WEBVTT - QLS Classic: Kimbra

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<v Speaker 1>West Love Supreme is a production of iHeartRadio. This classic

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<v Speaker 1>episode was produced by the team at Pandora. Hey it's

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<v Speaker 1>on pay bill. Check out this QLs classic from November second,

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<v Speaker 1>two thousand and sixteen. We sit down with recording artist Kimbra.

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<v Speaker 1>She talks about leading from New Zealand, the world, wildlife,

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<v Speaker 1>Silver Lake, California, and how she makes records in this

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<v Speaker 1>episode originally aired on Pandora. Check it out. Kimbra Johnson lazy.

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<v Speaker 1>Now before we even get started, we gotta know, how

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<v Speaker 1>did you get such a black last name as Johnson. Wait,

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<v Speaker 1>your full.

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<v Speaker 2>Name is kim Kimber. That's even that's kind of yeah, yeah,

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<v Speaker 2>like that.

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<v Speaker 1>I feel like you gotta you come from the wrong

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<v Speaker 1>side of the tracks.

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<v Speaker 2>Yeah, I mean I only realized that when I moved

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<v Speaker 2>over here. I'm from New Zealand obviously, And aren't.

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<v Speaker 1>You from Hamilton, New Zealand.

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<v Speaker 2>How did you know that?

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<v Speaker 1>Because I have a computer, How do I know anything?

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<v Speaker 1>You're just trying to bring it back to Hamilton. That's funny,

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<v Speaker 1>that's funny.

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<v Speaker 2>Hamilton's not the most well known place in New Zealand.

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<v Speaker 1>But I can't say I've been there and or no

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<v Speaker 1>can I ask, do you get tired of people kind

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<v Speaker 1>of lumping? I feel like New Zealand is the Jersey

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<v Speaker 1>to New York or the Baltimore to Washington kind of.

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<v Speaker 1>I mean, I know it's cool, but.

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<v Speaker 2>Yeah, yeah, yeah, yeah, but people over here, I.

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<v Speaker 1>Just tend to think like it's one big giant under Australia.

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<v Speaker 2>There's so many, you know, there's four million people in

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<v Speaker 2>New Zealand. It's tiny, you know, So I understand. And

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<v Speaker 2>I spent five years in Australia, moved there when I

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<v Speaker 2>was seventeen before I came to the States, so I understand.

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<v Speaker 1>It's you know, how long you been in the States.

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<v Speaker 1>How long you been here?

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<v Speaker 2>Oh, over three years now. I did LA for nearly

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<v Speaker 2>two years and then I'm about a year into living

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<v Speaker 2>in New York.

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<v Speaker 1>Wow. What's been the biggest adjustment for you so far? Oh?

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<v Speaker 2>Man, I'm so happy here. I love walking and getting

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<v Speaker 2>on the subway and taking like just simple things like

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<v Speaker 2>that that change your experience of a city so much.

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<v Speaker 2>You know, I was always in the back of ubers

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<v Speaker 2>in La. I didn't have a car. So I'm just

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<v Speaker 2>loving I live like in the East Village, just so

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<v Speaker 2>much history there as well so many amazing people that

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<v Speaker 2>have lived in that area.

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<v Speaker 1>So, so, wait, you drive You didn't drive in lle

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<v Speaker 1>I know, right, drive in New York City.

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<v Speaker 2>I don't drive in New York.

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<v Speaker 3>No.

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<v Speaker 2>I had a full driver's license, but I just never

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<v Speaker 2>got on the car of here. I mean, we drive

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<v Speaker 2>on the other side of the road, so it would

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<v Speaker 2>be challenging.

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<v Speaker 1>You know. Wait, so you don't drive here?

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<v Speaker 2>I had no, I don't drive.

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<v Speaker 1>Wait a minute in America. The first time we met,

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<v Speaker 1>I made you like a four hundred song driving playlist.

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<v Speaker 2>Yeah, but that was a friend. That was Yeah, you

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<v Speaker 2>made a sick playlist for the road trip. But I

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<v Speaker 2>did that with a friend.

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<v Speaker 1>Oh okay, did I make you for no reason whatsoever?

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<v Speaker 1>I'm just gonna I see. Yeah, So I well, I

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<v Speaker 1>guess we would all like to know about your humble beginnings.

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<v Speaker 1>One You're You're, You're. You have a wise soul for

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<v Speaker 1>someone that is four months younger than a tribe called

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<v Speaker 1>Quest debut album. Every time I see your birth year,

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<v Speaker 1>I'm like, I was a freshman in college when you

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<v Speaker 1>were born. But you you seem to acquire a lot

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<v Speaker 1>more knowledge than most people that I know that have

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<v Speaker 1>a nine in the third year of their birth year

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<v Speaker 1>as far as music's concerned, and without the really the

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<v Speaker 1>development of the Internet being in full swing until ten

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<v Speaker 1>years later. Like what were your first four years? Like

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<v Speaker 1>that really has you curious about soul music of all things?

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<v Speaker 2>Yeah, you know, Stevie Wonder was really big for me.

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<v Speaker 2>I first started learning guitar when I was about thirteen fourteen.

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<v Speaker 2>The guitar is my first instrument. That's what I first

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<v Speaker 2>started writing on. And learning a lot of those and

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<v Speaker 2>versions and stuff on guitar was super inspiring, you know,

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<v Speaker 2>for opening my brain harmonically. And I was singing in

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<v Speaker 2>a little choir at school that were doing a lot

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<v Speaker 2>of Beach Boys covers, you know, and Sinatra, and this

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<v Speaker 2>is like trippy stuff for a kid who's been you know.

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<v Speaker 2>I also had on my R and B stuff I

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<v Speaker 2>was listening to on the radio, Destiny's Child and all

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<v Speaker 2>the Timberland era, you know. But then I was learning

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<v Speaker 2>about these other styles of music and I first got

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<v Speaker 2>into a boss A track. That's how I started all

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<v Speaker 2>my early recordings, all the first album. So then the

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<v Speaker 2>kind of producer had started lighting up, you know, and

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<v Speaker 2>getting excited about listening to records in the sense of dimension,

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<v Speaker 2>and it's just it's like the same as you man,

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<v Speaker 2>you know, starting one artist and I mean Prince for example,

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<v Speaker 2>and it takes you on such a journey and you

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<v Speaker 2>just get super curious.

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<v Speaker 1>It keeps you from being so dismissive, because even I meant,

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<v Speaker 1>for whatever nerd degree I have of music, I mean,

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<v Speaker 1>I definitely went through that period where, like you know,

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<v Speaker 1>when I was six or seven, Marvin Gaye comes on,

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<v Speaker 1>I'm just thinking, like, that's my aunt's music, right.

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<v Speaker 2>Right, right, that's something that I'm impressed by.

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<v Speaker 1>Being young, What kept you from being dismissive?

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<v Speaker 2>That's right. We're cynical even, you know, because when you

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<v Speaker 2>hit your teens, you start to be like quite niche

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<v Speaker 2>with what you like. But I always had quite an openness,

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<v Speaker 2>which I see as a gift. I guess. I was

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<v Speaker 2>very intrigued by metal music, for example, like bands from

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<v Speaker 2>New Jersey like the den'ger escape Plane and Sugar, you know,

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<v Speaker 2>for the grooves, something about just from a really open

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<v Speaker 2>standpoint of what at the time, like what what makes

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<v Speaker 2>me feel so primally engaged to these rhythms, and then

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<v Speaker 2>learning that a lot of it comes from Latin. You know,

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<v Speaker 2>it's like you just become so fascinated with stuff and

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<v Speaker 2>it didn't ever come cross my mind like, oh, that's

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<v Speaker 2>that's cool, and that's not cool, and that's what my

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<v Speaker 2>friends like, that's what they don't. It was just all sound,

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<v Speaker 2>you know, And I don't think we retain that openness.

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<v Speaker 2>Sometimes as we get older, we get a bit more,

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<v Speaker 2>you know, into aesthetics and into taste, and that's great,

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<v Speaker 2>all of that's really cool. But as a kid, I

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<v Speaker 2>really I'm glad I had that openness.

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<v Speaker 1>So you started songwriting. I know that you were songwriting

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<v Speaker 1>by well you said your first.

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<v Speaker 2>Instrument was well, I was writing just in you know,

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<v Speaker 2>singing into cassette tapes and I was like eight or nine,

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<v Speaker 2>just little silly songs, but they had structure, you know,

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<v Speaker 2>verses and choruses. I love pop music as a formula

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<v Speaker 2>for writing.

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<v Speaker 1>Did they come from your family or like.

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<v Speaker 2>Their doctor and nurses? So, I don't know, man, It's

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<v Speaker 2>it was a really a who's your.

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<v Speaker 1>Who is your who's that older who's the older brother? Figure?

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<v Speaker 1>That no person?

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<v Speaker 2>That well, No, I don't know. I think it was

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<v Speaker 2>just I really talk about it almost more in a

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<v Speaker 2>spiritual sense, because it's like something needs to come out,

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<v Speaker 2>you know, when you have a need to express. And

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<v Speaker 2>at that time I was asking just I was curious,

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<v Speaker 2>you know, and this became a language malady was very intriguing.

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<v Speaker 2>Lyrics were a way of like, yeah, just expression and

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<v Speaker 2>then learning an instrument, of course, everything changes because you

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<v Speaker 2>can start to really get deeper with the art form.

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<v Speaker 4>Was there ever a moment where you realized that you

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<v Speaker 4>could write songs like that?

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<v Speaker 1>You realized like, I might can pay a bill off

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<v Speaker 1>of this.

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<v Speaker 2>Well, tell you something about New Zealand. It's really specialist.

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<v Speaker 2>We have this competition. It's a high school band competition

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<v Speaker 2>called the Rock Quest, and it's not televised or anything.

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<v Speaker 2>It's not like American Idol or anything like that. It's

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<v Speaker 2>kids in bands, you know, so kids literally stay in

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<v Speaker 2>high school to enter this competition. It's super important for

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<v Speaker 2>kids to school. And so I entered this competition as

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<v Speaker 2>a soloist just on guitar, you know, playing songs from

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<v Speaker 2>my bedroom that I thought were just for me, and

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<v Speaker 2>I ended up being like the only girl in the

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<v Speaker 2>finals and coming second in the whole country, which for

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<v Speaker 2>New Zealand was a big deal. You know. Yeah, so

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<v Speaker 2>at that point it's probably the same for you. You have

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<v Speaker 2>those moments you go, hey, this is not only something

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<v Speaker 2>that makes me really happy in my bedroom, but wow,

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<v Speaker 2>people seem to be engaged with it. I'm being acknowledged

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<v Speaker 2>for it, and maybe I can develop develop it more.

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<v Speaker 1>And they were fully realized, fully arranged songs.

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<v Speaker 2>Yeah, they were there, they were. I was about fourteen

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<v Speaker 2>at the time when that happened, and then later got

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<v Speaker 2>signed at like seventeen. So from those ages, I was

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<v Speaker 2>developing songs in the studio, learning how to record on

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<v Speaker 2>an eight track, So the songs moved from being less

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<v Speaker 2>guitar based and more recording the entire arrangement on vocals,

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<v Speaker 2>and that was really inspiring to me, you know, fleshing

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<v Speaker 2>out the drum beat, just beatboxing or just little silly ideas,

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<v Speaker 2>but that became settled down. You know a song I

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<v Speaker 2>wrote when I was sixteen, which is probably the song

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<v Speaker 2>that broke me first here in America before the Gotya.

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<v Speaker 1>Your debut?

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<v Speaker 2>That was the debut.

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<v Speaker 1>Yeah, So how do you How does your debut album

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<v Speaker 1>feel in contrast to what you're working on now? As

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<v Speaker 1>far as I always feel like you're working all your

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<v Speaker 1>life on your first record.

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<v Speaker 2>That's true. That's true.

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<v Speaker 1>Artists wound up like separating themselves from their debut record

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<v Speaker 1>once they grow and that sort of thing.

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<v Speaker 2>Yeah, I mean, I'm twenty six now. That record came

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<v Speaker 2>out when I was twenty one. I started making it

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<v Speaker 2>when I was about eighteen, you know. And the songs

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<v Speaker 2>are those ones from your bedroom, you know that you've

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<v Speaker 2>lived with all your life. And like you said, now

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<v Speaker 2>it's like it's third album time for me, so you know,

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<v Speaker 2>new city, new experiences. Everything's changed. The second album, The

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<v Speaker 2>Golden Echo, for me, was kind of that was a

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<v Speaker 2>very experimental time for me, you know, moving to LA

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<v Speaker 2>and so much. Yeah, you're always drawing from where you're at,

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<v Speaker 2>but the first You're right, there's something like listening to

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<v Speaker 2>it now you kind of look at it like it's

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<v Speaker 2>a young child you had or someone and someone you do.

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<v Speaker 2>You know, you you you knew, but it's it's a

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<v Speaker 2>strange connection that you have with your debut. Okay it was.

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<v Speaker 1>Yeah, I was actually trying to let the whole entire

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<v Speaker 1>s Yeah, I mean, does it feel like a burden

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<v Speaker 1>that you know, do you feel as though that's not

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<v Speaker 1>a burden but it's sort of like an asterisk. Mainly

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<v Speaker 1>people might only know you for that.

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<v Speaker 2>That's understandable.

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<v Speaker 1>I mean, yeah, the full spectrum of your Well, how

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<v Speaker 1>did that collaboration come to.

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<v Speaker 2>Be like so organic? It's it's kind of because I

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<v Speaker 2>was making Vows and the main producer I worked with

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<v Speaker 2>on the album was called Francois Titas, and I knew

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<v Speaker 2>his work because he produced the first Gutia record and

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<v Speaker 2>I was in love with it, you know. I was like,

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<v Speaker 2>this is super prog pop. I was so into it,

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<v Speaker 2>and I was like, I want to work with a

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<v Speaker 2>guy that made that album. And so he introduced me

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<v Speaker 2>and Wally, so we just became friends, and we didn't

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<v Speaker 2>talk for a good year after we met, and then

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<v Speaker 2>he just called me up one day. He's like, I've

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<v Speaker 2>got this song. You know, I'm looking for, you know,

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<v Speaker 2>the other character in the song, and can I come

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<v Speaker 2>over this afternoon and show you it and see if

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<v Speaker 2>you'd be down to singing And just came over or

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<v Speaker 2>I had a little home bedroom studio, and it's just

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<v Speaker 2>so organic. The whole thing. The video is like, never

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<v Speaker 2>any notion that this was going to be what it was.

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<v Speaker 1>I was going to say, how long did it take

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<v Speaker 1>you guys to shoot that?

0:11:11.480 --> 0:11:14.520
<v Speaker 2>As far as that that was the longest most grueling

0:11:14.600 --> 0:11:16.560
<v Speaker 2>video shit I've ever done in my life, no question,

0:11:16.800 --> 0:11:21.280
<v Speaker 2>that was. I mean it was a full yeah. So

0:11:21.320 --> 0:11:23.720
<v Speaker 2>we didn't move for you know, it's like we took

0:11:23.760 --> 0:11:26.439
<v Speaker 2>toilet breaks. But it was a good forteen hours in

0:11:26.480 --> 0:11:27.160
<v Speaker 2>that position.

0:11:28.600 --> 0:11:28.800
<v Speaker 1>Yeah.

0:11:28.880 --> 0:11:31.079
<v Speaker 2>Yeah, with you know, sort of strategic breaks and then

0:11:31.120 --> 0:11:33.760
<v Speaker 2>back in and just being fed nuts while we because

0:11:33.760 --> 0:11:36.480
<v Speaker 2>it's six you know, six or seven photographs and then

0:11:36.880 --> 0:11:39.960
<v Speaker 2>a second of you know, sorry, six or se six

0:11:40.080 --> 0:11:42.439
<v Speaker 2>or seven seconds in a photograph. There's six or seven seconds,

0:11:42.480 --> 0:11:44.360
<v Speaker 2>then a photograph then you know what I mean, you

0:11:44.440 --> 0:11:47.920
<v Speaker 2>see the process. Yeah, it was. It was a long day.

0:11:49.080 --> 0:11:51.680
<v Speaker 1>That was amazing. Of course, you had no idea that

0:11:51.920 --> 0:11:53.240
<v Speaker 1>you know that would lead to.

0:11:53.679 --> 0:11:56.160
<v Speaker 2>Well would you? I mean, the song is not like

0:11:56.240 --> 0:11:58.280
<v Speaker 2>what you would hear on the radio, and it's kind

0:11:58.280 --> 0:12:01.920
<v Speaker 2>of yeah it is right, yeah, well you know more

0:12:01.920 --> 0:12:04.760
<v Speaker 2>than me. Man, I did not see that coming.

0:12:05.360 --> 0:12:05.959
<v Speaker 1>That's amazing.

0:12:06.640 --> 0:12:08.560
<v Speaker 2>That's but I'm here.

0:12:08.920 --> 0:12:11.720
<v Speaker 1>I'm glad you didn't see that coming. So why why

0:12:11.720 --> 0:12:14.640
<v Speaker 1>did you leave? I mean, what was the what was

0:12:14.640 --> 0:12:20.160
<v Speaker 1>the community vibe like in as? Okay? Yes, I'm one

0:12:20.160 --> 0:12:29.280
<v Speaker 1>of those people that will in New Zealand.

0:12:23.679 --> 0:12:31.920
<v Speaker 2>Have been a bunch of times. I get it. But

0:12:32.080 --> 0:12:34.640
<v Speaker 2>the thing is that you need to understand is different.

0:12:35.320 --> 0:12:39.160
<v Speaker 2>There's a big difference. Well, first start, we do have

0:12:39.280 --> 0:12:41.720
<v Speaker 2>very different accents. Mine is all over the place these days.

0:12:41.720 --> 0:12:43.679
<v Speaker 2>But if you go to New Zealand and Australia, here

0:12:43.840 --> 0:12:47.520
<v Speaker 2>very significant. Should we do the obvious one? Australian say

0:12:47.559 --> 0:12:50.640
<v Speaker 2>fish and chips. New Zealanders say fish and chips. There's

0:12:50.640 --> 0:12:52.800
<v Speaker 2>a lot more blunt, it's a lot more the eyes

0:12:52.960 --> 0:12:58.280
<v Speaker 2>very different. That's New Zealand one on one Australian.

0:13:00.240 --> 0:13:00.520
<v Speaker 1>Word.

0:13:01.840 --> 0:13:04.240
<v Speaker 2>Yeah, okay, so that's a good one. It's a good

0:13:04.240 --> 0:13:06.079
<v Speaker 2>starting place if you give a go back again.

0:13:06.160 --> 0:13:10.920
<v Speaker 1>It's like Jersey, New Yorkers and New Jersey's always battle

0:13:11.000 --> 0:13:14.880
<v Speaker 1>with their turf. In DC and Maryland battle with their turf.

0:13:16.800 --> 0:13:19.640
<v Speaker 1>Is there a South North Carolina turf war going on?

0:13:19.679 --> 0:13:23.280
<v Speaker 1>South Carolina North Carolina kind of sort of? I mean

0:13:23.720 --> 0:13:24.480
<v Speaker 1>North Carolina.

0:13:24.840 --> 0:13:28.280
<v Speaker 4>Well, first off, like when people speak of the Carolinas

0:13:28.600 --> 0:13:32.080
<v Speaker 4>in North Carolina, we really just count ourselves. Like South

0:13:32.120 --> 0:13:35.880
<v Speaker 4>Carolina is like its own separate thing, you know what

0:13:35.880 --> 0:13:39.839
<v Speaker 4>I mean. And so in North Carolina, Our leading export

0:13:40.240 --> 0:13:46.640
<v Speaker 4>other than basketball is racism. So you know, we we

0:13:47.000 --> 0:13:48.080
<v Speaker 4>pride ourselves on that.

0:13:48.240 --> 0:13:53.360
<v Speaker 1>And on the finest show, I mean only the finest.

0:13:53.440 --> 0:14:00.360
<v Speaker 4>I mean it has been aged in oak barrels, like man,

0:14:00.400 --> 0:14:02.320
<v Speaker 4>come on. So so yeah, it is kind of like

0:14:02.320 --> 0:14:05.000
<v Speaker 4>that North Carolina. South Carolina don't really rock like that.

0:14:05.120 --> 0:14:08.600
<v Speaker 4>And in North Carolina, Charlotte is like the capitol. Well no,

0:14:08.640 --> 0:14:10.400
<v Speaker 4>I'm sorry, Charlotte is the biggest city.

0:14:10.400 --> 0:14:10.959
<v Speaker 1>That's why all the.

0:14:10.920 --> 0:14:14.640
<v Speaker 4>Banks are so Charlotte is like kind of they think

0:14:14.679 --> 0:14:18.280
<v Speaker 4>they're aggressive. They're well they think they are, but they're

0:14:18.280 --> 0:14:21.960
<v Speaker 4>really not. Yeah, kind of polity because it's like they

0:14:22.400 --> 0:14:24.040
<v Speaker 4>kind of want to be Atlanta. So they're like in

0:14:24.080 --> 0:14:27.200
<v Speaker 4>Atlanta on the cusp, you know what I mean, they

0:14:27.360 --> 0:14:28.200
<v Speaker 4>trying to get there.

0:14:28.600 --> 0:14:30.880
<v Speaker 1>But it's like, you know, it's like Atlanta is the

0:14:30.920 --> 0:14:35.360
<v Speaker 1>Bentley and Charlotte is like the three hundred cust like

0:14:35.480 --> 0:14:36.120
<v Speaker 1>it looked like.

0:14:36.080 --> 0:14:40.160
<v Speaker 4>A Bentley into a real Bentley.

0:14:40.840 --> 0:14:46.120
<v Speaker 1>Is the same with I mean, would who would have

0:14:46.120 --> 0:14:50.800
<v Speaker 1>the upper hand between New Zealand and Australia culturally as.

0:14:51.680 --> 0:14:54.840
<v Speaker 2>The upper hand in terms of now this is what

0:14:54.880 --> 0:14:55.440
<v Speaker 2>are we talking.

0:14:55.600 --> 0:14:56.800
<v Speaker 1>I don't want you to throw.

0:14:58.480 --> 0:15:01.120
<v Speaker 2>I'm just saying, oh, look they you know, like the

0:15:01.200 --> 0:15:04.080
<v Speaker 2>landscape of the two countries are chalk and cheese. Really yeah,

0:15:04.080 --> 0:15:05.720
<v Speaker 2>I really have to go there and experience it because

0:15:05.720 --> 0:15:07.280
<v Speaker 2>they've both got so much to offer and they're both

0:15:07.320 --> 0:15:09.280
<v Speaker 2>being a huge part of my journey. You know. I

0:15:09.280 --> 0:15:12.680
<v Speaker 2>lived in Melbourne for five years, made vows there, and

0:15:12.720 --> 0:15:14.360
<v Speaker 2>New Zealand's my home. That's where I grew up. That's

0:15:14.360 --> 0:15:16.480
<v Speaker 2>where I go home every Christmas to see my family.

0:15:16.560 --> 0:15:19.240
<v Speaker 2>So they're both important places in America is a really

0:15:19.240 --> 0:15:21.080
<v Speaker 2>important place now for me. This is New York's a

0:15:21.080 --> 0:15:23.400
<v Speaker 2>home for me now, you know, it's amazing here.

0:15:23.560 --> 0:15:25.040
<v Speaker 1>Was it hard for you to leave there? Did you

0:15:25.120 --> 0:15:27.600
<v Speaker 1>have to come to America just so that your music

0:15:27.840 --> 0:15:28.600
<v Speaker 1>career could.

0:15:28.520 --> 0:15:30.960
<v Speaker 2>I think it's it's like, I like the idea of

0:15:31.120 --> 0:15:33.840
<v Speaker 2>continuing to move forward and having your experiences and form

0:15:33.880 --> 0:15:36.000
<v Speaker 2>your art, you know. And I've made a record there.

0:15:36.360 --> 0:15:38.720
<v Speaker 2>I felt like I'd taken a lot of experience from

0:15:38.720 --> 0:15:40.760
<v Speaker 2>the place, and I just signed to Warner Brothers in

0:15:40.880 --> 0:15:43.320
<v Speaker 2>LA and it felt like, yeah, let's do it, you know,

0:15:43.400 --> 0:15:46.160
<v Speaker 2>a new experience, a new record. And then same thing

0:15:46.200 --> 0:15:49.280
<v Speaker 2>with this one's third album. And I've gotten up and

0:15:49.440 --> 0:15:52.120
<v Speaker 2>planted in the New City again. Something about that feels

0:15:52.200 --> 0:15:52.680
<v Speaker 2>natural to me.

0:15:54.120 --> 0:15:58.040
<v Speaker 1>I see, so in La you mentioned I know that

0:15:58.080 --> 0:16:02.760
<v Speaker 1>you've you've crossed paths with the what I called the

0:16:02.920 --> 0:16:11.000
<v Speaker 1>animaniacs of soul, like whenever the Cat, just like the

0:16:11.000 --> 0:16:14.320
<v Speaker 1>way that they run that Tasmanian devil like swirl of

0:16:14.360 --> 0:16:16.680
<v Speaker 1>wind running in that warner by this tower, Like, yeah,

0:16:16.720 --> 0:16:20.480
<v Speaker 1>that's that's how I think of that movement. I mean

0:16:21.000 --> 0:16:23.400
<v Speaker 1>talking about no No, I was just thinking.

0:16:23.080 --> 0:16:25.440
<v Speaker 2>Of you know, thunder Cat worked a lot on the

0:16:25.520 --> 0:16:28.440
<v Speaker 2>last album. Yeah he became Yeah, it's and again, man,

0:16:28.520 --> 0:16:30.680
<v Speaker 2>all of these connections have been so organic. It's even

0:16:30.720 --> 0:16:32.360
<v Speaker 2>how I kind of met you. It was just a

0:16:32.440 --> 0:16:33.440
<v Speaker 2>mutual like, you know.

0:16:33.680 --> 0:16:38.560
<v Speaker 1>I kind of stalked you.

0:16:37.520 --> 0:16:40.160
<v Speaker 2>I don't put it on public, you know.

0:16:41.000 --> 0:16:45.600
<v Speaker 4>But look, I wasn't go down.

0:16:45.760 --> 0:16:52.840
<v Speaker 1>I wasn't in the I kept it out thought. I

0:16:52.920 --> 0:16:56.880
<v Speaker 1>kept it out in the open. I saw her this

0:16:56.960 --> 0:17:01.400
<v Speaker 1>is I first saw her on Lino and usually the

0:17:01.480 --> 0:17:05.680
<v Speaker 1>music act is the very last segment before the show changes.

0:17:05.760 --> 0:17:09.240
<v Speaker 1>And we were this this is obviously in the early

0:17:09.320 --> 0:17:13.119
<v Speaker 1>part of UH Late Night with Jimmy Fallon, because I

0:17:13.160 --> 0:17:17.000
<v Speaker 1>was still running home to watch the show afterwards. Well,

0:17:17.080 --> 0:17:18.880
<v Speaker 1>I mean after like a year, then that wore off

0:17:19.000 --> 0:17:21.639
<v Speaker 1>and I stopped. But I'm just saying that when she

0:17:21.760 --> 0:17:25.240
<v Speaker 1>was on like, I was amazed, and you know, then

0:17:25.280 --> 0:17:26.880
<v Speaker 1>I stalked her in Twitter.

0:17:27.200 --> 0:17:29.000
<v Speaker 2>And then I'm glad you did.

0:17:29.640 --> 0:17:33.439
<v Speaker 4>Hey, sometimes the stalker wis That is the lesson of today.

0:17:36.080 --> 0:17:38.800
<v Speaker 1>I don't never lets keep you from the woman you

0:17:38.880 --> 0:17:53.760
<v Speaker 1>look that sometimes to stalk her, wimp. I just had

0:17:53.840 --> 0:18:00.840
<v Speaker 1>to take someone give me. I gotta say, you just

0:18:00.840 --> 0:18:04.960
<v Speaker 1>spit on your computer. I did computer. Good job, good job. No,

0:18:05.080 --> 0:18:11.480
<v Speaker 1>I don't love you, Kimber. No, I mean I should

0:18:11.480 --> 0:18:14.960
<v Speaker 1>have get a direct message. You're taking that ship direct

0:18:15.000 --> 0:18:21.000
<v Speaker 1>because now now now it's in the world. No, in all,

0:18:21.200 --> 0:18:22.159
<v Speaker 1>in all seriousness.

0:18:22.480 --> 0:18:25.760
<v Speaker 2>So organic relationships, yeah, just friends, you know, people that

0:18:25.840 --> 0:18:28.520
<v Speaker 2>you meet out or at a gym or you know,

0:18:28.640 --> 0:18:30.639
<v Speaker 2>the same way we did. And all of a sudden,

0:18:30.640 --> 0:18:32.359
<v Speaker 2>I was living at a farm in LA It was

0:18:32.600 --> 0:18:36.200
<v Speaker 2>very weird. Yeah, I'd like eight sheep man, eight sheep

0:18:36.240 --> 0:18:36.840
<v Speaker 2>in the backyard.

0:18:36.920 --> 0:18:37.879
<v Speaker 1>Yeah angels.

0:18:38.320 --> 0:18:41.120
<v Speaker 2>Yeah, this is this lady. I found it on Craigslist

0:18:41.240 --> 0:18:44.159
<v Speaker 2>and she had a little urban city farm at the

0:18:44.200 --> 0:18:47.080
<v Speaker 2>back of her house in Silver Lake. Three sheet dogs,

0:18:47.640 --> 0:18:48.520
<v Speaker 2>twenty chickens.

0:18:48.800 --> 0:18:49.040
<v Speaker 1>Wow.

0:18:49.200 --> 0:18:51.560
<v Speaker 2>So thunder Cat Steve Stephen come over and we would

0:18:51.560 --> 0:18:53.440
<v Speaker 2>just hang out with the animals and then he'd be like,

0:18:53.680 --> 0:18:55.679
<v Speaker 2>play me what you're working on. And he'd be like, oh,

0:18:55.720 --> 0:18:58.000
<v Speaker 2>I've got an idea, you know, press recording. That's just

0:18:58.040 --> 0:19:01.280
<v Speaker 2>how it started. We're just lying like outside with the animals,

0:19:01.400 --> 0:19:05.560
<v Speaker 2>listening to tunes that I was working on. Isn't that crazy?

0:19:08.440 --> 0:19:14.320
<v Speaker 1>I lived in Silver Lake for you, there was a

0:19:14.400 --> 0:19:15.320
<v Speaker 1>farm in silver Lake.

0:19:15.440 --> 0:19:16.080
<v Speaker 2>No one believes me.

0:19:17.800 --> 0:19:20.520
<v Speaker 1>I moved out of silver Lake because the skunk used

0:19:20.560 --> 0:19:21.400
<v Speaker 1>to chase me home.

0:19:23.240 --> 0:19:23.480
<v Speaker 2>Wow.

0:19:23.960 --> 0:19:27.760
<v Speaker 1>Wow, No, like if you weren't home at a certain hour,

0:19:28.720 --> 0:19:30.440
<v Speaker 1>you know, wild animals, that's.

0:19:30.640 --> 0:19:33.199
<v Speaker 2>Well, check this out. Coyotes do you say coyotes?

0:19:33.560 --> 0:19:34.000
<v Speaker 1>Coyotes?

0:19:34.160 --> 0:19:36.800
<v Speaker 2>Coyotes. Coyotes came and ate six of the chickens. So

0:19:36.840 --> 0:19:40.320
<v Speaker 2>we had to get three sheep dogs. They were like tough,

0:19:40.480 --> 0:19:43.680
<v Speaker 2>you know, they were the sheep dogs. They kept everyone safe. Yeah.

0:19:44.440 --> 0:19:46.160
<v Speaker 1>Wow, you really did live on the farm.

0:19:46.280 --> 0:19:47.920
<v Speaker 2>Yeah. So it just started out hanging out of the

0:19:48.000 --> 0:19:49.600
<v Speaker 2>farm and then all of a sudden he was tracking

0:19:49.640 --> 0:19:52.600
<v Speaker 2>ideas and then he was like the base, you know,

0:19:52.760 --> 0:19:55.520
<v Speaker 2>sound of the last record. So it's very cool when

0:19:55.560 --> 0:19:56.280
<v Speaker 2>things happened like that.

0:19:56.600 --> 0:19:58.680
<v Speaker 1>Very creative individual death undercat.

0:19:59.320 --> 0:20:00.119
<v Speaker 2>Oh yeah, it's.

0:20:02.119 --> 0:20:06.520
<v Speaker 1>So still I'm still stuck on farm animal. Can we

0:20:06.560 --> 0:20:09.160
<v Speaker 1>talk about the skunk chasing you? Because there's there's more,

0:20:09.359 --> 0:20:13.120
<v Speaker 1>there's way. I've got a mental image in my head

0:20:13.480 --> 0:20:17.879
<v Speaker 1>running away from the car. Yeah, okay, So like I

0:20:17.920 --> 0:20:22.000
<v Speaker 1>would drive, I would drive up a hill if you

0:20:22.119 --> 0:20:24.920
<v Speaker 1>know California streets, and like some of them are full

0:20:24.920 --> 0:20:30.600
<v Speaker 1>of hills and it's really dark there, and uh, you know,

0:20:30.760 --> 0:20:34.760
<v Speaker 1>I drive and then you'd see, you know, their their eyes.

0:20:35.440 --> 0:20:37.760
<v Speaker 1>There's like three or four of them, maybe in front

0:20:37.760 --> 0:20:41.359
<v Speaker 1>of my door. And I didn't know what to do.

0:20:41.520 --> 0:20:43.280
<v Speaker 1>So I thought, okay, this is a smart idea. Let

0:20:43.359 --> 0:20:46.639
<v Speaker 1>me get back in the car and I'm going to

0:20:47.000 --> 0:20:49.520
<v Speaker 1>approach them at like fifty miles per hour. Like I

0:20:49.600 --> 0:20:51.840
<v Speaker 1>was in a zone of like maybe you should be

0:20:51.920 --> 0:20:54.880
<v Speaker 1>doing twenty. So I figured if I do fifty, house,

0:20:55.119 --> 0:20:57.760
<v Speaker 1>you know, they'll run away. But what I didn't know

0:20:58.080 --> 0:21:08.040
<v Speaker 1>was that in the face of fear they spray you. Yeah,

0:21:08.160 --> 0:21:14.200
<v Speaker 1>I know that now. And literally I got my entire

0:21:14.920 --> 0:21:18.040
<v Speaker 1>like my bill for the car rental. They thought I

0:21:18.160 --> 0:21:20.240
<v Speaker 1>had a lot. They're like, wait, we know you you

0:21:20.320 --> 0:21:23.560
<v Speaker 1>don't smoke weed. And I was like this is skunks

0:21:23.880 --> 0:21:26.680
<v Speaker 1>And I explained and they were like, yeah, you can't

0:21:26.720 --> 0:21:31.359
<v Speaker 1>scare a skunk because they will spray you. Yeah, my

0:21:31.600 --> 0:21:34.719
<v Speaker 1>car and me never get sprayed by a skunk, let

0:21:34.760 --> 0:21:38.440
<v Speaker 1>alone three of them. You have to bathe and tomato sauce.

0:21:38.600 --> 0:21:40.400
<v Speaker 1>Is that a true? Is that a true? I didn't

0:21:40.440 --> 0:21:42.800
<v Speaker 1>know about that, like to get well. I tried to

0:21:42.880 --> 0:21:46.320
<v Speaker 1>dismiss it, but then like, thank god for like we

0:21:46.560 --> 0:21:48.960
<v Speaker 1>culture because everyone just thought like I had the good ship,

0:21:52.720 --> 0:21:55.879
<v Speaker 1>but you always smell like a bakery. No, it was

0:21:55.920 --> 0:21:59.000
<v Speaker 1>the opposite of a bakery. I smelled like I had

0:21:59.080 --> 0:22:01.479
<v Speaker 1>that good feel, like somebody that was on his way

0:22:01.480 --> 0:22:06.359
<v Speaker 1>to it. Yeah. Now that was the worst. Like that

0:22:06.640 --> 0:22:09.960
<v Speaker 1>was mischief night. I don't know if people still celebrate that.

0:22:10.000 --> 0:22:12.840
<v Speaker 1>It was like the night before Halloween. Uh, not to mention,

0:22:13.000 --> 0:22:17.320
<v Speaker 1>I got egged the next night. I got egged in

0:22:17.440 --> 0:22:19.920
<v Speaker 1>Silver Lake. Oh wow, it was a bad first week

0:22:20.000 --> 0:22:29.800
<v Speaker 1>out there. Yeah. So that's my skunk story in Silver Lake. Okay,

0:22:29.880 --> 0:22:32.280
<v Speaker 1>so right about now, you're working on your your third

0:22:32.400 --> 0:22:36.280
<v Speaker 1>album and what is your your your vision or your

0:22:37.240 --> 0:22:41.520
<v Speaker 1>how do you even grow past the level experiments that you've.

0:22:41.400 --> 0:22:45.240
<v Speaker 2>Been Yeah, yeah, well I'm excited to do new things.

0:22:45.320 --> 0:22:48.960
<v Speaker 2>You know. The last record was like a maximalist album.

0:22:49.040 --> 0:22:51.320
<v Speaker 2>I got to meet all these amazing people and kind

0:22:51.359 --> 0:22:53.200
<v Speaker 2>of just invited them all down to the studio, you

0:22:53.280 --> 0:22:57.200
<v Speaker 2>know why not, which was super cool. But I'm really

0:22:57.359 --> 0:22:59.920
<v Speaker 2>enjoying like trying more of a directness with some of

0:22:59.920 --> 0:23:02.159
<v Speaker 2>the beats that I'm writing and things that I'm you know,

0:23:02.240 --> 0:23:04.639
<v Speaker 2>doing as demos. There are a lot more to the

0:23:04.720 --> 0:23:06.600
<v Speaker 2>point than I've ever been, which is exciting and probably

0:23:06.680 --> 0:23:09.240
<v Speaker 2>comes with age and maturity. You kind of start to

0:23:09.320 --> 0:23:11.320
<v Speaker 2>turn more things off and you don't have to do

0:23:11.440 --> 0:23:15.400
<v Speaker 2>as many flourishes to get emotion across, you know, I've

0:23:15.400 --> 0:23:19.159
<v Speaker 2>had more experiences. Yeah, I'm inspired by a lot of

0:23:19.200 --> 0:23:20.720
<v Speaker 2>records at the moment. I've been spending a lot of

0:23:20.760 --> 0:23:23.600
<v Speaker 2>time in Ethiopia the last couple of years.

0:23:23.680 --> 0:23:26.120
<v Speaker 1>Yeah, I was going to say, your Instagram is kind

0:23:26.119 --> 0:23:28.879
<v Speaker 1>of off the chain you just came back from.

0:23:30.359 --> 0:23:33.520
<v Speaker 2>Yeah, It's just crazy that place. It's gotten so under

0:23:33.600 --> 0:23:35.520
<v Speaker 2>my skin, Like I'm hoping to go back every year

0:23:35.520 --> 0:23:39.200
<v Speaker 2>if I can. It's just that powerful. Not only the

0:23:39.280 --> 0:23:41.480
<v Speaker 2>music and the food and the culture, but the people

0:23:41.800 --> 0:23:44.680
<v Speaker 2>have really touched me. And that wasn't really doing gigs

0:23:44.760 --> 0:23:47.680
<v Speaker 2>or anything that was just more doing some kind of work,

0:23:47.800 --> 0:23:50.119
<v Speaker 2>like more on a spirit to like spending time with

0:23:50.160 --> 0:23:51.560
<v Speaker 2>the woman over there. A lot of them are HIV

0:23:51.680 --> 0:23:54.600
<v Speaker 2>positive and kind of being a part of a team

0:23:54.680 --> 0:23:56.280
<v Speaker 2>that does work over this. So that's been really cool

0:23:56.320 --> 0:23:58.480
<v Speaker 2>and I'm really into that balance, you know, of taking

0:23:58.600 --> 0:24:00.920
<v Speaker 2>time completely off music. Have you ever done that?

0:24:01.000 --> 0:24:01.160
<v Speaker 5>Man?

0:24:01.640 --> 0:24:07.320
<v Speaker 2>Seventeen projects? But then it's kind of like you no,

0:24:07.520 --> 0:24:10.359
<v Speaker 2>but it's it is like the you are amazing at that. Actually,

0:24:10.440 --> 0:24:12.760
<v Speaker 2>you know how you have your finger and all out

0:24:12.760 --> 0:24:15.240
<v Speaker 2>of differents that are varied.

0:24:15.440 --> 0:24:18.040
<v Speaker 1>You know, well, is this your version of you need

0:24:18.119 --> 0:24:20.320
<v Speaker 1>to recharge before you start creating, so you have to

0:24:20.359 --> 0:24:21.840
<v Speaker 1>take yourself out of music too.

0:24:22.160 --> 0:24:23.760
<v Speaker 2>Yeah, I think that's one way of looking at it

0:24:23.880 --> 0:24:27.040
<v Speaker 2>for sure, and just fill up with different yeah, ideas,

0:24:27.080 --> 0:24:29.920
<v Speaker 2>experiences and and and being. It's something very powerful about

0:24:29.920 --> 0:24:32.680
<v Speaker 2>being completely anonymous in that place and not there to

0:24:32.760 --> 0:24:35.280
<v Speaker 2>be a musician with all of your that skill set

0:24:35.320 --> 0:24:36.879
<v Speaker 2>of that what that brings, but just to be a

0:24:37.000 --> 0:24:40.120
<v Speaker 2>human being you know, and observe and offer your heart

0:24:40.160 --> 0:24:42.520
<v Speaker 2>and office. So that's been really powerful and I'm excited

0:24:42.560 --> 0:24:45.159
<v Speaker 2>to now channel you know, the rawness of some of

0:24:45.200 --> 0:24:48.400
<v Speaker 2>those experiences into you know, my next body of work.

0:24:48.960 --> 0:24:53.639
<v Speaker 1>Do you have, well, any artist, especially on artists on

0:24:53.680 --> 0:24:59.320
<v Speaker 1>a major label, do you have any thoughts whatsoever about

0:25:00.920 --> 0:25:02.840
<v Speaker 1>you know, how far to the left you can lean

0:25:02.920 --> 0:25:06.760
<v Speaker 1>as far as experimentations are concerned, and how yeah, far

0:25:06.880 --> 0:25:10.879
<v Speaker 1>to the right you should go to make sure that

0:25:10.960 --> 0:25:15.239
<v Speaker 1>it's easily adjustable. Yeah, there was ongoing wars with your

0:25:15.320 --> 0:25:16.360
<v Speaker 1>current A and R right now.

0:25:16.800 --> 0:25:19.120
<v Speaker 2>I mean, of course, I think I asked that question

0:25:19.200 --> 0:25:20.760
<v Speaker 2>to my other musician friends as well. It's like the

0:25:20.800 --> 0:25:22.920
<v Speaker 2>balance is always the same, We're all trying to balance it.

0:25:24.359 --> 0:25:26.879
<v Speaker 2>I'm lucky at Warner Brothers. We talked about this when

0:25:26.880 --> 0:25:29.520
<v Speaker 2>we did the Prince panel. Like Lenny Warnaker like has

0:25:29.560 --> 0:25:32.360
<v Speaker 2>been with me from day one. There he's got amazing music.

0:25:32.440 --> 0:25:32.959
<v Speaker 1>He's still there.

0:25:33.840 --> 0:25:37.760
<v Speaker 2>He's my main he signed me to Warner Brothers.

0:25:37.960 --> 0:25:41.200
<v Speaker 1>Oh my god, that is still there even when we

0:25:41.280 --> 0:25:45.600
<v Speaker 1>did that. Prince Banel, Yeah, him all the time, Prince Yes.

0:25:49.720 --> 0:25:51.320
<v Speaker 1>James Taylor, Yeah.

0:25:51.160 --> 0:25:53.359
<v Speaker 2>He purchased Randy Newman Records. He did the band like

0:25:53.480 --> 0:25:56.920
<v Speaker 2>Park's first record. I mean, this guy is an incredibly

0:25:57.000 --> 0:25:59.960
<v Speaker 2>musical mind. He'll be I'll be showing a special story.

0:26:00.320 --> 0:26:02.320
<v Speaker 2>I mean, just think of how cool this is. Like

0:26:03.000 --> 0:26:05.159
<v Speaker 2>I'll be showing him, you know, you're expecting the A

0:26:05.240 --> 0:26:07.080
<v Speaker 2>and I to tell you to make the chorus bigger, right,

0:26:07.080 --> 0:26:08.600
<v Speaker 2>and you know it's a classic thing. Make it.

0:26:09.000 --> 0:26:10.840
<v Speaker 6>But he'll be like, well, I think, you know, I

0:26:10.960 --> 0:26:12.760
<v Speaker 6>think in the third bar you could make it a

0:26:12.760 --> 0:26:14.800
<v Speaker 6>little more harmonically complex Ian what if you put a

0:26:14.920 --> 0:26:17.440
<v Speaker 6>sound there, you know, just and he will really talk

0:26:17.600 --> 0:26:19.520
<v Speaker 6>to me in that sense of like, you know, it

0:26:19.680 --> 0:26:22.879
<v Speaker 6>just needs a different contrast at that point. And this

0:26:23.040 --> 0:26:24.800
<v Speaker 6>to me is very inspiring, you know, to be able

0:26:24.800 --> 0:26:25.520
<v Speaker 6>to have those kinds of.

0:26:25.560 --> 0:26:27.760
<v Speaker 1>Conversations music in that way.

0:26:27.960 --> 0:26:29.560
<v Speaker 2>Yeah, yeah, yeah, maybe lucky.

0:26:30.800 --> 0:26:32.120
<v Speaker 1>I wouldn't trust that situation.

0:26:34.720 --> 0:26:37.080
<v Speaker 2>But at the same time, I've had my battles, of course,

0:26:37.160 --> 0:26:40.040
<v Speaker 2>you know, and I continue to and that's kind of

0:26:40.280 --> 0:26:43.320
<v Speaker 2>I think the tension that kind of needs to be

0:26:43.400 --> 0:26:46.240
<v Speaker 2>there as well, in a sense that it pushes me

0:26:46.400 --> 0:26:49.200
<v Speaker 2>to explore both sides. And I have a great love

0:26:49.240 --> 0:26:51.200
<v Speaker 2>of pop music, but I feel very strongly that what

0:26:51.320 --> 0:26:53.960
<v Speaker 2>I have to offer is notes is a unique perspective

0:26:54.040 --> 0:26:54.200
<v Speaker 2>on that.

0:26:54.359 --> 0:26:54.520
<v Speaker 1>You know.

0:26:56.400 --> 0:26:59.080
<v Speaker 2>So yeah, I think if you look at it the

0:26:59.160 --> 0:27:03.520
<v Speaker 2>right way, it can be fun. Maybe then it's awful

0:27:03.640 --> 0:27:06.240
<v Speaker 2>sometimes you know, it is. I mean it is really

0:27:06.280 --> 0:27:08.359
<v Speaker 2>hard sometimes, of course, if you're really going for a

0:27:08.440 --> 0:27:13.000
<v Speaker 2>vision and and and people are there to essentially water

0:27:13.119 --> 0:27:17.760
<v Speaker 2>that down. You know. Wow, you know a lot of

0:27:17.800 --> 0:27:20.240
<v Speaker 2>heated conversations and you have to fight hard, you do.

0:27:20.480 --> 0:27:22.880
<v Speaker 2>And I think we you know, we're just talking about

0:27:22.920 --> 0:27:26.639
<v Speaker 2>Prince and it's been very inspiring for me to go

0:27:26.760 --> 0:27:28.520
<v Speaker 2>back into him as an artist and really be so

0:27:30.240 --> 0:27:33.080
<v Speaker 2>reminded of how he never backed down on things, you know,

0:27:33.200 --> 0:27:36.280
<v Speaker 2>and and fought hard, but also was super smart and

0:27:36.359 --> 0:27:39.920
<v Speaker 2>always listened. That's what Lenny always says. Man, he's like

0:27:40.920 --> 0:27:43.800
<v Speaker 2>Prince would you know, he would never he would never

0:27:43.880 --> 0:27:45.600
<v Speaker 2>not be listening to you. He would always be taking

0:27:45.640 --> 0:27:47.160
<v Speaker 2>it in, you know, and he would always go away.

0:27:47.560 --> 0:27:49.359
<v Speaker 2>He'd hang up when he'd be like, I'm not changing

0:27:49.400 --> 0:27:51.200
<v Speaker 2>the record, you know, I'm not, you know. And they

0:27:51.240 --> 0:27:53.920
<v Speaker 2>thought they didn't have an urban song for Diamonds and Parsons.

0:27:53.920 --> 0:27:54.119
<v Speaker 1>I'm not.

0:27:54.200 --> 0:27:56.560
<v Speaker 2>You work it out, you know. But then that night

0:27:57.160 --> 0:27:59.360
<v Speaker 2>he went back to the studio and he he may

0:27:59.400 --> 0:28:01.600
<v Speaker 2>get off, right. He just came in with it the

0:28:01.600 --> 0:28:02.600
<v Speaker 2>next day and put it on the desk.

0:28:02.720 --> 0:28:06.520
<v Speaker 1>That's right when we first spoke about Prince you told

0:28:06.600 --> 0:28:10.080
<v Speaker 1>me your favorite record was Diamonds and Pearls.

0:28:11.359 --> 0:28:13.959
<v Speaker 2>I've seen any of the for you is probably one

0:28:13.960 --> 0:28:15.639
<v Speaker 2>of my favorites, right up there with it.

0:28:16.800 --> 0:28:18.560
<v Speaker 1>You're really big on vocal arrangements, and.

0:28:19.720 --> 0:28:21.560
<v Speaker 2>That's what I'm saying. That's when I got the A

0:28:21.720 --> 0:28:24.600
<v Speaker 2>Trex started making you know, arrangements with only voice.

0:28:25.240 --> 0:28:29.600
<v Speaker 1>So how okay, So you've probably mastered that. I know

0:28:29.680 --> 0:28:32.440
<v Speaker 1>a lot of people that use that device.

0:28:32.640 --> 0:28:38.600
<v Speaker 3>The A t Rex Machineah yeah, but you're probably the

0:28:38.680 --> 0:28:41.840
<v Speaker 3>one person that I know that will find ways to

0:28:42.280 --> 0:28:44.880
<v Speaker 3>push it into Okay.

0:28:45.320 --> 0:28:47.000
<v Speaker 1>I don't want to say it like it's the C word.

0:28:47.240 --> 0:28:50.520
<v Speaker 1>I don't want to say commercial, but to least make

0:28:50.600 --> 0:28:53.800
<v Speaker 1>it more accessible because I know that a lot of artists,

0:28:54.520 --> 0:28:58.479
<v Speaker 1>uh that use that are far on the left as

0:28:58.520 --> 0:28:59.960
<v Speaker 1>far as experimenting is concerned.

0:29:00.320 --> 0:29:00.440
<v Speaker 2>Right.

0:29:01.880 --> 0:29:05.200
<v Speaker 1>What what drew you to that as your weapon of choice?

0:29:05.320 --> 0:29:09.280
<v Speaker 2>Yeah? And well, I think it all comes from feeling limitation.

0:29:09.480 --> 0:29:11.840
<v Speaker 2>So I was doing geeks with just guitar. When I

0:29:11.920 --> 0:29:14.560
<v Speaker 2>first started playing in New Zealand at little Bass my

0:29:14.640 --> 0:29:16.600
<v Speaker 2>dad would take me. You know, I was like sixteen,

0:29:16.720 --> 0:29:20.360
<v Speaker 2>and so I couldn't get in and then I fell

0:29:20.400 --> 0:29:22.360
<v Speaker 2>I needed to express more color, you know, and get

0:29:22.440 --> 0:29:24.640
<v Speaker 2>more across in the performances. So when I learned this

0:29:24.680 --> 0:29:26.720
<v Speaker 2>little boss it was you know, the boss loop pedals,

0:29:26.760 --> 0:29:30.040
<v Speaker 2>the classic ones. I never really really really read the manual,

0:29:30.120 --> 0:29:31.120
<v Speaker 2>but just kind of all right.

0:29:31.120 --> 0:29:33.960
<v Speaker 1>Let me break it down just in case people don't know. Okay,

0:29:34.040 --> 0:29:41.040
<v Speaker 1>so this device is to sing with yourself, yourself over okay, Yeah, yeah.

0:29:40.720 --> 0:29:42.720
<v Speaker 2>That's right, that's right. Yeah you can. You can put

0:29:42.760 --> 0:29:44.240
<v Speaker 2>your instrument down altogether and just.

0:29:44.280 --> 0:29:48.160
<v Speaker 1>Form a bed for guitars first, and then people started

0:29:48.200 --> 0:29:50.000
<v Speaker 1>to sing into the device.

0:29:50.160 --> 0:29:51.920
<v Speaker 2>Yeah that's right. I never used it with guitar though,

0:29:51.920 --> 0:29:54.680
<v Speaker 2>I only used it with vocals, and then eventually found that,

0:29:55.560 --> 0:29:57.640
<v Speaker 2>you know, my voice has a very different texture when

0:29:57.640 --> 0:30:00.959
<v Speaker 2>it's layered, and you know, can sound like a different instrument.

0:30:01.080 --> 0:30:03.240
<v Speaker 2>So I started putting down the guitar and becoming more

0:30:03.320 --> 0:30:06.880
<v Speaker 2>fascinated with that as a as an instrument and of itself.

0:30:06.920 --> 0:30:10.880
<v Speaker 1>You know, do you keep every performance fresh as do

0:30:10.960 --> 0:30:15.320
<v Speaker 1>you have a go to way for using those effects.

0:30:15.120 --> 0:30:17.560
<v Speaker 2>Or here's a funny story for you. When you saw

0:30:17.680 --> 0:30:21.000
<v Speaker 2>Jay Lenno. Okay, that was I still refused to play

0:30:21.000 --> 0:30:22.880
<v Speaker 2>to a click track at that point. Okay, So usually

0:30:23.200 --> 0:30:25.200
<v Speaker 2>when you're doing live television, you probably want to get

0:30:25.240 --> 0:30:27.479
<v Speaker 2>the loop like sync so it doesn't completely fall out

0:30:27.520 --> 0:30:29.640
<v Speaker 2>of time. On the live television. I was very stubborn

0:30:29.760 --> 0:30:32.320
<v Speaker 2>and we had to do it like three times, you know,

0:30:32.360 --> 0:30:34.480
<v Speaker 2>because I was so nervous. My finger was shaking something.

0:30:35.760 --> 0:30:38.640
<v Speaker 2>Because I do. I change it every time, you know,

0:30:38.800 --> 0:30:41.280
<v Speaker 2>I start up the intro just kind of with a

0:30:42.120 --> 0:30:43.760
<v Speaker 2>new loop each time to keep it fresh, because I

0:30:43.760 --> 0:30:46.360
<v Speaker 2>don't want it to get to uh yeah, rehearsed, you

0:30:46.400 --> 0:30:48.240
<v Speaker 2>know too rehearsed, or feeling like, okay, here we go,

0:30:48.360 --> 0:30:50.960
<v Speaker 2>she does this, bud, she does that pod. I really

0:30:51.200 --> 0:30:54.600
<v Speaker 2>thrived on the danger aspect, but of course live television

0:30:54.640 --> 0:30:57.760
<v Speaker 2>is different, you know, you camera crew, and so from

0:30:57.840 --> 0:31:00.520
<v Speaker 2>that point onward, I decided to start, you know, involving

0:31:00.560 --> 0:31:03.360
<v Speaker 2>Nableton live in the set, and we have aspects now

0:31:03.400 --> 0:31:06.560
<v Speaker 2>that a're a little more yeah, you know, locked in.

0:31:06.920 --> 0:31:09.000
<v Speaker 2>But there's something to me that's very important with every

0:31:09.040 --> 0:31:12.040
<v Speaker 2>live show that there's room for collapse, you know, or

0:31:12.080 --> 0:31:14.720
<v Speaker 2>at least the chance of collapse. But you do know

0:31:14.800 --> 0:31:17.040
<v Speaker 2>what I'm talking about, because living on the edge of

0:31:17.080 --> 0:31:18.160
<v Speaker 2>that tension is what's so.

0:31:18.440 --> 0:31:21.040
<v Speaker 1>Has it ever broken down on you? And concert?

0:31:21.400 --> 0:31:23.440
<v Speaker 2>Of course, I mean, you know, and again there's a

0:31:23.880 --> 0:31:27.560
<v Speaker 2>chance for a very human moment, you know, which, yeah,

0:31:27.680 --> 0:31:29.320
<v Speaker 2>you know, we always can back it up if things

0:31:29.400 --> 0:31:31.040
<v Speaker 2>fall out and you ask the audience can we do

0:31:31.120 --> 0:31:33.080
<v Speaker 2>it again? And it's cool. I think always have to

0:31:33.160 --> 0:31:34.320
<v Speaker 2>keep that this somehow.

0:31:34.720 --> 0:31:37.239
<v Speaker 1>Okay, So I want to know basic things about your

0:31:37.480 --> 0:31:41.920
<v Speaker 1>your life musically related? What was what was your first concert?

0:31:42.680 --> 0:31:50.640
<v Speaker 2>It's a band called silver Chair. Oh yeah, we'll check

0:31:50.720 --> 0:31:55.720
<v Speaker 2>it out. They that's right, that's right now. They were fourteen,

0:31:55.840 --> 0:31:58.680
<v Speaker 2>they were twelve. Therefore they were a grund rock band

0:31:58.720 --> 0:32:03.120
<v Speaker 2>from Australia. But you probably don't know this about Silverchair though.

0:32:03.360 --> 0:32:05.720
<v Speaker 2>After they had their big blow up with the grunge band,

0:32:05.920 --> 0:32:09.560
<v Speaker 2>they started making some very wild pop music and Van

0:32:09.600 --> 0:32:12.440
<v Speaker 2>Dyke Parks himself says that he puts Daniel Jones on

0:32:12.520 --> 0:32:15.320
<v Speaker 2>the same level as Brian Wilson as a song Yes,

0:32:15.520 --> 0:32:18.360
<v Speaker 2>he does. Now check this out. The song we just played,

0:32:18.440 --> 0:32:21.160
<v Speaker 2>Daniel Jones wrote that with me. We did that together

0:32:21.240 --> 0:32:23.040
<v Speaker 2>on the piano. He plays the piano on the song

0:32:23.120 --> 0:32:25.600
<v Speaker 2>on the record Daniel Johns from Silverchair.

0:32:26.360 --> 0:32:29.440
<v Speaker 1>Wow, really thought you got.

0:32:29.480 --> 0:32:30.680
<v Speaker 2>To get on the later record.

0:32:30.960 --> 0:32:32.840
<v Speaker 1>That reminds me of when I found out that dude

0:32:32.840 --> 0:32:38.840
<v Speaker 1>from Spin Doctors worked with Blal on his demo. Yeah

0:32:38.840 --> 0:32:40.480
<v Speaker 1>it was wild, that's crazy.

0:32:40.560 --> 0:32:41.960
<v Speaker 2>And Butlal is on the last album.

0:32:43.360 --> 0:32:47.200
<v Speaker 1>Yeah, it's like ten minutes to really make me comprehend.

0:32:47.800 --> 0:32:51.840
<v Speaker 1>I was like, wait, who produces no Spin Doctors. I said, no, no, no, no, no, no,

0:32:52.520 --> 0:32:59.960
<v Speaker 1>wow who produced this? Who produced it? I refused to

0:33:00.080 --> 0:33:05.360
<v Speaker 1>believe it. That's amazing. So okay, this is the second

0:33:05.400 --> 0:33:09.800
<v Speaker 1>time that we mentioned h Van Dyke parks like, how

0:33:10.600 --> 0:33:16.720
<v Speaker 1>did your pass even cross? Because I mean, yeah, he's

0:33:16.840 --> 0:33:17.440
<v Speaker 1>the god.

0:33:17.600 --> 0:33:21.000
<v Speaker 2>Oh he is just he's my fairy godfather. He is

0:33:21.120 --> 0:33:24.400
<v Speaker 2>the sweetest. He really is like this ethereal magical person

0:33:24.600 --> 0:33:28.000
<v Speaker 2>in my life. So Lenny, I mean Lenny is very

0:33:28.000 --> 0:33:30.280
<v Speaker 2>close with Van Dyke, and I had said, what a

0:33:30.480 --> 0:33:34.400
<v Speaker 2>huge fan I was of the Silver Chair record called Diorama,

0:33:34.640 --> 0:33:38.040
<v Speaker 2>and Van Dyke arranged the strings for the whole album.

0:33:38.080 --> 0:33:40.920
<v Speaker 2>Can you imagine this band that had become a huge,

0:33:41.080 --> 0:33:44.440
<v Speaker 2>you know success as a grunge, you know, garage rock band,

0:33:44.800 --> 0:33:47.080
<v Speaker 2>and then they make a record that I swear these

0:33:47.120 --> 0:33:50.360
<v Speaker 2>songs modulate like ten times within each you know, five minutes,

0:33:50.560 --> 0:33:53.160
<v Speaker 2>and he gets Van Dyke to arrange all the strings

0:33:53.200 --> 0:33:55.080
<v Speaker 2>on you know, he learns piano for the album. I

0:33:55.200 --> 0:33:56.400
<v Speaker 2>just thought it was incredible.

0:33:56.640 --> 0:33:59.480
<v Speaker 1>Okay, what's the now Now this is the educational portion

0:33:59.640 --> 0:34:00.840
<v Speaker 1>of of our.

0:34:00.800 --> 0:34:07.160
<v Speaker 2>Radio show Diorama. Yeah, yeah, so I loved.

0:34:07.000 --> 0:34:10.960
<v Speaker 1>That exactly why I wanted this show something Yeah, and

0:34:11.280 --> 0:34:14.480
<v Speaker 1>nerd out. So you're saying that Diorama was their their

0:34:14.719 --> 0:34:16.480
<v Speaker 1>left turn, their departure album.

0:34:16.600 --> 0:34:19.400
<v Speaker 2>Yeah, that's right. Yeah, and you know it didn't do

0:34:19.600 --> 0:34:21.759
<v Speaker 2>so well in terms of a commercially you know, but.

0:34:22.200 --> 0:34:24.719
<v Speaker 1>I have a theory now, as a person that really

0:34:24.760 --> 0:34:27.799
<v Speaker 1>doesn't know much about Silver Chair, what was the album

0:34:27.840 --> 0:34:28.600
<v Speaker 1>that came out before?

0:34:29.200 --> 0:34:33.759
<v Speaker 2>Oh, that would have been Neon Ballroom. Yeah, I mean

0:34:33.800 --> 0:34:37.239
<v Speaker 2>it was soon after the big one was I don't

0:34:37.280 --> 0:34:39.840
<v Speaker 2>know what the big one was in America, frog Stump

0:34:40.040 --> 0:34:45.279
<v Speaker 2>or oh wow, they were fourteen Wow, that was something

0:34:45.320 --> 0:34:48.640
<v Speaker 2>like that school or maybe sixteen or I don't know.

0:34:48.960 --> 0:34:52.359
<v Speaker 1>So they were massively large, and you know, these cute

0:34:52.440 --> 0:34:58.799
<v Speaker 1>kids playing adult music. And I have a theory about uh,

0:34:59.360 --> 0:35:04.320
<v Speaker 1>what they called the Departure records, which you know, I

0:35:04.400 --> 0:35:08.279
<v Speaker 1>mean you'll see it as like, oh, spiritual maturity and

0:35:08.480 --> 0:35:12.480
<v Speaker 1>growing into the thing, and I guess and it's not

0:35:12.560 --> 0:35:17.080
<v Speaker 1>coming from a cynical place. But for every departure album

0:35:17.360 --> 0:35:23.240
<v Speaker 1>that there is, there's always the mountain or the shadow

0:35:23.320 --> 0:35:26.880
<v Speaker 1>of the eclipse of an album or an image that

0:35:26.960 --> 0:35:33.400
<v Speaker 1>they can't escape. And they will do anything, sometimes consciously

0:35:33.680 --> 0:35:38.680
<v Speaker 1>and other times subconsciously, like in the case of the

0:35:38.719 --> 0:35:44.359
<v Speaker 1>Beastie Boys making Paul's Boutique, they wanted to wash away

0:35:44.440 --> 0:35:47.719
<v Speaker 1>the braddy frat boy image. That fight for your right

0:35:47.960 --> 0:35:53.759
<v Speaker 1>was in the case of there's a ride going on

0:35:53.920 --> 0:36:01.920
<v Speaker 1>by Sly, you know, having just conquered Woodstock in nineteen

0:36:02.040 --> 0:36:05.800
<v Speaker 1>sixty nine and you know, had four top ten hits

0:36:05.880 --> 0:36:08.799
<v Speaker 1>and finally like the dream was realized after like three

0:36:08.880 --> 0:36:12.480
<v Speaker 1>album attempts to make them slam the family stone such

0:36:12.520 --> 0:36:15.080
<v Speaker 1>a you know, a household name, and then he kind

0:36:15.080 --> 0:36:17.480
<v Speaker 1>of turns his back on everything, I mean, making an

0:36:17.560 --> 0:36:22.440
<v Speaker 1>innovative funk record while doing it. But still, you know,

0:36:22.640 --> 0:36:27.879
<v Speaker 1>Prince definitely, I'm reading this manuscript, this book right now

0:36:27.960 --> 0:36:33.640
<v Speaker 1>of him actually planning Purple Rain and then also planning

0:36:33.719 --> 0:36:38.279
<v Speaker 1>his exit strategy. Wow, making around the other day even

0:36:38.320 --> 0:36:39.440
<v Speaker 1>before the Purple Rain.

0:36:39.360 --> 0:36:41.879
<v Speaker 2>Tour, and it's just he's sword he had a vision,

0:36:42.080 --> 0:36:43.000
<v Speaker 2>is that clips.

0:36:43.080 --> 0:36:46.600
<v Speaker 4>That's going to get trapped into so Okay, So with

0:36:46.760 --> 0:36:49.760
<v Speaker 4>that said, would you consider Phrenology to be the roots.

0:36:49.760 --> 0:36:57.480
<v Speaker 1>Bunch of record? You know what I'm I will probably

0:36:57.600 --> 0:37:00.800
<v Speaker 1>say that now, maybe I'll take two twenty five percent

0:37:00.920 --> 0:37:06.560
<v Speaker 1>credit of it being self sabotage, as in not wanting

0:37:06.640 --> 0:37:11.120
<v Speaker 1>to follow things fall apart. But if I'm really truly

0:37:11.280 --> 0:37:16.520
<v Speaker 1>honest tipping point, no no no no no no no

0:37:16.560 --> 0:37:18.120
<v Speaker 1>no no no no, because I really felt like the

0:37:18.200 --> 0:37:21.240
<v Speaker 1>departure for me, no, that that was us being normal,

0:37:21.440 --> 0:37:24.520
<v Speaker 1>that was us trying to be like ground zero normal,

0:37:24.760 --> 0:37:29.040
<v Speaker 1>which I know. My point is that I think with Phrenology,

0:37:29.440 --> 0:37:33.240
<v Speaker 1>with what was happening with Neil Soul, like I shot

0:37:33.360 --> 0:37:42.000
<v Speaker 1>a Neil Soul coke commercial like half the CALORIESK. Like

0:37:42.080 --> 0:37:44.279
<v Speaker 1>only one of those commercials came out, but it was

0:37:44.400 --> 0:37:47.360
<v Speaker 1>like we did a five part commercial. It was like

0:37:47.600 --> 0:37:51.759
<v Speaker 1>me Amel Angie Stone Music, Soul Child, like we were

0:37:51.760 --> 0:37:55.360
<v Speaker 1>all playing like you know, categories like you know, like

0:37:55.440 --> 0:37:58.480
<v Speaker 1>we didn't Wow, it never came out. It never came

0:37:58.520 --> 0:38:02.000
<v Speaker 1>out like one of them came. It was like aries all.

0:38:01.960 --> 0:38:07.840
<v Speaker 7>The Wow Neil Soul game night with Yeah, it was

0:38:07.960 --> 0:38:09.640
<v Speaker 7>like that basically like real life.

0:38:11.960 --> 0:38:15.000
<v Speaker 1>No, but I mean it there was a point where

0:38:16.840 --> 0:38:24.920
<v Speaker 1>I felt like maybe okay because because of us not

0:38:25.120 --> 0:38:27.680
<v Speaker 1>knowing that we were gonna win the Grammy, and then

0:38:28.239 --> 0:38:30.080
<v Speaker 1>Tarik wanted to shoot a movie and I wanted to

0:38:30.480 --> 0:38:33.279
<v Speaker 1>see Voodoo through through the tour, like we took two

0:38:33.320 --> 0:38:36.279
<v Speaker 1>thousand off, which should have been the cash in year,

0:38:37.280 --> 0:38:39.239
<v Speaker 1>you know, and instead we were like, okay, we'll come

0:38:39.280 --> 0:38:40.960
<v Speaker 1>back January two thousand and one and do it all

0:38:41.000 --> 0:38:45.600
<v Speaker 1>over again. And then it was just like maybe we

0:38:45.760 --> 0:38:51.320
<v Speaker 1>felt like our territorial pissing marks were getting violated. So

0:38:51.400 --> 0:38:54.560
<v Speaker 1>it's sort of like, okay, well we're gonna show y'all,

0:38:54.560 --> 0:38:57.600
<v Speaker 1>we're gonna do everything but neo soul. But then everyone

0:38:57.719 --> 0:38:59.959
<v Speaker 1>had that idea because you know, I mean Stane Cone

0:39:00.440 --> 0:39:04.719
<v Speaker 1>and definitely Speaker Box had that that we're going to

0:39:04.760 --> 0:39:07.520
<v Speaker 1>turn our back on this thing. Like everybody was going contrary,

0:39:09.000 --> 0:39:12.920
<v Speaker 1>including D'Angelo, like you know, when we started Black Messiah,

0:39:13.000 --> 0:39:15.200
<v Speaker 1>like it was going to be way more radical, way

0:39:15.320 --> 0:39:18.359
<v Speaker 1>more wow it. You know, in his mind he wanted

0:39:18.400 --> 0:39:23.279
<v Speaker 1>to do like fishbones, give a monkey brain give I

0:39:23.320 --> 0:39:31.440
<v Speaker 1>can't pronounce it, yeah, you know, so I guess I

0:39:31.480 --> 0:39:33.680
<v Speaker 1>don't know, I mean, but it still worked for us,

0:39:33.760 --> 0:39:37.439
<v Speaker 1>that's the thing. Though it still worked so I feel

0:39:37.560 --> 0:39:41.160
<v Speaker 1>like the tipping point wasn't our departure record, but it

0:39:41.239 --> 0:39:44.440
<v Speaker 1>was just like it was the album that I had

0:39:44.480 --> 0:39:46.279
<v Speaker 1>the least, and I was just like, Okay, what do

0:39:46.360 --> 0:39:48.360
<v Speaker 1>I do. I'll take instructions.

0:39:48.680 --> 0:39:50.600
<v Speaker 2>Sometimes I look at making albums like an itch you

0:39:50.680 --> 0:39:52.480
<v Speaker 2>need to scratch, you know. And when you said something

0:39:52.480 --> 0:39:55.000
<v Speaker 2>about like the eclipse or the vision, that something that's

0:39:55.120 --> 0:39:57.000
<v Speaker 2>lingering and the subconscious that you need to kind of

0:39:57.080 --> 0:39:59.760
<v Speaker 2>grab for after you've had a moment with a record

0:39:59.840 --> 0:40:03.040
<v Speaker 2>or I don't know, there's there's there's something in the

0:40:03.120 --> 0:40:04.600
<v Speaker 2>back of your mind that you're like, I need to

0:40:04.640 --> 0:40:07.799
<v Speaker 2>get it this. I need to unveil this something that's there.

0:40:07.880 --> 0:40:10.759
<v Speaker 2>And whether that be a highly you know six you

0:40:10.800 --> 0:40:14.200
<v Speaker 2>don't know whether that's going to Like do you listen.

0:40:14.080 --> 0:40:18.399
<v Speaker 1>To someone and that gets you amped? Like last week

0:40:18.800 --> 0:40:23.399
<v Speaker 1>Common played me like five songs from his new record Wow,

0:40:24.120 --> 0:40:25.759
<v Speaker 1>and I was feeling some sort of and I'm working

0:40:25.800 --> 0:40:28.120
<v Speaker 1>on this record, so I'm feeling some sort of way

0:40:28.280 --> 0:40:32.799
<v Speaker 1>like yo, I gotta come with it, Like I really

0:40:32.880 --> 0:40:35.640
<v Speaker 1>gotta come with it. So I'll say the first time

0:40:35.680 --> 0:40:40.279
<v Speaker 1>in ten years I felt like really, you know, I mean,

0:40:40.360 --> 0:40:43.319
<v Speaker 1>when Dyla died then I was just like, I don't

0:40:43.360 --> 0:40:45.879
<v Speaker 1>want to do music no more and only like one

0:40:45.960 --> 0:40:47.920
<v Speaker 1>record a year, that sort of thing. So maybe between

0:40:48.000 --> 0:40:50.239
<v Speaker 1>like two thousand and six and twenty sixteen, I had

0:40:51.600 --> 0:40:54.960
<v Speaker 1>this dark law of not really wanting to put my

0:40:55.040 --> 0:40:58.560
<v Speaker 1>heart into the record process, like just put all that

0:40:58.640 --> 0:41:00.759
<v Speaker 1>passion one record in one record. Now, I'm just like,

0:41:01.800 --> 0:41:03.839
<v Speaker 1>I gotta come with it. So like, is there an

0:41:03.960 --> 0:41:10.360
<v Speaker 1>artist that you hear that gets your juices flowing? And

0:41:10.400 --> 0:41:13.120
<v Speaker 1>I don't mean like I could do that. I don't

0:41:13.160 --> 0:41:13.640
<v Speaker 1>mean that way.

0:41:13.680 --> 0:41:15.879
<v Speaker 2>Yeah, but I mean, oh man, there are just there's

0:41:15.920 --> 0:41:18.520
<v Speaker 2>so many. I will say that as we were talking

0:41:18.560 --> 0:41:21.440
<v Speaker 2>about New Zealand before, there's some very special things that

0:41:21.520 --> 0:41:23.719
<v Speaker 2>come out of New Zealand. And there's two brothers and

0:41:23.800 --> 0:41:26.799
<v Speaker 2>I listened a lot to well, you know, Unknown Mortal

0:41:26.840 --> 0:41:30.680
<v Speaker 2>oakstro I'm shore. So that's Ruben Nielsen, who I've known

0:41:30.760 --> 0:41:32.279
<v Speaker 2>for years because he had a punk band when I

0:41:32.440 --> 0:41:34.000
<v Speaker 2>was a kid, and I used to go to his

0:41:34.120 --> 0:41:36.920
<v Speaker 2>shows and sneak in underage and be front row. They

0:41:36.960 --> 0:41:39.360
<v Speaker 2>were called the mint Chicks. They were so rare, they

0:41:39.440 --> 0:41:42.480
<v Speaker 2>were great, and the singer of the band huh they

0:41:42.520 --> 0:41:46.640
<v Speaker 2>were punk, yeah, super post punk, kind of super screamy,

0:41:46.760 --> 0:41:49.239
<v Speaker 2>but but you know, great kind of melodic guitar lines,

0:41:49.400 --> 0:41:50.480
<v Speaker 2>very angular rhythms.

0:41:50.520 --> 0:41:50.680
<v Speaker 1>It was.

0:41:51.040 --> 0:41:54.719
<v Speaker 2>It was fantastic. And the lead singer of that band

0:41:54.840 --> 0:41:57.680
<v Speaker 2>was Cody Nielsen, which is Ruben's brother. Now he has

0:41:57.760 --> 0:42:03.200
<v Speaker 2>his own side projects, his on Ricos. I can't start

0:42:03.320 --> 0:42:06.240
<v Speaker 2>listening to it, and like, they just keep reinventing themselves.

0:42:06.280 --> 0:42:08.320
<v Speaker 2>You know, I've seen not everyone knows their stories, but

0:42:08.719 --> 0:42:11.759
<v Speaker 2>they just keep starting these projects. And to me, that's

0:42:11.800 --> 0:42:13.640
<v Speaker 2>really inspiring. And when you say like I've got to

0:42:13.760 --> 0:42:16.920
<v Speaker 2>come with it or kind of keep on that, that

0:42:17.080 --> 0:42:20.080
<v Speaker 2>new energy, I don't know, it's it's cool inspires me.

0:42:24.960 --> 0:42:26.720
<v Speaker 1>What was the first record you ever purchased?

0:42:27.920 --> 0:42:31.480
<v Speaker 2>Wow? You know what? One of the very first albums

0:42:31.520 --> 0:42:33.920
<v Speaker 2>I ever bought with my own money was Frank by

0:42:33.960 --> 0:42:37.759
<v Speaker 2>Amy wine House. We've talked about this before, and I

0:42:37.880 --> 0:42:39.640
<v Speaker 2>told you what an important artist she was for me

0:42:39.719 --> 0:42:43.240
<v Speaker 2>for those reasons. I listened to lots of other albums

0:42:43.239 --> 0:42:45.319
<v Speaker 2>before then, but there was something very special about picking

0:42:45.360 --> 0:42:47.200
<v Speaker 2>that up. I didn't know anything about her. I was like,

0:42:47.400 --> 0:42:49.719
<v Speaker 2>just looks sick on the front cover.

0:42:49.960 --> 0:42:51.680
<v Speaker 1>Wait, you just did it based on the album cover.

0:42:52.000 --> 0:42:52.720
<v Speaker 2>I don't know anything.

0:42:53.080 --> 0:42:54.000
<v Speaker 1>You didn't hear anything.

0:42:54.400 --> 0:42:56.120
<v Speaker 2>I listened to it in the record store, but I

0:42:56.160 --> 0:42:57.840
<v Speaker 2>picked it up because you know, you know, when you

0:42:58.080 --> 0:43:00.800
<v Speaker 2>I love that. I missed that the CD on and

0:43:00.880 --> 0:43:02.920
<v Speaker 2>I am listening to it and I thought, this sounds

0:43:03.000 --> 0:43:05.719
<v Speaker 2>great because she she was a guitarist too, and she

0:43:05.840 --> 0:43:07.680
<v Speaker 2>was playing these jazz and versions that I was learning,

0:43:08.040 --> 0:43:10.400
<v Speaker 2>but she had beats. And that's what I always felt was,

0:43:10.480 --> 0:43:12.040
<v Speaker 2>you know, I wanted to explore. I want to get

0:43:12.080 --> 0:43:14.440
<v Speaker 2>tougher with my son. I want to be a safe songwriter,

0:43:14.560 --> 0:43:16.440
<v Speaker 2>you know, just keep it all pretty, and I wanted

0:43:16.440 --> 0:43:20.239
<v Speaker 2>it to have, you know, like some balls, and she was, man,

0:43:20.320 --> 0:43:22.239
<v Speaker 2>she just took me to school, you know, and all

0:43:22.280 --> 0:43:25.040
<v Speaker 2>of these singers. And it's so funny, man, how the

0:43:25.080 --> 0:43:26.880
<v Speaker 2>world connects people. Isn't that crazy?

0:43:27.480 --> 0:43:27.680
<v Speaker 1>Yeah?

0:43:27.880 --> 0:43:28.120
<v Speaker 2>It is.

0:43:29.160 --> 0:43:32.399
<v Speaker 1>So I'm just like, how do you know about beats? Though?

0:43:32.440 --> 0:43:38.440
<v Speaker 1>I mean, like the average I'm just saying I'm trying

0:43:38.480 --> 0:43:41.279
<v Speaker 1>not to be cultural elitist or sexist or any of

0:43:41.320 --> 0:43:45.840
<v Speaker 1>these things, but normally there is an older figure, trickled

0:43:45.880 --> 0:43:50.120
<v Speaker 1>down person Like I'm the youngest people of people in

0:43:50.200 --> 0:43:52.200
<v Speaker 1>my brood, so this was handed down. I mean, what

0:43:52.320 --> 0:43:55.520
<v Speaker 1>about you guys, Like were you I had an older

0:43:55.600 --> 0:43:58.200
<v Speaker 1>sister who was really into music. She's the one that

0:43:58.239 --> 0:43:59.400
<v Speaker 1>got me in the hip hop. She's the one that

0:43:59.440 --> 0:44:02.719
<v Speaker 1>pretty much triple Prince. Yeah, yeah, where did you fall?

0:44:03.120 --> 0:44:05.719
<v Speaker 1>William Bill? I was into jazz and I had really

0:44:05.719 --> 0:44:07.800
<v Speaker 1>great teachers in high school, and then I went to

0:44:07.880 --> 0:44:10.000
<v Speaker 1>Africa and when I was in college and that sort

0:44:10.040 --> 0:44:19.120
<v Speaker 1>of I love how the white people. No, I'm the

0:44:19.160 --> 0:44:20.880
<v Speaker 1>only one in this room that's not that hasn't been.

0:44:21.000 --> 0:44:23.480
<v Speaker 4>I've been to South Africa, but that doesn't you know, Yeah,

0:44:23.880 --> 0:44:26.759
<v Speaker 4>that's not real Africa apparently not. Yeah, I mean from

0:44:26.800 --> 0:44:28.719
<v Speaker 4>what from you talk to people from the content, they

0:44:28.800 --> 0:44:32.880
<v Speaker 4>say that that's like the most westernized country.

0:44:36.960 --> 0:44:41.000
<v Speaker 1>I want to it's the most really hard right now Africa.

0:44:41.080 --> 0:44:43.319
<v Speaker 2>Yet I'm just saying, but it does bring to mind

0:44:43.400 --> 0:44:46.040
<v Speaker 2>actually when we're talking about being young and what was inspiring.

0:44:46.160 --> 0:44:49.200
<v Speaker 2>I love musical theater and always this makes me sound

0:44:49.239 --> 0:44:51.279
<v Speaker 2>like I was a musical theater but I you know,

0:44:51.360 --> 0:44:53.960
<v Speaker 2>I was really drawn to the Well, there's such a

0:44:54.040 --> 0:44:54.880
<v Speaker 2>connotation with that.

0:44:55.640 --> 0:44:58.000
<v Speaker 1>Your heads down. Oh no, I'm just listening. I'm just listening.

0:44:58.120 --> 0:45:02.359
<v Speaker 1>You weren't in musical theater? Hell no, why now?

0:45:02.520 --> 0:45:04.719
<v Speaker 2>I know that's what I mean.

0:45:05.280 --> 0:45:09.319
<v Speaker 1>It wasn't me say heal like h e no man,

0:45:11.000 --> 0:45:15.040
<v Speaker 1>like I tried. I tried. I know now, Okay, so

0:45:15.200 --> 0:45:18.719
<v Speaker 1>we have three theater kids in there before. I did

0:45:18.719 --> 0:45:20.359
<v Speaker 1>a couple of places before I knew.

0:45:20.800 --> 0:45:21.680
<v Speaker 2>Yo. You know what I did?

0:45:22.440 --> 0:45:25.480
<v Speaker 1>I did brew. I did hair in high school. I

0:45:25.560 --> 0:45:28.279
<v Speaker 1>didn't I did hair. I talked about I did like

0:45:28.360 --> 0:45:30.080
<v Speaker 1>mus school, but I was in music. I forgot about that.

0:45:30.280 --> 0:45:30.680
<v Speaker 7>I did hair.

0:45:30.960 --> 0:45:32.640
<v Speaker 1>I did like school Christmas places and stuff like that.

0:45:32.760 --> 0:45:34.480
<v Speaker 1>I was about to say, everyone in this room needs

0:45:34.480 --> 0:45:37.120
<v Speaker 1>to stop lying. I know y'all was involved with music

0:45:37.200 --> 0:45:40.399
<v Speaker 1>I did. I was a black Sanna actually really yeah,

0:45:41.360 --> 0:45:45.040
<v Speaker 1>have the beard back then. I was like thirteen at

0:45:45.080 --> 0:45:46.719
<v Speaker 1>the time, but I was. I was black Sanna in

0:45:46.800 --> 0:45:50.799
<v Speaker 1>a really white school in Indiana. So in Indian all

0:45:50.800 --> 0:45:53.880
<v Speaker 1>the places, right, they was hanging in Indiana? Yeah, Like,

0:45:53.960 --> 0:45:56.720
<v Speaker 1>I wait, did you think about the hazy shaded criminals

0:45:58.440 --> 0:46:04.160
<v Speaker 1>criminal Okay, wait, we're getting off all the roop no period.

0:46:05.280 --> 0:46:08.560
<v Speaker 2>Yeah, So I think some of the melodic interests might

0:46:08.640 --> 0:46:10.200
<v Speaker 2>have come from a love of that. But when you're

0:46:10.200 --> 0:46:12.200
<v Speaker 2>talking about beats, I know what you mean. I'm trying

0:46:12.239 --> 0:46:14.440
<v Speaker 2>to think I love Jurassic Five When I was in

0:46:14.560 --> 0:46:16.680
<v Speaker 2>high school. I listened to them a lot. You know.

0:46:16.760 --> 0:46:18.960
<v Speaker 2>There were certain acts that got me thinking, why does

0:46:19.000 --> 0:46:21.279
<v Speaker 2>this make my body move like this? And you see,

0:46:21.320 --> 0:46:24.040
<v Speaker 2>I started to write vocal lines that were percussive, you know,

0:46:24.120 --> 0:46:27.000
<v Speaker 2>I wanted to find the bits between to sing it.

0:46:27.200 --> 0:46:31.120
<v Speaker 1>So maybe that's what I'm now seeing the Jurassic Five.

0:46:31.200 --> 0:46:33.640
<v Speaker 1>What happened to Wait, I'm gonna tell you something funny.

0:46:33.840 --> 0:46:36.320
<v Speaker 1>I love them too. They were great. So imagine it

0:46:36.480 --> 0:46:40.360
<v Speaker 1>being like nineteen ninety nine, ninety eight, ninety nine, right,

0:46:41.520 --> 0:46:47.360
<v Speaker 1>and so okay, I'm in my agent's office and we

0:46:47.440 --> 0:46:50.800
<v Speaker 1>got to offer. And okay, I don't mean it's no

0:46:51.280 --> 0:46:55.520
<v Speaker 1>sort of way, just understand the logistics of the situation.

0:46:56.600 --> 0:46:59.200
<v Speaker 1>She's saying that, Okay, you guys are going to open

0:46:59.760 --> 0:47:03.400
<v Speaker 1>for or Jurassic five and Black Eyed Peas and we

0:47:03.480 --> 0:47:06.320
<v Speaker 1>started laughing. He was like, wait what he said? You

0:47:06.440 --> 0:47:07.799
<v Speaker 1>guys want to open? I was like, open?

0:47:09.080 --> 0:47:09.160
<v Speaker 8>Now?

0:47:09.280 --> 0:47:12.560
<v Speaker 1>Was ninety nine? This before Fergie came. The Peas and

0:47:12.680 --> 0:47:15.520
<v Speaker 1>Jurassic five was like the consistential underground group groups that

0:47:15.600 --> 0:47:18.600
<v Speaker 1>were normally open for the roots, who at this time

0:47:18.640 --> 0:47:21.960
<v Speaker 1>were in their platinum powers or whatever. But no, the

0:47:22.040 --> 0:47:27.319
<v Speaker 1>thing was is that hip hop so rarely came down

0:47:27.480 --> 0:47:32.560
<v Speaker 1>Under to Australia to New Zealand that whoever just went

0:47:32.800 --> 0:47:35.759
<v Speaker 1>over there was the man and did five days. If

0:47:35.800 --> 0:47:41.640
<v Speaker 1>you did big day out, the big festival, then suddenly

0:47:41.840 --> 0:47:47.319
<v Speaker 1>you became. So there was like an inside joke that like, yo,

0:47:47.640 --> 0:47:53.920
<v Speaker 1>Jurassic five can play stadiums in Australia. Probably it's like

0:47:55.320 --> 0:47:59.000
<v Speaker 1>Black Eyed Peas have an audience of ten thousand in Australia.

0:47:59.640 --> 0:48:02.960
<v Speaker 1>Ben Harper can play stadiums like so all the acts

0:48:03.960 --> 0:48:07.120
<v Speaker 1>that I mean it was the Roots used to play

0:48:07.239 --> 0:48:09.120
<v Speaker 1>like we would go to places that no one else

0:48:09.160 --> 0:48:13.040
<v Speaker 1>would go and then conquered. So I always wondered I

0:48:13.160 --> 0:48:16.440
<v Speaker 1>was going to ask what was the Jurassic five effect

0:48:16.640 --> 0:48:20.799
<v Speaker 1>on they were like the Beatles, Yeah, because no one

0:48:20.840 --> 0:48:21.680
<v Speaker 1>else would go over there.

0:48:21.760 --> 0:48:24.360
<v Speaker 2>That's right when New Zealand's interesting. We're talking about the differences,

0:48:24.400 --> 0:48:26.800
<v Speaker 2>but R and B and soul is very important in

0:48:26.840 --> 0:48:29.360
<v Speaker 2>New Zealand, more important. I'd say. It's funny because of

0:48:29.400 --> 0:48:31.840
<v Speaker 2>course you have Highest Coyote and these incredible arm b

0:48:32.080 --> 0:48:33.680
<v Speaker 2>x coming out of Australia, but it's more of a

0:48:33.840 --> 0:48:35.600
<v Speaker 2>rock thing, you know, with a lot of the music

0:48:35.640 --> 0:48:38.319
<v Speaker 2>when you're growing up New Zealand. The Maldi people are

0:48:38.440 --> 0:48:42.200
<v Speaker 2>very amazing rhythmic music, very melodic, very soulful. You know,

0:48:42.520 --> 0:48:45.160
<v Speaker 2>they're playing churches. They have the mutte eyes. So hip

0:48:45.160 --> 0:48:47.640
<v Speaker 2>hop's very big in New Zealand. Hip hop's really big

0:48:47.840 --> 0:48:51.120
<v Speaker 2>and soul artists said, yeah, I remember these these head

0:48:51.440 --> 0:48:54.239
<v Speaker 2>these are artists were headlining huge venues. You know, they

0:48:54.280 --> 0:48:56.839
<v Speaker 2>were big. And you know, when you live so far away,

0:48:56.920 --> 0:48:58.840
<v Speaker 2>I mean from New York, it's probably takes me twenty

0:48:58.960 --> 0:49:01.160
<v Speaker 2>two hours to get home, almost something insane. You know,

0:49:01.920 --> 0:49:04.839
<v Speaker 2>you're so curious about music from other parts of the world.

0:49:04.920 --> 0:49:08.560
<v Speaker 2>It becomes a I don't know, it becomes a little obsession.

0:49:08.560 --> 0:49:11.440
<v Speaker 2>You know, I've found something on I was around at

0:49:11.440 --> 0:49:13.759
<v Speaker 2>the start of blogs and everything, obviously, and your friends

0:49:13.800 --> 0:49:16.319
<v Speaker 2>starts telling you about this thing, you know, and then

0:49:16.360 --> 0:49:18.319
<v Speaker 2>you take a little rabbit hole with that and you're

0:49:18.360 --> 0:49:20.960
<v Speaker 2>so far from it that it's so exotic and exciting.

0:49:22.719 --> 0:49:29.080
<v Speaker 1>So have you coming back to Australia, I mean after

0:49:30.040 --> 0:49:32.080
<v Speaker 1>your Grammy success or whatever, like was it the.

0:49:34.239 --> 0:49:34.279
<v Speaker 2>Like?

0:49:34.360 --> 0:49:37.240
<v Speaker 1>Have you had a homecoming welcome as far as New Zealand?

0:49:37.320 --> 0:49:41.800
<v Speaker 2>Right, Yeah, you know it's a big deal. You know,

0:49:41.920 --> 0:49:43.719
<v Speaker 2>it's a big deal for a country so small when

0:49:43.800 --> 0:49:47.719
<v Speaker 2>artists get recognized and in America, same for Australia, but

0:49:47.840 --> 0:49:50.120
<v Speaker 2>especially for New Zealand because yeah, like I said, there's

0:49:50.120 --> 0:49:52.960
<v Speaker 2>only formally in people there, you know, So it's it

0:49:53.120 --> 0:49:56.080
<v Speaker 2>is a real trip when we are able to connect

0:49:56.160 --> 0:49:58.759
<v Speaker 2>and on a sort of global level, so.

0:49:58.800 --> 0:50:01.080
<v Speaker 1>You're able to go home and still like be regular.

0:50:01.160 --> 0:50:02.279
<v Speaker 1>Can you go to the grocery.

0:50:02.040 --> 0:50:07.960
<v Speaker 2>Store in Hamilton. Yeah it's different, Yeah, it's definitely different.

0:50:08.560 --> 0:50:10.600
<v Speaker 2>I lay pretty low, like I'm all about getting back

0:50:10.600 --> 0:50:12.800
<v Speaker 2>to nature when I'm there, you know, to the ocean.

0:50:13.040 --> 0:50:16.080
<v Speaker 2>And I didn't have a farm in New Zealand. Don't

0:50:16.080 --> 0:50:17.520
<v Speaker 2>grow up on a farm. I only had a farm

0:50:17.600 --> 0:50:17.960
<v Speaker 2>in La.

0:50:19.400 --> 0:50:33.560
<v Speaker 1>I'll still never understand that ship. All right, I just moved. Okay, wait,

0:50:34.880 --> 0:50:37.320
<v Speaker 1>what are your what are your plans for the future?

0:50:37.880 --> 0:50:39.600
<v Speaker 2>Oh that old question?

0:50:39.840 --> 0:50:40.759
<v Speaker 1>I sound like very white.

0:50:40.880 --> 0:50:45.839
<v Speaker 2>Yeah. Well, like I said, I'm writing. I'm writing more

0:50:45.880 --> 0:50:48.920
<v Speaker 2>than I've ever readen which is exciting, and I'm excited

0:50:48.960 --> 0:50:51.839
<v Speaker 2>to start sharing some of that. So putting new music

0:50:51.920 --> 0:50:55.440
<v Speaker 2>out maybe even before the album and then I start

0:50:55.640 --> 0:50:59.640
<v Speaker 2>the album yeah pretty soon, man, next month, I'm going

0:50:59.680 --> 0:51:04.799
<v Speaker 2>to start getting into production, writing more writing New York

0:51:04.840 --> 0:51:07.000
<v Speaker 2>I'm doing a lot of improvised collaborations. The stuff you

0:51:07.080 --> 0:51:10.040
<v Speaker 2>came to the Space Jam and this new improvisation collective

0:51:10.080 --> 0:51:14.319
<v Speaker 2>called Exo Tech. Yeah, man, it's kind of the name

0:51:14.400 --> 0:51:17.040
<v Speaker 2>kind of came from an interest in like exotica music

0:51:17.160 --> 0:51:19.840
<v Speaker 2>and kind of Brazilian rhythms and also technology, you know,

0:51:20.120 --> 0:51:24.360
<v Speaker 2>using gadgets and crazy loopers and industrial sounds. You know.

0:51:24.920 --> 0:51:27.720
<v Speaker 2>It's like fourteen people in the core ensemble.

0:51:30.280 --> 0:51:31.160
<v Speaker 1>From overplaying.

0:51:31.640 --> 0:51:35.160
<v Speaker 2>This is the fascinating thing about it is when everyone's

0:51:35.200 --> 0:51:37.239
<v Speaker 2>tuned in and you're kind of aware of how many

0:51:37.360 --> 0:51:40.759
<v Speaker 2>people are on stage. Of course, it's it's very easy

0:51:40.800 --> 0:51:43.720
<v Speaker 2>for it to become lasagnia. You know. It's just layers

0:51:43.800 --> 0:51:47.400
<v Speaker 2>and layers, but some very special things that happened when

0:51:47.400 --> 0:51:50.600
<v Speaker 2>you're conscious of that. So everyone is listening intent intently

0:51:50.680 --> 0:51:51.120
<v Speaker 2>to each other.

0:51:51.320 --> 0:51:53.040
<v Speaker 1>So everybody just plays.

0:51:54.760 --> 0:51:57.080
<v Speaker 2>Afterwards and then yeah, that's right, and then we have

0:51:57.200 --> 0:51:59.960
<v Speaker 2>over developed the ideas we perform in the rounds. Everyone

0:52:00.000 --> 0:52:02.600
<v Speaker 2>one in the audience is quite intimately involved. There's a

0:52:02.640 --> 0:52:04.359
<v Speaker 2>bit of conducting, a bit of head nods, a bit

0:52:04.360 --> 0:52:08.400
<v Speaker 2>of hand signals with things, but essentially it's just just

0:52:08.960 --> 0:52:11.760
<v Speaker 2>going into the unknown, you know, and it's very liberating.

0:52:11.840 --> 0:52:14.040
<v Speaker 2>It's very liberating for someone who spends a lot of

0:52:14.040 --> 0:52:16.319
<v Speaker 2>time in studio like I do, and you know, being

0:52:16.400 --> 0:52:19.000
<v Speaker 2>very intentional about my recordings and production. This is a

0:52:19.080 --> 0:52:21.200
<v Speaker 2>time for me to just get back in that space

0:52:21.280 --> 0:52:23.400
<v Speaker 2>of pure expression improvisation.

0:52:23.480 --> 0:52:27.440
<v Speaker 1>It's great. Oh boy, how was your day to day?

0:52:32.200 --> 0:52:36.000
<v Speaker 1>Those are questions now I'm talking about you a bit

0:52:36.160 --> 0:52:38.600
<v Speaker 1>like you actually.

0:52:40.239 --> 0:52:42.319
<v Speaker 2>Okay, okay, my dad's good, My dad's good.

0:52:42.520 --> 0:52:44.120
<v Speaker 1>It was bullets from the matrix.

0:52:44.200 --> 0:52:45.960
<v Speaker 2>No, no, I just there's a lot of people in

0:52:46.000 --> 0:52:46.359
<v Speaker 2>this room.

0:52:47.400 --> 0:52:47.640
<v Speaker 7>Yeah.

0:52:47.800 --> 0:52:50.719
<v Speaker 2>So with that collective Exo Tech, which is Sophia Bruce,

0:52:50.760 --> 0:52:53.400
<v Speaker 2>who you just heard, this is our kind of joint

0:52:53.640 --> 0:52:58.160
<v Speaker 2>little improvisation group and we're starting a Red Bull in

0:52:58.280 --> 0:53:03.080
<v Speaker 2>Artists residency where we're developing these songs, yeah, for kind

0:53:03.120 --> 0:53:05.640
<v Speaker 2>of to be kind of releasable or at least just

0:53:05.760 --> 0:53:09.040
<v Speaker 2>kind of developing them from the improvised context, which has

0:53:09.040 --> 0:53:11.200
<v Speaker 2>always been interesting to me because live music is such

0:53:11.200 --> 0:53:15.799
<v Speaker 2>a particular thing, the process from taking live jams. David

0:53:15.840 --> 0:53:17.759
<v Speaker 2>Burn's very interesting with this, of course, you know, because

0:53:17.800 --> 0:53:19.480
<v Speaker 2>so many of the Talking Heads records were kind of

0:53:19.600 --> 0:53:23.959
<v Speaker 2>developed from live There so many records gosh, of course, yeah,

0:53:24.080 --> 0:53:26.680
<v Speaker 2>but I've just been watching his documentary Let's Stopped Making

0:53:26.719 --> 0:53:29.800
<v Speaker 2>Sense one, and that's kind of what we're exploring for

0:53:29.880 --> 0:53:31.719
<v Speaker 2>this in artist residency at Red Bull, and I've been

0:53:31.760 --> 0:53:34.200
<v Speaker 2>spending a lot of time preparing lyrics for this and

0:53:34.400 --> 0:53:37.239
<v Speaker 2>kind of getting in his zone of yeah, taking them

0:53:37.280 --> 0:53:38.440
<v Speaker 2>from the stage to the studio.

0:53:38.719 --> 0:53:41.040
<v Speaker 1>See. I don't know if you know this by design

0:53:41.400 --> 0:53:46.160
<v Speaker 1>or if you're just doing this organically, but you know,

0:53:46.760 --> 0:53:50.319
<v Speaker 1>I've always felt, you know, the idea of community, which

0:53:50.400 --> 0:53:53.520
<v Speaker 1>is something that record labels kind of discourage. Yeah, they'd

0:53:53.600 --> 0:53:55.440
<v Speaker 1>rather deal with an artist one on one and not

0:53:55.640 --> 0:54:02.960
<v Speaker 1>deal with groups or pool families of groups and that

0:54:03.040 --> 0:54:06.120
<v Speaker 1>sort of thing, because they're harder to control. Yeah, I

0:54:06.200 --> 0:54:10.160
<v Speaker 1>always felt that, uh, the best music movements and the

0:54:10.239 --> 0:54:19.359
<v Speaker 1>most successful music comes from uh cruise and people. If

0:54:19.400 --> 0:54:22.799
<v Speaker 1>you look at Motown, you know they were a crew

0:54:23.080 --> 0:54:29.240
<v Speaker 1>and your native tongues. Of course, Prince his own crops.

0:54:30.120 --> 0:54:34.320
<v Speaker 1>So I mean yeah, So is I mean is that

0:54:34.480 --> 0:54:39.520
<v Speaker 1>your is that you're end game to gather a community

0:54:39.600 --> 0:54:43.920
<v Speaker 1>of people and and cultivate them and create this music.

0:54:44.000 --> 0:54:46.520
<v Speaker 2>And I encourage it wherever I can. You know, I

0:54:46.640 --> 0:54:51.840
<v Speaker 2>think I've been very blessed to kind of magnetize the

0:54:52.000 --> 0:54:54.320
<v Speaker 2>right people wherever I move, and by I mean the

0:54:54.400 --> 0:54:57.160
<v Speaker 2>right like just the open people that are down to gym,

0:54:57.280 --> 0:55:00.560
<v Speaker 2>And it always ends up being something that's sound, you know,

0:55:00.680 --> 0:55:04.600
<v Speaker 2>like something that comes to inform the music. And I

0:55:04.760 --> 0:55:07.920
<v Speaker 2>work alone, you know, I'm not a band. It's I

0:55:08.040 --> 0:55:09.799
<v Speaker 2>make these songs in my bedroom and then I bring

0:55:09.880 --> 0:55:11.520
<v Speaker 2>in people when I hit walls, you know. And so

0:55:11.680 --> 0:55:13.520
<v Speaker 2>even the band that you heard when we played Leno, like,

0:55:13.560 --> 0:55:17.160
<v Speaker 2>they become very close collaborators of mine now because I

0:55:17.239 --> 0:55:19.799
<v Speaker 2>kind of hit these moments where I reach the limitations

0:55:19.840 --> 0:55:21.520
<v Speaker 2>of my own skills, you know, and at that point,

0:55:21.600 --> 0:55:23.760
<v Speaker 2>I really like to play on that as much as possible,

0:55:23.760 --> 0:55:25.440
<v Speaker 2>be like who can I draw from? Who I can?

0:55:26.160 --> 0:55:28.200
<v Speaker 2>It's black being a painter, you know, and you have

0:55:28.320 --> 0:55:30.560
<v Speaker 2>this pellette all around you all the time. And I'm

0:55:30.600 --> 0:55:32.880
<v Speaker 2>inspired by the same people you said that weren't afraid

0:55:33.040 --> 0:55:35.560
<v Speaker 2>to be, like all right, you know, where does this

0:55:35.640 --> 0:55:38.120
<v Speaker 2>need to go? Who have I got that I know

0:55:38.400 --> 0:55:40.399
<v Speaker 2>can help me take this even further?

0:55:41.160 --> 0:55:47.160
<v Speaker 1>But you also seem very nomadish or gypsy ish, I mean,

0:55:47.320 --> 0:55:51.480
<v Speaker 1>just constantly moving. And so how do you like when

0:55:51.640 --> 0:55:56.080
<v Speaker 1>will you? Will you leave New York? Once all your resources.

0:55:55.560 --> 0:55:57.520
<v Speaker 2>Are and seasons.

0:55:57.640 --> 0:55:57.800
<v Speaker 8>You know.

0:55:58.320 --> 0:56:00.800
<v Speaker 2>The farm time was kind of there was a period

0:56:00.840 --> 0:56:03.000
<v Speaker 2>where I was very isolated there and I didn't leave.

0:56:03.719 --> 0:56:05.800
<v Speaker 2>I don't leave much, you know. I just stayed inside

0:56:05.840 --> 0:56:16.640
<v Speaker 2>and did That's right, That's that's right. Because the kitchen

0:56:16.760 --> 0:56:18.960
<v Speaker 2>was outside as well, so I cooked like outside. But

0:56:19.040 --> 0:56:20.839
<v Speaker 2>then it was just the bedroom and the bed and side,

0:56:20.840 --> 0:56:25.239
<v Speaker 2>so it was very it was strange animals, it was weird.

0:56:25.480 --> 0:56:27.520
<v Speaker 2>But then there would be these seasons where I did

0:56:27.640 --> 0:56:29.640
<v Speaker 2>like space Jam. I started space Jam in l A, Okay.

0:56:29.680 --> 0:56:31.160
<v Speaker 2>It was every Sunday night. I put it on Twitter.

0:56:32.480 --> 0:56:34.000
<v Speaker 2>I called it space Jam. I thought it was fun.

0:56:38.920 --> 0:56:41.600
<v Speaker 2>Wait a minute, I don't think I didn't tell Warner Brothers.

0:56:41.640 --> 0:56:43.600
<v Speaker 2>You know, I just wanted to do this for fun.

0:56:43.719 --> 0:56:45.759
<v Speaker 2>It's was I had, what was doing a tour with

0:56:45.800 --> 0:56:48.440
<v Speaker 2>Janelle Monae in Australia and New Zealand and it got

0:56:48.480 --> 0:56:51.719
<v Speaker 2>canceled because she got very sick, and I came back

0:56:51.760 --> 0:56:54.800
<v Speaker 2>to America and I was just restless. You know. We

0:56:54.880 --> 0:56:57.799
<v Speaker 2>were just about to do a tour and so I thought, well,

0:56:58.320 --> 0:57:00.360
<v Speaker 2>I'm here, let's do something. And you know, or a

0:57:00.440 --> 0:57:03.040
<v Speaker 2>thundercap did it most weeks. Miguel came down to jam

0:57:03.080 --> 0:57:05.279
<v Speaker 2>with me, and this is likes a big guys that

0:57:05.440 --> 0:57:06.879
<v Speaker 2>you know don't have to do that, but they would

0:57:06.920 --> 0:57:10.480
<v Speaker 2>just get up and just go into the unknown with me.

0:57:10.520 --> 0:57:11.640
<v Speaker 2>It was very powerful.

0:57:11.800 --> 0:57:15.320
<v Speaker 1>And you're doing in New York for a while. Bring

0:57:15.400 --> 0:57:15.719
<v Speaker 1>it back.

0:57:16.080 --> 0:57:17.960
<v Speaker 2>I'm kind of focused on the exotech thing for a

0:57:18.000 --> 0:57:20.240
<v Speaker 2>bit now, but I like the idea of bringing space

0:57:20.320 --> 0:57:22.720
<v Speaker 2>Jam back in cities and on the road if we're

0:57:22.760 --> 0:57:25.680
<v Speaker 2>all feeling up for it, going to a little venue nearby,

0:57:25.760 --> 0:57:28.040
<v Speaker 2>and then the spirit of the people we mentioned continuing

0:57:28.120 --> 0:57:33.080
<v Speaker 2>that conversation. So there's seasons of being very engaged with

0:57:33.200 --> 0:57:35.320
<v Speaker 2>community and seasons where I really withdraw.

0:57:35.880 --> 0:57:38.400
<v Speaker 1>Now, should you leave New York? Do you have any

0:57:38.480 --> 0:57:43.240
<v Speaker 1>other fantasy destinations that you would you know, would you

0:57:43.280 --> 0:57:44.800
<v Speaker 1>go to Europe next? See what's up?

0:57:44.840 --> 0:57:46.960
<v Speaker 2>And well check this out? No, I just got back

0:57:47.000 --> 0:57:48.800
<v Speaker 2>from London. I was there like a couple of weeks ago.

0:57:48.920 --> 0:57:51.200
<v Speaker 2>But Japan, I've never been to.

0:57:51.280 --> 0:57:54.400
<v Speaker 1>Japan, even as a professional artist.

0:57:54.680 --> 0:58:08.720
<v Speaker 2>Never, I've never been to Japan.

0:58:09.400 --> 0:58:12.160
<v Speaker 1>Oh man. Now, Japan has been kind of tough lately,

0:58:12.240 --> 0:58:14.360
<v Speaker 1>I think, like over for the past couple of years.

0:58:14.960 --> 0:58:20.720
<v Speaker 1>Why is other Bill laughing at the punchline? Before because

0:58:20.720 --> 0:58:22.680
<v Speaker 1>it was just like here comes some old man wisdom

0:58:22.720 --> 0:58:23.280
<v Speaker 1>about Japan.

0:58:23.400 --> 0:58:31.120
<v Speaker 4>Here I go, because like they had the earth the earthquake,

0:58:31.120 --> 0:58:33.920
<v Speaker 4>it was the tsunami. They had like a natural disaster.

0:58:34.040 --> 0:58:35.840
<v Speaker 4>And then you know it was that and that like

0:58:36.160 --> 0:58:38.400
<v Speaker 4>like up for real over there because we were trying

0:58:38.400 --> 0:58:39.400
<v Speaker 4>to get over there for a minute.

0:58:39.440 --> 0:58:42.280
<v Speaker 1>Back and you have to go to I've been once

0:58:42.320 --> 0:58:45.440
<v Speaker 1>in two thousand and four. It was not a really

0:58:45.480 --> 0:58:50.800
<v Speaker 1>good experience. No, I didn't like it. I didn't. There's

0:58:50.800 --> 0:58:54.280
<v Speaker 1>a story there, man, It's always a story. Bron So

0:58:54.360 --> 0:58:58.680
<v Speaker 1>I went to Japan. Never met it was an African

0:58:58.800 --> 0:59:08.120
<v Speaker 1>American male the PC title. I went, man like No,

0:59:08.320 --> 0:59:10.800
<v Speaker 1>I went. We went. Okay, we went over there and

0:59:11.320 --> 0:59:11.960
<v Speaker 1>we went over there.

0:59:12.000 --> 0:59:14.440
<v Speaker 7>We was over there under some some false pretenses for

0:59:14.520 --> 0:59:16.920
<v Speaker 7>one and to this is a little brother edis LB.

0:59:17.120 --> 0:59:19.200
<v Speaker 1>This is two thousand and four. So we went over

0:59:19.280 --> 0:59:22.320
<v Speaker 1>there and we went over there, and I remember the first.

0:59:22.240 --> 0:59:23.840
<v Speaker 4>Night we got out there were just out walking around

0:59:24.280 --> 0:59:26.360
<v Speaker 4>and we was trying to go to a strip club.

0:59:26.840 --> 0:59:29.760
<v Speaker 4>And so I mean and forever I'm not really the

0:59:29.800 --> 0:59:32.800
<v Speaker 4>strip club dude like that, because strip clubs are about

0:59:32.880 --> 0:59:35.200
<v Speaker 4>pageantry and I think just like a lot of you know,

0:59:35.280 --> 0:59:37.000
<v Speaker 4>it's a lot of Yeah, it's a lot of that,

0:59:37.520 --> 0:59:39.320
<v Speaker 4>and I'm not really into that. I'm not into the

0:59:39.400 --> 0:59:40.480
<v Speaker 4>seeing the tricks.

0:59:40.200 --> 0:59:42.960
<v Speaker 1>And all that stuff. I just from North Carolina, I know.

0:59:43.120 --> 0:59:44.920
<v Speaker 4>But see, but that's another story because it was a

0:59:44.960 --> 0:59:48.040
<v Speaker 4>strip club we had called fourteen k But you I'm

0:59:48.080 --> 0:59:49.280
<v Speaker 4>sure you know it was legendary.

0:59:49.360 --> 0:59:51.280
<v Speaker 1>So I'm not gonna get into that right now because

0:59:51.320 --> 0:59:55.480
<v Speaker 1>that's not the family. Yeah, I love you, honey. That

0:59:55.600 --> 0:59:56.960
<v Speaker 1>was before I became Washington.

0:59:56.960 --> 1:00:00.560
<v Speaker 4>The Blood of jus So now so lizal So So

1:00:01.000 --> 1:00:03.480
<v Speaker 4>now that So japan were trying to go to the

1:00:03.560 --> 1:00:05.840
<v Speaker 4>joint and so we walk up to the door and

1:00:06.400 --> 1:00:08.040
<v Speaker 4>as soon as we get to the door, a little

1:00:08.080 --> 1:00:11.080
<v Speaker 4>dude comes out no no, no, no Japanese.

1:00:10.640 --> 1:00:14.240
<v Speaker 1>Only like we didn't even let us in. We was like,

1:00:14.400 --> 1:00:17.800
<v Speaker 1>oh wor so like that right there was just kind

1:00:17.840 --> 1:00:21.000
<v Speaker 1>I was like, fuck this fucking place. I mean the

1:00:21.120 --> 1:00:24.560
<v Speaker 1>first day, I swear to God. First day.

1:00:24.680 --> 1:00:26.520
<v Speaker 4>So we left and I think we ended up eating

1:00:27.000 --> 1:00:29.320
<v Speaker 4>like McDonald's for the rest of the day. And then

1:00:29.720 --> 1:00:31.400
<v Speaker 4>first of the time we were there, we didn't get

1:00:31.480 --> 1:00:33.640
<v Speaker 4>some Kobe beef. Though we went to Kobe and we

1:00:33.720 --> 1:00:36.720
<v Speaker 4>had some Kobe Beef and like I saw one black guy.

1:00:36.920 --> 1:00:40.560
<v Speaker 1>In uh in the train, I love each other. We

1:00:40.680 --> 1:00:43.040
<v Speaker 1>were just so happy. I've never been so happy to

1:00:43.080 --> 1:00:45.480
<v Speaker 1>see another black man in my life. You see, I'm

1:00:45.560 --> 1:00:48.160
<v Speaker 1>dead ass man. I ain't making nothing shit up, but.

1:00:49.640 --> 1:00:50.400
<v Speaker 2>It was, it was, it was.

1:00:50.920 --> 1:00:52.760
<v Speaker 1>It was a very same for a moment.

1:00:53.080 --> 1:00:55.680
<v Speaker 4>The crowds are very different, so they're not really like

1:00:55.760 --> 1:00:58.120
<v Speaker 4>a big like making a lot of noise. They just

1:00:58.520 --> 1:01:01.840
<v Speaker 4>watch very probably, but after the show, I mean they're

1:01:01.840 --> 1:01:05.600
<v Speaker 4>really they they get me. But no, I haven't been

1:01:05.720 --> 1:01:08.520
<v Speaker 4>since oll four. Now I'm really not in a rushback

1:01:08.560 --> 1:01:10.480
<v Speaker 4>to go, but I hope you go, and I'm sure

1:01:10.520 --> 1:01:10.960
<v Speaker 4>you'll killed it.

1:01:11.160 --> 1:01:13.640
<v Speaker 1>I'm actually kind of weirded out by Man.

1:01:13.560 --> 1:01:16.480
<v Speaker 2>I gotta make this right, man, Yeah you do, because no,

1:01:16.640 --> 1:01:18.200
<v Speaker 2>I'm he's Wow, you.

1:01:18.400 --> 1:01:23.920
<v Speaker 1>Might have like of Tokyo despite the fact, no, despite

1:01:24.000 --> 1:01:28.080
<v Speaker 1>the fact, man, let's go. Their largest shoe size size ten,

1:01:29.200 --> 1:01:32.560
<v Speaker 1>and you know their Jeane size is thirty four. I mean,

1:01:34.000 --> 1:01:40.680
<v Speaker 1>I Tokyo is my third favorite place on earth. Wow. Wow.

1:01:40.840 --> 1:01:45.120
<v Speaker 1>What's the first two? If I had to leave the

1:01:45.200 --> 1:01:50.160
<v Speaker 1>Tri State area to live somewhere else. Number one is Portland, Oregon.

1:01:50.840 --> 1:01:56.560
<v Speaker 1>What number two is Austin, Texas. Number three is Tokyo.

1:01:57.800 --> 1:02:00.880
<v Speaker 1>Number four is the Bay Area. Hopefully I can afford.

1:02:02.000 --> 1:02:04.520
<v Speaker 1>If I can afford it, I can't afford it on

1:02:04.600 --> 1:02:05.120
<v Speaker 1>my salary.

1:02:05.600 --> 1:02:05.720
<v Speaker 2>Uh.

1:02:08.440 --> 1:02:16.400
<v Speaker 1>Number we're like camping out here. Number five is uh London.

1:02:17.240 --> 1:02:19.920
<v Speaker 1>But uh wow, the fact that you've actually thought about

1:02:19.920 --> 1:02:22.040
<v Speaker 1>that though, that's the very that you've plotted it out.

1:02:22.680 --> 1:02:29.320
<v Speaker 1>I base okay. Portland has uh probably some of the

1:02:29.880 --> 1:02:33.360
<v Speaker 1>probably the best used record store shopping, the best quality

1:02:33.360 --> 1:02:35.800
<v Speaker 1>of records for cheap, Like when they see me, they

1:02:35.840 --> 1:02:40.520
<v Speaker 1>won't charge me five hundred dollars for a Gault McDermott record.

1:02:41.120 --> 1:02:43.720
<v Speaker 1>Like if I walk into a Connecticut spot, then suddenly

1:02:44.280 --> 1:02:47.760
<v Speaker 1>it's nine thousand dollars, Like they don't know the true

1:02:47.880 --> 1:02:51.640
<v Speaker 1>value of like that stuff I really love. There's more

1:02:51.800 --> 1:02:54.680
<v Speaker 1>strip clubs per capita in Portland, and I've never been

1:02:54.720 --> 1:02:56.280
<v Speaker 1>to one. Every time I go, I'm in and out.

1:02:57.320 --> 1:03:01.920
<v Speaker 1>Nike Headquarters been there. Uh yeah. So I mean if

1:03:01.960 --> 1:03:06.360
<v Speaker 1>you have good record shopping, great strip clubs and don't

1:03:06.360 --> 1:03:08.959
<v Speaker 1>take much. And the food capital, I mean the food

1:03:09.040 --> 1:03:11.480
<v Speaker 1>truck capital of the United States to me is Portland.

1:03:11.760 --> 1:03:15.040
<v Speaker 2>That's true. Unknown more orchestra and Portland now I mean

1:03:15.040 --> 1:03:16.840
<v Speaker 2>he's from New Zealand, but he works out of Portland.

1:03:16.880 --> 1:03:23.439
<v Speaker 1>Now man, smart man, smart man. Well, Kimber, I really

1:03:23.960 --> 1:03:27.560
<v Speaker 1>truly appreciate you for taking your time out of your

1:03:27.640 --> 1:03:32.320
<v Speaker 1>busy schedule. Schedule, it's not as.

1:03:32.240 --> 1:03:37.040
<v Speaker 2>Busy as yours. Well, no, you know it's you are insane.

1:03:37.120 --> 1:03:37.280
<v Speaker 1>Though.

1:03:37.600 --> 1:03:39.760
<v Speaker 2>No, we're not going to We're not gonna.

1:03:39.520 --> 1:03:43.080
<v Speaker 1>Okay, but yeah, I say we should have thought, go ahead, go.

1:03:43.520 --> 1:03:46.480
<v Speaker 2>In with how many projects it took?

1:03:46.600 --> 1:03:49.400
<v Speaker 1>Look, I took a four day vacation last week. Where

1:03:49.440 --> 1:03:53.680
<v Speaker 1>did you go? I just I did nothing in Los

1:03:53.720 --> 1:03:56.400
<v Speaker 1>Angeles for four days. That wasn't answered my text messages.

1:03:57.480 --> 1:03:59.680
<v Speaker 1>I did, yeah, I said, except to answer my text

1:03:59.760 --> 1:04:03.440
<v Speaker 1>I did, okay, Yeah. I stayed in bed and it was.

1:04:04.240 --> 1:04:11.120
<v Speaker 1>It was the worst feeling ever made to not do anything.

1:04:11.920 --> 1:04:15.840
<v Speaker 1>That The only thing I did was I figured out

1:04:15.920 --> 1:04:18.080
<v Speaker 1>how to get rid of of ten gigs of music.

1:04:18.120 --> 1:04:20.280
<v Speaker 1>I didn't need my DJ computer Like that was the

1:04:20.400 --> 1:04:22.480
<v Speaker 1>only work I did. You actually do that for me

1:04:22.680 --> 1:04:25.240
<v Speaker 1>because I cannot do that. That's you cant figure out

1:04:25.240 --> 1:04:27.240
<v Speaker 1>which one is the kill? No, you got it. You

1:04:27.320 --> 1:04:29.320
<v Speaker 1>only need one. Don't stop to get enough. You don't

1:04:29.360 --> 1:04:33.840
<v Speaker 1>need seventeen like I'm literally I always I'll have to

1:04:33.880 --> 1:04:35.880
<v Speaker 1>have like all the different edits and not necessarily, no,

1:04:35.960 --> 1:04:38.320
<v Speaker 1>I'll keep the individual edits. But I had, like, you know,

1:04:38.480 --> 1:04:43.440
<v Speaker 1>i'd like for j like heart Knock Life for a

1:04:43.480 --> 1:04:46.240
<v Speaker 1>billion of them that I didn't need. So yeah, I

1:04:46.320 --> 1:04:50.960
<v Speaker 1>mean cleaning out my hard drives my favorite pastime. But no,

1:04:51.280 --> 1:04:55.200
<v Speaker 1>I took a four day vacation and I hated every

1:04:55.320 --> 1:04:56.080
<v Speaker 1>I didn't hate.

1:04:55.920 --> 1:04:58.080
<v Speaker 2>It, but it was just you need to be doing

1:04:58.160 --> 1:04:59.800
<v Speaker 2>things that you sleep.

1:04:59.640 --> 1:05:02.160
<v Speaker 1>So much that you get tired from sleeping.

1:05:02.360 --> 1:05:03.120
<v Speaker 2>Yeah, deaf.

1:05:03.240 --> 1:05:04.560
<v Speaker 1>No, I got trapped in that cycle.

1:05:04.680 --> 1:05:05.320
<v Speaker 2>That's a thing.

1:05:05.640 --> 1:05:07.200
<v Speaker 1>And then I was like, oh, this is what depression

1:05:07.240 --> 1:05:09.760
<v Speaker 1>feels like. So let me get out of when you

1:05:09.960 --> 1:05:10.960
<v Speaker 1>vacation's supposed to go.

1:05:11.080 --> 1:05:16.760
<v Speaker 4>Out because otherwise that it becomes like social isolated, Like

1:05:16.880 --> 1:05:17.680
<v Speaker 4>that's can't.

1:05:17.800 --> 1:05:20.520
<v Speaker 1>I mean, that's why DJ so much like I don't.

1:05:20.640 --> 1:05:22.960
<v Speaker 1>I'm not a let's go to the bar. Well, you know,

1:05:23.160 --> 1:05:26.480
<v Speaker 1>I'm a I'll DJ in the bar and then you

1:05:26.600 --> 1:05:28.200
<v Speaker 1>know that's me going out for shopping, you know that

1:05:28.320 --> 1:05:33.360
<v Speaker 1>kind of thing. I mean, I now record shop for

1:05:33.440 --> 1:05:36.800
<v Speaker 1>other people, like my new ship is now taking what

1:05:36.880 --> 1:05:40.320
<v Speaker 1>we're doing. I tell you, record shopping before no no,

1:05:40.600 --> 1:05:44.400
<v Speaker 1>I'm saying I record shop for you. Well no, no, no, no, no.

1:05:44.680 --> 1:05:48.640
<v Speaker 1>I like my thing now is whenever the parents, whenever

1:05:48.680 --> 1:05:52.560
<v Speaker 1>the kids of the past, like you know you my

1:05:52.640 --> 1:05:55.440
<v Speaker 1>kids in the pet sound like, then I'll be like,

1:05:55.520 --> 1:05:57.320
<v Speaker 1>let's go to me. But and then I'll buy them

1:05:58.400 --> 1:06:01.360
<v Speaker 1>like a thousand records like I'm I've started at least

1:06:02.320 --> 1:06:06.160
<v Speaker 1>thirty record collections. Wow, Because I mean, I'm not doing

1:06:06.240 --> 1:06:10.080
<v Speaker 1>to be all noble. No, I'm just addicted to going

1:06:10.160 --> 1:06:13.200
<v Speaker 1>to a record shop in shopping. Yeah, I'm not going

1:06:13.280 --> 1:06:16.920
<v Speaker 1>to buy like another led Zeppelin three records, Love Scholarship

1:06:17.000 --> 1:06:22.160
<v Speaker 1>Foundation for All Musical Can we get out of this, guys, please? Yes,

1:06:22.440 --> 1:06:23.640
<v Speaker 1>Kimber answer your question.

1:06:23.960 --> 1:06:25.280
<v Speaker 2>I yeah, you take that.

1:06:25.440 --> 1:06:28.160
<v Speaker 1>I took a four day vacation. In the future, I'm

1:06:28.200 --> 1:06:31.040
<v Speaker 1>going to take another seven days off. I'm gonna get

1:06:31.080 --> 1:06:35.160
<v Speaker 1>on a train and and hobo. I'm actually waking because

1:06:35.200 --> 1:06:37.640
<v Speaker 1>you keep talking about taking my favorite thing on Earth

1:06:37.760 --> 1:06:41.440
<v Speaker 1>or just taking a Literally, I got a well the

1:06:41.520 --> 1:06:45.280
<v Speaker 1>best travels in uh Canada. So I'm gonna you.

1:06:45.280 --> 1:06:47.520
<v Speaker 2>Should go to New Zealand take a train through New Zealand.

1:06:48.320 --> 1:06:50.360
<v Speaker 1>Initially I was going to go to India, but I

1:06:50.560 --> 1:06:53.840
<v Speaker 1>can't it to travel there and then to do the

1:06:53.920 --> 1:06:57.080
<v Speaker 1>four day trek and then the comeback I did and

1:06:57.080 --> 1:06:59.760
<v Speaker 1>a half. Yeah, I would need three three weeks to

1:06:59.800 --> 1:07:03.360
<v Speaker 1>really recovering. But yeah, I plan on going from New

1:07:03.440 --> 1:07:08.280
<v Speaker 1>York to San fran then Vancouver back to New York.

1:07:08.960 --> 1:07:11.160
<v Speaker 1>Vancouver to New York. You can rent your own car,

1:07:12.080 --> 1:07:15.400
<v Speaker 1>have old tiny you know. I get to imagine what

1:07:15.520 --> 1:07:21.160
<v Speaker 1>travel was like in the forties without being discriminated, travel

1:07:21.240 --> 1:07:29.640
<v Speaker 1>like the best last hears like spens of racism every time.

1:07:31.360 --> 1:07:32.160
<v Speaker 1>That hilarious.

1:07:33.200 --> 1:07:40.360
<v Speaker 2>It is we covered so much, Yes we did.

1:07:40.560 --> 1:07:44.240
<v Speaker 1>Okay, okay, So with that said, uh, kimber once again,

1:07:44.440 --> 1:07:47.800
<v Speaker 1>we thank you very much for greasing us with your

1:07:47.840 --> 1:07:51.760
<v Speaker 1>presence and your music and your artistry and your stories

1:07:51.800 --> 1:07:54.680
<v Speaker 1>and your journey. Give it up, lady and gentlemen, for

1:07:54.800 --> 1:07:55.800
<v Speaker 1>Kimberly Johnson.

1:07:55.960 --> 1:08:02.560
<v Speaker 5>Yes, Kimberly, it's onund Look you're saying, Kimberly, Oh it is.

1:08:05.680 --> 1:08:08.480
<v Speaker 5>I know it's kim bro Like you're saying, were your

1:08:08.520 --> 1:08:09.760
<v Speaker 5>parents trying to do Kimberly?

1:08:11.280 --> 1:08:13.640
<v Speaker 1>I think they're trying to do Kimberly. Okay.

1:08:19.920 --> 1:08:26.720
<v Speaker 8>ET Awards celebrates black with Kimberly Johnson going to be lit,

1:08:28.120 --> 1:08:31.120
<v Speaker 8>it's going to be This smells like that moment, This.

1:08:31.160 --> 1:08:34.000
<v Speaker 1>Spells like that moment is Zoolander before waking up, Before

1:08:34.040 --> 1:08:35.840
<v Speaker 1>you go go where. He's like, I don't think you

1:08:36.000 --> 1:08:39.559
<v Speaker 1>thought that. I thought you thought that I was repent. Yes,

1:08:39.800 --> 1:08:44.120
<v Speaker 1>I know it's Kimbra Lee Johnson. That's more. It's more

1:08:44.720 --> 1:08:48.040
<v Speaker 1>authentic that way, not Kimberly. But I think your parents

1:08:48.080 --> 1:08:49.760
<v Speaker 1>are trying to name me Kimberly and just didn't know,

1:08:50.760 --> 1:08:58.840
<v Speaker 1>you know, it could have been one name. All right, Yes, well,

1:08:58.960 --> 1:09:03.680
<v Speaker 1>kim Bra Lee Johnson. We thank you very much. To

1:09:04.000 --> 1:09:15.560
<v Speaker 1>thank you, of course. Love Supreme is a production of iHeartRadio.

1:09:16.040 --> 1:09:19.400
<v Speaker 1>This classic episode was produced by the team apt Pandora.

1:09:21.560 --> 1:09:24.840
<v Speaker 1>For more podcasts from iHeart Radio, visit the iHeartRadio app,

1:09:25.080 --> 1:09:28.120
<v Speaker 1>Apple Podcasts, or wherever you listen to your favorite shows.