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john: it feels pathetic, you know? anthony: this is incredible to me. john: what? anthony: you don t have shows. john: that s insane and it s sick and is wrong and i don t even want to complain about it. you complain about it. anthony: i m complaining about it. i am bitter. john: because i m going to die one day, and they re going to be worth a lot of money. how i came to new york, i was kind of on this coltrane thing, i wanted to find god through music. i started meeting all these amazing people. they were irreverent. the energy was enormous. and it was probably more fun than anybody s ever had in human history. for about a year or two. but there was no discipline. which, i mean, i like people that could play their instrument like they just found it on the street, but they can t just do it once. they gotta work on it. and i was a serious saxophone player. i came here as a saxophone player. i had to hide the fact that i ....
chris: well, no, if we had a plan we would ve made more money, and not got so completely [ bleep ] over by the industry, as it were. debbie: we had a plan to survive. chris: yeah, ongoing. debbie: we had a plan to keep going, doggedly. but i think the thing that was so attractive about that period was you weren t locked in to one format, or one form, you know. it was just, everybody was doing everything. anthony: you introduced the entirely revolutionary notion that street art was in fact really art. freddy: the painting that we did on the street was coming from a place that pop-art came from as well. like popular culture, magazines, advertising, comics. and so some of the first people to buy paintings from me and jean-michel was chris and debbie from blondie. and then they also commissioned me, lee quinones, and jean-michel to do sets and art, and to participate in their ....
Here. maybe the 60s, we weren t here. anthony: so it was all bullshit? lydia: no, none of it was bullshit. it happens when it happens, and things change, and time is not what it once was, and isn t anywhere. if you ve done one thing, you re living in the past and that s your glory day, that s your glory day. this is my glory day. i m here talking to you eating octopus. ....
Sick and is wrong and i don t even want to complain about it. you complain about it. anthony: i m complaining about it. i am bitter. john: because i m going to die one day, and they re going to be worth a lot of money. how i came to new york, i was kind of on this coltrane thing, i wanted to find god through music. i started meeting all these amazing people. they were irreverent. the energy was enormous. and it was probably more fun than anybody s ever had in human history. for about a year or two. but there was no discipline. which, i mean, i like people that could play their instrument like they just found it on the street, but they can t just do it once. they gotta work on it. and i was a serious saxophone player. i came here as a saxophone player. i had to hide the fact that i i mean, i really did. i would practice for two hours every day but i would like i wouldn t tell people. ....
Another earth shattering event, wild style . freddy: i had an idea, if we could make a movie, and show that this rapping, this dancing, and this deejaying was one thing. so i was on a trip to germany not long after the film had aired, and i see these kids break-dancing. i m like, what the hell is going on? as i got closer, i noticed the moves the kids were doing were the exact same moves that the rock steady crew does in wild style . but i then knew that this was going to translate globally. anthony: i remember that film opening, and that was a nuclear bomb. and it ended up being like the second highest grossing freddy: second to terms of endearment . which not many people think about now, but yeah, we did well. anthony: you ve got to love that moment of corporate terror in the film industry when people are looking at the weekend grosses, and it s like, what is this? who is this audience that did ....