P Steezy, how so awesome?
May. 29th, 2008 05:06 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
mimesereFrom an interview with ?uestlove.
PStump has a ghetto pass, you guys. I can't stop laughing and going AWWWWW at his tiny adorkable self.
WW: A lot’s been made about “Birthday Girl” not ending up on the album here in the States. Whose idea was the collaboration with Patrick Stump in the first place? Was it you guys? Or did someone at the label suggest that to you?
AT: Usually, the way black people do stuff is, they’ve got to look at the top of the charts and see who’s hot and how can I grab their demographic. Like, in a normal world, I’d say, “Let’s grab U2. Let’s grab Coldplay.” Well, you saw the Coldplay wars go down between Jay and Kanye. That’s more or less the thinking in terms of the numbers – like, how can I expand my audience? I’m sure some of it has to do with some social nuances, but really, it’s about the numbers they can bring. It’s not like Kanye and Jay are going to argue about the lead singer of the Gossip or the Fiery Furnaces. If you want to associate yourself with obscure rock people, come see me, because I know those people. Deerhoof and people like that.
Usually, with black acts, it’s more or less about expanding your numbers. But with us, I met Patrick in a hotel lobby, and I had a J Dilla t-shirt on, and we were talking for twenty minutes about J Dilla, and I just thought he was some fan. And then Kirk [Douglas, also known as Captain Kirk], my guitar player, came up, and he started talking. And the way Kirk was talking, Kirk knew who this guy was. So when Patrick turns his back, I’m like [whispers], “Who is this guy?” “He’s Patrick Stump from Fall Out Boy.” And I was like, “Oh,” because I never knew him. And after that, we invited him to our ‘Twas the Night Before the Grammys jam. Every year, we do this event called ‘Twas the Night Before the Grammys, and he came, and I was like, “Okay.” Even then, I wasn’t that familiar with Fall Out material. But he was waving his ghetto card big. He was singing “She’s a Bad Mama Jama” and Prince’s “Kiss” and all this stuff. So we became friends, and that’s when I realized, this guy is kind of the ?uestlove of his group. We’re comparing iPods with each other, and “Have you seen this bootleg?” I don’t know if you remember that meeting in Boogie Nights between Dirk Diggler and – what’s his name? The guy who plays in Walk Hard?
WW: John C. Reilly.
AT: Yeah, John C. Reilly. When they first meet, when they’re trying to outdo each other: That was me and Patrick all the way. Like, “I’ve got this documentary of the Police that no one’s ever seen before.” And I pull my copy out and say, “You mean this one?” And he’s like, “How’d you get that?” That’s how we became cool. We’d done the Grammy thing, our jam session thing, for two, three, four years, so I guess we had some time off. So I said, “Yo, let’s mess around in the studio.” And we actually worked on three or four joints. And then “Birthday Girl” actually wasn’t even collaborated on. We’d had that song since probably [2004’s] The Tipping Point. And at the end of the session, I said, “Yo, you want to sing on this joint real quick?” He did it in, like, ten minutes. And that was basically it.
PStump has a ghetto pass, you guys. I can't stop laughing and going AWWWWW at his tiny adorkable self.
WW: A lot’s been made about “Birthday Girl” not ending up on the album here in the States. Whose idea was the collaboration with Patrick Stump in the first place? Was it you guys? Or did someone at the label suggest that to you?
AT: Usually, the way black people do stuff is, they’ve got to look at the top of the charts and see who’s hot and how can I grab their demographic. Like, in a normal world, I’d say, “Let’s grab U2. Let’s grab Coldplay.” Well, you saw the Coldplay wars go down between Jay and Kanye. That’s more or less the thinking in terms of the numbers – like, how can I expand my audience? I’m sure some of it has to do with some social nuances, but really, it’s about the numbers they can bring. It’s not like Kanye and Jay are going to argue about the lead singer of the Gossip or the Fiery Furnaces. If you want to associate yourself with obscure rock people, come see me, because I know those people. Deerhoof and people like that.
Usually, with black acts, it’s more or less about expanding your numbers. But with us, I met Patrick in a hotel lobby, and I had a J Dilla t-shirt on, and we were talking for twenty minutes about J Dilla, and I just thought he was some fan. And then Kirk [Douglas, also known as Captain Kirk], my guitar player, came up, and he started talking. And the way Kirk was talking, Kirk knew who this guy was. So when Patrick turns his back, I’m like [whispers], “Who is this guy?” “He’s Patrick Stump from Fall Out Boy.” And I was like, “Oh,” because I never knew him. And after that, we invited him to our ‘Twas the Night Before the Grammys jam. Every year, we do this event called ‘Twas the Night Before the Grammys, and he came, and I was like, “Okay.” Even then, I wasn’t that familiar with Fall Out material. But he was waving his ghetto card big. He was singing “She’s a Bad Mama Jama” and Prince’s “Kiss” and all this stuff. So we became friends, and that’s when I realized, this guy is kind of the ?uestlove of his group. We’re comparing iPods with each other, and “Have you seen this bootleg?” I don’t know if you remember that meeting in Boogie Nights between Dirk Diggler and – what’s his name? The guy who plays in Walk Hard?
WW: John C. Reilly.
AT: Yeah, John C. Reilly. When they first meet, when they’re trying to outdo each other: That was me and Patrick all the way. Like, “I’ve got this documentary of the Police that no one’s ever seen before.” And I pull my copy out and say, “You mean this one?” And he’s like, “How’d you get that?” That’s how we became cool. We’d done the Grammy thing, our jam session thing, for two, three, four years, so I guess we had some time off. So I said, “Yo, let’s mess around in the studio.” And we actually worked on three or four joints. And then “Birthday Girl” actually wasn’t even collaborated on. We’d had that song since probably [2004’s] The Tipping Point. And at the end of the session, I said, “Yo, you want to sing on this joint real quick?” He did it in, like, ten minutes. And that was basically it.