Endorphin
Bath & Todd E. Jones presents...
Interview: DEAD PREZ and OUTLAWZ
“You
Can’t Sell Dope Forever
(The Audio-Political Methadone Of Dead Prez & Outlawz)”
An Interview with
stic.man (of Dead Prez) and Young Noble & Stormey (of Outlawz)
( August 2006 )
Interview
by Todd E. Jones aka The New Jeru Poet
toddejones@yahoo.com
Music
is the immortal narcotic. Like any drug, music can both help and harm.
The various additive forms of music intoxicate the listeners in a
myriad of ways. The Rolling Stones created cocaine rock and roll.
“Paul’s Boutique” by The Beastie Boys and “Yes Please” by The Happy
Mondays are angel dust masterpieces. “Pills, Thrills, N Bellyaches” by
Happy Mondays is a musical ecstasy trip. Musical psychedelic acid trips
can be experienced on albums like “Love’s Secret Domain” by Coil and
“Towards The Infinite Beat” by Psychic TV. Musical heroin of
Spiritualized and Spacemen 3 will turn listeners into junkies. Hip-hop
music is one of the most powerful drugs today. While some hip-hop
albums promote selling and experiencing drugs, Dead Prez and Outlawz
have just created a musical methadone to help us in recovery.
Regardless of the style or genre, music lovers are always looking for
the next big “hit”.
During the 70’s,
a socially conscious message about drugs were evident in Soul, Funk,
and R&B. Curtis Mayfield’s soundtrack to the film, “Superfly” was
misinterpreted by many people. Mayfield used this revolutionary album
to depict the negative aspects of cocaine. This message was lost within
the film. These socially conscious messages have been passed down
through generations through music. As music evolved, hip-hop culture
utilized these themes. Emcees rhymed about the drug situation as
producers sampled the actual music.
Rooted in the
spirit of revolution, hip-hop is the most assorted form of drug music.
Since the golden era of hip-hop, cocaine and heroin has been an
essential aspect of the culture. The juggernaut assault of crack
cocaine and heroin has played two functions. While many artists rhyme
about how crack cocaine and heroin have crippled families and the
communities, other artists brag about selling or using drugs. Some
people think that hip-hop glamorizes drug dealing, but others suggest
that hip-hop provides an honest portrait of the dangerous lifestyle.
Will listeners be tempted by the fast money, danger, and power? Will
they be terrified of the prospect of getting killed or arrested? The
diverse culture of hip-hop provides multiple outlooks. This delicate
balance between responsibility and temptation adds to hip-hop’s
multifaceted dynamic.
Dead Prez and
Outlawz are two revolutionary hip-hop groups who have just created a
legendary collaboration project. Released by Affluent Records, the
“Can’t Sell Dope Forever” LP by Dead Prez & Outlawz is musical
methadone for the junkies who are addicted to the drug culture. Whether
dealing or using, listeners can be considered fiends in multiple ways.
A fiend can be addicted to the money, lifestyle, power, danger, or the
actual narcotic. These two hip-hop groups created this album to inspire
people. The music was made for the listener to wake up, grow up, and
own up to their actions. Listeners will not hear a soft hippie style or
label the music “positive”. Dead Prez and Outlawz are hardcore in their
expressive nature and their purpose to promote change.
Hailing from
California, Outlawz were started by the revolutionary emcee, Tupac
Shakur (2Pac). Although revolution is a major element of the group’s
foundation, Outlawz are a well-rounded hip-hop group. They explore
multiple themes and styles. After a plethora of tragedies and changes,
Outlawz have maintained a loyal fan base and continue to evolve.
Dead Prez were
originally considered the Public Enemy of the new millennium. Their
debut album, “Let’s Get Free” (Loud Records) was a powerfully
insightful collection of rousing songs. The song, “They Schools” was a
brutal look at the racism in America’s education system. “Be Healthy”
was inspirational track about the importance of nutrition. Their main
single, “Hip Hop” was an enlightening anthem for their People’s Army
that offered listeners a new viewpoint on the power of music. After a
sophomore album and some mix-tapes, Dead Prez pursued solo careers.
Although the group is still together, M-1 released his solo
“Confidential” LP and stic.man wrote a book titled, The Art of
Emcee-ing. In every diverse action, M-1 and stic.man use their art to
uplift their community and inspire change.
The collaboration
effort between Dead Prez and Outlawz is a legendary event in hip-hop.
Long after the nonsense of the moronic East Coast/West Coast war, these
two groups linked up from opposite ends of the country. “Can’t Sell
Dope Forever” must be heard by any person who is struggling with
addiction or caught up in the drug culture. Like a narcotic, the drug
lifestyle is painfully hard to renounce. Like methadone, the “Can’t
Sell Dope Forever” LP ameliorates people during in this transition. The
songs offer insight and wisdom to inspire maturity and achievement. The
poignant track, “Like A Window” offers an honest depiction of how
heroin damaged stic.man’s family. “Believe” is an anthem for the person
who wants to overcome any obstacle, especially drugs. “U Ain’t The Only
One” reminds the listeners that many people who share the same pain.
Production is handled by stic.man, EDI Don, M1, Chuck P, Eddie
Coldfingers, and Tai Rotan. Guests include Layzie Bone (from Bone
Thugs-N-Harmony) and Ms. Nora (stic.man’s mother). “Can’t Sell Dope
Forever” is a landmark album, essential for hip-hop listeners and those
in recovery.
On a brutally
humid weekday afternoon in July 2006, I spoke to stic.man, Young Noble,
and Stormey. Although from different corners of America, all three of
them share the same pain from struggle. They have fought similar
battles. Their struggle is universal. Young Noble and Stormey (from
Outlawz) work with stic.man (Dead Prez) as if they have been brothers
all of their lives. The encouraging solidarity adds to the glory of
hip-hop culture.
As a nation, we
cannot sell dope forever, but we can rely on music to help us through
life.
TODD
E. JONES:
“What goes on?”
YOUNG NOBLE: “One nation. Shit, working
hard, baby!”
TODD E. JONES: “Both Dead Prez and Outlawz just released a
collaboration album, ‘Can’t Sell Dope Forever’. How did this come
about?”
stic.man: “Let’s see. It came
about because America put us in a condition in our community of
slavery. They let us be here, to be the bottom of society without no
resources and no reparations. So, you got communities of people who are
starving. They are starving for resources and starving for information.
They are starving from community control of our own lives. C.I.A. and
the F.B.I. brought the dope into our communities and gave us some
options to make a little money and take care of certain things that
were going down. Then, we got locked up. Then, we got fiend out. We are
all trying to get over that hump, over that planet rock that hit us in
the 80’s. Now, you got n*ggas that are hit with the laws of
communities. They’re in the game. Now, we can’t sell dope forever.
We’re not just talking to the people on the corners, scape goating
young n*ggas, saying, ‘Can’t sell dope forever’. We’re talking to the
system and we’re talking to the rap industry. We’re saying, ‘You can’t
sell dope forever! You can’t keep selling us that bullsh*t forever.’
Our people are going to wake up, going to boss up. That’s how it came
about, from the start.”
TODD E. JONES: “Some people think
that hip-hop music perpetuates the drug dealing mentality while others
think that it inspires people to change or make money in a more
positive way. What’s your opinion?”
YOUNG NOBLE: “As far as the music,
when dudes rap about what they rap about, it’s one thing. We, as
individuals, we are just taking responsibility for this music. We are
standing up and being men. We are blessed to even have the nuts to come
out with a CD called, ‘Can’t Sell Dope Forever’. Nobody would do some
sh*t like that. As far as I could remember, only N.W.A. would probably
do some sh*t like that, as real as the message is. As far as music
goes, music has been good for us. It’s given us an avenue for our voice
to be heard and get money. This rap sh*t is feeding a lot of
muthaf*ckas, man. It’s feeding a lot of n*ggas, a lot of white folks,
and a lot of every damn body. This music is our voice. We just have to
use it more seriously. I feel that a lot of dudes may not have the
information, or whatever the case may be. As far as us, we’re just
trying to step up and bring balance to the game. This music is a
beautiful for thing for us, by all means.”
TODD E. JONES: “Stic, you have an incredible song on the ‘Can’t Sell
Dope Forever’ LP and ‘Turn Off The Radio: Get Free Or Die Tryin’” CD
called ‘Window’, which is about coping with your brother being a heroin
addict.”
stic.man: “Thanks, man.”
TODD E. JONES: “In your opinion,
how does someone overcome that situation, or help a loved one overcome
addiction?”
YOUNG NOBLE: “Stic, let me take
this? As far as me, I relate to it too. I moved to Jersey when I was 6
years old. I moved to Montclair. I moved from Cali. My brother was a
young Crip. He wound up shooting somebody when he was like 15. So, they
shipped him to Jersey. He was out there doing time as an adult. He had
to leave California and had to do like 7 to 10 years. So, they shipped
him to Jersey. My brother starting using that sh*t when he got out
there. When he got out of high school, was when I think he started
really f*cking with that sh*t. That was real. I’m 28 right now. My
brother just got locked up maybe about a month ago. He’s been locked
up, in and out of jail, getting back on that sh*t. It’s the same sh*t.
Me, personally? It’s like a line that Stic said in the song. He said,
‘….I can’t let you terrorize Mom Dukes / I’m feeling like I’m a have to
cut you loose…’ I’m feeling like I have done so much for my brother. It
was like I love him so much that I can’t do nothing for him. You can
keep giving him money. What you going to do if a muthaf*cka won’t allow
you to help him if they don’t allow no help for themselves? What can
you do? You really can’t do nothing. There’s really nothing you can do
but say, ‘I love my family but I can’t do nothing for you. You have to
be willing to try to break this sh*t and want something better for
yourself. If you continue, you’re just going to be locked up or you’re
just going to die.’ You know what I mean? Get aids? Anything.”
stic.man: “The problem is more
than individuals. Chemical addiction and the dope that’s out here is
bigger than love. The sh*t is strong than love, G! How about that?
That’s a reality that we deal with. Together, what can we do? Take, for
example, the Nation Of Islam. Malcolm X was a junkie. How about that?
Malcolm was a junkie and he was able to come back. Look at Huey Newton.
Huey was a cocaine user. Look what he was able to contribute to our
community. What can you do? It’s about having a network, a family, a
community, a gang, an organization, a clergy, or whatever it’s going to
take. It’s going to take people who are organizing themselves to
provide them rehabs, to give those colonics to clean out their systems,
to sit with those fiends when they are going through those heroin
withdrawals, and all that. We need a community effort. They have to
forgive you over and over and over. They have to point the finger and
give you the right political education. It’s not just religion. A lot
of people call that jailhouse religion. Say, I go to jail, find God,
and now, I’m righteous? Nah, we need political education because the
same conditions in the prison are here when we come home. Long story
short, I don’t want to beat it in the head, but it takes a community
effort. It deals with money and resources. We need to put that money
up. I see Oprah Winfrey speaking about how hard she had it coming up.
Well, put some money into the Malcolm X Grass Roots Movement. Give them
money so they can open a rehab. Healing! It takes a community effort
and resources. That’s what it takes. Dr. Mutulu Shakur, who was like
Tupac’s step-pop, was one of the lead people who had a cure in place
for drug addiction at The Lennox Hospital in New York City. They locked
him up like he was a terrorist. He cured heroin addiction with
acupuncture. The masters and the leaders, who we have in the U.S.A.,
got him locked up, calling him a criminal.”
TODD E. JONES: “Since ‘Can’t Sell
Dope Forever’ was a collaboration album between Outlawz and Dead Prez,
how was the creative process different?”
YOUNG NOBLE: “As far as I’m
concerned, it wasn’t really different. We just do what we do. This is
me, speaking about The Outlawz. We just do music. It ain’t no extra
hard process. We just go into the studio and come from the heart with
this sh*t. That’s just what you hear. It’s simple to me, but it’s
different for everybody.”
STORMEY: “I don’t see a difference
with it at all. We get in the studio and we find a track that suits
both of us. Then, we rock with it. We move forward.”
stic.man: “It was different for
me. It was definitely different because of the time I usually take to
make music is a lot longer, for one. Number two, there were so many
brothers contributing to the work load. When I say ‘contributing’, I
don’t mean just rapping. They were contributing. It’s a production to
make an album. We have so many generals, who are not just industry. We
had generals who help make that whole sh*t happen. In the past, the
thing falls all on me. For me, this was like a blessing to be with
other people with drive to get sh*t done. I didn’t have to think if
this n*gga was going to be trying to front with his verse because these
Outlaw n*ggas are real dudes. All of that was already a given.”
TODD E. JONES: “Do you have a
favorite song on the ‘Can’t Sell Dope Forever’ album?”
STORMEY: “‘I Believe’ and ‘Fork In
The Road’ for me.”
YOUNG NOBLE: “Mine are ‘I Believe I
Can’ and ‘1 Nation’. All of that sh*t is hot.”
stic.man: “Man, I’ll list the
whole thing. I like ‘Fork In The Road’, ‘I Believe’ and I like that
Layzie Bone joint, ‘Came Up’.”
TODD E. JONES: “How did Outlawz and Dead Prez hook up for this
collaboration album?”
stic.man: “Stormey and a young
comrade named, Zyad. Zyad is a real, real, real good solider right
there. Of course, we grew up listening to Pac and The Outlawz from day
one. We’ve been in the same struggle and the same scrap, youth marts,
and all kinds of sh*t. I moved to Atlanta. The young homie, Zyad was
one who was helping me. He was like, ‘Yo! Man! Y’all need to link up
with the Lawz! They out here and sh*t.’ Is that how I met you, Storm?”
STORMEY: “Yeah, I came to the
studio.”
YOUNG NOBLE: “Everything just lined
up and we started kicking it and it was much more than music. We did
that and have that in common, but it wasn’t only about that. You know
what I mean? There were other things. It was comfortability. They were
two of the finest Black men who were trying to do something. That’s the
basis of it. Out of that, came the responsibility of this album.”
TODD E. JONES: “What was the last incident of racism you experienced?"
YOUNG NOBLE: “Whoa! We were in
Moscow, about a month ago. As far as concerts, they loved us. It was
bananas. When we got back to the airport to leave, it was a lot of
racism in the airport. It almost felt like these mutherf*ckas were
trying to keep us there. They were being real rude about it. I couldn’t
believe it. It was like they were trying to squeeze our nuts or
something. We needed an invitation to come to Russia. You have to go to
the Russian Embassy and take out all of this money to go over there. We
paid for a whole month. Instead of our invitation saying that we had 30
days to be out there, our invitation said we had like 5 days, the day
we got there and the day we were supposed to leave. They made the
mistake. It wasn’t like we made the mistake. We left the day after we
were supposed to leave. Our invitations were expired and we had to pay
all of this money. It wasn’t like they were trying to help us to make
our flight. They knew that they had our money. They were taking our
time, being real rude to us, and looking evil to us. I was heated.
These muthaf*ckas wanted us to stay out here! Basically, we paid for
new flights. It felt like they wanted us to miss our flight, so we had
to pay for some more flights. They were like ‘Y’all n*ggas stay out
here and sleep on the goddamn curb. We don’t give a f*ck’. That’s what
it felt like. That’s what they did to us. That’s what it felt like. It
didn’t feel like racism, it was racism. They were looking at us real
evil. Then, this white person would come up and have a smile on his
face. The airport people were like, ‘Come up in front of them’ and they
would kick our bags to the side. They were tripping.”
STORMEY: “That’s what they did.”
stic.man: “Let me add on too.
Racism as a concept? I like to use this sh*t to get sh*t clear. First
of all, you cannot live without being affected by racism. People think
that racism is like a situation when somebody calls you a ‘n*gga’ or
certain things. Yea, that’s racism for sure. But, the real root of the
sh*t is how the structure of it is all set up everyday. It’s
influencing sh*t where you are. There may not be a white person for
hundreds of miles. Take this telephone link up. Tell me a Black company
that owns a satellite for cell phones. We invented the chip for the
cell phones! We don’t have the resources because that person wasn’t
allowed to own his own sh*t. Basically, we are second class citizens
because of racism, capitalism, and imperialism from day one. This is
from way back. When we say racism, we’re not talking about whether me
and this white dude like hip-hop and got on some sneakers and sh*t.
We’re talking about how racism is the American way, baby! It’s the
European way! There’s wide crime happening. All the jails are filled
with n*ggas like us. It is because of racism. You know what I mean?”
TODD E. JONES: “What have you
been listening to in the last couple of days?"
STORMEY: “I’ve been banging that
Dead Prez & Outlawz sh*t forever.”
stic.man: “I’ve been banging that
‘Soldier to Soldier’.”
STORMEY: “‘Soldier to Soldier’ LP
on October 3rd!”
stic.man: “Yeah, bringing that
sh*t you haven’t heard yet from Stormey. ‘Everything Is Yours’ coming
out soon by Lloyd and Outlawz.”
STORMEY: “It’s going down.”
TODD E. JONES: “Stic, you
recently wrote a book, The Art of Emceeing. Tell us about that and what
else you have coming out soon.”
stic.man: “Y’all up on that? Cool.
I’m doing many things, homie. I’m on my grizzly. I got a book out, The
Art Of Emceeing. It’s 112 pages and comes with a free beat CD. It’s
basically tips and different insights for emcees, song writers, and
poets. It’s information that people can really use. It ain’t about the
history of rap or how records are selling. None of that sh*t. It’s
about the art and the technique. I write about writer’s block and
conquering that, when you’re in the studio, vocal tracks, taking care
of your voice, going back to back, getting shows, and sound check. I
talk about publishing and controlling that without having to have a
record deal. All of the aspects are what that book is about. It’s one
of the first books that I know of that is written by an emcee for
emcees. You have scholars and everybody else writing about hip-hop from
the outside. Very few people, who actually do it, get the opportunity
to express. I got to interview The Outlawz. They gave me a lot of
valuable insight. Common did the forward to the book. We self published
the book too from Boss Up Inc.
TODD E. JONES: “What is next for
Dead Prez?”
stic.man: “We have the new website
www.bossupbu.com where people can get at Dead Prez 24/7 for everything
we got going on. If people want to help out with the movement or in
different ways, they can help the Katrina victims. We have a link for
that. They can help the Hands Off Assata campaign. We have a link for
that. We are just going and building. We’re doing it independent with
our chests out. Look for my solo album, coming out later this year.
Look out for the new Dead Prez sh*t on top of 07.”
TODD E. JONES: “What is next for
Outlawz?”
YOUNG NOBLE: “We have a stic.man
and Young Noble album called, ‘Soldier To Soldier’ coming out on
October 3rd. Classic! Classic! Get your hands on that one!”
TODD E. JONES: “What is the
biggest misconception that people have of Dead Prez or The Outlawz?”
stic.man: “That we give a f*ck!
(laughs). That we give a f*ck about whatever misconceptions that
mutherf*ckas got. People think that we care while we are busy just
being ourselves, doing what we do.”
TODD E. JONES: “What has been the
biggest obstacle that you had to overcome through your hip-hop career?”
YOUNG NOBLE: “As far as the
Outlawz, Tupac passed away and Kadafi past away right after that. The
biggest obstacle for us is just keeping going. Right after Kadafi
passed away, Fatal left the group. Maybe two or three years ago,
Napoleon left the group. It was just a lot of sh*t. I guess, the
perception of us was a major obstacle. Pac passed away and we were
stuck on Death Row for like 2 years. Once we got off them, just are
name alone had mutherf*ckas scared. It was like, ‘The Outlawz are
coming? Let’s close the doors on these mutherf*ckas!’ We were like,
‘Damn!’ We didn’t even have our people on us. We were chilling. Just
our name, the history we all have been through, and the little dramas
that mutherf*ckas had to go through were obstacles. People weren’t
like, ‘These n*ggas have lived through a whole bunch of sh*t. Let’s
give them a shot.’ They were more like, ‘Nah, they are the crazy
Outlawz’. Sure, we were a little young and retarded back in the day,
but we passed that. We are on some grown man sh*t. We take care of our
families. I think that our name was our biggest obstacle. We ain’t even
tripping. We love it! We Outlawz for life, baby!”
stic.man: “That’s real tough, but
it’s also your biggest blessing.”
YOUNG NOBLE: “No question.”
TODD E. JONES: “Did some people make things more difficult for you
after 2Pac was murdered? Did some people make it hard for you to break
the Tupac link or always link with Tupac?”
YOUNG NOBLE: “At the end of the
day, it’s a good thing. Pac started the Outlawz. He was the first n*gga
with the Outlawz to do something. People don’t realize that Pac was a
member of Outlawz. We weren’t just some group, like it was Pac and
then, there are the Outlawz. Pac was a part of Outlawz! Tupac was a
member of Outlawz. He started Outlawz. He was in our group.”
TODD E. JONES: “What about you,
Stic? What was your biggest obstacle?”
stic.man: “Wow! That’s a good
question, Todd. My biggest obstacle is bigger than music. You know what
I mean? On some real shi*t, my obstacle is just dealing with life while
we are trying to do music. As far as the game is concerned, the
perception of you bringing some revolutionary sh*t, some real sh*t,
people put you in a box. Like, they put you on the white boy circuit or
the skateboard circuit or whatever.”
TODD E. JONES: “They classify
Dead Prez as alternative?”
stic.man: “Yeah, alternative.
Don’t get me wrong. I’m a well-rounded person. A well-rounded person
can communicate and appreciate all kinds of circles of people. If we
want to have an international revolution, there is going to have to be
all kinds of people in-tuned. At the same token, so many times, our
community has been co-opted. As soon as you say anything considered
intelligent, they say, ‘That’s for the white people or the Black guys
with the glasses on.’ There is this perception from the industry. They
will try to force feed. They will ask where we are from and then they
will put us on this and have us doing that. The obstacle is our
struggle of holding on to where we are from, our real intentions, who
we are, how we want ourselves to be portrayed and presented in an
industry that refuses to accept that the hood wants to be free. The
industry doesn’t believe that. They don’t believe that. That’s a
novelty idea in the industry. Our community is what produced us. Not to
even try to put ourselves on the same level as Pac or Malcolm X, but
the sentiment of the struggle came straight from the hood and nowhere
else. That’s the root of where it is. Our job, mission, and assignment
from our ancestors have been to be that bridge and make that clear. We
do it with our music and how we walk with our lives. I think that we
are doing it though. Mutherf*ckas are getting it clear. Mutherf*ckas
are having a hard time keeping n*ggas in those boxes because we are
gorillas. We rope-a-dope with it. We are on that Mohammad Ali fighting
style, Bruce Lee fighting style. They don’t know where or when we are
coming. They don’t know if n*ggas are gonna do a book next. They don’t
know if mutherf*ckas are going to sing or do a movie. They don’t know
what n*ggas are gonna do.”
TODD E. JONES: “Do you find that
some white people interpret Black Power as racism?”
stic.man: “You know why that is
not a major misconception for me? It’s because white people are not the
center of my world. It can never be like that for me. White people
always ask me if I’m racist or this or that. They think that they are
the center of the conversation. I’m a loving human being, my n*gga! For
real! But, I ain’t no fool and I ain’t no sucker. I’m not here to shake
everybody’s hand just to make everybody happy. I’m here. You show me
respect, I’ll show you respect. But, as far as the crackaz in the
system, it’s been here before me and it’ll be here after me if we don’t
do something about it. My thing is this. The way you develop real
friendships and real solidarity with people is through the work that
people do”
TODD E. JONES: “What do you think the white people should do if they
want to support your movement?”
stic.man: “If white people want to
have any solidarity with their struggle and they want to consider
themselves a comrade on the right side of the question, the first and
foremost thing they have to be about is reparations. They have to tell
their daddies. They have to be telling their courts. They have to be
telling everybody in their community to spend that money. They have to
spread those resources, give up them buildings, and make them
donations. Any goddamn resource that the Black community, the brown
community, or the red community needs for our advancement, they have to
come up off that. They owe us! They have to be about that on a legal
level and on a street level. Lay down in front of a precinct, n*gga! If
you give a f*ck, get your ass out there in the street and yell, ‘I
ain’t gonna let you lock up no more n*ggas!’ Stand in front of the
precinct and do that. Then, I’ll say, ‘Now, that’s a rider!’ As long as
all someone is doing is listening to music, nothing will happen.”
TODD E. JONES: “Besides music,
what do you suggest for inspiration?”
stic.man: “If you have or if you
haven’t, read The
Autobiography Of Malcolm X.
You’re a white dude, right? You’re a cool white dude. You got an open
mind, you know what I mean? You fuck with hip-hop and all of that. Read
that shit. Even if you read it before, read it again and soak it up.
Soak Malcolm up. Malcolm has got a way of explaining that shit. It
don’t matter who you is, you’ll get that understanding.”
STORMEY: “It’s fucked up what
happened to him, but we ain’t gonna let it ride though.”
TODD E. JONES: “Final words?”
STORMEY: “You can’t sell dope
forever!”
YOUNG NOBLE: “Buy the album! ‘Can’t
Sell Dope Forever’. One nation!”
stic.man: “Give thanks. I feel
great, I’m smiling. Be you! One nation!”