WEBVTT - Berhana: Fresh Find

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<v Speaker 1>Pushkin. I first heard Brahanna watching Donald Glover's show Atlanta.

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<v Speaker 1>It's one of the few shows I know I'm going

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<v Speaker 1>to discover new music when I watch it. Some tracks

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<v Speaker 1>don't stand up to repeat listens outside of the show,

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<v Speaker 1>but Burhanna was one of the artists from the second season.

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<v Speaker 1>I kept going back to. Berna's voice really stands out

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<v Speaker 1>in modern R and b Whill. Pretty much everyone else

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<v Speaker 1>these days sings with a whispery, atmospheric falsetto Brohanna has

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<v Speaker 1>a crisp tenor and it sounds refreshing. Branna doesn't mind

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<v Speaker 1>being different. He's first generation American born in Atlanta to

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<v Speaker 1>Ethiopian parents, so he's always felt a bid out of

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<v Speaker 1>place anyway. Still, he managed to find his people and

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<v Speaker 1>eventually his sound. As you'll hear in this episode. The

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<v Speaker 1>song You're listening to Janet is an ode to the

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<v Speaker 1>original Dark Skin Aunt viv from The Fresh Prince of Blair.

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<v Speaker 1>I sat down with Brahanna at Village Studios in LA

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<v Speaker 1>to talk about how a young artist can go from

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<v Speaker 1>working bad restaurant gigs to earning enough on music to

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<v Speaker 1>eke out a living, and how he ended up in

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<v Speaker 1>Tokyo to record most of his album Han. This is

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<v Speaker 1>broken record liner notes for the digital age. I'm justin Richmond.

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<v Speaker 1>Just a quick note here. You can listen to all

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<v Speaker 1>of the music mentioned in this episode on our playlist,

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<v Speaker 1>which you can find a link to in the show notes.

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<v Speaker 1>For licensing reasons, each time a song is referenced in

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<v Speaker 1>this episode, you'll hear this sound effect. All right, enjoy

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<v Speaker 1>the episode. Here's my conversation with Brehanna. But first he

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<v Speaker 1>starts off with the performance of the song that got

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<v Speaker 1>me hooked, Gray Love. Yo. That was amazing, man, that

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<v Speaker 1>was beautiful. Appreciates you. Yeah, so that was an acoustic version,

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<v Speaker 1>stripped down version of gray Love, which is from your

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<v Speaker 1>first project, your EP, and it's called Brahanna self titled exactly. Yeah,

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<v Speaker 1>and uh, that song is actually how I first discovered you,

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<v Speaker 1>like I'm sure many people, because it got featured on

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<v Speaker 1>Donald Glover's show Atlanta. Yep, um No, must have been

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<v Speaker 1>huge for an up and coming artist like you were

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<v Speaker 1>at the time. He might have even been up and coming.

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<v Speaker 1>You were just someone putting out music. Yeah, I mean

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<v Speaker 1>it must have been massive. It was crazy. It was

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<v Speaker 1>crazy for a few different reasons. That show is my

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<v Speaker 1>favorite show on television by far. I was like super

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<v Speaker 1>in tune with it. Um, I loved the writing. I'm

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<v Speaker 1>from Atlanta. Um, Donald's one of my favorite artists. So

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<v Speaker 1>just all of that, you know, happening at once was

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<v Speaker 1>a very cool moment for me. Yeah. Yeah, I know,

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<v Speaker 1>like a lot of a lot of younger artists like

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<v Speaker 1>look for placements and fine placements. How big are placements

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<v Speaker 1>for like an artist like you? I think it, you know,

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<v Speaker 1>it depends on like the show. It depends if it's

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<v Speaker 1>like a movie commercial. You know, it's all different. Um.

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<v Speaker 1>I don't go out of my way to like get placements.

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<v Speaker 1>I think there are a lot of people that do.

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<v Speaker 1>They're like, oh, this movie is looking for these style songs,

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<v Speaker 1>you know what I'm saying, Like you, only fifty Shades

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<v Speaker 1>of Gray came out. I was with this other team

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<v Speaker 1>at the time, and they were like, oh, like fifty

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<v Speaker 1>shades gray, like you just gotta you just gotta make

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<v Speaker 1>something a little sexy. And I was like, oh, I'm

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<v Speaker 1>not about to do that, you know, um yeah exactly,

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<v Speaker 1>But to like have your own song it feels like

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<v Speaker 1>you yeah, and then someone else takes that that's cool.

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<v Speaker 1>That's um not going out of my way for it

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<v Speaker 1>feels better. Absolutely, So another reason that must have been

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<v Speaker 1>like important and big for you because you weren't initially

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<v Speaker 1>trying to be a musician or be you know, like

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<v Speaker 1>play music for a living. You were trying to be

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<v Speaker 1>a screenwriter. Yeah, and that's like that's like so it's

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<v Speaker 1>like kind of your two worlds colliding in a way,

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<v Speaker 1>like this amazing show with your music, how'd you get

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<v Speaker 1>into screenwriting? My sister, that's like the easiest chance of

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<v Speaker 1>My sister's twelve years older than me, and she kind

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<v Speaker 1>of like shaped who I am. She would always she

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<v Speaker 1>wants to NYU, but she would always like come home

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<v Speaker 1>for extended amounts of time just to like stay with

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<v Speaker 1>me and still be present in my life, and would

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<v Speaker 1>put me onto different movies. She really liked in television

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<v Speaker 1>shows and would break down A stories, B stories, C

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<v Speaker 1>stories like she she already knew what like she wanted

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<v Speaker 1>me to be in a way, like we kind of

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<v Speaker 1>joke about that all the time. But I like, I

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<v Speaker 1>was like, oh, I want to go to n y U.

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<v Speaker 1>I want to be in the dramatic writing program. And

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<v Speaker 1>that was like I was like Oh, that's what I

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<v Speaker 1>want to do. I love TV, I love film. So

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<v Speaker 1>I was like, oh, I just want to like write

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<v Speaker 1>for the rest of my life. I just want to write.

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<v Speaker 1>And I did music, but it was more so like

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<v Speaker 1>a passion project. It was for me. I show a

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<v Speaker 1>couple of friends here and there, but I never thought

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<v Speaker 1>it was going to be the driving force by any means.

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<v Speaker 1>And what were the first songs you wrote. The first

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<v Speaker 1>song I wrote was about like my dad who like

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<v Speaker 1>left I was like seven or eight. My sister left

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<v Speaker 1>the house at the time, but my brother was still there.

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<v Speaker 1>And it was to no music. It was just like story.

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<v Speaker 1>It was just like writing. I had no I wasn't

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<v Speaker 1>playing piano. I wasn't I was just like creating the

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<v Speaker 1>melody and just writing the thing. And I showed my

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<v Speaker 1>brother and he was the first person to really encourage

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<v Speaker 1>me when it came to music, because he saw it

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<v Speaker 1>as like almost like a journal. He was like, yo,

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<v Speaker 1>you have to make sure that you keep doing this

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<v Speaker 1>and letting out how you feel this way. He was like,

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<v Speaker 1>I had no idea you felt like this, And that

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<v Speaker 1>was Yeah, that was the first song I wrote. That's

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<v Speaker 1>amazing to start trying to write songs at seven? What

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<v Speaker 1>were you I mean in Atlanta? Is you grew up

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<v Speaker 1>in Atlanta and that's like such a diverse musical town.

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<v Speaker 1>Like there's so much music going on and all kinds

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<v Speaker 1>of music. You know people think now just think of

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<v Speaker 1>like trap music or whatever, but there's so much KNTO

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<v Speaker 1>music going on atlant So what was there just a

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<v Speaker 1>lot of music going on in your home? Um? In

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<v Speaker 1>my home, yeah, there was. There was a bit of music.

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<v Speaker 1>I'd say, like there was a lot of like oldies

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<v Speaker 1>like Sam Cook my mom loved, like Stevie Wonder. There

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<v Speaker 1>was also like Ethiopian music being played a bunch, and

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<v Speaker 1>then whatever my brother was listening to, whether it was

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<v Speaker 1>like BC Boys outcasts, and my sister as well used

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<v Speaker 1>to always make me CDs mix CDs. So and we

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<v Speaker 1>were in the church. But I didn't have, like, you know,

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<v Speaker 1>one of those parents. I was like, listen to all

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<v Speaker 1>apprentice discography, like this is amazing. You have to understand

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<v Speaker 1>why I didn't have that. And I think the first

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<v Speaker 1>thing I gravitated towards was storytelling. It was just like, oh,

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<v Speaker 1>they're telling a very like unique story. I like how

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<v Speaker 1>the words sound together and That's what drew me in first.

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<v Speaker 1>How steeped in Ethiopian culture were you growing up as

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<v Speaker 1>a kid? Um, It was interesting growing up in Atlanta

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<v Speaker 1>and like having being first generation African because you go

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<v Speaker 1>home and it's, you know, the smells are Ethiopian. The

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<v Speaker 1>language that you're hearing your parents speaking us from Ethiopia,

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<v Speaker 1>the decor, you know, everything is is Ethiopia. And then

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<v Speaker 1>you like walk outside and it's like this Georgia. So

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<v Speaker 1>there's like the southern pride aspect, and it's also Atlanta,

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<v Speaker 1>so it's like very black and it's like very proud

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<v Speaker 1>as well. So to be in like these three different

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<v Speaker 1>worlds at once was it was a lot at times,

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<v Speaker 1>but as an observer I began to like really take

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<v Speaker 1>it all in and appreciate it as you know, the

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<v Speaker 1>older I got. Yeah, those are the three really strong

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<v Speaker 1>culture exactly. Yeah, you're just like I didn't even think

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<v Speaker 1>about that part because I think of Atlanta sometimes it's

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<v Speaker 1>like on an island, you know, same as like New Orleans.

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<v Speaker 1>But yeah, there's like that southern sort of element to

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<v Speaker 1>it too, right, especially if you're not specifically in Atlanta

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<v Speaker 1>right outside of it, Like, did you ever feel I

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<v Speaker 1>don't know, so I know a lot of first generations

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<v Speaker 1>sometimes struggle with feeling like, you know, maybe you don't

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<v Speaker 1>want to accept your your heritage because you want to

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<v Speaker 1>sort of just you want to be if you want

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<v Speaker 1>to fit in at school. You know. So you did

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<v Speaker 1>you ever find yourself wanting to be more more fit

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<v Speaker 1>into more one culture than the other or yeah, yeah, totally.

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<v Speaker 1>There were definitely different times because I went to a school.

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<v Speaker 1>My mom put me in this private school that was

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<v Speaker 1>predominantly white that she worked at so that I could

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<v Speaker 1>go to the school. But I remember once there was

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<v Speaker 1>like a show and tell and my mom brought some

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<v Speaker 1>different Ethiopian food and like kids were like spitting it up,

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<v Speaker 1>like what is this? What is some of my favorite foods?

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<v Speaker 1>Like some of my favorites. And then seeing that made

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<v Speaker 1>me feel like, you know, ashamed because I was really

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<v Speaker 1>young at the time, and I was like, oh, I

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<v Speaker 1>guess this isn't good, So I don't I don't want

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<v Speaker 1>kids to come over and smell my house and eat

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<v Speaker 1>the food we have. I'd rather go to your house,

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<v Speaker 1>right yep. Um, So there was a lot of that

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<v Speaker 1>when I was really young, and then the order I

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<v Speaker 1>got the more of that just like went away and

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<v Speaker 1>I found a community of a lot of different like

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<v Speaker 1>first generation Africans through church and sports. We became super

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<v Speaker 1>close and those were the people I really identified with,

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<v Speaker 1>even though they weren't Ethiopian or they didn't go to

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<v Speaker 1>the same schools or whatever. It was just, oh, we

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<v Speaker 1>share that that thing of being in different worlds than once. Yeah,

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<v Speaker 1>you're sure being different in this place exactly. That's heartbreaking, man. Yeah,

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<v Speaker 1>that's just like, Yeah, the one that spit out, it

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<v Speaker 1>wasn't even crazy like food. It's like ginche. It's like

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<v Speaker 1>kind of like similar to like rice or it's like

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<v Speaker 1>something that no one should spit out some dump kids. Yea.

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<v Speaker 1>His name was Casey. You remember the name still at

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<v Speaker 1>His name is Casey punk. I saw you went to

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<v Speaker 1>Ethiopia recently right there? Often to go back there. That's

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<v Speaker 1>my first time actually the first time a month ago. Yeah. Yeah,

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<v Speaker 1>I had an opportunity to do a show over there.

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<v Speaker 1>My mom hasn't hadn't been back for forty seven years. Wow. Um,

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<v Speaker 1>so I was like, this is the time we should

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<v Speaker 1>both go. And I got to bring her with me

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<v Speaker 1>and see the country through her eyes, and it was

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<v Speaker 1>a surreal experience. And how did you connect with him

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<v Speaker 1>a lot to a stocky out there man's that's insane. Yeah,

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<v Speaker 1>that was amazing, brilliant if you Opian musician, like incredible discography,

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<v Speaker 1>incredible absolutely. Um. He's been one of my favorites since

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<v Speaker 1>I was young. That was one of the ones my

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<v Speaker 1>mom put me onto at an early age. And I'll

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<v Speaker 1>be um, a girl from our team who's incredible. She's

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<v Speaker 1>right over here. Yep, she uh she she made that happen.

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<v Speaker 1>She yeah, she I knew, she knew I really liked

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<v Speaker 1>Mulatto and she had a connection. Yeah, she got us

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<v Speaker 1>sometimes so we could sit down and really chop it up.

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<v Speaker 1>Super thankful. It's crazy. How was that time? Man? What

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<v Speaker 1>did he It was crazy? Man. I like came to

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<v Speaker 1>him kind of like approaching him with an idea I

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<v Speaker 1>wanted to do and it kind and he was like,

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<v Speaker 1>you know, kind of down, but then it totally clipped,

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<v Speaker 1>it totally flipped. He was like immediately went into He

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<v Speaker 1>just like taught me so much. It was like we

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<v Speaker 1>sat down for nearly three hours and he just talked

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<v Speaker 1>to me about the history of music, how Ethiopia like

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<v Speaker 1>plays into that. What instruments started in Ethiopia, then no

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<v Speaker 1>one knows about and he's really like championing this kind

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<v Speaker 1>of like no one really knows like that much about

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<v Speaker 1>Ethiopian music in its history, including Ethiopian people, and he

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<v Speaker 1>really wants to educate others. And he yeah, he did that.

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<v Speaker 1>He taught me so much. Was crazy. That's like sitting

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<v Speaker 1>down with like the that's like the Ethiopian Quincy Jones exactly. Yeah,

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<v Speaker 1>I just shut up. I like didn't. I barely talked

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<v Speaker 1>those three hours. What instruments are from Ethiopia. I didn't

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<v Speaker 1>even realized it was. The massinco is like a really

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<v Speaker 1>big one. It's kind of like a cello. That's one

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<v Speaker 1>of the things he said. He was like, oh, what

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<v Speaker 1>came first, the massinco or the cello? And I was like,

0:11:53.480 --> 0:11:56.079
<v Speaker 1>I guess, Yeah, I guess the massinco because just how

0:11:56.080 --> 0:11:58.640
<v Speaker 1>he was praising question and then he kept doing that

0:11:58.640 --> 0:12:02.400
<v Speaker 1>with different instruments, horned and whatever it was, and then

0:12:02.400 --> 0:12:04.280
<v Speaker 1>he would go into the history of it and how

0:12:04.440 --> 0:12:10.000
<v Speaker 1>how that instrument was built in which tribe made that instrument. Um, yeah,

0:12:10.000 --> 0:12:13.559
<v Speaker 1>there are a lot of unique instruments Piopia. That's amazing. Yeah,

0:12:13.600 --> 0:12:15.040
<v Speaker 1>you can hear. When you listen to the music, it

0:12:15.080 --> 0:12:17.920
<v Speaker 1>sounds like it's like orchestras full of like instruments. You

0:12:17.920 --> 0:12:19.760
<v Speaker 1>feel like what is that? You know, either they playing

0:12:19.800 --> 0:12:21.439
<v Speaker 1>in a way I've never heard this thing played, or

0:12:21.520 --> 0:12:24.800
<v Speaker 1>some completely different instruments, but it's just it's such a beautiful,

0:12:24.880 --> 0:12:27.280
<v Speaker 1>like like sound that it's just you know, when you're

0:12:27.360 --> 0:12:29.080
<v Speaker 1>when you're not used to hearing those sounds. It just

0:12:29.120 --> 0:12:32.600
<v Speaker 1>sounds especially just like like mystical or something. You know,

0:12:32.679 --> 0:12:36.080
<v Speaker 1>it's incredible. We'll be back with my interview with Brehanna

0:12:36.440 --> 0:12:44.319
<v Speaker 1>after a quick break. We're back with Brahanna. How do

0:12:44.400 --> 0:12:46.839
<v Speaker 1>you How so you have two siblings, Yeah, and you're

0:12:46.840 --> 0:12:49.400
<v Speaker 1>the youngest youngest, and they're both putting you on to

0:12:50.040 --> 0:12:52.920
<v Speaker 1>movies and TV shows and music totally. And so then

0:12:53.040 --> 0:12:57.080
<v Speaker 1>you decide you want to go study screenwriting and are

0:12:57.080 --> 0:12:59.719
<v Speaker 1>you making music in college or are you? I was

0:13:00.040 --> 0:13:02.680
<v Speaker 1>when I got there it was like I'd put music

0:13:02.840 --> 0:13:06.760
<v Speaker 1>behind me. I remember I did one show in Atlanta

0:13:06.880 --> 0:13:09.440
<v Speaker 1>right before I left, where I just did like covers

0:13:09.480 --> 0:13:11.679
<v Speaker 1>and a couple of my songs, and then after that

0:13:11.880 --> 0:13:13.920
<v Speaker 1>it was kind of like my all right, I'll come

0:13:13.960 --> 0:13:15.679
<v Speaker 1>back to this label. How you how did you how

0:13:15.679 --> 0:13:17.840
<v Speaker 1>the performance look? Like? What? Was it just you? It

0:13:17.880 --> 0:13:20.280
<v Speaker 1>was me in a band of like people I just

0:13:20.320 --> 0:13:24.360
<v Speaker 1>like recruited who were who were great. Um, But we

0:13:24.440 --> 0:13:27.640
<v Speaker 1>rehearsed like maybe for a week, and they like played

0:13:27.640 --> 0:13:30.960
<v Speaker 1>this show with me for free. I had like no money. Um.

0:13:31.040 --> 0:13:32.160
<v Speaker 1>And then when I came to New York, I was like,

0:13:32.160 --> 0:13:33.559
<v Speaker 1>all right, I'm gonna put that behind me and I'm

0:13:33.559 --> 0:13:36.760
<v Speaker 1>gonna go all into this writing. Did you put it

0:13:36.800 --> 0:13:38.360
<v Speaker 1>behind you? Because did it go well or did it

0:13:38.400 --> 0:13:40.760
<v Speaker 1>just feel? No? It went it went fine, but it

0:13:40.800 --> 0:13:43.319
<v Speaker 1>was like, oh, this isn't what I'm pursued. I'm going

0:13:43.360 --> 0:13:46.200
<v Speaker 1>to New York to be successful in this field. So

0:13:46.200 --> 0:13:48.520
<v Speaker 1>I was like, I'm gonna I'll just revisit this later.

0:13:49.440 --> 0:13:51.320
<v Speaker 1>And so yeah, I was just for the most part

0:13:52.080 --> 0:13:56.120
<v Speaker 1>only doing writing in turning its shows, I'm doing a

0:13:56.160 --> 0:13:59.719
<v Speaker 1>lot of different stuff like UCB, Upright, Citizens Brigade. And

0:13:59.760 --> 0:14:04.600
<v Speaker 1>then into like my senior year, I started like getting

0:14:04.679 --> 0:14:09.240
<v Speaker 1>kind of restless because I really wanted to do music,

0:14:09.280 --> 0:14:11.880
<v Speaker 1>but I just didn't know how. I hadn't been like

0:14:12.080 --> 0:14:14.400
<v Speaker 1>there were a lot of like jazz school kids I'd

0:14:14.440 --> 0:14:17.439
<v Speaker 1>been hanging out with, but it wasn't people I was

0:14:17.520 --> 0:14:20.560
<v Speaker 1>like necessarily trying to make music with. And then this

0:14:20.680 --> 0:14:23.680
<v Speaker 1>one kid, his name was Jimmy. He had heard I

0:14:23.760 --> 0:14:26.080
<v Speaker 1>like sang because I used to like go to the

0:14:26.120 --> 0:14:30.040
<v Speaker 1>piano room downstairs at the dorm and play songs now

0:14:30.080 --> 0:14:32.440
<v Speaker 1>and then and people would come listen. And he was like, Oh,

0:14:32.440 --> 0:14:34.760
<v Speaker 1>we should just do something together, just for the fucker

0:14:34.800 --> 0:14:36.840
<v Speaker 1>to see how it goes. And I was like, yeah,

0:14:36.840 --> 0:14:38.880
<v Speaker 1>for sure, let's do it. And we did one song

0:14:38.960 --> 0:14:43.080
<v Speaker 1>called Kingdom together for his project and then it did

0:14:43.200 --> 0:14:45.880
<v Speaker 1>pretty well, like for the first time i'd ever like

0:14:45.960 --> 0:14:48.480
<v Speaker 1>put out a song, it like got right up, so

0:14:48.480 --> 0:14:51.720
<v Speaker 1>it was like he doing really well for him, and

0:14:51.760 --> 0:14:54.160
<v Speaker 1>I was like, oh, you know, this is cool. I'm

0:14:54.200 --> 0:14:57.280
<v Speaker 1>gonna try and make my own stuff, or at least

0:14:57.280 --> 0:14:58.960
<v Speaker 1>one song. I'm gonna try and make one song under

0:14:59.000 --> 0:15:03.080
<v Speaker 1>my name, see how it go. And then I wrote

0:15:03.080 --> 0:15:06.600
<v Speaker 1>like basically the outline of Janet, the song that I

0:15:06.920 --> 0:15:09.320
<v Speaker 1>ended up putting on my EP. And I had connected

0:15:09.360 --> 0:15:12.400
<v Speaker 1>with this kid's name Sapphire, who also went to my

0:15:13.160 --> 0:15:15.480
<v Speaker 1>school for jazz, but he had dropped out because he

0:15:15.560 --> 0:15:18.320
<v Speaker 1>was like, I know exactly what I want to do.

0:15:18.560 --> 0:15:21.000
<v Speaker 1>I don't need to like be in school for it,

0:15:21.360 --> 0:15:23.240
<v Speaker 1>and I loved that. I was like, oh, this is cool.

0:15:23.400 --> 0:15:24.680
<v Speaker 1>I want to work with you. I want to like

0:15:24.680 --> 0:15:27.440
<v Speaker 1>see if we can create something, and we ended up

0:15:27.480 --> 0:15:31.920
<v Speaker 1>making the full EP together. Wow, how did you write

0:15:32.160 --> 0:15:35.920
<v Speaker 1>so I love Janet too? Because it's a again, it's

0:15:35.960 --> 0:15:38.160
<v Speaker 1>combining both of your world's right, it's music and it's

0:15:38.160 --> 0:15:40.880
<v Speaker 1>combining like it's like, it's clearly someone with the love

0:15:40.960 --> 0:15:43.120
<v Speaker 1>for TV how to write that? And I think probably

0:15:43.120 --> 0:15:45.040
<v Speaker 1>everyone in our age grew up loving, like obsessed with

0:15:45.080 --> 0:15:47.120
<v Speaker 1>the Fresh Prince. So it was such a beautiful send

0:15:47.200 --> 0:15:49.760
<v Speaker 1>up to Ann Viv. Yeah, how did you come up

0:15:49.760 --> 0:15:51.120
<v Speaker 1>with the idea for that? And how did it kind

0:15:51.120 --> 0:15:54.200
<v Speaker 1>of develop? I saw a tweet from one of my

0:15:54.240 --> 0:15:56.680
<v Speaker 1>really close friends who was one of those first generation

0:15:56.720 --> 0:15:58.200
<v Speaker 1>kids I was trying about that I was super tight

0:15:58.240 --> 0:16:02.520
<v Speaker 1>with in Atlanta. He tweeted it, if you fuck with

0:16:02.720 --> 0:16:07.200
<v Speaker 1>the light skin on Viv, I can't trust you. And

0:16:07.280 --> 0:16:09.320
<v Speaker 1>I thought it was so fun. I just like started laughing,

0:16:09.360 --> 0:16:13.720
<v Speaker 1>you know, I like I retweeted or whatever. Um. But

0:16:13.760 --> 0:16:15.920
<v Speaker 1>then it like kind of was this. I was like, man,

0:16:16.000 --> 0:16:19.360
<v Speaker 1>what did happen? You know? It kind of like planted

0:16:19.400 --> 0:16:22.600
<v Speaker 1>the seed. And then I started just researching, like going

0:16:22.640 --> 0:16:27.000
<v Speaker 1>in like this wormhole, what is like what happened? Why

0:16:27.200 --> 0:16:29.440
<v Speaker 1>was she kicked off the show? Does anyone really know?

0:16:29.600 --> 0:16:33.280
<v Speaker 1>Like did? And then and then that led into being like, oh,

0:16:33.360 --> 0:16:37.760
<v Speaker 1>the situation's kind of like fucked up. She hasn't worked

0:16:37.840 --> 0:16:41.360
<v Speaker 1>in since that show really really she like has had

0:16:41.480 --> 0:16:46.680
<v Speaker 1>small stuff but like too yeah she was, and she

0:16:46.840 --> 0:16:51.120
<v Speaker 1>was kind of like, yeah, excommunicated from this community. She

0:16:51.240 --> 0:16:54.000
<v Speaker 1>worked so hard to be a part of UM. She

0:16:54.080 --> 0:16:59.160
<v Speaker 1>had you know, she was a really talented dancer, singer, actress,

0:16:59.200 --> 0:17:02.040
<v Speaker 1>went to Juliard was in the first production of Cats

0:17:02.080 --> 0:17:07.280
<v Speaker 1>on Broadway, finally snags this UM series regular on NBC,

0:17:08.480 --> 0:17:10.919
<v Speaker 1>does so well, people love her, but because of a

0:17:10.920 --> 0:17:14.560
<v Speaker 1>couple of TIFFs she gets in NBC is like you

0:17:14.560 --> 0:17:17.520
<v Speaker 1>know what, No, we're gonna you're crazy. We're gonna tell

0:17:17.560 --> 0:17:20.760
<v Speaker 1>everybody you're crazy, and you're off of this thing. And

0:17:20.840 --> 0:17:22.480
<v Speaker 1>it's just like that, it all went away and it

0:17:22.520 --> 0:17:24.760
<v Speaker 1>made me so sad, and I was like, wow, I

0:17:24.800 --> 0:17:27.840
<v Speaker 1>have to I want to write something about this. So

0:17:27.880 --> 0:17:30.800
<v Speaker 1>I wrote the chorus first UM at my house in

0:17:30.840 --> 0:17:34.400
<v Speaker 1>Atlanta over like my piano, and I was like, oh,

0:17:34.480 --> 0:17:38.359
<v Speaker 1>this is I'm gonna keep going with this, and then

0:17:38.359 --> 0:17:43.560
<v Speaker 1>you called it Janet because that's Janet names the actress

0:17:43.600 --> 0:17:48.440
<v Speaker 1>who played the initials right the O GM viv um.

0:17:48.920 --> 0:17:51.120
<v Speaker 1>And then the verses are those are those about her too?

0:17:51.280 --> 0:17:53.800
<v Speaker 1>Because it seems like those the verses are maybe, yeah,

0:17:53.840 --> 0:17:55.520
<v Speaker 1>that's all about her. It's all about her. It's funny

0:17:55.760 --> 0:17:57.320
<v Speaker 1>a lot of people when I first put it out,

0:17:57.359 --> 0:17:59.879
<v Speaker 1>it's like girls would come up to me and be like, oh,

0:18:00.240 --> 0:18:03.119
<v Speaker 1>like my name's Janet, or like I want to be

0:18:03.240 --> 0:18:05.400
<v Speaker 1>like I want to be your Janet. And I was like, yo,

0:18:05.400 --> 0:18:09.480
<v Speaker 1>if this song completely went over the head. This is

0:18:09.520 --> 0:18:12.800
<v Speaker 1>not about a love interest. This is not about anything

0:18:13.320 --> 0:18:16.560
<v Speaker 1>of that sort. It's about you know, it's an ode

0:18:16.920 --> 0:18:21.720
<v Speaker 1>to Janet Hubert, and it's about like being forgotten and

0:18:22.520 --> 0:18:26.159
<v Speaker 1>what that's like and how I'm afraid of that. You know,

0:18:26.400 --> 0:18:29.640
<v Speaker 1>you're afraid of being forgotten? Yeah, of course a man.

0:18:30.320 --> 0:18:33.119
<v Speaker 1>That's a good songwriting man, because it's like it's about

0:18:33.200 --> 0:18:37.000
<v Speaker 1>something so specific and and because the dressing around it

0:18:37.040 --> 0:18:39.919
<v Speaker 1>is sounds so great. It's like you can hear almost

0:18:39.920 --> 0:18:41.600
<v Speaker 1>whatever you want to hear in it, you know, Yeah,

0:18:41.640 --> 0:18:43.000
<v Speaker 1>like you could hear that song and totally think it

0:18:43.080 --> 0:18:46.600
<v Speaker 1>was about, you know, being left behind by a lover

0:18:46.840 --> 0:18:49.840
<v Speaker 1>or you know, it just depends on certain I love

0:18:49.840 --> 0:18:52.479
<v Speaker 1>that it's open for a trip. That's always been my

0:18:52.480 --> 0:18:54.600
<v Speaker 1>favorite stuff. And it took me a long time to

0:18:54.640 --> 0:18:56.640
<v Speaker 1>be like, Okay, this is what it means to me

0:18:57.400 --> 0:18:59.800
<v Speaker 1>because I like that people were taking away their own things.

0:19:00.000 --> 0:19:02.919
<v Speaker 1>That's one of my favorite things about music and something

0:19:02.960 --> 0:19:05.720
<v Speaker 1>that I did with like the music I was listening

0:19:05.720 --> 0:19:08.120
<v Speaker 1>to when I was younger in college. Even now, it's

0:19:08.119 --> 0:19:11.040
<v Speaker 1>like I can I make my own interpretations and that's

0:19:11.040 --> 0:19:13.960
<v Speaker 1>what makes it special. Yeah, all the time. Often sometimes

0:19:14.560 --> 0:19:16.720
<v Speaker 1>I like sometimes I like to look at lyrics and

0:19:16.720 --> 0:19:19.040
<v Speaker 1>then sometimes they don't sounds I'm disappointed. Not the lyrics

0:19:19.080 --> 0:19:21.000
<v Speaker 1>are bad, but I'm like, wow, I thought this whole time,

0:19:21.000 --> 0:19:23.600
<v Speaker 1>this was about this and identified it with this, and

0:19:23.640 --> 0:19:25.240
<v Speaker 1>when I was feeling this way, I put this on

0:19:25.359 --> 0:19:27.640
<v Speaker 1>and it made me feel so like, you know, so good.

0:19:28.560 --> 0:19:31.280
<v Speaker 1>Oh it's like room now. Yeah, And I don't want

0:19:31.280 --> 0:19:33.680
<v Speaker 1>to ruin it. You know. That's the same reason why

0:19:33.720 --> 0:19:36.160
<v Speaker 1>I don't look up lyrics a lot of the time.

0:19:36.359 --> 0:19:39.440
<v Speaker 1>It's because I don't want it to be ruined. So

0:19:39.520 --> 0:19:41.840
<v Speaker 1>when you put out the EP you worked with Sapphire,

0:19:42.600 --> 0:19:44.719
<v Speaker 1>what was your intention for that just to put it

0:19:44.720 --> 0:19:49.640
<v Speaker 1>out or yeah. My intention was well, a little bit

0:19:49.680 --> 0:19:52.800
<v Speaker 1>before i'd put out the EP, I like I was

0:19:52.840 --> 0:19:54.639
<v Speaker 1>working on it, but I wasn't fully in. I was

0:19:54.680 --> 0:19:58.199
<v Speaker 1>still doing so many other things. And I remember I

0:19:58.240 --> 0:20:01.680
<v Speaker 1>was sending in a lot of like different packets, like

0:20:01.720 --> 0:20:07.440
<v Speaker 1>applying to shows and writing packets. And there was one

0:20:07.640 --> 0:20:11.199
<v Speaker 1>show I thought I was gonna get and I was like, oh,

0:20:11.240 --> 0:20:14.040
<v Speaker 1>if I get this, I'm gonna go all in with

0:20:14.080 --> 0:20:17.399
<v Speaker 1>this and I'll like marinate on the EP and i'll

0:20:17.440 --> 0:20:21.400
<v Speaker 1>you know, it'll come out when it comes out. Uh.

0:20:21.400 --> 0:20:27.720
<v Speaker 1>It was a Colbert when he like took over and

0:20:27.760 --> 0:20:31.239
<v Speaker 1>then I ended up not getting it, and I was like, oh,

0:20:31.280 --> 0:20:34.280
<v Speaker 1>I'm gonna finish this. I'm gonna finish the EP right now.

0:20:34.440 --> 0:20:36.760
<v Speaker 1>I was like, there's nothing else I want to do.

0:20:36.800 --> 0:20:41.480
<v Speaker 1>I'd stopped um sending in packets at that point, and

0:20:41.640 --> 0:20:43.119
<v Speaker 1>I was like, all right, here I go. I'm just

0:20:43.160 --> 0:20:45.720
<v Speaker 1>gonna go for it. I'm gonna put this out. I'm

0:20:45.720 --> 0:20:48.840
<v Speaker 1>gonna move to LA before it comes out, and then

0:20:49.280 --> 0:20:53.960
<v Speaker 1>I'm gonna see where it goes. And it went fine.

0:20:54.040 --> 0:20:56.040
<v Speaker 1>It was a slow you put it out what you

0:20:56.040 --> 0:20:57.439
<v Speaker 1>want you want on the label at the time, right,

0:20:57.800 --> 0:21:00.760
<v Speaker 1>I wasn't on a label. No, I I had just

0:21:01.160 --> 0:21:05.760
<v Speaker 1>gotten managers like after I'd already finished the project and

0:21:05.840 --> 0:21:07.440
<v Speaker 1>they were like, oh yeah, you should put this on

0:21:07.840 --> 0:21:12.399
<v Speaker 1>Spotify and all these different you know, Apple Music whatever, whatever.

0:21:13.359 --> 0:21:16.040
<v Speaker 1>And then and then and then I got a job

0:21:16.080 --> 0:21:21.439
<v Speaker 1>in a restaurant in LA and then it slowly just built.

0:21:21.840 --> 0:21:23.919
<v Speaker 1>What was the what was the tipping point moment for that?

0:21:24.000 --> 0:21:26.240
<v Speaker 1>Like when did it start? But at some point that

0:21:26.359 --> 0:21:31.040
<v Speaker 1>caught fire? When did um? It's funny. I was working

0:21:31.040 --> 0:21:35.119
<v Speaker 1>at this restaurant in day that I really hated. But

0:21:35.640 --> 0:21:37.480
<v Speaker 1>I'd worked in a restaurant in New York where I'd

0:21:37.520 --> 0:21:40.880
<v Speaker 1>like you know, worked up from a server to chef

0:21:40.960 --> 0:21:43.159
<v Speaker 1>to assistant manager. So I was making like five I

0:21:43.200 --> 0:21:45.760
<v Speaker 1>was making like good money for where I was at.

0:21:46.240 --> 0:21:47.840
<v Speaker 1>But then I went to La and then there's the

0:21:47.920 --> 0:21:50.119
<v Speaker 1>same style restaurant. They're like, now you're gonna be a

0:21:50.160 --> 0:21:52.600
<v Speaker 1>busser and you have to train for like a month,

0:21:52.760 --> 0:21:55.000
<v Speaker 1>and when you're training, you get no money. You get

0:21:55.080 --> 0:21:58.960
<v Speaker 1>like just you get paid shit. So I was still

0:21:59.000 --> 0:22:02.640
<v Speaker 1>in that phase. And now remember Tyler the creator came

0:22:02.640 --> 0:22:06.000
<v Speaker 1>into the restaurant and I was like, you know, someone

0:22:06.040 --> 0:22:07.639
<v Speaker 1>I like look up to an artist I look up to,

0:22:07.680 --> 0:22:09.760
<v Speaker 1>and I was just like, damn, this is not how

0:22:09.760 --> 0:22:11.880
<v Speaker 1>I'm trying to the creator, you know what I'm saying.

0:22:11.920 --> 0:22:13.560
<v Speaker 1>I was like, so I'm just avoiding his table at

0:22:13.600 --> 0:22:15.720
<v Speaker 1>all costs. And then my boss is like, yo, I

0:22:15.800 --> 0:22:17.680
<v Speaker 1>want to see wipe down this table which is like

0:22:17.760 --> 0:22:20.720
<v Speaker 1>kind of close to his table, and uh I was

0:22:20.760 --> 0:22:25.000
<v Speaker 1>like fine, dude, whatever, like head down, go wipe the table.

0:22:25.480 --> 0:22:27.719
<v Speaker 1>And then this man yells at me because he's like,

0:22:27.840 --> 0:22:30.600
<v Speaker 1>you didn't get the sides. So he like shows me

0:22:30.680 --> 0:22:33.800
<v Speaker 1>how to like wipe the sides of a table. He's like, look,

0:22:34.160 --> 0:22:36.760
<v Speaker 1>takes the rag and like does it. And I was like, oh,

0:22:36.800 --> 0:22:39.679
<v Speaker 1>I'm gonna quit this week. I was like this is

0:22:39.720 --> 0:22:42.159
<v Speaker 1>the worst, Like, this is the worst feeling ever. And

0:22:42.200 --> 0:22:44.760
<v Speaker 1>then it just so happened to be like that next

0:22:44.800 --> 0:22:49.439
<v Speaker 1>week I got paid from my music just enough to

0:22:49.560 --> 0:22:52.840
<v Speaker 1>like make it through one month, and I was like, Okay, cool,

0:22:53.400 --> 0:22:56.399
<v Speaker 1>I'm gonna make sure I stretch this bitch out and

0:22:56.600 --> 0:22:59.520
<v Speaker 1>not I'm not about to get another job right now,

0:22:59.560 --> 0:23:01.880
<v Speaker 1>and if if to next month, cool, But it ended

0:23:01.920 --> 0:23:04.000
<v Speaker 1>up being the next month I got a little bit

0:23:04.040 --> 0:23:05.560
<v Speaker 1>more than I got in a month before, and I

0:23:05.600 --> 0:23:06.960
<v Speaker 1>was like, all right, we're gonna do the same thing.

0:23:07.440 --> 0:23:10.480
<v Speaker 1>I'm gonna make you know, peanut butter and jelly sandwiches

0:23:10.880 --> 0:23:14.600
<v Speaker 1>stain my ass inside, right, Um, And then it kept

0:23:14.600 --> 0:23:17.359
<v Speaker 1>like growing. That was the last time I had to

0:23:17.359 --> 0:23:20.119
<v Speaker 1>work at a restaurant. That's amazing. Yeah, that's incredible. And

0:23:20.119 --> 0:23:22.040
<v Speaker 1>what you're doing shows when at that point or no,

0:23:22.240 --> 0:23:24.360
<v Speaker 1>no one is just coming in from from the from

0:23:24.359 --> 0:23:28.880
<v Speaker 1>the EP from Yeah, from the EP from streaming. Yeah,

0:23:28.880 --> 0:23:31.800
<v Speaker 1>thank god for streaming, man, thank god, thank god. I

0:23:31.880 --> 0:23:35.240
<v Speaker 1>love it. I was trying to put that EP out

0:23:35.240 --> 0:23:37.480
<v Speaker 1>for free too, so I'm glad I didn't do that

0:23:37.560 --> 0:23:41.880
<v Speaker 1>because it enabled me to, yeah, start doing this full time.

0:23:42.600 --> 0:23:49.720
<v Speaker 1>We'll be right back with Brehanna after the break. We're

0:23:49.760 --> 0:23:56.960
<v Speaker 1>back with Brahanna performing his song Golden Cool. Incredible. So

0:23:57.000 --> 0:23:59.920
<v Speaker 1>where'd that cuter guardline come from? Man? Oh? That was

0:24:00.240 --> 0:24:06.840
<v Speaker 1>um college. In college, we were reading Kika Guard in

0:24:06.840 --> 0:24:13.280
<v Speaker 1>one of my philosophy classes and his ideas on authenticity

0:24:13.760 --> 0:24:19.760
<v Speaker 1>were something I really gravitated towards. Um. Yeah, and that's

0:24:19.880 --> 0:24:22.639
<v Speaker 1>that's the line. That's line's actually not even in the

0:24:22.680 --> 0:24:25.920
<v Speaker 1>song that we put out. It's like, I've never lost verse. Yeah,

0:24:25.920 --> 0:24:27.920
<v Speaker 1>I was gonna say, speaking of like not listening to

0:24:27.920 --> 0:24:29.640
<v Speaker 1>the lyrics, like I've listened to that song a bunch.

0:24:29.680 --> 0:24:33.240
<v Speaker 1>I never heard that line today. Yeah, we were like, oh,

0:24:33.320 --> 0:24:35.440
<v Speaker 1>you know, let's like stretch out the song a bit.

0:24:36.160 --> 0:24:40.000
<v Speaker 1>And I haven't ever performed that verse, so I was like, oh, yeah,

0:24:40.080 --> 0:24:42.720
<v Speaker 1>let's do it here. Thank you. Thanks ye. First of all,

0:24:42.960 --> 0:24:46.000
<v Speaker 1>I mean I got I studied philosophy in college because

0:24:46.040 --> 0:24:47.600
<v Speaker 1>I got into Kirker Garden. I loved it, and I

0:24:47.640 --> 0:24:49.840
<v Speaker 1>didn't been to study in the Kirker Garden college, like

0:24:49.840 --> 0:24:51.440
<v Speaker 1>you just didn't have any of that in the curriculum.

0:24:51.880 --> 0:24:55.280
<v Speaker 1>I was bummed. Um, and yeah, so that was great.

0:24:55.320 --> 0:24:57.240
<v Speaker 1>I just I just just broked up on that because yeah,

0:24:57.240 --> 0:24:59.960
<v Speaker 1>I just hadn't heard that in the song. So how

0:25:00.160 --> 0:25:02.440
<v Speaker 1>come with idea to structure? So your new album it's

0:25:02.440 --> 0:25:05.960
<v Speaker 1>called Han and this is your first actual album other

0:25:05.960 --> 0:25:08.720
<v Speaker 1>one to be more of an EP. Yeah, And it's

0:25:08.760 --> 0:25:11.280
<v Speaker 1>really cool because there's these little skits and not like

0:25:11.320 --> 0:25:13.239
<v Speaker 1>these extended rap skits, but there are these like these

0:25:13.240 --> 0:25:16.359
<v Speaker 1>cool little skits in between songs that kind of remind

0:25:16.400 --> 0:25:18.280
<v Speaker 1>me of like Midnight Marauders or something. Right like how

0:25:18.320 --> 0:25:20.639
<v Speaker 1>this like this lady got in you through the album.

0:25:20.640 --> 0:25:23.320
<v Speaker 1>In this case, it's a flight attendant. How'd you come

0:25:23.400 --> 0:25:25.760
<v Speaker 1>up with that? I do? Mina Marauders is one of

0:25:25.760 --> 0:25:29.320
<v Speaker 1>my favorite albums growing up, and I thought I always

0:25:29.320 --> 0:25:32.600
<v Speaker 1>wanted to do my own version of that where it

0:25:32.680 --> 0:25:35.400
<v Speaker 1>felt like a little more narrative based and I could

0:25:35.440 --> 0:25:40.359
<v Speaker 1>put it in a space specifically, And so the concept

0:25:40.400 --> 0:25:43.680
<v Speaker 1>of the album came before anything. When I when I write,

0:25:43.680 --> 0:25:48.080
<v Speaker 1>it's like I go about it different ways the process

0:25:48.080 --> 0:25:49.359
<v Speaker 1>of it. But for this album was like, oh, I

0:25:49.400 --> 0:25:52.440
<v Speaker 1>know what the how I want the album to sound sonically,

0:25:52.960 --> 0:25:55.399
<v Speaker 1>I know what I want the concept to be, and

0:25:55.520 --> 0:26:00.760
<v Speaker 1>I know I want them to flow together seamlessly, um

0:26:01.000 --> 0:26:04.720
<v Speaker 1>and have all of these different sounds, Like certain songs

0:26:04.760 --> 0:26:07.000
<v Speaker 1>don't sound like other songs on the album, but they

0:26:07.040 --> 0:26:10.199
<v Speaker 1>still feel like they come from the same world. And

0:26:10.280 --> 0:26:13.560
<v Speaker 1>that's kind of that was my starting point. Yeah. He

0:26:13.640 --> 0:26:15.480
<v Speaker 1>used a band on this one, right, Yeah. I used

0:26:15.480 --> 0:26:17.879
<v Speaker 1>to a lot of UM. I used to band a

0:26:17.880 --> 0:26:21.280
<v Speaker 1>lot of like great musicians. Danny McKinnon, who's in here

0:26:21.359 --> 0:26:25.159
<v Speaker 1>playing with me today, Pomo, he produced the entire record

0:26:25.200 --> 0:26:29.879
<v Speaker 1>with me. He was someone I really wanted to get

0:26:29.920 --> 0:26:32.439
<v Speaker 1>into a session with him and Danny both. Actually they

0:26:32.440 --> 0:26:35.600
<v Speaker 1>were putting out a lot of like different videos just

0:26:35.640 --> 0:26:38.199
<v Speaker 1>them doing covers and like jamming. It wasn't even them

0:26:38.240 --> 0:26:40.800
<v Speaker 1>putting out songs. They were putting out videos of just

0:26:41.520 --> 0:26:43.080
<v Speaker 1>you know, where they were and like what they were

0:26:43.119 --> 0:26:46.680
<v Speaker 1>listening to. And it really I was like, oh, I'm

0:26:46.680 --> 0:26:49.480
<v Speaker 1>listening to the same things like right now. I was like,

0:26:49.520 --> 0:26:52.400
<v Speaker 1>I really want to get in a session and see

0:26:52.560 --> 0:26:55.520
<v Speaker 1>like what that's like. Then one session turned into like

0:26:55.560 --> 0:26:59.080
<v Speaker 1>three sessions, and then I kind of finessed. I was like,

0:27:00.119 --> 0:27:01.800
<v Speaker 1>throughout this idea, like, oh, what if we did like

0:27:01.800 --> 0:27:04.280
<v Speaker 1>a few songs and made it, you know, into its

0:27:04.280 --> 0:27:07.359
<v Speaker 1>own project, knowing I wanted this to be the album,

0:27:08.119 --> 0:27:13.480
<v Speaker 1>and but yeah, Palmo was so down. He was That's

0:27:13.520 --> 0:27:16.200
<v Speaker 1>like something that's really great about him as a producer.

0:27:16.280 --> 0:27:19.240
<v Speaker 1>He's he loves like challenges, and even though I was

0:27:19.280 --> 0:27:21.360
<v Speaker 1>throwing like a lot of different things his way, he

0:27:21.440 --> 0:27:25.240
<v Speaker 1>was just really excited to do something he hadn't done before.

0:27:26.040 --> 0:27:28.320
<v Speaker 1>From the initial idea of it just being like a

0:27:28.359 --> 0:27:31.000
<v Speaker 1>small project to becoming a full record. One did that.

0:27:31.960 --> 0:27:35.680
<v Speaker 1>I'm Japan in Japan. We went to Japan to record.

0:27:36.920 --> 0:27:39.320
<v Speaker 1>I had a couple of festival dates out there, and

0:27:40.560 --> 0:27:43.480
<v Speaker 1>Danny came to play with us, Palma came to play

0:27:43.480 --> 0:27:45.760
<v Speaker 1>with us, and we just had this like whole group

0:27:45.760 --> 0:27:48.200
<v Speaker 1>that we were already working on the album together. So

0:27:48.240 --> 0:27:51.600
<v Speaker 1>we're like, oh, let's stay like a few more weeks,

0:27:51.680 --> 0:27:54.480
<v Speaker 1>rent out a studio, and just go as hard as

0:27:54.480 --> 0:27:58.080
<v Speaker 1>we can in Japan. And then when we were there,

0:27:58.080 --> 0:28:00.480
<v Speaker 1>it was like that's when it was like, oh, here's

0:28:00.720 --> 0:28:03.520
<v Speaker 1>that line. It's all right there now we just need

0:28:03.560 --> 0:28:07.400
<v Speaker 1>to finish these songs in the like drunk for instance,

0:28:07.800 --> 0:28:11.520
<v Speaker 1>which comes after Golden and you guys will play at

0:28:11.600 --> 0:28:16.119
<v Speaker 1>some point today. The opening line is drunken Japan, Drunken Tokyo,

0:28:16.359 --> 0:28:19.200
<v Speaker 1>drunkn Tokyo, Drunken Tokyo. I do not know the language,

0:28:19.240 --> 0:28:21.960
<v Speaker 1>nor how I know your name. And the going to Japan?

0:28:22.040 --> 0:28:24.600
<v Speaker 1>Did recording there did that like change? Did that change

0:28:24.640 --> 0:28:27.600
<v Speaker 1>the vibe of the of the recordings at all or

0:28:27.640 --> 0:28:30.000
<v Speaker 1>the sessions or like what? For sure? I think it's

0:28:30.280 --> 0:28:34.120
<v Speaker 1>whenever you're in a new place, it kind of opens

0:28:34.160 --> 0:28:37.679
<v Speaker 1>you up, like you're not in the same routine. Everything's

0:28:37.720 --> 0:28:40.160
<v Speaker 1>super new to you, especially a place like Japan where

0:28:40.160 --> 0:28:43.960
<v Speaker 1>it's everybody looks different from you. Every store is different

0:28:43.960 --> 0:28:48.240
<v Speaker 1>from any store you go to in America. It's a

0:28:48.280 --> 0:28:51.880
<v Speaker 1>whole new world. So being in like that environment and

0:28:52.080 --> 0:28:55.160
<v Speaker 1>like creating, you're going to get something different than you

0:28:55.320 --> 0:28:59.160
<v Speaker 1>get when you're at home. So it definitely informed everything

0:28:59.200 --> 0:29:01.880
<v Speaker 1>that we're doing. Sure, and the restaurant you're working at

0:29:02.000 --> 0:29:04.920
<v Speaker 1>in New York was a Japanese restaurant and you had

0:29:04.960 --> 0:29:09.040
<v Speaker 1>to like learn some of the language there. R Is

0:29:09.040 --> 0:29:10.880
<v Speaker 1>there like a do you have an affinity for the

0:29:10.920 --> 0:29:12.440
<v Speaker 1>culture there? Or was it? Is this all kind of

0:29:12.480 --> 0:29:14.840
<v Speaker 1>accidental that you worked at a restaurant and had to

0:29:14.880 --> 0:29:16.920
<v Speaker 1>learn some Japanese and that you ended up getting like

0:29:17.000 --> 0:29:19.400
<v Speaker 1>dates and oh yeah, it was. It was super accidental.

0:29:19.880 --> 0:29:22.239
<v Speaker 1>It was when I got the job. It was right.

0:29:22.280 --> 0:29:23.640
<v Speaker 1>It was around the time where I was like, all right,

0:29:23.680 --> 0:29:26.560
<v Speaker 1>I'm just doing this EP I'm gonna finish this uh

0:29:26.960 --> 0:29:29.760
<v Speaker 1>And I was like, whoa, I'm broke. I need some money.

0:29:29.800 --> 0:29:32.600
<v Speaker 1>So I'd applied to so many different jobs, couldn't get anything.

0:29:33.320 --> 0:29:34.959
<v Speaker 1>Then I had a buddy in New York who was like, Oh,

0:29:35.000 --> 0:29:38.480
<v Speaker 1>I have this job. They're looking for people, but there's

0:29:38.520 --> 0:29:41.600
<v Speaker 1>like a catch. They want you to speak Japanese. They

0:29:41.640 --> 0:29:44.440
<v Speaker 1>want you to do this like fifteen minute chant before

0:29:45.280 --> 0:29:47.560
<v Speaker 1>shift starts that you have to learn they want you to.

0:29:47.960 --> 0:29:50.400
<v Speaker 1>It's like still very Japanese. All your bosses are gonna

0:29:50.400 --> 0:29:53.440
<v Speaker 1>be Japanese. They barely speak English. It wasn't the chant

0:29:53.480 --> 0:29:55.880
<v Speaker 1>you have to do before you started crazy. Actually, if

0:29:56.960 --> 0:29:59.480
<v Speaker 1>at the end of Golden there's like you kind of

0:29:59.520 --> 0:30:02.560
<v Speaker 1>here like the sky end of this chant, and that

0:30:02.640 --> 0:30:05.760
<v Speaker 1>was me recording the actual chant that we did. Can

0:30:05.840 --> 0:30:07.320
<v Speaker 1>you what is? Do you remember any of it? Still?

0:30:07.520 --> 0:30:11.160
<v Speaker 1>I remember fifteen minutes, but you got like twenty seconds

0:30:11.160 --> 0:30:33.680
<v Speaker 1>in you Yeah, Uccino sauka. It's a long thing. It's

0:30:33.680 --> 0:30:35.960
<v Speaker 1>a very long thing. To my entrained ear, that sounds

0:30:35.960 --> 0:30:39.160
<v Speaker 1>like the access perfect too. Man, Like you're killing hazy bros.

0:30:39.160 --> 0:30:41.240
<v Speaker 1>And I was working like forty hour weeks and if

0:30:41.240 --> 0:30:44.040
<v Speaker 1>you do like the lunch shift and the dinner shift,

0:30:44.600 --> 0:30:49.360
<v Speaker 1>that's thirty minutes every day getting on the clock. Here

0:30:49.400 --> 0:30:53.800
<v Speaker 1>we're on the clock. But yeah, it was it was

0:30:53.840 --> 0:30:56.080
<v Speaker 1>a very intense you just is it just it's just

0:30:56.720 --> 0:30:59.320
<v Speaker 1>I know, I know, like the gist, I don't know exactly,

0:30:59.680 --> 0:31:02.200
<v Speaker 1>I don't know everything. My Japanese used to be way

0:31:02.240 --> 0:31:04.680
<v Speaker 1>better when I was there, but uh, yeah, that kind

0:31:04.680 --> 0:31:07.040
<v Speaker 1>of like kicked off the affinity I guess for it

0:31:07.080 --> 0:31:09.560
<v Speaker 1>was never You know, there are a lot of musicians

0:31:10.240 --> 0:31:14.000
<v Speaker 1>in particular and artists who will say that, like like

0:31:14.040 --> 0:31:16.440
<v Speaker 1>I said with this album, a big starting point for

0:31:16.520 --> 0:31:18.120
<v Speaker 1>me was Japanese funk, and I feel like there are

0:31:18.120 --> 0:31:21.600
<v Speaker 1>a lot of artists who would who would be like, oh,

0:31:21.640 --> 0:31:24.560
<v Speaker 1>like I just heard this, like Japanese funk from the eighties,

0:31:24.560 --> 0:31:26.440
<v Speaker 1>It's so weird and unique. I'm going to use this

0:31:26.480 --> 0:31:29.280
<v Speaker 1>as a starting you know, kind of fetishizing this thing.

0:31:29.360 --> 0:31:32.520
<v Speaker 1>Where for me it was like, oh no, all of

0:31:32.560 --> 0:31:36.040
<v Speaker 1>my bosses where Japanese only spoke Japanese, they would tell

0:31:36.040 --> 0:31:40.000
<v Speaker 1>me like, yo, you should read this book by Riyono Sukyakatagawa,

0:31:40.160 --> 0:31:43.520
<v Speaker 1>or you should watch this movie by Yasujiro Ozu, or

0:31:43.560 --> 0:31:46.760
<v Speaker 1>you should listen to this album by you could hear Takahashi,

0:31:46.880 --> 0:31:49.000
<v Speaker 1>or like they would put me onto things where I

0:31:49.080 --> 0:31:52.080
<v Speaker 1>was like it was like oh because of that, then

0:31:52.080 --> 0:31:54.960
<v Speaker 1>I was like, Oh, this author is really tight. Who

0:31:54.960 --> 0:31:57.880
<v Speaker 1>did he inspire? Or this filmmakers really tight? Who are

0:31:57.880 --> 0:32:00.800
<v Speaker 1>his contemporaries? And it kind of I kind of kept

0:32:00.840 --> 0:32:04.000
<v Speaker 1>going down that too. That's how I got inspired. You know,

0:32:04.040 --> 0:32:08.160
<v Speaker 1>It's because of the environment I was in. Wow, yeah,

0:32:08.200 --> 0:32:10.160
<v Speaker 1>this is like putting you in like a whole fourth

0:32:10.240 --> 0:32:13.959
<v Speaker 1>other culture totally. That's also very strong in this thing.

0:32:14.720 --> 0:32:16.240
<v Speaker 1>So you were listening to all that stuff even before

0:32:16.240 --> 0:32:17.680
<v Speaker 1>you went out there to record. So that must have

0:32:17.680 --> 0:32:19.280
<v Speaker 1>been kind of fun to be able to record out there.

0:32:19.440 --> 0:32:20.840
<v Speaker 1>That would give you the idea to say, like, hey,

0:32:20.880 --> 0:32:22.920
<v Speaker 1>let's try to absolutely the troops and do it. Yeah,

0:32:22.960 --> 0:32:26.360
<v Speaker 1>absolutely cool man, definitely want to do drunk, Yeah, let's

0:32:26.400 --> 0:32:30.080
<v Speaker 1>do this is this is about your first trip to Japan, right,

0:32:30.200 --> 0:32:33.440
<v Speaker 1>first and second, first and second combined in one great

0:32:35.800 --> 0:32:40.560
<v Speaker 1>cool Thank you for doing these guys, It's all over,

0:32:40.720 --> 0:32:45.800
<v Speaker 1>It's it. That's it man. Thanks to Brahanna for taking

0:32:45.880 --> 0:32:48.280
<v Speaker 1>us through his first two projects and sharing some of

0:32:48.320 --> 0:32:51.440
<v Speaker 1>that incredible Japanese chant with us. Be sure to check

0:32:51.480 --> 0:32:54.200
<v Speaker 1>out his album Han, along with our other favorite Brahanna

0:32:54.320 --> 0:32:56.960
<v Speaker 1>songs on a playlist we created at Broken record podcast

0:32:57.040 --> 0:32:59.360
<v Speaker 1>dot com. You can also find a playlist we hadn't

0:32:59.360 --> 0:33:02.600
<v Speaker 1>put together some of his favorite Japanese city pipe he'd

0:33:02.600 --> 0:33:04.920
<v Speaker 1>be sure to subscribe to our YouTube channel at YouTube

0:33:04.960 --> 0:33:08.000
<v Speaker 1>dot com slash Broken Record Podcasts. We're always putting up

0:33:08.000 --> 0:33:10.800
<v Speaker 1>our old interviews there and our new ones, sometimes with

0:33:10.880 --> 0:33:14.120
<v Speaker 1>bonus content. Broken Record is produced with help from Jason

0:33:14.160 --> 0:33:19.280
<v Speaker 1>Gambrel me LaBelle Lea Rose, and Martin Gonzalez for Pushkin Industries.

0:33:19.840 --> 0:33:22.960
<v Speaker 1>A theme music by Kenny Beats. I'm justin Richmond. Thanks

0:33:22.960 --> 0:33:23.440
<v Speaker 1>for listening.