Читать книгу Everyone Loves You When You're Dead - Neil Strauss - Страница 13

When I met Strokes singer Julian Casablancas at 19th Hole, a dive bar near his apartment in Manhattan, he was wearing the same outfit he’d worn for the past week: a green work shirt with the words “U.S. Garbage Company” over the pocket and faded black pants. On his wrist were three fraying colored paper bracelets: one from a Kings of Leon concert a week earlier, another from a Stooges show two weeks ago, and a third from a Vines show who knows when.

As he ordered two beers for himself, he announced with evident pride that he’d finally come up with a press answer to “the Nigel Godrich question.” (The band had hired Radiohead producer Nigel Godrich to work on its latest CD, but then quickly parted ways with him.) When asked what his great soundbite was, Casablancas said he would tell me when we began the interview. The tape deck was dutifully started. And so began . . . the worst interview ever.

JULIAN CASABLANCAS: I’m drinking myself back into the game.

I’ve noticed that people tend to think you’re drinking and out of it. But the truth is that you’re ultra-aware of everything going on and everyone’s motivation—

CASABLANCAS: That’s your opinion.

And what’s yours?

CASABLANCAS: I don’t see myself that way. If you see it that way, cool, thanks.

So how do you see it?

CASABLANCAS: I see myself out of my own eyes, which means I have no idea what’s going on the other way around. I just think I try to be a good person—and I fail.

Casablancas reaches over the table and presses stop on the tape deck. Then he immediately starts it again.

CASABLANCAS: I’m sorry.

I don’t care. Do what you want.

He turns the tape recorder off; I turn it back on.

Let’s talk about the music instead.

CASABLANCAS: Fuck music.

All right, good. So let’s talk about your shirt. You have a whole closet full of—

He turns the tape deck off again. I look at him. He looks at me. Then I turn it back on.

CASABLANCAS: Talk to me.

Okay, so what’s your stock answer to the Nigel Godrich question?

CASABLANCAS: Fuck you. I’m not answering that question.

What the hell?

CASABLANCAS: Next question.

It’s interesting. People’s true personality comes out when they’re drunk . . .

CASABLANCAS: You’re too nice, man.

RANDOM WOMAN AT NEARBY TABLE: What’s he like when he’s sober?

CASABLANCAS: Sober he’s a fucking asshole.

RANDOM WOMAN: So what is he right now?

Half sober, half drunk.

CASABLANCAS: And when he’s tired, he’s a rapist. (Looks warily at the tape recorder, then speaks into the microphone:) Rape is bad. Very, very bad.

Honestly, this has to be the worst—

CASABLANCAS:—the worst interview ever?

Oh man, good times.

CASABLANCAS: Good times. “Whoa-oh-oh-oh, for the longest time.” (Starts singing the Billy Joel song to the tune of the Clash’s “Spanish Bombs,” which is playing on the jukebox.) It’s the exact same melody.

He leans over and turns off the tape deck again, then sits in his seat, swaying and staring.

[Continued . . .]

Despite rumors that Suge Knight wanted him dead for leaving Death Row Records several weeks earlier, there were no security gates, armed guards, or electric fences at Snoop Dogg’s house in Claremont, just outside Los Angeles. There was just a sweatsuit-clad Snoop, who pulled me into the living room and pushed me into his home studio. Above the door, a sign read, “Home Honey, I’m High.”

SNOOP DOGG: I want you to hear a few songs first. (Presses play on a DAT machine, and leaves the room while thirteen songs he’s just finished recording blare from the studio speakers. As soon as the last song ends, he bursts back through the door.) Well, did you tape some of it?

Of course not.

SNOOP DOGG: You should have.

What?!

SNOOP DOGG: Didn’t we talk yesterday about taping pieces of the album and leaking them on the Internet?

Yeah, but most rappers try to avoid leaking their music, because then no one will buy it when it comes out.

SNOOP DOGG: Fuck it, just bootleg that motherfucker. Come on, man. I’ll give you the ones you want.

Should I just leak it on the Internet, or do you want radio too?

SNOOP DOGG: All of it, man. That’s what I want you here for. I ain’t never done that shit before. (He plays three songs, and watches diligently to make sure I record them.) Cool. Can we use your wheels? I gotta go get Pampers.

For real?

SNOOP DOGG: It’s cool. We can ride and do the interview. I always do interviews riding and shit. I remember I used to be riding with guns and shit all in the car with me, getting into this gangbang bullshit.

Let’s try to avoid the gangbanging.

SNOOP DOGG: It was cool, though (lights a joint and puffs). Life is a motherfucker.

Is it true that you got high with Madonna?

SNOOP DOGG: I met her with Tupac. It was before he went to jail, before he got shot or anything. It was my first time doing Saturday Night Live. He came to see me because he was my nigga back then. He brought me a gang of weed and we all kicked it and smoked. Pac was a cool motherfucker, though, man. Death Row turned him out. Man, I feel bad.

[Continued . . .]

We know her as Madonna. But her staff refers to her simply as M. And M was sitting in a private plane, which had just taken off from a Royal Air Force base south of London. She was en route to Frankfurt, Germany, where a helicopter was waiting to fly her to a television performance in Mannheim. For sustenance, M, her manager Angela, and her stylist Shavawn were all carrying bags of popcorn.

When’s the last time you were in a helicopter?

MADONNA: I went in a cheap helicopter the day after I fell off my horse. I was on morphine, so I couldn’t tell what kind of danger I was in. But because it was my birthday, I was like, “I’m going to Paris. I don’t care if I’m injured.” It wasn’t until the morphine wore off the next day—I only did it for twenty-four hours, don’t get excited—that I realized how scary the helicopter was.

How was the morphine?

MADONNA: It was pretty good. I’m a lot of fun on morphine. At least, I think I am. But I’m not fun on Vicodin.

ANGELA: Okay, do you know the story of Dr. Jekyll and Mr. Hyde? I’ve never seen a transformation like that in my entire life.

MADONNA: I only tried Vicodin once. I was in a lot of pain, and nothing killed the pain. Not even morphine, to tell you the truth. And everyone kept telling me to try Vicodin, but they kept saying, “Be careful. It’s so amazing. But if you take it for more than ten days, you’re going to get addicted to it.” So I called five people to get advice before I took it, and they all told me I was going to love it. Whatever.

So I took it.

SHAVAWN: She went on a walk with me, and it was really scary.

MADONNA: Drugs have a weird effect on me. They do the opposite with me. I just chewed the entire inside of my mouth. I bitched at everybody. And I was in more pain. It was terrible: the worst experience of my life.

At least you didn’t get addicted.

MADONNA: I’m happy to say that none of my pharmaceuticals—and I’ve had a plethora of them given to me—have influenced me.

I don’t like pills anyway. It’s a control thing.

MADONNA: I just like the idea of pills. I like to collect them but not actually take them—just in case. When I fell off my horse, I got tons of stuff: Demerol and Vicodin and Xanax and Valium and OxyContin, which is supposed to be like heroin. And I’m really quite scared to take them. I’m a control freak too. And any time I’ve taken anything in my life, as soon as I take it, I’m like, “Okay, I want it out of my body.” I just start guzzling water. I want to flush it out, fast.

Do you ever think about—

MADONNA: Do I think about dying? Is that what you were thinking about asking?

No, but that’s a better question than what I was going to ask.

MADONNA: Real death is disconnecting, but the death where your physical body is no longer functioning, that’s not real death.

What is it then?

MADONNA: Death is when you disconnect from God—or when you disconnect from the universe, because God is the universe. I think anyone who’s disconnected is living in a serious hell. They can medicate themselves or live in serious denial to convince themselves they’re not in hell, but sooner or later it’s going to catch up to you.

[Continued . . .]

There are some interviews that you look back on after the artist has died, and they bring tears to your eyes. Tears that, like Johnny Cash’s life and music, are both joyful and tragic.

I notice that when you sing about sin, it’s usually followed by guilt and redemption. Do you think that’s how it always works?

JOHNNY CASH: I see that in my life a whole lot stronger than I guess a lot of people do, because I’ve been through so much—and I walked lightly and poetically on the dark side often throughout my life. But the redeeming love and the grace of God was there, you know, to pull me through. And that’s where I am right now. Redeemed.

That’s a big—

CASH: But I don’t close the door on that dark past or ignore it, because there is that beast there in me. And I got to keep him caged (knowing laugh) or he’ll eat me alive.

A lot of times people think that the idea of the man in black is nihilistic, but there’s a positive side to it as well.

CASH: That’s the whole thing. I’ve not been obsessed with death. I’ve been obsessed with living. It’s the battle against the dark one, which is what my life is about, and a clinging to the right one. But, you know, I’ve, uh, in ’88, when I had bypass surgery, I was as close to death as you could get. I mean, the doctors were saying they were losing me. And I was going, and there was that wonderful light that I was going into. It was awesome, indescribable—beauty and peace, love and joy—and then all of a sudden there I was again, all in pain and awake. I was so disappointed.

Disappointed?

CASH: I realized a day or so later what point I had been to, and then I started thanking God for life. You know, I used to think only of life, but when I was that close to losing it, I realized it wasn’t anything to worry about when that does happen.

So did you always believe that when you die you go somewhere else?

CASH: Yeah, but I didn’t know it was going to be that beautiful. I mean, it’s indescribably wonderful, whatever there is at the end of this life.

[Continued . . .]

Sometimes, if you listen closely, a neighborhood can have just as much of a personality as an individual. I used to live in New York’s East Village, but before it was cool and trendy—when it was just dangerous. One night, I heard a guy being held up at gunpoint outside my window. Another night, three guys kicked the shit out of me just for fun. Those experiences, along with the following things I overheard in the area at the time, contributed to my decision to save up and move to a neighborhood with a more stable personality.

Overheard on Avenue B, two men talking:

“Just because I killed someone doesn’t mean I’m an expert.”

Overheard on the same block, a man talking to a woman:

“I’m not a jealous guy, I’m just violent.”

Overheard on East Seventh Street, a man talking to a lamppost:

“I’m gonna break your face, sucker.”

Overheard at the Odessa Restaurant near Tompkins Square Park, the owner talking to an anarchist squatter:

“I think you guys should go start another riot for me. I need the business.”

Overheard on Avenue A, two well-dressed white men talking:

“I’m not a racist or anything, but have you ever beaten up an African-American?”

Overheard at the bar 7B, two women talking:

“He’s a total fox, so I love him. But he completely has no personality and doesn’t speak a word of English.”

Overheard on a building stoop on East Sixth Street, a man talking to the apartment supervisor:

“You can’t always go calling the coroner ten hours afterward.”

Overheard in Tompkins Square Park, two homeless men talking:

“What’s the point in pretending like I’m sane anymore?”

Overheard on Avenue D, two men talking, and I don’t know what this means but it’s scary as fuck:

“I don’t take a life, I bury a soul.”

By the time I realized the situation I was in, it was too late because we were already on the highway in my cheap, well-dented Pontiac. The situation was this: Sixteen months ago, Tupac Shakur was killed in a drive-by shooting while in the passenger seat of a car. Ten months ago, Biggie Smalls was killed in a drive-by shooting. And one month ago, Snoop Dogg left Death Row Records, angering perhaps the most dangerous man in rap, the label’s imprisoned president Suge Knight. So driving around Southern California with Snoop Dogg riding shotgun was, well, just stupid. Unless you wanted to die.

What label are you gonna find to put out this new record?

SNOOP DOGG: No label will want to put it out. That’s why I’ve got to do it myself. If I get some distribution, I would take it. But this album right here is so on the edge that the average record label wouldn’t want to put it out because of certain shit I say and the way I say it.

Snoop starts rolling another joint in his lap.

You’re talking about that “Death Row Killa” song?

SNOOP DOGG: Mm-hmmm. (Sings:) Death Row, snitches wanna be gangstas / You niggas is bitches / Death Row, snitches wanna be gangstas / You niggas is bitches / Death Row killa / Death Row killa / Fuck all y’all.

He bends down until his head is almost in his knees, and surreptitiously lights the joint.

What do you mean by “snitches”?

SNOOP DOGG: I’m just knowing there are some snitches around Death Row. That’s why there’s niggas in jail. That’s why there’s niggas getting looked at real funny by the FBI. ’Cause niggas is telling on niggas. I don’t give a fuck about niggas snitching on me because I ain’t doing shit wrong. I smoke my chronic, what are you gonna do? Take me to jail for smoking chronic? I’m down to go to jail for that shit.²

What do you think’s gonna happen once that song comes out?

SNOOP DOGG: I’m gonna make a whole lot of money off this album. I don’t need them.

You’re Death Row’s biggest cash cow, so aren’t they fighting or trying in some way to keep you from leaving the label?

SNOOP DOGG: They’re not trying to take me to court and I’m putting out records right now without their permission, so they must know they can’t beat me in court. But it ain’t about that. It’s about all I asked for is what I asked for, so let me move forward. Don’t hold me down because you’re locked up and you feel everything is against you. I’m not against you, homie. I just gotta take care of my family and Death Row can’t provide for me right now.

What did you ask Death Row for?

SNOOP DOGG: A lot of shit. Man, I ain’t never been accounted for. At all. As long as I’ve been rapping for Death Row Records, they never accounted for me. I never received statements on my money or none of that, man. They bought a nigga gifts and shit.

What gifts did they get you?

SNOOP DOGG: A Rolls-Royce, a penthouse suite on Wilshire, a motherfucking Hummer, gold chains, Rolex watches, diamond earrings, hotel suites, anything a nigga wanted. Anything to keep your mind off your money. They bought me this and bought me that instead of giving me my motherfucking money. [. . .]³

Didn’t Death Row freeze your assets because of it?

SNOOP DOGG: Man, they haven’t paid me since October. That’s why I don’t give a fuck about Death Row right now. I don’t give a fuck about going on the record. I’ll say it on TV and in public: “What y’all niggas gonna do to me? I made y’all. Nigga, I don’t wanna wear your jacket no more. Y’all should just let me go. If you had let me go, I would have never said, ‘Fuck Death Row.’ But y’all don’t even wanna let a nigga go. You wanna hold onto me like I’m a slave or some shit. This is 1998. This ain’t 1898.” [. . .]

When Dre left Death Row, did he ask you to go with him?

SNOOP DOGG: No, he didn’t ask me to leave. He didn’t say nothing. He just packed his bags and left. If he had asked me to leave, there would have been some violent shit, ’cause niggas will be niggas. But, I mean, I had fun and shit on Death Row, man. I can’t say I didn’t. I just hate that it ended like it did, man. I can truly say to all the little rappers coming up in the game: Money is a motherfucker and don’t believe the color, know what I’m saying. You might see a black record label and be like, “I’m gonna sign with this label ’cause they ain’t gonna be fucking me and the white labels just be fucking us.” Man, niggas will fuck you over faster than white folks will.

So for all the young rappers coming in, get you some attorneys. Even if you ain’t got no money, you gotta get attorneys so you can read over them contracts and know what you’re signing so you won’t be in the situation I’m in, where I gotta fight these niggas to get my shit back.

Pull over here, I wanna get some diapers.

Snoop leaves the car, and returns three minutes later carrying a bottle of barbecue sauce.

No luck?

SNOOP DOGG (to the tape recorder): I had a diaper run. Had to get some diapers for my baby. The store didn’t have none; them motherfuckers was too small. We’re just smoking on this motherfucking bomb-ass orange weed from my homeboy Chopper.

[Continued . . .]

Kenny G was not merely on time for this interview: He was half an hour early, standing alone on the edge of a seaplane dock on Manhattan’s East River, his hair tied back in a curly ponytail. At his feet lay a crumpled brown paper bag full of navigation maps he had bought for the journey we were about to take. Not just a light-jazz saxophonist but also a light-aircraft pilot, Kenny G ushered me into the cockpit of a seaplane and flew over the Statue of Liberty to Port Washington, Long Island for lunch.

Have you ever tried any drugs?

KENNY G: Oh, I’m not a drug user at all.

So you wouldn’t just try them, even though you told me five minutes ago that you’re the first guy to try anything new?

KENNY G: I’m not interested at all. I would only try something that’s good for myself. No, I’m not. Not interested.

Not even tempted?

KENNY G: No. I mean, I go into one of those restaurants in Seattle and get one of those microbrewery beers on tap. After one of those, I’m happy. That’s about all I can take. That’s good enough for me. I don’t think drugs are necessary. If you want to have an out-of-mind experience, there are a lot of different ways I think you could do it. If you sat by yourself on a mountaintop for two days, I think you’d be there. I know that’s a little harder than taking a little shot of something and then you’re high for a few hours.

So drugs are just lazy enlightenment then?

KENNY G: That’s the perfect way of putting it. For me, if I want to get my spiritual stuff, it’s flying my seaplane to some mountain lake, turning the engine off, and sitting there. That’s awesome. I can’t tell you what that feels like. You’re totally alone and there’s no one around. You’re in a place where maybe a man wasn’t supposed to be. Whew, it’s so great.

Have you learned any important life lessons from other celebrities?

KENNY G: Do you mean about drugs?

[Continued . . .]

Chris Rock sat alone in his room at the Ritz-Carlton in Philadelphia, where he was staying under the pseudonym Jimi Hendrix. CNN played silently on the television set. When a headline about investigators finding images of child pornography at Pee-wee Herman’s house scrolled across the screen, Rock shook his head. “One of the funniest guys who ever lived,” he sighed.

So many of your jokes and characters revolve around crack.

CHRIS ROCK: Basically, whatever was going on when you started getting laid will stick with you for the rest of your life. So crack was just a big part of my life, between my friends selling it or girls I used to like getting hooked on it. White people had the Internet; the ghetto had crack. It’s weird, too. Crack and the VCR and the portable handheld camera—all this shit just came out at the same time.

And how are they connected for you?

ROCK: That whole being-able-to-tape-shit came out around the same time as crack. So you saw all these weird images of like guys’ mothers blowing people on video for some crack. Or you go over to your friend’s house and there’s a porno tape of a girl you used to date blowing eight guys. That’s crack.

I remember this rich kid from high school smoking crack in a cheap motel and hiring hookers off the street to smoke with him.

ROCK: That’s crack too. I have never been to war, but I survived that shit. I lost friends and family members. The whole neighborhood was kind of on crack—especially living in Bed-Stuy [in Brooklyn], man.

And at the same time, in the end, what does this produce? Gangsta rap. This is one of the things that goes into the misogyny of rap. You see all these young guys with this weird distorted view of women because these women they used to hold on a pedestal are now doing all this nasty shit.

Especially in LA: It’s the home of the groupies, so then it’s also got to be the home of the normal guys getting left behind. So you combine that and crack, and you see a bunch of guys with real fucked-up views on women. That’s how you get N.W.A. That’s how you get a record like “A Bitch Iz A Bitch.” That’s how you get Tupac saying crazy shit on record.

So did you ever try it?

ROCK: The closest I ever got to doing crack was selling crack. Me and a friend of mine, we took these jobs at a camp just to get money. We were going to get paid a thousand or two thousand at the end of the summer, and then take that money and buy some crack to sell. But of course he got hooked on crack before we could go out and do it. And then right after that, God brought comedy into my life.

I wonder what would have happened if you’d started selling it?

ROCK: Who knows what would have happened? I would have been dumb to have done it. I’m not saying, “If it wasn’t for comedy, I’d be selling crack.” But I remember sitting with my friends, cutting up coke like it was yesterday: cocaine, lactose, vitamin B12. Cook it up—crack. I am so lucky I never tried crack. The most I did was put some coke on my tongue.

What gave you the strength and the resources to avoid it?

ROCK: I don’t know if it was the strength and the resources. One of my brothers is an abuser of . . . things. So he kind of saved my life, by his example. People always get mad at athletes for getting high. I’m happy for every one. Dwight Gooden saved my life, Darryl Strawberry saved my life—because they always get punished. It’s not like they get caught doing drugs and then they get a raise.

What did you mean earlier when you said that God brought comedy into your life?

ROCK: It’s not even about bringing me into stand-up. It was just about getting me out of Brooklyn, especially at night. Brooklyn’s fine during the day. But at night, man, I would probably have eventually tried some crack, just out of boredom.

[Continued . . .]

Patrick Miller was a legend, as far as I was concerned. Better known as Minimal Man, he was a pioneer of electronic and industrial music with at least six albums to his name, and had played with many legendary experimental and alternative musicians of the eighties.

But when I met him, he had fallen on hard times. He was living on the Upper West Side of Manhattan and, outside of the Dominican drug dealers in the neighborhood, I seemed to be the only person who visited his basement apartment. I would stop by every other day and he would regale me with stories of punk, industrial, and new wave musicians.

On his wall, alongside prints by Bruce Nauman and Dennis Oppenheim, hung his own paintings. I recognized them from the covers of his albums, which I played regularly on my college radio show at the time. They were all variations on one image: a featureless head, usually wrapped in strips of bandages that were peeling off to reveal a discolored, decomposed face.

One afternoon during my junior year of college, I came by to accompany him to a rock-industry convention, the New Music Seminar. But after an hour of puttering around his house, he didn’t seem to be any closer to leaving.

PATRICK MILLER: I want to find that guy from Play It Again Sam [Recordings] and make him pay me. You know, that’s all the seminar is: musicians looking for record executives who owe them money.

Are you ready to go yet?

MILLER: I’m thinking of building a holding tank here.

For your cat?

MILLER: No, for drug dealers. . . . I feel like there are ants under my skin. I need to get high if I’m going to have to deal with this.

If you do that, we’re never going to get out of here.

Miller walks into the kitchen and continues talking as he scrapes white powder out of a pot on his kitchen counter.

MILLER: For some reason, pharmacologists, doctors, and nurses are always attracted to my music. That’s how I got started. They’d invite Minimal Man to play all these parties, and then feed us coke. (Drops the powder into the end of a glass pipe.) I invented Minimal Man as this wild person, and then I actualized it and took all kinds of drugs and stuff because I felt guilty for not living up to this fiction. For a while I was shooting an eightball a day. That’s like a hundred shots. It got so crazy that I thought I’d take something to cool me off, so I got into heroin, thinking that it would help me free myself from drugs. Do you know how heroin works?

More or less.

MILLER: Your body is in pain every second of the day. Every molecule of air that is hitting it is causing a pain reaction. But because the body produces its own opiates, it blocks the pain. So when you take heroin and get those opiates externally, your brain stops producing its own painkillers. That’s why it’s so hard to withdraw, because when you stop, you feel all the pain you never did before.

I try to distract him to keep him from smoking the crack he’s heating in the pipe.

Ever heard of that band Lights in a Fat City?

MILLER: Shh.

He takes a deep drag off the pipe. Seconds after he exhales, his eyes start darting around, as if there’s something hiding in the shadows of the room. He snatches a flashlight from his desk and turns it on, even though the lights in his house are already shining. He then begins scanning the room, looking for something, as he backs into a corner. Suddenly, he pulls a chair in front of him, crouches behind it, and grabs the book Rush by Kim Wozencraft off his desk.

MILLER: Is there a fly around? I can’t stand flies. I’m prone to hallucinations. As soon as I see a little thing buzzing around in front of my eyes, forget it. Kill those fuckers.

He begins batting at the air with the book, as if invisible flies are trying to attack him. As he does this, I look up at one of his paintings—the bandaged, decomposed head that stares fearfully from his album covers—and realize: It’s a self-portrait.

The following day, Miller sells the painting to me for forty dollars and checks himself into rehab. Several weeks later, he returns, clean-shaven, well-nourished, and wearing newly bought clothes. The first thing he does is buy the painting back from me. As for his paranoid reaction during our last encounter, he explains . . .

MILLER: I have a feeling I just staged that so we wouldn’t go out.

After relapsing later that year, Miller moved near his family in Los Angeles to clean up. We remained friends until he died in 2003 of hepatitis C, a blood-borne disease that he most likely contracted from a used needle.

Dude, what are you doing? If you don’t want to do this interview . . .

JULIAN CASABLANCAS: One day maybe I’ll be able to communicate it better. But it’s not where we’re at right now. I just don’t have anything deep to say. I’m trying to do it. I don’t know.

I don’t expect anything deep from you. I just want you to be yourself.

CASABLANCAS: I’ve got nothing to hide. But what I meant a few minutes ago, if I can even recall what I was saying, is just that there’s so much shit to do and so little time. And everything I have to say is not going to be in this one Rolling Stone interview.

I hope not.

CASABLANCAS: There’s a lot of stuff to do and it’s going to be a long, hard road. If anything, it’s just the beginning. And I’d like to get our foot in the door, and just get to a point where maybe we can say something that will be matterful. That’s definitely not a word, by the way. And I look forward to the future, blah, blah, blah, blah. (Stops the tape; I start it again.) I mean, really, no one wants to hear what I have to say. No one cares.

Fine. Let’s have a regular conversation, not an interview, and just leave the tape recorder running.

CASABLANCAS: Okay, here’s the thing. It’s not time yet. God, or whoever it is that controls things, is telling me not to say anything. People don’t believe in us yet. They don’t think we’re serious or real or whatever. And I can’t say anything until we’ve done something undeniable as a band.

Strokes manager Ryan Gentles enters the bar.

RYAN GENTLES: How’s the interview going?

We’ve got seven minutes of tape so far.

GENTLES: Seven minutes is all you have? (To Julian:) You need to do this.

CASABLANCAS: What are you working for, me or Rolling Stone? It’s like there’s an angel on one shoulder and a devil on the other, and then a gay manager on my sleeve.

Your picture is going to be on the cover. Most people with pictures on the cover talk inside.

CASABLANCAS: You are a complainer. You’ve got enough. Work with what you’ve got. You’re a professional. God bless America.

Casablancas picks up a bottle of beer, downs three quarters in one gulp, and slams it to the table. He mumbles something about RCA Records president Clive Davis speaking “like a gay chorus girl,” stands up, and walks to the video game Golden Tee Golf. He turns around and addresses the bar.

CASABLANCAS: Anyone want to play Golden Tee?

When no one responds, he plays alone. Four minutes later, he returns to the table.

CASABLANCAS: Never play Golden Tee when you’re drunk.

He then sits on my lap, kisses me seven times on the neck, and makes three lunges for my lips, connecting once. Before I can wipe dry, he is out the door, rolling himself home in an abandoned wheelchair he finds outside.

[Continued . . .]

If you met the man who composed one of America’s most patriotic songs, what would you ask him?

At halftime one Sunday at the Adelphia Coliseum in Nashville, Tennessee, country singer Lee Greenwood ran out to sing the anthem he had written eighteen years earlier, “God Bless the U.S.A.” The stadium thundered with the sound of tens of thousands of voices singing along, “I’m proud to be an American.”

As Greenwood trotted to the sidelines afterward, a photographer pulled an American flag out of his satchel and asked him to pose with it. “I don’t want to seem cheap or disgrace the flag,” Greenwood responded, declining. “I don’t even sign them anymore.”

Is there ever a moment when you don’t feel proud to be an American?

LEE GREENWOOD: You mean that I don’t believe the lyrics of my own song?

In the moment. Like if you sing “I love my wife” in a song, there might be a moment when you don’t feel that.

GREENWOOD: No, I don’t. I mean, we’ll have arguments like everybody else, but very few and that’s what keeps our union strong. But no, when I’m singing, I believe everything I sing.

What if there’s a president who’s not making decisions you agree with?

GREENWOOD: I don’t . . . You know, the song first of all is not political. And I may not agree with a Democrat who’s in office, but you know, if they ask me to sing at the White House, I’d sing in a heartbeat because he’s the president. Anybody who has military service, I recognize and respect for what they’ve done.

Some people have criticized you for singing about how you’d defend America, but not serving in the Vietnam War.

GREENWOOD: When I went to join the service in the sixties, I had two children. And so I wasn’t picked until they got to my number and it was too late. So that was the reason I didn’t serve. But my father felt it necessary to join the war in 1943. I was a year old and my sister was three. At that time, I guess the government didn’t consider it a threat or a liability if you had children. But when he joined the Navy, my mother never forgave him and divorced him because of it. So I think that’s an issue for me.

So there must be something that bothers you about this country?

GREENWOOD: Inasmuch as . . . I guess it’s capital punishment that bothers me. We don’t want to be barbaric, but at the same time, it used to be an eye for an eye. You killed a person, and you went to jail or you went to the chair. Then you had to kill two or three people to go to the chair. And now it’s mass murder. How many do you have to kill before you have to give up your life? It diminishes the value of one person’s life. That’s why our view on capital punishment, I think, weakens us in the eyes of other nations.

Then there are other countries who think we’re barbaric for even having the death penalty.

GREENWOOD: Yeah, well, I like what the Marines say.

Which is?

GREENWOOD: “It’s up to God to judge bin Laden. It’s up to the Marines to make sure he keeps the appointment.”

After her television performance in Germany, Madonna sat on a couch in her dressing room, wearing a puffy silver jacket and matching boots, discussing the reasons she preferred living in the United Kingdom to America. “English people, they’re not God-crazy like Americans are,” she said. “If I became a born-again Christian, people in England wouldn’t be comfortable with it, but people in America would.” Suddenly, the members of Green Day, who’d also been flown in for the show, filed into the room and her demeanor changed.

Madonna has an unusual way of relating to strangers. She will ask questions—lots of questions. She will pay attention closely and ask good follow-up questions, yet you will get the uncomfortable feeling that she isn’t so much listening as she is allowing you to speak. And so long as you are interesting or able to offer something she wants to learn, she will keep allowing you to talk. But as soon as she’s gotten what she wants or her status as queen is threatened, she will turn ice cold.

“Do you have any kids?” she asked, peppering Green Day with questions.

“Have you ever seen Napoleon Dynamite?”

“What do you do for fun?”

“Do you like dancing?”

To this last question, Green Day singer and guitarist Billie Joe Armstrong replied that the only dance he knew was the “drunken sailor dance.”

“What’s that?” Madonna asked.

He stood up and demonstrated by slouching forward, letting his arms dangle, and swaying drunkenly from side to side. When a string of drool began dribbling out of his mouth, Madonna let him know that she got the point.

It was all fun and games until Madonna decided that it was time to fly back to London and one of the show’s producers told her, “Green Day are going to have to leave before you.” Instantly, her mood changed.

“Why?” she asked coldly. “We were supposed to leave first.”

“Their cars are here, and yours are waiting elsewhere because you stayed backstage longer than you said you would,” the producer explained.

“Well, I’ll just fly back with them,” she said, flustered.

“But they’re taking a car to Frankfurt.”

“Oh,” Madonna replied, suddenly relieved, her status as queen restored. “We’re in a helicopter.”

Here’s Madonna on life before she was queen . . .

MADONNA: When I first came to New York, I was a dancer for years, but I didn’t know about nightlife. I had no friends. I didn’t have a social scene or anything, and it was very lonely. It wasn’t until I discovered clubs that things changed.

How did you first get introduced to the scene?

MADONNA: I just went by myself. I thought you had to get asked out to go to a club and that you couldn’t dance unless someone asked you to dance with them. But I discovered in New York you could go out on your own and you could go to a club and you could dance by yourself. You didn’t have to have an invitation, and to me that was really liberating.

So what was the first club you went to?

MADONNA: I was kind of a geek when I moved to New York, and I loved to read. You never know when you’re going to get stuck in a room or on the subway with nothing to do—and I hate wasting time. So I always used to bring books everywhere in case it was going to be a drag or things got boring.

So the first club I ever went to was this club called Pete’s Place. It was kind of like a restaurant-bar-disco. And all the lounge lizards were hanging out there. And everybody was so fucking cool. The guys all had forties suits on and porkpie hats. And the women were so glamorous: They all had red lipstick and black eyeliner and high heels. And I felt so dull. Because I was kind of embarrassed, I just sat in my corner and read my book.

What book was it?

MADONNA: It was an F. Scott Fitzgerald book, Jazz Age Stories. I was like, “Okay, I don’t fit in. I don’t know what to do with myself. I’m not dressed appropriately. There’s nothing cool about me. I’m going to go read a book.” So, yeah (pauses). Did you read The Power of Now?

No.

MADONNA: You haven’t? How about The Four Agreements? I can only remember three of them: don’t take things personally, always do your best, and be impeccable with your word. I love that one. I remember the fourth one was a repeat of the others, and I wasn’t impressed with the fourth one.

The book editor probably thought the three agreements didn’t sound as good for marketing.

MADONNA: Did you read that book?

No.

MADONNA: So you haven’t read The Power of Now and you haven’t read The Four Agreements. You must be really busy.

When the news ends and a golf tournament begins, Chris Rock grabs the hotel television remote. “In case you say I was watching golf,” he explains.

As Rock switches channels, he discusses the differences between comedians and rappers. “At the end of the day,” he concludes, “comedy is some nerd shit.”

CHRIS ROCK: I remember the last time I saw Tupac. It was after the MTV Video Music Awards. I had just done [the HBO comedy special] Bring the Pain. And at the last minute, MTV called me up to present. I wasn’t quite big enough to host yet.

So I get up onstage, I present some award, I try a couple jokes, and then I see Suge Knight in the audience. I said, “Hey Suge, don’t kill me.”

And the audience laughs, right? There was that kind of tension. And later on, remember, they had the after-party at Bryant Park?

I’ll never forget that party. Tupac was walking around with this parade of thugs who were carrying Death Row signs and posters. It was really aggressive.

ROCK: Yeah, it was a weird night. First, Eric B. comes up to me. He goes, “Yo, man, I don’t know if you should have done that joke about Suge, man.” He’s like, “The spot is hot right now.”

It was Eric B., man—the original thug life. Eric B. is from around my old way. Eric B. was driving a Rolls-Royce before he ever put out a record. That’s all I’ve got to say. With rims. Nobody else was even talking about rims. My man was gangsta. And he’s telling me this.

Then Hammer comes up and tells me the same thing. “Yo, man, don’t mess with Suge.” And Hammer is gangsta, man. Have you ever been around Hammer?

Are you serious? Hammer?

ROCK: Hammer ain’t no punk, man. Hammer is more gangsta than all these guys. He rolls with the hardest crew, because it’s a combination of jail guys and military guys, because Hammer was in the Navy or some shit. When those motherfuckers rolled up, you fucking listened.

Then Tupac comes up to me. And he says, “Hey, man, that was kinda funny what you did.” He shook my hand, and he had really clammy hands. Like he soaked them in Camay or some shit.

And he said, “I saw you on HBO, saying that ‘niggas and black people’ shit.” He had half a smirk. I got the feeling that Pac was a minute away from punching me—or trying to punch me.

His voice had a tone of menace to it?

ROCK: Yeah, but because I roll by myself and I don’t wear gold or nothing, it actually keeps me out of a lot of trouble. Whereas if I rolled like Eddie Murphy ’88—if I had the shades and the leather and I had ten guys and a diamond ring over my gloves—I’d be getting into fights.

Literally three days after that MTV party, Tupac was shot.

ROCK: What’s weird is, a week after that, I had to go to LA to do videos. And everywhere I went, people were like, “Yo, man, you shouldn’t have said that shit about Suge.” I’ve never seen people fear a guy so much in my life. It was like the whole world had become high school. And these were gangstas—not just punks like me.

That guy made some great records though. Suge Knight’s name is on some of the best records ever.

I remember interviewing Snoop Dogg right after he left Death Row, and he had no bodyguards, no security, nothing.

ROCK: Maybe it was like the end of Donnie Brasco, where Al Pacino knows he’s going to die. But he doesn’t blink. He just takes off his watch and all his rings and he goes down to his death.

That may be. Snoop recorded these songs about how Suge Knight was responsible for Tupac’s death. And he wasn’t scared.

ROCK: The weirdest thing about being really successful is that you are kind of ready to die. Especially now that I’ve got kids. I mean, I want to live. Don’t get me wrong. But I’m not in fear of dying. I’ve made my mark. Death is the enemy of my family—of my wife and my daughters. But to me as an artist, it’s actually my friend.

(Looks at tape deck.) It better be working. You’re getting some good shit.

SNOOP DOGG: I heard what Suge said about me in The Source magazine. What’d he say, that Tupac didn’t like me or something?

No, he said that you and Tupac had a falling out after the MTV Video Music Awards.

SNOOP DOGG: Yeah, we had a falling out because I didn’t feel it was right for him to bring everybody involved into his feud. If he had a problem with Biggie Smalls or Puffy Combs, he was a grown man. He should have been able to handle that shit on his own. Don’t bring all of us into some shit that you can handle on your own. From what I was looking at, them boys didn’t want no problem. Puffy and Biggie never said, “Fuck Tupac, fuck Death Row, bring it on.” They always was like, “We wanna be peace, we wanna make it happen.” And I’m a grown man. If a motherfucker don’t wanna quarrel with me or don’t wanna shoot-out with me, why am I gonna force the issue? All I’ll say is this: Gangstas don’t talk, they take care of their business.

Watch that left turn right there.

What happened to your relationship with Tupac after that?

SNOOP DOGG: We didn’t speak after he left New York. But I went to see him when he was in the hospital all shot up, because I had love for that nigga and I love him to death to this day. I look at myself as a real friend: A real friend is gonna tell you the motherfucking truth. There’s certain shit that Pac told me that hurt my feelings and made me mad, but I loved him for it because he was real and he told me the motherfucking truth. And Suge Knight can’t speak on me and Pac, because our relationship was genuine, the same way his and Pac’s was. Like I can’t speak on how he had Tupac in the car with him doing stupid-ass gangbang shit in Vegas. That’s on him. That’s their relationship. If he had been with me, he probably would have been playing a video game, smoking on some weed, and fucking a bitch or something. Doing all that stupid-ass Mafioso shit—stupid shit.

Do you think it would have been better for Tupac if he was never on the label?

SNOOP DOGG: He probably should have just did songs with us and been down with us but not been signed to us, because the influence was too much. You become too infatuated with it.

Bust a left. If I go in here, I’ll have to sign eight thousand motherfucking autographs and take eighteen pictures.

We pull into a grocery store parking lot, and Snoop sends me inside to buy Pampers while he waits in the car. Afterward, we return to Snoop’s studio.

What happened to the famous armored van you got to protect yourself?

SNOOP DOGG: It used to be on the side of my house, but I got rid of it. My armored van is God, man. He gonna get me through everything. ’Cause if he ready for me to go, that armored van can’t do shit. I could be getting out of the armored van and get blown the fuck up.

People think that now you’re living behind barred windows, surrounded by armed security guards—

SNOOP DOGG: Man, you’re here. When you pulled up this morning, I let you in. When we went to the store, it was just me and you. Man, I’m chilling. Niggas know where I’m at. I ain’t bringing no problems to nobody. If you say something about me, I’m gonna say something about you. If you steal on me, I’m gonna steal on you. If you jack me, I’m gonna jack you back. That’s just the way I do it. I’m defensive, man. I’m not offensive no more. I’m not the type to go out there and just beat up a nigga for nothing. I’m just kicking back watching to see what you’re trying to do to me.

Snoop rails against Suge Knight and Death Row for another hour, makes sure I have the cassette with his new songs, then lets me leave. On the way home, I notice that Snoop’s Pampers are still in the backseat of the car, along with his bottle of barbecue sauce. I drive back and leave them in front of his door.

[Continued . . .]

I wanted to ask what you thought of gangsta rap.

JOHNNY CASH: You know, I don’t know. I was about just coming onto the music scene when they wouldn’t shoot Elvis Presley below the hips on The Ed Sullivan Show. And I was working with Elvis when all these older people were saying that he’s leading our kids to hell. I thought that was the strangest thing I’d ever heard. I was born in the Bible Belt and raised up in it. And Elvis is such a good person and loved gospel music, a Christian. And that hurt him. And I thought it was just terrible that people would say things like that about him. Then all the rock artists that came along, they said that about them, too. But it doesn’t bother me. Maybe gangsta rap does have some influence on young people, but damn, I think the six o’clock news is probably the most violent thing we hear today.

The reason I was asking was because a lot of people point to your lyric, “I shot a man in Reno just to watch him die”—

CASH: Fantasy.

Yeah, and they point to it as the first gangsta rap lyric.

CASH: It’s a reflection of (coughs) the society that we’re living in, just like the movie Natural Born Killers. It’s grossly overstated and the most violent thing I have ever seen, but I couldn’t walk out of the movie because it’s so riveting. And it’s throwing our violence right back at our face. You look at what’s going on in this country as far as crime: It’s hypocrisy to blame somebody for some violence because of a song lyric. I don’t know if that’s right. I wrote, “I shot a man in Reno just to watch him die,” over forty years ago and I don’t know of anybody that’s gone out and done that just because I sang about it.

I was wondering, only because you deal a lot with it in your music, has your relationship with God changed over those forty years?

CASH: I think it’s stronger than ever. You know, there were times when I was taking prescription drugs and was addicted. My addiction was really flowering and, um, I put God way back on the back burner. ’Cause with taking drugs, I had an awful, awful big ego. And you think you’re invincible and bulletproof. I was always a believer, but during those times I just didn’t bother to give God the credit for anything, or to really try to live the way I know I have to live to survive. I just thought I was invincible—until I bottomed out again. And every time I bottomed out, I realized how far away from God I’d been. So I started walking the walk again and trying my best as best I know how.

And how do you do that?

CASH: Now we have a minister of the gospel traveling with our show. He goes with us everywhere we go. He keeps me off the streets and counsels everybody on the show who might have a problem, no matter what it is, whether it’s a spiritual problem, personal problem, family, marriage, drug, alcohol, whatever.

When I introduce him at the end of the show as being part of our group, he always sticks around to talk to anybody who might want to come see him about various problems they might have in their life. He’s a recovering drug addict and alcoholic as well as a minister. He’s always just a few rooms down the hall in case we need to talk to him. He keeps me centered and focused, you know.

For—

CASH: For survival.

Why do you think it is that people are most attracted to your darker songs, by seeing the beast in the cage, as you put it?

CASH: I mean, these themes are eternal. Most everybody goes through that once in their life, at least. “Delia’s Gone” is a, you know, a folk song.

Though you rewrote some of the lyrics . . .

CASH: Well, one of the verses is original. Like, (sings) “First time I shot her / I shot her in the side / Hard to watch her suffer / But with the second shot she died.” The American musical culture is steeped in songs of violence and murder. Disaster, train wrecks, floods, cyclones. Um, but then there’s the spiritual, gospel side of the albums, too. That is so much a part of me: You know, gratitude and thanks and praise for life itself.

In 2003, Johnny Cash died of complications from diabetes. He was seventy-one.

As Kenny G chattered happily during lunch, wearing a black leather jacket and an off-white turtleneck sweater, I realized that he was no less credible than the more dissonant jazz artists I admired. Like them, he plays what he feels. And perhaps if everybody were as gentle, pleasant, and meek as Kenny G, the world would be a much better place. Though the radio would suck.

Do you ever lose your temper or get in a bad mood?

KENNY G: Well, I was a little bit less than my, uh, jovial self yesterday, because I knew that I had to do something I really didn’t want to do. I’m so spoiled. I pretty much do what I want to do when I want to do it. So when I have to do something I really don’t want to do, I get a little bit, uh, not so happy.

What did you have to do?

KENNY G: The last thing I wanted to do yesterday was fly to New York and wake up at six in the morning to do Regis. I was playing with my son in the morning, and I told him I had to go upstairs and pack to go to New York. He said, “Dad, why do you have to go there?” I said, “Because it’s my job.” He asked what my job was, and I had to think about it. I told him, “My job is to play the saxophone.” He said, “Well, then, what’s my job?” I told him, “To learn as much as you can and to be happy. That’s your job.”

That’s great advice.

KENNY G: The biggest thing I could give to somebody is my respect. Love as well. But respect even more. Love you can just kind of get . . . I don’t know.

Maybe love comes after respect. You have to respect someone to love them.

KENNY G: If you want to sustain the love, you have to sustain the respect to keep the love. If you lose the respect, the love’s going to start to fall. That’s it. Respect first, love next. But you have to keep the respect to keep the love.

That sounds about right.

KENNY G: Hey, Neil, you and I should write a book: Love and Respect. It could work. We’ll go on a book tour. And inside the book will be like a scratch-and-listen. You scratch it and you hear a little saxophone playing. But we’d have to change our names. It can’t be like Strauss and Gorelick. It’s got to be like Deepak Chopra. Something mystical.

I like Strauss and Gorelick.

KENNY G: Strauss and Gorelick sound like doctors. “Dr. Gorelick, Dr. Strauss, you’re wanted in surgery at six in the morning.”

The following evening, Julian Casablancas called and promised to sit still for a normal interview. An hour later, he was waiting obediently at the Gramercy Cafe. You know what he was wearing; only the smell had changed.

JULIAN CASABLANCAS: I promise not to touch your tape deck.

Okay, I just want to ask a couple questions and make sure I got everything.

CASABLANCAS: It’s no problem, man. I don’t mind. I mean, I didn’t want to not talk to you last night.

I know. I felt like you were putting too much pressure on yourself to say something interesting.

CASABLANCAS: I knew that I was . . . I was going to say something I was going to regret.

I appreciate you doing this again, because I know you hate interviews as it is.

CASABLANCAS: I don’t hate doing them. I just get to the point sometimes where I feel like what I say never comes across. I just need to practice more. I don’t know if it was because the tape was on, but I acted differently.

I was pretty discouraged after last night.

CASABLANCAS: I was so hungover. I mean, more than the night we fucking hung out until ten in the morning. Days and days of just fatigue. I was like, “The goal is just, like, don’t die.” I felt terrible. Oh God, all this bad news from [our record label] RCA, and we were just overworked.

Yeah, you were pretty wiped out that night. You were saying—

CASABLANCAS: I was saying what’s the point of doing interviews when . . .

. . . you haven’t done anything undeniable yet.

CASABLANCAS: Uh-huh. I just feel like it would be nice if people thought, “Wow, this is something really special,” and then learned about the band from there instead of reading about a guy they’ve never heard of talking about all this fucking crazy, intense, over-the-top stuff. I was always bad at selling the band, you know.

You’re not expected to, though.

CASABLANCAS: I still can’t believe that you’re doing a cover story on us. I’m still waiting for someone to say like, “April Fools.” I’m sure a lot of people are going to be looking at Rolling Stone like, “Who the hell are these guys?”

Didn’t you tell me one night that you used to practice Rolling Stone interviews in the shower?

CASABLANCAS: It was more like a grand monologue. It was never, you know, like, “So how is the pressure?” “What happened in Hawaii?” Because no one is listening, your mind is a lot better than it is when you’re being interviewed in front of someone.

So what was your stock answer to the Nigel Godrich question?

CASABLANCAS: Yeah, it makes me nauseous explaining. It’s not even good. It’s like a run-on sentence, with little reference parts to lead to the next part. So . . . yeah, we just work differently. We got along great. All our parts need, you know, specific personalities, and the band comes in, plays live, and then he does his thing. And so we try to do it more hands off, blah, blah, blah, and that kind of thing.

That’s it?

CASABLANCAS: I said it in the wrong order. I started with the working differently thing and I should have ended with it. And the whole thing is just a run-on sentence.

Do you mind if I go outside for two seconds to smoke a cigarette?

A few minutes later, he stumbles back. The conversation turns to his drinking problem . . . ⁴

When your girlfriend left you and people didn’t want to be around you anymore because of the drinking, did it affect you at all?

CASABLANCAS: Yeah, definitely, especially when you are hungover. It’s just weird, because you get this built-up stuff and it comes out when you’re drunk. And you think afterward, “Yeah, maybe I was an asshole, but I said what was on my mind and that’s what they hated about it.” I would like my friends to be happy, but then, obviously, I’m like drunk and being very aggressive, so it probably makes them feel that . . . Yeah, it’s not cool. You can’t act like that on a consistent basis.

When was the first time you got fucked up?

CASABLANCAS: The first time was probably when I was ten and there was a dinner party. There were drinks on the table and I think I just downed all the drinks, and I was like, “Whoa. What the hell is this? This is great.” My body immediately enjoyed it. It was like, “Life is actually fucking amazing in every single way.”

After nearly three hours of talking . . .

If you had kids, would you want them to be musicians?

CASABLANCAS: If you’re a musician, probably the fear is that your kid is going to be a shitty musician. Like if you’re Bob Dylan: I can imagine him coming in and saying, “Turn that music down.” And his son says, “No, you don’t understand my music, Dad.” And he says, “Yeah, I do. I’m Bob Dylan, and it’s shitty.”

My phone rings.

Hello?

ALBERT HAMMOND [Strokes guitarist]: It’s Albert. Is Julian there?

Yeah. He doesn’t have his own phone?

HAMMOND: No. I’m at the video store. Can you just ask him if he wants to watch Fletch tonight?

Here’s a simple law of pop physics: An interview with Pink is as good as the number of Corona Lights she drinks.

PINK AFTER BEER ONE: “I always get nervous before interviews, because I don’t think you should have to be interesting to make music.”

PINK AFTER BEER TWO: “I used to think that they should pass out ecstasy in school lunchrooms so we’d actually learn some useful things. President Bush should try some ecstasy, that’s for damn sure.”

PINK AFTER BEER THREE: “[Producer] Linda Perry had heard of me, but she didn’t get me. Of course, I didn’t really get me either. Nobody does.” (She drops a piece of popcorn she’s eating on her thigh. Then she bends down, positions her lips over her thigh, and sucks the stray piece of popcorn into her mouth like a vacuum cleaner.)

PINK AFTER BEER FOUR: “I change my mind so much I need two boyfriends and a girl. I need an East Coast guy, a West Coast guy, and a girl.”

PINK AFTER BEER FIVE: “Take your shoes off!” she orders me. “I want to lick your toes!”

PINK AFTER BEER SIX: “I realize that you can do a lot more on drugs than you can do sober.” (Janis Joplin’s version of “Me and Bobby McGee” comes on the jukebox and she leaps up, strikes a rock pose on the sawdust-covered floor, and struts across the bar, belting the entire tune at the top of her lungs in front of a dozen befuddled patrons.)

The month our interview appeared on the cover of The Source magazine, Snoop Dogg emerged onstage during a concert by the rapper Master P, wearing the uniform and shouting the slogans of Master P’s Louisiana record label No Limit. Evidently, he’d found a new home for his music—and a new mentor.

When I returned to his house for a follow-up article, a completely different Snoop greeted me at the door, wearing a gray hooded sweatshirt and a gold No Limit medallion studded with diamonds.

SNOOP DOGG: It’s li’l head Neil! You wanna beer, Neil?

Sure, thanks.

SNOOP DOGG: They was tripping off that interview we did in The Source. Motherfuckers be tripping off that shit.

Oh shit, did you get in trouble over it?

SNOOP DOGG: I got a good response, but motherfuckers was tripping off why I was so mad. They had never seen me so mad before. The shit you brought across was good because you had me explain the ins and outs as to why the nigga was mad and whatnot. Some motherfuckers were mad and didn’t like what I said, but they’ll learn, they’ll live, they’ll forget. It’s all part of life.

You seem like yourself again. What made you go from being angry to being at peace?

SNOOP DOGG: It’s a part of growing up, getting strong mentally and physically, and getting my shit all the way together with where I have a faith in God and God makes everything happen. He put me in that situation with Death Row and he took me out of it. All I gotta say is that it was fun. It was all love. I enjoyed it and I wouldn’t trade it for nothing in the world. It’s like a marriage. When the divorce comes, you’re mad. But after the divorce, you still love them. You can’t stand to see anybody else with them, but you gotta accept it.

So you’re cool with it now that you’re in a new relationship?

SNOOP DOGG: That’s what it’s like.

The phone rings. Shante, his wife of one year, answers it and speaks to two No Limit rappers, who tell her they’re flying in from Oakland that night to crash at Snoop’s house.

So did you go to No Limit or did they approach you?

SNOOP DOGG: I did. Wanna go in the studio? Bring that beer with you. (Walks in the studio, where four producers are smoking a blunt and playing a Madden football video game.) Man, that shit smells good. Can I hit that shit? Goddamn, let me hit some. (Sings:) Let me hit some.

Come on over here, li’l head Neil. Whose drink was that, Goldie’s? You want some chicken I made?

Sure.

SNOOP DOGG: My studio done got fresh. (Walks out and brings back a drumstick.)

Can I get another hit off that blunt?

Last time we talked, you said you’d release your music independently unless a label was willing to give you fifty percent of everything you make. Did you get it from Master P?

SNOOP DOGG: I’m signing, ain’t I?

That doesn’t mean you got it.

SNOOP DOGG: Master P treats me good. It’s not about fifty percent. It’s about treating me like I’m supposed to be treated, putting me on the level of a superstar, promoting my shit and making people anticipate it. And putting me back in a position where in my heart and my mind I feel like I’m the best rapper in the world and can’t nobody touch me. That confidence that he gave me is something no other label could have given me.

What does it take to give you that confidence?

SNOOP DOGG: Wisdom. Respect and wisdom.

Respect, wisdom, and publishing?

SNOOP DOGG: Especially publishing.

In what ways has Master P helped you?

SNOOP DOGG: In every way. The most important way was mental. I was lost. I was basically crazy out here: on my own, no support, me for me. I felt like the label left me for dead. I was angry at Suge, because he was all my inspiration and I didn’t have him. And everybody was going, “It’s him. He’s the one.” And I was like, “Oh shit, it is him.” But I look at the situation now, it wasn’t him. He was there for me; it’s me. That’s why I’d like to holler at him so we can have a face-to-face and I can tell him what I need to tell him to his face like a man. Hopefully through these interviews, he’ll see what demeanor I’m on and read through the lines and see that I didn’t really mean what I said, but I said what I meant.

Are you worried at all that Master P will do the same things Suge did?

SNOOP DOGG: Master P saved me. I was broke, like couldn’t-pay-my-bills broke. He’s a motherfucking genius and I love him, because I realize he loves me. It’s a cold expression, but love is a motherfucker. A lot of motherfuckers can say they love you, but they only love what you do for them. To love a motherfucker is to love him uncut. (To the producers:) What’s up? Can the weed spend some more time on this side of the world? Boy, you all sure got it locked up on that side.

Did Master P meet with Suge to get you off the label?

SNOOP DOGG: I don’t know and I’m really not concerned. I just know that it’s official. I’m a No Limit soldier, and it’s the start of a new generation.⁵

Who’s managing you now?

SNOOP DOGG: I’m managing myself.

What happened to all those songs you played me at your house?

SNOOP DOGG: I didn’t even put that shit on my album. All that shit has gone down the drain because I was on a bad vibe then. I had a lot of anger in my person. Me and P thought it would be best not to come from that vibe, just come all the way new. I don’t have no personal thing against nobody at Death Row. It was more me not knowing or taking time to learn the business. It wasn’t anybody’s fault but my own, so I’m not angry at anybody over there. I don’t have no grudges, no attitude.

Good thing I didn’t leak them.

SNOOP DOGG: Why didn’t you?

I didn’t want to get involved in whatever was going on between you and Suge.

SNOOP DOGG: I’m glad I did those songs though. It was really good for me to just get it off my chest because I wanted to talk to somebody. I didn’t have nobody to talk to. So I was talking to the music.

Did you hear that [alleged Tupac killer] Orlando Anderson was shot?

SNOOP DOGG: Yeah, I heard.

Think it was connected to Tupac?

SNOOP DOGG: Don’t know, don’t care, don’t wanna know.

Did that night at the Universal Amphitheatre have anything to do with your attitude toward all this now?6

SNOOP DOGG: That night was a crazy night, and I forgot about it really (laughs awkwardly).

I heard someone from Death Row warned you not to talk about it anymore.

SNOOP DOGG: I can’t speak to that, but I’m here at the house doing an interview with you.

Did Master P have to teach you how to say “uhh”7 in order to record for him?

SNOOP DOGG: No, he didn’t teach me that. He can’t sell me that. I taught him how to say “bi-atch.”

Can you teach me?

SNOOP DOGG: I can teach you how to say, “Woof motherfucker, woof motherfucker, bow wow wow yippie yo yippie yay.”

You’ve improved your old hook.

SNOOP DOGG: I’m back, I’m back. (Puff puff.) That’s some good shit here, man.