Jesse : Please introduce yourself to everybody around the world and tell them a bit about what you do.
Shing02 : Well my name is Shing02. I'm an emcee and I also produce. I work with live musicians and DJs and I also play the instrument called fader board and three jazz trio Cosmis renancesne which I have been working on for the past few years touring in Japan and also the United States. And other than that I'm working on studio projects producing for other people like Peace and fellowship and working on my own solo project as well.
Jesse : Let's go back in time before you became an artist. How was the first encounter with hip-hop like for you? How did u discover the whole culture?
Shing02 : It wasn't until very late in my teens that I discovered hip-hop as a culture. Or rather I lived in a place where hip-hop had a real scene. I grew up in England when breakdancing was a big boom but I wasnt introduced to hiphop as a culture until I went to Berkeley in 1993. Up until then I was just a casual listener, just a hip-hop fan basically in high school listening to radio and following what's going on.
Jesse : What was it to you about hip-hop that made it so special in the beginning, like different from other types of music?
Shing02 : Definitely the independent aspect, the very do-it-yourself ethics of creating your own artwork, magazines, whatever it may be. I just love the part that everybody chips in their own unique talent and it may not necessarily be for a product to sell but everyone just doing what they love to do. And that's how I was taught, and I was very fortunate that there are a lot of original people in California and they really respected the elements, the cultural part and the education part. And where I lived in Oakland, a lot of people are still politically very educated. Cos our parents when throuhg the civil rights movements and everything comes natural to our generation in the Bay. And at the same time when I moved to berkely in 93 that was when Hieroglyphics was making a big impact in hip-hop and it was just really exciting to see that happen in front of your eyes, local people making it big. and you see a lot of local people freestyling on the street. ppl selling casettes and all kinds of things going on. now that I look back on it it was a very special time during 1993 and 95 or 96 where everyone from Living legends, Hobo junction, Hieroglyphics.. they were actually on the street doing things and you would bump into them every single day. Now you don't really see that on the street where it all happened.
Jesse : Do you have any people that you look up to, people who inspired you back then who inspired you to write lyrics, do music?
Shing02 : Well definitely back then besides listening to records, the people that nurtured me personally was (Del?), and I had a couple other people of course Mystic Journeymen and Boss One that really worked on my craft. And then eventually I started hooking up with people my age, and some people from my school, and then I met japanese DJs and it kinds spread like that. But first time I started out drawing, thats how I met Del. I gave him a drawing and then he asked me to translate some things, some instructions for video games or sometihng and thats how we became good friends.
Jesse : Do you still remember the first album you ever bought, or some of the first?
Shing02 : No I don't recall, I don't keep records. I know its a very generic question but it must be sometime in high school.
Jesse : How did it happen for you and when did it happen for you that you decided to make it professionally like look for a record deal, make your own labels and stuff like that?
Shing02 : Well there really is no one moment, that's something that I still work on every day and I really mean that. cos it really is tough for everybody to survive to making music and pay your rent, some people are fortunate enough that they dont have to make money to make ends meet but most of us do. And a lot of people in the Bay area they actually have second jobs to support their music and theres nothing wrong with that cos sometimes it makes them a better musician if you work during the day. I'm jus forutnate to be able to work with people and tour and stuff like that, but as far as making ends meet it's still very difficult.
Jesse : Before you started emceeing did you ever think about doing any of the other elements, did you ever think maybe I want to be a graffiti artist or DJ?
Shing02 : Yea I always had interest in everything, definitely. I guess not just emceeing but when I statred making my own music, being a student of music was a very big task. Just to be able to create something new, just to create a whole end product all by itself you really have to learn the music, not just rap. Eventually that kind of took over all my interest. At first I was interested in everything. You would make the beat, do the recording, next thing do the cover art, do the layout and go to print, evreything was fun and still is. But I definitely got more focused on recording. But I still like to draw and I still go to bboy practise every now and then.
Jesse : Do you do capoeira by the way?
Shing02 : Yea a little bit, but not you know, music capoeira, not full time. I trained for about 2 years a long time ago but now I haven't be able to do it.
Jesse : Same for me I did capoeira for 2 years. What were you doing before you started getting into hip-hop, what were you thinking of going to be when you grow up before hip-hop? Something that you think you might be doing now if it wasn't for hip-hop ?
Shing02 : That's really tough to say. I like drawing and stuff, and I took engineering in college. When I was in college I would work sometimes day jobs to make money, doing translations and doing technical stuff. But I was never sure, what I would be. And even now making music, I'm still figuring out like what it really means to be a musician. It's a very deep thing you know. You can take it as deep as you want. Some things start very small but when you open up the opportunities, things really do get bigger than you expect. For example I was reading a book called Can't stop won't stop, it's a history of hip-hop and politics, and I read about how Public Enemy got started. They weren't an army from the start, at first they were just guys that got together and they came up with the logo but eventually they became exactly that they represent. They actually became super politically charged. The same with M.I.A. when you start talkin about certain themes, people respond to it, and sooner or later you're gonna have to step up, become, be what you talk about. Im still like figuring out how all that process works. So in other words, your profession is what you make it, what you decide. Even if you just rap, thats a very broad term, what you rap about is definitely more important than just being a rapper.
Jesse : What's the story behind the 02 in your name ?
Shing02: Initially it was just a graffiti name, my real name is Shingo and 02. Phase 2 kind of thing. I just had this thing with numeral 2, I just liked it better than 1. And that's how it got started. I wanted to keep it simple. And as far as spelling it 02 I just wanted to make it unique so it's a lot easier to search. So it's not just Shingo and then number 2. It's kind of helped me to separate myself from all the other Shingos in the world. It really has.
Jesse : So you've always had the name from the beginning, you never had any other names when you were starting out?
Shing02 : No I never really thought about it. I started with the name Vector Omega that's my production name. That's really about it.
Jesse : Do you have any special memories from around the first time you had to do a live show? How was it like thinking about it now?
Shing02 : Looking back to some extent to this day, I definitely was not a natural performer, I was more of an artist than an entertainer so I was really nervous. Now im getting more of the hang of it. Just to really pour everything you have out to the audience, no matter who it is, no matter where it is, no matter how old they are. Definitely when I first started I was very nervous just to get up there.
Jesse : How would you describe your music to those people who haven't heard anything yet in your own words?
Shing02 : It's really up to the person who listens to it. Sometimes it depends if the person has knowledge what im saying in japanese or english. Because my style really changes depending on the song, I just try to listen to the beat and do whatever that fits the beat whether its my project or somebody else's project. Nowadays im getting more into working with live sounds so no sampling for me right now. im doing a lot more arranging and trying to really compose. So that's kind of what im interested in right now. I definitely listen to a lot more dub music, and jazz music and hip-hop right now, looking for inspiration.
Jesse : Out of all the tracks you done do you have any tracks that have very special meaning to you, thats something like a personal favorite for you?
Shing02 : I don't know it changes from time to time for me. Sometimes I might forget about a song and listen back to it and then kind of surprise myself. Some songs you get kind of tired of it but when you do it live and people like it, you get kind of like a fresh start. Like that Luv sic song, I've done 3 versions of it and people really like to listen to it live. Sometimes I don't feel like doing it but when the beat comes on its like right back to when I first did it. It's really like an emotional respsonse. For my sake I always need to be making new songs cos I never want to always be stuck doing old songs just for the crowd but you gotta keep the balance. Cos I have the same experience being an audience, if I go to see someone famous and I know their songs, I do want to hear the song that I like and I want to hear new stuff too so you gotta do both.
Jesse : How is hip-hop like a lifestyle for you? How would you say it affects your everyday life?
Shing02 : I think hip-hop as far as the culture part of it, it's really taught me to really break down whatever you take in and really try to understand the history of things, how things evolve, how you need to work on your own craft to contribute to whatever you're participating in. I think the whole spirit kind of elevates something giving back to the culture that what I've learnt and I try to apply to my knowledge growing up. Overseas and being Japanese, trying to turn my experience into something different. I think that's really important. To try to make an effort to do something new, not just to emulate some other people.
Jesse : When you're writing or producing tracks, what inspires you to do it even when you're feeling down or times are not so good? Where do you draw inspirtaion from?
Shing02 : Definitely comes from just the whole struggle of eveyday life really. cos thats as real as it gets for me. but you have to turn it into a positive expression even if you have your negative feeling, thats really important too. thats why music is beautiful. You can be talking about something crazy or really negative but you can make it sound good. It's not just you complainig on a record you can really make a good song. If anything hip-hop started out that way.
Jesse : What would you say are some key elements to the music that you want to maintain until one day you cant make music anymore? Something that you will never agree to change about your music?
Shing02 : First and foremost the musical part has to be good. I definitely want to make a track that I would like to listen to with or without the vocals. Once that's established, I would write to the beat that will enhance the feeling inside the music. that in itself is a lot of work, its almost like writing a book to me. it's not like writing a freestlye rap over a 4 bar beat. that's my stlye, that's why I enjoy doing it. Of cos I can freestyle over some club beat that's fine too but as far as trying to put it down on record for pople to listen to, it really takes a lot of time. its almost like making a film, cos you could really spend that much time on it if you want to. You know try to get the original sounds and esp the engineering part takes hours. It's not a whole lifetime to be a good engineer to learn about electricity and cables and parts and recording techniques, microphones, all that. But I definitely got interest more into that technical aspect too. so everything comes into play for me. And the reason I dont sample anymore its not just because I hate sampling. It's just that once you start thinking about it, some of the samples that sound good its not just the musician job its the studio engineer job, and everything from the micrphone to the cable that they use, that's what so special about the sound. If you really get into music you would naturally be more interested in trying to recreating it yourself than just borrowing it. So that's what I'm on right now.
Jesse : Do you have any dream projects or collboations that you would like to do?
Shing02 : Not really right now im just finishing my own album. I did finish 2 tracks with DJ Krush last couple of months. Thats for a benefit project for Africa that his management is doing. That was a real dream come true for me right there. cos even tho I had known him for awhile, it took awhile for us to work together. I really really respect him as a musician and a DJ. Other than that, just creating my own album right now. We're also trying to finish up (piece's?) album right now.
Jesse : Throughout your career have you had any funny experiences that have happened to you on tour or done by some fan or things like that?
Shing02 : Sure. A lot of episodes along the way. What kind of stories do you want to hear? (laughter)
Jesse : Funny?
Shing02 : Funny? Does it have to be funny? (laughter)
Jesse : Or crazy. Something that would be interseting to read?
Shing02 : Well I guess that one time I performed in Bosnia. That was a really different experience. Most of the city, especially this place (Moscar??) that I went to was still in rubbles, bullet-holes everywhere. Frightening. But the night we did the show, afterwards people told us that the city was still divided in two, different ethnic backgrounds but that night a lot of people were mixed and people were happy just to come to that show and it was like a different experience for me so that was almost like a Wildstyle moment. It really was for them. Just to listen to kids my age that were in the war just few years back, just really killing people and just coming out of that, a lot of kids wanted to speak to you, to tell you about it. Stuff like that made me realize a lot. That's deep.
Jesse : Well since we're in Japan, what do you think are some of the serious problems in Japanese society right now that maybe someone should rap about, someone should tell people about it?
Shing02 : Japanese society?... That's a tough one you know. There's definitely good things and bad things about certain customs that people really need to change. Just the way people communicate, and the way people create work for each other. Sometimes people just do it out of practise not really thinking about how it's going to help people. People really need to start talking and thinking about the essence of work, not just to get each other fame, you know what I mean? Everything is too commercialised. So in that aspect I think America and Japan are very similar because of the capitalistic pressures people have, and expectations. From what I hear, and when I talk to people, seems like everyone is struggling in Japan. It's supposed to be a rich country but everyone is struggling, like why is that?
Jesse : A lot of depression everywhere.
Shing02 : Yea not just economically depressed, some people are mentally depressed too (laughter). That's crazy, it really shouldn't have to be like that. A lot of young kids that come to me after listening to my music, they have a lot of issues and stuff. You just have to get a lot tougher to survive, that's for sure. That's what I try to express with my music too. Try to figure out a different angle to analyze the situation not just accept everything you see in the media. Cos as critical as I am, after listening to a lot of hip-hop and living in the Bay area for 15 years, now I'm able to understand certain things but if you're just in one place and reading the papers and watching the TV and your parents are reading the papers and watching the TV and they believe everything, it's really hard to break out of that. You're really literally brainwashed by everything you see out of the official media, it's not worth mentioning or it's false. Completely false. But it's really not like that. And young people are starting to figure out that oh ok, just because it's not in the news doesn't mean that it's not true. That's true with anything. All the information you get about food or music...
Helen : Yea you don't need to believe everything.
Shing02 : Definitely don't. I think now moreso than 10 years ago, there's more validity to that way of thinking. Before when you would say don't believe everything you see on tv, it was more of like an extreme attitude. But now young kids they already know that. Don't believe everything you see on tv or you can just google it and find 5000 other kids talking about it. That's a big difference now. Before if you would say that's not really true that's on the news, everyone will be like yea right you think you're smart. (laughter) Now that's not really the case.
Jesse : People need to start forming their own opinion.
Shing02 : Exactly. That's so important. Now at least you have 2 options. You have the mainstream opinion, and the alternative opinion. And you can decide yourself. At least we have an option.
Jesse : There's also a lot of people now that just take a line from internet or tv or something and then they spread the line around like its their opinion but actually they just heard about it..
Shing02 : Exactly. So, there's people all only stuck on this and there's people stuck on the alternative side too. Never trust the mainstream information. You just need to have a balance.
Jesse : It's like with hip-hop now, people say lyrics are the most important thing in hip-hop but then they listen to G-Unit or Nelly or something like that, it's like, who are you kidding?
Shing02 : Yea even music too you can't just criticize party music just because its not intelligent. There's always gotta be a balance. Party music and political or conscious music. It doesn't have to be one or the other.
Jesse : It's all music after all, it's up to you if you think its bad or good.
Shing02 : It's definitely all relative.
Jesse : If you could teach something to the kids out there something about hip-hop music or hip-hop culture that people don't normally realize, what would you tell them?
Shing02 : It really depends on how you define hip-hop because it just means so many different things right now but as far as the hip-hop spirit, how it started, from the Bronx and stuff like that, you really have to respect what it means to have a hip-hop community. It's not really about individual success or competition or commercialism, but now its the complete opposite of how hip-hop started. I guess people are ok with it, it's crazy.
Jesse : Nobody knows who the originators are anymore. People just think its rap music, they have no knowledge of the other things like you look at the bboys now dancing to techno music..
Shing02 : Yea I don't want to criticise the people out there who don't necessarily take the time to study, that's their choice. There's nothing wrong with that. There really comes a time when you have to understand the source cos hip-hop was born out of other forms of music too. Hip-hop didn't necessarily invent itself
Jesse : Funk and soul..
Shing02 : Definitely right now hip-hop is like 30 years old, always changing. It's just like a phase. Everything is a phase.
Jesse : Hip-hop is probbaly the one genre that has evolved the most since the beginning, all the different types of sounds. For a lot of people its very difficult to say anymore what is hip-hop cos theres all the hiphop bands with emcees and jazz bands with emcees... What about the hip-hop industry now, what are some of the problems you had to face?
Shing02 : To be honest I haven't really spent much time dealing with the industry so I really have no comment on that.
Jesse : How about the music in general, what do you think are some of the problems that people should try to change
Shing02 : Generally speaking, I do feel that whatever craft or instrument, musicians should have more ways to make a living than how it's set up right now. Everything definitely is too commercialised, for sure.
Jesse : Are there not enough options for musicians to get heard?
Shing02 : It's really tough to say at this point in time but major labels are definitely bracing themselves for the worst right now, people are really not buying as many cds as before and it's really hard for them to maintain their overhead. before it was like monopoly. But now people are finding creative ways to make their own music and distribute their own music, stuff like that. So the game is definitely changing. I really do feel that for example, in Japan, I know a lot of really really good musicians that just aren't hooked up with the right people and it's really hard for them to make a living. I know good bands that already got a CD out and it's really good, but somehow its very hard to keep their overhead up, keep their business going and make their music at the same time because all the big labels have too much power right now with the retail shops and the clubs cos they have the resources to pay for everything. And everything is too information based, magazines, people are literally buying space just to catch the information. And when you get caught up in that race, like indepedent people really waste too much time thinking about how to get my info out there rather than concentrating on their music. It's very unfortunate to see that happen. if you make something very very special there might be other ways for it to blwo up if you took it overseas for example, there's definitely other ways than try to climb the ladder that someone already set up and theres people waiting already just to get head. you don't have to skip that line you can go somewhere else and start your own thing but right now everything is too centralized. And you can say the same thing about United states too. All the media in New york and magazines and this and that, just got too much power.
Jesse : How about the Japanese hip-hop scene, what do you think about nowadays in general?
Shing02 : I really have no idea (laughter). Cos im so away from it and the people I deal with here, some are emcees and producers too but they are just individual musicians that I work with. I really don't see myself as part of the Japanese hip-hop scene.
Jesse : Do you see any major differences in Japanese hip-hop compared to American hip-hop, lyrics wise, production wise.
Shing02 : Sure, big difference.
Jesse : What would you say are some of the differences.
Shing02 : This is not just about hip-hop, just the depth of characters in general. You got a lot more crazier people out in United states than Japan. A lot more unique people out there, not just talent-wise. There's a lot more going around in America, I think. Kids are exposed to a lot more things at a younger age, not just music. They go through a hell of a lot more than kids that are brought up here, so I think there's a different. It's almost like major league baseball and japanese baseball. It's different you know.
Jesse : Like a passion thing
Shing02 : It's more like NBA and japanese basketball, I think it's that much different. (laughter)
Jesse : That's very different
Shing02 : Cos you can't beat the NBA, you got superstars from around the world. And of course if somebody from Japan was really that dope, he would make it in the United states too. And that's how I feel about DJ Krush and few other people. Even Afra. If he went to United states he can rock the house any day, that's real talent. He doesn't need to worry about where he's from.
Jesse : I'm curious since we are going everywhere in the world supporting artists from different countries, who are you listening to outside of Japan and America
Shing02 : Hip-hop wise?
Jesse : Yea hip-hop wise right now.
Shing02 : I really don't have any in my collection. Some people gave me some hip-hop music from Mongolia and stuff like that. I seen a whole documentary on Mongolian hip-hop too, it's really good. And one of my friends from Yugoslavia, he was schooling me a lot about how a lot of people in Eastern European countries are using hip-hop to talk about their civil war, really crazy stuff. Same with Brazilian music too, and Cuban hip-hop. I'd say even though I just mentioned that American is kind of like the elite in certain sports and stuff like that, but right now there's definitely a lot more interesting stuff going on outside of America. As far as the youth, I think it's really starting to show.
Jesse : Talking about other countries in Asia, what do you think that other countries around here need to do to build such a strong scene like Japan has done in the past 20 years?
Shing02 : For the most part, Japan is still very much influenced by New York style hip-hop and MTV style hip-hop I would say. But it's just that theres a lot more population in Japan so naturally there's a bigger underground scene as well. I would like to go to visit other Asian countries. China has a lot of population (laughter). I heard they have problems of freedom of speech over there, crazy man. You can get jailed if you say the wrong thing. You can say whatever you want I heard but if you get to a certain level then it's dangerous.
Jesse : What would you like to see in hip-hop in a few years, lets say in 2010. what would you like to see happen in hip-hop culture or music wise?
Shing02 : Kind of what I've been saying the whole time, but I would definitely like the music to be richer in texture not just digitized simple beats. I would like the music to be better for listening purposes. Right now things are just way too simple.
Jesse : People are not using the whole potential of hip-hop
Shing02 : Yea or music. If you have powerful music with powerful words you can make really good stuff. Right now it's geared too much towards club scene and the radio heads and they are not really interested in getting out good songs. The format is so generic. I would like the format to be diversified.
Jesse : What would be your advice to all the future emcees and producers?
Shing02 : I would just say that it's always a good thing to have diversity, keep your mind open so you dont get stuck in one thing. Do't be afraid to change and always take time to study the right things. Once you get to a certain level, you have to do things hands on, not everything automated. You can apply that to so many diferent things that you never thought you would be able to do. I would say in the hip-hop context, don't worry about what hip-hop means. As long as you continue the spirit it really doesn't matter what style you do. Just be diverse. Making music is a lot like cooking, it's all about picking the right ingredients and knowing how to cook things, how to put them on the dish nicely, it's all about presentation and how much love you put into it and who you share it with. Just do it your own style, it doesnt have to be unbalanced. So start cooking! (laughter) Don't just eat processed microwave food and fast food.. grow your own food. Thats my recommendation.
Jesse : Tell everybody more about what you're doing with Empire22? What are the projects you guys are doing?
Shing02 : Initially it just started as a concept, as a group of artists. Right now it's still like a loose network of people and kind of these virtual projects that I have going... some art projects some political projects. And I have a lot of things that are still in the works. Some are going to be more education about music, more about skills and stuff like that, and some are going to be more about connecting. More social work, social consciouseness like food and stuff like that. Last even year I came to Japan for the sole purpose of cooking at a university festival. We even did a whole workshop with me and my friend Ras Takashi, we just talked about the state of the world, the enviromentalism and food and music... that's the kind of stuff I plan on doing. Archive those meetings and have people be able to read it. Some of the issues I feel are just so broad that it's just not up to the artist to talk about certain things... it could get out of hand very quickly. But sometimes it means a lot more to people when it comes to musicians and artists and not just people who are a lot older, people from the academic side. That's what we plan on doing, kind of share the knowledge.
Jesse : Have you completed the Y Songs LP already?
Shing02 : No
Jesse : That's why it was delayed?
Shing02 : The truth of the matter it was never set for release even though the album title was out. I never told anyone that it was gonna be out except last summer I said that people are going to be able to start hearing tracks online. I already put out 4 songs online but its definitely still a work in progress.
Jesse : What can people be expecting from it?
Shing02 : Definitely a lot better arrangement, live instrumentation... more dub influenced tracks. Lyrics that really match the song. We'll see we'll see... it's still being made so I really can't give a complete analysis.
Jesse : How has it been like for you as a Japanese artist in America, how has the reaction from the media and people. have you gotten any stereotypes from the people and all that?
Shing02 : Not particularly. Especially where I live they are very open top diverse backgrounds. Like DJ Q-Bert is Filipino... and if anything people know that I work in Japan as well, not just living there. So it's cool.
Jesse: Since you had the chance to go over the world do you have anything planned with any emcees or artists from outside Japan and US that you would like to work with?
Shing02 : I don't have any particular plans as of yet I haven't been anywhere near travelling around the world, I would like to go everywhere eventually, not just music but I would like to see a lot more than just gonig back and forth, Europe US and Japan.
Jesse: You're doing the tour with M.I.A. now, how did you meet up with her, how did you 2 hook up?
Shing02 : It wasn't with her personally, I kind of knew her through a friend so now we're cool on that level but that just happened through a promoter in Japan. I was very fortunate for that.
Jesse: Do you have any things that have happened in your career that you would call as highlights of your career? What are the things you would consider that are the nicest things?
Shing02 : Uh shoot.. again I don't want to sound generic but a lot of small things. It's almost like, im 30 years old now I've been doing it more than 10 years and when I look back on it I'm really amazed at how many younger kids support what I do. To the extent where they listen to my album a whole lot more than I do. It's crazy... and I hear a lot of episodes.. it's wild man. Some people have shared my music and lost their parents and some kids who were really into my music actually commited suicide. Extreme drama happens man, people tell me those things. It's really crazy like your creation is part of some kid's drama. (laughter) That's something you never expect. But those things can really shock you... every now and then. So what I want to say is that I really take it seriously. I enjoy every bit of it but I do take it seriously. That's just my style, I can be funny if I want to... that's already funny in itself, to say that. It's serious stuff, and if people don't see the comedy in that.. cos no matter how serious the subject is you really have to keep the distance from you and your work. I try to keep that perspective so I dont take myself too seriously cos there enough serious issues out there that people need to talk about. Since I don't take myself that seriously I dont really mind what people think about me. Cos those issues are still on the table no matter what I do or say.
Jesse: What are some of the stupidest or craziest things that people have asked you in an interview?
Shing02 : Besides this question? (laughter) Well since most people know that I'm very serious, I dont really get that many dumb questions. (laughter) I'm really fortunate for that.
Jesse: Time for shameless advertising, please share with everyone all the future plans you have right now?
Shing02 : Right now as I already mentioned I need to finish my studio album, and over the years I'm still gonna keep doing the live jazz thing playing synthesizers and cutting it up with mixer, whole new style. I feel I'm doing something new with that, and the fader board too. Kinda spread the fader music, bring that into the live situation. Keep progressing with the whole production part. Definitely for a few years I just feel I was stuck creatively, but now I'm back on track.. just takes time.
Jesse: Say something to all the people who after reading this interview are going to listen to your music.
Shing02 : Are you really going to dictate everything today? It's a pretty long interview (laughter)
Helen: Yea
Shing02: Then I would say thanks for reading this long interview, and don't sit in front of the computer too long. Peace out.
