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  Ty Interview
interview 0491 added
04.01.07 words: Rish
technical:
QED
Ever since tuning in to Mark and Lard, I’ve always been of the opinion that talking is best kept to a minimum on the radio. Obviously the aforementioned radio “personalities” contrast heavily with Mercury Award Nominee TY however, whom no doubt you’d agree is leagues ahead when it comes to airtime merit. Nonetheless, the average listener struggles to endure more than five or ten minutes of discussion, so I thought to myself, “don’t overdo the questions!”
Due to the man simply being too interesting to quantify, the five or ten minutes had soon passed; it had in fact been long enough for my arm to get a cramp from holding the mic! Being the courageous broadcaster that I am, I thought “this man’s words will not be held captive by peoples’ attention span!” It was then I had the epiphany: Those intellectuals over on UKHH.com will no doubt be able to stomach a more in-depth interview; TY’s words will prevail! But sadly that meant lots of transcribing for me!
In the end, it was of course worth it. Not only was a lot of little-known information revealed, but also TY certainly didn’t hold his tongue. Within his topical tirade lies the noble “as an artist I’m speaking out” and “fuck the whole ‘if I keep quiet, maybe my record will be played’ scenario”, so it was only right that I laboured over my keyboard, my cluttering fingers leaving behind an Anticon soundscape.
There’s already plenty for you to read, so I’ll put my blathering on hold for now. Even when they’re not backed up by impeccable production from Drew, Leroy Brown AND TY, I’m sure you’re more a fan of his words than mine. Before you divert your attention though, I’ll quickly try to summarise him for those who’ve been living under a rock for the past decade: TY is probably the best Hip Hop artist this country has ever produced…
Ladies and Gentlemen:
TY!
 How you doing? My name is TY and I’m glad to be in Nottingham.
You’ve just released your new album “Closer”. Your last effort “Upwards” got a Mercury nomination and made quite a big impact. What are your hopes and aspirations for this album?
When we make records, we just kind of make records for the fans and for the audience; so my aspirations are that whoever listened to the last record, or whoever has never listened to TY will possibly listen to this and take it for what it’s worth. The thing for me when I make records; you don’t have to listen to the first record to understand the second record or the third record. So I’ve made a new record for a new number of people -- whether they’re used to TY or not, and I’m hoping that they enjoy the music. If there’s mainstream success, that would be nice. I think I make records from a long time ago that could be mainstream records or could be accepted by a mainstream audience, if it’s allowed to happen. So I enjoy making music for people really.
On the new album you’ve got a lot of collaborations, there’s just two tracks where it’s just you. Is there any reason for you picking this route at all?
There’s more tracks with just me on it, but the collaboration aspect of the music just came from -- I wanted to collaborate with peers, people that I considered to be people that I would lovingly want to work with on a long term basis anyway. There would have been a lot more guests on the record, it’s just we ran out of time and some people just missed the deadline. Jazzy Jeff missed the deadline; loads of people missed the deadline. Sa-Ra missed the deadline. These people like the music I’m making and understand that I’ve got a vibe and so it was just really a matter of connecting with people that wanted to work with me and understood what my work is. A lot of heads in the UK are kind of on a competition vibe. It’s almost like, “yeah, I’m just about to blast you out of the water”. I don’t have time, I don’t consider myself to be part of all that. So I don’t really have time for trying to prove to other MC’s in the country that I should be someone that you respect or whatever. I’m more interested in actually performing or producing or making music for people that want to hear it, and making music for people that want to work with me. Other than that, it’s a no go really.
Following on from your comment about Sa-Ra and your peers: I read that once [J] Dilla saw you at a jazz festival. I can’t remember what he said but it was basically that he was impressed. Did that mean a lot to you?
Definitely. Yeah I mean -- it was the 2004 Montreux Jazz Festival. We were on just before Roots Manuva, and then Jaylib. Yeah, it was me, Roots Manuva and Jaylib, and I caught the show and I really enjoyed it. Him [Dilla] and Madlib just took me aside for a second, and it was really cool, it was really cool. Ya know, he just said, “I didn’t know before but I know now”, and that’s something that I’m going to always remember and always appreciate, but we move forward from that. Him and Madlib gave me their numbers, but I didn’t phone them because I didn’t think I had enough budget.
"...Doing a song with De La Soul was something that should have happened a long time ago..."
I didn’t want to be messing around or asking for favours and I think I learnt a lesson from them. Sometimes it’s just about contacting people and doing something, rather than worrying about money or worrying about those sorts of things, and I think that mentality is what I had in regards to making this new record. When I approached Bahamadia or Speech from Arrested Development they were pretty much aware of what I was doing because they had seen me perform and they wanted to do it, so it was really not a problem.
How did some of the bigger collaborations on the album such as De La Soul come about?
 Doing a song with De La Soul was something that should have happened a long time ago, should have happened in the 90’s really. How it came about was that we were making music and I have a long-standing relationship with De La and I’m a long time fan and friend of them, and I just happened to be doing the album… I know Pos was definitely positive about “yeah, I want to do this song”. So we were working on two beats, two song ideas at the time, and the two ideas were “Closer” and “[The] Idea”, though actually “Closer” was the first one I gave them… Then the week that I gave them the CD of “Closer”, the beat… we made another beat which was the “[The] Idea” beat and then I played it to Dave over the phone and I was telling him… He was like; “that’s it, that’s the one”. So I said forget about rapping on the “Closer”, lets rap on this one, but Maceo vocaled the chorus, so imagine: “Closer” would have had all of them on it but then we just shifted it over to “The Idea”.
Following on from the De La Soul collaboration -- that just reminded me that you were on a Talib Kweli remix weren’t you? Was that an official remix?
That was official by Rawkus, yeah. It was just for the UK and Europe, and they did it just to kind of raise a little bit more awareness for the “Reflection Eternal” album at that moment, and Talib only heard it when he was in the UK, and then every time he would pull me in to perform it. So we performed it at some big festival somewhere, Jam in the Park, we performed at.
At Hyde Park?
It’s called Jam in the Park; I’m not sure where it is. And we performed it there, we performed it in Subterranea, we performed it at Jazz Café too, twice. So he makes a point of like, “Hey! Where’s TY? Is TY here?” The last time he didn’t make a point of asking for me and he was onstage and came off for a second and I saw him in the dressing room and he just flew back out, flew back on stage, like “Yo, we gunna do this thing”. So I think he likes to -- I mean I like to do that as well, sometimes it’s nice to pull in people that you know are kind of cool and know a bit of vibe over your music and just let them do their thing and with Talib, I have a lot of respect. He would have been on the album as well. For this record, I just wanted it that way, it wasn’t a matter of I worked towards having just American artists or whatever, but I was sick and tired of trying to justify what I do to my fellow UK people. It’s like sometimes, artist wise, people don’t understand but in the background there’s a lot of bitchiness going on and there’s a lot of kind of like, “yeah, we’re the real thing and you’re weak and you’re not real rap” and all of that. I’m just like, “you know what? I just haven’t really got time for all that” and because I know that when I stand on stage and I go to perform, that’s the truth and a lot of you cats know that.
"...I was sick and tired of trying to justify what I do to my fellow UK people..."
You know, people can talk about whatever they want to talk about, but when it comes to standing in front of an audience, it’s not in my head, it’s right there, everybody knows that we perform. So I just wanted to kind of grow up and not really deal with that energy anymore. ‘Cause sometimes it’s just a boy thing -- you just push each other around and just, “argh, I’m a man - uga uga uga”, cavemen like... I’ve always tried to kind of talk from a level of moving forward and I think the only way you can move forward is to figuratively do it, not necessarily talk about it all the time or run seminars on it, just do it and move forward. And my move forward is, I kept projecting the image to people that I view myself as an international MC. Not a UK MC, and that’s kind of what we’ve been trying to push, and that’s what I think is kind of really evident on “Closer”. I’m getting closer to people understanding that, that that’s the idea of the record, of the energy, of the ethos, of the approach, is to aim to be an international MC from wherever you are and understand that, that means you have to pay attention to the international market.
Yeah, Big Dada, they make quite a lot of sales abroad, bits of Europe and the Far East and stuff. What’s more important sales wise? The UK? Or are overseas markets more lucrative?
I’ll be honest, what’s really not important is not necessarily sales per territory, but what’s really important is people understand the concept -- the brand that you’re trying to introduce because when you know that in Japan, or in Germany, or in France, people can identify and understand your brand, you can sell them many more things. You don’t just have to sell them a record. You can sell them a tour, a t-shirt, signed autograph. You know? A compilation album, you can sell them a whole bunch of different things. You can sell them your music... Once you establish in a territory… “This is a brand you need to pay attention to”, which is what I’ve been trying to do and what Big Dada have been trying to do, it’s really about reaping the benefits of establishing that brand. I talk that way because I think that I know as the Hip Hop heads, that we can no longer talk from a perspective of, “Oh yeah, ya know, ‘cause when my record sells”, that’s so caveman! It’s about brands, that’s all that’s selling at the moment. That’s all that’s really, you know, now that the world is turning into a digital franchise in regards to what’s possible, what’s available for people as far as the actual idea: you pressing up a vinyl, selling a vinyl, or you pressing up a mix CD -- the selling of these CD’s is no longer the only way to do it. So for me and Big Dada, we’ve been really successful in creating brands.
"...I kept projecting the image to people that I view myself as an international MC..."
Whether it’s Spank Rock, whether it’s New Flesh For Old, whether it’s Roots Manuva, whether it’s TY, whether it’s Juice Aleem on his own -- we’ve created MC’s and brands and styles and genres, that people can pay attention to, and people can be fans of that particular thing only, on its own or altogether. So Big Dada, the thing about me being on Big Dada is I was always an artist before I was on Big Dada and I was putting out records before I was on Big Dada. Big Dada have always let that type of energy happen and be available and I’ve always been able to do so many features, so many collaborations, whether it’s with Afrobeat artists, whether it’s with broad musicians, whether it’s with you know -- pop artists; Damon Albarn I’ve done. I’ve been able to do that many different types of collaborations because I’m on a label that understands I’m an artist, that I can put records out and make records with anybody because I’m an artist and I think that’s the most important thing really. Selling records and territories doesn’t mean anything anymore.
We’ve been speaking about a lot of collaborations on the album but there’s still a very consistent feel as you’ve got Drew handling all of the beats…
 We do beats. You see that is a problem I have with interviews, people always talk about Drew being the only person that makes the beats, but that’s just not the case.
OK… having worked heavily with Drew throughout the last two albums, would you consider yourselves to be a duo?
Yeah, we are a family of people that make music together and there’s actually three people in the record now. There’s Leroy Brown, Drew Horley, myself, and then a guest producer who collaborated with us was Taylor McFerrin, who is Bobby McFerrin’s son, and so he’s the beat-boxer on that song [What You Want (Taylormade)]. Working with him was nice because we got to collaborate with someone who understood, who was a fan of what I was doing already so it was just nice to work with people that were not new to what you do, and kind of understand what you’re doing -- and consider it an equal honour to be working with you. It just makes for a nicer environment in the studio, and production-wise, we handled different jobs as far as production so we all have our particular different styles of beat, that kind of come in to play. So Leroy, actually Leroy’s two styles were “Aim For Your Goals” and “Sweating” with me a little bit, compared to Drew’s, which was kind of more “Closer” and mine was probably “Oh!” and “This Here Music”. So what we do is we build the bones individually then we submit to each other and just say, “okay, look, this is what I want to do, so what do you think and what do you think?” And basically, it’s a collaboration.
"...I don’t know if I’m going to do a Hip Hop TY record, I’m not sure about whether that’s going to happen at the moment..."
Sorry if I come across a bit raspy with that, it’s just that it seems that people kind of refuse to accept the fact that I’m a producer, and I just have to stand my ground a little bit. But I think Drew is an amazing producer, he’s one of my favourite people to make music with because he’s just -- his ears are open, and his eyes are open and he listens, and he doesn’t just have that kind of producer -- kind of arrogance that some people have, with like, “it’s got to be this way”, and “da da da da” and Drew understands that I know what I’m doing. So it can’t be a situation just telling an MC something, because I’ll programme. You know, I’ll just turn up at the studio with a song half programmed already; “Okay, I’m just going to rap now”. We work well together, really well, he’s an incredible producer -- he produced Natalie William’s album.
Oh yeah, we were talking about that earlier.
 She’s been doing some of the tour with us but she’s not doing it today and it’s really about people kind of working together to get a common interest or goal achieved, and one of the projects this year was my album. To get it done, to get it finished and they completely outdone us as far as you know -- if I say something, I pull something out the air like the Taylor McFerrin thing; no questions, no debates, no seminars about whether we should do it, they completely follow my lead on that. I’m really thankful that I have people that can really follow my vision.
Can we expect you to branch out to any other producers in the future; will you be making that Madlib call?
It’s likewise; the call goes two ways. I think with me now, I’m going to focus on promoting this record as hard as I can for a little while and then getting on with making music with other people. I don’t know if I’m going to do a Hip Hop TY record, I’m not sure about whether that’s going to happen at the moment. But what I will be doing is making more music definitely.
You touched on this in earlier questions, but just to clarify, the albums titled “Closer”. What does that mean? Was it closer to the position that you want to be in the industry with sales or closer to a sound that you want to bring across?
I mean, the thing -- the problem that I have found with really explaining the album, is then I kind of crush people’s perceptions of how they hear it, which is something that I don’t want to do. So what I would say is that the whole “Closer” aspect is about the journey. It’s about getting closer to being in the position where on a people level of getting closer to being respected properly. I feel as a Hip Hop artist in the UK, that we haven’t yet realised the problem in regards to -- we keep getting classed as people that can’t sell records but we’ve never been classed as people that are not allowed to sell records, and I’m waiting for that, I’m trying to get closer. I’ve decided as an artist, that I’m not going to be quiet any more in regards to speaking to my audience and letting them know that -- hell -- you know, Roots Manuva never told you, Blak Twang never told you, Skinnyman never told you, but I’m telling you this: Our music, our genres are a despised art form in this country and the reason why it’s despised, I don’t know, but the actual fact that it’s despised is not even in question. We’re not on television where…
"...Shakespeare didn’t know what he was doing at the time. He didn’t know he’d be what he is now, and I’m just saying I approach my music the same way..."
Hip Hop is one of the most biggest selling, one of the most innovative, one of the most popular forms of music and art or visual culture… In the world at the moment… In this country they are not seizing upon the fact that it’s a popular culture for their children and that to me is something that I might say and it might go over some people’s heads, some people might be like, “oh I already know this”, but the fact is artists don’t talk about it… A lot of people when they talk to us, they ask us questions like, “hey, what do you want and how do you feel and why do you feel this didn’t happen” and it’s nothing to do with us. It’s to do with those people over there that have a problem with this art form and I think what I would say to anybody that’s listening to this is why don’t we all start paying attention to how Hip Hop is being frozen out of mainstream culture? So pay attention to the fact that there’s no television programmes, pay attention to that. Pay attention to the fact that there’s not that many Hip Hop acts that you see on TV. Hip Hop, not rap acts, there’s a difference… You know, everybody knows the difference…
"...[Hip Hop artists from the UK] keep getting classed as people that can’t sell records but we’ve never been classed as people that are not allowed to sell records..."
Pay attention to the fact that rappers are asked particular types of questions, are portrayed in a particular fashion in newspapers, the stuff that’s almost, ya know, it’s not conspiracy but it’s definitely not coincidental that if you do rap music or if something goes bad, it’s attached to rap music. Rap is the new black and I think that we have to pay attention to that. One of the things I love about my music is that I get to speak to so many different people of different backgrounds. It’s restored my faith in humanity because it’s like… No, we’re not all the same. No we don’t all think certain ways. Everybody wants -- some people want to hear certain things, and some people want to hear different… Some people don’t want to contribute to this kind of draconian system of evolved people factories that we have at the moment… Ya know what? Nah, it’s not cool. I don’t feel good about it. I don’t feel right. I don’t feel like I should keep quiet and let it happen, and I think that’s the thing about Hip Hop music that I think scares a lot of the institutions. I think they understand that it’s going to make you sit down and be interviewing me at your age and having that as an experience when you grow up to be like, well, whatever job you do. I know what the media tell these particular people, I know what the media tells me about you, but look at us now. So I guess we’re not that far apart as we are being designed to think and I think that -- that’s the thing about Hip Hop that I think scares the institutions; it’s bringing youth together too much. You know, people are actually studying together, raving together, partying together, and becoming families together and becoming aunties and uncles of different children and different generations and different backgrounds.
"...A lot of Hip Hop artists in the UK seem to shy away from the fact that what they’re doing is art. It’s art!..."
So I mean it’s just, wow, no other music is doing that apart from maybe -- no, no other music’s really doing that -- is really bringing that level of age group and different genres and different backgrounds together all at once to enjoy someone from a different background again. No other cultures do it: Rock or ballet, nothing… I think it scares the hell out of institutions and I think that they’ve silently stumbled Hip Hop to be something that can only go so far. So as an artist I’m speaking out and saying: You know what, fuck the whole “if I keep quiet, maybe my record will be played” scenario. I put it to you, the people, look for that now. Look for it and see if you can see certain things, if you can see certain patterns popping up in popular culture in regards to artists and who is allowed to shine and who isn’t allowed to shine and if you don’t agree with it, make sure you support us. We’re not saying support us for the sake of us being UK. I don’t want anybody to buy my record because I’m from the UK. I want people to buy my record because I’m making incredible music that can be heard in any part of the world. That’s all I’m trying to do.
We’ve talked about your album a bit, so we’re going to move away to your live show now… You’re one of the few big UK MC’s that perform with a live band. With such good beats on your album, what made you decide to enlist a band to do the live show, and do you think it adds to the appeal of your show?
 With me performing with a live band, what I’m trying to do is bring another element for the fans to enjoy another way of seeing the music, another way of hearing the music, and another way of enjoying TY as an artist. It’s easy for me to stand here with a DJ and do it and I enjoy it and even if I do shows with a DJ, I can do it in a certain way which can be very interesting.
Yeah, I saw you at UK Takeover 3 with a DJ [MistaJam] and you still killed it…
Yeah, still have fun, it’s fine, and that was [Mista]Jam. That wasn’t even my DJ, so he worked out the show minutes before we got on stage. Big up to Jam.
Definitely -- and SureShot.
Yeah, and SureShot… For me it’s really important that there is different layers for people to kind of enjoy about how I perform. Whether it be with a DJ, whether it be me on my own in a spoken word setting or whether it’s me with a live band… It’s just the way that I’ve been fortunate enough to see that that’s way and above and beyond the best way to kind of break out, and I have to break out of this stigma that I’m attached to, because like I said it’s a despised art form, so it’s very very quick to say, “Okay, you know what, two guys in a hoodie and a microphone. Yeah, okay, don’t know if I want that on TV”. Well then, take this whole live band!
Do you think that having a live band in a way makes you a bit more acceptable to certain audiences?
I don’t do it because I want to be more acceptable to people that can’t like Hip Hop in its original format; I definitely don’t do it for that reason. But what I’m doing it for is I’m trying to create another window for you to see me through, another window for me to perform. I’m trying to have fun with this. It’s like if I change my band around so it’s just orchestral people with drums and stuff, I’m trying to have fun with this. You know, you can only do so much sometimes and I think having a live band just increases the level of attention that you have to pay to your music… Also, I want people that have my music to be able to see it in various formats because sometimes some people say; oh I’m “not really a complex lyricist”. Sometimes really I feel that some of my songs, you have to hear them in different ways before they go, “ahh, that’s quite good”. I won’t finish a song or put it out unless I know I got that factor about the record. I will cut it off. There’s records I leave off of records, because I know, “nah that’s not got the factor”. So the songs that have the factor, I want them to kind of be discovered in as many formats as possible for the listener.
"...Our music, our genres are a despised art form in this country..."
And I meet people in different parts of the world that have different understandings of what my album means to them -- what the song “Rain” means. I met a girl that had her boyfriend die in the tsunami and she listens to “Rain” because it’s something that they used to listen to together and now it means something else to them. Who am I to say in an interview it’s only about gun crime in South London? It really isn’t, it’s just art, and that’s what we’re trying to do really. A lot of Hip Hop artists in the UK seem to shy away from the fact that what they’re doing is art. It’s art! It’s like, “you know, it’s just this ting I do innit”. Well you know what, you lot -- over there. Me, I’m an artist, art is art, that’s what this is. We’re exhibiting our emotions and we’re expressing ourselves for something that can be looked at in a hundred years from now and I want my stuff, my words, my feelings to be able to be deciphered a hundred years from now. Not necessarily I want to be extra famous, but you know; Shakespeare didn’t know what he was doing at the time. He didn’t know he’d be what he is now, and I’m just saying I approach my music the same way, and that’s all I’m truly doing.
Carrying on with the live and the worldwide theme, you tour a lot overseas as well. Have you found any difference in the audiences’ reaction between the UK and overseas?
Just a better reaction.
Overseas?
Yeah. Just a better reaction overall. I wouldn’t say -- I don’t know, would I say a better reaction? I just say it’s -- yeah, some places are less inhibited. We’re quite inhibited here. Some places I’ve been to have been worse reactions, but generally I find in Europe… Especially because I’m travelling from here to there, that it’s a big thing for them.
Like when an American comes to England?
 Yeah, like they’re laughing at the accent, they’re enjoying it. It’s like, “he’s here, he sounds like on the record”. That’s what it is, so it is cool. I think… I probably look forward to my European gigs a bit more just because I have to travel, I’ve got more to take in as far as the landscape, and as far as getting the show. I have to be in tune to make sure that I get a reaction from them, because sometimes some people don’t speak the language and some people do. Most people speak English, most people understand what I’m rapping about, some people just feel it, like -- they feel that this is a good show, and sometimes you just can’t beat that.
Keeping with the live theme, your live show’s very heavily acclaimed. You do a lot of festivals, such as you’ve done the Carling Festival’s in the past, you’ve done the Urban Music Festival -- where a lot of the crowd won’t necessarily be there just to see you and they may not have heard you before. Do you think you’ve managed to convert people through your live show in these situations?
I’ve heard that we have and sometimes you don’t, and it’s cool. Sometimes you’re just not the person who people came to see and they have no room in their heads for liking anything else and you just can’t defeat that. At the same time, I’m here to perform, I’m here to take that risk, I’m here to be an artist and being an artist doesn’t mean you get people clapping for you everyday. Sometimes being an artist means you have to figure out what you did wrong or figure out that people don’t like what you’re doing, and it’s all part of it, and I’m fine with it.
Definitely... We did actually have a nice question to bring it to a close as we broadcast to students, but this is such an interesting interview I think I’m going to type this up. The question was going to be about “Hustle”, and basically I interpret that as… Making something of your life, not just being lazy and complacent and sitting there, but going out and doing what you want to do. So I’m going to say, what advice would you have for the students that are sometimes a bit lazy, not doing enough, but just in general -- as I said I’m going to type this up -- what would you give people, do you have any pearls of wisdom for people to get out there and do what they want to do?
I have no pearls of wisdom for students. I think anybody that has got to this level of being in university and actually being able to finish their music or finish their studies or get to a point where they’re actually on a degree course -- you are far beyond me telling you anything. I would just say that the song “Hustle” is really about knowing that you are sometimes up against a brick wall and you have to just get on with it or close your eyes and allow yourself to remember that and sometimes the answer comes to you rather than you looking for it. All I’m really doing is searching for my -- trying to pick up the threads of my destiny, provide my music and sometimes it’s not cool, sometimes it’s really good, sometimes it’s abysmal, and I just keep foraging ahead because that’s what I learnt from my parents. They foraged ahead, there was no other avenue for them to just sit down and waste away and die because that’s what they would have done, being here in this country.
"...I met a girl that had her boyfriend die in the tsunami and she listens to “Rain” because it’s something that they used to listen to together and now it means something else to them..."
So as a child of that type of ethos, I just have to hustle, and that’s what it means. As far as a student, anyone that’s being lazy, I’ll just say, the only thing I can say -- because I’m a lazy person too in regards to study -- is if you can find something that you love, it’s hard to study something you don’t love. If you can find something that you can love about what you study then find it; don’t let someone waste money. There’s loads of people in different countries that would die to be on your course, but that’s the only thing I can say. I can’t really tell any students because you have far excelled my level of laziness by getting to where you are now. So “Hustle” is for you, and if you need that type of song, if you need any music on my records to kind of boy you up, to boost you up and make you feel good about yourself then please go ahead and press play.
Ok, just before we finish, any plugs or shout outs to anyone?
I’d like to plug out the website. The website is called www.letsgetcloser.com
plus you can hit me up on www.myspace.com/TYandupwards
I’d like to shout out all the people that have shown me support over the years and have enjoyed my music and you are the reason I make music, quite simply.
Wow. Like I said, TY’s definitely an interesting man! Make a note of what to look out for i.e. Hip Hop being frozen out of mainstream culture. If you’re feeling what he’s saying; go and hit up the links, or even better; go out and put your money where your mouth is. Don’t forget: If you see a TY and Madlib track, or another TY and Kweli joint, Rish brought you the news, MONTHS, if not YEARS early! Thank you for taking the time out to read.
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Rish
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