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In this episode of People's Party, Talib Kweli and Jasmin Leigh sit down Grammy Award-winning rapper, musician, producer, actor, and activist -- Wyclef Jean. This thorough interview covers his ambitious career that influenced and inspired so many with his signature success in pushing the multi-cultural boundaries within hip-hop.
The discussion starts off with Wyclef's move from his native Haiti to the US at age 9, and landing in Brooklyn. He talks about finding his calling to hip hop through battle rapping in the park as a youngster. Clef goes on to speak on the importance of Pras and John Forté to the Fugees and how pivotal they both were to the group's success. He also speaks on what it was like growing up a Preacher's son, and talks about how growing up in both Brooklyn and Newark, NJ influenced him in different ways. They also discuss lessons learned from the Haitian Revolution, Clef's encounter with Police brutality, being determined to change the anti-Haitian attitudes through his success, and uniting Haitians and Jamaicans.
The interview circles back to music and Clef is asked about how he was influenced by underground hip hop and how he knew the album 'The Score' would become such an iconic album. He discusses the genius of producer Salaam Remi and his contributions, reflects on the Fugees break-up and states the advice he would give his younger self during that difficult time. Clef also speaks to how much Reggae has influenced his style of hip hop and performances, and tells us who he feels would be the best possible fit for him in a Verzuz battle.
Later Talib notes Clef's success in remaking iconic songs of the past from any genre he chooses and turning them into modern-day hip hop classics, explaining how he's always been on a quest for musical fusion. He also talks about seeing the enormous potential of Destiny's Child when he worked with them on their debut album, and how Beyonce was clearly destined for greatness. Clef goes on to talk about working with Whitney Houston, speaks on his experience attempting to run for president of Haiti, lays out lessons learned there, and also gets into the collapse of his Yéle Haiti charity, being accused of stealing from the $16 million raised. Clef then talks about working with Young Thug, lessons learned from his idol Quincy Jones, he answers how he balances his Haitian gangster affiliations with stardom, talks about his music company dedicated to seeking out and signing talent in third-world countries, and gives his take on the future of musical fusion.
TIME-STAMPS:
3:28 -- Clef is asked how he finds the motivation to keep working regardless of the level of success. He goes on to speak about the early years of being born in Haiti, then immigrating to the US to live in Brooklyn and later New Jersey. He outlines why he got into hip hop in the first place, battle rapping at a young age as a way of avoiding fist fights. Clef also talks about having the knack for visualizing music theory, and brings up a teacher that had a huge impact on his development, in helping him to understand the importance of learning all aspects of the music business.
7:42 -- Clef describes how John Forté helped shape the sounds of the Fugees' famous album "The Score" and how instrumental he was in the groundbreaking sounds. Wyclef is insistent on giving Forté his flowers, especially for showing him the scruffy, scratchy "New York" sounds and motivating him to get his "sample game up". Talib talks about John being his musical mentor, and how pivotal he was to Talib's career as well. Talib also brings up the term "zoed up" that Clef has used, and asks him to break down what it means.
15:12 -- Clef is questioned about being raised as a preacher's son, and about the traits that children of preachers share in common. Jasmine also asks how living in Brooklyn and New Jersey have influenced him in seperate ways. He specifies the different traits that he inherited from each area, he speaks on lessons from the Haitian Revolution, and Talib also asks if it's true that the Fugees got out of getting sued by Enya for her sample used on "Ready Or Not" because she found out they weren't a gangsta rap group.
20:42 -- Talib asks Clef if he thinks there is some resemblance of the Haitian Revolution to the recent movement that sprang up in the wake of George Floyd's death. Clef goes on to outline the power of the video camera, reflects on his own encounter with police brutality, he goes into how he wanted to change the anti-immigrant sentiments in his neighborhood and make it fly to have Haitian heritage, as well as pushing for the unification of Haitians and Jamacians that have a history of being at odds with each other. They also discuss the importance of learning the policy stances of your local legislators, and the dangers of tribal politics.
30:45 -- Talib states his theory of "if Puffy is for the children, then Wyclef is the Puffy for the underground", he expounds on what he means by that, and asks Clef how he was influenced by Rawkus Records. Clef gives his take on the power of words and Jasmin asks Clef how he knew the album "The Score" was going to be so special. Clef also brings up producer Salaam Remi and explains why he likens him to jazz pianist Thelonius Monk, and tells who Salaam originally intended to give the beat of "Fu-Gee-La" to.
37:09 -- Clef speaks to the misconceptions of his relationship with Pras, he talks about his experience growing up with Pras, the pressure he took on with his role, as well as his vital contributions to their group, and explains why without Pras there would be no Fugees. Clef also reflects on what he would have told his 20-year-old self during the time of the Fugees break-up, and tells what he thought about Talib's song "Ms. Hill".
44:51 -- Clef talks about his strong influence coming from Dubplate Reggae, and how it sparked his interest through the use of voice manipulations and strong focus on storytelling. Talib explains how he changed his performance style after seeing how Wyclef does his shows. Clef shouts out the best possible fit for him in a Verzuz battle in Will.I.Am. He tells how their connection runs deep. Not only does their methodology contain some similarities, but they've collaborated in the past.
51:37 -- Talib brings up Clef's ability of remaking hip hop versions of so many classic records with huge success. He asks Clef which of them are favorites. Clef talks about reaching out to Celia Cruz to get her on "Guantanamera", and Kenny Rogers to remake "The Gambler", and how he was always on a mission for musical fusion. Jasmin also asks how he knew Destiny's Child was going to be such a huge success when he was working with them on their debut album, and Talib asks Clef if it's true Shakira's "Hips Don't Lie" was originally intended as a Fugees song.
1:02:09 -- Talib talks about sitting with Dave Chappelle while he had Whitney Houston's "My Love Is Your Love" on repeat for over an hour, a track that Clef wrote and produced. Clef proceeds to tell the story of how the record came to life after a visit to Whitney's home. Clef is also asked if he would ever run for president of Haiti again, and to outline his journey of being one calling for social change to someone trying to enact it through running for office. Clef lays out lessons he garnered from being involved in politics, and illustrates some of the things he saw in his native country that still make him cry.
1:10:58 -- Clef is asked about his Yéle Haiti charity and it's collapse after years of accusations of mishandled funds, which amounted to a reported $16 million following the 2010 earthquake in Haiti. He's asked what lessons he learned from that experience, and what advice he can share with others having ambitions of fundraising on such a large-scale, especially black celebrities.
1:16:12 -- Clef speaks on visiting Sweden to meet up with DJ Avicii to make a record after his Haitian presidential campaign was disqualified, shares some lessons learned from Quincy Jones, talks about working with rapper Young Thug and explains why they made records titled Wyclef Jean and Kanye West, then makes his way to telling how he introduced DJ Khaled to Santana to get the blessing for his sampling of 'Maria Maria' for 'Wild Thoughts'.
1:23:01 -- Clef is asked about his relationship with the iconic Quincy Jones, who he calls his godfather, how Clef used Jones' career as a blueprint for his own path, and to outline how they met each other. He explains why he idolizes Quincy Jones, and states some important lessons learned from the legend, stating "he reminds me of who I am". Talib also asks Clef how he balances his Haitian gangster affiliations with being a successful pop star. Clef explains how it comes down to operating as a leader when moving in those circles.
1:31:40 -- Clef picks up his guitar while Talib asks him if he has any further desire to pursue more acting roles. Jasmin asks Clef about his enrollment in Berklee College of Music, and if he encourages other aspiring musicians to pursue higher education. Clef responds with how much reform is needed to curb the huge problem of student debt in this country, and tells about his company Carnival World Music Group and it's focus on signing talent out of Africa and other developing countries.
1:35:24 -- Clef is asked about his cover of Nina Simone's 'Ne Me Quitte Pas', and what made him want to cover that record. Jasmin also asks if it's true that Maxine from his song 'Perfect Gentlemen' is now a doctor. Talib goes on to ask Clef if he feels the mp3 music file format is becoming obsolete. Clef speaks to how he feels like the future is a new form of stereo, expands on what he feels is the future of fusion in the cross-pollination of music genres as he outlines why he feels hip hop has stood the test of time.
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