Speaker 1: Quest Left Show is a production of iHeart Radio.
Speaker 2: Open Mic Man, Happy Thursday, Happy Thursday, and Day Absolutely. Man.
Speaker 2: You got any plans for the weekend?
Speaker 1: Yeah, I'm shooting video this weekend. That's the biggest plan shoot,
Speaker 1: shooting a music video for the new project. What you
Speaker 1: Gotta Treatment? Everything laid out? You kind of it laid out.
Speaker 1: We've shot most of it already. It's the last day
Speaker 1: of shooting. It ought to be nice and easy.
Speaker 2: Oh man, I can't wait for that one. I saw
Speaker 2: a little visual content on the Grammar online. I'm eager
Speaker 2: for this one, and I love you know. I was
Speaker 2: thinking a lot about Wild Pitch Records recently. I was
Speaker 2: in something I think it was an old episode of
Speaker 2: QLs and they were somebody was talking about Stu Fine
Speaker 2: and before they got to the punchline, I'm like the
Speaker 2: founder of Wild Pitch. And to me, even before Ruckus,
Speaker 2: that was always a label I could trust most of
Speaker 2: the time. And I feel like we've gotten away from
Speaker 2: that a little bit. There are labels that you've worked
Speaker 2: with over the years, but I do feel like Backwood
Speaker 2: Studios is a brand you can trust.
Speaker 1: I feel like they're like the last sons of Krypton,
Speaker 1: you know what I'm saying. Like they are like the
Speaker 1: the vestiges of the underground that I used to that
Speaker 1: I came up in and I saw so many labels.
Speaker 1: See this is and and I'm already off on a
Speaker 1: tangent what we do. It's a rabbit old platform to me,
Speaker 1: the unspoken story of the sort of deletion of the
Speaker 1: hip hop middle class. And how like you know, a
Speaker 1: lot of times now it's just like superstar rapper or
Speaker 1: struggling indie. There's there's not a lot of working rappers
Speaker 1: in the in the stratum in between. And part of
Speaker 1: the story of that is how many labels used to
Speaker 1: exist that are gone now you used to have And
Speaker 1: this this goes back I think too, when the majority
Speaker 1: of money that was coming in was based on selling
Speaker 1: CDs and physical product, that there was enough money coming
Speaker 1: in to make sure that these labels were able to
Speaker 1: stay afloat and keep putting enough money in rappers pockets
Speaker 1: every time they dropped the album, that they were able
Speaker 1: to stay afloat between that and touring. Yeah, and so
Speaker 1: many of those labels are gone, and Backwoods feels like
Speaker 1: the last sort of connection to you know, not only
Speaker 1: the aesthetics of of the older days, but a viable,
Speaker 1: well run business that's putting forward the new voices in
Speaker 1: that same family tree.
Speaker 2: Absolutely new voices. And then you know, I mean even
Speaker 2: what I consider veterans yourself. Yeah, you know, it's just
Speaker 2: one exactly. You know, they've been very kind to some
Speaker 2: of the They put out some great product with some
Speaker 2: of the folks that have been kind to me and
Speaker 2: that I've gotten to you know, share some airwith over
Speaker 2: the years. So yeah, I'm looking forward to that. And
Speaker 2: on the subject to hip hop, you know, we're talking
Speaker 2: about the last episode we've run in June, which is
Speaker 2: part of you know q LES. I think this is
Speaker 2: year four or five of our Black Music Month initiative,
Speaker 2: where episodes to the catalog are run every day if
Speaker 2: it's not a mini episode like this or a new episode.
Speaker 2: But the final new episode of this month is none
Speaker 2: other than Chuck da Public Enemy. And I really was
Speaker 2: hoping when you and I got together in the studio
Speaker 2: with the Mirror and the rest of the team in
Speaker 2: LA I was hoping it was going to be the
Speaker 2: same day as Chuck, but it didn't work out that way.
Speaker 2: But man, it was that was something something special. Man
Speaker 2: he is.
Speaker 1: He's such a dope dude, and it's just like we
Speaker 1: have some real and I hesitate to use this term
Speaker 1: because it also covers a real crew with some homies
Speaker 1: in mind. But we have some real living legends in
Speaker 1: this thing. The real rap giants ha still walk the
Speaker 1: ground and can still have a conversation with you, and
Speaker 1: they're not often venerated in a way I feel like
Speaker 1: they should be. But Chuck d is just an incredible
Speaker 1: human being that was a titan in this rap thing,
Speaker 1: and it's just amazing to hear him in conversation, like
Speaker 1: that's just amazing here.
Speaker 2: He's one of those talking he talks, he talks, and
Speaker 2: he knows he talks. He laughed. You know, He's one
Speaker 2: of those people that could read the ingredients to a
Speaker 2: box of tricks, and I would enjoy it. Just his voice,
Speaker 2: his conviction was funny. On the way to the studio,
Speaker 2: I'm originally from Pittsburgh and I am a hapless Pittsburgh
Speaker 2: Pirates fan, and he and I and Chuck's daughter Dominique
Speaker 2: were taking the elevator up and I've said this to
Speaker 2: Chuck before on the phone, but it was our first
Speaker 2: time being in you know, a small space together. I
Speaker 2: was like, man, aside from Clemente, Roberto Clemente, you have
Speaker 2: done so much much for the pirate hat. And he
Speaker 2: looked at me, He's like, you know, I'm a Mets fan, right.
Speaker 2: And last I was like, man, all the literal elevator
Speaker 2: conversations a guy who idolized his public enemy could have
Speaker 2: with Chuck D. You know, I you know, I shot
Speaker 2: the brick. Yeah, well that's on him though, Yeah, yeah,
Speaker 2: well no, I mean, you know, but I so appreciate him.
Speaker 2: It was funny like Chuck was not a last minute
Speaker 2: booking by any extension, but kind of a last minute
Speaker 2: agreement while we were in LA and he had a
Speaker 2: very busy day and he was very generous with his time.
Speaker 2: And I think, much like Questlove and Open Mike Eagle,
Speaker 2: I think a Mer and Chuck D will be a
Speaker 2: series of conversations, right because the conversation really goes from
Speaker 2: like nineteen childhood memories up until about nineteen eighty eight
Speaker 2: eighty nine. And I'm okay with that. I'm ready for
Speaker 2: another hour. You know, great, what stood out to you
Speaker 2: with this one?
Speaker 1: You know what really stood out to me. First was
Speaker 1: him talking about the sample for Public Enemy number one,
Speaker 1: and Emir asked him why that song, why that James
Speaker 1: Brown song and nobody else really used And when he
Speaker 1: told that story of the roller rink and how like
Speaker 1: that was the song that was the signal for all
Speaker 1: of the real skaters to get out there and cut
Speaker 1: it up. And it's like, damn, you can hear that,
Speaker 1: and I just like, that's the sort of things that
Speaker 1: fascinate me. It's like the real life reasons that people make,
Speaker 1: the choices that you hear on records that you would
Speaker 1: never understand, you would never know, you would like it's
Speaker 1: because the song's not about roller skating. You don't talk
Speaker 1: about that in the song, but it's such a great song,
Speaker 1: and you never would have known that it was this real,
Speaker 1: visceral memory that he wanted to invoke. Yep, that is
Speaker 1: the reason this song sounds like this.
Speaker 2: You know, I agree with you, and I think of
Speaker 2: that in life a lot, just the butterfly effect of
Speaker 2: small decisions. But I didn't, you know, I grew up
Speaker 2: there were still roller rinks in my neighborhoo and stuff
Speaker 2: like that. I I can't skate to save my life.
Speaker 2: But the idea of the roller rink is a place
Speaker 2: to hang out and meet folks, and like that's so
Speaker 2: that that's a little antiquated to me. But to hear
Speaker 2: Chuck talk about that in here one record, then the
Speaker 2: blow your Head joint, you know changed, I will I
Speaker 2: knew I knew Public Enemy number one before I knew
Speaker 2: the Fred wes Lee James Brown joint.
Speaker 1: So it's same.
Speaker 2: Yeah, And I figured, like the the the founders of
Speaker 2: hip hop and how one creative records, you know, one
Speaker 2: choice from one DJ ultimately shapes livelihoods, legacies, incomes all
Speaker 2: of the things. You know, It's just crazy. So it's
Speaker 2: also interesting. He mentioned roller skating again in that conversation.
Speaker 2: I've never seen this, but correct me if you understood
Speaker 2: it differently, But he alluded to performing in roller skates,
Speaker 2: like being He.
Speaker 1: Did say he could do a couple of his songs
Speaker 1: on roller skates. Yeah, that was he said. There really
Speaker 1: smooth to what I'm like, Wait a minute, nothing.
Speaker 2: About that, Like twenty twenty six sounds a special, but
Speaker 2: it sounds cool if Chucky's doing it. Have you had
Speaker 2: many Chuck or Pe show going experiences, So.
Speaker 1: I've never seen a Public Enemy show. But I did
Speaker 1: have quite the chuck the experience. And if I ever
Speaker 1: get a chance to talk to him, gonna ask him
Speaker 1: if he remembers this day because I went to College's
Speaker 1: Southern Illinois University and he was brought up.
Speaker 2: Is that an Urbana Champlain.
Speaker 1: No, this is a Carbondale, Illinois, so comarad south of.
Speaker 2: I've been there too. I always confuse my schools, but
Speaker 2: go ahead.
Speaker 1: Yeah, yeah, yeah, they're easily confusable. But he was brought
Speaker 1: in to give a speech and the large Ornate Central
Speaker 1: School auditorium where you know where if they had a
Speaker 1: ballet company come or they had a theater company come,
Speaker 1: they do it in this big Ornate must have been
Speaker 1: two thousand seat auditorium. And he's about to give his
Speaker 1: speech and the tornado sirens start going off. And this
Speaker 1: is the Midwest, this is southern Illinois. It's very flat,
Speaker 1: and you know tornado watches and tornado warnings or things
Speaker 1: that happen, but this was a serious one. And it's
Speaker 1: not the sort of thing. When you're in a tornado warning,
Speaker 1: you can't just like send people home, right, you have
Speaker 1: to go to shelter. And so I don't and So
Speaker 1: the part that I don't quite remember correctly is how
Speaker 1: this would have worked with the laws of physics. But
Speaker 1: everyone who was there was put in the basement, Chuck included.
Speaker 1: And so we go from this big ornate theater with
Speaker 1: you know, gilded ceilings and all of that. So now
Speaker 1: we're all in a basement where the ceiling is about
Speaker 1: you know, a shade over six feet high, and Chuck
Speaker 1: d is down there with all of us, in the
Speaker 1: middle of this tornado warning, and he just starts doing
Speaker 1: the rest of his speech right there in the basement
Speaker 1: and did a Q and A with us right there
Speaker 1: in the basement. Wow, And it was just it was
Speaker 1: just one of the most amazing moments I've ever had,
Speaker 1: and really watching somebody adapt deal with the situation, not sweat,
Speaker 1: not trip out, just roll with it. Now we're in
Speaker 1: the basement. So now the talk continues, and I'm just
Speaker 1: standing there, riveted the whole time. I can't remember word
Speaker 1: he said, but I do remember him giving this speech
Speaker 1: in this basement because we had a tornado warning.
Speaker 2: Was he there to speak about hip hop? Was it
Speaker 2: about you know, other issues? Or do you remember that
Speaker 2: part or not?
Speaker 1: I do think it was it was something to do
Speaker 1: with hip hop. I think a lot of times stuff
Speaker 1: on our campus was about, you know, how we turn
Speaker 1: things around into black community sort of sort of sort
Speaker 1: of talking points, you know, save people from falling into
Speaker 1: street violence and then those types of issues. I believe
Speaker 1: that's what it was about, but I honestly don't remember.
Speaker 2: He would have to remember that. I imagine that when.
Speaker 1: About so but I can imagine, like that's the thing.
Speaker 1: He was so cool about it. It was one of
Speaker 1: the things that made you think, like, how many wild
Speaker 1: days does this man had just wild days to where
Speaker 1: this is nothing to him? You know.
Speaker 2: Think he made a comment to Amir in the interview,
Speaker 2: or maybe it was the moments before we started rolling
Speaker 2: where he said, I'm so glad you're around because people
Speaker 2: don't have to come to me to be the talking
Speaker 2: head for every documentary everymore, Like you know, whether it's
Speaker 2: about hip hop or black entertainment culture or whatever. It
Speaker 2: is amazing to me that Chuck could sit for a
Speaker 2: whole hour and he's not somebody who repeats himself. He
Speaker 2: spoke about writing as he drove. I knew he was
Speaker 2: a messenger like that part always heard, but I never
Speaker 2: had clarification whether he was you know, like a bike messenger,
Speaker 2: like I never knew how to picture it, or it
Speaker 2: sounds like he delivered photographs two different you know, he
Speaker 2: was kind of a courier but by car. But the
Speaker 2: idea of him writing some of his most classic material
Speaker 2: while driving at night was dope.
Speaker 1: I love that psychotic. That's just pure psychosis. You were
Speaker 1: trying to tell people rappers are insane. Even even the
Speaker 1: most lucid of us, You could tell we always got
Speaker 1: a little screw loose somewhere. And I feel like that's
Speaker 1: like the way he talked about that is like a
Speaker 1: perfectly legal and safe activity.
Speaker 2: Yeah, was amazing that. And then there's this moment too
Speaker 2: and this Amir looked at me and we just started
Speaker 2: laughing because and this is so cool to me too.
Speaker 2: Of like you hear about the cobbled together resources that
Speaker 2: you know brings hip hop. I got a turntable, you
Speaker 2: got a turntable bringing them together. They got a mixer.
Speaker 2: But Chuck was saying, you know, with the bomb Squad,
Speaker 2: and I feel like, you know, people often think of
Speaker 2: just the production. They think, oh, you know, Hank and
Speaker 2: Keith Shockley and Eric Vietnam Sadler, but like Chuck was
Speaker 2: very integral to that production, and he down like you
Speaker 2: don't hear him asserting his own credit, but he was
Speaker 2: describing how, you know, in Roosevelt, Long Island, I think
Speaker 2: it was Roosevelt, they had this like they put all
Speaker 2: their records together in one place, and they like created
Speaker 2: a dewey decimal system of where each record could be,
Speaker 2: you know, not alphabetical, not like the jazz is over here,
Speaker 2: the funk is over here, but that way you could
Speaker 2: look at a book. And Chuck was priding himself on
Speaker 2: his penmanship. I just love that, Like that is that
Speaker 2: is elder leadership right there. He was like you could
Speaker 2: look and go, okay, cool in the gang this album
Speaker 2: show five, you know, like you know, like you're in
Speaker 2: a big box store. And I just thought that is
Speaker 2: such a great image when they're making, you know, the
Speaker 2: second and third Pe album of just those layered samples
Speaker 2: and all that they did to make it sound the
Speaker 2: way it did.
Speaker 1: You know, you remind me too, how often it is
Speaker 1: when you really go back and look, how often our
Speaker 1: rap legends were involved in the production in ways that
Speaker 1: we would never really understand as listeners because that weren't
Speaker 1: the way. That wasn't the way things were talked about.
Speaker 1: I think about Daylight Soul's involvement and a lot of
Speaker 1: their records, like the like Pass and Day of themselves
Speaker 1: bringing in samples or having the goal of Okay, I
Speaker 1: want to I want to flip this, I want us
Speaker 1: to use this, or making the beats themselves at home
Speaker 1: and bringing them into the studio, and a similar thing
Speaker 1: with like Organized Confusion. How you know, Paul C was
Speaker 1: with them early on, but through their next couple of albums,
Speaker 1: most of them were you know, it was it's Prince
Speaker 1: Paul and Farrell themselves making the beats. It's always interesting
Speaker 1: to me to sort of wrap my head around how
Speaker 1: involved a lot of these rappers were in the production
Speaker 1: in ways that you know, we didn't know.
Speaker 2: Yeah, it's it's interesting too. Like I always look at
Speaker 2: Organized as the last disciple of Paul C. But to
Speaker 2: my knowledge, and I could be mistaken, I don't think
Speaker 2: that there's a released credit of like A Paul And
Speaker 2: I know Paul was both an engineer who doubled as
Speaker 2: a producer, but I don't know that on the first
Speaker 2: self titled album, there's a policy credit.
Speaker 1: Yeah, you know what, I don't actually don't remember those credits.
Speaker 1: And I feel like, if you had to ask me
Speaker 1: to place a bet, I'd say, yes, he's got a
Speaker 1: credit on there. But that's only because that's what I think.
Speaker 2: Like, I actually don't know one of those. You know,
Speaker 2: there was another thing and you and I talked about
Speaker 2: this before we got on. But like the reason why
Speaker 2: I still love the interview even though that, you know,
Speaker 2: I get to produce one of the best music podcast
Speaker 2: period is you'd get these accounts of things that aren't
Speaker 2: there anymore, right, And I'm always like my wife, I
Speaker 2: annoy the hell out of her because we'll walk around
Speaker 2: Philadelphia and I've only been here twenty five years, but
Speaker 2: I'll talk about what was here before this new building
Speaker 2: is here. And I really I like that, and I've
Speaker 2: always wanted hip hop to have more of that, you know,
Speaker 2: I'm always fascinated. Like just yesterday, I was in New
Speaker 2: York and I was on thirty seventh Street and I'm like, man,
Speaker 2: I remember being in D and D Studios and it's
Speaker 2: a lost now and I wish I had taken a photo.
Speaker 2: Like I know they're online, but I wish I had
Speaker 2: taken a photo.
Speaker 1: I feel you.
Speaker 2: And Chuck was speaking about old venues and he said
Speaker 2: something in passing of it's not there anymore. It's not
Speaker 2: there anymore. And I just wanted you know, in your
Speaker 2: journey and in your creative career, but also your fanhood
Speaker 2: of all of this, like, are there certain venues that
Speaker 2: you miss, you long for I wish you could have
Speaker 2: been in. I know that's probably an obvious question.
Speaker 1: So most of my performance history has been while I've
Speaker 1: been living in LA So you know, one might think
Speaker 1: that I would miss places in Chicago. I saw shows
Speaker 1: in Chicago, but I never really performed there at the
Speaker 1: beginning of my career. So like the knit In Factory
Speaker 1: that was here in La, Like, it wasn't a great place.
Speaker 1: It wasn't like it it was in Hollywood in like
Speaker 1: a shopping center, like the same block is like the
Speaker 1: Chinese Theater, so it was hard to get to and
Speaker 1: hard to park and all of that. But I just
Speaker 1: remember seeing some amazing shows there when I first moved here, like,
Speaker 1: and I didn't have much to do, I didn't know
Speaker 1: that many people, so like that was often a place
Speaker 1: I would end up at I saw like jasone player,
Speaker 1: like slick rick player somebody, you know what I'm saying,
Speaker 1: and it'd be like, oh, this is this is so
Speaker 1: dope to be able to see this. And that's that's
Speaker 1: gone now. My favorite venue in the world, my favorite
Speaker 1: venue to perform at, was this place in Portland, Oregon
Speaker 1: called the Doug Fur Lounge. And there's a place that
Speaker 1: was like connected to a hotel, but it was like
Speaker 1: under the ground, so you wouldn't even have any idea
Speaker 1: that there was like a big venue here, but they
Speaker 1: it was under the ground, but it was huge. It
Speaker 1: was like three hundred cap room that you walked downstairs
Speaker 1: into and it was decorated like like a log cabin
Speaker 1: almost like there was like these wood logs that were
Speaker 1: on the sides of the walls. And not only did
Speaker 1: that add an aesthetic, it was really dope for making
Speaker 1: the room sound good too, the way that it's soaked
Speaker 1: up the sound. And it was just my favorite favorite
Speaker 1: venue in the world. And it's gone now. But that's
Speaker 1: that's what happens. Especially in the pandemic. We lost so
Speaker 1: many of the rooms that are the size that I
Speaker 1: like to play that you know, I like a three
Speaker 1: hundred to five hundred cap room that either shut down
Speaker 1: because they couldn't have shows anymore, or Live Nation swooped
Speaker 1: in and bought up plenty of them. So they're different
Speaker 1: now even when you do get the chance to go
Speaker 1: back and perform there.
Speaker 2: And I only kind of put that together on the
Speaker 2: fan side recently, but I miss some of those those spaces.
Speaker 2: I miss places. I notice it because I live in
Speaker 2: a part of Philadelphia and I'm often on the street
Speaker 2: South Street that is still where there's a couple of clubs,
Speaker 2: and you know, I'm regularly walking by. I think where
Speaker 2: you perform when you're in town. Milk Boy, yep there,
Speaker 2: And I just remember all the different marquis you used
Speaker 2: to look at, just like step in and see who's
Speaker 2: coming up if you didn't have a city paper, And
Speaker 2: a lot of those are gone, and it's it's one
Speaker 2: of those things like bars open late that we just
Speaker 2: lost with the pandemic.
Speaker 1: Man, there was a period.
Speaker 2: Of time in two thousand and eight where I was
Speaker 2: brought in to possibly do a memoir with Eazymo B
Speaker 2: And they were like, yo, you know the woman who
Speaker 2: hooked it up, Nikiah Hicks, who I think is very
Speaker 2: much part of the Young Dolph pr camp and shout
Speaker 2: out to Nikia if she happens to hear this. But
Speaker 2: she was like, come up to Times Square and spend
Speaker 2: an evening with Ezimo in the studio. And I didn't
Speaker 2: think much of it. I mean, like, I respected him,
Speaker 2: I'd interviewed him, but I was like, I don't know
Speaker 2: if this book is viable because he's not He's not
Speaker 2: Chuck d he's not out there speaking all the time.
Speaker 2: He's not a front facing exact pop Yeah, you know
Speaker 2: exactly and you know heads no, but not everyone does.
Speaker 2: But I went to the studio and he had a
Speaker 2: bunch of Heinekens and I don't typically drink on the job,
Speaker 2: but that was kind of a spec job. So we
Speaker 2: had a few beers and it was the first time
Speaker 2: in my life somebody showed me not like a tutorial,
Speaker 2: but he was triggering samples off the sp twelve hundred,
Speaker 2: and it was just fun to watch his delight, Like
Speaker 2: he didn't really want to talk to me, which only
Speaker 2: spoke to my consternation about the book. But watching this
Speaker 2: man's delight, and then at the very end of the night,
Speaker 2: you know, I needed to catch my train back to
Speaker 2: Philly on my bus, he was like, do you know
Speaker 2: what this studio was? And he goes, this is Unique Studios.
Speaker 2: This is what he owned it from my understanding, and
Speaker 2: he sense it's closed down, but it's where Miles Davis
Speaker 2: recorded his last era of material. And he took me
Speaker 2: into a room because Moby produced the last the Doubop album,
Speaker 2: the Miles album with wrapping his fundamental on it. And
Speaker 2: he took me in the room. He goes, I don't
Speaker 2: use this room anymore because this is where my career
Speaker 2: kind of really took flight. And the last person to really,
Speaker 2: you know, spend a lot of time in this room
Speaker 2: was Miles and he had the to that room. And
Speaker 2: we're in the middle of Times Square, even in two
Speaker 2: thousand and eight. I mean, real estate is unfathomable. And
Speaker 2: there was dust and there were old plaques and there
Speaker 2: were things, you know, old equipment, and I think of
Speaker 2: that all the time. I'm always fascinated, not as a creator,
Speaker 2: but as you know, a writer when I'm in these
Speaker 2: studios of just like, who else recorded here? What else
Speaker 2: was done here? And what are we doing as a culture.
Speaker 1: To keep exactly to preserve, don't we do a I mean,
Speaker 1: you know, preservation honestly takes money. But two things. One
Speaker 1: we got to do a better job of it too.
Speaker 1: That is part of the reason why I like to
Speaker 1: interview legends is because at least getting these stories in
Speaker 1: some easily digestible digital medium that's labeled correctly and people
Speaker 1: know that they're coming to to get some history is
Speaker 1: at least one way to preserve the stories, even if
Speaker 1: we don't have the money to preserve the places.
Speaker 2: Such so beautifully said, and I think of your work
Speaker 2: like I think of you talking to Prince Paul and
Speaker 2: him referencing in Deaylav referencing Calliope Studios, which is long gone.
Speaker 2: And I'm the type of weirdo that at eleven thirty
Speaker 2: at night will sit at my kitchen table and try
Speaker 2: to get like a screenshot, you know, try to get
Speaker 2: like a Google image of what did it look like?
Speaker 2: Because I've heard about it. What did the doors that
Speaker 2: Daylau walked into to make me feet and hus and
Speaker 2: look like? And we need that because you absolutely get
Speaker 2: that with the Beatles, and you get that with Abbey Roads.
Speaker 2: So on that note, and I don't mean to make
Speaker 2: it all about studios, But you know, to end you
Speaker 2: as a creator, like, what is the one place, be
Speaker 2: it a venue or as a studio, what is the
Speaker 2: one landmark? And it doesn't have to be gone, but
Speaker 2: that you haven't touched or used that you would like
Speaker 2: to on your list.
Speaker 1: I don't see this happening, But if for some reason
Speaker 1: I was able to do something at the Apollo that
Speaker 1: to me seems like like I, I would probably freak out.
Speaker 1: I would probably freak out, yeah, like like just being
Speaker 1: able to be on that stage and see what it's
Speaker 1: like to see out into that room from that stage.
Speaker 2: I walk by. I spent a few nights staying on
Speaker 2: one hundred and twenty fifth Street, and every time, you know,
Speaker 2: I talked about Marquees, but every time walking by, the
Speaker 2: Apollo is still a place and I can say I've
Speaker 2: never been inside, which is pathetic because I've been invited
Speaker 2: to shows there, but it still makes, you know, still
Speaker 2: gives me goosebumps, just knowing the history and knowing the
Speaker 2: power of a building in a way that you know,
Speaker 2: I live in Philadelphia, you know, I walk by Independence
Speaker 2: Hall every single day. Frankly I don't get from other places,
Speaker 2: but knowing how much I love music. So that's a
Speaker 2: great answer. I wasn't necessarily expecting that, but I hope
Speaker 2: that manifests maybe over time.
Speaker 1: I mean, you know, it seems like it would take
Speaker 1: some sort of serious pivot on my part to end
Speaker 1: up there. But you know that, like in a dream scenario,
Speaker 1: like wow, that would be awesome.
Speaker 2: You know, it would the one thing I'm trying to
Speaker 2: learn right now and being part of this organization, I
Speaker 2: really try to take key because I know Amir speaking
Speaker 2: to all of us in the podcast, you know, like
Speaker 2: every listener, every viewer, but he's like, you know, dream
Speaker 2: boldly and you know, don't make yourself you know, I'm
Speaker 2: trying to take heed to those things when he's like,
Speaker 2: don't make yourself feel small, just like vision it and
Speaker 2: so man, I like that. That's a great place to
Speaker 2: h and you know, once again, the chuck the episode,
Speaker 2: I gotta say from the inside, we've talked about it
Speaker 2: so many times, different ideas, different things. I'm happy it
Speaker 2: happened when it did. It was so right that it
Speaker 2: was in person, and what sounds like both of us
Speaker 2: look for is more in the series.
Speaker 1: Absolutely.
Speaker 2: Okay, wait, man, We'll have a great video shoot this weekend,
Speaker 2: and we'll do this again real.
Speaker 1: Soon, Yes we will. Couslup shows a production of iHeart
Speaker 1: Grading