1 00:00:13,380 --> 00:00:15,520 Zack Beins: Good morning, Tromaville. 2 00:00:15,740 --> 00:00:17,500 Zack Beins: Drop the needle because we're back with 3 00:00:17,640 --> 00:00:22,600 Zack Beins: another exciting episode of Talkin' Troma with your host me, Zack Beins. 4 00:00:23,120 --> 00:00:25,160 Zack Beins: On today's episode, I have a returning guest. 5 00:00:25,680 --> 00:00:28,600 Zack Beins: You may remember him from my Def by Temptation episode, 6 00:00:29,000 --> 00:00:35,400 Zack Beins: but his legacy goes back further than that. Today's guest is Chaz Kangas. If you live in 7 00:00:35,660 --> 00:00:40,900 Zack Beins: Minnesota, you may have heard him on the public radio, The Current. If you're a hip-hop fan, 8 00:00:40,970 --> 00:00:46,700 Zack Beins: you may remember Chaz as a fixture of the NYC freestyle scene. Chaz has several albums out, 9 00:00:47,180 --> 00:00:52,500 Zack Beins: featuring such topics as movies, wrestling, struggles with depression, going on dates, 10 00:00:52,920 --> 00:00:56,580 Zack Beins: A Recipe for Your Next Meal, the TV show The Critic, just to name a few. 11 00:00:57,080 --> 00:01:03,700 Zack Beins: Chaz is a scholar in many things. One such topic is Troma films. I met Chaz on the old 12 00:01:03,960 --> 00:01:10,200 Zack Beins: Troma message boards back in the mid-90s, when the internet was the wild west, and always admired 13 00:01:10,300 --> 00:01:14,920 Zack Beins: his wealth of knowledge. We would talk music and Troma back and forth for many years, and then 14 00:01:14,920 --> 00:01:20,060 Zack Beins: when I started this show, I would run thoughts past him and have him fact check me on the subject 15 00:01:20,160 --> 00:01:27,060 Zack Beins: at hand. Later, Chaz started working on a new album and sent producer Chris and I some of the 16 00:01:27,060 --> 00:01:30,900 Zack Beins: That same music you can hear at the intro and outro of this very show. 17 00:01:32,200 --> 00:01:36,560 Zack Beins: About that time we also asked him if he would like to come on as a producer, as he was already 18 00:01:36,640 --> 00:01:37,920 Zack Beins: bringing a lot to the table. 19 00:01:38,680 --> 00:01:43,660 Zack Beins: With such a gift of hip hop and troma, Chaz has unleashed to the world his newest album, 20 00:01:44,400 --> 00:01:49,980 Zack Beins: The Troma Project, 50 years of real fan toxic hip hop from Four Finger Distro. 21 00:01:50,660 --> 00:01:53,380 Zack Beins: Check the description for links on how to purchase his album. 22 00:01:54,180 --> 00:01:55,640 Zack Beins: That brings us to today's episode. 23 00:01:56,460 --> 00:02:01,880 Zack Beins: Join us as we chat about Troma, the making of his new album, hip hop, and even listen 24 00:02:02,000 --> 00:02:03,240 Zack Beins: to a few tracks from him. 25 00:02:04,380 --> 00:02:05,000 Zack Beins: Enjoy everybody! 26 00:02:06,460 --> 00:02:10,080 Zack Beins: Chris, roll the tape. 27 00:02:11,000 --> 00:02:19,780 Zack Beins: Cut it over to the- don't cut me off mid-sentence. 28 00:02:19,780 --> 00:02:21,600 Zack Beins: The show where parents just don't 29 00:02:21,600 --> 00:02:24,120 Zack Beins: understand because there's a nightmare on my street. 30 00:02:24,120 --> 00:02:28,040 Zack Beins: I'm here with hip-hop performer, 31 00:02:28,580 --> 00:02:31,300 Zack Beins: extraordinaire, and producer, Chaz Kangas. 32 00:02:31,300 --> 00:02:32,620 Zack Beins: How are you doing, buddy? 33 00:02:32,620 --> 00:02:34,400 Chaz Kangas: I am fantastic. 34 00:02:34,540 --> 00:02:35,120 Chaz Kangas: Greetings from Tro-Minneapolis. 35 00:02:35,360 --> 00:02:37,340 Chaz Kangas: so happy to return here after, 36 00:02:37,640 --> 00:02:39,740 Chaz Kangas: was it four years ago when we did my last visit 37 00:02:39,820 --> 00:02:40,740 Chaz Kangas: to Talkin' Troubleville? 38 00:02:41,040 --> 00:02:43,500 Chaz Kangas: Yeah, with Def by Temptation. 39 00:02:44,040 --> 00:02:46,820 Chaz Kangas: Yeah, which is gonna be screening in Minneapolis 40 00:02:47,000 --> 00:02:50,000 Chaz Kangas: for our Midnight Mayhem, the first Saturday of every month 41 00:02:50,000 --> 00:02:52,000 Chaz Kangas: at 10 p.m. at the Main Cinema. 42 00:02:52,230 --> 00:02:53,480 Chaz Kangas: We have that playing in February 43 00:02:53,660 --> 00:02:56,000 Chaz Kangas: for both Black History Month and Valentine's Day. 44 00:02:56,080 --> 00:02:57,880 Chaz Kangas: Can't wait to see the latest transfer 45 00:02:58,000 --> 00:02:59,580 Chaz Kangas: of Def by Temptation on the big screen. 46 00:03:00,240 --> 00:03:00,940 Zack Beins: That'll be fun. 47 00:03:01,060 --> 00:03:02,560 Zack Beins: I've never seen that movie in the theater, 48 00:03:02,700 --> 00:03:05,280 Zack Beins: but now I kind of need to. 49 00:03:06,330 --> 00:03:08,580 Zack Beins: Road trip, Minnesota in February. 50 00:03:08,920 --> 00:03:09,560 Zack Beins: Come on out. 51 00:03:10,220 --> 00:03:14,260 Zack Beins: I'll swing by the biggest ball of twine in Darwin, and then I'll 52 00:03:14,330 --> 00:03:16,460 Zack Beins: come see Def by Temptation. 53 00:03:17,740 --> 00:03:17,820 Chaz Kangas: Nice. 54 00:03:17,900 --> 00:03:18,620 Chaz Kangas: That's a travel hub. 55 00:03:19,000 --> 00:03:22,600 Chaz Kangas: So just see that and then ride a replica purple Prince motorcycle 56 00:03:23,100 --> 00:03:28,400 Chaz Kangas: into uptown Minneapolis, you know, go, go through Brainerd, see the tool master 57 00:03:28,500 --> 00:03:31,920 Chaz Kangas: there, and then, uh, you know, pass in front of first Avenue and yeah, uh, 58 00:03:31,920 --> 00:03:37,080 Chaz Kangas: The main cinema is actually just across from where one of the scenes from Jingle All the 59 00:03:37,080 --> 00:03:37,760 Chaz Kangas: Way was shot. 60 00:03:38,400 --> 00:03:41,000 Chaz Kangas: So, you're full Minnesota fill. 61 00:03:41,580 --> 00:03:46,380 Zack Beins: And then while I'm there, I'll swing into the Electric Fetus Record Store to pick up 62 00:03:46,740 --> 00:03:49,580 Zack Beins: the new Chaz Kangas album, The Troma Project. 63 00:03:50,340 --> 00:03:52,680 Zack Beins: 30 years of pro-toxic hip-hop. 64 00:03:52,940 --> 00:03:55,900 Zack Beins: First off, I have to ask about the name The Troma Project. 65 00:03:56,520 --> 00:04:02,160 Zack Beins: Is this a reference to the CD-ROM video game that Troma put out in the 2000s? 66 00:04:02,420 --> 00:04:05,840 Chaz Kangas: It is a shot-for-shot remake of Every Sound from that video game. 67 00:04:06,060 --> 00:04:10,000 Chaz Kangas: We took the Gus Van Sant psycho approach to that video game's score. 68 00:04:10,820 --> 00:04:13,000 Chaz Kangas: So it's a tribute to that album. 69 00:04:13,360 --> 00:04:19,280 Chaz Kangas: No, it's funny you mention that because I knew about that, the Troma Project video game's 70 00:04:19,400 --> 00:04:25,920 Chaz Kangas: existence and I'd never seen a copy in person until at a local used CD store out here in 71 00:04:25,920 --> 00:04:33,840 Chaz Kangas: It was erroneously put into the CD section for music and it was put into just randomly one of them. I'm sure 72 00:04:35,040 --> 00:04:38,960 Chaz Kangas: Unless the person who works there has a great sense of humor, which they might it was in one of the 73 00:04:39,820 --> 00:04:45,280 Chaz Kangas: Recommend staff recommendations just a CD-ROM video game when every CD around it is music 74 00:04:46,300 --> 00:04:53,360 Chaz Kangas: and I purchased it and I have it and then the Troma project was what myself and the producers j57 and 75 00:04:53,760 --> 00:04:56,840 Chaz Kangas: balled half with it. We're just like been calling it internally and 76 00:04:58,640 --> 00:05:01,280 Chaz Kangas: It just it stuck to it and I kind of had like 77 00:05:02,040 --> 00:05:07,260 Chaz Kangas: Forgotten and thought that the that the Troma projects name was toxic mayhem because on some of the promo material for it 78 00:05:07,640 --> 00:05:13,600 Chaz Kangas: It had just toxic mayhem written forgetting that. Oh, no, that was just the promise of what was contained within the Troma project and 79 00:05:14,920 --> 00:05:17,860 Chaz Kangas: But then I figured while you're making it. Oh, yeah, that's 80 00:05:18,560 --> 00:05:20,200 Chaz Kangas: There's gonna be no confusion in the marketplace 81 00:05:21,080 --> 00:05:26,140 Chaz Kangas: But unaware that the Troma project video game is now available on Steam and is very Google 82 00:05:27,160 --> 00:05:29,620 Chaz Kangas: So we attached on it and then for a while 83 00:05:29,620 --> 00:05:37,000 Chaz Kangas: It was the Troma project 50 years of real toxic hip-hop and then like often the president of Troma studios and creative a toxic Avenger 84 00:05:37,880 --> 00:05:40,320 Chaz Kangas: his one note on the album was 85 00:05:40,980 --> 00:05:46,980 Chaz Kangas: B flat no his one note on the album was to change it to fan toxic and I was like, yeah 86 00:05:46,800 --> 00:05:54,500 Chaz Kangas: That's actually a really good note because then you're not describing the toxic discourse, toxic masculinity, and people know there's like, you know, a fun level to it. 87 00:05:54,640 --> 00:06:00,220 Zack Beins: It's not just the the toxic fandom on Reddit, which we are courting. 88 00:06:00,410 --> 00:06:09,760 Zack Beins: I think it's pretty cool because back when we did Def by Temptation, the episode right after that, I also did with another hip hop artist, Extra Cool. 89 00:06:10,080 --> 00:06:18,060 Zack Beins: And we all just kind of started talking around then about like I had a dream that you and extra cool did a song together. 90 00:06:18,840 --> 00:06:24,760 Zack Beins: And I just threw that out there in the ether. I was like, you guys need to talk. You're both Troma fans. 91 00:06:25,380 --> 00:06:33,320 Chaz Kangas: And that song, Lloyd K, parentheses, a tribute to Lloyd Kaufman, the president of Troma Studios and creator of the Toxic Avenger, end parentheses, 92 00:06:34,360 --> 00:06:37,620 Chaz Kangas: was really the event horizon for this album, 93 00:06:38,000 --> 00:06:40,460 Chaz Kangas: the Troma Project 50 years of real toxic hip hop. 94 00:06:41,360 --> 00:06:44,180 Chaz Kangas: It's really, and I haven't told this to you yet, 95 00:06:44,200 --> 00:06:45,600 Chaz Kangas: I was waiting for us to have this moment captured. 96 00:06:45,600 --> 00:06:47,540 Chaz Kangas: It's really because of you Zach, this album exists. 97 00:06:48,380 --> 00:06:50,760 Chaz Kangas: That's why the very first track on the album is named 98 00:06:50,930 --> 00:06:54,000 Chaz Kangas: Good Morning Tromaville as a tribute specifically to you 99 00:06:54,340 --> 00:06:58,060 Chaz Kangas: and to this podcast as that's how you open every episode of that. 100 00:06:58,900 --> 00:07:03,680 Chaz Kangas: Thank you for allowing this dream come true and this thing to exist that could 101 00:07:03,600 --> 00:07:08,700 Chaz Kangas: really only exists through the stars aligning and me reading that Twitter DM after coming 102 00:07:08,780 --> 00:07:13,880 Chaz Kangas: back from my first COVID booster shot that hey you I had this dream last night. So you 103 00:07:13,880 --> 00:07:20,060 Chaz Kangas: know dreams can mutate into hideously deformed dreams of superhuman size and strength and 104 00:07:20,140 --> 00:07:23,900 Chaz Kangas: come true and become full Troma album. So thank you for that Zach. Oh that's that's 105 00:07:23,940 --> 00:07:30,460 Zack Beins: really touching. I had no idea I I noticed the the name on there but that's really touching. 106 00:07:30,520 --> 00:07:35,060 Zack Beins: I don't, I don't actually think I've ever talked on this show, why I start 107 00:07:35,180 --> 00:07:37,680 Zack Beins: every episode with good morning Tromaville. 108 00:07:38,260 --> 00:07:43,140 Zack Beins: But, uh, back when I worked on poultry Geist, when we would all show up to set, 109 00:07:43,760 --> 00:07:48,520 Zack Beins: um, when the security was checking in with everybody, uh, one of the security 110 00:07:48,680 --> 00:07:53,020 Zack Beins: guys, every single morning on the microphone would, would yell good morning 111 00:07:53,180 --> 00:07:57,040 Zack Beins: Tromaville and you'd hear that all around the chicken bunker. 112 00:07:57,420 --> 00:08:01,820 Zack Beins: And we all knew we were getting ready for another day, you know, in the Troma 113 00:08:01,940 --> 00:08:08,040 Zack Beins: trenches and, and that's always just kind of been my way of, of honoring my time. 114 00:08:08,680 --> 00:08:14,120 Zack Beins: In Buffalo, New York in a hundred degree weather heat with chicken zombies 115 00:08:14,460 --> 00:08:18,900 Zack Beins: and a manic depressive filmmaker, uh, squirting blood and no showers. 116 00:08:18,980 --> 00:08:22,280 Zack Beins: It's just, you know, I always want to remember my roots on the show. 117 00:08:22,420 --> 00:08:27,240 Zack Beins: So me honoring that, then you doing that as a tribute is really means a lot. 118 00:08:27,320 --> 00:08:28,460 Zack Beins: So I appreciate that. 119 00:08:28,780 --> 00:08:30,380 Chaz Kangas: Well, you know, and for those who don't know, 120 00:08:30,520 --> 00:08:31,600 Chaz Kangas: good morning Tromaville, 121 00:08:31,700 --> 00:08:32,620 Chaz Kangas: the phrase is a reference 122 00:08:32,620 --> 00:08:34,140 Chaz Kangas: to the classic Robin Williams film, 123 00:08:34,240 --> 00:08:34,940 Chaz Kangas: One Hour Photo. 124 00:08:35,760 --> 00:08:39,460 Zack Beins: Of course, I I always was thinking 125 00:08:39,460 --> 00:08:41,240 Zack Beins: it was more of a death to smoochy thing, 126 00:08:41,419 --> 00:08:42,659 Zack Beins: but but you're right. 127 00:08:43,779 --> 00:08:45,460 Chaz Kangas: Yeah, 'cause one hour photo 128 00:08:45,540 --> 00:08:47,320 Chaz Kangas: the scenery is always going to the photos 129 00:08:47,380 --> 00:08:48,760 Chaz Kangas: and saying good morning Vietnam. 130 00:08:49,220 --> 00:08:50,220 Chaz Kangas: Like it's it's wild. 131 00:08:50,420 --> 00:08:52,920 Chaz Kangas: So that that Robin rest in peace. 132 00:08:54,399 --> 00:08:55,200 Chaz Kangas: So toys. 133 00:08:55,280 --> 00:08:55,980 Chaz Kangas: (laughs) 134 00:08:59,580 --> 00:09:02,740 Zack Beins: Also, one thing that I like about the album, 135 00:09:02,840 --> 00:09:05,360 Zack Beins: before we even really start talking about the tracks, 136 00:09:05,900 --> 00:09:09,400 Zack Beins: is the cover art for the album. 137 00:09:09,700 --> 00:09:13,100 Zack Beins: It's you holding the Troma logo, just dripping with slime, 138 00:09:13,760 --> 00:09:19,600 Zack Beins: but the artist is also a nod to the Troma legacy. 139 00:09:20,200 --> 00:09:23,199 Chaz Kangas: Yeah, I really wanted something to be a full-on 140 00:09:23,200 --> 00:09:26,660 Chaz Kangas: Troma album with how deep Troma runs in this and to stay authentic to it. 141 00:09:26,680 --> 00:09:28,680 Chaz Kangas: Cause for the core of the album, 142 00:09:28,680 --> 00:09:32,720 Chaz Kangas: for those who may not know is every sound you hear on the album in the production 143 00:09:32,900 --> 00:09:37,200 Chaz Kangas: was put together solely from the samples within 144 00:09:38,000 --> 00:09:39,600 Chaz Kangas: 50 years of Troma. 145 00:09:40,740 --> 00:09:45,140 Chaz Kangas: Lloyd, when Lloyd heard the song that I did with extra cool and he heard it, 146 00:09:45,800 --> 00:09:48,820 Chaz Kangas: I think about several months later after we had like put it out, 147 00:09:49,600 --> 00:09:51,340 Chaz Kangas: He reached out to me and said how much he liked it. 148 00:09:51,760 --> 00:09:57,820 Chaz Kangas: And he pitched the idea of Troma pressing and putting out a vinyl of that song. 149 00:09:57,880 --> 00:10:01,380 Chaz Kangas: And then some of my other songs and some of my artists who I really like song 150 00:10:01,440 --> 00:10:04,740 Chaz Kangas: that I get ahold of and that Troma would press it and put it out, which 151 00:10:04,800 --> 00:10:06,320 Chaz Kangas: is very generous and very cool. 152 00:10:06,900 --> 00:10:12,460 Chaz Kangas: But I was thinking while I had his ear and, you know, as I got the DIY things 153 00:10:12,520 --> 00:10:19,580 Chaz Kangas: and having this deep fiery passion for Troma and also knowledge of how great 154 00:10:19,580 --> 00:10:25,880 Chaz Kangas: the music and Troma is from Curse of the Cannibal Confederates to Demented Death Farm Massacre 155 00:10:26,440 --> 00:10:35,640 Chaz Kangas: to Redneck Zombies. There's so much great music within the Troma films themselves and a lot of 156 00:10:35,660 --> 00:10:41,280 Chaz Kangas: times the scores don't really get the attention. Even the Troma films that had official soundtracks 157 00:10:41,340 --> 00:10:49,100 Chaz Kangas: like Decampitated and Def by Temptation and Terror Firmer, it gets overlooked just how great the 158 00:10:48,700 --> 00:10:50,660 Chaz Kangas: the music is in a lot of them and I think with 159 00:10:51,000 --> 00:10:55,440 Chaz Kangas: Troma directors who every Troma film is such a passion project 160 00:10:55,620 --> 00:10:59,940 Chaz Kangas: and they put what they love into these movies as well as 161 00:11:00,640 --> 00:11:04,080 Chaz Kangas: Troma movies take you to so many different parts around the world and part of 162 00:11:04,360 --> 00:11:07,380 Chaz Kangas: this postcard, this time capsule you're getting of 163 00:11:07,580 --> 00:11:09,540 Chaz Kangas: these different parts of the world as you're getting the music in there. 164 00:11:11,100 --> 00:11:14,100 Chaz Kangas: Knowing how deep and largely untouched 165 00:11:14,100 --> 00:11:22,840 Chaz Kangas: the troma soundscape has been in the realm of hip hop specifically like outside of prince paul and 166 00:11:22,980 --> 00:11:27,280 Chaz Kangas: necro and a handful of others who've gone into the sampling of it it just seemed like there was this 167 00:11:27,560 --> 00:11:36,700 Chaz Kangas: massive treasure trove so i pitched to lloyd the idea of doing a full-on troma themed album sampling 168 00:11:37,480 --> 00:11:42,720 Chaz Kangas: the troma song he said yeah yeah that's not a good idea and that was about three three and a half 169 00:11:42,500 --> 00:11:49,640 Chaz Kangas: years ago and I've been working since with I've known Jay 57 the producer since for 21 years. 170 00:11:50,340 --> 00:11:55,100 Chaz Kangas: He used to work at this record store in New York that was called Fat Beats that was essentially the 171 00:11:55,380 --> 00:12:00,420 Chaz Kangas: mothership for all hip-hop happening in New York City not just for the music they'd carry but for 172 00:12:00,520 --> 00:12:05,220 Chaz Kangas: the flyers you'd go to see what's happening every show the badge of honor would be if the discerning 173 00:12:05,220 --> 00:12:10,660 Chaz Kangas: tastes of Bap beats would carry an album or music that you were putting out. 174 00:12:11,720 --> 00:12:16,540 Chaz Kangas: And Jay was part of a group then, and we just really hit it off 175 00:12:16,700 --> 00:12:18,460 Chaz Kangas: just as friends who love hip hop and love music. 176 00:12:19,060 --> 00:12:22,540 Chaz Kangas: And then further, he he gave me some beats that was on 177 00:12:23,360 --> 00:12:25,560 Chaz Kangas: an album I put out in 2008 called Need Your Reaction. 178 00:12:26,320 --> 00:12:29,260 Chaz Kangas: And even like with us, like moving to different parts of the country, 179 00:12:29,290 --> 00:12:30,120 Chaz Kangas: we all stayed in touch. 180 00:12:30,360 --> 00:12:32,600 Chaz Kangas: He wanted to be part of a group called Brown Bag All Stars. 181 00:12:33,180 --> 00:12:36,580 Chaz Kangas: and now he runs five seven music. 182 00:12:36,810 --> 00:12:38,140 Chaz Kangas: He also like every year, 183 00:12:38,620 --> 00:12:40,060 Chaz Kangas: like every year since 2006, 184 00:12:40,180 --> 00:12:43,640 Chaz Kangas: I've put out a original Christmas song with the proceeds going to, 185 00:12:43,880 --> 00:12:44,520 Chaz Kangas: we run to the proceeds, 186 00:12:44,800 --> 00:12:49,300 Chaz Kangas: every cent given to it goes to rain the rape abuse incest national network 187 00:12:49,560 --> 00:12:51,280 Chaz Kangas: and to wigs for kids. 188 00:12:51,680 --> 00:12:52,540 Chaz Kangas: And since 2017, 189 00:12:52,850 --> 00:12:55,900 Chaz Kangas: he has exclusively been the person to offer the production for that. 190 00:12:55,960 --> 00:12:57,360 Chaz Kangas: And we call ourselves the bad boys Christmas. 191 00:12:57,980 --> 00:12:58,740 Zack Beins: Quick side note, 192 00:12:58,930 --> 00:13:00,080 Zack Beins: other than Troma movies, 193 00:13:00,300 --> 00:13:10,580 Zack Beins: Christmas music is like kind of my next like really big deep dive nerdy thing that I super get into and I really love that you put out Christmas songs every year. 194 00:13:10,640 --> 00:13:15,640 Zack Beins: It's like one of my favorite things to look forward to, like all the time. 195 00:13:15,820 --> 00:13:23,760 Zack Beins: So I I love going back and revisit them and and even just like throughout the year, I'll listen to your Christmas Christmas stuff. 196 00:13:23,820 --> 00:13:29,640 Zack Beins: I even have a playlist made, you know, private of every Christmas song of yours that I have. 197 00:13:29,640 --> 00:13:33,640 Chaz Kangas: What's awesome? Thank you. Yeah, it's and those are always fun to do. 198 00:13:33,940 --> 00:13:39,280 Chaz Kangas: And that stemmed from there was a band in Minnesota called Lip, 199 00:13:39,360 --> 00:13:40,720 Chaz Kangas: who's also in Troma's terra firma. 200 00:13:40,760 --> 00:13:42,120 Chaz Kangas: So there's a Troma connection right there. 201 00:13:42,680 --> 00:13:45,860 Chaz Kangas: And they had the flip fan club and every Christmas they would put out 202 00:13:46,300 --> 00:13:49,080 Chaz Kangas: either a cover of a Christmas classic or an original Christmas song. 203 00:13:49,800 --> 00:13:51,800 Chaz Kangas: And then that's just something that I love. 204 00:13:51,800 --> 00:13:55,220 Chaz Kangas: And then they took a hiatus in late 2003, early 2004. 205 00:13:55,460 --> 00:13:58,540 Chaz Kangas: And so I picked up the I didn't pick up the mantle. 206 00:13:58,560 --> 00:14:03,180 Chaz Kangas: I guess I hung my own stocking by the chimney in 2006. 207 00:14:04,319 --> 00:14:07,520 Chaz Kangas: I love doing it. Christmas is my second favorite genre of music behind hip-hop. 208 00:14:08,300 --> 00:14:11,560 Chaz Kangas: It's always so much fun to do and JVG7 loves doing that too. 209 00:14:12,600 --> 00:14:13,580 Chaz Kangas: During the course of the year, 210 00:14:13,680 --> 00:14:16,600 Chaz Kangas: I'll find, I'll hunt for Christmas music and I'll send them 211 00:14:16,680 --> 00:14:18,720 Chaz Kangas: the Christmas songs and he'll throw one together 212 00:14:19,440 --> 00:14:21,840 Chaz Kangas: and or he'll throw together a few options and then, 213 00:14:22,160 --> 00:14:24,640 Chaz Kangas: well, just the right one will hit and then that'll be the one for that year. 214 00:14:25,000 --> 00:14:30,420 Zack Beins: I do want to say like I remember on the Troma message boards back in the day, 215 00:14:30,500 --> 00:14:38,880 Zack Beins: how I found out you were doing the Troma songs was take yourself all back to the early 2000s. 216 00:14:39,180 --> 00:14:43,320 Zack Beins: And there was a certain viral video going around and your song, 217 00:14:43,380 --> 00:14:44,440 Zack Beins: Two Girls, One Christmas. 218 00:14:45,140 --> 00:14:46,780 Zack Beins: I thought the title was so funny. 219 00:14:47,020 --> 00:14:50,580 Zack Beins: And one of those, after I saw that you did that, I'm like, oh man, 220 00:14:50,780 --> 00:14:54,180 Zack Beins: this is a tradition for me to listen to this song every year. 221 00:14:54,260 --> 00:14:58,300 Chaz Kangas: It's funny because the first one I made the year before, 222 00:14:58,380 --> 00:14:59,420 Chaz Kangas: that was The Trask King is Christmas. 223 00:14:59,960 --> 00:15:01,640 Chaz Kangas: That was one where I thought this might be 224 00:15:02,040 --> 00:15:04,120 Chaz Kangas: the only one I ever do but then it can live forever. 225 00:15:04,200 --> 00:15:05,380 Chaz Kangas: Because I think artists, 226 00:15:06,240 --> 00:15:07,440 Chaz Kangas: when you're putting out Christmas music, 227 00:15:08,600 --> 00:15:11,620 Chaz Kangas: it's the type of thing where no matter who you are, 228 00:15:12,560 --> 00:15:15,500 Chaz Kangas: at least 60 percent of your audience is not going to want to hear it. 229 00:15:15,560 --> 00:15:17,080 Chaz Kangas: Because not just like people who don't celebrate Christmas, 230 00:15:17,260 --> 00:15:19,520 Chaz Kangas: but people actively hate Christmas. 231 00:15:19,560 --> 00:15:19,780 Chaz Kangas: Yeah. 232 00:15:20,480 --> 00:15:22,380 Chaz Kangas: Which I get, not just saying they hate Christmas, 233 00:15:22,420 --> 00:15:25,740 Chaz Kangas: but they hate, there's a study done about a decade ago 234 00:15:25,940 --> 00:15:27,640 Chaz Kangas: about the things people hate most in music. 235 00:15:27,840 --> 00:15:30,680 Chaz Kangas: And one was synthesizers, one was children singing, 236 00:15:30,820 --> 00:15:32,160 Chaz Kangas: one was crass commercialism. 237 00:15:32,699 --> 00:15:35,580 Chaz Kangas: And those three elements are in like so many Christmas songs. 238 00:15:35,700 --> 00:15:37,660 Chaz Kangas: So I get why people hate it. 239 00:15:37,760 --> 00:15:40,700 Chaz Kangas: So some people, you know, they'll put out a Christmas thing 240 00:15:40,760 --> 00:15:42,380 Chaz Kangas: and like, and they'll be disappointed with the results. 241 00:15:42,500 --> 00:15:43,720 Chaz Kangas: But on the flip side of that, 242 00:15:43,720 --> 00:15:46,540 Chaz Kangas: you have a song that will always be fresh every year. 243 00:15:46,660 --> 00:15:48,680 Chaz Kangas: It'll hit an immediate audience who wouldn't otherwise get. 244 00:15:49,300 --> 00:15:50,960 Chaz Kangas: And you have essentially a perennial. 245 00:15:51,580 --> 00:15:52,920 Chaz Kangas: just holiday songs in general. 246 00:15:53,120 --> 00:15:56,920 Chaz Kangas: Like I think, you know, the 90s both gave us the Mariah Carey Christmas song and 247 00:15:56,940 --> 00:16:01,100 Chaz Kangas: the Adam Sandler Hanukkah song, and both of those are going to live forever. 248 00:16:01,980 --> 00:16:04,880 Chaz Kangas: So yeah, just some people, there's a certain, you know, Christmas is 249 00:16:04,890 --> 00:16:06,120 Chaz Kangas: going to happen every single year. 250 00:16:06,500 --> 00:16:09,880 Chaz Kangas: So having something to just, you know, push out, bring forward and, you know, 251 00:16:09,920 --> 00:16:12,660 Chaz Kangas: it's fun to have something to look forward to, to make for a Christmas 252 00:16:13,140 --> 00:16:19,220 Chaz Kangas: tradition every year, and I remember, yeah, I think Jay, uh, 57 was the first 253 00:16:19,220 --> 00:16:22,620 Chaz Kangas: person to have heard the completed Christmas song. 254 00:16:22,620 --> 00:16:28,420 Chaz Kangas: 'cause I think I brought it to him the night before it had its radio premiere on Adam Bernard's 255 00:16:28,420 --> 00:16:29,460 Chaz Kangas: the Adam B radio show. 256 00:16:29,460 --> 00:16:33,660 Chaz Kangas: I remember playing it after Fat Beats had closed and just always having a love for that. 257 00:16:33,660 --> 00:16:38,160 Chaz Kangas: And then yeah, so then the next year, Two Girls, One Christmas, that came together 'cause 258 00:16:38,860 --> 00:16:45,720 Chaz Kangas: my buddy Neil, who I went to NYU with, who's a fabulous musician, and I had this sample 259 00:16:45,720 --> 00:16:47,720 Chaz Kangas: from the song that I really wanted to use. 260 00:16:47,780 --> 00:16:49,680 Chaz Kangas: It had just kind of like a Christmasy vibe to it. 261 00:16:50,200 --> 00:16:52,020 Chaz Kangas: And so he put that together and made it. 262 00:16:52,160 --> 00:16:54,520 Chaz Kangas: And it's him playing the drums on an MPC 263 00:16:55,380 --> 00:16:58,840 Chaz Kangas: for the drums on two girls, one Christmas and two girls, one cup 264 00:16:58,900 --> 00:17:01,360 Chaz Kangas: had just come out and which to this day I still haven't seen. 265 00:17:01,980 --> 00:17:05,100 Chaz Kangas: But I for the phenomenon of it and just figuring, OK, 266 00:17:05,100 --> 00:17:07,380 Chaz Kangas: if I'm putting out a second Christmas song, because, you know, 267 00:17:07,439 --> 00:17:09,939 Chaz Kangas: I was going to call it another jazz gang of Christmas, but that would have, 268 00:17:09,980 --> 00:17:14,160 Chaz Kangas: you know, kind of limited the appeal to those who, A, know who I am and B, 269 00:17:14,240 --> 00:17:16,300 Chaz Kangas: know that I released a Christmas song the previous year, 270 00:17:16,920 --> 00:17:18,480 Chaz Kangas: which is an audience I love, but it's an audience 271 00:17:18,520 --> 00:17:20,620 Chaz Kangas: I think was going to check for what I'm doing already. 272 00:17:21,120 --> 00:17:23,660 Chaz Kangas: And then calling it two girls, one Christmas 273 00:17:24,720 --> 00:17:28,220 Chaz Kangas: was something that was going to just if people are going to recognize 274 00:17:28,280 --> 00:17:30,560 Chaz Kangas: the name alone and have like my name attached to it. 275 00:17:31,120 --> 00:17:34,760 Chaz Kangas: And so that holiday season going around to different hip hop shows in New York 276 00:17:34,820 --> 00:17:39,300 Chaz Kangas: and like top indie rap artists in New York who at the time 277 00:17:39,440 --> 00:17:42,880 Chaz Kangas: the level above like the underground, the battle circuits 278 00:17:42,880 --> 00:17:44,140 Chaz Kangas: where I was making my name for myself. 279 00:17:44,580 --> 00:17:45,980 Chaz Kangas: That was the time when they were pointing me 280 00:17:46,060 --> 00:17:48,080 Chaz Kangas: from the state, jazz gang is this year, 281 00:17:48,260 --> 00:17:49,140 Chaz Kangas: two girls, one Christmas. 282 00:17:50,120 --> 00:17:51,620 Chaz Kangas: And so that was kind of the yep, 283 00:17:51,760 --> 00:17:54,060 Chaz Kangas: this is the way to put it in. 284 00:17:54,360 --> 00:17:56,180 Chaz Kangas: So I think now the official title is 285 00:17:56,260 --> 00:17:57,560 Chaz Kangas: two girls, one Christmas parentheses, 286 00:17:57,820 --> 00:17:58,880 Chaz Kangas: another jazz gang is Christmas. 287 00:17:59,400 --> 00:18:02,040 Chaz Kangas: I think that title might've been too long for my space, 288 00:18:02,140 --> 00:18:03,340 Chaz Kangas: but I think that's how it wound up being 289 00:18:03,400 --> 00:18:04,860 Chaz Kangas: in circulation of the places. 290 00:18:05,660 --> 00:18:08,900 Chaz Kangas: But yeah, J57, I sent him the toxic tunes 291 00:18:08,900 --> 00:18:12,060 Chaz Kangas: of Tromaville CD and the Poultry Guys soundtrack. 292 00:18:13,380 --> 00:18:18,600 Chaz Kangas: He sent me a handful of beats made from just putting all those together. 293 00:18:20,079 --> 00:18:22,380 Chaz Kangas: I started writing to those. 294 00:18:22,700 --> 00:18:24,180 Chaz Kangas: Then JP7's Proje, 295 00:18:24,560 --> 00:18:27,140 Chaz Kangas: bold Halfwood who has a passion for Troma as well. 296 00:18:27,140 --> 00:18:30,020 Chaz Kangas: He started getting involved and Lloyd started 297 00:18:30,020 --> 00:18:32,760 Chaz Kangas: being happy with what we were putting together so far. 298 00:18:32,760 --> 00:18:34,780 Chaz Kangas: He started talking with the potential of 299 00:18:34,920 --> 00:18:37,460 Chaz Kangas: with other filmmakers Troma was working with about 300 00:18:37,460 --> 00:18:39,160 Chaz Kangas: sharing some of the music with them. 301 00:18:39,740 --> 00:18:42,060 Chaz Kangas: And I was talking with Lloyd about the project going further, 302 00:18:42,240 --> 00:18:44,400 Chaz Kangas: and there were some songs from some Troma films. 303 00:18:44,940 --> 00:18:48,940 Chaz Kangas: I wasn't sure whether or not Troma had the music rights to do. 304 00:18:49,140 --> 00:18:53,680 Chaz Kangas: And with one exception sampled, we later got cleared. 305 00:18:54,820 --> 00:18:57,740 Chaz Kangas: The other ones, according to Lloyd, Lloyd said, 306 00:18:58,060 --> 00:19:01,800 Chaz Kangas: put the agreements that because of the nature of this project, 307 00:19:02,100 --> 00:19:03,940 Chaz Kangas: it counts that we would be able to use them 308 00:19:04,120 --> 00:19:07,440 Chaz Kangas: because the fact that it's an album promoting Troma 309 00:19:07,440 --> 00:19:11,360 Chaz Kangas: films in the Troma library that accounts as promotion for these film. 310 00:19:12,360 --> 00:19:18,580 Chaz Kangas: Lloyd who I trust his legal guidance to the ends of the earth that opened up a 311 00:19:18,580 --> 00:19:22,320 Chaz Kangas: whole new door for us so that allowed me to just go further and being able to 312 00:19:22,340 --> 00:19:26,240 Chaz Kangas: pull and a lot of the things you hear in the production on this album things you 313 00:19:26,360 --> 00:19:30,260 Chaz Kangas: wouldn't expect to be samples from Troma movies because they've been 314 00:19:30,420 --> 00:19:33,519 Chaz Kangas: manipulated past the point of recognization you you'll hear things 315 00:19:33,520 --> 00:19:38,300 Chaz Kangas: that sound like you like a drum or a hi-hat or a bass thump and that's. 316 00:19:39,120 --> 00:19:43,160 Chaz Kangas: Kabuki man chopping something or toxi punching through something 317 00:19:43,700 --> 00:19:45,840 Chaz Kangas: or something exploding, just all manipulated. 318 00:19:45,840 --> 00:19:48,660 Chaz Kangas: So every sound that you hear on the production on this 319 00:19:49,140 --> 00:19:52,920 Chaz Kangas: comes from something in the Troma library. 320 00:19:53,600 --> 00:19:56,020 Chaz Kangas: And some of it you may recognize immediately from watching 321 00:19:56,020 --> 00:19:57,120 Chaz Kangas: the more known Troma films. 322 00:19:57,500 --> 00:19:59,860 Chaz Kangas: Some of it may be things that pop out at you from like a movie 323 00:19:59,900 --> 00:20:01,520 Chaz Kangas: you maybe haven't watched it and you'll catch it later. 324 00:20:01,720 --> 00:20:03,180 Chaz Kangas: Some maybe movie you watch and they'll 325 00:20:03,280 --> 00:20:05,800 Chaz Kangas: subconsciously resonate with you and then you'll put it together later. 326 00:20:06,180 --> 00:20:08,000 Chaz Kangas: With the idea of like a lot of Troma movies, 327 00:20:08,200 --> 00:20:10,960 Chaz Kangas: having that replay value that you can get more and more out of 328 00:20:11,140 --> 00:20:16,200 Chaz Kangas: every thing you get from it every time you listen to it, 329 00:20:16,640 --> 00:20:19,680 Chaz Kangas: and having that level of 330 00:20:20,120 --> 00:20:22,880 Chaz Kangas: replay value because these Troma movies are going to live forever and having 331 00:20:22,920 --> 00:20:27,880 Chaz Kangas: that same passion with bringing to this album and doing the Troma name proud. 332 00:20:28,130 --> 00:20:31,000 Zack Beins: It was definitely something that took me by surprise when I heard it. 333 00:20:31,200 --> 00:20:33,300 Zack Beins: I just didn't quite know what to expect. 334 00:20:33,600 --> 00:20:37,900 Zack Beins: In my head, I'm thinking we're going to hear a sample of 335 00:20:38,000 --> 00:20:41,240 Zack Beins: "Newcomb High" and that type of sample. 336 00:20:41,440 --> 00:20:45,400 Zack Beins: But like you said, it's a lot of deep cuts in random things. 337 00:20:45,500 --> 00:20:48,900 Zack Beins: There's also some more known samples in there, 338 00:20:49,080 --> 00:20:54,720 Zack Beins: but it was really clever how just across the board of samples that you got. 339 00:20:55,100 --> 00:20:58,880 Chaz Kangas: Thanks. Yeah. It's the beauty of just the brilliance of J57 and 340 00:20:58,840 --> 00:21:02,140 Chaz Kangas: bald halfwit is here in the first single Girl School Screamers, 341 00:21:02,140 --> 00:21:03,980 Chaz Kangas: which pulls from the Girl School Screamers trailer, 342 00:21:04,580 --> 00:21:12,760 Chaz Kangas: but then also uses the very brief sound of the Kabuki man 343 00:21:13,580 --> 00:21:17,740 Chaz Kangas: interstitial score, like a scene transfer score. And having that 344 00:21:17,900 --> 00:21:20,380 Chaz Kangas: pressed against, you know, the different base from a different 345 00:21:20,460 --> 00:21:24,140 Chaz Kangas: Troma film and the other elements within there, it is 346 00:21:24,240 --> 00:21:27,799 Chaz Kangas: once being a full celebration of it. And it would have been cool 347 00:21:27,800 --> 00:21:30,540 Chaz Kangas: to do and maybe there was sort of my mind, 348 00:21:30,600 --> 00:21:32,100 Chaz Kangas: it would have been something where we're just 349 00:21:32,300 --> 00:21:33,680 Chaz Kangas: taking one song at a time, 350 00:21:33,720 --> 00:21:37,120 Chaz Kangas: one movie at a time, but I love how everything came out. 351 00:21:37,200 --> 00:21:41,840 Chaz Kangas: It's just so cool to have this pastiche. 352 00:21:41,880 --> 00:21:45,120 Chaz Kangas: Because as someone who loves sampling in hip-hop and for 353 00:21:45,280 --> 00:21:47,460 Chaz Kangas: a lot of reasons it's harder than ever to sample now, 354 00:21:47,620 --> 00:21:49,280 Chaz Kangas: and for good reason too. 355 00:21:49,960 --> 00:21:54,280 Chaz Kangas: But to have something that has just this public enemy bomb squad, 356 00:21:54,620 --> 00:21:56,140 Chaz Kangas: Beastie Boys, Dust Brothers, 357 00:21:57,080 --> 00:22:01,020 Chaz Kangas: Ultra Magnetic MC's style of sample and a sample and a sample, 358 00:22:01,120 --> 00:22:02,500 Chaz Kangas: giving a lot of that unpredictability, 359 00:22:03,000 --> 00:22:05,560 Chaz Kangas: a lot of that buried and layered replay value. 360 00:22:06,140 --> 00:22:07,260 Chaz Kangas: If you play the album in your car, 361 00:22:07,340 --> 00:22:09,840 Chaz Kangas: you're going to hear some different things jump out than if you were 362 00:22:09,960 --> 00:22:13,500 Chaz Kangas: to play it on Spotify or play it on vinyl. 363 00:22:13,840 --> 00:22:19,720 Chaz Kangas: Just the level of the pastiche just lends itself to different things popping up. 364 00:22:20,360 --> 00:22:21,700 Zack Beins: On that note there, 365 00:22:22,020 --> 00:22:24,600 Zack Beins: everybody out there is like, 366 00:22:24,920 --> 00:22:29,020 Zack Beins: you guys have been talking an awful lot about this music album, 367 00:22:29,919 --> 00:22:32,180 Zack Beins: but they probably want to hear a song. 368 00:22:32,480 --> 00:22:38,480 Zack Beins: Do you have a tune that we can enjoy and would you set that up for us? 369 00:22:39,000 --> 00:22:40,820 Chaz Kangas: I'd say the best place to start would be what's going to 370 00:22:40,920 --> 00:22:43,540 Chaz Kangas: be the first song that people are going to hear from the project, 371 00:22:43,680 --> 00:22:45,780 Chaz Kangas: the first single, Girl's School Screamers, 372 00:22:45,920 --> 00:22:47,320 Chaz Kangas: which we've just mentioned a bit about 373 00:22:47,520 --> 00:22:49,720 Chaz Kangas: the sample pastiche of that song coming together. 374 00:22:50,420 --> 00:22:55,420 Chaz Kangas: With this album, I wanted to capture a lot of the aura, 375 00:22:55,580 --> 00:22:58,420 Chaz Kangas: the vibes, the spirit, the aroma do Troma. 376 00:23:00,100 --> 00:23:04,440 Chaz Kangas: Part of that is knowing how going back to the days of Squeeze Flay and 377 00:23:04,440 --> 00:23:07,600 Chaz Kangas: the girl who returned the Tromas always had strong women characters. 378 00:23:08,759 --> 00:23:13,040 Chaz Kangas: Knowing how many great women in rap I know from all around the world and knowing 379 00:23:13,240 --> 00:23:16,760 Chaz Kangas: Troma's worldwide reach I wanted to use 380 00:23:16,760 --> 00:23:20,320 Chaz Kangas: this Troma platform I've been blessed with to highlight a lot of these artists 381 00:23:20,340 --> 00:23:24,320 Chaz Kangas: from around the world. So I reached out to three of the best women in ramp that 382 00:23:24,320 --> 00:23:29,220 Chaz Kangas: I know, and a Diorio who longtime New York underground fans may know by the 383 00:23:29,380 --> 00:23:33,520 Chaz Kangas: former name should use happy accident multi time freestyle Mondays rap battle 384 00:23:33,620 --> 00:23:39,440 Chaz Kangas: champion. I got Minneapolis legend Desdemona on the track and I got rhyme 385 00:23:39,560 --> 00:23:44,840 Chaz Kangas: style troop who had been a fan of through her work with J 57. So to have 386 00:23:44,840 --> 00:23:51,040 Chaz Kangas: them all on one track and have San Diego, the Twin Cities, and Arizona by way of New 387 00:23:51,040 --> 00:23:55,940 Chaz Kangas: York all represented all in the name of Troma and then myself rapping at the end of it. 388 00:23:56,380 --> 00:24:03,800 Chaz Kangas: It felt great to do. And it's also something where it didn't feel right being a guy by 389 00:24:03,860 --> 00:24:07,900 Chaz Kangas: myself rapping what would be a song called Girl School Screamers or, you know, having 390 00:24:07,980 --> 00:24:14,820 Chaz Kangas: like other guys on there about it. And I figured the best way to do this would be have a all 391 00:24:14,820 --> 00:24:20,100 Chaz Kangas: woman guest posse cut joining me, and the result is some real Tro-magic. 392 00:26:18,020 --> 00:26:19,560 Zack Beins: Dude, that song's awesome. 393 00:26:20,680 --> 00:26:20,940 Chaz Kangas: Thank you. 394 00:26:21,020 --> 00:26:22,600 Chaz Kangas: I am very proud of that. 395 00:26:23,080 --> 00:26:27,920 Chaz Kangas: And I love all the songs on this, but knowing the platform with Troma and 396 00:26:28,200 --> 00:26:31,680 Chaz Kangas: capturing the spirit of Troma when you were deciding what was going to be the 397 00:26:31,720 --> 00:26:33,860 Chaz Kangas: first single, that one had to be it. 398 00:26:34,880 --> 00:26:37,400 Zack Beins: Another female voice on the album. 399 00:26:38,260 --> 00:26:41,020 Zack Beins: That was a surprise to see pop up in the notes. 400 00:26:41,120 --> 00:26:44,400 Zack Beins: and on their Troma royalty. 401 00:26:45,380 --> 00:26:46,060 Zack Beins: Debbie Rochon. 402 00:26:46,480 --> 00:26:48,000 Zack Beins: I love Debbie Rochon so much. 403 00:26:48,760 --> 00:26:54,720 Chaz Kangas: That was a situation where Debbie is someone who I haven't met in person, 404 00:26:55,220 --> 00:26:58,460 Chaz Kangas: but I've been a fan of hers for a quarter century plus. 405 00:26:59,100 --> 00:27:03,140 Chaz Kangas: In my early Troma fandom when I was collecting, 406 00:27:03,420 --> 00:27:05,340 Chaz Kangas: and still am, but then I started to collect 407 00:27:05,420 --> 00:27:07,340 Chaz Kangas: Troma autographs and signed Tromabilia. 408 00:27:07,680 --> 00:27:10,760 Chaz Kangas: I had found some of the original 409 00:27:11,420 --> 00:27:15,660 Chaz Kangas: promo 8x10s that had been distributed when Terra Firmware was released. 410 00:27:16,100 --> 00:27:19,560 Chaz Kangas: One of which was of her and back then the 2000s era internet when 411 00:27:20,060 --> 00:27:23,020 Chaz Kangas: accessibility was a bit different than how it is in the social media age, 412 00:27:23,140 --> 00:27:25,340 Chaz Kangas: but Debbie Rochon had an email address. 413 00:27:25,600 --> 00:27:27,260 Chaz Kangas: So I reached out to say, 414 00:27:27,420 --> 00:27:28,880 Chaz Kangas: "Hey, long time fan of your work, love it. 415 00:27:29,460 --> 00:27:34,400 Chaz Kangas: I have a 8x10 from Terra Firmware that of you, 416 00:27:34,720 --> 00:27:37,080 Chaz Kangas: If I sent this to you with a self address 417 00:27:37,300 --> 00:27:39,860 Chaz Kangas: stamped envelope, would you please sign it for me? 418 00:27:40,280 --> 00:27:41,660 Chaz Kangas: And she said sure, and she gave me 419 00:27:41,720 --> 00:27:44,020 Chaz Kangas: was her peel box at the time and I sent it with 420 00:27:44,080 --> 00:27:46,860 Chaz Kangas: the self address and dabble out there and 421 00:27:47,160 --> 00:27:49,260 Chaz Kangas: promptly sent back and also sent me a signed 422 00:27:49,280 --> 00:27:50,760 Chaz Kangas: to Terra firmer poster as well, 423 00:27:51,440 --> 00:27:53,360 Chaz Kangas: which is just showing us how sweet and awesome she is. 424 00:27:53,880 --> 00:27:57,320 Chaz Kangas: So I've always had a whole lot of love for Debbie. 425 00:27:57,540 --> 00:28:00,640 Chaz Kangas: And she also wrote me a really nice message 426 00:28:00,860 --> 00:28:03,320 Chaz Kangas: in the letter that she wrote back in there. 427 00:28:03,340 --> 00:28:07,160 Chaz Kangas: thanking me and she had and also mentioning certain movies that she had 428 00:28:07,200 --> 00:28:10,400 Chaz Kangas: like just done that had like just come out or to watch for I think American 429 00:28:11,020 --> 00:28:14,740 Chaz Kangas: Nightmares that she did had just come out on VHS and who said that she was 430 00:28:14,800 --> 00:28:19,880 Chaz Kangas: really proud of that one so yeah it's I've always had love for her you know if 431 00:28:19,880 --> 00:28:24,000 Chaz Kangas: if a movie has Debbie Rochon in it I watch it I think a good rule of thumb 432 00:28:24,060 --> 00:28:27,099 Chaz Kangas: that everyone should follow so when it came time to do in the album and wanting 433 00:28:27,100 --> 00:28:28,740 Chaz Kangas: to get Troma alumni on it. 434 00:28:29,200 --> 00:28:33,020 Chaz Kangas: I was doing the song clubhouse alive 91. 435 00:28:33,760 --> 00:28:40,180 Chaz Kangas: And given this is a celebration of 50 years of Troma and hip hop also started 436 00:28:40,500 --> 00:28:45,000 Chaz Kangas: 50 years ago as well to have the 50th anniversary of hip hop and all the 437 00:28:45,080 --> 00:28:48,720 Chaz Kangas: different styles of hip hop and trying to wrap in different styles was a 438 00:28:49,260 --> 00:28:50,840 Chaz Kangas: thread going throughout the project. 439 00:28:51,440 --> 00:28:55,480 Chaz Kangas: And when bald halfwit and JV seven had cooked up what they did with. 440 00:28:56,160 --> 00:29:03,920 Chaz Kangas: alive the love theme from Troma's war. It had this definite hip house vibe, which was 441 00:29:03,960 --> 00:29:12,300 Chaz Kangas: a style of hip hop that was big after Troma's war came out, but it had just a certain in 442 00:29:12,380 --> 00:29:18,560 Chaz Kangas: the club style, like which would later be have the rap elements taken into stuff like 443 00:29:18,660 --> 00:29:23,179 Chaz Kangas: the into like CNC music factory before that, like what I was sort of pulling heavily from 444 00:29:23,120 --> 00:29:27,680 Chaz Kangas: of stuff like Jungle Brothers and you know, there'd be even like rappers like Big Daddy 445 00:29:27,820 --> 00:29:30,920 Chaz Kangas: Kane who would be more traditional hip hop on there. But to have every rap album that 446 00:29:30,940 --> 00:29:35,180 Chaz Kangas: came out at the time had to have a hip house track on it. NWA had a hip house track on 447 00:29:35,260 --> 00:29:42,820 Chaz Kangas: one of their albums. So I wanted to do a hip house style rapping on it, taking one of those, 448 00:29:43,740 --> 00:29:53,100 Chaz Kangas: you know, almost stream of conscious sounding these words paired together in the club. It's 449 00:29:53,100 --> 00:29:55,120 Chaz Kangas: also had another Trump alumni on there. 450 00:29:55,300 --> 00:29:56,720 Chaz Kangas: Join me John Brennan, 451 00:29:56,820 --> 00:29:58,720 Chaz Kangas: who just told him the style to do it, 452 00:29:58,780 --> 00:30:02,600 Chaz Kangas: and he knocked out what he did with his phenomenal verse. 453 00:30:03,060 --> 00:30:04,220 Chaz Kangas: And so during my verse, 454 00:30:04,250 --> 00:30:05,520 Chaz Kangas: as I'm peppering in references 455 00:30:05,630 --> 00:30:08,280 Chaz Kangas: to different hip hop sounds at that time, 456 00:30:08,320 --> 00:30:09,460 Chaz Kangas: 'cause it's a very reference heavy 457 00:30:09,460 --> 00:30:12,280 Chaz Kangas: as a lot of hip hop house as was at the time as well. 458 00:30:12,879 --> 00:30:16,140 Chaz Kangas: And I have a line from an LL Cool J song 459 00:30:16,400 --> 00:30:19,100 Chaz Kangas: called the "Jinglin' Baby Still Jinglin' Remix," 460 00:30:19,100 --> 00:30:19,860 Chaz Kangas: where the chorus is, 461 00:30:20,070 --> 00:30:22,059 Chaz Kangas: ♪ You jinglin' baby, go ahead baby ♪ 462 00:30:21,980 --> 00:30:23,780 Chaz Kangas: you jingling baby go ahead baby. 463 00:30:24,520 --> 00:30:26,520 Chaz Kangas: And I figured no be great to get 464 00:30:27,000 --> 00:30:29,240 Chaz Kangas: a woman's voice on this and 465 00:30:29,400 --> 00:30:31,460 Chaz Kangas: then I thought it'd be great to get 466 00:30:32,190 --> 00:30:34,100 Chaz Kangas: a woman who is Troma royalties 467 00:30:34,360 --> 00:30:34,940 Chaz Kangas: voice on this. 468 00:30:36,620 --> 00:30:40,480 Chaz Kangas: So I wrote a letter to Debbie 469 00:30:40,580 --> 00:30:42,280 Chaz Kangas: Rochon detail and she's the one 470 00:30:42,300 --> 00:30:43,200 Chaz Kangas: who I've always been friendly with 471 00:30:43,200 --> 00:30:43,840 Chaz Kangas: on social media. 472 00:30:43,960 --> 00:30:45,820 Chaz Kangas: I follow her and I think she followed 473 00:30:45,900 --> 00:30:47,440 Chaz Kangas: me because of some of the rare 474 00:30:48,780 --> 00:30:50,160 Chaz Kangas: troll memorabilia that I've shared 475 00:30:50,220 --> 00:30:51,960 Chaz Kangas: with her on it over the years and 476 00:30:51,960 --> 00:30:56,280 Chaz Kangas: think about how it meant so much to me, how at that point it was 20 years prior that she 477 00:30:56,340 --> 00:31:00,920 Chaz Kangas: had sent that sign thing to me and just how at that point I was a teenager and I was a 478 00:31:01,100 --> 00:31:05,960 Chaz Kangas: young filmmaker and film obsessive and how the time she gave and how encouraging she 479 00:31:06,060 --> 00:31:09,820 Chaz Kangas: was and just how that has meant a lot to me and working on that. I explained a project 480 00:31:09,840 --> 00:31:14,620 Chaz Kangas: to her and if she would do it, she said, yeah, sure, I'll do it for you the next day that 481 00:31:14,640 --> 00:31:18,640 Chaz Kangas: I'm in the studio. And a lot of people say the next day, as you know, they don't mean 482 00:31:18,640 --> 00:31:24,580 Chaz Kangas: that in like literal sense. But no, the next day she recorded several different versions 483 00:31:24,580 --> 00:31:30,980 Chaz Kangas: of her saying "Jingle and Baby" and sent those to me. And I remember getting it when I was 484 00:31:31,080 --> 00:31:39,060 Chaz Kangas: in Fairplay Entertainment, which is the studios in Minneapolis, which Nerdy and DJ Hayes co-own 485 00:31:39,120 --> 00:31:44,160 Chaz Kangas: and run. And DJ Hayes, who mixed the album, like he didn't listen to the audio for saying 486 00:31:44,160 --> 00:31:48,500 Chaz Kangas: Jingling Baby until after I'd recorded my verses and we had mixed John's verse in, 487 00:31:48,600 --> 00:31:50,520 Chaz Kangas: we had like mixed my verse in and then it came 488 00:31:50,680 --> 00:31:52,340 Chaz Kangas: time for this little thing to put in the Jingling Baby. 489 00:31:53,040 --> 00:31:56,360 Chaz Kangas: So we decide because we're so 490 00:31:56,840 --> 00:31:59,160 Chaz Kangas: hyper-specific that we want to get the absolute best out of everything. 491 00:31:59,860 --> 00:32:04,480 Chaz Kangas: We listened to every single version variant of Jingling Baby that she recorded on there. 492 00:32:06,040 --> 00:32:08,940 Chaz Kangas: They were all such, not gold, 493 00:32:09,040 --> 00:32:09,940 Chaz Kangas: they were all platinum, 494 00:32:10,120 --> 00:32:11,120 Chaz Kangas: they were all diamonds, 495 00:32:11,440 --> 00:32:14,520 Chaz Kangas: they were all so awesome to hear as we're listening to it. 496 00:32:15,240 --> 00:32:16,560 Chaz Kangas: DJ Hayes turns to me and says, 497 00:32:17,060 --> 00:32:20,000 Chaz Kangas: "What if we just put this out instead of the song?" 498 00:32:20,000 --> 00:32:21,660 Chaz Kangas: I'm like, "It's very, very good." 499 00:32:21,660 --> 00:32:24,980 Chaz Kangas: But we narrowed it down to three and then we did 500 00:32:25,220 --> 00:32:28,140 Chaz Kangas: several listens of the song as a whole for those three versions. 501 00:32:28,300 --> 00:32:33,220 Chaz Kangas: Then we decided on the one that was like the glass slipper that fit. 502 00:32:34,760 --> 00:32:37,820 Chaz Kangas: It's one of my highlights of the whole album and I think it's awesome. 503 00:32:38,320 --> 00:32:40,480 Chaz Kangas: Not only that I'm putting out a Troma album, 504 00:32:40,600 --> 00:32:45,660 Chaz Kangas: but I putting out a Troma hip hop record that has Debbie Rochon on it. 505 00:32:46,400 --> 00:32:52,820 Chaz Kangas: And in the Troma spirit to of when you have the like large names who can just 506 00:32:53,080 --> 00:32:57,100 Chaz Kangas: cameo and pop up for a few seconds and just have that very welcome presence. 507 00:32:57,790 --> 00:32:59,600 Chaz Kangas: I think it's super cool that she did that. 508 00:32:59,830 --> 00:33:07,960 Chaz Kangas: I think she is just such a wonderful sunbeam of a human being and that she 509 00:33:07,960 --> 00:33:10,320 Chaz Kangas: just when we announced the album was finally going to be great because 510 00:33:10,960 --> 00:33:15,200 Chaz Kangas: we mixed and put that together last summer, that song. 511 00:33:16,420 --> 00:33:18,020 Chaz Kangas: This album took three, 512 00:33:18,070 --> 00:33:23,040 Chaz Kangas: three and a half years from starting it to it finally being released on Halloween this year. 513 00:33:24,680 --> 00:33:27,620 Chaz Kangas: The way that she was spreading the word about the album, 514 00:33:28,880 --> 00:33:30,360 Chaz Kangas: not just sharing the story, 515 00:33:30,360 --> 00:33:34,680 Chaz Kangas: but writing a bit about how long I'd been working on it. 516 00:33:35,120 --> 00:33:37,280 Chaz Kangas: just just just really cool. 517 00:33:38,320 --> 00:33:46,960 Chaz Kangas: The encouragement and making the world a better place, 518 00:33:47,040 --> 00:33:51,800 Chaz Kangas: a warmer place that Debbie Sean's existence allows it to be. 519 00:33:51,980 --> 00:33:56,700 Zack Beins: Debbie is genuinely one of the nicest people in the entire world. 520 00:33:57,240 --> 00:34:01,740 Zack Beins: I love her so much and we've met in person a couple of times, 521 00:34:01,800 --> 00:34:05,420 Zack Beins: and each time it's just like seeing an old friend. 522 00:34:05,940 --> 00:34:09,820 Zack Beins: Like she is super sweet and super talented and I don't 523 00:34:10,000 --> 00:34:14,280 Zack Beins: have enough nice things to say about her because she's just that great. 524 00:34:14,800 --> 00:34:20,240 Chaz Kangas: I absolutely adore her and it's so cool that she did this and it's so cool 525 00:34:20,360 --> 00:34:25,200 Chaz Kangas: that she's spreading the word on it for this album that she appears on. 526 00:34:25,820 --> 00:34:27,340 Chaz Kangas: She steals the show, so don't get me wrong, 527 00:34:27,700 --> 00:34:29,639 Chaz Kangas: but that's it's just she appears for a few seconds on it. 528 00:34:30,560 --> 00:34:32,520 Chaz Kangas: And it she's just amazing. 529 00:34:33,360 --> 00:34:34,960 Zack Beins: Speaking of like guest artists and stuff. 530 00:34:35,320 --> 00:34:39,919 Zack Beins: Did you ever think of having Lloyd hop on a track, you know, like some sort of like 531 00:34:40,000 --> 00:34:42,419 Zack Beins: fat boys inspired thing. 532 00:34:43,419 --> 00:34:44,560 Zack Beins: He loves the fat boys. 533 00:34:44,560 --> 00:34:46,060 Zack Beins: I seem to remember from his book. 534 00:34:46,919 --> 00:34:52,800 Chaz Kangas: I for those who may not know, the fat boys are not very fondly thought of in Troma because 535 00:34:53,080 --> 00:34:59,040 Chaz Kangas: of the fat boys because when they were acting in movies like disorderly, they allegedly 536 00:34:59,040 --> 00:35:02,560 Chaz Kangas: threatened Troma with the movie. 537 00:35:02,960 --> 00:35:04,600 Chaz Kangas: Upcoming movie Fat Boy goes nutsoid, 538 00:35:04,640 --> 00:35:06,120 Chaz Kangas: which the title then Troma had to change 539 00:35:06,900 --> 00:35:08,440 Chaz Kangas: to fat guy goes nutsoid, 540 00:35:09,280 --> 00:35:10,320 Chaz Kangas: which is also why I believe 541 00:35:10,400 --> 00:35:11,940 Chaz Kangas: that Troma changed house 542 00:35:12,000 --> 00:35:13,460 Chaz Kangas: 'cause house on Tombstone Hill. 543 00:35:14,140 --> 00:35:16,920 Chaz Kangas: Promo is going to change to dead dudes 544 00:35:17,000 --> 00:35:18,220 Chaz Kangas: or dead kids on the block 545 00:35:18,400 --> 00:35:19,520 Chaz Kangas: or dead dudes on the block 546 00:35:19,780 --> 00:35:21,120 Chaz Kangas: because two of the actors in that movie 547 00:35:21,360 --> 00:35:22,720 Chaz Kangas: look a lot like members 548 00:35:22,720 --> 00:35:23,840 Chaz Kangas: of new kids on the block. 549 00:35:24,340 --> 00:35:25,680 Chaz Kangas: But then after the whole fallout 550 00:35:25,760 --> 00:35:26,740 Chaz Kangas: with the fat boys, 551 00:35:27,460 --> 00:35:29,020 Chaz Kangas: Troma decided to change 552 00:35:29,020 --> 00:35:33,960 Chaz Kangas: dead dudes in the house and saying it was a hip hop movie, you know, it's got absolutely 553 00:35:34,060 --> 00:35:34,260 Chaz Kangas: nothing. 554 00:35:34,840 --> 00:35:35,100 Chaz Kangas: Nothing. 555 00:35:36,660 --> 00:35:39,360 Chaz Kangas: So good movie, though, but but I did Grassy. 556 00:35:40,020 --> 00:35:42,160 Chaz Kangas: Yeah, you know, I'm sure Lloyd would have been great. 557 00:35:42,300 --> 00:35:46,640 Chaz Kangas: I think Lloyd, you know, he's very incredibly musically inclined. 558 00:35:47,020 --> 00:35:51,140 Chaz Kangas: I just know that there's some things you got to save for the remix and you got to save 559 00:35:51,180 --> 00:35:51,660 Chaz Kangas: for the sequel. 560 00:35:52,620 --> 00:35:58,220 Chaz Kangas: But thankfully, he does have a vocal presence due to the joys of sampling the toxic tunes 561 00:35:58,220 --> 00:36:00,700 Chaz Kangas: from Tromaville CD in the future. 562 00:36:00,700 --> 00:36:01,680 Chaz Kangas: Maybe we'll get a Michael 563 00:36:01,740 --> 00:36:03,180 Chaz Kangas: Hearst beatbox for it as well. 564 00:36:04,440 --> 00:36:06,920 Zack Beins: Which which incarnation of Michael 565 00:36:07,020 --> 00:36:09,720 Chaz Kangas: Hearst? Oh, well, I heard this album 566 00:36:09,800 --> 00:36:14,100 Chaz Kangas: has no AI on any of it, so it would 567 00:36:14,100 --> 00:36:15,340 Chaz Kangas: have to be the currently still 568 00:36:15,420 --> 00:36:16,160 Chaz Kangas: living Michael Hearst. 569 00:36:16,620 --> 00:36:19,500 Zack Beins: I was going to say I did notice the 570 00:36:19,560 --> 00:36:22,500 Zack Beins: disclaimer on the back of the the 571 00:36:22,560 --> 00:36:24,880 Zack Beins: album that no AI was used. 572 00:36:25,420 --> 00:36:26,960 Zack Beins: Can you talk a little bit about that? 573 00:36:27,020 --> 00:36:33,500 Zack Beins: And like the state of hip hop right now is, is that an issue where AI is being used in it? 574 00:36:33,500 --> 00:36:35,960 Chaz Kangas: I think it's a state across of all art. 575 00:36:35,990 --> 00:36:39,900 Chaz Kangas: I know hip hop, at least on a very local level here. 576 00:36:41,080 --> 00:36:43,880 Chaz Kangas: It's awful seeing hip hop shows with AI flyers. 577 00:36:44,580 --> 00:36:48,900 Chaz Kangas: It's awful seeing AI art for singles and albums. 578 00:36:50,380 --> 00:36:55,580 Chaz Kangas: For a culture that's always had such a distinct ever evolving visual style from 579 00:36:55,580 --> 00:37:00,340 Chaz Kangas: being one of the four elements of hip-hop through you look at flyers for 580 00:37:00,460 --> 00:37:03,980 Chaz Kangas: shows through you look through the fashion and the ever-changing and the 581 00:37:04,120 --> 00:37:07,320 Chaz Kangas: look and there's so many great album covers and there's so many great music 582 00:37:07,420 --> 00:37:15,380 Chaz Kangas: videos and so strong is the visual element representation of hip-hop that AI 583 00:37:16,839 --> 00:37:21,420 Chaz Kangas: completely takes away the human element of making something new from something 584 00:37:21,420 --> 00:37:26,160 Chaz Kangas: old sampling equivalent of how so much of hip hop exists. 585 00:37:27,100 --> 00:37:29,040 Chaz Kangas: The DJ spinning different breakbeats 586 00:37:29,260 --> 00:37:33,080 Chaz Kangas: into creating something new from something that exists that hip hop's always had. 587 00:37:34,280 --> 00:37:37,440 Chaz Kangas: AI just takes away that. 588 00:37:38,720 --> 00:37:42,720 Chaz Kangas: On top of just being terrible for the environment, 589 00:37:43,140 --> 00:37:48,880 Chaz Kangas: it is creatively, morally dubious at best. 590 00:37:49,460 --> 00:38:01,320 Chaz Kangas: It just a quality level is extremely low and I think now in an era where you have interviews with artists even outside of hip hop like in outside of you know in music in general in any form of the arts in any form of. 591 00:38:02,700 --> 00:38:06,760 Chaz Kangas: Civilization right now trying to shove AI in everything. 592 00:38:07,820 --> 00:38:17,400 Chaz Kangas: I'm proud of the fact that at no point in any regard in any way was a part of this project I hope that more people stand up and refuse to use AI. 593 00:38:17,900 --> 00:38:26,520 Chaz Kangas: Because when AI first started circulating, I had a resistance to it. And I wanted to give the chance 594 00:38:27,300 --> 00:38:31,240 Chaz Kangas: because, you know, anytime there's any major technological jump, there's always people who 595 00:38:31,280 --> 00:38:34,960 Chaz Kangas: are resistance to it. And I didn't want to be someone like this to the point where it's come 596 00:38:34,960 --> 00:38:39,620 Chaz Kangas: from my generation, my age, where the people who thought that taking a photograph would steal a 597 00:38:39,760 --> 00:38:47,880 Chaz Kangas: soul, that sampling, you know, wasn't real music, that using Serato wasn't really DJing. And 598 00:38:47,880 --> 00:38:54,340 Chaz Kangas: I tried to educate myself and look into as many different quote-unquote AI artists and 599 00:38:54,860 --> 00:38:59,300 Chaz Kangas: visiting one-on-one with an open mind as I could have of AI art tables at different art 600 00:38:59,520 --> 00:39:04,140 Chaz Kangas: festivals like Art of World out here in Minneapolis. Art of World, they had, in the past couple 601 00:39:04,160 --> 00:39:07,280 Chaz Kangas: years, they've had people there who claimed to be AI artists who were then quickly shut 602 00:39:07,340 --> 00:39:12,340 Chaz Kangas: down. When people are like, "Oh, I'm just making this cute, funny thing," like, no, 603 00:39:12,880 --> 00:39:16,319 Chaz Kangas: there's a normalization of AI. There's not just, "Oh, if you don't like it, don't use 604 00:39:16,320 --> 00:39:20,100 Chaz Kangas: like, okay, but like, the quality of things are going down and you hear the arguments 605 00:39:20,200 --> 00:39:24,920 Chaz Kangas: of, oh, well, you know, AI is already in everything you use anyway. It's like, oh, the parts, 606 00:39:25,180 --> 00:39:28,640 Chaz Kangas: the things I use that don't work as good as they did five years ago because of the forced 607 00:39:28,720 --> 00:39:32,780 Chaz Kangas: AI implementation, like search engines are terrible now. You can't say that AI really 608 00:39:32,840 --> 00:39:38,980 Chaz Kangas: made that better. Now it's as bad as pretty text was, AI has made it impossible now. I 609 00:39:38,980 --> 00:39:43,380 Chaz Kangas: don't think anyone likes answering a phone and having to get things wrong. We have to 610 00:39:43,320 --> 00:39:49,440 Chaz Kangas: speak to a cycle of AI responses in order to get anywhere or the AI help chat bots in 611 00:39:49,440 --> 00:39:54,100 Chaz Kangas: any website, it's actively getting worse and it's being forced into situations that is 612 00:39:54,180 --> 00:40:01,420 Chaz Kangas: not helping anyone. And when you look at there are some good things that AI can potentially 613 00:40:01,540 --> 00:40:07,460 Chaz Kangas: be used for, like if we were limiting AI to just the levels of medical research that would 614 00:40:07,460 --> 00:40:11,820 Chaz Kangas: not be able to be undertaken by human beings, that would be one thing and that'd be great. 615 00:40:12,040 --> 00:40:16,780 Chaz Kangas: in the arts, if we're talking about AI being a last resort restoration for things of the 616 00:40:16,940 --> 00:40:25,600 Chaz Kangas: silent era and earlier that no existing other technology could be done to restore, then 617 00:40:26,140 --> 00:40:31,600 Chaz Kangas: as a last resort, there could be some good from there. But you have people making entire 618 00:40:31,700 --> 00:40:37,200 Chaz Kangas: commercials and music videos out of AI. You have the thing with AI, even on an artistic 619 00:40:37,200 --> 00:40:43,900 Chaz Kangas: level how fast AI moves like look at anything that someone even should people made like 620 00:40:43,920 --> 00:40:48,860 Chaz Kangas: you know they're funny meme or whatever from six months ago and just how bad that AI looks 621 00:40:48,940 --> 00:40:54,760 Chaz Kangas: that I mean AI looks bad now but just how unviewable it looks look at AI from a year 622 00:40:54,860 --> 00:41:00,240 Chaz Kangas: ago look at it from two years ago it just moves so fast you're not creating anything 623 00:41:00,240 --> 00:41:06,040 Chaz Kangas: artistically that's going to have any long-standing real substance. 624 00:41:06,800 --> 00:41:14,600 Chaz Kangas: And I think the moment that made me really want to throw that on the album, I saw a documentary 625 00:41:15,100 --> 00:41:22,680 Chaz Kangas: earlier this year that had two AI sequences in it, which the director defended as saying, 626 00:41:22,760 --> 00:41:28,280 Chaz Kangas: "Oh, I used the AI because I wanted to create an uncanny valley feeling to it and deliberately 627 00:41:28,280 --> 00:41:32,540 Chaz Kangas: using the AI to make people uncomfortable and it's like, well, hire an actual artist 628 00:41:32,640 --> 00:41:36,660 Chaz Kangas: to do that then. Yeah, because using AI for that you're taking away from someone who could 629 00:41:36,680 --> 00:41:41,160 Chaz Kangas: have done something a lot better instead of letting this horribly aging looking slop appear 630 00:41:41,400 --> 00:41:50,200 Chaz Kangas: across a movie screen. So lines in the sand need to be taken and having absolute no AI 631 00:41:50,480 --> 00:41:55,800 Chaz Kangas: being involved at all in this project. I hope other people will do the same. I hope it goes 632 00:41:55,800 --> 00:42:03,860 Chaz Kangas: the way of NFTs. I have just zero interest in any AI assisted art. I think even look 633 00:42:03,860 --> 00:42:09,860 Chaz Kangas: at how bad a lot of 4K restorations have been with AI. Like I love Lucy. I don't know if 634 00:42:09,860 --> 00:42:15,180 Chaz Kangas: you've seen those the 4Ks where oh yeah people were because the quality control is so low 635 00:42:15,280 --> 00:42:19,600 Chaz Kangas: that AI was making monster faces out of people whose faith and just weren't in focus and 636 00:42:19,620 --> 00:42:23,680 Chaz Kangas: like the background because the whole with art the human eye with these cameras of focus 637 00:42:23,680 --> 00:42:25,060 Chaz Kangas: Not everything needs to be in focus. 638 00:42:25,600 --> 00:42:27,620 Chaz Kangas: An AI doesn't get that because AI is not human. 639 00:42:28,040 --> 00:42:29,400 Chaz Kangas: People say, oh, it's just a tool. 640 00:42:29,840 --> 00:42:30,080 Chaz Kangas: Well. 641 00:42:31,100 --> 00:42:33,100 Chaz Kangas: Yeah, and you know if you can 642 00:42:33,600 --> 00:42:34,440 Chaz Kangas: that hammer is a tool. 643 00:42:34,440 --> 00:42:35,940 Chaz Kangas: I'm not going to use a hammer brush my teeth 644 00:42:36,500 --> 00:42:38,180 Chaz Kangas: like I'm going to use a hammer on nails and that's it. 645 00:42:38,560 --> 00:42:42,220 Chaz Kangas: And I think now you get some of the ethical use of AI 646 00:42:42,320 --> 00:42:44,060 Chaz Kangas: as a tool and what you're using that tool for. 647 00:42:45,980 --> 00:42:50,020 Chaz Kangas: I just take major issue with it being forced into everything 648 00:42:50,120 --> 00:42:52,480 Chaz Kangas: and the fact that it's being forced into it at a time 649 00:42:52,480 --> 00:42:55,760 Chaz Kangas: when it's clearly not ready and it's making the quality of everything drop 650 00:42:56,300 --> 00:42:58,620 Chaz Kangas: and it's in general making everything worse. 651 00:42:59,460 --> 00:43:03,320 Chaz Kangas: So I made this album as hopefully something that can 652 00:43:03,900 --> 00:43:07,680 Chaz Kangas: let people know that we don't play with AI. 653 00:43:08,120 --> 00:43:09,340 Chaz Kangas: We don't. We just don't. 654 00:43:10,040 --> 00:43:14,040 Zack Beins: And it's something I'd like to see, you know, kind of pop up on 655 00:43:15,240 --> 00:43:21,280 Zack Beins: other movies or CDs and stuff like that, you know, like that disclaimer 656 00:43:21,280 --> 00:43:24,160 Zack Beins: right after the you know the Humane Society. 657 00:43:26,060 --> 00:43:28,460 Zack Beins: Disclaimer could have like a computer, 658 00:43:29,040 --> 00:43:30,040 Zack Beins: you know, hugging itself, 659 00:43:30,220 --> 00:43:32,140 Zack Beins: saying no computers were exploited. 660 00:43:32,880 --> 00:43:35,280 Chaz Kangas: Yeah, and now like people are using AI 661 00:43:35,380 --> 00:43:37,360 Chaz Kangas: for things they shouldn't need to be making AI for. 662 00:43:37,880 --> 00:43:39,740 Chaz Kangas: Like why are you using AI to make a grocery list? 663 00:43:39,820 --> 00:43:41,900 Chaz Kangas: Why are you using AI to write a bedtime story 664 00:43:42,000 --> 00:43:42,620 Chaz Kangas: for your child? 665 00:43:43,460 --> 00:43:44,780 Chaz Kangas: Like it wasn't intended for this. 666 00:43:45,360 --> 00:43:48,960 Chaz Kangas: And ultimately AI is people just not get 667 00:43:49,140 --> 00:43:50,960 Chaz Kangas: how bad it is and for the environment. 668 00:43:51,180 --> 00:43:56,460 Chaz Kangas: The AI machinery, to put it in absolute terms, 669 00:43:56,500 --> 00:43:58,840 Chaz Kangas: everyone can understand, the generators that power 670 00:43:59,140 --> 00:44:02,920 Chaz Kangas: AI can only be cooled down with drinking water. 671 00:44:03,260 --> 00:44:06,260 Chaz Kangas: You are wasting so much water and you are doing 672 00:44:08,040 --> 00:44:10,720 Chaz Kangas: incalculable damage to ecosystems and 673 00:44:10,860 --> 00:44:13,260 Chaz Kangas: drying up so much water in so many areas, 674 00:44:13,460 --> 00:44:17,440 Chaz Kangas: wherever places are building these large data harvesting, 675 00:44:18,100 --> 00:44:24,900 Chaz Kangas: energy pillaging facilities is it really worth having some. 676 00:44:26,020 --> 00:44:38,400 Chaz Kangas: Not that funny mean that's instantly gonna be not even viewable in a week's time yeah and i think to the whole argument of oh it's here to stay it doesn't have to be it's not necessarily we saw. 677 00:44:39,000 --> 00:44:41,660 Chaz Kangas: you know, we were end up teaser here say this is the new frontier and that's gone. 678 00:44:42,340 --> 00:44:46,380 Chaz Kangas: You mean to tell me you didn't get any of Tromas and FTS all my money is tied up in 679 00:44:46,440 --> 00:44:52,240 Chaz Kangas: beanie babies right now so I couldn't anyway but the point is the it's just you know we 680 00:44:52,300 --> 00:44:57,340 Chaz Kangas: could still say no we can choose not to you know forgive like oh yeah this Hollywood movie we used 681 00:44:57,520 --> 00:45:04,540 Chaz Kangas: AI to fix this actor's accent like no get the actor to do it it's what they're for we you know 682 00:45:04,460 --> 00:45:07,980 Chaz Kangas: used AI to put in this dead actor to play this character. 683 00:45:08,060 --> 00:45:10,740 Chaz Kangas: Oh, we got the okay from his state like. 684 00:45:11,760 --> 00:45:15,820 Speaker 6: Huh, to otherwise what if they would have said no, you would have not done it. 685 00:45:16,420 --> 00:45:22,400 Chaz Kangas: They're really you're gonna put the onus on them for making a dead man talk in your movie. 686 00:45:22,980 --> 00:45:33,240 Chaz Kangas: The little bits of it, the creeping in and that's like I said earlier, there's other movies too that say, oh, we used AI to make an uncanny valley or we hired an art department to use AI. 687 00:45:33,980 --> 00:45:39,720 Chaz Kangas: And if you can choose not to do it and you're going to get things that ultimately look better, 688 00:45:40,200 --> 00:45:45,180 Chaz Kangas: you know, Trom alumni Michael Gawkin, who did the painting for the front of this album. 689 00:45:45,720 --> 00:45:50,140 Chaz Kangas: You know, we didn't use any AI for touching up any of it. You know, it looks great, 690 00:45:50,280 --> 00:45:55,540 Chaz Kangas: like the painting itself, but the full on like real painting and to have that painting and having 691 00:45:55,660 --> 00:46:00,320 Chaz Kangas: the layout artist who did the layout for the album and how great that looks, you know, 692 00:46:01,340 --> 00:46:09,540 Chaz Kangas: what would be the AI option would have been cheaper or since the cheaper automatically make things good and anything. 693 00:46:10,240 --> 00:46:12,340 Chaz Kangas: No, I have opinions on AI. 694 00:46:13,800 --> 00:46:18,440 Zack Beins: I well I'm glad that we had a chance to talk about it because in the history of Troma, 695 00:46:19,500 --> 00:46:23,860 Zack Beins: they're always talking about the current headlines in the news to 696 00:46:24,300 --> 00:46:29,340 Zack Beins: to bring out their message that might be disguised with toxic creatures 697 00:46:29,340 --> 00:46:36,240 Zack Beins: and stuff and that was something I thought was cool about the Troma project was we have an album 698 00:46:36,580 --> 00:46:42,720 Zack Beins: celebrating the 50 years of Troma but also there is a message there for everybody else keeping in 699 00:46:42,740 --> 00:46:52,080 Chaz Kangas: that tradition of 50 years. Thanks and I think too with Troma at its core every Troma movie 700 00:46:52,940 --> 00:46:58,140 Chaz Kangas: was made because someone, some human had something they wanted to make. 701 00:46:58,600 --> 00:47:03,220 Chaz Kangas: However your feelings of it, you know, you may love Baconhead, you may hate Escape from Hell, 702 00:47:03,780 --> 00:47:09,760 Chaz Kangas: but you'll never forget Centerfold Girls. Someone had the artistic desire to do it and Troma, 703 00:47:10,500 --> 00:47:14,460 Chaz Kangas: say what anyone will about him. People can love Troma, they can hate Troma, 704 00:47:14,460 --> 00:47:19,720 Chaz Kangas: they can have a love-hate with Troma, they can hate love Troma. Troma has always allowed a 705 00:47:19,500 --> 00:47:23,800 Chaz Kangas: a platform for these visions, these movies to be seen by people. 706 00:47:24,320 --> 00:47:29,140 Chaz Kangas: You can read in the forwards, people have written for Lloyd's book where Lloyd says, 707 00:47:29,880 --> 00:47:31,360 Chaz Kangas: do you want people to see your movie? 708 00:47:32,100 --> 00:47:32,860 Chaz Kangas: These are movies. 709 00:47:32,920 --> 00:47:36,360 Chaz Kangas: And even if on some Troma commentaries, they jokingly mentioned the 710 00:47:36,560 --> 00:47:38,320 Chaz Kangas: last stop on the train is Troma. 711 00:47:39,040 --> 00:47:41,780 Chaz Kangas: That's still a train stop, you know, and then that there's going 712 00:47:41,780 --> 00:47:43,040 Chaz Kangas: to, it's going to connect to another train. 713 00:47:43,340 --> 00:47:44,760 Chaz Kangas: It's going to get out there. 714 00:47:45,660 --> 00:47:46,540 Chaz Kangas: It's a beautiful thing. 715 00:47:47,160 --> 00:47:54,020 Chaz Kangas: And I think having that human elements, you know, you have and movies, even the Troma, 716 00:47:54,120 --> 00:47:58,000 Chaz Kangas: the more stuff that's obscure now, people are going to find it. It's going to live on. There's 717 00:47:58,060 --> 00:48:02,860 Chaz Kangas: Troma movies that Troma distributed in the 80s that may have not become pop titles, but 718 00:48:03,400 --> 00:48:08,340 Chaz Kangas: now in the era of boutique, Blu-ray and streaming services are finding a whole new audience 719 00:48:09,000 --> 00:48:13,880 Chaz Kangas: because people followed visions that were so many years ahead of their time. Even movies that 720 00:48:13,880 --> 00:48:18,800 Chaz Kangas: without you know we're like when they came out now can be loved and cherished for just how ahead of 721 00:48:18,820 --> 00:48:23,500 Chaz Kangas: the time they were movies like the newly deads movies like strangest dreams invasion of the 722 00:48:23,580 --> 00:48:29,760 Chaz Kangas: space preachers these movies that had or site while on top of just being fun in a face value 723 00:48:29,830 --> 00:48:35,520 Chaz Kangas: sort of thing and ai if we're using for referring to as a quote-unquote tool they're using whatever 724 00:48:35,580 --> 00:48:43,860 Chaz Kangas: you're not going to get that sort of human passion and elements in anything that ai creates here here 725 00:48:44,900 --> 00:48:49,680 Chaz Kangas: A lot of people might be tuning in to this podcast waiting to just hear me be like, so 726 00:48:49,700 --> 00:48:54,020 Chaz Kangas: then we took this part of combat shock and the hip hop elements of unspeakable and it 727 00:48:54,020 --> 00:48:55,940 Chaz Kangas: all comes from pterodactyl woman from Beverly Hills. 728 00:48:56,360 --> 00:49:02,200 Zack Beins: And then they're getting my call to arms about which I, you know, I was really just hoping 729 00:49:02,240 --> 00:49:07,920 Zack Beins: to have you on so I could hear your AI prompts for, uh, for, uh, your demented death, far 730 00:49:07,960 --> 00:49:08,780 Zack Beins: massacre beat. 731 00:49:09,080 --> 00:49:09,220 Zack Beins: Right. 732 00:49:09,520 --> 00:49:09,660 Chaz Kangas: Yeah. 733 00:49:09,840 --> 00:49:09,920 Chaz Kangas: Yeah. 734 00:49:11,900 --> 00:49:16,320 Chaz Kangas: though another beauty of being able to put make a hip hop album with Troma is. 735 00:49:17,120 --> 00:49:22,960 Chaz Kangas: I think over the past 50 years it's gone overlooked the hip hop milestones that are within Troma 736 00:49:23,500 --> 00:49:26,400 Chaz Kangas: and I don't think it's anyone's fault for that. I think it's just kind of one of those things that 737 00:49:26,440 --> 00:49:31,140 Chaz Kangas: maybe the news that had fallen through the cracks or these and just had been promoted and Troma. 738 00:49:31,420 --> 00:49:36,140 Chaz Kangas: Primarily so many genres of music exist in so much of Troma you have musicals like 739 00:49:36,140 --> 00:49:37,820 Chaz Kangas: Campbell, the musical and superstar at AD. 740 00:49:38,700 --> 00:49:41,720 Chaz Kangas: And you also have the very strong punk connection, 741 00:49:41,920 --> 00:49:44,540 Chaz Kangas: punk influence all throughout Troma's all their years from 742 00:49:45,359 --> 00:49:47,200 Chaz Kangas: smithereens and class of new command to 743 00:49:47,820 --> 00:49:50,940 Chaz Kangas: the heavy work with go-kart records around the Terra firmer era. 744 00:49:51,800 --> 00:49:53,240 Chaz Kangas: That it gets overlooked. 745 00:49:53,760 --> 00:49:57,860 Chaz Kangas: The hip-hop connections that Troma has stuck on you from 1982, 746 00:49:58,200 --> 00:50:01,820 Chaz Kangas: the first time a post-hip-hop at a character raps in a movie. 747 00:50:02,300 --> 00:50:06,880 Chaz Kangas: I mean, there's of course, the people who influenced rapping years later, like, you know, 748 00:50:07,200 --> 00:50:11,840 Chaz Kangas: doing more raps, there does what he calls Dolomites rap and Dolomite, and that and you have like, 749 00:50:13,040 --> 00:50:16,940 Chaz Kangas: people do the stuff, you know, hustlers convention, where it is the influence of what 750 00:50:17,620 --> 00:50:25,100 Chaz Kangas: would be the proto rap almost, but, you know, post hip hop post the hip hop, being a phenomenon, 751 00:50:25,820 --> 00:50:29,859 Chaz Kangas: Troma recognized at first. And yes, it's they put it in the form of rabbis, but that's still 752 00:50:29,660 --> 00:50:31,400 Chaz Kangas: the first instance of wrapping on screen. 753 00:50:31,800 --> 00:50:36,140 Chaz Kangas: You look at that, you look at probably the most consequential hip-hop single of all time, 754 00:50:36,380 --> 00:50:38,960 Chaz Kangas: Grandmaster, Flashing Grandmaster, Melly Mel's The Message. 755 00:50:39,440 --> 00:50:43,160 Chaz Kangas: First movie to ever license it was Story of a Junkie. 756 00:50:44,900 --> 00:50:45,980 Chaz Kangas: That's absolutely major. 757 00:50:46,120 --> 00:50:50,380 Chaz Kangas: Now that song has been, you know, it's in Happy Feet, it's in DreamWorks films. 758 00:50:50,520 --> 00:50:55,520 Chaz Kangas: It's one of those, it's the song that gets played in grade school music classes as an 759 00:50:55,660 --> 00:50:57,880 Chaz Kangas: example of what hip-hop is and where it came from. 760 00:50:58,140 --> 00:51:01,660 Chaz Kangas: and Troma was right there at the forefront to implement it in there. 761 00:51:01,930 --> 00:51:03,520 Chaz Kangas: You have Def by Temptation, 762 00:51:04,020 --> 00:51:05,800 Chaz Kangas: first horror movie to have an all hip-hop soundtrack. 763 00:51:06,800 --> 00:51:11,060 Chaz Kangas: There is a presence of hip-hop with Troma and around Troma, 764 00:51:11,160 --> 00:51:13,520 Chaz Kangas: and there's so many just growing up in New York, 765 00:51:13,740 --> 00:51:15,980 Chaz Kangas: people love Troma and you have 766 00:51:16,130 --> 00:51:18,720 Chaz Kangas: Troma references in songs from like Sage Francis, 767 00:51:19,400 --> 00:51:23,080 Chaz Kangas: DJ Reddy C, who's a beloved DJ in New York. 768 00:51:23,720 --> 00:51:26,220 Chaz Kangas: I remember I was not aware he was a Troma fan 769 00:51:26,220 --> 00:51:29,260 Chaz Kangas: when I was appearing on something, 770 00:51:29,680 --> 00:51:31,680 Chaz Kangas: I think a podcast he was doing back in very, 771 00:51:31,920 --> 00:51:33,680 Chaz Kangas: the Wild West podcast days of like 2008. 772 00:51:34,420 --> 00:51:36,100 Chaz Kangas: And I remember going into his apartment 773 00:51:36,260 --> 00:51:40,960 Chaz Kangas: and beneath his TV, his entire row of DVDs were all Troma. 774 00:51:41,320 --> 00:51:42,680 Chaz Kangas: And it caught my eye 'cause I looked at it 775 00:51:42,720 --> 00:51:44,340 Chaz Kangas: and I was like, oh, he's Back Road Diner. 776 00:51:44,440 --> 00:51:46,140 Chaz Kangas: That's not a movie, oh, that's another Troma. 777 00:51:46,200 --> 00:51:47,480 Chaz Kangas: There's another Troma, there's another Troma. 778 00:51:47,980 --> 00:51:51,020 Chaz Kangas: And then you wound up talking about Troma on air. 779 00:51:51,240 --> 00:51:53,460 Chaz Kangas: And it's funny 'cause I remember some of you 780 00:51:53,460 --> 00:51:56,200 Chaz Kangas: were talking about it 'cause I think I was promoting 781 00:51:56,200 --> 00:52:01,140 Chaz Kangas: reaction at that time and I think like we had just gone out of playing my hoodie, my 782 00:52:01,220 --> 00:52:06,380 Chaz Kangas: song with Childish Gambino because Sick Boy had come out recently too. And he says to 783 00:52:06,380 --> 00:52:11,740 Chaz Kangas: me, "So I hear you like Tromaville" going like right into it. So it's Troma is always 784 00:52:11,740 --> 00:52:16,160 Chaz Kangas: going to be a part of my fiber and my orbit and I'm glad to have sort of done this love 785 00:52:16,240 --> 00:52:22,940 Chaz Kangas: letter you know to Lloyd who has always been so encouraging to just the Troma team, the 786 00:52:22,880 --> 00:52:29,860 Chaz Kangas: Troma vibes and I think there's so many parallels that can be drawn within the DIY and the formation 787 00:52:30,000 --> 00:52:35,140 Chaz Kangas: of hip hop and with the Troma team aesthetic of the coming together to create something 788 00:52:35,160 --> 00:52:39,960 Chaz Kangas: new. You know, you look at the influence in the horror comedy side of Troma and you think, 789 00:52:40,160 --> 00:52:43,680 Chaz Kangas: oh, that's just, you know, kind of how with sampling, you know, taking a part of a thing 790 00:52:43,740 --> 00:52:49,339 Chaz Kangas: here and part of a thing here and making something new with it. You look at Lloyd will wear his 791 00:52:49,340 --> 00:52:53,920 Chaz Kangas: references and his influences on his sleeve at times and still use that to create something 792 00:52:53,920 --> 00:52:58,420 Chaz Kangas: new and find a space in a lane for it to be put in there. Like, you know, the two motorcycles 793 00:52:58,920 --> 00:53:03,900 Chaz Kangas: looking like a truck scene in Toxie 3 went, yeah, in front of it. And part of that can 794 00:53:03,940 --> 00:53:07,820 Chaz Kangas: be where so much in like, you know, early hip hop and even like, you know, the first 795 00:53:08,040 --> 00:53:14,120 Chaz Kangas: 30 years of hip hop, you have people just doing what their favorite parts about other 796 00:53:14,180 --> 00:53:18,140 Chaz Kangas: music other genres they like and put that into the hip hop sphere. There just seems 797 00:53:18,080 --> 00:53:25,400 Chaz Kangas: to be so much of a kinship that exists, just the kindred souls within the spirit of hip-hop 798 00:53:25,400 --> 00:53:32,940 Chaz Kangas: and the aroma de troma, that it just feels right to finally, on a full-on project, merge 799 00:53:33,000 --> 00:53:33,460 Chaz Kangas: these worlds. 800 00:53:37,180 --> 00:53:41,980 Announcer: This show, as well as all of the programming on Loudspeaker, is listener-supported. 801 00:53:42,620 --> 00:53:46,940 Announcer: What that means to you is that rather than go to corporate sponsors and advertisers who 802 00:53:46,860 --> 00:53:48,720 Announcer: who are trying to sell you crap you don't need, 803 00:53:49,380 --> 00:53:50,240 Announcer: we go straight to you. 804 00:53:50,750 --> 00:53:51,700 Announcer: We go to the audience, 805 00:53:52,220 --> 00:53:53,920 Announcer: and our audience helps us do what we do. 806 00:53:54,800 --> 00:53:56,340 Announcer: The way you do that is by making 807 00:53:56,420 --> 00:53:59,180 Announcer: a tax-deductible contribution to Loudspeaker. 808 00:53:59,900 --> 00:54:02,380 Announcer: Go to loudspeaker.org and click on the support button. 809 00:54:02,950 --> 00:54:04,680 Announcer: You can give one time or every month. 810 00:54:04,920 --> 00:54:06,100 Announcer: It's entirely up to you, 811 00:54:06,580 --> 00:54:08,340 Announcer: and we thank you so much for your support. 812 00:54:09,240 --> 00:54:11,380 Announcer: Every single dollar helps us keep the lights on 813 00:54:11,800 --> 00:54:13,260 Announcer: and tell more interesting stories 814 00:54:13,340 --> 00:54:14,580 Announcer: like the one you're hearing right now. 815 00:54:15,760 --> 00:54:16,660 Announcer: Thanks again for listening. 816 00:54:17,080 --> 00:54:18,400 Announcer: Now let's get back to the show. 817 00:54:23,580 --> 00:54:30,420 Zack Beins: I think a lot, a lot of that with Troma, feeling very hip hop and, and punk to 818 00:54:30,520 --> 00:54:37,100 Zack Beins: that matter is arguably the birthplace of both of those scenes is New York city and 819 00:54:37,380 --> 00:54:43,360 Zack Beins: hip hop of right at the same time, punk a decade later, all of these scenes are 820 00:54:43,240 --> 00:54:46,740 Zack Beins: happening at the same time with kind of the same age group of artists. 821 00:54:47,340 --> 00:54:51,700 Zack Beins: You know, maybe they all weren't hanging out at the Warhol factory, but they all 822 00:54:51,980 --> 00:54:57,180 Zack Beins: knew who each other was, you know, whether you would see, you know, Lloyd showing up 823 00:54:57,280 --> 00:54:59,320 Zack Beins: at a BC boy show, probably not. 824 00:54:59,640 --> 00:55:04,280 Zack Beins: But there was people at the BC boy show who also were showing up to 825 00:55:04,520 --> 00:55:06,340 Zack Beins: volunteer at the Troma office. 826 00:55:06,920 --> 00:55:09,000 Zack Beins: It's just kind of surreal to think about. 827 00:55:09,460 --> 00:55:09,560 Chaz Kangas: Yeah. 828 00:55:09,640 --> 00:55:12,200 Chaz Kangas: And then like in the early days of hip hop, because like they were both this 829 00:55:12,280 --> 00:55:15,840 Chaz Kangas: outsider music, you had like the Cold Crush Brothers were performing at CBGBs. 830 00:55:15,900 --> 00:55:20,280 Chaz Kangas: Like there is the punk rock and hip hop connections in a lot of it. 831 00:55:20,300 --> 00:55:23,480 Chaz Kangas: You know, you look at like the early fashion between the two, like pulling from each other. 832 00:55:24,140 --> 00:55:27,960 Chaz Kangas: Yeah, it's I think just that pool of artists and it is like you mentioned, 833 00:55:28,040 --> 00:55:32,600 Chaz Kangas: it's good observation that the type of things that could really in so many ways only have come from 834 00:55:33,180 --> 00:55:38,640 Chaz Kangas: New York and the working with what we have, maximizing our resources, accentuating our positives, 835 00:55:38,820 --> 00:55:41,840 Chaz Kangas: obscuring our negatives and following our heart to make what we want to make. 836 00:55:42,180 --> 00:55:43,440 Chaz Kangas: Like what's more Troma than that? 837 00:55:43,980 --> 00:55:44,560 Chaz Kangas: What's more hip hop. 838 00:55:44,820 --> 00:55:45,560 Chaz Kangas: What's more punk than that? 839 00:55:46,000 --> 00:55:53,960 Zack Beins: The super DIY roots of all of those things, because the mainstream, you know, 840 00:55:54,080 --> 00:55:58,440 Zack Beins: you're not going to get the glamorous disco recording contract or the big 841 00:55:58,720 --> 00:56:01,020 Zack Beins: Hollywood, uh, film contract. 842 00:56:01,020 --> 00:56:03,880 Zack Beins: You got to make this shit yourself with what you got. 843 00:56:04,300 --> 00:56:09,900 Zack Beins: And that could be a stolen bass guitar, or it could be your neighbor's record 844 00:56:09,900 --> 00:56:12,840 Zack Beins: player or, you know, your grandma's 845 00:56:13,160 --> 00:56:14,080 Zack Beins: Bolex camera. 846 00:56:14,800 --> 00:56:17,480 Zack Beins: And that's how it all kind of, you 847 00:56:17,500 --> 00:56:19,020 Zack Beins: know, all the stuff that I love 848 00:56:19,380 --> 00:56:21,000 Zack Beins: seemed to has started. 849 00:56:21,420 --> 00:56:23,580 Zack Beins: So, and I, I think it's really cool 850 00:56:24,180 --> 00:56:26,300 Zack Beins: that you're exploring the hip hop 851 00:56:26,400 --> 00:56:28,680 Zack Beins: side of that, which the punk side of 852 00:56:28,740 --> 00:56:31,380 Zack Beins: it is definitely been explored upon 853 00:56:31,580 --> 00:56:33,220 Zack Beins: in Tromaville, but not as much hip hop. 854 00:56:33,360 --> 00:56:35,820 Zack Beins: So it's really cool that, that 855 00:56:35,920 --> 00:56:36,800 Zack Beins: this entry is in there. 856 00:56:36,940 --> 00:56:37,080 Chaz Kangas: Yeah. 857 00:56:37,380 --> 00:56:38,560 Zack Beins: And, you know, you, you even look 858 00:56:38,740 --> 00:56:41,940 Chaz Kangas: for the progression of the both of those labels. 859 00:56:41,940 --> 00:56:43,380 Chaz Kangas: 'cause even when there would be eventually 860 00:56:43,390 --> 00:56:45,840 Chaz Kangas: the major label interest and you'd see like 861 00:56:45,900 --> 00:56:47,700 Chaz Kangas: some of the larger artists get picked up and distributed, 862 00:56:48,240 --> 00:56:49,900 Chaz Kangas: there would still be the indie labels 863 00:56:50,260 --> 00:56:53,000 Chaz Kangas: and those ones that wound up becoming really beloved 864 00:56:53,100 --> 00:56:55,100 Chaz Kangas: because they did take the chance on featuring artists 865 00:56:55,220 --> 00:56:57,100 Chaz Kangas: who were following their own heart. 866 00:56:57,120 --> 00:56:58,920 Chaz Kangas: And a lot of those would be in the same, 867 00:56:59,690 --> 00:57:01,420 Chaz Kangas: as Lloyd puts it, the last stop on the train, 868 00:57:02,140 --> 00:57:03,220 Chaz Kangas: which would be Troma. 869 00:57:03,540 --> 00:57:08,160 Chaz Kangas: And those indie labels would be the brand you could trust, 870 00:57:08,220 --> 00:57:10,600 Chaz Kangas: just how Troma would be the brand you can trust. 871 00:57:11,130 --> 00:57:12,920 Zack Beins: Even still, you get 872 00:57:12,950 --> 00:57:15,040 Zack Beins: these artists who they don't forget where they're from. 873 00:57:15,460 --> 00:57:18,260 Zack Beins: You have Raekwon referencing the Toxic Avenger, 874 00:57:18,740 --> 00:57:22,040 Zack Beins: something that you never would expect to hear in a million years. 875 00:57:23,320 --> 00:57:26,340 Zack Beins: He's singing about being a street mafioso dude, 876 00:57:27,000 --> 00:57:29,080 Zack Beins: but he's throwing in a Toxic Avenger reference. 877 00:57:29,859 --> 00:57:31,920 Zack Beins: That's just one of the coolest things ever. 878 00:57:31,920 --> 00:57:35,520 Chaz Kangas: It just shows just how much these Troma films resonate. 879 00:57:35,980 --> 00:57:37,860 Chaz Kangas: and they really are going to be around forever. 880 00:57:39,280 --> 00:57:41,920 Chaz Kangas: They're so of the time and they're so timeless, 881 00:57:42,090 --> 00:57:44,720 Chaz Kangas: which I think the best art always is. 882 00:57:45,540 --> 00:57:46,480 Chaz Kangas: At the core of it, 883 00:57:47,040 --> 00:57:49,660 Chaz Kangas: there's so much that just stick with it. 884 00:57:50,000 --> 00:57:52,020 Chaz Kangas: There's people who hate the Toxic Avenger who 885 00:57:52,880 --> 00:57:55,380 Chaz Kangas: could still tell you five things that happen in the Toxic Avenger. 886 00:57:55,800 --> 00:58:01,900 Chaz Kangas: It just speaks to how much it becomes part of your fiber in so many ways. 887 00:58:02,530 --> 00:58:03,740 Zack Beins: I think on that, 888 00:58:03,740 --> 00:58:05,700 Zack Beins: I have one more question about the album, 889 00:58:05,820 --> 00:58:09,240 Zack Beins: and then I want to ask you just some more troma-centric stuff. 890 00:58:09,740 --> 00:58:14,600 Zack Beins: But if you could have anybody guess with you on this album, 891 00:58:15,560 --> 00:58:19,340 Zack Beins: from the wide, wide world of hip-hop, living or dead, 892 00:58:19,820 --> 00:58:22,280 Zack Beins: who would you want to lay some verses down with, 893 00:58:22,420 --> 00:58:25,780 Zack Beins: and what topic would you like to hear them cover? 894 00:58:26,170 --> 00:58:27,380 Zack Beins: I'd say Scarface. 895 00:58:27,560 --> 00:58:33,520 Chaz Kangas: I think Scarface has been just so consistent as just such an amazing, 896 00:58:33,580 --> 00:58:39,940 Chaz Kangas: amazing storyteller. And I think with so much of Troma being that vivid storytelling, that 897 00:58:40,040 --> 00:58:46,160 Chaz Kangas: innovative way to tell stories in so many great Troma films, that hearing Scarface 898 00:58:46,260 --> 00:58:54,660 Chaz Kangas: take on a Troma narrative would be amazing. And I think if I could have any sort of Troma 899 00:58:54,700 --> 00:59:01,900 Chaz Kangas: topic, I would probably find some way to get Scarface to rap about one of the Troma scripts 900 00:59:01,900 --> 00:59:07,140 Chaz Kangas: that just never got produced as a movie that we could have like some existence of it. 901 00:59:07,200 --> 00:59:10,820 Chaz Kangas: Like to hear like, you know, Shocked at Shocked Ability, The Revenge of Jane Austen 902 00:59:11,340 --> 00:59:14,740 Chaz Kangas: from the perspective of Scarface in it, I think would be incredible. 903 00:59:15,880 --> 00:59:20,360 Chaz Kangas: So that's probably what I would go to for that. 904 00:59:21,980 --> 00:59:25,820 Chaz Kangas: The beauty of Troma is so much you don't know like what's going to happen next in a 905 00:59:25,820 --> 00:59:26,680 Chaz Kangas: Troma movie at times. 906 00:59:26,680 --> 00:59:28,220 Chaz Kangas: and I think it'd be cool to have. 907 00:59:29,240 --> 00:59:31,420 Chaz Kangas: E40, who is such an innovator of slang 908 00:59:31,520 --> 00:59:36,200 Chaz Kangas: as innovator of flows to pop on a track and. 909 00:59:37,220 --> 00:59:39,500 Chaz Kangas: To hear maybe E40 give the perspective 910 00:59:39,680 --> 00:59:41,940 Chaz Kangas: of someone in a Troma film who maybe 911 00:59:42,080 --> 00:59:43,460 Chaz Kangas: we only see for like a scene and don't 912 00:59:43,520 --> 00:59:45,620 Chaz Kangas: see again like I want to hear E40 913 00:59:45,900 --> 00:59:48,500 Chaz Kangas: rap as one of the truck drivers in 914 00:59:48,520 --> 00:59:50,960 Chaz Kangas: the Toxic Avenger when who Melvin 915 00:59:50,980 --> 00:59:52,200 Chaz Kangas: falls into the open barrel of waste. 916 00:59:52,440 --> 00:59:53,440 Chaz Kangas: I want to know what the rest of 917 00:59:53,540 --> 00:59:55,680 Chaz Kangas: their day was like and I want E40 918 00:59:55,680 --> 00:59:57,360 Chaz Kangas: to let us know what that day was like. 919 00:59:58,040 --> 01:00:11,500 Zack Beins: So for me, I have a couple that I, you know, dream pairings is I, you and kitten play for dead dudes in the house, but not the movie, but the poster. 920 01:00:11,840 --> 01:00:16,840 Zack Beins: Yes. Like what the movie that the dead dudes in the house poster is, I think would be pretty great. 921 01:00:17,060 --> 01:00:22,620 Zack Beins: And my other one would be you and MF doom, but just about the Kabuki man car flip. 922 01:00:23,280 --> 01:00:25,220 Zack Beins: We could get a whole lot of mileage out of that. 923 01:00:25,740 --> 01:00:27,840 Zack Beins: I mean, just enough until it flips upside down. 924 01:00:28,560 --> 01:00:29,680 Chaz Kangas: Oh yeah, exactly. Yeah. 925 01:00:29,800 --> 01:00:32,900 Chaz Kangas: And then well, then we could replay the footage of that like. 926 01:00:33,900 --> 01:00:36,760 Chaz Kangas: I'm giving like some like super high concept thing where 927 01:00:38,080 --> 01:00:43,580 Chaz Kangas: it's MF Doom saying the same line or the same like four bars four times, but he has a different 928 01:00:44,300 --> 01:00:49,940 Chaz Kangas: emphasis. So it's like it's a whole different thing each time like how the R flip appears. So yeah. 929 01:00:50,280 --> 01:00:55,040 Zack Beins: One of the things I love talking to you about in general is just Troma movies. 930 01:00:55,600 --> 01:01:02,220 Zack Beins: And you're somebody I will go to for advice and just general knowledge on 931 01:01:02,380 --> 01:01:07,520 Zack Beins: TromaVille, which I'm glad that you're also helping produce the show and 932 01:01:07,620 --> 01:01:10,880 Zack Beins: everything with just blessing us with your knowledge. 933 01:01:11,040 --> 01:01:15,820 Zack Beins: But do you have any deep cut recommendations for everybody right now 934 01:01:15,780 --> 01:01:20,140 Zack Beins: in October I'm doing the 31 days of Troma wean where I'm throwing some 935 01:01:20,760 --> 01:01:25,320 Zack Beins: classics but also some deep cuts and I know you always have some random deep 936 01:01:25,420 --> 01:01:28,580 Zack Beins: cut Troma movies that people should see. The big one I've been telling people all 937 01:01:28,600 --> 01:01:32,700 Chaz Kangas: year is the Newly Deads which you already covered a few days back and it 938 01:01:32,700 --> 01:01:37,200 Chaz Kangas: is just so good so ahead of its time you did a better job explaining why it's 939 01:01:37,240 --> 01:01:42,140 Chaz Kangas: great than I could right now so highly recommend people checking that one out 940 01:01:42,020 --> 01:01:43,360 Chaz Kangas: I'm a major love of that one. 941 01:01:43,960 --> 01:01:46,800 Chaz Kangas: I always think for people who want something really funny, 942 01:01:46,800 --> 01:01:49,660 Chaz Kangas: I always tell people, I think Stuck on You is Lloyd's funniest comedy. 943 01:01:50,580 --> 01:01:54,140 Chaz Kangas: The beauty of Stuck on You was Lloyd's tribute to Tom Lehrer, 944 01:01:54,140 --> 01:01:56,260 Chaz Kangas: who just passed away, and Stan Freeberg. 945 01:01:57,800 --> 01:02:00,300 Chaz Kangas: The cool note about that is about a decade ago, 946 01:02:00,300 --> 01:02:03,500 Chaz Kangas: I was interviewing Stan Freeberg's son, Donovan Freeberg. 947 01:02:04,060 --> 01:02:09,580 Chaz Kangas: Roger Prince died, I did a piece about the spaghetti commercial 948 01:02:09,580 --> 01:02:15,140 Chaz Kangas: Stan Freeberg wrote for Prince Spaghetti and how he got Prince to agree to not take legal 949 01:02:15,400 --> 01:02:19,380 Chaz Kangas: action against, you know, a prince in concert in concert with your favorite pasta sauce. 950 01:02:20,980 --> 01:02:25,260 Chaz Kangas: And at the end of that, this conversation with him, I mentioned to Donovan, you know, 951 01:02:25,360 --> 01:02:27,440 Chaz Kangas: have you ever heard of a movie called Stuck on You? 952 01:02:27,540 --> 01:02:28,500 Chaz Kangas: And he wasn't familiar with it. 953 01:02:28,550 --> 01:02:33,400 Chaz Kangas: You know, you know, Lloyd Kaufman of President Troma Studios, Creator of the Toxic Avenger, 954 01:02:34,020 --> 01:02:36,980 Chaz Kangas: basically made a movie as a love letter to your dad's comedy. 955 01:02:38,300 --> 01:02:45,000 Chaz Kangas: Donovan told me how cool he thought that was because he has a memory of him sitting with his dad 956 01:02:45,780 --> 01:02:48,800 Chaz Kangas: Watching the toxic Avenger. That's so cool. So 957 01:02:49,660 --> 01:02:51,760 Chaz Kangas: That's pretty cool to know that 958 01:02:52,740 --> 01:02:57,500 Chaz Kangas: When you talk about you make something that you know your heroes love and then knowing that 959 01:02:58,440 --> 01:03:04,300 Chaz Kangas: They love something, you know that you made it's there's this. Oh, yeah stuck on you. I think is is very funny 960 01:03:04,560 --> 01:03:06,340 Chaz Kangas: I think it's another head of its curve thing 961 01:03:06,300 --> 01:03:07,480 Chaz Kangas: I think he also the great comedic 962 01:03:07,600 --> 01:03:08,920 Chaz Kangas: songs of Professor Erwin Corey. 963 01:03:09,540 --> 01:03:11,080 Chaz Kangas: I have a major love of puns. 964 01:03:11,260 --> 01:03:12,740 Chaz Kangas: So however much someone loves puns, 965 01:03:12,840 --> 01:03:14,060 Chaz Kangas: the mileage on there may vary. 966 01:03:14,420 --> 01:03:16,420 Chaz Kangas: Side note, it's kind of weird to look at 967 01:03:16,860 --> 01:03:18,640 Chaz Kangas: people who are so critical, 968 01:03:19,060 --> 01:03:20,380 Chaz Kangas: like hypercurriculum puns and say that, you know, 969 01:03:20,480 --> 01:03:22,000 Chaz Kangas: puns are quote like the lowest form 970 01:03:22,100 --> 01:03:23,620 Chaz Kangas: of writing or lowest form of comedy. 971 01:03:24,260 --> 01:03:25,380 Chaz Kangas: But when you look at some of 972 01:03:25,500 --> 01:03:29,100 Chaz Kangas: our all time great artistic minds 973 01:03:29,320 --> 01:03:32,080 Chaz Kangas: like James Joyce and Stanley Kubrick and David Lynch, 974 01:03:32,500 --> 01:03:37,660 Chaz Kangas: so much of their deep intertextual dual meanings 975 01:03:37,920 --> 01:03:39,960 Chaz Kangas: that make their work so provocative and so heaven 976 01:03:39,960 --> 01:03:44,140 Chaz Kangas: and have so much long lasting replayability 977 01:03:44,190 --> 01:03:47,080 Chaz Kangas: is because it's puns basically. 978 01:03:47,320 --> 01:03:50,200 Chaz Kangas: It's not someone like the audience and making a yuck yuck. 979 01:03:50,820 --> 01:03:54,680 Chaz Kangas: But it is that sort of wordplay with language or ideas 980 01:03:55,000 --> 01:03:56,640 Chaz Kangas: and the tapestry of linguistics. 981 01:03:57,420 --> 01:03:59,240 Chaz Kangas: So I love a good pun. 982 01:03:59,740 --> 01:04:06,580 Zack Beins: I like that you mentioned stuck on you and Lloyd's love of Stan Freeberg and Tom Lair. 983 01:04:07,280 --> 01:04:12,160 Zack Beins: Another, you know, growing up with the Doctor Demento show, hearing those guys all the time, 984 01:04:12,420 --> 01:04:18,180 Zack Beins: like one of my cherished memories will always be talking to Lloyd about Tom Lair and then us just 985 01:04:18,220 --> 01:04:22,920 Zack Beins: singing Poisoning the Pigeons in the Park together. It's just one of those like, like he's like, 986 01:04:22,920 --> 01:04:24,960 Zack Beins: you know who Tom Lehrer is like, 987 01:04:25,200 --> 01:04:28,260 Zack Beins: hell yeah, man, like he's so cool. 988 01:04:28,280 --> 01:04:29,920 Zack Beins: Like he's really funny. 989 01:04:30,420 --> 01:04:32,500 Zack Beins: And like it wasn't for for him, 990 01:04:32,520 --> 01:04:33,660 Zack Beins: there wouldn't be weird out. 991 01:04:33,960 --> 01:04:36,040 Zack Beins: And like I would have never got into 992 01:04:36,160 --> 01:04:37,420 Zack Beins: any of this stuff that I got into. 993 01:04:38,000 --> 01:04:39,220 Chaz Kangas: And Tom Lehrer also a big 994 01:04:39,360 --> 01:04:40,160 Chaz Kangas: component of sampling. 995 01:04:40,500 --> 01:04:41,880 Chaz Kangas: Like I think one of his last big 996 01:04:42,140 --> 01:04:44,220 Chaz Kangas: public appearances was the letter 997 01:04:44,300 --> 01:04:46,000 Chaz Kangas: he sent giving his approval for two 998 01:04:46,020 --> 01:04:47,840 Chaz Kangas: chains sampling his song 999 01:04:48,060 --> 01:04:49,120 Chaz Kangas: the old dope peddler, 1000 01:04:49,460 --> 01:04:50,320 Chaz Kangas: which if you haven't read, 1001 01:04:50,400 --> 01:04:51,100 Chaz Kangas: it's worth looking up at. 1002 01:04:51,160 --> 01:04:51,720 Chaz Kangas: It's very funny. 1003 01:04:52,160 --> 01:04:57,900 Chaz Kangas: And that stuff's great. And yeah, and it just, yeah, I'd say also in terms of like the kind 1004 01:04:57,940 --> 01:05:02,980 Chaz Kangas: of deep in these like stranger things, invasion of the space preachers isn't I don't think 1005 01:05:03,140 --> 01:05:07,740 Chaz Kangas: too deep of a cut because it is one that I think people are really catching on now. It 1006 01:05:07,760 --> 01:05:14,400 Chaz Kangas: is one that I hope gets a remaster and really soon. How cool it is. And another one that 1007 01:05:14,400 --> 01:05:21,180 Chaz Kangas: I think does that I think now the world may be ready again for it is dog years is great. 1008 01:05:21,960 --> 01:05:26,580 Chaz Kangas: boutique labels, some of these Troma films that exist in there, they're leaving money 1009 01:05:26,660 --> 01:05:30,680 Chaz Kangas: on the table, like by these things, not just getting out and finding a new audience. And 1010 01:05:30,700 --> 01:05:36,200 Chaz Kangas: now that we have the technology to make, because a lot of these movies like only exist in VHS 1011 01:05:36,300 --> 01:05:41,780 Chaz Kangas: tapes recorded in EP from the 90s and you can only do so much and there's still the 1012 01:05:41,840 --> 01:05:51,940 Chaz Kangas: great movie shines through on them, but you can so many ways only do so much. Whereas 1013 01:05:51,940 --> 01:05:56,960 Chaz Kangas: shared love to do this and really do it right. I adore Wizards of the Demon Sword, the Fred 1014 01:05:57,060 --> 01:06:01,640 Chaz Kangas: Olen Ray medieval epic, and I met Michael Berryman for the first time the other week 1015 01:06:01,680 --> 01:06:08,840 Chaz Kangas: and he had so many fond things to say about the making of that. So that's cool. And yeah, 1016 01:06:08,840 --> 01:06:14,600 Chaz Kangas: that was Fred Olen Ray as was Edgar Allan Poe's Haunting Fear, which Fred Olen Ray 1017 01:06:14,700 --> 01:06:18,960 Chaz Kangas: directed and Michael Berryman was also in which no longer in the Troma catalog, but 1018 01:06:18,940 --> 01:06:24,820 Chaz Kangas: Beyond the Blu-ray of Haunting Fear that Fred Ulnaray's Retro Media put out, they do have 1019 01:06:24,880 --> 01:06:27,100 Chaz Kangas: the blooper reel for Wizards of the Demon Sword on it. 1020 01:06:28,060 --> 01:06:32,040 Chaz Kangas: So that's a cool for people who just own Haunting Fear anyway in the Blu-ray, but to have that 1021 01:06:32,060 --> 01:06:34,480 Chaz Kangas: sort of cross connection as well to it. 1022 01:06:35,080 --> 01:06:38,540 Chaz Kangas: The beauty of Troma is because also so many Troma films are like bigger in different parts 1023 01:06:38,560 --> 01:06:44,540 Chaz Kangas: of the world, that something's always a new undiscovered gem and something is always great 1024 01:06:44,580 --> 01:06:44,960 Chaz Kangas: to be found. 1025 01:06:45,540 --> 01:06:51,140 Chaz Kangas: Troma movie is gonna click with every Troma fan, but there's a reason we keep, you know, 1026 01:06:51,300 --> 01:06:57,120 Chaz Kangas: going into this beach with our metal detector and eventually we do find something really 1027 01:06:57,320 --> 01:07:04,840 Chaz Kangas: valuable. And what makes these things valuable is these passionate artistic vision projects 1028 01:07:05,660 --> 01:07:13,140 Chaz Kangas: that just connect with us. And, you know, thank goodness that Troma was able to make these things 1029 01:07:13,140 --> 01:07:19,340 Zack Beins: exist out in the world. Well, I think on that, I want to hear one more song, but first, where can 1030 01:07:19,560 --> 01:07:25,100 Zack Beins: people find you on the socials? They can follow me and follow me blindly on all social media at 1031 01:07:25,220 --> 01:07:33,000 Chaz Kangas: ChazRaps, that's at C-H-A-Z-R-A-P-S. And I also recommend everyone for information on the album 1032 01:07:33,140 --> 01:07:39,400 Chaz Kangas: where to get it. It should be available wherever music can be streamed or stolen, but the vinyl, 1033 01:07:39,400 --> 01:07:45,680 Chaz Kangas: limited edition vinyl on the Ecomix screen is very cool and you can find that through 1034 01:07:45,860 --> 01:07:52,420 Chaz Kangas: Four Finger Distro and they're on all social media and on Bandcamp in particular. I recommend 1035 01:07:52,520 --> 01:07:57,200 Chaz Kangas: going towards supporting them and supporting the other artists who are on there and you 1036 01:07:57,200 --> 01:08:04,200 Chaz Kangas: can otherwise hear me on NPR and The Current and please keep supporting your local public 1037 01:08:04,200 --> 01:08:07,720 Chaz Kangas: media station. It's important to have. I love people supporting that and. 1038 01:08:08,680 --> 01:08:13,220 Zack Beins: And yeah, and find me in your heart. You're always in my heart, Chaz. 1039 01:08:13,760 --> 01:08:19,100 Zack Beins: Real quick, everybody before you stay Tromatized, Chaz, tell us about the last song we're going to hear. 1040 01:08:19,279 --> 01:08:25,920 Chaz Kangas: This is Radiation April. I think every troma fan knows about Radiation March, and this is an idea I had for a song. 1041 01:08:25,920 --> 01:08:32,020 Chaz Kangas: I wanted to like take do new takes on things that all Troma fans know and love. 1042 01:08:32,080 --> 01:08:36,259 Chaz Kangas: and with the Radiation March being on just about every Troma Team video release. 1043 01:08:36,900 --> 01:08:42,740 Chaz Kangas: I am in love with the Stravinsky composition that is always, it's always used. 1044 01:08:42,880 --> 01:08:46,240 Chaz Kangas: And also on the album using, utilizing a lot of Troma themes, 1045 01:08:46,480 --> 01:08:49,040 Chaz Kangas: I wanted to make sure there was some touch on environmentalism. 1046 01:08:49,819 --> 01:08:54,720 Chaz Kangas: So all that together, it is the spiritual sequel to Radiation March. 1047 01:08:54,790 --> 01:08:57,040 Chaz Kangas: This is Radiation April. 1048 01:08:57,839 --> 01:09:01,920 Zack Beins: Thank you, Chaz and everybody out there, stay Tromatized. 1049 01:11:53,200 --> 01:11:55,340 Announcer: Talkin' Troma is hosted and produced by Zack Beins, 1050 01:11:55,900 --> 01:11:57,500 Announcer: Chris Lanphear, and Chaz Kangas. 1051 01:11:58,140 --> 01:12:00,440 Announcer: Our head of research is Dr. Nolan Stolz. 1052 01:12:00,960 --> 01:12:03,120 Announcer: The show is recorded at Loudspeaker Studios 1053 01:12:03,120 --> 01:12:04,340 Announcer: in Fort Collins, Colorado. 1054 01:12:05,320 --> 01:12:08,080 Announcer: Executive producers for Loudspeaker are Chris Lanphear 1055 01:12:08,240 --> 01:12:09,240 Announcer: and Charles Joseph Kelly. 1056 01:12:09,920 --> 01:12:13,060 Announcer: Our theme music is by J57 and Bald Halfwit. 1057 01:12:13,640 --> 01:12:16,040 Announcer: Talkin' Troma is a listener-supported production 1058 01:12:16,280 --> 01:12:19,880 Announcer: of Loudspeaker Studios, a non-profit public radio service. 1059 01:12:20,430 --> 01:12:23,180 Announcer: To support the show, please consider making 1060 01:12:23,180 --> 01:12:24,700 Announcer: at loudspeaker.org. 1061 01:12:25,340 --> 01:12:27,340 Announcer: Catch new episodes of the show Thursdays 1062 01:12:27,630 --> 01:12:30,900 Announcer: at 9 p.m. Eastern, 6 p.m. Pacific Streaming 1063 01:12:31,300 --> 01:12:34,300 Announcer: at loudspeaker.org and the Loudspeaker mobile app. 1064 01:12:35,180 --> 01:12:36,860 Announcer: Past episodes of the show can be found 1065 01:12:36,920 --> 01:12:39,360 Announcer: at talkintroma.com and you can find us 1066 01:12:39,360 --> 01:12:40,880 Announcer: on social media at Talkin' Troma. 1067 01:12:41,960 --> 01:12:43,980 Announcer: Thanks for listening and we'll see you in Tromaville. 1068 01:12:50,520 --> 01:12:53,160 Announcer: This has been a listener supported production 1069 01:12:53,160 --> 01:12:58,840 Announcer: For more on this and other programs, visit loudspeaker.org.