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Oct 27 2012
1 note Text Interview

In Conversation with Saul Williams, 2004

Recently bumped into Saul Williams at a hotdog stand in Toronto and was reminded of a conversation I’d had with him in 2004. At the time, he was a huge influence on my writing and thinking. Looking back - I see this as one of the formative points where I began to see the interview as an art practice in itself. Rather than just a promotional means. Below is a excerpt from the piece, originally published in HipHopCanada.

Robert Bolton: In SHE, you wrote, “We are left to make magic of our own names given to us through the love of our parents” You found the sun in your name. Why was it relevant for your new album to be self-titled?

Saul Williams: It was right before I went into the studio to finish the album, my manager and I had a discussion and it boiled down to like, “Yeah, it would be cool to have a self-titled album.” And it kind of frightened me because all of a sudden I was like, “wow I think that would be cool but now that makes me listen to the music and have to make sure it represents me fully. All the sides of me. So I think that this album successfully shows more sides of me then someone might be used to. I think people usually associate me with some type of intellectual anger. This album shows other sides of me like my sense of humour. It’s a fun sounding album. Although the subject matter can get interesting at times, I had fun doing it.

RB: For those who don’t know, could you tell us about the Not In Our Name initiative? Who was involved in it and what does it stand for?

SW: The Not In Our Name initiative basically was sent out to the world to say that there are people primarily in America that do not agree with American foreign policy. We wanted to send out the message to the world to just say, “Look, I know that CNN and what have you is telling you this, but I need you to understand that we realize our connection to humanity and we realize that we are human first regardless of what our current administration says.” And so there was a lot of celebrities involved in the movement. (Susan Sarandon, Noam Chomsky, Ossie Davis, Gloria Steinhem, Sean Penn and Kurt Vonnegut) It was really about raising awareness here in the states, but it was also about sending that message out to the rest of the world so that people who were protesting against what was happening in America knew that there were people in America protesting against what our own government has been doing.

RB: Bush said, “You’re either with us or against us,” referring to terrorism. Can u comment on this with respect to your initiative?

SW: Well I did a book called, “Said the shotgun to the head and that book is one long poem that’s the voice of a man that’s telling of the coming of a female messiah. What’s interesting about this book is that it deconstructs western ideals and values and the difference between western and eastern ideals and values. It does so under the context of religion. I played with religion a lot primarily because religion has often been the cornerstone of a lot of wars that have been fought including this war in the Middle East. So what’s interesting is that if you look at an eastern religion like Hinduism, it teaches that the universe is composed of a unified duality, which they call Shiva and Shakti energy, which correlates to male and female energy. They say that those 2 sides compliment each other and form a unified whole. Buddhism, another eastern religion, asserts that the universe is composed of a unified duality, which they call Yin and Yang energy, which correlates again with male and female energy. Then you get to the west, which teaches that there’s god and devil, right and wrong, and the woman’s on the side of the devil because she bit the apple. It’s pretty interesting because when you look at these eastern perspectives that embrace the left and the right, the male and the female, the yin and the yang, the Shiva and the Shakti and you look at this western philosophy that says its one or the other. It’s right or wrong. It’s god or the devil. It’s black or white. You’re either with us or against us. And you see right there why it is that we have been the perpetuators of so much warfare not only outside of America but the history of slavery and racism and all these things. Its like wow! That’s it right there! It’s the cornerstone of it right there. That mentality that says that it’s one or the other. Because it’s not one or the other. It’s one and the other. And then at some point you come to the realization that there is no other or as Hafiz the Sufi poet says, “the other is a lie.”

RB: You have a recurring role on the UPN’s hit sit-com Girlfriends; this is probably the last place most people would expect to see Saul Williams. How did this opportunity come about?

SW: I knew the producers and they approached me the day before they started auditions like, “Yo we wrote this roll kind of based on you. You would never do it right?” I’m like, “What the fuck? I wanna see. I’ll do it!” I just thought it would be fun. And it was, I had a lot of fun.

RB: How do the art of poetry and the art of acting relate? Do they go hand in hand?

SW: I think the best person to ask that would be Shakespeare. Many of our great writers and playwrights have often been poets from Shakespeare to Amiri Baraka. So a poem, in many cases is as dramatic as a good piece of drama, be it a play a monologue or what have you. So those two can come from the same source.

RB: Many people including myself were introduced to Saul Williams through the film Slam. How important was it that SLAM be set in Washington DC?

SW: Initially, it wasn’t very important. However, at the time we were about to start shooting, the governor at that time decided that no cameras would be allowed in New York prisons. And so, the documentarian I was working with at the time, who directed Slam, Mark Levin was working on a documentary in a DC jail so we thought, “well that makes perfect sense if you think about it. Look at all the symbols.” I loved it. As a writer of poetry, I was like, “This is awesome. All these symbols.”

RB: Yeah, the reason I asked that is because the architecture in DC seemed to fit very well with the Isis and Osirus Myth that you allude to in some of the pieces you spit in slam.

SW: Exactly. And all that stuff was in there before we decided to shoot in DC. So it was perfect.

RB: You often allude to the myth of Isis and Osirus. What is it about this myth that relates to your work so much?

SW: I’ve just spent a great deal of time interested in alchemy and Egyptology and and I think it’s very connected to the founding principals of even this nation. (USA) If you look at a dollar bill, you have these Egyptian symbols including the pyramid and the eye of Osirus and all this stuff on the dollar bill. It of course has everything to do with masonry and all this stuff. I think that there’s a great many esoteric and mystical truths and strengths and powers held within those teachings. So, I study them and connect them to our present.

RB: You’ve collaborated and performed with some legendary MCs, poets and producers. Is there any experience in writing, in the studio, or performing with a particular artist that is especially memorable?

SW: I remember being in the studio with KRS-ONE and just being completely intimidated and I was like, “There’s no way I’m gonna rhyme.” I did a track with him for the soundtrack to Slam. I literally stood in the vocal booth and read from my journal. I could’ve written a rhyme for the song but I was like, “I’m not gonna rhyme on a song that KRS is rhyming on.” I was just completely intimidated. (Laughs) When I did my last album (Amethyst Rock Star), I worked with Rick Rubin. The first song we produced was Penny for a Thought and I fucked up like 30 times in the booth. I was tripping on LL Cool J and all these people that he’s worked with. And Rick was like, “What’s the problem?” And I asked him like, “Well yo, how many takes does LL need?” and he answered me, “One.” I’m like, “Oh.”

RB: What is the state of hip-hop right now?

SW: Georgia. [Laughing] No, I don’t think we need to get rid of any artists or anything. I just think hip-hop needs balance. My two favorite albums of the past year were Mars Volta and Outkast. I love the success of that Outkast album. Outkast sold more than 50 Cent, which just goes to show that the truth is prevailing. I like 50 Cent too.

RB: Your song “Purple Pigeons” makes some interesting comment on creation, calling artists ‘little gods’. It’s also a very unorthodox song. What and who was involved in its creation?

SW: First of all we had Divine Styler engineering the track. He put out an album in ’91 called Spiral Walls Containing Autumns of Life. He was down with Ice-T and all these people and that was the only hip-hop album that was done on acid before Del. It was so far left. He even interviews the Devil on that album. So that was crazy. My man Orko produced it. I’m having a conversation on that song with Wood Harris, an actor. He was in Paid in Full and played Hendrix in the Hendrix movie. He’s the one who makes the comment about, “Little Gods.” And that whole story in that conversation was true at the beginning of the song. I was in Belize, just me and this guy. I was lying in a hammock. And he just read this page from the bible. Both sides. And ripped it out and rolled a spliff.