’s kind of unfortunate for Kanye. He’s been going through a lot lately, and it’s sad that it had to happen. I think he will look back and realize that he screwed up, big time. It’s kinda sad. I hope people don’t destroy him over it. I think he needs to get his shit together and get back on track. But, on the other hand, if he did do that to me, I would beat his ass too!

Anything you want to tell your fans?
Thanks for the support. The reason why I do what I do is for the fans. It’s great to get their input and be able to chat with them. I go on my MySpace and Facebook and talk with my fans all the time. It really is me on there. I take the time to do that, talk to the fans, and I appreciate everything they do for me.

Review: Q-Tip - Kamaal The Abstract

Way back in 2002, former leader of hip-hop/jazz fusion group A Tribe Called Quest, Q-tip, created his second solo album, Kamaal the Abstract. Abstract, with its sprawling and chunky stretches of instrumental jams, was conceived 6 full years before the interbreeding between hip-hop and other genres was as prevalent and well-received as it is today. In fact, this album was such a large departure from what was going on with rap music at the time, much less from what people expected to hear from Q-tip, that it was shelved by his label for fear of being a commercial disaster. LA Reid, who would go on the following year to oversee the release of Outkast's Speakboxxx/The Love Below (their most experimental and unorthodox work to date, which is saying a lot), didn't believe the album could prevail while The Game and 50 Cent were topping the charts with their information-age spin on Gangsta Rap.

In 2009 Abstract has finally seen the light of day that it deserves. While Q-tip's prior release just last year, The Renaissance, further explored the jazzy meoldies that have always been at the root of his music since his days with Tribe, it was still standard Q-tip through and through, with all the rubber-necking sample loops and soulful basslines that entails. Those looking for a looser version of that kind of instrumentation will be pleased with Abstract, but might be puzzled when Q disappears for noticeable stretches of time. However, the spontaneity that having such an unhinged structure brings doesn't so much hurt the album, but instead lends it a live feel which reminds you when you least expect it that anything can happen.

Things ramp up right away during the opener "Feelin'." It starts off innocuously with Qtip on the mic as usual, but its not long before the organ solo and distorted guitar get their way under your skin. Q-tip sings us out and ends the song on his own, as if to remind you that, yes, this is still his album. "Do U Dig You" features a lengthy and aimless jam-session between Gary Thomas on flute and Kirk Rosenwinkel on guitar, and sounds like Prince's lost contribution to Bitches Brew. "Blue Girl" is typical Neo-soul a la Rafael Saadiq or D'Angelo (by now you shouldn't be expect a lot of actual rhyming on this album, although there is some), until Q-tip tacks a short verse on the end out of nowhere.

Q-tip takes further chances on "Barely in Love" which suggests Sly Stone as a Schoolhouse Rock cartoon and stops just short of becoming an all-out gospel jam with its light organ chord progressions and hand-clapping, foot stomping refrain. "Heels" sounds like an attempt 311's brand of palm-muted rap-rock, draped in a goatee stroking jam-bandish rhythm. The ending of the song sounds like everyone from P-Funk is on stage somewhere singing its hook. Synthesizers somehow make a very auspicious and unapologetic appearance right in the middle of it all.

Even if it loses a bit of momentum with the last few tracks, Q-tip's Kamaal the Abstract (named after Q-Tip's self appointed nom de Islam) is pretty solid for an album that never misses a chance to take one. It stands tall next to any of the highly regarded work that his experiment prone contemporaries Outkast and D'Angelo were doing at the time, and it's avant-garde detours are what keep it fresh after 6 years. Just as the rest of the urban music world seems to be catching up with his experimental quirks, Q-tip points out, and helps ensure, that there isn't so much that's new under the sun.

Grade: B+

Review: Drake - So Far Gone

Mainstream hip-hop seems to exist these days in a precocious era of being either unable or unwilling to escape the tendrils of last year's 808s and Heartbreaks. What began simply as an ill-advised onanistic project for Kanye West continues to inseminate this year's most anticipated projects, including Jay-z's Blueprint 3 and Kid Cudi's superb Man on the Moon, with its lightly percussive DNA. The latest release in this vein is So Far Gone by Drake, a Canadian-American actor-ternt-MC and the newest allegiant to Lil Wayne's Young Money Records. Originally released online for free in February as a mix-tape teaser to garner fans with, Gone has been shipped to record stores and online retailers this week as an EP, giving those same fans the opportunity to pay for a slightly updated version with a smaller collection of songs.

In addition to successfully undertaking the momentous task of not being overly cheesy, Kid Cudi's Man on the Moon was able to establish its own sound and identity, where it probably would have been enough to basically make another 808s for 09. While Drake clearly also has his own style, So Far Gone lacks any real edge or semblance of innovation, and eventually loses its edge altogether as it succumbs to a lazy and actually quite boring cadre of songs about relationships. The biggest distinction between his and Kanye's effort is that Drake is the one doing the heartbreaking: "And these days women make offers/and who the hell am I to say/No no no/My ex sendin' late night text/cause she don't know how to let/Go go go," Drake sings on the EP's dreadfully slow moving intro "Lust for Life", the title of which is likely to send Iggy Pop to an early grave to spin around in. It doesn't help that Drake's strengths aren't primarily as a singer, so expect plenty of pitch adjustment-'Death of Auto-tune" this is not. The mediocrity, and confusion for those who wanted to give "next big rapper" a shot, continues with "Houstatlantavegas," which leans much closer to Jodeci than Joe Budden on the Hip-hop spectrum.

The shame of it is that Drake can actually be a pretty clever lyricist when he wants to be. "Wise words from a decent man/back when i was tryin' to put a ring on Alicia hand/this lost boy got fly without peter pan/and my delivery just got me buzzin like the pizza man," he raps on "Successful", on which he manages to outshine both Trey Songz and Lil' Wayne. At times Drake's way of dragging out his syllables, through that half-cocked smile that you just know is plastered on his face can be charming, but there really aren't enough of those moments to strongly recommend puchasing this EP over the version that was made available for free back in February.

So Far Gone will certainly have its audience, however; Drake sums it up himself the best on the lead single-and incidentally the EP's strongest track- "Best I Ever Had:" "When my album drop/bitches will buy it for the picture/And niggas will buy it too/and claim they got it for they sister." Indeed, this is one of those albums that takes shamelessly transparent aim at a younger demographic whose palette has been adjusted by the impossible-to-elude robotic slow jams on today's radio, yet might find Kanye or even Jay-z's recent stuff to be a little too rough around the edges. When his official album Thank Me Later drops next year, Drake will do well to come with heavier material than this if he expects to enjoy any longevity.

Grade: C