© The Wu-Tang Corp.
- 2004-04-16
As one of the dopest producers in the game, is it difficult for you to maintain your hunger and creativity?
As far as me being dope or not, I leave that up to the people. However, being hungry and creative is a natural thing. Music is a habit that I cannot break. I tried, but it�s not happening.
Why did you try to break the habit?
Because when I do music, I feel mad childish. I have a scientific mind, so I wonder if I am wasting my time. I spend three, four, five hours a day on music. But, I love it so much I can�t stop. It�s sickening.
So, what inspires this love?
The weather and the people around me, the daily struggle of [being] black�The joy from being successful and being able to put food on my table inspires me.
Your score for Kill Bill Vol. 1 was incredible. What�s your involvement in Vol. 2?
We brought in more orchestra for the second installment, with a few different composers. I am grateful to have had the opportunity to actually compose a classically-driven score that�s equally influenced by hip hop.
Were you at all hesitant about scoring a Tarantino film?
At first, I was feeling Quentin just as a king-fu buddy. He had one of those Wu Tang weeks, when he was just playing Wu everyday, and he said, �I want you to do this right here.� It was a pressure job because Quentin is a genius. It�s hard to please a genius, like it�s hard to please myself at times.
What did you two disagree about?
The biggest disagreements came over whether I was doing Bobby Digital or RZA. He was like, �Look, man. I want RZA to do this, not Bobby Digital.�
Do you have problems deciding under which personality you are going to create music?
It�s just a different way of approach. It shows two different sides of my creativity.
Which do you enjoy best?
The RZA encompasses all. It�s my title of life.
How do you feel about African Americans, critics and regular folk, claiming that Tarantino exploits black culture?
I can�t really understand that question because directors exploit everything. A movie is just the exploitation of life.
Let�s talk about music for a bit. What are you listening to right now?
I have been composing movie scores, so I have been studying music more. I haven�t bought any hip hop this year. I like Twista and Kanye�s single. Twista is killing it with his style, and he�s finally got a chance to live.
What�s up with Wu-Tang? No 10-year anniversary celebration?
The year fell on a time when everyone was going their different ways and I had an opportunity to operate on all of the ideas that I had. I look forward to having a Wu-Tang album out in 2005.
What do you think of the hip hop that�s popular now?
It�s ironic. Hip hop is no longer the voice of change; it�s the voice of submission. The stereotypes are now true. I think that a lot of artists from the �90s, like Wu-Tang and Mobb Deep, laid the foundation for anyone to pick up and carry on, but some of these artists are not picking up and doing a good job. But, that�s what music is anyway, you have good talent and bad talent. It�s lacking a little substance right about now, but I think that The Birth of a Prince is one of the few [albums] that goes into it deeply. When MTV and BET showed my video for �Grits," they were happy to put it in rotation because they say its one of the only ones that doesn�t have T&A in it. I want to introduce my kids to hip hop, but the hip hop that�s out now is sex and violence based. But, I love it. It�s a double-edged sword.
Do you think that a turn is in the air?
Everything goes in a cycle. Wu-Tang told you that everything goes in 360 degrees. Take someone like Lil� Jon, I remember eight years ago when he couldn�t get in the clubs. Now, he is [everywhere].
Written by Isoul H. Harris for
The Africana
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