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Interview With Wu-Tang Clan’s Masta Killa – ‘Talent Is Talent And Business Is Business’

 

Being a member of the most influential rap group of the past 20 years is like holding a passport for access to whatever interests you have: Acting suits Method Man, GZA has given lectures at MIT, and RZA has worked in Hollywood and cosigned Chipotle for a new ad campaign. Masta Killa, the last core member of Wu-Tang Clan to release a solo album, has more specific priorities, namely becoming the vegetarian hip-hop spokesman for PETA, and releasing his solo music independently—something he’s been doing for almost 15 years. Masta Killa has always valued health. If you look back at his first appearance with the Clan on the seminal hoodie-and-Timberlands anthem “Da Mystery of Chessboxin,” he spent his introductory bars warning of attacks to the immune system.

On the heels of his latest solo album Loyalty is Royaltyhis fourth solo record—Masta Killa remains an elegant writer shrouded in mystery. On the Nature Sounds released album, Masta Killa celebrates the courtship of beautiful women, passing wisdom down to the next generations, and the rudimentary beginnings of hip-hop in the 70s and 80s that led to his life of rhyming. I spoke with Masta Killa on being unburdened by industry demands, enjoying the freedom the Wu-Tang shield has given him, and how he survives in a rapidly changing business.

Zilla Rocca: You’ve been involved with a major label in Wu-Tang Clan through Loud Records and you’ve been with Nature Sounds, one of the longest-running independent hip-hop labels. What is freedom for you as an artist still after experiencing every level of the rap industry?

Masta Killa: Well I’ll tell you, brother, I’ve been very blessed to be in this industry even from day one. You know, I was caught up in a position where I was so blessed to be in a group to be able to learn. And I was also kind of being paid to learn. Even with the Loud situation, that pressure wasn’t directly on me as far as my freedom because all of those beginning albums, I was still learning and perfecting my craft. I was on [Enter The Wu-Tang] 36 Chambers but I was only on “Da Mystery of Chessboxin.” Do you know why? Because that’s the only rhyme that I had. That was the first rhyme that I ever wrote.

Zilla: How about that!

Masta Killa: Then came [Raekwon’s] Cuban Linx, [GZA’s] Liquid Swords, [Ghostface Killah’s] Iron Man, all of those albums that came, I was still learning the business, learning my craft with MC’ing. So I was in a position where I got to enjoy all the perks that came with being in that industry. I wasn’t actually signed to be contained to stop my creative flow of learning and growing. And that was a blessing to me.

 

 

The Full Interview found here by forbes.com



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The Wu-Tang clan rappers jokingly ordered former FBI boss James Comey to retrieve their US-confiscated Once Upon a Time album in Shaolin. The controversial pharmaceutical manager Martin Shkreli had bought the only copy of the album in 2015 for two million dollars (1.6 million euros). It was confiscated after Shkreli was sentenced to seven years in prison and fined millions in March for securities fraud. “Me and my brother Method are working to get the album back from the authorities,” wrote rapper Ghostface Killah on Instagram. He published a photo of himself and Wu-Tang rapper Method Man together with Comey.

 

 

The three were on Tuesday in the “Late Show” with Stephen Colbert guest. “The album belongs to the people,” said Method Man in a sketch in which Justice Minister Jeff Sessions does not want to give away the album. US President Donald Trump had dismissed Comey in May 2017. Comey is currently campaigning for his book, which will be published on Tuesday, which reads in German version “Greater Than the Office: In Search of Truth – The Ex-FBI Director Leads Off”. For the US government Comey does not currently work and therefore would have no influence on the whereabouts of the Wu Tang album. Shkreli had attracted masses of fans by buying it. According to a well-known song line, they do not play with the Wu-Tang clan (“Wu-Tang Clan Is not Nuthing Ta F ‘Wit”). This advice should be better served by the US authorities.

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Raekwon: Once I heard about it I was like Wow, I need to have a meeting. I had a meeting with the owners of the technology and then I needed to master what they were talking about. I just think that at the end of the day, this is some stuff that is going to change the culture of music in the most illest way. I told them, “This is the illest shit since sliced bread in my eyes.”

To be able to have a social media radio platform is amazing because when I sit here and look at what’s going on in music, there’s a lot of animosity between different generations based on what’s being played now [versus] back then. What we’re all missing is that we’re all musicians, we’re all artists — who gives a fuck? As a business, we all signed up to this because we love music. What makes this technology so dope is that it gives a platform to people who just love music. If you love music, you get to have your own station. That was what was intriguing to me.

When you look at an instagram it’s everything but the music attached — there’s nothing where the artist can confront or talk about the music. When I’m getting all of the energy from [Station Head] — it’s just the illest gator. Social media radio is the shit. Let’s just say you listen to the radio — do you know how many people are sick of listening to the same 13 or 14 records all day? Now you have the power to create your own station to listen to what you want to, and you’re also giving back to the artist from a streaming perspective.

Now I know that I can connect with my fans and say thank you. Not only can you have me and my station, I can have you and your station. Now we’re connected even more. We can have dialogue, we can have a podcast going on — this is authentic. This is going to shift the culture to where people are saying music is where it needs to be now. We’re not relying on two or three different artists to carry the culture, now it’s to the point where the young generation can evolve to what they want to listen to. The OGs too — the Al Greens, the Gladys Knights. Now we get to mix all that up in our own station as people not as programmers.

You think I don’t want to see what 50 Cent is listening to at 10 in the morning or 4 in the morning because he’s working? Now I can tap into his show and develop a personality with him. Not only does it work for artist chemistry, but it also works for the world. This is a universal piece of technology that’s going to change the world. When I finally digested that, I knew I had to be a part of it.

 

Source:THEFADER

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