Sacha Jenkins, Masta Killa & Cappadonna Go Over Showtime's "Wu-Tang Clan: Of Mics and Men"

Throughout the history of hip-hop, no single group changed the game in the same way the Wu-Tang Clan did. The real story of the Clan unfurls in the Showtime docuseries, "Wu-Tang Clan: Of Mics and Men," with never-before-seen footage and interviews recounting the obstacles traversed to stay united as one Wu family. Director Sacha Jenkins poignantly captures their struggles and triumphs in intimate detail. Jenkins, Masta Killa and Cappadonna took the BUILD stage to speak on the series.

Video Transcript

[MUSIC PLAYING]

RICKY CAMILLERI: Thanks, everybody. Welcome to Build. I'm your host, Ricky Camilleri. In 1993, the world was introduced to maybe the greatest rap group in the history of music. I'm not exaggerating, that is not hyperbole. It's the Wu-Tang Clan. Since then, after numerous albums, solo projects, movies, controversies, the group remains as beloved and relevant as ever. In his new documentary, "Wu-Tang Clan: of Mics and Men", Sacha Jenkins gets the gang back together for trips down memory lane, explorations of art versus commerce, business versus family, and amazing, amazing footage of the group's early days. Let's take a look.

[PLANE, TRAFFIC, AND NATURE SOUNDS IN BACKGROUND]

- I grew up on the crime side.

- Wasn't no [INAUDIBLE] Jordan's.

- The New York Times side.

- He was poor, looking for a way.

- Staying alive was no job.

- It was almost like a police state, and a lot of people don't leave.

- Figure it out, I want the wrong rap.

- And somewhere in the middle all that shit is that hope, that one of us was going to make it.

- So I got what a sick site click and went all out.

- Just hearing that shit on that radio.

- That's that shit.

- I was like, we going.

- Project language, man, it's just as most raw philosophy.

- The black, red, yellow, brown and white are all rocking with us.

- These five families become our wings.

- Who are these people? Why are they like superheroes that can rap.

- Sack your motherfucking neck, kid. [DISTORTED CRY]

- When I was younger, thoughts was like ding, ding, ding, ding, like I could just, I could see it. Rap was just like, oh shit.

- We real, we came from the same place ya'll came from.

- That is Wu-Tang, right there, when I think of Wu-Tang.

- What?

- We political, man, we rap stars. Come on, ya'll know this shit is real.

- Money is the root of all evil. How is that true?

- Now, want my whole fucking [INAUDIBLE]

- Ya'll motherfuckers are [INAUDIBLE] capture the world.

[AUDIENCE CHEERING]

[MUSIC PLAYING]

[BANG]

[MUSIC PLAYING]

RICKY CAMILLERI: Everybody, please welcome director Sacha Jenkins and from the Wu-Tang Clan, Masta Killa and Cappadonna. Let's hear it.

[AUDIENCE CLAPPING]

Guys, thank you so much for being here. There's so much story to tell with the Wu-Tang Clan, because there's so many of you. And it's been, you know, 30, almost 30 years, at this point. I think it has been 30 years since you guys started. It's been a little less than 30 since the first album came out, right? So, what was it like for you, compiling all of this? How did this whole project start for you?

SACHA JENKINS: Well, you know, before I was a so-called filmmaker, I was a journalist, writing about hip-hop. And, when I was a kid, I published with a friend a hip-hop newspaper called Beat Down, and we were the first publication to put Wu-Tang on the cover. So my, kind of, career is in sync with, you know, their career as well. I happen to share the same agent as RZA, and he explained to me that the Wu-Tang were finally ready to tell their story, do you want to put your name in a hat? I said, I sure do. And RZA's based in LA, I flew to LA for the day. I got right back on the plane after I'd spoke with him, and he told me he was talking all kinds of production companies, why should I go with you? And I was like, dude, you know I mean? I'm-- I'm like you, I grew up like you did. I understand where you're coming from, and there are things that I'm gonna see that other people aren't. And it's important that folks like me and folks like us sometimes get to tell our stories. And he marinated on it for about a week, as they say, and he shared with me recently that his wife was the one who said, give that guy the shot. So shout out to RZA's better half for giving me the thumbs up.

RICKY CAMILLERI: What was it-- do you think-- What was it about your pitch that you think sold him and sold him and her?

SACHA JENKINS: I'm-- I'm of it. I am a product of the same hip-hop. You know, these guys, to me, are the last, sort of, representation of a group of guys who came up under hip-hop culture, right? Like, kids rap today, but we grew up writing graffiti, dancing in the street, rapping in staircases, you know. These guys are the Robert Johnsons of the culture. And so because they epitomize my childhood, you know, we were involved with hip-hop before it was a business. And hip-hop is really for us, and for millions of people, it's not just music, it's identity.

And, you know, bringing it back to slavery, because when you're an African-American in America, you have to always look at slavery, we all have our given names, right. My last name is Jenkins. That doesn't come from Africa, right. The power of hip-hop I realized, you know, I was-- I wrote graffiti as a kid, right. I named myself. I gave myself a name. Masta Killa gave himself a Cappadonna gave himself a name. The power of being able to name yourself, when you're in an environment. You rename yourself, and create a name for yourself in an environment where you have nothing. People are plugging turntables into lampposts on the street. When you think about where hip-hop came from and where it is now, the idea that these guys rewrote their lives by way of how they manipulated words to inspire the way people talk. You know, I saw that, firsthand. And so I think RZA and everyone else understood that. The conversations that we have are conversations. I'm not interviewing them, I'm listening to them. And I'm understanding where they're coming from. And then I'm going down paths that I find interesting, that I feel other people will find interesting. And here we are.

RICKY CAMILLERI: Not to get too off topic right off the top, but I'm curious if you think that hip-hop, being so much of the business that it is these days, by and large, has, sort of, lost some of what you're talking about in regards to these guys rewriting their-- rewriting their lives using language.

SACHA JENKINS: Well, that's always been the case with Black artists in America. Bluesman, jazz artists, have re-imagined their lives through their expression, so that's not new. And the kids today are doing that as well. But they're not, they don't see hip-hop as break dancing, DJing, and graffiti. You know, that diet that we grew up on, that existed before there was money involved. Right, that was just the pure joy of being a kid and doing these things. Like, when I was writing graffiti, I wasn't getting paid to do. As actually, I was doing something society didn't appreciate. Look at all the so-called graffiti artists now--

RICKY CAMILLERI: People weren't trying to get a mural in Union Square.

SACHA JENKINS: No, but you look at the success of so-called graffiti artists now, no one would have imagined. Just like no one would have imagined Wu-Tang, this underground group, having the influence that they had. No one would imagine a guy like Cause, who's, you know, is a graffiti artist from New Jersey, who, you know, people know who Cause is on a massive level. You know, the culture, the street culture, that we practiced as kids, without money, the joy of that propelled these guys to express themselves. And then, that joy connected with this emerging industry. And as you mentioned, in the film, you learn about their transition from the streets to corporate America, which is-- can be just as treacherous as the streets.

MASTA KILLA AND CAPPADONA: Right.

RICKY CAMILLERI: One of my favorite aspects of the documentary is all of you guys sitting around a theater, sensibly watching old footage of yourselves. What was it like looking at that stuff together?

MASTA KILLA: It was a learning experience, you know. Some things, you know, you travel with someone, you know, you travel with someone every day. But as a man, you know, we tend to-- you know, we have a macho thing. We hold our, you know, our personal stuff to ourselves. So when you're looking at yourself up there, you know, you understand it from a different angle, what your brother was going through right next to you, you know. It's a learning experience, as well. You know what I mean.

CAPPADONNA: It just helped me to see how far we came, where we came from. You know, the things and the trials and tribulations we had to go through to-- to get to where we at. Like, you see some of the clips, or one of the clips, where Rae was arguing with the police. You know, and all the kids was out there. That was real for us. And it is still going on today. And so I just like to, you know, thank god for being able to come up, to come out of that, and make the transition successfully. And to be able to move myself from those kind of circumstances and inspire other ones that are in those predicaments to do the same thing.

- Make better decisions.

RICKY CAMILLERI: It's interesting that you say that, you know, all these guys around each other, traveling together and have this sort of macho exterior. One of the things that I always loved about Wu-Tang was that you guys were also really silly. And that you always seemed like you're having a really good time while you were doing it. And it never felt-- it never feel like it carried the macho-- as much, the macho exterior, as a lot of rock music, heavy metal, or even hip-hop did at that time. There was something about you guys always being slightly offbeat and goofy. And you're looking at me like-- like I'm crazy.

SACHA JENKINS: No, no, no. I was gonna add to that. I think that's what-- to be, to be-- I was that kid too, like you're in the hood, like in those times. It wasn't cool to be into comic books. You know? These guys, what made them special was, they were confident in who they were. And that didn't change. Like, of course they had rough times. Like in the beginning of the film, you learn that they played in a pond, behind their projects. Like, I didn't have a pond behind my projects, but they did. And there was a white side, you know, they talk about how there was a white side and a black side, you know. So early on--

RICKY CAMILLERI: That RZA's-- him and his brothers had four pairs of pants, total.

SACHA JENKINS: Right.

RICKY CAMILLERI: Yeah.

SACHA JENKINS: Right, so, just because you're poor, or just because you come from a rough situation, doesn't mean you can't be silly. Or you have jokes. And that's why I think so many people related to them, because that's how it is in real life. No one's a gangster 24 hours a day. Anyone who's a gangster 24 hours a day is either dead or in jail. So these guys were a pure representation of the totality of who we are in the inner city. And to me, the most important thing is they are creative and smart.

RICKY CAMILLERI: But what's so fascinating about that, because they are potentially a representation-- or are a representation of the totality of an experience, they are often not as equally lumped into gangsta rap or other sort of sub genres of rap that I think more within the popular mainstream are thought of to reflect that-- that environment. And what your documentary does is, sort of, in some ways, what your series does, is returns them to that-- returns Wu-Tang to their environment and what they were also a product of.

SACHA JENKINS: Well, I think, in order to really understand hip-hop, because for me, I grew up in inner city, whatever. Like, everyone loves hip-hop that's cool, but I'm listening to the music sometimes, and I'm like, do you really understand what these people are saying, like. I love MOB-D, they've got a song about how, you know, oh, you made a mistake, you're not from these projects, you came here to visit your girlfriend, and you had the audacity to wear a chain, so we had to put a bullet in your head, right? I enjoy the song, but listening to it now, as a grown man, it's just kind of like, OK, I can still enjoy the song. But it's like, what he's talking about is-- is-- is something that's not completely out of the realm of possibility.

CAPPADONNA: Is like a revelation, you know what I mean? We ministers. You know, that's why they call us masters of ceremonies. So it's like, the life we live, we like commentators. We the new broadcasters of the hood, giving you the raw, actual facts of what's going on, how we live, how we survive, the struggles that we go through. You know, we used to we used to hustle newspapers, we used to hustle drugs, we used to hustle clothes, you know. And those products of our environment-- Yeah, we was tough too, though. Know what I'm saying? We got silly, we did our joke thing, but most of the time, we was on that grind. Know what I'm saying? So, yeah, that's how we came up out of that.

RICKY CAMILLERI: You interview Jim Jarmusch, the filmmaker Jim Jarmusch, in the film, who basically says that-- Basically, he says, as far as he's concerned, America is an apartheid. Were you expecting him to say that when you talked to him? What-- what made you sit down with him?

SACHA JENKINS: Well, he and RZA have a friendship and a rapport. They've worked on films together, so, you know. The fan base of Wu-Tang is broad, broad enough that a Jim Jarmusch has interesting things to say and has had interesting interactions. And I think that's another thing that draws Wu-Tang to people, and I think there's a level of comfort that they had in themselves that is appealing to white people. Because white people are just naturally comfortable.

[LAUGHTER]

You know what I'm saying? May-- OK. Not white-- of course, human-- I'm saying--

RICKY CAMILLERI: I understand exactly what you're saying.

SACHA JENKINS: I'm not saying in your own-- I'm saying in society.

RICKY CAMILLERI: Yeah, yeah, yeah.

SACHA JENKINS: There's a certain abandon. And I know, I'm in-- I'm in a to rock band called The 1865, guys, go out and cop it, all Black rock band. But rock and roll has a different energy, right? There's a certain level of comfort you have, being a rock and roll musician. Right? If you're like a white, rock and roll musician, who still lives with your parents, there's a certain level of comfort. There are things you don't have to worry about when you're on the road. There are things that these guys have to worry about when they're on the road. You know, so there are certain-- there are certain differences. But those worries-- There's something about their energy that has that same level of freedom that rock and roll had.

RICKY CAMILLERI: Yeah.

SACHA JENKINS: In the way that they carried themselves. And that's why they were relatable to so many people. There's a certain level of confidence in the way that they move. They didn't always have to prove that they were hard. You know, they can show you that they were creative and complicated and do things that, whoa, kids in the hood don't think that's cool, don't do that. They were able to do that because they had that level of freedom and comfort that the music afforded them.

RICKY CAMILLERI: Were you aware that you guys were doing that at the time, when you were making-- when you were making the first album? "Enter the Wu"-- were you aware that you were doing anything that was like completely different than what other hip-hop artists were doing at that time?

MASTA KILLA: Well, I think, I mean-- I mean, for me, I think we was just doing what we love to do. You know, which is-- which is music. You know, we all, you know, hip-hop babies, I think we was just coming together for one common cause and just doing what we loved to do. How you see it?

CAPPADONNA: Actual fact. That's what it was, you know. Like, the culture, you know, it consisted of all of the things that he say. Was the graffiti, the DJing, the, you know, being in the hallway beat boxing, even dressing was a part of the culture. One time, no shoe laces was a style.

MASTA KILLA: Right.

CAPPADONNA: No lenses in the glasses was a style. You know, you could cut the top of the hat out, have your braids coming out the top. That was a style, that's self-expression. You know, for us, because we didn't have many ways to express ourselves. You know, even from the earlier times when we wasn't allowed to read and all of that. You know what I'm saying? So we came up with our own expression, our own ways of-- and creativity of creating ways to express ourselves, to tell our story. We used codes, we used slang, we used mathematics. And all that stuff, and all of that-- Those developments created, you know, our hip hop style. And our culture and how we manifested, and how we do it. And yeah, it was different. It was different from everybody else, because we didn't we incorporated the kung fu, the wisdom, and, you know, the stories, and sometimes movies and all that. And then we was 10 men at one time that came into the game and was also allowed to have solo success. You know what I'm saying? I mean, I know that's going way far back, but it's like, yo, that's-- that's what it's all about, man. We the best monopoly players, we the creators right now. And we still creating, man. And that's how we do it.

MASTA KILLA: Basically got 10 men that someone-- someone on the planet can identify with, anywhere in the world, you know.

RICKY CAMILLERI: Was it tough early on? Or at any point, with you guys-- Did you guys argue about what the music would be, or was it very clear from the beginning that RZA would be producing, and that he would be, kind of, the, sort of, chess master of the group for a little while?

MASTA KILLA: I mean, you know, you know, he definitely the abbot of the sound, you know what I'm saying. And you know, us just coming together and our energies just, you know, rubbing off of each other and me coming into here, Cap spitting something fire. And, you know, that's inspiring. You know I'm saying, to just hear your brother. And you see them in the booth, and he's dropping, you know, something that's educational, or whatever it is. But it's inspiring for you to do the same thing. You know what I'm saying, we follow suit. You know.

CAPPADONNA: RZA's the A, he the abbot. He definitely controls a lot of the sound. But when we get in that booth, we go in. And we take turns spitting back and forth. It's like, my dart might not make it on there. I might go ahead and participate, but when I come back, I might not hear myself on the song. So, you know, he's picking what dot best compliments the song.

MASTA KILLA: Also-- also, you gotta to be real with yourself and know, OK, if he just said something that was just on a different level, now I got to erase this. This is not gonna work. You know, so, yeah.

RICKY CAMILLERI: You gotta be honest with yourself.

MASTA KILLA: Yes.

CAPPADONNA: But we got other producers. You know, in our regime, too, you know what I'm saying. We got True Master, we got 4th Disciple. I got tracks with both of them. Fingers, lot of Mathematics, Inspectah Deck made tracks.

MASTA KILLA: Right.

CAPPADONNA: True-- True Master did my first album, which was "The Pillage". Know what I'm saying, that was a classic album. And, come on, man, we just-- Yeah, we the King of the beats, man.

MASTA KILLA: I noticed that-- it's totally off subject, but it's funny sitting here. I used to work here when this was Tower Records.

RICKY CAMILLERI: Hell yeah, yeah.

MASTA KILLA: Me and my man Mike Kaiser, we used to-- used to work here. It's crazy.

CAPPADONNA: It's off the subject, too, but we got an A in the same spot on both of our names, of 10 letters.

MASTA KILLA: (LAUGHING) True indeed. True indeed.

[LAUGHTER]

All right.

[LAUGHTER]

RICKY CAMILLERI: Was it-- was it tough for you guys to watch some of that ODB footage? And watch him in his heyday, and even watch some of the-- some of the fighting that was going on between him and RZA and, sort of, having to remember that?

MASTA KILLA: Well, I mean, certainly-- I mean, to be honest, for me, I only saw the first 2 episodes so far. I haven't even gotten to 3 and 4. I'm looking forward to it. But I mean, anytime you mention our brother, "A Son Unique", ODB, it's always-- You know, we feel that. That's our brother. It's family. So any time a family member is missing, you know. Any time-- any remembrance of anything of them, you know what I mean? It's, you know, it's a moment. You know.

CAPPADONNA: Yeah, we love ODB, he always with us. Well, we are proud and very appreciative to have his son with us all the time, you know. He look just like him, man. And, to me, it's like ODB ain't go nowhere, he just came back. Return to the "36 Chambers", that was his last album, right?

MASTA KILLA: Indeed. Indeed.

CAPPADONNA: 3 and 6 is 9. He born again.

RICKY CAMILLERI: Sacha, what was the toughest part about making this, this series?

SACHA JENKINS: Well, these guys live all over the place, you know. And that's where my quote, unquote, ingenious idea came in to--

RICKY CAMILLERI: Get them in one place?

SACHA JENKINS: Get them in one place. But it worked out, because just in the sheer body language, the unspoken communication amongst them, was powerful. There's that moment where Method Man's free styling, and Ghostface, you know, reaches back and gives him a pound. This acknowledgment. And they all talk about how they were competitive amongst one another to just push each other forward. And you see that very naturally. They're just screwing around, you know I mean? Just hanging out.

RICKY CAMILLERI: I was gonna say, like his free styling, in that scene, is better than, like, some of the most-- some of the-- most of the mainstream hip-hop that we hear on a daily basis. It's unreal how good he is in that moment.

SACHA JENKINS: Right, but today you don't have to be-- Today, it's more about, I was just telling Masta Killa this backstage, it's like, rap, for a lot of kids and young adults, is a stepping stone to something else. No one-- these guys are from the era, they're like blues musicians. Like, I'm an MC, this is what I do. I'm gonna master my craft. Now, it's like OK, halfway decent looking kid. I got OK style. I can rap. I'm OK. But I'm trying to be an actor, I'm trying to do this. And these guys actually were the blueprint for that. Independence is very big with artists now. People are less reliant on record labels. These guys, sort of, forged that way, in terms of staying focused on their creative vision. They launched clothing brands, they launched all kinds of things that have become commonplace now. Like if you're an artist now, and you don't have some kind of deal, you don't have a clothing line, it's like, who cares? And they were some of the early architects of that.

RICKY CAMILLERI: Was there anything that was off limits for you?

SACHA JENKINS: Was I told by them that there were things that I couldn't touch in the story? No. I mean, RZA basically left me alone. These guys haven't even seen the whole thing yet. So I had the great freedom and the trust to just try to tell the best, most balanced story that I could tell. And RZA said to me, you know what, I don't agree with everything that everyone said, but I will say that I appreciate the fact that everyone in the group, every single person in the group, had the opportunity to speak their piece. And that kind of shows you the complicated relationship that these guys have. They don't always all get along. But when you see them in the theater, you understand. These guys are family. At the end of the day, and everyone's family is screwed up. Everyone has internal issues in their family. So why wouldn't a self-made family not experience things that families in the wild experience every day.

MASTA KILLA: Exactly. Nobody is exempt. No family, or no relationship, is exempt from going through real things.

CAPPADONNA: We just talk it out, you know what I'm saying. Whatever we going through, whatever it is, man. Trials, tribulations, family matters, just personal business. You know, we build. That's where when we say, yo, let the gods build? Today's mathematics, knowledge build, yeah, we got to build, man. And build and get that energy out. Whatever it is, man. And that's how we help each other, you know, and sometimes, you know, our understandings, is-- it varies a little bit. And it may get a little different. But we still, we still strong, man. You see what I'm saying?

MASTA KILLA: And build, build. Build-- Build means add on, exactly. Exactly.

RICKY CAMILLERI: I'll pay you guys for the plug after, don't worry. When was the-- when was the last time all of you had gotten together, prior to in that theater?

MASTA KILLA: Probably 1, a show or something.

RICKY CAMILLERI: Yeah, a tour.

MASTA KILLA: Yeah.

RICKY CAMILLERI: Yeah. I think we have 2 questions in the audience. Who has a question? Right here.

MASTA KILLA: Oh, can you make it? [LAUGHING]

- Hey there, fellas, thank you so much for everything, man. Grew up listening to music since '92, actually. The white tape, so a question goes out to both of you guys. What's the best verse you guys worked on?

CAPPADONNA: The best verse?

- Yeah.

CAPPADONNA: Wow.

MASTA KILLA: Right, wow.

CAPPADONNA: Well, you know, mine's was probably would be "Winter Warz".

MASTA KILLA: And mine, I would probably say, "DA Mystery of Chestboxin'" because that was my rhyme I ever wrote.

CAPPADONNA: Right, and that was longest rhyme I ever wrote.

MASTA KILLA: Thank you.

CAPPADONNA: Of course. You know what I mean? And, you know what's funny about that song, because when I did "Winter Warz", La the Dark Man was on there before me. And like I was telling you before, you never know what the end result's gonna be, so I just made it. You know what I mean, I was proud to do that. I just finished it off. I was the last verse, anchor, and I came in hard. Check it out, "Winter Warz".

- Lot of people reached that number out.

CAPPADONNA: Yeah, yeah. 1-6-0-4-9-3-11.

[LAUGHTER]

- All right, thanks, fella.

RICKY CAMILLERI: I'm curious on-- on-- on-- on the first Wu-Tang album, the torture sketch, is now-- is infamous. When I was in high school and college, it was something-- if you had never heard Wu-Tang, you be like, well listen to the torture sketch, and everyone would get laughing. And then you'd play them the songs, and they would, sort of, that would be, like, an amazing introduction to what Wu was. Do you guys remember that? And remember putting that together? And what that was like?

MASTA KILLA: Well, I wasn't a part of the torture chamber. You know.

CAPPADONNA: I don't know if he was there. A lot of stuff came out of the Wu mansion in Jersey and that's where I felt like we did some of our best work. What was the other spot? Morningstar, up there on the top of hill, Wagner whatever?

MASTA KILLA: Yeah, yeah.

CAPPADONNA: We did good working out there. "Ice Cream" and Wagner.

MASTA KILLA: Shell Court.

CAPPADONNA: Wagner College.

MASTA KILLA: Shell Court.

CAPPADONNA: Right. Shell Court, and I did "Winter Warz" in the Wu mansion in Jersey, but the Wu mansion was big. It was big. And we could all be in there together, chilling, working out, watching movies. And I could just be hitting the verse, or I would be sleeping. Somebody's throwing the verse, and we-- It's like we don't have to ask nobody to get on a song. Because we was all there. So I think that was the best time of our recording process. You know, after.

SACHA JENKINS: But it's interesting that you mention that. Because you're saying you're in college, and listening to the torture skit, right. And you-- so you know what they're saying.

RICKY CAMILLERI: Yeah.

SACHA JENKINS: So think about, I mean, all kids joke about things, right. But think about the hyper-violence that is inside of that skit. And then I want people to be able to watch the movie to understand where the lyrics come from. Where, you know, how they express themselves, how it's a reflection of and a reaction to the environment. And so, again, for me, who grew up in these environments, I still listen to the music, it's still powerful, but I hear it in a different way now, sometimes.

RICKY CAMILLERI: 100%, yeah.

SACHA JENKINS: I hear like, wow, some of this stuff is from slavery. Like, we're abusing each other. You know what I mean? Like, we take pleasure in describing the ultimate level of abuse to outshine the other person. And it's creative. There's a lot of creativity in that, right? But there's also another level of it. And I think that can be if you open your ears to hip-hop and really go beyond the pleasure that you get from it, because it is a pleasurable experience, there's a lot of deep meaning. A lot of American history and storytelling that has been overlooked. And that's what these guys, and a lot of hip-hop artists, have done. They told stories from a perspective that is often overlooked.

RICKY CAMILLERI: Like the greatest subversive art. You can experience it on that young, sort of, shocking, titillating level. And then as you grow older, it has layers upon layers of meaning.

SACHA JENKINS: Yep.

RICKY CAMILLERI: Yeah. Guys, I love the series. Congratulations.

SACHA JENKINS: Thank you.

RICKY CAMILLERI: Incredibly well put together, incredibly well sourced. And you guys are just, like, the most fun people to watch.

MASTA KILLA: Thank you.

RICKY CAMILLERI: On screen. It premieres on Showtime. When does the premiere on Showtime.

SACHA JENKINS: May 10th.

RICKY CAMILLERI: May 10th! Everybody give them a huge round of applause for being here. Let's hear it.

[AUDIENCE CLAPPING]

[MUSIC PLAYING]