Dirty & Stinkin': Memories of The Ol' Dirty Bastard

By Ridten Thautz

Dirty & Stinkin' is a story of how I became affiliated with the mega-group Wu-Tang Clan & The Ol' Dirty Bastard. Also, some in-depth perspective into the misconception of The Ol' Dirty Bastard. He was one of the nine members of the group '10 including Cappadonna' and definitely the most colorful. The purpose of this is to shine some light onto a side of Ol' Dirty that some people haven't seen or heard about. The media has always depicted him in a very negative light. Almost making him appear to be a psychopath. I've spent a substantial amount of time with, and around ODB. He was not the person projected by the cameras. He was a wild dude, but that was just a part of him. This is a story of my interactions with the 10 men, and what I've observed throughout the years. I have the privilege of being Wu-Tang affiliated through my cousins Mook, as well as Masta Killa. Hopefully, by the time you reach the end of this book you'll see ODB from a different perspective. You'll also get an inside view into the legends of the Wu-Tang Clan, life on the road, and some truth. Enjoy the book.

Peace and continued blessings.

• Language: English
• Publisher: Ridten Thautz
• Release date: Dec 2, 2019
• ISBN: 9780463972045

Ridten Thautz

Ridten Thautz was born in Brooklyn N.Y. and raised in Ocean Hill Brownsville. One of six children, Ridten became creative in graphic arts as a child. Ridten became an Author as an adult, but the writing actually started at the age of 10. He used it as a way to express himself, and take breaks from the mundane. In the beginning, it was just poems. Later, in his early teens, he began to write lyrics as a local rapper.The early adult years were spent working as a Waterproofing Mechanic. Then working as a civil servant for NYC, and then for NYS until retiring in 2011. During the '90s into the 2000's Ridten was affiliated, and periodically traveled with a world-renowned rap-group called The Wu-tang Clan. He was an A&R, and then VP for P.Y.N. Records in its infant stages. He will always be a "back door operative" for P.Y.N., it's a family business.Becoming a Dad, and other things took Ridten away from his desire to write for a long time. The wisdom he's acquired over a vast period has resulted in years of interesting information. Information that is now, being presented to you, in a useful and uniformed package. Ridtens goal is to share useful information about all aspects of life. Bringing you the facts, and at times his personal points of view.Ridten has seen, and experienced things that some may never (nor is it advisable to) experience. He's sharing those experiences through his books, helping others avoid identical pitfalls, or unwanted situations. Writing is also a good way to for him to give back some of what he's learned. While at the same time, enlightening some people.With that, I hope you will enjoy my work, and support the movement of spreading useful information. Sharing viable knowledge will expand minds globally. Through this, people will become more conscious. A conscious mind is a strong mind. A conscious world is a step closer to tranquility. Tranquility is a step closer to paradise. Respect and love to the people, and always love yourselves.Peace & BlessingsThank You,Ridten Thautz

Book preview

Chapter I

Entering the 36th Chamber

It's been quite a few years since we abruptly lost the Ol' Dirty Bastard. I'm sure it feels like an eternity for his family and those closest to him. I keep a cd in my car (yes I'm triple old school) of all my favorite ODB songs like "Dog shit, Black Widow, Rawhide..." the list is long. And they always sound far superior lyrically, when compared to this new stuff these guys are calling hip-hop. I also like some songs ODB has done with producers outside of the Rza.

His best work though in my opinion, was done when he rode on the Rza's unorthodox, red Lamborghini Veneno style of production. Dirty's unique style and seemingly mangled dialect was almost unearthly. His subliminal and metaphorical darts, wrapped in that Brooklyn slang was groundbreaking. I'll even go as far as saying it was true genius. Some may beg to differ, but you'd have to understand how I define genius before debating that.

In regards to music, my definition of genius is as follows; Anything that's much different from what the masses are doing. Or, something that can't be reinvented into anything else. I'm speaking about people who make music that's so original, it becomes timeless. When the play button gets pressed 50 years from now, it's acknowledged as a classic. In that respect, the man was a genius. Collectively, the entire Wu-Tang Clan have created something historic.

They may not even realize it, but their contributions will stand firmly in history for all time. Not many emcees can make that claim. The Wu-Tang saga still continues today, and I believe it will continue to exist for a long time to come. With that, I'd like to state that I wrote this book from my memories of the ODB. Aka Ason Unique. Aka Ol' Dirty, Dirt McGirt, Big Baby Jesus, Osiris and also known to his family as Rusty, or Russell Tyrone Jones. If I've missed any other aka's, sorry. It's been a little hard to keep up with all of them.

Now, I'm going to get into how my connection to the Wu unit began. It was 1990. My Dad had went back to the essence (transitioned) almost a year earlier. At his funeral I met, and was reunited with many of my family members. Some, I haven't seen in decades. Unfortunately, I haven't seen many of them since. But that's just how it is sometimes. At the funeral, my cousins Brenda, Mook and my Aunt Sallie were some of the people I was reunited with. We exchanged numbers so we could stay in touch.

I remember when I was a child. Our uncles and aunts visited each other all the time with us little ones in tow. We got to see our families all the time. We become adults, and that contact becomes significantly less. Everyone has jobs, families etcetera to deal with. But family should always stay in touch. It's become easier to keep up these days though. Everyone has a desktop, a laptop, smartphone or some type of electronic device. If not, you're probably in your '80s and scared of technology.

Anyway, Brenda was living in Brownsville near my old hood. I'd stop by her apartment in Marcus Garvey with her brother Cal whenever I was in Brooklyn. She always had a story to tell about my Dad, Uncle Pete. Some of them made me laugh because they revealed things about him I didn't know. Others would make me miss him. Mook had moved out to Staten Island, so I didn't really see him that often. He was working for MTA and doing other things when Wu-Tang started to formulate.

I used to throw javelins (emcee), but never got deep into it. I'd jump on the mic at block parties and house parties. But producing music was where my true interest really laid. I'd play stuff for Brenda sometimes to get her opinion on what I was doing. Hip-Hop was starting to become what we know today as rap music. Record labels were not checking for the rugged type of reality lyrics I was experimenting with. And positive rap was on its way out of the back door.

I was telling all this stuff to Brenda one day. That's when she began telling me about the plans that Rakeem had on the table to create the Wu-Tang Clan. I told her that I was familiar with his work on songs like "Oh We Love You Rakeem" and others. I heard him mention the wu-tang slang in a song called Sex Capades back in 1991. That was a hot ass song for its time. I was also aware that he was having some issues over at Tommy Boy Records back then.

The media was openly discussing details pertaining to a pending attempted murder case against him. A charge that he fought, and was found to be not guilty of. I read later that a label called Cold Chillin Records was giving The Genius, aka The Specialist, a headache over there as well. Those labels weren't ready for what these brothers had to offer. I admit, I didn't grasp the Wu-Tang concept immediately either. But once I heard the music, I totally understood that shit.

I was an actual student of Kung-Fu and Taekwondo as a youngster. We trained in the old meat factory on Sumpter St.. Getting up early on Saturday mornings, we trained hard with Speedy and Crazy Johnny. It was dope. I was a big ass fan of Jim Kelly, Bruce Lee and my man Bolo. Those were some good times in my life. Anyway, maybe five months had passed before Wu-Tangs first video aired. Protect Ya Neck was the song that sewed it all together. The Wu-Tang concept, combined with that gritty ass music, had my full attention.

As I stated earlier, the Rza mentioned his wu-tang slang in "Sex Capades" in 1991. He took that slang and turned it into a multi-million dollar machine by adding all of the necessary ingredients. Taking it from some words in a song, and making it an actual movement by 1993. I was a little tempted to spit some lines for Ra' a few times. But, as I said earlier, I was done with rapping. Although I would've only gotten better with all the skilled marksmen I had around me.

The only brothers in the unit that knew I could throw darts were Mook, Doogie, Timbo King, Trigga' from MMO and my dude Mikey Mike Pepp Jarrett Jr. (R.I.P.). My career wasn't moving very fast when I was in the game. And I was truly more than ok with that, but hold on a minute. I have to back the story up a little and give you some real hip-hop history before moving forward. You'll have a much better perspective on my love for this music afterwards.

I come from a time when that vinyl was being cut and scratched on two Technic turntables. Gemini mixers and Ass-Kicker bass bottoms were crippling eardrums. For those who don't know what vinyl lp's are, google DJ Scratch or DJ Jazzy Jeff. Most of the brothers jumping on the mic were from the surrounding areas. Those gatherings brought out the best, and the worst emcees. We engaged in verbal warfare instead of shooting, stabbing or beating each other to death.

This was the new agenda. MC's getting busy, but the DJ's were the headliners. There was Cool Herc, Grandmaster Flash, Grandmaster Caz, DJ Flowers, DJs App & Sidney B and more. The DJ was the main part of the set back then. Some were known for their sound if they pushed massive amounts of watts. Others were known for the records they'd play, their scratch styles and things like that. Emcees back then actually saw themselves as a voice for those who didn't have one.

Unlike today. Most rappers speak as though they're the only ones who should, have a voice. They've forgotten, or don't even know the history of the music. Time definitely changes things. I remember when the cops would shut parties down. Not always because of the loud music. 98% of the time the power was coming from an illegal connection to a street light. They'd also come out at times because idiots brought their squabbles to the park. Then thought it'd be cool to shoot up the place. Putting everyone's lives in danger that just came out to have a good time.

I'm from the Ocean Hill-Brownsville/Bushwick and Bed-Stuy cluster. It's deep in the belly of the borough of Brooklyn. It's where some of the hottest DJ's rocking back then in BK were from. You had DJ Flowers, DJ App & Sidney B (mentioned earlier). DJ Master D (MacDougal St), DJ Lance (known as Master D) and my man DJ Lee from Starr St. had the Bushwick side of town lit. So did my cousin Glen, aka Master G from Jefferson St. My boy Gary and his team from the Tilden Houses known as The Dance Masters, also did their thing representing Brownsville.

There was a basketball court called The Hole where some big ass games used to go down regularly. It was Brownsville's version of The Ruckers games played up in Harlem. When there were no games being played, The Dance Masters would play music for full capacity crowds out there. Sometimes when games were going on, they would provide the entertainment. On that note, I'd like to take a minute to say R.I.P. to my man Shorty Dog. And, give a salute to Smitty, Scooter, Gene and Gary. Though they aren't mentioned in hip-hop history, these brothers played a major role in Brooklyn's hip-hop history.

I needed to see what everyone else was doing, so I'd be in the other boroughs regularly. All by myself, just checking out sets. I have family living everywhere so I took advantage of that. I'd be across town in Marcy Projects with my friend's cousin Tony. He had a homey that they called B-Man from Marcy. He played music in the parks over there. In those days brothers would get together to buy some audio equipment, come up with a name, plug their shit up and play.

Imagine what the music industry would be like today if people in the hood had no desire or inclination for creativity? It's possible that hip-hop, rock nor r&b wouldn't even exist. At least not as we've known it. I think that if we would've had the money back then, it would've given