Rob Lee: Welcome to The Truth In This Art, your source for conversations connecting arts, culture, and community. These are stories that matter, and I am your host, Rob Lee. Today, I'm excited to be running it back and speaking with one half of a duo behind a creative brand that fuses hip hop, jazz, and martial arts into a singular cultural dialogue.
This brand is known for their mixtapes that have become cult classics and their live performances that push genre boundaries. We last spoke back in 2020, and I'm eager to catch up with this duo. Please welcome back to the program DJ Two Tone Jones from Shaolin Jazz. Welcome back to the podcast.
DJ 2-Tone Jones: I go by the name of DJ 2 Tone Jones. I'm one half of the Shaolin Jazz crew, and the other half who's not present currently is my partner, in crime, Gerald G. Money Watson. We are the founders, creators, and kind of masterminds behind the Shaolin Jazz brand.
Rob Lee: And just really quickly for folks that aren't dipped, as far as what the brand is, what the brand entails, and we're definitely going to go into that, but at least want to get that quick elevator pitch of what the brand is, what the brand entails.
DJ 2-Tone Jones: Yeah, yeah, so Shaolin Jazz, we're a creative brand that, you know, we develop a range of content, creative content, and more specifically, we do a range of different events, a creative event, and engagements that explore the, or highlight the intersection between hip-hop, martial arts, and jazz culture, and these ranges.
We'll get into the details, but ranges in terms of multimedia, cinema, music, art, arrange the different things fast, and if you will. So, yeah, that's in a very small nutshell that's Shaolin Jazz.
Rob Lee: Thank you. And I feel like just because everything is a bit with me, I feel like the nut might be a pistachio. You mentioned nut shells, I think it might be a pistachio.
DJ 2-Tone Jones: Yeah, that's the pistachio size spills for Shaolin Jazz.
Rob Lee: Thank you for that. And we're all spending a lot of time online. So this next question, this follow-up question, is inspired by a meme. You know that meme where it's like, how it started, how it's going? That comes to mind when thinking of this next question. So when you look back at the beginning, the early stages, the nascent stages, even maybe before you guys had a name for what this creative brand was and what Shaolin Jazz is going to be, what were you interested in exploring then and how has that evolved now?
DJ 2-Tone Jones: Yeah, that's a really good question. I would say where it started, started with Jero and I. Just organically collaborating on events, events that were just focused around hip-hop and visual art. And we used to do a series that Jero was really spearheaded and I kind of came along and just became a supporting cast member, if you will. But we had a series called Arts and Crafts that we used to do on a monthly basis in DC, at a venue that's no longer around called the Common Share. But there once a month we used to showcase or feature a different visual artist, ranging from photography to acrylics to graffiti, watercolors, just whatever. But just the cool artists and have their work featured in the venue or in the space. It would just be there that one night, we didn't have enough leverage to have artworks up for days or weeks on end.
But yeah, I would be at the event spending kind of curating playing music, just playing some cool hip-hop stuff. And that was just kind of what we were doing. And that also spawned a few other creative kind of things as well. But yeah, at that time again, we were just kind of leaning into our interest, I would say that. Both Jero and I are hip-hop heads, if you will. And we have all, I guess, our relationship has just really just been off of us aligning things that we're both into.
And we just let that kind of guide us, if you will. And yeah, and I would say on a more personal level, to be honest, I, where we started, I think I was in a place to as a DJ where I didn't, I feel like, I want to say I was starting to feel empty, if you will, but just kind of like, I felt like I was kind of wandering aimlessly as a DJ, if you will. Like, he's doing gigs regularly, but not really seeing where this is going, or where this could take me to another avenue or whatever. And that's despite the fact that DJing had led me into so many different things.
I don't want to understate that. But I guess, creatively, I don't know, maybe even like, borderline, I would say midlife crisis, but just kind of like, where is this going kind of thing? And so, when Shallon's Ad came around, and we started just kind of that concept here, was the one who came up with the idea, and I pretty much initiated it as a mixtape, and that's kind of where it started.
Yeah, I mean, that's kind of where it started, and where I'm at now, I feel that kind of searching Shallon's Ad, filled that void for me, and kind of where we are now. I would say as a DJ, I feel very fulfilled in what I do, and less of like, where am I going to drive? That's really driving me creatively. And DJing just as a kind of bare-basics DJ, it still motivates me, it moves me, but now I get to kind of do it just more so when I feel like it, and just a little bit more fun versus, I think, back then being in a place to where I was DJing full time as well. So trying to do that, and kind of working as an artist, you know, was definitely in a space where like, I take any gigs, I can get kind of thing, and even though I don't necessarily feel like doing this right now, I feel like being in this space, I can do this work. So now when I DJ, I get to really pick and choose, like when I do just a regular DJ set, party set.
I'm loved and enjoying doing vinyl sets, it's kind of bringing me back to kind of where I started from, but most of my focus now, energy and time behind the turntables goes into what we do with challenge as. So it's definitely very fulfilling, it's taken me even to more very interesting spaces and places that I never, honestly imagine even yet, definitely like 10, 12 years ago. I, yeah, stuff never really kind of fathomed some of the spaces that we've been able to kind of take this, it is out, you know, and the fact that it's still going, you know, there doesn't seem like there's an end in sight, which is great. So, so yeah, that, I'll say more personally, that's kind of where it's starting and where we're at right now.
Rob Lee: That's great to hear. And you know, it's one of those things where it's like time flies when you're having fun, you start looking at how much time has passed and sort of some of the opportunities and some of the places you've gone and even, you know, kind of rediscovering that love or loving it in a different way. I have that, you know, being a podcaster for 16 years, doing this podcast, or the last five, almost six, and, you know, with the volume that goes out, you know, I'm always amazed. I say it, but I'm always amazed that I've done, you know, 800 plus interviews and the podcaster and then some of the people that I've interviewed and even doing this, this sort of season has a priority and a focus around catching up with folks. You know, as I said in the onset, UI and Gerald talked back in 2020, pandemic times, and being able to go back and, you know, observing sort of what you guys have been doing, what the brand has been doing over that five years and being able to tap back in with, you know, sort of more experience as a podcaster and sort of hearing more experiences and more insight from you as to what the last five years has been. It's just like a continuation of a conversation.
DJ 2-Tone Jones: Yeah, yeah, very much so. Yeah, yeah. And I'll say to take you back off that one of the things, you know, I know we talk more about it, but we're like, can I kick an engagement? It's field is it doesn't sound right when we, when we like put a number to them, the amount of films that we've done, but it's, yeah, I still don't believe it half the time, even sometimes I think it'll go in my computer and like look at the playlist from the different movies and be like, yeah, that that list looks like it is over 150. Like crazy that we've done that many different film titles and counting.
So by the end of the year, I think it'll probably be officially up to about almost 170. But yeah, yeah, just like I said, Tom, Tom definitely flies when we're in the moment and kind of riding.
Rob Lee: So, yeah. And that's a good, good segue into sort of this, this next question. One of the main observations I've made it when in attending a, can I kick it? And then it was that creative alliance and and it's sort of that re-scoring of music and having a sort of specific sensibility that's unique yet complimentary to the film. Like, you know, how you'll see something like that. I don't know if that fits, but it works. It's like, I think it was a black exploitation film that I want to do. Yours back. I feel like it was like maybe black though, yellows or something. I'm not.
DJ 2-Tone Jones: Yep. That was it. Because I think that was the one, I would say, someone that we've done their creative alliance. Yeah.
Rob Lee: And, you know, I remember, you know, just, just, I've never seen the movie and it's just like a really good time. And I don't know if we did the interview beforehand or the interview after that, but I was just like the dots are starting to connect. So I'm curious for you, how do you develop your like taste in films and music? Like, is there an album or film that was formative to you that plays a role into how you're curating or building out what can I kick it looks like? What is a specific event or even that initial idea?
DJ 2-Tone Jones: I think it's, it's, it's, and yeah, I wouldn't say there's really like a film that inspired one us, you know, think coming up with the concept or even the approach.
I would say conceptually like this, you know, the idea, it's weird. That one, I can't really pinpoint what was, you know, what made me like turn to Gerald and be like, Hey man, you know, have you noticed that I think we might have been in a lounge or bar somewhere and the TV was on in the movies playing and you know, which is very common and no volume was on. It was just something playing. And I think I was just sitting there and just thinking and I just, and I maybe just said it out loud. I was like, Hey man, you know, oh, what does anybody ever talk to like play to them? You know, what's the DJ was actually playing to the movie kind of thing and not, not just playing aimlessly. And then, you know, we don't hear anything, but like, no, what do you hear the movie but they were playing to it was just random. And he was like, huh, that's kind of interesting. And we just kept, you know, shopping it up a bit more about it.
And I was just like, I think I can do it. Like, let's, let's, you know, let's, let's try it out, you know, but from there in terms of just the, you know, over time and just kind of the approach for like adding the songs or layering the movies with the songs, I'll say that is really been, and again, I can't really say like a specific movie. I want to say honestly, it's, it's all how I approach the films now is a result of all the practice with all the other films up to this point really. And it's just really thing of over time kind of. And I think I've recognized it even more whenever when we had certain films that we ended up doing multiple times.
And so kind of revisiting the film that I may have worked on a year ago. And, and then when I'm kind of going through it, I'm kind of like, huh, this part seems kind of choppy. I can't believe I just let that slide. But let me, I feel like I can do better here. Let me clean this up or there's a little too much going on here. Maybe I need to fall back a little bit, let the movie breathe a little bit. And then, and so I think over time, I started reshaping, I guess, what I thought about, because the approach, I think initially again, when we, when we first came up with it, the idea of like re-scoring wasn't really like that word wasn't really attached to the idea. It was more like playing music to the movie and somehow allowing the movie to still play and you hear some scenes and stuff. But maybe I was just more so thinking like, I'm going to play a song over, over a full scene. And then maybe the next scene, you'll, I'll let some dialogue come in. So you can kind of pick up one piece of the story enough. But then it went from that to like, I want to make sure that no one misses anything dialogue was any important dialogue.
So I really need to work around that no matter what. And then even starting to really think of like, pay attention to some of the movies and just how the music already is and just the pace of like, how the music comes in and when it comes out or how frequently it's there. So I think over time, I went, it started from me thinking that I need to have something for everything. To now it's like, I don't dare do like five things with five songs back to back to back and there's no like, no, that doesn't, I need to, I need to, I have to let the movie breathe at certain points. So it allows for climaxes and things like that or build up just even from the dialogue. And it makes sense as the movie still progresses.
So, so yeah, it's really just, just, I think I've just really learned just through the process. And it's kind of, it went from, hey, cool DJ concept with the movie playing to now it's like, no, I approached this in my mind, like I would if I got the chance to actually score this film. And so just like any movie, I don't, there's not music from start to finish, there are breaks and this and that. So, you know, figuring out a good tempo or pace with the music so that it feel like I'm taking too many breaks.
But then at the same time, I'm also not overdoing it. So, so yeah, it's a, I can't really on again, like second honest, we say that there's like been one movie that really kind of influences the others because it's, I think since we've tested on sets of range of different types of movies from different decades and genres and things like that, that it's, it's just such a mixed bag. And, and I mean, going from let's say, doing something like The Matrix versus doing the story of Ricky and it's like some over the top bad specialist sex, bad, you know, variety, like this, you know, five percent of the budget to make The Matrix is what they use to make this movie, you know, and you could say, so yeah, this is like, there's just huge differences and just, you know, just kind of had to learn of, you know, just kind of trial and error with, without reducing, you know, as we select the movies and things like that.
Rob Lee: So, and, and so I'm going to ask in this sort of next part, actually, I'm going to, I'm going to say this, because I'm curious about trying not to like go, go, try to bury the lead a little bit here, because I want to ask about the upcoming one, but I have a question around like the time that goes into it.
But so when you're planning now, you were touching on, you're probably going to be around 170 before the end of the year. Like what are, is there a certain theme or certain anchors for given year that, or for this year specifically, that come to mind, like, I know I really want to do these types of movies or these types of movies are this type of music to compliment these movies? Like, you know, what are those sort of considerations and sort of the audience considerations as well? Because it's at different venues, you know, so I'm curious about sort of what goes into thematically for given a year in terms of selection process?
DJ 2-Tone Jones: Yeah, I think selection process is, it's a bit, to be honest, it is somewhat of a selfist process. It's really, it really kind of, I don't think it begins with like what me and zero want to watch, but that does play a big, big role in some of the, some of the selection process. But no, we are also, you know, we, I think this is something that didn't take much time to kind of like take this approach, but we still approach like the selection of them. And I think this is where kind I, I would say I play more of a role, but like, because of just my background as a DJ, I have a little bit more, you know, I'm used to this kind of taking these kinds of approaches, but really kind of like reading our audience before the event.
And it's more like reading our clients, if you will. So whether we're working with, you know, I think when we first started working with Creative Align, and with when we started having early discussions with them about films and things like that, you know, of course we just kind of threw out like, hey, you know, we've done a lot of the Shaw Brothers, Kung Fu theater style things, you know, we've even done a few like anime and black exploitation. And I think up to that point, we may have done just a few, very few like films that were borderline martial arts and more leaning like cold classic status action films, which, you know, we, I would say we embrace that a bit more openly than we did before. But, but they made it clear kind of early on, they're like, we kind of like the idea of these kind of cold classic films that are somewhat household names, depending on, you know, your age or what have you, but these films definitely have some quote unquote, cold classic status to them. So they're not just, you know, any film that you say is a cold classic just because it came out years ago and what have you, but, you know, stuff like Escape from New York definitely is, you know, there not say that that film was going to win any awards or anything like that. But like, there are people, you know, either you know the film and probably like the film or you don't know anything about it all, but there's a sizable amount of people that kind of know that movie and then lend enough to like have a sequel that came out and it did is two back in the day.
So, you know, stuff like that to Kill Bill, to Black Belt Jones. So these are, you know, names that have been heard or, but, you know, they kind of put that out there. And so that, so, you know, for us in our mind, Creative Alliance is a space where like, okay, we have an idea of the types, general types of films they're looking for in terms of their popularity. Like these are films that are like unknown. At the same time, we're not necessarily leaning towards like Blockbuster, you know, like this film was one of the top 10 films of the past five years.
Like it doesn't necessarily need to be that either, but like we can have fun with like Predator or Rambo or something like, you know, stuff like that. So, so knowing that helps us kind of ahead of time gives us a gauge. And really like we, what really also plays a big role in this selection is like, as we get to like the beginning of each year is really just our selections from the previous year. Because usually as we're like just putting, we have like a running movie list, a movie sheet that we have. And we're always adding titles to it. And we usually like, when we, when we kind of get stuffed on ideas, we just kind of go back to that list and be like, all right, so what else haven't we done yet that we kind of do on here, maybe to think of. And then sometimes like for again, like a place like Creative Alliance where there's a finite amount of films that we're doing per year, we may think of like seven or eight and we're kind of like, all right, so this will definitely do this next year.
Like, you know, there's one film now, I don't want to give it away just yet, but there's one film in a conversation with someone about another doing a private event. We were just kind of like asking like, all right, so let us know what you want us to do. And they're like, oh, you know, I'm just, I just want y'all to do what you do and blah, blah, blah. But they're like, you know, I am a Keanu Reeves saying they were like, oh, okay, all right, that helps.
That helps. So we just start throwing some films out. And then there was one film, I was like, jeers, we've never talked about such and such.
And he was like, I can't believe we ever brought that up. I was like, that might be, has to be a creative alliance next year. We might put that one, go put on the list. But yeah, it's, so we have these kind of running lists. But in pretty much in every case, whenever we're working with, let's say a new venue, possibly new clients, or even just, you know, when we do like a lot of the outdoor ones, again, it's just being mindful of like the potential audience, the potential client.
And like I said, I kind of go into it like a DJ set mind, like I have, I know when I could let say, I know when I go into certain rooms, I have an idea of like, all right, I probably need to lean towards more radio mainstream for this crowd. I can't go into like my boom, bap, just heavy underground, like I can't MOP this party out like this. I can't buck them down.
I can't bootcamp, click this thing out right here tonight. You know, I'm going to have to keep that for the side for me in the car. You know, so I, you know, when we do like outdoor, you know, movies, usually again, that's like, you know, if I liken it to a DJ set, it's like, all right, I got to think radio mainstream, when we do the outdoor stuff, really radio, because radio usually also is profanity free. So the radio friendly stuff. But then when we are like at our home base in DC, Songbird Music House, and we're there every month, we've been that we've been doing a monthly residency with them since I think, I think it's been about four, 10 years at this point. So, you know, there we have the luxury of like, okay, we can, this is where we get into the heavy like Kung Fu theater stuff and other stuff that might just be random, older action films.
Again, I wouldn't necessarily call this a cult classic, but we'll just say it is anyways, because some people will know of this and there'll be others who've never seen this, but it'll still be entertaining. So, you know, we can have a little more flexibility to kind of do stuff that we know we can't do anywhere else. So, you know, we have a good sense of each year coming into the year, like Songbird, we can, we can go into heavy niche, you know, niche kind of stuff, be more, all right, let's keep it nice cult classic status, which is cool.
We have a lot, lots of fun with that. But then, you know, we kind of reserve like, all right, what are the bigger titles, bigger name ones, maybe even fairly recent ones, those we kind of like have on deck for potentially like new clients, outdoor ones, things like that. So, that usually kind of, kind of shapes it. And then, you know, there are also two times where like movies come out and it's, I feel like it's few and far between these days, but you know, there are, you know, movies that will come out during the course of the year. And we're like, okay, we'll probably maybe do this one next year. So, like for example, we're doing some few outdoor movies, finally back in the DC area again this year with the outdoor series we're putting together.
And one of the movies, the first movie of that series will be Captain America, Brave New World. So, you know, again, like when that movie came out, we're like, all right, so that's something we can do, you know, it's decent enough. But yeah, stuff like that, you know, we kind of, it's helpful to know that, you know, every now and then there still will be like a new movie that comes out that has some good action that we can like, okay, we can offer to do this because, you know, it's not easy after a while, sometimes we're like sending people lists and everything we send them is like over five, seven years old, if not older or whatnot. So, yeah, it does get challenging sometimes working with, you know, new clients and people that kind of come from the mindset of, you know, traditional outdoor movies, and they just take four or five of any movies that came out in the last one or two years and they might be, you know, very, very kid, heavy cartoons or romantic kind of stuff, you know, just whatever. And it's like, yeah, we don't, you know, so we have to let people know sometimes like, yeah, we don't really do that.
Rob Lee: And that's sort of a misalignment that's there. Like, you know, I've done some of the film series I've tried, like something about the big screen, right, or a bigger space and having people get together.
And I've had, you know, a sort of fully formed project that I did for about a year. And it was really focused on movies in Baltimore. And it was called Shot in Baltimore. And I was like, hey, you know, we have this sort of, you know, film culture, and we'll call it other places, like like Meteor Man, for instance, Shot in Baltimore a lot. And it's like, oh, this is DC. It's like, it is not.
And that's where it's set in the film. And I remember sort of the following year wanting to bring that back and trying to really think through sort of what does the collaboration look like, what does the partnership look like? And it was like sort of this misaligned expectation. It's like, I was kind of with the idea doing the marketing and all of the sort of other things. And it's like, you guys provide an venue, you need to help out a bit more with it. And ultimately, that sort of scenario didn't really work out. And still thinking that there's value in that idea and inspired by you guys, frankly, I just do post talks with it.
I don't, I don't, I don't have any, I don't have any musical talent. But, but I do have a really keen eye on I think what's the interesting movie and putting together series and having taste. And I just remember like two years ago, maybe three, doing a group of black movies, quote, unquote, it was like the black cinema series. And it was a few Spike Lee movies in there. And it was Summer of Soul.
And I had that come out for screening like two days before the Oscars, you know, intentionally. And it was sort of like trying to do these things. And I think sometimes, and it's very interesting, it's your touching on there of you have like, this is kind of what we do. And then there's like, Hey, could you do these?
It's like, not really what we do. And it's that misaligned. And I think getting very specific as to, to the point of what challenge as is, it's a brand.
And so there's a brand identity attached with it. And I started thinking about any of the sort of secondary or tertiary things that I do, I do a podcast, but these other things are an extension of it. So I like action movies. I like stuff that's connected to Baltimore. I like these different things. This is sort of the list of things that I do. And things outside of that, it's just like, really make the case.
DJ 2-Tone Jones: Yeah, I think it is, it's, and you said, I think it was very important to like finding that alignment. I would say for us, what has been also very key and us even just taking this as far as we've taken this is, you're having that alignment with the venue, you know, or a event that, because yeah, we, in hindsight, I would say the instances in which we had, let's say, some, can I kick it screenings that were, I wouldn't call them duds or anything like that, but it definitely was not the ideal scenario or whatnot was when, when there just wasn't, you know, the right alignment or understanding from who we partnered with that brought us out about again, the nature of what we do.
Even, and really like even the setting, and that's like a big, big thing too. Like, I know, and I won't name any names or anything like that, but we, we did a series of, can I kick it movies in the DMV area at a new, at a newer venue. In real cool space, real cool with the one of the owners and he wanted to like bring us over to do stuff. But the space that wasn't like a performance space, it's like a bar, restaurant, with some art gallery kind of stuff and trying to convert a restaurant to a place where you watch a movie where everyone, ideally you want everyone's attention with an impossible task.
And so now not to say that they weren't aligned in terms of some of our interests in general, I think, you know, they definitely enjoy our aesthetic and what we do. But it just wasn't like, I don't think they fully understood the whole concept of like, really, just, you know, just got to give them the hot sense of like, what we do is no different than going to watch a movie. So I know no one here would be fine with going to a movie theater.
And in the back of the room, there were 20 plus people standing up having conversations, you know, outside of the movie, like you'll hear everything they're saying, when there's silence in the movie, you know, stuff like that. So, you know, we, you know, we, you know, that was the instance where we just kind of realized, not necessarily like the wrong partners to work with, but like, this space just isn't conducive to this. And some things just don't, we can't force, sometimes you just can't force it to work in certain spaces. And then other times where, you know, there has been time where like space wasn't an issue, just whoever brought us out, you know, they didn't really get a good sense of like, how to get the word out and really know how to best like, describe what we're doing. And even still, I think up until us getting there, didn't really fully understand. So, clear, it's that, that is something that's important because, yeah, I know we would not be doing this as, you know, have done this as much had it not been for finding a venue that was willing to like open the doors and really embrace what we do. And as a mainly songbird, technically, we started at another venue, when the first kind of came up with this concept.
And, and we were doing it for about a year, a good year. So at this one space, and I'll mind you saying the names of space, used to call it Marvin's no longer there in DC. But it was a cool, cool looking space to do it. And they had a big screen in one of the rooms.
So it was like, Oh, this is great. And, but we weren't really getting the support or the support that we were needed that was needed, I think, from the venue. And not even I think I know, we weren't getting the right kind of support from them in different ways. And it was, it was telling after a while.
And it got to a point where, yeah, it just didn't work out there. And months later, we somehow stumbled upon songbird music house. They love the idea. They were just like, Hey, you know, we're looking, you know, we wanted to create a space where we have cool, unique things going on and, and really make this like a, you know, something where like the local theme feels welcome and whatever.
And not only this even like, you know, yeah, y'all could have a night to do this. But it's like, they didn't have a screen when we first started, they put a screen there for us in their venue, which is showed as like, Okay, you actually bought into this like first started made a makeshift screen using like a bed sheet, you know, that hang it on like, or like a shower curtain ring or whatnot. And it started with that.
And then, you know, months into it, they actually bought a drop down projector screen. And so it just went from that to, you know, we had a space that was, that was really welcoming us and wanted to take the chance with us. And we never looked back, you know, that's why we're still still there with them. And we have grown our audience, man, you know, thankfully, you know, thankfully, because of that, that space that they provided us. Great. That's great.
Rob Lee: And yeah, you know, it's one of the things where, and before I move to the next question, because I definitely want to talk about upcoming events. You know, it's again, this thing where, you know, you talk of conversations, you know, I think of live podcasts, I think all these different things where we know that getting folks to come out to do a thing is always a, it's a challenge.
There's work that gets done there. And there's conversations that I have where it's sort of a test, right? Of is this going to be a good collaborative relationship?
And are we going to be in alignment? And I find too often, and I understand why, but I find too often that it's this pursuit for whatever has the most possible money that's attached of the most people that are going to show up or potential people that are going to show up. It's, it's kind of like, when you hear about a movie, right? And it's like this movie failed. It's like the movie's pretty good. Well, it didn't hit the box office projections.
DJ 2-Tone Jones: It's sort of, we know, we know, that don't too well with this recent.
Rob Lee: And it's, and it's, it's very much a struggle because to your point about, you know, that example of, Hey, you know, this is a movie, we're doing this like a movie. And sort of there's an artistry that's here, like, you know, I'm one of those people, if I go to, like the orchestra, if I go to a play, I'm not coming in after the thing has started. If you're late, you shouldn't be coming in.
You're interrupting the people who are, who are playing and we need to kind of get around to that. And that vibe you were describing of you're in a place and then there's people just kind of chopping it up. And it's just like, nah, save that for after or whatever the thing is. But it's this desire to get as many people in and sometimes the venue as you were touching on, that's just a misalignment with how that is organized. It's, it doesn't, doesn't fit. I when I'm trying to do a live podcast, I'm looking at comedy clubs, looking at theaters and trying to get that atmosphere, not like, Hey, we got booze here. It's cheers. We can make this happen.
DJ 2-Tone Jones: So yeah, because I know a lot of venues are, you know, they, the bottom, there's always the bottom line, you know, the sound degree. But I think you have one. There are still some out there that exist where they get it. They're like, yes, there's a bottom line, but you have to create the demand. And the demand cannot be fueled by the bottom line.
So yeah, it can't be a thing of like, well, I don't really care what exactly you do. Just get bodies in here. We can sell to like, no, it needs to, you understand sometimes things need to grow. And it's funny too, even as a DJ, it's the never ending expectation of the DJ, seems like with venues.
And it's a surprise that you still hear this. I know I don't kind of ask for gigs as much as I used to, but there definitely, I know for a number of years, you reach out to venues and ask like, hey, can I spend a set there or maybe get into the lineup or whatever. You may have follow up questions like, well, you know, how many people you think you'll bring out kind of thing. I'm like, I don't know.
It's not like I got a, like 200 people that is literally waiting for me to be like, all right, so tomorrow is going to be here. And then they just all, like those days that ended in like the early 90s. I would say probably early, mid 90s, if you will, at best, where you had a lot less DJs, maybe a little less venues. And yeah, people like DJ Cool, whoever could command like, yeah, I'm here tonight and everybody comes, but like that doesn't really happen as much anymore. Unless again, you're on a certain level, but yeah, venues having these expectations just random DJs calling out and they're like, okay, so you want to, I've never heard of you, but you got like 200, 300 people going to bring out and that's the thing.
Rob Lee: We see all the time and you know, it sort of ventures into this other topic, but it definitely is this, this vibe where we're, we're not looking for DJs. We're not looking for podcasts. It's we're looking for people with influence and, and, and fame under the guise of those things. I feel particularly seen and I think of like, oh, everyone has a podcast now. Cool. I've been doing this for a very long time and just seeing like everyone with a microphone and can string together a few sentences suddenly is getting the sort of same attention economy as someone who does it, you know, who does it regularly, who's about it.
And it's, it's definitely dicey and it's not the same people shouldn't be in whatever the thing is, whether it be DJ and podcasting will have you, but it is sort of from a venue standpoint. It's like, what is the intent? What is the goal here?
And it's got to be a long term thing. Cause it's like, no one, and I've been saying this a lot recently, no one is asking us for any of the things that we're doing in this sort of like when you were at the level that we're at. It's sort of the right connections that are there, the right people that are showing up.
And, you know, when I tell people and share with people about, you know, Shalyn Jazz, Can I kick in any of that stuff? It's very specific people I'm talking to. I was like, yeah, this is for you.
This is absolutely for you. And the people that are going to show up, those are the people that are going to be engaged, that are going to be buying merch that are going to come to multiple events. And that's actually the real growth of the community, not this sort of inauthentic saying like, yeah, you know, just sign up for my thing. It's like, that's not community. That's not people getting on the live screen.
DJ 2-Tone Jones: No, I'll take, I'll take 50 heads that are like really into hip hop and movies and martial arts. I'll take a room of 50 over 500 people that can care less about that stuff any day. Because like you said, they're the ones who keep the conversations going. They come back. They support.
They're into it. And yeah, I mean, and what we do too, again, is like, I know I'm going out like niche, but it is a very niche kind of thing. Like I'm not, in most cases, I'm not playing, you know, top 40 radio stuff when I'm, you know, live scoring or the movies that we select aren't like this wasn't one of the top 10 films of the year or whatever. This, you know, these are not every like, Hey, my wife doesn't really watch most of these films.
If you don't even know half the stuff I'm even playing too, because it might be some underground stuff, but it's cool. It's like it's for a specific grouping of people. We're just also pleased that not only does it seem to touch and hit them, but other people that are kind of even a little bit outside those boxes or spaces also seem to enjoy it and dig it as well. So, but yeah, we, you know, we focus, you know, we focus on on on the cast who get it, you know, first and foremost, and then we enjoy whatever whoever else we can get, you know, kind of follow follow suit.
Rob Lee: So I got, I got these, this last two, one of the buried question, these last two questions. And I want to talk about as we get closer, it's this week as we're recording this, the, can I take it that screening at a monkey man at creative alliance? So these look like sort of planning that out. Like I was very curious, this is the very part like how many hours go into like restoring and thinking up like, like, look, I have no context about that process.
I'm like, oh yeah, he's out there like live mixing. And I know it's not as simple as, as that was complicated as that. So give us a peek behind the curtain.
DJ 2-Tone Jones: Yeah, yeah. It's funny because truth be told, I have, I actually have not yet started working on that film yet. And I know it's this.
Rob Lee: But yeah, I'm giving you, I'm definitely giving the big curtain because to be honest, this is like the normal
DJ 2-Tone Jones: amount of lead time I kind of work with per film is usually about a good for three to four. I mean, yeah, comfortably four day for like four night kind of process. If I'm messing myself up, which I find myself doing a lot to it ends up being like maybe three days or what have you, but, but no, this is still good for me lead time.
This is just still good tonight. I do plan on like just kind of sitting and watching the film again. But yeah, usually the process is, you know, yeah, I'll go, I'll start just by watching the film. You know, if it's a film I haven't watched or seen, let's say in the past one or two months, I'll sit and watch the film all the way through again. And then, and I guess, you know, I, the, the, the quote unquote pre planning comes in with really what I'm working on each, each film, because a lot of times what happens is, let's say the last film we worked on or we did. I'm usually it's like a fishing kind of process. I just start like going through different songs and beats and I'll start just our creative folder.
And I'll just start pulling stuff that I feel like sonically this sounds like it could maybe work somewhere. I don't know for what scene or what part of them. But if I just think of the movie itself and I hear this song, this kind of in my mind feels like maybe somewhere and this could live. So, you know, I'll just start pulling songs.
And so yeah, a lot of times when I work no one film, I may like go through some music and I may hear some stuff from kind of like, this is really dope. And I might be able to make it work for this movie, but I feel like it will fit better for this other one. So I'm going to put this, putting this other folder. So I already have a folder of some, you know, I don't know if it's like 2030, maybe 40 different songs, having tests in the mouth or anything, but they're just music, these are songs or beats that I've just passed, let's say two, three months working on other films.
I've just, you know, I'll try to just think ahead like, okay, I know I got this movie coming up. Yeah, this might be better. This might be better for this. Let me let me save that for this. I can find something else for this, this current film or this current scene I'm working on. I know I can find something else that'll work this as well.
But let me put this because this man, this is heavy. This and this probably will work really good. So they kind of just, I'll do that. And, and yeah, just once I'm, you know, ready to like really start working on it, I'll just, I'll just kind of queue up the beginning of the movie and I'll just go like scene by scene. Sometimes I'll skip around. Actually, a lot of times I skip around. Yes, it's, it's a very, I would say disjoin the kind of process now, but I definitely don't do like all in the order until it like started the movie.
And then I'll say in most cases I get the very like, I usually try to do what I call bookings. I usually get like the very first few things and the last few things through the end credits. I usually get those done first and then I work on everything else in between. I mean, that kind of gives me a sense of completion when I get the end and the beginning done.
It's like, all right, at least, at least got that much done. Let me see the credits. It's about five minutes worth of credits. So all right, I at least got, I really, I'm just kind of counting down from how long the movie is really. It's just kind of like, all right, I got an hour and 45 minutes of stuff to make. But okay, there's four minutes worth of credits.
All right. So I really got an hour and 41 minutes and you know, psych myself out. But yeah, it's really like a guess, you know, guess and check kind of, guess and test kind of process. And just, yeah, really, it's less now about like me thinking about or watching a scene and instantly thinking of something. It's that I feel like unfortunately, there's a lot less of that now just because I've used so much music that I would normally think of for other films. But yeah, it's just kind of like I'll just look at the same metter out, just different tracks that I pulled and just kind of see what works. And so really at the end of the day, it's like the movie really does, it does decide the music, you know, it's not often that I can be like, oh, I'm going to play a whole lot of, unless, unless I feel like in my head it matches to some degree. You know, like when we did something like, I feel like when we did like a movie like Predator in my mind, I was like, all right, so let's try to get some bootcamp, click music, some joints up in here, let's get some MOP on it, throw your guns in the air, lots of guns.
And you know, so there's some stuff I can kind of like, I know I want to lean towards that and I know I can make some of that work. But, but there's most other movies like, yeah, I don't know when I'm starting and this is the challenge now, having done so many movies is that I've used so many songs and I hate to reuse songs. That's, that's also a pet peeve for me is like, not reasoned songs. So, you know, a lot of times people be like, what, you know, have you talked about maybe using this Wu Tang joint like, dude, I've used like damn, they're every Wu Tang stuff on you can dance. All of the singles, let's just get that off the table.
I've used every Wu Tang single, you can think of solo artists, like all of that stuff, deep in the album cuts. But yeah, so that makes it also even more of a challenge is like try not to reuse stuff, unless it may be like a movie we did over five years ago and we know we're never doing that movie again. But, but yeah, yeah, it's, so it does also force me with a kind of also, you know, it doesn't feel like a good thing in the moment, but it does force me to like really search out other music at times and at some point, like between now and then there will, there will probably be like a night, one or two nights where I'm not really, I'm spending more time just listening to music more than anything and not really been like going through the movie, but it's like, I need, I need to discover some other stuff that I don't, that's not coming to mind right now, but I need to discover stuff I haven't heard before. And maybe I'll find some like I need some more high energy stuff or I need some more like sinister sounding kind of beats or I need to, you know, so see, it also makes me kind of make sure that I'm not just in my like old school kind of bag, but like, all right, you know, me, you know, I haven't been listening to like, I need to listen to the last one or two projects live and put out, maybe let me do that or let me listen to and even some mainstream stuff to, you know, I'll still be like, all right, you know, this might just might have some good beats on here. This beat actually works pretty good with this scene.
I know it's kind of trap music, but like, hey, it works. So that stuff kind of, the process also does force me to explore at times and take time to do that too, because there'll be times where I'm, I feel like I'll spend like an hour trying to figure out a scene and I may come up short or blank and it's just like, all right, you keep going through the same song, you've already got the same folders, like stop pausing, but let's just search and listen to other music. So this is, yeah, it's a, it's a lot, it's basically like a big puzzle that I got to work on and cram at, you know, definitely as we get close to the movie, that's when like, I usually have a lot more left to do, but that's when usually the ideas really start flowing and those last like 48 hours. So, yeah, it's a lot, but because we've done it so many times, is, and yeah, I definitely did not have it start off doing this within the matter of days. It was, it was a matter of week when we first started, but yeah, I've kind of figured out a science to it and, and yeah, man, I, I, at some point in the process, always get amazed just from how like sometimes just the music will work just right for certain things. So it did, yeah, usually that night before, it is, there's something I'll get real hyped like, well, I can't wait today for you to see this part.
You know, I can't wait today. It is. And it's something I wasn't even thinking of like days before it. So this stuff just kind of comes to me after a while.
Rob Lee: Yeah, it's a, it's that saying of work is done with within the time allowed, you know, and,
DJ 2-Tone Jones: uh, my god, yes, when you get down to it, it's just like, yeah, this is, this is kind of what I need. Like sometimes we have too much time and it's like, all right, we're spending too much time sort of editing and sort of tweaking and all of these different things. And it's like, it's already good. It's already really good.
It's already great. And I think kind of cutting down that time. And I know that I run into this myself whenever there's anything to do, like I try to do maybe three days, three days, two to three to five days, I'll work on the questions and send them out because I know like, this is what I'm curious in the moment.
This is what I think is going to be good at the moment. And I try not to go, I try not to spend too much time with it because then I'm curious about something else. And then the flow and the sort of complimentary nature of the questions kind of goes away.
It feels a bit disjointed. So it's like kind of balancing that right amount of time. And that's, that's what it seems where you're at with prepping.
So that's great. So one of the things I want to do is we close out here. I got a couple rapid fire questions for you. And you don't want to overthink these. You don't want to overthink these.
DJ 2-Tone Jones: You got them.
Rob Lee: So I got, I got, I think I got five of them actually. I was really curious here. So here's the first one. Okay. One film or album, do you think everyone should experience the least once?
DJ 2-Tone Jones: Album, I feel like everyone should experience. That's so hard. Jesus. That is the more I think about it. So I'm just about an album. I feel like Curtis Mayfield, that's one of my personal favorite soundtracks of all time, arguably my favorite soundtrack of all time. I guess just to, you know, just so people to understand like, or just to be able to witness or experience the level of talent that brother Mayfield had and just I just felt like he was just some of the most grusiest, most incredible music. And I was just kind of, I think when, when I got hip to it, I was getting into like black exploitation films and the soundtracks and the fashions and all that stuff. But it just gives you a really cool sonic trip through the 70s. More so than that funk soul there of the 70s. But and it is more of a specific kind of thing, but I just always was a fan of that, that album.
It does have great range in there. You have your like, you know, party stuff, uptempo stuff. You got your cinematic kind of stuff too, you know, the junkie chase instrumental and got classic love making stuff in there too. I mean, the samples, you know, that album, damn, there every song was sampled at some point.
But yeah, this incredible soundtrack. That's just kind of what comes to mind. I feel like if I think too long about them, just start throwing out other like, you know, you know, one of the, but movie, movie wise, and I'll keep it, I'll keep it kind of can I kick it, leaning action, action, if you will, into the dragon.
I'll say that for the sake of your arcana via martial arts kind of thing. But into the dragon is the, it's the most influential martial arts film of all time. Just hands down and it's still to this day, like influences so much that people just really don't understand. But it's, it's, yeah, it was the, it was the first badass martial arts movie with also one of the, yeah, and for a long time too, one of the first action movies with just so much style to, I mean, Bruce brought a style to him, like, like he was hanging with the brothers and he was like, I'm gonna put this, I'm gonna put this style, like this swag into this movie. Like, and it is with, and, and yeah, I mean, again, it was, it was his early kind of masterpiece. I know he was working on something even, I feel like even better, honestly, with game with depth, even though he didn't get a chance to finish that film, but what he, you know, that original footage was really dope. But yeah, End of the Dragon, just the impact and something that, you know, I enjoy kind of bringing up in conversations just about martial arts movies and just the importance really is, which I think it's completely, I would say overshadowed, but people don't really think about or just don't even know, especially younger generations of that. Martial arts films specifically are the most influential action films ever.
I'll say ever, I'm good to throw that out there ever. When you think of today's or let's say the past 20 years in major cinema, I would say 80 at least, I'm just going to throw out these numbers now, I would say at least 80% of all the action films, major action films of the last 20 years, incorporate some form of martial arts, all of them. So every last 20 years, every James Bond film, they're doing Crop McGar, they're doing Taekwondo, they're doing like, yeah, that ain't American boxing that they're doing. They're doing variety of different styles of martial arts. Your Marvel films, Black Panthers, and Captain America doing mixed martial arts to Jason Bourne, to, I mean, all of this stuff, like all this action stuff, they're doing martial arts and it became so ingrained in action films really early on, I would say starting with Bruce Lee, but that's what it was. Oh, this martial arts thing could actually be the focus and it could be successful and we can actually have these a bit more diverse leads in these films and they can be successful. So yeah, again, yeah, just that film, that's always going to be like one of our go-to films. But yeah, just I think it's, again, for what we do, that film is definitely one of the most important films in terms of the world of martial arts and in action movies today, is that in hell, Kill Bill, let's be real, like the aesthetic of Kill Bill lends itself to End of the Dragon, so the yellow jumpsuit, you know, come on. But yeah, those would be, so I know that was long, long hand to round before.
Rob Lee: I like the thought process there and I'm on the same page. So this is almost a yes and no one right here actually. Do you, or have you been a practitioner of any martial art?
DJ 2-Tone Jones: Oh, that is a good question. I'm sad to say no. I have not practiced any martial arts yet, but I have had a very clean interest, I would say more so the past few years.
So I've actually been considering it and yeah, strongly considering learning or getting into some martial arts training. But yeah, good question. I kind of feel bad that I have to say no to that.
Rob Lee: But we all get there, right? We all get there. So this one is kind of a curious one. Could you name one way for you that you expand your sort of creative mind or your abilities? You were touching on earlier sort of the process of like, of listening and building out sort of what the playlist looks like and what the sequencing and all looks like for, you know, upcoming, can I kick it?
So talk about maybe some things that you do to sort of, one main thing that you do to expand your sort of creative mind or abilities. I know for me it's travel. I go down to DC, I go to New York, New Orleans and I always come back with just a different mindset, new questions, new insights. So for you, what do you do?
DJ 2-Tone Jones: Yeah, I think, honestly, I would say not that that I kind of do it with intention, but yeah, I feel like, you know, just like what you say, travel and being in different spaces is just probably what inspires me to, at times. And I know I can probably speak for a lot of DJs here where, you know, being at other spaces where there are other DJs is hard not to, you know, kind of analyze, over analyze, I would say at times. And then sometimes feel like I could be doing this or I could do this better. So yeah, sometimes that definitely I'll say in the DJ front is, you know, always been like kind of a motivating thing. But yeah, I think it's just kind of that.
And nowadays, I'll say now for me, it's just more of a thing of like time, you know, I know I've, you know, not to say that I'm not an old man or anything like that, but I'm more mature. And yeah, I think I'm definitely one of those where I'm kind of like, you know, it's cool being different spaces, I'm just fine being at home and kind of being in the quiet space. But also being at home and having the time to kind of comfortably be here allows me to also comfortably explore still kind of musically, whether it's like going through, I still collect vinyl records. And I do that just to like listen and sometimes listen to see, you know, see if I can find things, you know, sample original samples in the records. But sometimes I get inspired by the records to, you know, hear different breaks and things like that, that are kind of like, yo, this be cool to play in a party or this and that.
So, so yeah, I feel like for me, it's, it's, yeah, the traveling definitely will always kind of kind of do that because, you know, that will also allow me to be exposed to kind of different experiences and, you know, hearing other artists and kind of what they do definitely, it is inspiring kind of in the way where it's just kind of like, it's a, it's a motive like, all right, they just did some cool, I want to do some cool, let me get back in the lab and work and, you know, for some times that also motivates me not to go out as much because it's like, no, I want to, I need time to create and I can't create if I'm out, you know. So, see, yeah, that, that, yeah, but I think, yeah, and I'm missing time more so too because, yeah, like, again, I know I'm not, I'm a 20 anymore or whatnot. And, you know, I know my time here is limited. So, it's just, it's like, yeah, I want to just distill certain things I've been curious about trying or doing or I feel like I could probably be putting more out. So, let me really kind of focus on kind of getting more output and things like that. So, those things alone just kind of even motivate me a little bit to like, all right, yeah, put a little more time practicing on certain tables, let's not get rusty, let's spend some time listening to some of these records I've never listened to before and, all right, help me beef up my next DJs that are in that or have, you know, just different ideas of things to play or different ideas for remixing and stuff I can do. So, yeah, I think between all of that and, yeah, other peers and seeing people do cool stuff and put stuff out, you know, that I'm always happy to support, but, yeah, that stuff also can help motivate you as well. So, yeah. That's good.
Rob Lee: This one is, this one is just almost a word association. It's very gauche, it's very corny, but if you can, but if you can finish this, I'm going to say a thing and if you can finish it, then we can move on to the next one.
So, here's what I'm going to say. Can I kick it? Of course you can.
Of course you can. Okay. This is, this is, it leans into the next question. Can I kick it? Is the name of a tribe called Quest Song? So, what are your three top tribe songs?
DJ 2-Tone Jones: Oh, man, yes. All right. Okay. Three top tribe songs. I'm trying not to get so, and again, as a head, you know, we started diving like, what is the most, you know, uncommon thing I can say. But I'll say definitely, was it God Lives Through? It's like the last track on Midnight Marauders. I just love that beat too, man. Yeah.
I feel like that one over time became one of my favorite tracks off that album. Oh, gosh. Yeah, this is hard too. I'll also say maybe, damn, you see that now it's, yeah. So, like you say, God Lives Through, I'll go and, I'll go and throw out word play, thought that beats Ron's life.
Definitely play that or a piece so many times. And then let's throw out. Okay, let's throw out, I want to say scenario, man. Good one. Man, it's good one.
Yeah, I mean, I like to remix this as much too. I'll go with, let me throw out footprints. Let me throw out footprints.
Why not? Okay. Yeah, those are three very random ones. I should probably also throw out five, my way is an honorable mission. That's also a very good one. Yeah.
Yeah. That one was, that one held a special place in my heart too because a friend of mine, one of my closest friends from high school, middle school, we used to be in the band together, had the original record years before the song came out, actually played that, had that record and played it for me. And so hearing Trob sample that years after I heard the original was that was the first time I could say I could like, you know, that I've, you know, heard something like that happen. So that one was kind of cool. And then yeah, I just, I used to play that song over and over too. But yeah, man, that's probably something man, you probably be easier at me like, what about favorite three Trob albums? That's a lot easier than songs. Oh yeah.
Rob Lee: So here's the last one for you. And I'm a person that likes sort of cross branding and things of that nature. I've had a signature coffee, I've had a signature dessert and so on.
And it's a really cool thing. So for you, Tutankham, Sheldon Jazz, however you want to like deem it in this scenario, you see what I did there, you had a signature drink or dish either or what would it be called and what would be in it? I feel like it's a fire fish plate or something that could be there. It's like, yo, this is like the wild. Like dinner in a movie sort of vibe.
DJ 2-Tone Jones: I would, I would say because and I, yeah, and I'm keeping my partner in mind too, it would be, it would be a dish that has, let's say, let's say, uh, yeah, a mildly spicy fried rice dish with like some fried wings, not too big yet, some small fried wings, fried hard sauce on the side.
And I say the wings because that, yeah, G money is easy to wing man. Yeah, maybe yeah. I'll say that with the shot of bourbon on the side. Yeah, that would Yeah, something like that. Something like that. That's a real combo right there. It's just like, like I got the wings, hard sauce and the sauce.
I'm a spicy fried rice and wings. Yeah. You know, they only need DCS, you know, there's no marble sauce. Now I'm good on that. But nice.
I like the shot. You can put multiple different sauces on the side. So it could be mambo, wine, buffalo and the other baby part, you know, so we do that. Okay.
Rob Lee: I like it. And I think it's, I think it's transferable too. Right. Yeah. So that's kind of it. That's a hot seat. The real questions are done. So there's two things we want to do is we close out here. One, I want to thank you for coming back. We'll spend some time with me catching up.
We definitely got into some of the insights in the background, which is just really a treat. And secondly, I want you to share in these final moments where folks can follow you, shall in jazz and any sort of final plug for the upcoming, can I kick it at Creative Alliance? The floor is yours.
DJ 2-Tone Jones: Appreciate it. Hey, first and foremost, man, I really appreciate you having me on again. Thanks so much. Great to catch up with you too. We got to do it again sooner than five years. But yeah, folks can follow us, you know, shall in jazz, S-H-A-O-L-I-N-J-A-Z-Z. Our website is just the name, shall in jazz.com.
Also, our social media handles are also the name. So at shall in jazz and things like Instagram and stuff. And then my personal DJ two tone Jones, I'm pretty much linked to the social media stuff as well. But you can follow me personally at DJ two tone Jones.
And that is the numerical number two not spelled out. And yeah, this Saturday, we're back at Creative Alliance, which you know, truth be told is don't tell the DC folks, but is our favorite venue to be at. But yeah, we always have a blast there. And yeah, this Saturday, we're hyped to bring our can I kick it screening of Monkey Man. And really intense.
Don't I would say hand down one of the best martial arts films of the past few years. And yeah, it's going to be it's going to be another fun one. The music is going to be insane. I can at least say that now, I know I haven't started completely, but I would say the music will be dope.
But yeah, tickets are still on sale. You can go to creativealliance.org for more information or if it's easy, just go to our website again, challenge ads.com. And we have a link to take it on our website as well. But yeah, hope to see you there. The movie I would say doors open around 7 7 30. Movie starts around 7 30 or 8.
Probably best is to make sure you're there between sometime between 7 and 7 30. But yeah, they have bars or inch and everything too. And so, you know, you can kind of take advantage of that. I believe you can even sneak foods in. I'm gonna say sneak, but you can bring food inside. I don't think I'm used to that. The movie did.
It's not as a food in and they won't trip. But yeah, yeah, please join us for that. And then beyond that, we have some other, you know, as I mentioned, we in the DC area, we do it monthly at Songbird Music House, our creator lives residency is bi monthly. So we're there every other month. So yeah, much man this Saturday, two months from now.
And I don't have my dates on it only because it's all good. You'll see it online. We will be back to creative alliance during a film that we barely enjoyed doing the first time about a year or two ago. But we will be presenting one of a one of Steven Segold's classics, Mark for Death, or what we'd like to refer to as Steven Segold versus the Rostus. I'm doing this for that one. You want to get a whole lot of hip hop, dance, all mashup kind of stuff.
So damn, every verse of one blood I could find is in that joint. But yeah, so again, we got a lot of fun ones man. Yeah, this is just you know, this is what we do. We do big fun films and we have fun with it.
Rob Lee: And there you have it folks. I'm going to again thank Gerald, two tone Jones for coming back on to the podcast. Big shout out to Shaolin Jazz for making the time and for Shaolin Jazz. I am Rob Lee saying that there's art, culture and community in and around your neck of the woods. You just have to look for it. you
