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Speaker 1: Quest Love Supreme is a production of iHeartRadio Ladies and Gentlemen.

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Speaker 2: I'm gonna try to say this without bring up they

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Speaker 2: grow up, Yes, exactly, breaking news. I don't have kids yet.

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Speaker 2: I will say that I probably I heard that. I

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Speaker 2: will probably say that I use my guests as an

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Speaker 2: excuse to being with pride. Uh that of that of

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Speaker 2: a dad watching uh his kid or an older brother

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Speaker 2: watching his kid brother shine.

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Speaker 1: And in the big game.

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Speaker 2: It's it's literally because I've seen this person in his evolution.

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Speaker 2: And yes, it's even scary to me, but you know,

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Speaker 2: I'm gonna save as much. And this is where I

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Speaker 2: get my fio. So on, y'all, if you are an

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Speaker 2: entertainer or a singer, you know, worth.

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Speaker 1: Your your weight in gold or whatever.

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Speaker 2: Like, if you even think you're gonna do anything creative

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Speaker 2: in this lifetime without this, gentleman, oh ho ho, you

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Speaker 2: are sadly mistaken. Seriously, I can go through it. It

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Speaker 2: will probably take a half hour before I say his name,

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Speaker 2: Jill Scott needs work done, whatever you call Adam Blackstone,

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Speaker 2: Jimmy Levado, Jonas Brothers, Adam Blackstone, Moroon five, Adam Blackstone, Algebra,

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Speaker 2: Adam Blackstone and Al Green, Adam Blackstone, who's Doctor Drake

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Speaker 2: call when it's Super Bowl time? Adam Blackstone, Who's jay

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Speaker 2: Z call when it's time for his show to be tight?

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Speaker 2: Adam Blackstone, even the artist now known as the unmentionable huh,

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Speaker 2: Adam Blackstone, Jianna Jackson, Adam Blackstone, Eminem Queen Latifa, Alicia Keys, Timberlake, Rihanna.

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Speaker 2: Like when you're watching the Oscars, even when I accepted

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Speaker 2: my own Oscar, when you're watching The Voice, when you're

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Speaker 2: watching the Grammy Awards, when you're watching the Soul Tree

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Speaker 2: and Awards, all them specials on VH one, on BT,

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Speaker 2: on MTV. Even my boss, Jimmy Fallon uses for that.

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Speaker 2: That's my jam the masked singer Adam Blackstone. Let's not

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Speaker 2: forget he's currently Yes, he will be an easy egot

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Speaker 2: any day now, like he's currently working on his Grammy

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Speaker 2: for his awesome I didn't even get to talk to

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Speaker 2: you about this. I really like legacy, yes, even his

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Speaker 2: awesome legacy LP.

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Speaker 1: I just have to.

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Speaker 2: Say that I don't have the worry to express the

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Speaker 2: pride that I have for my guess. I'm sorry, I

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Speaker 2: use the entire ninety minutes to brag about our guest today,

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Speaker 2: Adam Blackstone on Quest Left Supreme.

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Speaker 3: How you doing, man, I am wonderful. That was the

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Speaker 3: best introduction ever.

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Speaker 1: I'm trying. Man. You know you you deserve your your

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Speaker 1: past flowers. Man, you're like you're.

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Speaker 4: I think everybody needs to know that seventy five percent

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Speaker 4: of the artist that you named for me came from you.

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Speaker 2: Not no, not even like your your reputation, Like I

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Speaker 2: remember the day that and rest in Peace Room Five's

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Speaker 2: manager Jah Jordan. Yes, when Jordan hit me up, you

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Speaker 2: know about adding some spices to the group and arrangement

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Speaker 2: or whatnot. I don't know, Man, Like for you, I'm

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Speaker 2: I'm in awe because of all levels of creativity, I say,

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Speaker 2: even though people will say, like the greatest strength of

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Speaker 2: my career or my legacy, of course is the roots

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Speaker 2: live show. The pressure that it takes to think of

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Speaker 2: ideas to spice up someone's live show, man is like,

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Speaker 2: I don't know, I don't know how you do it.

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Speaker 2: I will say that it's one of the most things

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Speaker 2: thankless jobs, because no one ever thinks about what the

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Speaker 2: music director has to go for.

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Speaker 3: Man, it's a it's a it's a beast.

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Speaker 2: Yeah, and and you know I have so many questions

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Speaker 2: to ask you, so thank you. I'm glad we finally

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Speaker 2: got to take time out to do this. Where you

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Speaker 2: hitting me from right now?

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Speaker 4: We are in Las Vegas right now working on the

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Speaker 4: Soul Train Awards. Of course left just left, which I

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Speaker 4: didn't see you at. We're going to talk about that too.

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Speaker 4: Rock and Roll Hall of Fame Saturday.

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Speaker 1: How was it?

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Speaker 3: It was really good? Man?

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Speaker 4: Andy Lennox asked me to move to London whe her

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Speaker 4: you know, don't tell my wife, but nice, nice honored

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Speaker 4: the rhythmics, Jam and Lewis right and Lewis.

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Speaker 3: Charlie Simon and Eminem and Lionel Dolly Parton.

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Speaker 1: Really did Lionel perform at you guys? He did?

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Speaker 3: We did Hello easy and all night long? Was crazy?

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Speaker 1: Bro Yo?

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Speaker 5: Can I ask you Adam because you did a few

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Speaker 5: up and even though you didn't invite me and Jimmy

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Speaker 5: Jam did you did this nice tribute to Jimmy Jam

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Speaker 5: and Terry.

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Speaker 4: I just wanted this to be in the big quest

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Speaker 4: love letters. You are invited to my life?

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Speaker 3: Oh okay, well that's did.

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Speaker 1: You know about the jam session?

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Speaker 5: Layah when Jimmy Jam told me, oh after the fact, no, no, no,

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Speaker 5: I went. So that's what my question was, because he

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Speaker 5: did this jam section with a lot of kind of

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Speaker 5: maybe unknown singers that were very dope that did like

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Speaker 5: all these Jimmy and Terry songs, and I kind of

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Speaker 5: wanted you to talk about that too.

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Speaker 2: Yeah, I will say that the night after. It's rare

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Speaker 2: that Sean G h supermanager, Live Nation executive. It is

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Speaker 2: rare that Sean Ge will ever.

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Speaker 3: The house.

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Speaker 2: That too, But it's very rare, like Sewan is a

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Speaker 2: family man. But I will say that if we get

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Speaker 2: a text from Sean G. Eleven o'clock East Coast standard time,

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Speaker 2: like he's basically off the clock after five pm, he

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Speaker 2: couldn't stop talking about how much he liked this damn legacy.

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Speaker 6: Yeah, and he called.

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Speaker 4: Exactly exactly, Yeah, that's exactly what I did. And and

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Speaker 4: you know, cultivating what you Rich Nichols, you know my

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Speaker 4: my father in the game, and you know Sean G

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Speaker 4: have brought to me. I brought East Coast vibes to

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Speaker 4: l a man and it was much needed. Like, yeah,

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Speaker 4: it's interesting that you said you didn't know. But one

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Speaker 4: of the things that happened with the Lily before social media.

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Speaker 3: It was word of mouth.

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Speaker 4: I'm really cultivating that I didn't post anything about Yeah, no,

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Speaker 4: it wasn't.

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Speaker 3: It wasn't like a thing. It was just like, you know,

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Speaker 3: one of the And.

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Speaker 4: I hope I don't get in trouble for talking about this,

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Speaker 4: but I felt really bad with Jimmy and Terry for

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Speaker 4: Rock and Roller Hall of Fame not getting a performance slot,

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Speaker 4: you know what I mean?

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Speaker 3: Their their music has impacted me.

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Speaker 4: And culture and the global world past R and B

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Speaker 4: or pop or whatever.

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Speaker 5: It's just their induction wasn't really promoted like that either.

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Speaker 5: So it wasn't until he told me that, I was like,

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Speaker 5: oh shit.

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Speaker 4: And so when I found that out. This is my

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Speaker 4: first year MD and the whole show. When I found

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Speaker 4: that out, I said, yo, I gotta do something.

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Speaker 3: You know what I'm saying. That's because like this is

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Speaker 3: what they need.

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Speaker 4: When I called Jimmy, you know, we had an emotional

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Speaker 4: moment because he was very thankful about what I was

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Speaker 4: about to do. And we ain't know it was going

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Speaker 4: to turn that into what it was, but it was.

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Speaker 4: It was awesome.

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Speaker 3: Man. I gotta give people their flowers, you know.

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Speaker 2: So dude, where did you find because I've seen the clips. Yeah,

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Speaker 2: And the one thing I always wonder about is the

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Speaker 2: legacy like who you know? Where are where are the

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Speaker 2: heads that would have been at Black Lily in twenty twenty?

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Speaker 1: Like who's that audience?

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Speaker 4: One?

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Speaker 1: How how did you find the singers? Two? How did

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Speaker 1: you find the audience that would receive them as well?

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Speaker 1: Got you?

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Speaker 4: So A big part of what I've been doing with

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Speaker 4: this legacy experience I'm mayor, is that the narrative is

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Speaker 4: that I've been on the road with everybody from Okay

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Speaker 4: player tour to more recent you know Jay and JT

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Speaker 4: or something like that, and so along the way, because

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Speaker 4: I'm such a fan of music and vocalist, I find

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Speaker 4: my own favorite singers by playing with these incredible artists.

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Speaker 4: So a lot of them have either sang backup for

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Speaker 4: who I've for who I've rocked with, or there'll be

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Speaker 4: a new artist in the city. And you know how

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Speaker 4: we used to like go to London or something and

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Speaker 4: we just go to a jam session and find you know,

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Speaker 4: Daily or find Amy or find Jesse j. I remember

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Speaker 4: pulling up somewhere random and in London like and same

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Speaker 4: thing with Philly is like you know, Jill Music, India, Erica.

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Speaker 3: At any point, somebody could walk in there.

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Speaker 4: But then you also get somebody like a new kid

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Speaker 4: at the time, Blow, you know what I'm saying, or

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Speaker 4: you get a new kid at the.

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Speaker 3: Time, Vivian Green or something like that.

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Speaker 4: So it's like I'm cultivating that same structure that you

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Speaker 4: guys have laid in. What it is is I'm letting

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Speaker 4: everybody shine in their element, but also trying to dictate

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Speaker 4: the same sort of tour type of set lists that

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Speaker 4: I would do if I was out on the road

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Speaker 4: with a Jimmy and Terry and matching the voice with

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Speaker 4: the moment. That's why we had somebody like a co

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Speaker 4: Coke Jones do I guess so lonely who She's the

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Speaker 4: new vibrant, sexy, you know it girl kind of doing that.

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Speaker 4: But then I had a Naya Do Damage and she's

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Speaker 4: kind of like this raunchy, you know, Houston rapper singer.

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Speaker 4: And then I had somebody like Lena Byrd Miles new

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Speaker 4: gospel album coming out, and she did I wanted to

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Speaker 4: highlight Jimmy and Arry's Yolanda Adams catalog. You know what

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Speaker 4: I'm saying who people don't know about? So she ended

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Speaker 4: up doing Open My Heart and so like it was

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Speaker 4: just a night full of gyms.

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Speaker 1: Man Like, straight up.

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Speaker 2: How many nights do you have to prepare from the

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Speaker 2: moment you decide you know what I'm gonna pay, you know,

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Speaker 2: pay tribute to them? How many nights do you have

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Speaker 2: to prepare for such a thing?

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Speaker 3: So this is where you have taught me wrong.

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Speaker 4: Okay, okay, I have been in so many instances where

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Speaker 4: it's the day of through roots, through play or whatever

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Speaker 4: and it comes off without a hitch, or I would

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Speaker 4: say externally without a hitch, you know what I mean,

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Speaker 4: Because you know I might get a I might get

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Speaker 4: a every once in a while, but a note that

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Speaker 4: I've been or whatever. But yeah, so I take about

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Speaker 4: a day and a half to two days. Really, curating

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Speaker 4: the set list is the most thing, is the most

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Speaker 4: important thing for me because people move off of energy,

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Speaker 4: you know what I'm saying. So it's like a bad

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Speaker 4: set list again, which I've learned from you, is like

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Speaker 4: a bad setlist can dictate a bad show. You know

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Speaker 4: what I'm saying. You got to know, you know we yelling.

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Speaker 4: I've seen me yell you yell at key or whatever.

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Speaker 4: It's like, go get you now, right, where's da da?

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Speaker 3: Where's it?

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Speaker 4: So that's kind of what I've been doing the week

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Speaker 4: leading up to and then it's like, yo, I just

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Speaker 4: want to catch a vibe, you know what I mean,

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Speaker 4: and let it.

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Speaker 3: Let it be a natural thing.

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Speaker 1: Okay.

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Speaker 2: So for our audience that is not familiar because I

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Speaker 2: mean to the industry, you are literally the Quincy Jones.

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Speaker 2: I mean, the part of Quincy Jones that I play

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Speaker 2: is being a connector. I always say that Quincy Jones'

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Speaker 2: telephone or his rolodex was always his best instrument his

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Speaker 2: ability to reach people. But the idea of what we

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Speaker 2: think Quincy Jones is, which he also is, is just

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Speaker 2: to be the go to guy to get the right

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Speaker 2: performance out of the artist, live, studio, whatever. And the

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Speaker 2: thing is you you do have to do both because

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Speaker 2: you know, in my world, I will say that maybe yes,

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Speaker 2: with the addition of like Stroe Elliott, or even with

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Speaker 2: Jeremy like in the Roots, we're now just adding sample

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Speaker 2: elements to the show in the last for you know,

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Speaker 2: four or five years. But with you, I know that

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Speaker 2: you not only have to you know, comb through their

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Speaker 2: entire studio history and grab that background vocals and are

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Speaker 2: you doing this all yourself? Like, all right, take take

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Speaker 2: me through a process of So I assume that since

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Speaker 2: Rihanna's got something cooking in the kitchen for top of

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Speaker 2: twenty twenty four, let's just hypothetically, let's just hypothetically say

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Speaker 2: that you might have gotten a call from Rihanna, you know,

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Speaker 2: saying that all right, I'm about to ramp up and

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Speaker 2: surprise job this album then maybe April or of twenty

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Speaker 2: twenty four, and she wants she wants to go on tour.

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Speaker 2: And the way you're smiling right now, I think that

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Speaker 2: this conversation actually might have happened, even though I don't

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Speaker 2: know Jack, so I know how NDA's are.

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Speaker 1: But walk me through the process.

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Speaker 3: Yeah, no problem. So I used to do everything.

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Speaker 4: I was super hands on as far as like curating

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Speaker 4: the set list. I would sit down with the artists.

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Speaker 4: I would say, what is the story you're trying to tell,

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Speaker 4: like through either this album or through this live show process.

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Speaker 4: I've done it with every artist. I just want to

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Speaker 4: sit down and talk. I just want to see where

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Speaker 4: your head was when you were singing freaking pour it up.

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Speaker 4: I want to see where your head was when you

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Speaker 4: wrote Diamonds. You know what I'm saying, like, what what

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Speaker 4: is the story? Are you trying to go to the

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Speaker 4: strip club or are we going to the stadium to

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Speaker 4: hold up the phone light?

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Speaker 3: Are you trying to do both? Okay? Cool?

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Speaker 4: So now I take an artist like and say, you know,

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Speaker 4: how do we start, what's the middle, and what's the end.

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Speaker 4: I like to build my show in what I call acts, right,

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Speaker 4: because you take the listener, the audience on the journey.

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Speaker 4: So that first process is about getting the song list together,

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Speaker 4: no specific order or anything.

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Speaker 3: Then I kind of work backwards. I say how do

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Speaker 3: we start?

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Speaker 4: How do we end? And then I fill the middle

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Speaker 4: end like that. Now with a pop artist and a

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Speaker 4: lot of artists these days, but pop specifically, as far

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Speaker 4: as getting the tracks and stuff together, the backing tracks,

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Speaker 4: playing with a little bit of backing vocal stuff like that,

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Speaker 4: I call my programming team, and I call my you

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Speaker 4: know a lot of my lot of.

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Speaker 1: My how many on the programming team, it depends on

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Speaker 1: what it is.

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Speaker 4: What I just did with this past super Bowl was myself,

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Speaker 4: Terrence Vaughn and Derek Cobbs, and I had Omar there

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Speaker 4: with me. Omar Elwer was there with me every step

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Speaker 4: of the way, because in a gig like the Super Bowl, specifically,

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Speaker 4: I'm going to set design meetings, I'm going to choreography rehearsal,

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Speaker 4: I'm going to how are the instruments gonna look? So

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Speaker 4: once I have the concept and the idea, my team

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Speaker 4: for sure begins to try to execute in a rehearsal

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Speaker 4: setting where I'm in and out of because of the

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Speaker 4: other things that are going on as a musical director,

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Speaker 4: and like I said, I've learned that a musical director

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Speaker 4: is half about the music and more about the other stuff.

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Speaker 4: And it's really really crazy. The higher up you go.

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Speaker 4: I'm gonna get blasted for saying this, but the higher

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Speaker 4: up you go, the less it is about the music

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Speaker 4: when it comes to the MD.

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Speaker 1: All right question, So all right, you just you just okay.

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Speaker 2: Now, in there's always an inside joke with musicians and

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Speaker 2: we do it all the time, and that is hashtag

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Speaker 2: you've been Blackstone.

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Speaker 1: And this is a real hashtag.

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Speaker 2: Whenever we joke you've been Blackstone, that always means that

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Speaker 2: there's a part of the song that just has extra

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Speaker 2: spice into it.

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Speaker 1: Trademarks.

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Speaker 2: But it's it's almost like the way I could just

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Speaker 2: describe it to you. If you guys remember TLC's video

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Speaker 2: version for Digging on.

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Speaker 5: You, Yes, yes, yes.

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Speaker 2: If if you also remember the Hovie Baby sample Dan,

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Speaker 2: and there's always that element in the song that happens

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Speaker 2: and always wonder will you add your trademark, like that's

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Speaker 2: your version of you add the trademark.

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Speaker 6: Wow?

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Speaker 1: Oh yeah.

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Speaker 2: But when you add your trademark Blackstone eyes thing, yeah,

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Speaker 2: I wonder where's that come from? But then you tell

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Speaker 2: me that you are also in the meetings with the choreographers.

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Speaker 4: That's twenty seventeen and above. You feel what I'm saying.

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Speaker 4: This is why this interview is so good, because these

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Speaker 4: young kids ain't see the work that I put in

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Speaker 4: a four or five coming off of favor and like

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Speaker 4: you throwing me to Kanye and you throwing Omar to

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Speaker 4: Jay and all of that, where it was like we

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Speaker 4: then had to take everything we had learned for the

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Speaker 4: last seven years and put it together on our own

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Speaker 4: and give that same amount of energy, same amount of

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Speaker 4: musicianship to these new artists out there. And you know,

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Speaker 4: I have been big. The Holy Baby thing means so

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Speaker 4: much to me that you would even say that, because.

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Speaker 3: I try to make my shows a movie.

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Speaker 1: You know, you are the John Williams, a musical director.

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Speaker 4: That is a really I appreciate that, but that is

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Speaker 4: a great analogy because I want to take like, you know,

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Speaker 4: I got a folder of sounds that's called Jurassic Park,

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Speaker 4: you know, and it's just like shots, like it's like,

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Speaker 4: you know what I'm saying, Like I'm in my head.

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Speaker 4: I'm like, yo, if somebody, if I start my show

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Speaker 4: like that, you are tuned in from minute one, and

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Speaker 4: it's very different than what I what I grew up on.

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Speaker 4: But I've always been a fan of pop music, and

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Speaker 4: not like you know, just Britney pop, but just like

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Speaker 4: you know, popular and what was on the radio. It

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Speaker 4: was something for me about adding that backing track. One

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Speaker 4: of the first times I did it was working with

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Speaker 4: a sixteen eighty over at Carving and Ivans because they

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Speaker 4: were pro and music soul trials show, you know what

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Speaker 4: I'm saying, and so they wanted some of those samples

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Speaker 4: like Girl next Door because we didn't have an upright out,

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Speaker 4: or they wanted like the Just Friends beat box, and

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Speaker 4: it was like, how do we accomplish that, and so

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Speaker 4: I started being like, yo, why don't we just play

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Speaker 4: along to the loop, you know what I'm saying. And

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Speaker 4: then that grew from there to me, you know, me

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Speaker 4: and yay At Fade the Black and then like doing

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Speaker 4: Glowing the Dark tour, and then it was like, Okay,

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Speaker 4: there's a song with daft Punk in it, and we

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Speaker 4: don't have daft Punk on stage with us, what's the

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Speaker 4: best way to achieve that? Okay, let's run with their track.

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Speaker 4: But then at the same time, I always like to

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Speaker 4: have the backing track playing along with us. This is

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Speaker 4: what I call it, and us not just playing to

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Speaker 4: the backing track. If you notice with my tracks I'm here,

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Speaker 4: they all kind of move even though we're locked into

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Speaker 4: a tempo.

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Speaker 3: It's a live, feeling thing.

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Speaker 4: And so yeah, I've been the one to create that sound.

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Speaker 3: You know.

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Speaker 4: Now I'm able to when you laugh with me all

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Speaker 4: the time, depending on who's coming on Foulan and you'd

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Speaker 4: be like, did you do this?

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Speaker 3: Did you do this?

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Speaker 4: I'd be like, nah.

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Speaker 2: You know, you're you're you now have a generation of

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Speaker 2: new Blackstones, and that to me is even crazy of

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Speaker 2: your legacy. Wait, I always wanted to know, all right,

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Speaker 2: right now in the DJ world, Yeah, there's been a

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Speaker 2: new development that's happened for DJs, and most of us

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Speaker 2: are using beta beta products. And the risk with with

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Speaker 2: when you're using beta programming is you might get a

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Speaker 2: visit from.

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Speaker 1: The rainbow will.

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Speaker 2: Absolutely And I always wanted to know, Yeah, one, have

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Speaker 2: you ever been in a predicament where you've been rainbow willed,

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Speaker 2: or in a predicament where I left my laptop at

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Speaker 2: a hotel or it fell to the like a hard drive.

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Speaker 1: Crashed or yeah, yeah, yeah, yeah, And how do you

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Speaker 1: handle a situation?

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Speaker 4: Well, this is where the musicianship comes in, right, Like,

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Speaker 4: don't get it twisted.

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Speaker 3: We are rocking with some.

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Speaker 4: Backing track and we got some samples and some loops

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Speaker 4: in there, and as budgets get cut, I may not

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Speaker 4: have a percussionist and stuff like that, so it's like whatever.

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Speaker 4: But when that swirly will comes up, we playing good

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Speaker 4: and live like don't I will wear you out on

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Speaker 4: that base like live, you know, and Omar will wear

390
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Speaker 4: you out on them kids, and Brian Fraser Moore will

391
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Speaker 4: wear you out on the drums, and you know, Randy

392
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Speaker 4: Bolin will wear you out on the guitar, so like

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Speaker 4: the backing track is there, but that's really given album vibes.

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Speaker 4: Sometimes when we hit that swirly wheel, it doesn't happen.

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Speaker 4: Often knock on would right, But when it does we

396
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Speaker 4: are able to go live. I remember one time at

397
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Speaker 4: Essence Fest with Janet, we was playing Funny How Time Flies,

398
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Speaker 4: and we got the swirly wheel and we were able

399
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Speaker 4: to just vibe, you know what I'm saying, because it

400
00:22:01,840 --> 00:22:04,080
Speaker 4: was just like the two chords, and then we were riding.

401
00:22:04,119 --> 00:22:06,200
Speaker 3: We had the guitar solo. It just come in until

402
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Speaker 3: it so we had to.

403
00:22:07,040 --> 00:22:09,800
Speaker 4: Shut down booooooo, re runned it up, but it was

404
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Speaker 4: like we was playing.

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Speaker 6: Is it like an eye.

406
00:22:11,800 --> 00:22:13,840
Speaker 5: Language, y'all look at each other and even acknowledge it.

407
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Speaker 6: Y'all just.

408
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Speaker 2: There is there a warning that she gets like we

409
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Speaker 2: might have a technical difficulty or well.

410
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Speaker 4: I'm talking to her in her ears, or I'm talking

411
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Speaker 4: to Justin or I'm talking to Red or whatever it

412
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Speaker 4: might be, like, you know, give me a second, I

413
00:22:28,400 --> 00:22:31,040
Speaker 4: need to like we're gonna vibe for a second. Don't

414
00:22:31,040 --> 00:22:32,840
Speaker 4: worry about it, because you know, I mean, when that

415
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Speaker 4: click cut off, we all look around like what the heck.

416
00:22:37,440 --> 00:22:40,360
Speaker 3: It's like the sound silence is the sound.

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Speaker 4: Of death when you run into it with with some

418
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Speaker 4: backing track, but it doesn't happen often. One of the

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Speaker 4: craziest things I remember is it's not that it crashed,

420
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Speaker 4: but walking to the stage, Kanye said, oh yeah, Adam,

421
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Speaker 4: I don't want to do the second verse tonight, and.

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Speaker 3: It's like yo four three and the lights come on.

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Speaker 3: I'm like, wait, what did he just say?

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Speaker 4: And so I run over to the side of the

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Speaker 4: stage with my programmer, Demetrius.

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Speaker 1: The show is Demetrious is God?

427
00:23:12,320 --> 00:23:15,480
Speaker 4: Yeah, demy is the guy. Yes, I run the show

428
00:23:15,560 --> 00:23:18,800
Speaker 4: is playing on one laptop. We're editing on the next

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Speaker 4: laptop for the next song, and we take the verse

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Speaker 4: out of that song.

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Speaker 3: We switched to the B rig.

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Speaker 4: When it's the second song is about to come on,

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Speaker 4: and then we switched back to the A rig.

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Speaker 1: So you have two computers running at the same time

435
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Speaker 1: in case.

436
00:23:34,920 --> 00:23:36,680
Speaker 3: What we call redundant systems.

437
00:23:37,240 --> 00:23:39,919
Speaker 5: But you also walk into the stage talking to Demitrius

438
00:23:39,960 --> 00:23:42,040
Speaker 5: at the same time while you walking to the stage

439
00:23:42,040 --> 00:23:43,360
Speaker 5: because you just said it and you got to hurry

440
00:23:43,400 --> 00:23:43,880
Speaker 5: up and evain show.

441
00:23:43,960 --> 00:23:45,600
Speaker 3: That all happens, right, he's.

442
00:23:45,440 --> 00:23:48,320
Speaker 4: On this demy is at the stage already and me

443
00:23:48,400 --> 00:23:49,200
Speaker 4: and Yay are walking.

444
00:23:49,240 --> 00:23:51,120
Speaker 3: He's like, oh yeah, I don't want to do.

445
00:23:51,359 --> 00:23:54,479
Speaker 2: And I was like, wait what So I was going

446
00:23:54,520 --> 00:23:57,840
Speaker 2: to ask who is your Who's been your most wild

447
00:23:58,280 --> 00:23:59,360
Speaker 2: pitch client.

448
00:23:59,480 --> 00:24:03,800
Speaker 4: That's the question I've ever Kanye West after I did

449
00:24:03,840 --> 00:24:06,280
Speaker 4: the Kanye West Go On to Dark Tour, I could

450
00:24:06,359 --> 00:24:11,879
Speaker 4: do anything. He said, I want you to make a

451
00:24:12,080 --> 00:24:16,439
Speaker 4: robot fly across the stage and score it, but I

452
00:24:16,480 --> 00:24:19,720
Speaker 4: want the scoring to sound like flashing lights. I was

453
00:24:19,800 --> 00:24:24,520
Speaker 4: just like, huh huh, and we bro we did it.

454
00:24:29,119 --> 00:24:33,960
Speaker 2: Do your artists have a basic general understanding that any

455
00:24:34,440 --> 00:24:38,280
Speaker 2: slight suggestion they might have might be a five minute timeout.

456
00:24:39,119 --> 00:24:42,760
Speaker 1: Like a guy like Prince never had patience for his engineer.

457
00:24:42,840 --> 00:24:45,160
Speaker 4: I don't think any of the artists do right now.

458
00:24:45,359 --> 00:24:47,440
Speaker 4: And a lot of that is our fault, ar Mayor,

459
00:24:47,520 --> 00:24:49,240
Speaker 4: because we make it happen, you.

460
00:24:49,200 --> 00:24:49,960
Speaker 3: Know what I'm saying.

461
00:24:50,760 --> 00:24:53,480
Speaker 4: You know, five minutes, fifteen minutes, whatever, it's just like

462
00:24:53,560 --> 00:24:56,280
Speaker 4: get it done, you know what I'm saying. I pride

463
00:24:56,280 --> 00:24:59,840
Speaker 4: myself on making sketches ahead of time so that they know,

464
00:25:00,200 --> 00:25:03,199
Speaker 4: okay yo. I was feeling that, but I'm not feeling

465
00:25:03,200 --> 00:25:05,560
Speaker 4: this work on this as opposed to showing up to

466
00:25:05,640 --> 00:25:08,160
Speaker 4: rehearsal or showing up to the gig and then asking

467
00:25:08,200 --> 00:25:10,640
Speaker 4: for the change then because it is a stop down,

468
00:25:10,840 --> 00:25:11,679
Speaker 4: you know what I'm saying.

469
00:25:12,040 --> 00:25:14,480
Speaker 3: But that's why team is so important.

470
00:25:14,520 --> 00:25:14,680
Speaker 2: Man.

471
00:25:14,720 --> 00:25:17,120
Speaker 4: When I have somebody like Demetrius, or I have somebody

472
00:25:17,200 --> 00:25:21,320
Speaker 4: like Danny Chung with me, I know they like boo boo,

473
00:25:21,359 --> 00:25:23,560
Speaker 4: and it's like we speak the same language, you know

474
00:25:23,600 --> 00:25:26,399
Speaker 4: what I mean. But I think every artist is impatient,

475
00:25:26,760 --> 00:25:29,159
Speaker 4: especially when you're on that stage, especially when you at

476
00:25:29,160 --> 00:25:30,120
Speaker 4: the rehearsal studio.

477
00:25:30,160 --> 00:25:32,679
Speaker 3: It's like, yo, let's let's get this popping, you know

478
00:25:32,680 --> 00:25:33,120
Speaker 3: what I mean.

479
00:25:33,520 --> 00:25:35,240
Speaker 5: I know that this is like a moment where y'all

480
00:25:35,280 --> 00:25:37,840
Speaker 5: don't really get to talk that often, and we are

481
00:25:37,840 --> 00:25:39,679
Speaker 5: in it. And even Amir even forgot to say our

482
00:25:39,760 --> 00:25:41,520
Speaker 5: names or whatever. But Amir, you got to ask him

483
00:25:41,560 --> 00:25:43,480
Speaker 5: the question that we ask everybody. We got to know,

484
00:25:43,760 --> 00:25:46,159
Speaker 5: like the beginners and even y'all story I forgot to

485
00:25:46,160 --> 00:25:50,000
Speaker 5: go yes, like who is the fuck Adam blaste Right.

486
00:25:50,440 --> 00:25:52,960
Speaker 2: I'm sorry, ladies and gentlemen, welcome to Court. Love Supreme

487
00:25:53,320 --> 00:26:01,160
Speaker 2: got sugar Steed, unpaid bills somewhere and making millions. No, no, seriously,

488
00:26:03,320 --> 00:26:04,000
Speaker 2: y'all don't get.

489
00:26:03,840 --> 00:26:05,960
Speaker 5: This time, and y'all don't get this time. So I

490
00:26:06,000 --> 00:26:07,600
Speaker 5: totally get it.

491
00:26:07,880 --> 00:26:10,359
Speaker 2: I'm so close to Adam that I'm actually having a

492
00:26:10,400 --> 00:26:12,600
Speaker 2: conversation that I would have if we were actually on

493
00:26:12,640 --> 00:26:16,080
Speaker 2: the telephone. You are all right, So yeah, let's let

494
00:26:16,320 --> 00:26:18,680
Speaker 2: let us start at the beginning. What was your first

495
00:26:18,760 --> 00:26:19,640
Speaker 2: musical memory.

496
00:26:21,040 --> 00:26:25,680
Speaker 4: My first musical memory, yes, in life? Wow, yeah, Well

497
00:26:27,600 --> 00:26:31,600
Speaker 4: I remember just playing at church. And one of the

498
00:26:31,920 --> 00:26:34,800
Speaker 4: high praise moments was when I was about six or

499
00:26:34,840 --> 00:26:38,959
Speaker 4: seven years old and I went from drums to base

500
00:26:39,680 --> 00:26:42,800
Speaker 4: to Oregon and as a kid, and they everybody was

501
00:26:42,840 --> 00:26:46,600
Speaker 4: like you better playboy, Oh my god, And I was cool,

502
00:26:46,720 --> 00:26:49,400
Speaker 4: got up on the played the bass boom, sat down

503
00:26:49,440 --> 00:26:51,440
Speaker 4: to orgon. I don't know what I was playing, good

504
00:26:51,520 --> 00:26:53,919
Speaker 4: or bad, but they hyped me up and I just

505
00:26:54,000 --> 00:26:56,640
Speaker 4: I was like, Okay, I can do this. And one

506
00:26:56,640 --> 00:27:02,119
Speaker 4: of my other early memories is more non direct musical.

507
00:27:02,160 --> 00:27:04,439
Speaker 4: But my dad came home and quit his job and

508
00:27:04,480 --> 00:27:06,280
Speaker 4: he told my mom like, yo, I want to do

509
00:27:06,400 --> 00:27:09,959
Speaker 4: music full time. And we looked around like what are

510
00:27:10,000 --> 00:27:14,080
Speaker 4: we about to do? And he supported us and sustained us.

511
00:27:14,080 --> 00:27:16,320
Speaker 4: What you would call today, you know, a wedding band

512
00:27:16,400 --> 00:27:20,280
Speaker 4: singer or whatever. But it's like, you know, he played weddings,

513
00:27:20,280 --> 00:27:24,600
Speaker 4: bar mythahs, three services on Sundays, you.

514
00:27:24,560 --> 00:27:27,280
Speaker 3: Know, banquets, all of that. He did it full time. Man.

515
00:27:27,359 --> 00:27:29,399
Speaker 3: So it was like, that's one of my other early

516
00:27:29,520 --> 00:27:30,280
Speaker 3: music memories.

517
00:27:31,400 --> 00:27:32,080
Speaker 6: What did he play?

518
00:27:32,160 --> 00:27:34,600
Speaker 4: My dad plays keys? My dad plays keys. As I

519
00:27:34,640 --> 00:27:37,880
Speaker 4: look back at it, he was really the first MD

520
00:27:38,320 --> 00:27:40,000
Speaker 4: that I saw, because I don't know if I knew

521
00:27:40,040 --> 00:27:44,400
Speaker 4: what that was like, you know, getting into musical director terminology.

522
00:27:44,480 --> 00:27:47,280
Speaker 3: But he have a little TR nine O nine.

523
00:27:47,880 --> 00:27:50,600
Speaker 4: He just throw on a beat at one ten and

524
00:27:50,680 --> 00:27:55,720
Speaker 4: he would play brick House, Electric Slide Macarena all to

525
00:27:55,800 --> 00:27:56,920
Speaker 4: the same beat and just.

526
00:27:56,880 --> 00:28:07,040
Speaker 7: Like, hey, she's all bread all night long.

527
00:28:10,040 --> 00:28:12,879
Speaker 4: And then folks would just go crazy, like you know,

528
00:28:13,119 --> 00:28:16,600
Speaker 4: like keep the party going. It's like, you know, it's electric,

529
00:28:18,440 --> 00:28:22,160
Speaker 4: Like he was one of those dudes man. And as

530
00:28:22,200 --> 00:28:24,040
Speaker 4: I look back at it when I became older, I

531
00:28:24,119 --> 00:28:26,520
Speaker 4: was like, Yo, that's a big part of how I

532
00:28:26,560 --> 00:28:30,480
Speaker 4: put set lists together for freaking justin Timberlake or Rihanna,

533
00:28:30,520 --> 00:28:35,240
Speaker 4: I'm like, what's the feeling, what's gonna keep the party going?

534
00:28:35,280 --> 00:28:37,639
Speaker 4: How I've done the last four Super Bowls is like,

535
00:28:37,840 --> 00:28:38,640
Speaker 4: we can't stop.

536
00:28:38,760 --> 00:28:41,160
Speaker 3: We only got twelve minutes, you know what I'm saying.

537
00:28:41,720 --> 00:28:43,720
Speaker 4: And like a big part of that, as I look back,

538
00:28:43,840 --> 00:28:48,280
Speaker 4: is my dad like curating his banquet sets or his

539
00:28:48,520 --> 00:28:51,880
Speaker 4: Saturday night party you know lodge.

540
00:28:54,240 --> 00:28:57,840
Speaker 3: Yeah, straight up, you know, and he sustained less.

541
00:28:57,920 --> 00:29:00,960
Speaker 1: And did you ever join his actual.

542
00:29:01,200 --> 00:29:03,800
Speaker 4: So I did as I became thirteen fourteen fifteen, Like

543
00:29:03,840 --> 00:29:05,920
Speaker 4: I played drums with him a little bit. I played

544
00:29:05,960 --> 00:29:07,960
Speaker 4: bass with them a little bit. But you know that's

545
00:29:08,160 --> 00:29:14,000
Speaker 4: also another detriment to like non rehearsal, but it works, so.

546
00:29:13,920 --> 00:29:16,360
Speaker 3: It's like like, oh, yeah, we don't need to rehearse.

547
00:29:18,080 --> 00:29:20,640
Speaker 4: And I think when I got a little baby budget

548
00:29:20,840 --> 00:29:22,920
Speaker 4: and I was like, oh I could rehearse for a week,

549
00:29:23,160 --> 00:29:24,440
Speaker 4: it was like, oh we rehearsed.

550
00:29:24,600 --> 00:29:28,560
Speaker 3: I'm tainted by questlove and my dad.

551
00:29:28,440 --> 00:29:33,080
Speaker 1: Not no man, Sometimes you just got to sink or

552
00:29:33,120 --> 00:29:33,600
Speaker 1: swim with it.

553
00:29:33,680 --> 00:29:34,480
Speaker 3: You gotta go with it.

554
00:29:34,560 --> 00:29:36,840
Speaker 4: Yeah, but those are my first early memories. And then

555
00:29:37,000 --> 00:29:40,600
Speaker 4: moving to Philadelphia in two thousand just changed my life,

556
00:29:40,960 --> 00:29:43,840
Speaker 4: like hand, So what were you previously? Before I was

557
00:29:43,880 --> 00:29:46,680
Speaker 4: in Willingborough, New Jersey. I grew up born in Trenton,

558
00:29:47,160 --> 00:29:50,560
Speaker 4: you know, Willingborough was like Jan Yay and Ty Triviat

559
00:29:51,560 --> 00:29:55,320
Speaker 4: and City. They were like, you know, shout out.

560
00:29:55,240 --> 00:29:59,920
Speaker 6: To Jayski poaching peace too. Yeah in Shaka Zulu.

561
00:30:00,520 --> 00:30:08,680
Speaker 3: And Stupid Yes yeah, Mike Zombie all you know Mike Zombie.

562
00:30:09,040 --> 00:30:12,040
Speaker 4: Yeah, so William bor Man And then I went to

563
00:30:12,120 --> 00:30:15,320
Speaker 4: college at University of the Artists and moved to Philadelphia.

564
00:30:14,640 --> 00:30:17,160
Speaker 1: And changed what year did you go to university?

565
00:30:17,560 --> 00:30:19,040
Speaker 3: Two thousand? Make you feel old?

566
00:30:20,720 --> 00:30:21,800
Speaker 1: Yeah, man, you did.

567
00:30:23,560 --> 00:30:28,200
Speaker 2: I'll explain to our audience that you know, you know,

568
00:30:28,360 --> 00:30:32,200
Speaker 2: back in back in ninety seven, late ninety seven where

569
00:30:33,040 --> 00:30:37,760
Speaker 2: Richard Nichols our beloved North Star where we were trying

570
00:30:37,760 --> 00:30:40,400
Speaker 2: to do this for a fourth time, and rich was

571
00:30:40,440 --> 00:30:41,840
Speaker 2: sort of like, this is our do or die moment.

572
00:30:42,040 --> 00:30:45,280
Speaker 2: And his suggestion was like, we gotta we gotta come

573
00:30:45,360 --> 00:30:47,760
Speaker 2: up with a story for Philadelphia. This is what's not working,

574
00:30:47,840 --> 00:30:51,520
Speaker 2: Like we got the critical claim and you know, we're

575
00:30:51,520 --> 00:30:54,600
Speaker 2: getting slow traction, but we need a story that that

576
00:30:54,680 --> 00:30:58,560
Speaker 2: will stick. And his version of the story was we

577
00:30:58,640 --> 00:30:59,840
Speaker 2: got to have a jam session.

578
00:31:00,160 --> 00:31:01,440
Speaker 1: And I was like, why do we have to have

579
00:31:01,480 --> 00:31:02,240
Speaker 1: a jam session?

580
00:31:02,840 --> 00:31:06,480
Speaker 2: He's like, well, one, you know, collaborators for your own record,

581
00:31:06,520 --> 00:31:09,480
Speaker 2: but more than that we have to build a music community.

582
00:31:10,440 --> 00:31:11,720
Speaker 1: And because he said that.

583
00:31:11,840 --> 00:31:15,160
Speaker 2: You know, it's like we always thought we were going

584
00:31:15,240 --> 00:31:17,360
Speaker 2: to be like the adopted little brothers of.

585
00:31:19,000 --> 00:31:21,640
Speaker 1: You know, the Native tongues and yeah and all that stuff.

586
00:31:22,160 --> 00:31:25,719
Speaker 2: And I mean, no, you know, they they were feeling us,

587
00:31:25,720 --> 00:31:27,720
Speaker 2: but none of them were really in the mind state

588
00:31:27,800 --> 00:31:31,240
Speaker 2: of doing those things that they were doing earlier in

589
00:31:31,320 --> 00:31:35,960
Speaker 2: ninety one, like postsecuts and all those things. So you know,

590
00:31:36,080 --> 00:31:38,320
Speaker 2: Rich was basically like, well, we could either wait for

591
00:31:38,400 --> 00:31:42,120
Speaker 2: someone to adopt us, or we better just do it ourselves.

592
00:31:43,120 --> 00:31:46,400
Speaker 4: So I'm so glad he did, because you guys became

593
00:31:46,520 --> 00:31:50,320
Speaker 4: the Big Brothers instant, bro Like, instantly.

594
00:31:50,880 --> 00:31:52,400
Speaker 1: We have no choice.

595
00:31:52,680 --> 00:31:55,080
Speaker 4: I walked into the five spot and I was like,

596
00:31:55,400 --> 00:31:59,520
Speaker 4: I ain't never seen nobody play like this, look like,

597
00:32:00,280 --> 00:32:03,680
Speaker 4: smell like this, eat like this, thing like.

598
00:32:03,720 --> 00:32:05,880
Speaker 3: This, dance like this, rap like this.

599
00:32:06,000 --> 00:32:09,440
Speaker 4: It was just a card shifting moment for me, even

600
00:32:09,480 --> 00:32:12,680
Speaker 4: as a black man, because I grew up in Wilborough,

601
00:32:12,840 --> 00:32:17,600
Speaker 4: very affluent African American town, you know, almost you know, Huxtable, Like,

602
00:32:18,280 --> 00:32:22,560
Speaker 4: but I thought Philadelphia was so far away culturally, you

603
00:32:22,600 --> 00:32:25,080
Speaker 4: know what I'm saying, And like just crossing the bridge

604
00:32:25,120 --> 00:32:27,800
Speaker 4: thirty minutes. It's nothing, you know what I mean. But

605
00:32:27,920 --> 00:32:29,520
Speaker 4: I thought it was so far away and it was

606
00:32:29,600 --> 00:32:32,320
Speaker 4: a whole nother world. When it came to the music

607
00:32:33,440 --> 00:32:38,080
Speaker 4: meeting rich and Jazzy fat nasties like changed my life,

608
00:32:38,160 --> 00:32:41,600
Speaker 4: like straight up, like just my entire like literally changed

609
00:32:41,640 --> 00:32:42,320
Speaker 4: my life.

610
00:32:42,600 --> 00:32:44,600
Speaker 1: Well, yeah, what I was going to say was that

611
00:32:45,120 --> 00:32:46,000
Speaker 1: the plan worked.

612
00:32:46,600 --> 00:32:49,920
Speaker 2: Everyone wound up getting record deals and every you know,

613
00:32:50,040 --> 00:32:52,600
Speaker 2: then we wound up going on tour, and I will

614
00:32:52,640 --> 00:32:56,200
Speaker 2: say that it morphed from the roots jam sessions, and

615
00:32:56,200 --> 00:32:59,960
Speaker 2: then around ninety nine it became more black lily focused.

616
00:33:00,480 --> 00:33:03,680
Speaker 1: So for you, can you talk.

617
00:33:03,560 --> 00:33:06,959
Speaker 2: About just the the because even I don't know, like

618
00:33:07,040 --> 00:33:10,040
Speaker 2: I would just come to the five spot to see

619
00:33:10,040 --> 00:33:10,920
Speaker 2: the results of it.

620
00:33:11,480 --> 00:33:15,360
Speaker 1: But are you guys rehearsing with Joe all those times?

621
00:33:15,400 --> 00:33:16,400
Speaker 1: Are you rehearsing?

622
00:33:16,880 --> 00:33:18,920
Speaker 6: And how did you get in the mix period?

623
00:33:18,960 --> 00:33:25,920
Speaker 4: How I think I stalked Larry Gold studio. I stayed

624
00:33:25,920 --> 00:33:29,120
Speaker 4: there for days on end, just with my guitar. I

625
00:33:29,200 --> 00:33:31,840
Speaker 4: was the big dude that played the bass, waiting for

626
00:33:32,000 --> 00:33:37,640
Speaker 4: my chance, like just waiting. I got invited down by

627
00:33:37,840 --> 00:33:44,160
Speaker 4: a fourteen year old Jasmine Sullivan. She did invite I

628
00:33:44,200 --> 00:33:47,120
Speaker 4: love it yeah, I mean her band, you know, Darn

629
00:33:47,200 --> 00:33:48,760
Speaker 4: Robertson and Aaron Draper.

630
00:33:48,840 --> 00:33:51,480
Speaker 3: Yeah, and at that time, it was like.

631
00:33:51,880 --> 00:33:57,040
Speaker 4: Aaron Draper and continues to still be the connector, like

632
00:33:57,160 --> 00:34:01,360
Speaker 4: I don't care what nobody says. Yeah, Aaron Draper, you know,

633
00:34:01,600 --> 00:34:08,440
Speaker 4: has has really plugged ninety percent of our generations musicians

634
00:34:08,520 --> 00:34:12,160
Speaker 4: too rich to sean to my mayor to read to

635
00:34:12,320 --> 00:34:14,880
Speaker 4: hug you know what I mean. Rest of Peace is

636
00:34:14,960 --> 00:34:17,960
Speaker 4: like you know, Aaron Draper was that guy and he

637
00:34:18,000 --> 00:34:20,080
Speaker 4: would just always say, hey, yo, come down to He

638
00:34:20,120 --> 00:34:25,080
Speaker 4: wouldn't ask. He still don't ask. He's out with Adel

639
00:34:25,160 --> 00:34:26,839
Speaker 4: right now. He's like, man, just come over.

640
00:34:27,040 --> 00:34:30,640
Speaker 2: Just yeah, shout out to Aaron for my ADEL discount

641
00:34:30,760 --> 00:34:33,600
Speaker 2: because you know, two thousand dollars a little bit too steep.

642
00:34:35,000 --> 00:34:36,480
Speaker 1: Even for a guy with a good job like me.

643
00:34:36,880 --> 00:34:39,759
Speaker 4: So we hear now, bro, and they killing it's gonna

644
00:34:39,800 --> 00:34:41,600
Speaker 4: be worth it. We out in Vegas now they over there,

645
00:34:41,560 --> 00:34:45,400
Speaker 4: they cross the street. And so when I got the

646
00:34:45,480 --> 00:34:49,399
Speaker 4: opportunity to go to the studio, I just sat there

647
00:34:49,600 --> 00:34:52,680
Speaker 4: like yeah, like I just sat there for days and

648
00:34:52,800 --> 00:34:54,719
Speaker 4: weeks and then it was a few of y'all, it

649
00:34:54,880 --> 00:34:56,480
Speaker 4: was a lot of It was a lot of us

650
00:34:56,520 --> 00:34:59,040
Speaker 4: and then you know, Rich said, man, so y'all were

651
00:34:59,080 --> 00:35:03,320
Speaker 4: just chilling wait see waiting, and then Rich would say.

652
00:35:03,920 --> 00:35:05,520
Speaker 2: Laughing because she knows where I'm about to go with this,

653
00:35:06,080 --> 00:35:08,919
Speaker 2: Like I might not have been paying attention or using

654
00:35:08,920 --> 00:35:10,280
Speaker 2: the background like you were.

655
00:35:10,120 --> 00:35:12,200
Speaker 5: Not you kept a straight D line to the studio.

656
00:35:12,320 --> 00:35:13,439
Speaker 5: You know how I'm gonna go.

657
00:35:15,160 --> 00:35:16,719
Speaker 1: Be like damn who these niggas all right?

658
00:35:16,760 --> 00:35:20,440
Speaker 4: Anyway, So there was a couple of times I think,

659
00:35:20,520 --> 00:35:23,239
Speaker 4: like as y'all were making like this might be a

660
00:35:23,239 --> 00:35:25,800
Speaker 4: little what's the album before Tipping Point.

661
00:35:27,000 --> 00:35:28,920
Speaker 6: That's when they did the jam sessions Phrenology.

662
00:35:29,040 --> 00:35:30,839
Speaker 3: That's when they started on Phrenology.

663
00:35:30,960 --> 00:35:33,439
Speaker 4: It was like, let's just get our mirror and reek

664
00:35:33,600 --> 00:35:36,759
Speaker 4: some ideas like you know what I'm saying, like you know,

665
00:35:37,680 --> 00:35:42,840
Speaker 4: and uh Me and Omar and and Aaron and Daryl

666
00:35:42,840 --> 00:35:45,680
Speaker 4: were just and Randy and Kevin Hansen like we would

667
00:35:45,719 --> 00:35:48,920
Speaker 4: just go down there and just give I like, do

668
00:35:49,080 --> 00:35:52,880
Speaker 4: loopy ideas with you for with you in mind, with

669
00:35:53,040 --> 00:35:55,440
Speaker 4: wreaking mind from Dice raw and stuff like that.

670
00:35:55,800 --> 00:35:56,359
Speaker 3: But at the.

671
00:35:56,320 --> 00:35:59,560
Speaker 4: Same time we didn't know that that was our audition

672
00:36:00,120 --> 00:36:04,840
Speaker 4: right for Rich to actually bring us to you, because

673
00:36:05,400 --> 00:36:08,160
Speaker 4: there was a vetting process. I don't care what nobody

674
00:36:08,239 --> 00:36:11,680
Speaker 4: say about that back room. You if you make it

675
00:36:11,719 --> 00:36:16,719
Speaker 4: to our marror's room, you made it. Hey, Am I

676
00:36:16,760 --> 00:36:17,440
Speaker 4: telling the truth?

677
00:36:17,719 --> 00:36:17,919
Speaker 8: Nah?

678
00:36:18,080 --> 00:36:22,080
Speaker 4: All facts you have to If you don't know that

679
00:36:22,440 --> 00:36:25,680
Speaker 4: bell door to the studio and you can go straight on.

680
00:36:25,760 --> 00:36:27,960
Speaker 6: A secret route, that's hilarious.

681
00:36:28,040 --> 00:36:28,600
Speaker 1: You don't know.

682
00:36:30,000 --> 00:36:32,799
Speaker 4: So when you go past the main door and you

683
00:36:32,920 --> 00:36:35,839
Speaker 4: go to the back room, that's the audition that ain't

684
00:36:36,840 --> 00:36:40,680
Speaker 4: and so and so listen and then fast forward where

685
00:36:40,719 --> 00:36:43,560
Speaker 4: you make it through the big door. Right you be

686
00:36:43,640 --> 00:36:45,360
Speaker 4: picking your head out like, oh y'all going in the

687
00:36:45,400 --> 00:36:46,960
Speaker 4: back Yeah, no, we were in here, bro.

688
00:36:47,280 --> 00:36:50,160
Speaker 3: We we're in the j room.

689
00:36:51,120 --> 00:36:52,879
Speaker 6: In the room.

690
00:36:52,960 --> 00:36:58,319
Speaker 4: Yeah, man, so that we you know, huge, I can

691
00:36:58,520 --> 00:37:00,759
Speaker 4: I can't do any interview with out big ing up

692
00:37:01,120 --> 00:37:04,040
Speaker 4: Rich Nichols and his vision for us and his vision

693
00:37:04,160 --> 00:37:07,240
Speaker 4: for for me and us as as a generation under

694
00:37:07,280 --> 00:37:10,560
Speaker 4: you guys, where it was like we passed some of

695
00:37:10,640 --> 00:37:13,920
Speaker 4: us as the test to make it to you for

696
00:37:14,040 --> 00:37:17,040
Speaker 4: then you to say and James to say and and

697
00:37:17,320 --> 00:37:20,440
Speaker 4: say like yo, come do black party or come do

698
00:37:20,600 --> 00:37:23,600
Speaker 4: hole or come do whatever. Where it was like you

699
00:37:23,719 --> 00:37:29,000
Speaker 4: guys were then to me like you know it it

700
00:37:30,000 --> 00:37:31,719
Speaker 4: was hard to lock y'all down because you was on

701
00:37:31,760 --> 00:37:33,520
Speaker 4: the road so much, you know what I mean. But

702
00:37:33,680 --> 00:37:37,080
Speaker 4: we also make records and we were getting calls for

703
00:37:37,280 --> 00:37:40,040
Speaker 4: bigger gigs and I got a whole.

704
00:37:39,920 --> 00:37:43,279
Speaker 5: Nother still doing the Lily too though, right, Adam, Like, so,

705
00:37:43,560 --> 00:37:44,400
Speaker 5: how does that work?

706
00:37:44,760 --> 00:37:46,720
Speaker 1: When did you officially.

707
00:37:47,719 --> 00:37:52,560
Speaker 4: Like li, No, I never outgreed. I'm bringing Lily. What

708
00:37:52,600 --> 00:37:54,920
Speaker 4: I'm doing now is all Lily five on my head, So.

709
00:37:55,280 --> 00:37:56,279
Speaker 1: I'm not that but I don't.

710
00:37:57,160 --> 00:37:59,520
Speaker 4: But it's like, it's like, so, so you guys got

711
00:37:59,520 --> 00:38:02,120
Speaker 4: all these people and themselves as well, So let me

712
00:38:02,320 --> 00:38:04,640
Speaker 4: big up to all the artists. But once somebody gets

713
00:38:04,680 --> 00:38:07,839
Speaker 4: a deal, they then have to They want that same

714
00:38:08,040 --> 00:38:11,359
Speaker 4: vibe that got them the deal to have row with them.

715
00:38:11,600 --> 00:38:12,400
Speaker 3: You know what I'm saying.

716
00:38:12,840 --> 00:38:15,400
Speaker 2: Let me explain all so that once this outgrew my

717
00:38:15,719 --> 00:38:19,640
Speaker 2: living room and then went to the Five Spot and

718
00:38:19,680 --> 00:38:24,160
Speaker 2: sometimes Wetlands in New York. Then eventually these artists started

719
00:38:24,200 --> 00:38:27,319
Speaker 2: getting record deals and next thing, you know, like they

720
00:38:27,320 --> 00:38:30,600
Speaker 2: would pull six band members and whatnot. There was one

721
00:38:30,640 --> 00:38:34,960
Speaker 2: point where I came home and without any context whatsoever,

722
00:38:36,080 --> 00:38:37,359
Speaker 2: I was walking.

723
00:38:37,040 --> 00:38:38,600
Speaker 1: Down the five Spot. I was like, Yo, that look

724
00:38:38,640 --> 00:38:40,560
Speaker 1: like Diddy. And I called rich so I say, Yo,

725
00:38:40,600 --> 00:38:41,960
Speaker 1: what the fuck's pop Daddy.

726
00:38:41,760 --> 00:38:44,359
Speaker 3: Doing here watching the.

727
00:38:44,360 --> 00:38:47,399
Speaker 2: New artists and literally, like you know, I've been going

728
00:38:47,440 --> 00:38:49,640
Speaker 2: for like four months, and Richard's explaining to me like

729
00:38:49,760 --> 00:38:52,560
Speaker 2: you don't even know, like now's the wild wild West

730
00:38:52,840 --> 00:38:55,960
Speaker 2: and everybody done herd that Philly has the best musicians

731
00:38:56,360 --> 00:38:57,480
Speaker 2: and they're really.

732
00:38:57,239 --> 00:38:59,240
Speaker 1: Coming down stealing.

733
00:38:59,320 --> 00:39:03,160
Speaker 2: But even even the musicians that I felt weren't even

734
00:39:03,480 --> 00:39:07,319
Speaker 2: up to part on that left like everyone was getting work.

735
00:39:07,440 --> 00:39:12,080
Speaker 4: The stigma of Philadelphia alone got people a lot of

736
00:39:12,160 --> 00:39:13,680
Speaker 4: work based off of this city.

737
00:39:15,080 --> 00:39:15,239
Speaker 1: Yo.

738
00:39:15,719 --> 00:39:17,040
Speaker 6: It's funny. I just had a flashback.

739
00:39:17,040 --> 00:39:19,360
Speaker 5: I'm like, I remember when Fonte had his album released

740
00:39:19,400 --> 00:39:22,400
Speaker 5: at the five Spot in Philly, like Florney Change like

741
00:39:22,440 --> 00:39:22,719
Speaker 5: it was.

742
00:39:24,400 --> 00:39:24,879
Speaker 8: Nah nah.

743
00:39:24,920 --> 00:39:27,960
Speaker 9: We had we had our release party at uh Fire

744
00:39:28,000 --> 00:39:30,200
Speaker 9: Spight in Philly, and then when we did this is

745
00:39:30,280 --> 00:39:33,160
Speaker 9: O three. I want to say, when we did the Roots,

746
00:39:33,239 --> 00:39:36,440
Speaker 9: y'all did y'all Christmas Winter Break Tour, and that was

747
00:39:36,440 --> 00:39:38,360
Speaker 9: when y'all you played you were playing bass for us,

748
00:39:38,400 --> 00:39:38,839
Speaker 9: little brother.

749
00:39:38,840 --> 00:39:42,200
Speaker 8: That was the first time we met. Yeah, straight up,

750
00:39:42,239 --> 00:39:45,239
Speaker 8: that was the first time it was us.

751
00:39:45,400 --> 00:39:49,520
Speaker 9: Jean Gray, okay player to that's right, it was okay

752
00:39:49,520 --> 00:39:52,160
Speaker 9: Player Tour, yup, oh three, And that was the first

753
00:39:52,160 --> 00:39:54,279
Speaker 9: time me and you worked together and you played for us,

754
00:39:54,280 --> 00:39:56,319
Speaker 9: and I just remember thinking, like, Yo, this is the

755
00:39:56,360 --> 00:39:58,440
Speaker 9: happiest bass player I've ever seen in my life.

756
00:40:00,520 --> 00:40:06,080
Speaker 4: I was like, I gotta say, man, going on then, okay,

757
00:40:06,080 --> 00:40:07,359
Speaker 4: Player Tour my first tour.

758
00:40:09,160 --> 00:40:09,920
Speaker 1: How was your first time?

759
00:40:10,320 --> 00:40:10,560
Speaker 3: Yeah?

760
00:40:10,680 --> 00:40:14,399
Speaker 4: As I look back at a mirror, had us there

761
00:40:14,800 --> 00:40:19,120
Speaker 4: to uh he overworked us?

762
00:40:19,280 --> 00:40:23,040
Speaker 3: Right? But did I go no?

763
00:40:23,040 --> 00:40:24,920
Speaker 4: Now, this is what I want to say you you

764
00:40:25,080 --> 00:40:27,480
Speaker 4: stayed on the drums the whole night too. So it's

765
00:40:27,560 --> 00:40:30,719
Speaker 4: like I always I tell young kids. Now, I'm like, yo,

766
00:40:31,400 --> 00:40:33,759
Speaker 4: if i'm playing too, like, I'm not, you know what

767
00:40:33,760 --> 00:40:35,799
Speaker 4: I mean. I'm not telling y'all to do anything that

768
00:40:35,880 --> 00:40:40,040
Speaker 4: I wouldn't do. And so I don't see it as that.

769
00:40:40,120 --> 00:40:43,040
Speaker 4: What I see it as as setting the blueprint for

770
00:40:43,280 --> 00:40:47,680
Speaker 4: how to work hard to achieve success and you have

771
00:40:47,760 --> 00:40:49,000
Speaker 4: to go above and beyond.

772
00:40:49,120 --> 00:40:51,000
Speaker 3: And we love music so much.

773
00:40:51,080 --> 00:40:53,480
Speaker 4: I was like, I'm going to play for everybody out

774
00:40:53,480 --> 00:40:56,600
Speaker 4: here that they allow me to play for because that

775
00:40:56,680 --> 00:41:00,960
Speaker 4: relationship equity means more to me and anything, you know

776
00:41:01,000 --> 00:41:01,560
Speaker 4: what I'm saying.

777
00:41:02,400 --> 00:41:05,919
Speaker 2: So, when was the first time that you played for

778
00:41:06,000 --> 00:41:08,560
Speaker 2: a non Lily Act.

779
00:41:08,880 --> 00:41:11,759
Speaker 4: My first big gig, I tell the story was you

780
00:41:11,800 --> 00:41:19,200
Speaker 4: guys did Unplugged and the big homie called Yall said, oh.

781
00:41:19,120 --> 00:41:22,200
Speaker 1: That's right, I forgot that philadelphonics.

782
00:41:22,239 --> 00:41:26,920
Speaker 4: Ladelphonics, and so he was going to retire, and it

783
00:41:27,000 --> 00:41:29,600
Speaker 4: was like and it was super loose though, Bro, I

784
00:41:29,640 --> 00:41:31,239
Speaker 4: don't know if you remember that, but it was like

785
00:41:31,280 --> 00:41:32,640
Speaker 4: we went up to sir wait.

786
00:41:32,680 --> 00:41:36,560
Speaker 10: Faith the Black was your first big big gig, yes it?

787
00:41:38,040 --> 00:41:41,200
Speaker 10: Oh three, yeah, Man, I could have sworn by then.

788
00:41:41,280 --> 00:41:44,360
Speaker 10: You was kicking at Michael Jackson's house.

789
00:41:44,200 --> 00:41:48,120
Speaker 4: And I mean, you know, Vivian music, so child all that,

790
00:41:48,200 --> 00:41:50,880
Speaker 4: but oh three is like, you know, that's that's that's

791
00:41:50,920 --> 00:41:51,239
Speaker 4: I was.

792
00:41:51,320 --> 00:41:53,200
Speaker 3: I was nineteen turning twenty.

793
00:41:53,280 --> 00:41:54,880
Speaker 2: So that's the first time you were in like Madison

794
00:41:54,920 --> 00:41:56,399
Speaker 2: Square Garden all that stuff.

795
00:41:56,160 --> 00:41:58,520
Speaker 3: Absolutely first first time.

796
00:42:00,400 --> 00:42:03,000
Speaker 2: You rarely hear me say, I mean, now I'm having fun.

797
00:42:04,640 --> 00:42:07,680
Speaker 2: But that week was so fun to me, man.

798
00:42:07,600 --> 00:42:09,360
Speaker 3: So fun, Bro, so fun.

799
00:42:09,400 --> 00:42:11,960
Speaker 4: And that taught me so so much about how to

800
00:42:12,000 --> 00:42:14,800
Speaker 4: curate a set. You know, at that time, we didn't

801
00:42:14,800 --> 00:42:18,400
Speaker 4: know who was going on next, second, last, first, whatever.

802
00:42:18,440 --> 00:42:21,200
Speaker 4: It was like, yo, I saw you put that whole

803
00:42:21,200 --> 00:42:24,400
Speaker 4: thing together. But at the same time, utilize the genius

804
00:42:24,440 --> 00:42:30,239
Speaker 4: people around you, and you know, young Beyonce and Mary

805
00:42:30,320 --> 00:42:34,720
Speaker 4: and you know, just like this is Jay's last album

806
00:42:34,800 --> 00:42:40,759
Speaker 4: and we're playing encore too, and everybody saying, oh right, yeah.

807
00:42:40,520 --> 00:42:42,400
Speaker 3: It's just like super crazy.

808
00:42:42,440 --> 00:42:48,960
Speaker 4: And that gig spawned me meeting Yay, which spawned me

809
00:42:48,960 --> 00:42:53,120
Speaker 4: meeting Ree, which spawned me meeting Janet, which spawned me

810
00:42:53,120 --> 00:42:56,600
Speaker 4: meeting Drake, which you know with spawn me meeting justin timulate.

811
00:42:56,760 --> 00:43:00,799
Speaker 4: So that Fade to Black alone set the path for

812
00:43:00,960 --> 00:43:04,279
Speaker 4: my entire career. And I like to tell the other

813
00:43:04,320 --> 00:43:06,200
Speaker 4: thing I just wanted to speak on real quick, is

814
00:43:06,239 --> 00:43:09,080
Speaker 4: that one thing in Philly that we do do as

815
00:43:09,160 --> 00:43:12,160
Speaker 4: musicians is we try to be nice and speak to

816
00:43:12,160 --> 00:43:14,319
Speaker 4: everybody because you never know who up next, right, So

817
00:43:14,360 --> 00:43:17,880
Speaker 4: it's like, you know that week as well American expound

818
00:43:17,920 --> 00:43:19,840
Speaker 4: on it, but like it was some heavy hitters in

819
00:43:19,880 --> 00:43:21,920
Speaker 4: there and them rehearsals.

820
00:43:21,760 --> 00:43:23,240
Speaker 3: That who they were then.

821
00:43:23,360 --> 00:43:27,600
Speaker 4: Is not who they are right now, and like they

822
00:43:28,440 --> 00:43:33,239
Speaker 4: we treated everybody equally like and so you know, Beyonce

823
00:43:33,520 --> 00:43:37,560
Speaker 4: then was not Beyonce now, and you know, just blazed

824
00:43:37,600 --> 00:43:41,120
Speaker 4: in and Swiss and you know what I mean, arguably

825
00:43:41,200 --> 00:43:43,600
Speaker 4: even you know what Jay has done the last twenty

826
00:43:43,680 --> 00:43:45,200
Speaker 4: years from that show alone.

827
00:43:45,280 --> 00:43:47,680
Speaker 3: You know what I mean. Right, They didn't even let

828
00:43:47,760 --> 00:43:48,839
Speaker 3: yay on that night.

829
00:43:49,200 --> 00:43:50,759
Speaker 1: Yeah, I was going to say that.

830
00:43:51,160 --> 00:43:55,799
Speaker 2: I I remember him not being able to get backstage.

831
00:43:56,280 --> 00:43:58,600
Speaker 1: Yep, you remember speaking to him.

832
00:43:59,000 --> 00:44:01,359
Speaker 3: Yeah. So one of the things that happened after that,

833
00:44:01,400 --> 00:44:01,799
Speaker 3: he was.

834
00:44:01,760 --> 00:44:04,840
Speaker 4: Like, Yo, I'm working on my music too, we should

835
00:44:04,880 --> 00:44:06,040
Speaker 4: work together, Like you know.

836
00:44:06,000 --> 00:44:06,359
Speaker 3: What I mean.

837
00:44:06,480 --> 00:44:09,440
Speaker 4: I just just say yes to everybody, because that's how

838
00:44:09,480 --> 00:44:12,200
Speaker 4: it was for me being in Philly, you know what

839
00:44:12,239 --> 00:44:14,360
Speaker 4: I mean. I was just like, you never know which

840
00:44:14,400 --> 00:44:17,279
Speaker 4: opportunity is going to be the next big thing.

841
00:44:22,160 --> 00:44:24,120
Speaker 2: Okay, I'll ask you now because I know that you're

842
00:44:24,120 --> 00:44:28,759
Speaker 2: older and wiser now when you are vetting and auditioning,

843
00:44:29,239 --> 00:44:30,840
Speaker 2: if someone says, yeah I got this young boy, and

844
00:44:30,920 --> 00:44:33,520
Speaker 2: d d d da da da da da da, Like

845
00:44:33,719 --> 00:44:36,320
Speaker 2: my dad told me the audition process. He used to

846
00:44:36,360 --> 00:44:41,600
Speaker 2: always make me audition musicians by playing a ballot. He

847
00:44:41,640 --> 00:44:44,560
Speaker 2: would make me play the most simple He would say, no,

848
00:44:44,680 --> 00:44:47,719
Speaker 2: don't do the intricate shit. He says, I'm gonna teach

849
00:44:47,719 --> 00:44:50,440
Speaker 2: you something. Pick the simplest ballad that we got in

850
00:44:50,480 --> 00:44:54,279
Speaker 2: our repertoire and make them audition then and sure enough,

851
00:44:55,120 --> 00:44:58,360
Speaker 2: like musicians would fall apart because they couldn't play something

852
00:44:58,440 --> 00:44:59,080
Speaker 2: so simple.

853
00:44:59,480 --> 00:45:01,360
Speaker 1: They knew that intricate ship, but they couldn't play the

854
00:45:01,360 --> 00:45:03,319
Speaker 1: simple shit. Well, first of.

855
00:45:03,239 --> 00:45:06,719
Speaker 2: All, are you a don't come to me, I'll come

856
00:45:06,760 --> 00:45:09,480
Speaker 2: to you type of cat? Like if I say, Yo,

857
00:45:09,520 --> 00:45:12,960
Speaker 2: I got this young boy, da da da da use

858
00:45:13,000 --> 00:45:16,040
Speaker 2: the shit? You should use him? How how do you

859
00:45:16,120 --> 00:45:18,680
Speaker 2: know how good he'll be? Do you just go to

860
00:45:18,719 --> 00:45:20,279
Speaker 2: his YouTube page or like what?

861
00:45:20,520 --> 00:45:20,719
Speaker 3: Yeah?

862
00:45:20,760 --> 00:45:23,400
Speaker 4: But like you know, are we talking now, because before

863
00:45:23,719 --> 00:45:26,200
Speaker 4: you know, twelve years ago, we ain't have none of that,

864
00:45:26,360 --> 00:45:29,719
Speaker 4: like you know, so it was total word of mouth,

865
00:45:29,760 --> 00:45:31,640
Speaker 4: and that's how I got on, you know what I mean?

866
00:45:31,719 --> 00:45:36,720
Speaker 4: Like my my career spawned from people singing and hearing

867
00:45:36,760 --> 00:45:38,719
Speaker 4: the music on stage, but also a word of mouth,

868
00:45:38,800 --> 00:45:40,760
Speaker 4: like yo, let me get that dude's number whatever whatever.

869
00:45:40,840 --> 00:45:43,000
Speaker 1: So what I look like, I mean more or less?

870
00:45:43,080 --> 00:45:45,719
Speaker 2: Like I know that you should at least know two

871
00:45:45,800 --> 00:45:48,160
Speaker 2: to three people that play the same thing. Like you'll

872
00:45:48,280 --> 00:45:52,000
Speaker 2: use Klay Sears for guitar, it's not you'll use Randy Bowling.

873
00:45:52,560 --> 00:45:56,520
Speaker 2: But I'm certain that there's put me in coach.

874
00:45:56,520 --> 00:45:59,600
Speaker 1: Energy always all the time.

875
00:45:59,680 --> 00:46:04,600
Speaker 2: So how do you deal with the expectation factor of

876
00:46:04,640 --> 00:46:05,080
Speaker 2: the music.

877
00:46:05,200 --> 00:46:07,280
Speaker 1: And I'm sure and right now is even past Philly.

878
00:46:07,320 --> 00:46:11,080
Speaker 2: I'm sure that you know musicians worldwide Now it's global.

879
00:46:11,160 --> 00:46:14,719
Speaker 4: Man, the dms go crazy with videos and stuff like that.

880
00:46:14,880 --> 00:46:18,800
Speaker 4: Now I have to be honest and say, people hiring

881
00:46:18,840 --> 00:46:20,800
Speaker 4: me are hiring me for my sound.

882
00:46:21,360 --> 00:46:22,560
Speaker 3: So I'm not up.

883
00:46:22,920 --> 00:46:26,800
Speaker 4: I'm not mad at using the same twenty folks because

884
00:46:27,200 --> 00:46:30,000
Speaker 4: I know I get what I get out of them,

885
00:46:30,520 --> 00:46:34,239
Speaker 4: you know what I'm saying. It's very rare that, you know,

886
00:46:34,320 --> 00:46:36,200
Speaker 4: even back in the day we used to just tag

887
00:46:36,280 --> 00:46:36,799
Speaker 4: somebody in.

888
00:46:36,880 --> 00:46:39,480
Speaker 3: It's very rare that that happens, you know what I'm saying.

889
00:46:39,719 --> 00:46:41,200
Speaker 3: And so when it.

890
00:46:41,120 --> 00:46:45,680
Speaker 4: Does happen, it's because they have a vocabulary of genre

891
00:46:45,880 --> 00:46:48,880
Speaker 4: that I love, Like I love a dude to, you know,

892
00:46:49,080 --> 00:46:51,520
Speaker 4: play country beat and then play a hip hop beat

893
00:46:51,600 --> 00:46:55,240
Speaker 4: and it still feel very authentic, you know what I'm saying.

894
00:46:56,239 --> 00:47:01,280
Speaker 4: And then just like feel timing and feel James Poyser,

895
00:47:01,960 --> 00:47:04,359
Speaker 4: let me have it. The first time I played the

896
00:47:04,360 --> 00:47:07,480
Speaker 4: bass show, I had a six string Ken Smith and

897
00:47:07,520 --> 00:47:10,600
Speaker 4: he said, hey, yo, don't ever come in this studio

898
00:47:10,800 --> 00:47:13,040
Speaker 4: with this furnit. He said it was a He said,

899
00:47:13,080 --> 00:47:20,720
Speaker 4: my bass was a piece of furniture, yo, And so.

900
00:47:20,719 --> 00:47:22,520
Speaker 3: I didn't know what that meant. I went to a

901
00:47:22,640 --> 00:47:23,719
Speaker 3: jazz school, you know.

902
00:47:23,880 --> 00:47:26,200
Speaker 4: I thought I was freaking Anthony Jackson at the time,

903
00:47:26,360 --> 00:47:29,280
Speaker 4: like I was doing everything like that. And he handed

904
00:47:29,320 --> 00:47:36,200
Speaker 4: me Little Brother Slum Village Voodoo and then I was

905
00:47:36,280 --> 00:47:42,799
Speaker 4: like Pine, Pino Pine, you know, no he knew, and

906
00:47:42,840 --> 00:47:47,560
Speaker 4: I was like, oh, Pino Palette, okay cool, or like Dyla,

907
00:47:47,800 --> 00:47:52,520
Speaker 4: oh okay, my electric bass should sound like some MPC pads,

908
00:47:52,560 --> 00:47:55,759
Speaker 4: like you know what I'm saying, And like he he

909
00:47:55,960 --> 00:47:58,799
Speaker 4: put me, James and Omar put me on so much

910
00:47:58,880 --> 00:48:01,400
Speaker 4: music that you had either giving them or they that

911
00:48:01,800 --> 00:48:05,040
Speaker 4: opened their ears up to when he told me my.

912
00:48:05,000 --> 00:48:07,759
Speaker 3: Base was a piece of furniture, bro, I was like,

913
00:48:09,560 --> 00:48:10,640
Speaker 3: I saved up.

914
00:48:10,840 --> 00:48:14,160
Speaker 4: I saved up the fastest three hundred and seventy five

915
00:48:14,239 --> 00:48:16,160
Speaker 4: dollars that I could to just go get a four

916
00:48:16,239 --> 00:48:22,359
Speaker 4: string Fender Jazz and I don't know choice. It's still

917
00:48:22,400 --> 00:48:24,719
Speaker 4: my weapon of choice. I do play five, but like

918
00:48:24,840 --> 00:48:27,640
Speaker 4: that base. You know, we did Yes Sirs with We

919
00:48:27,719 --> 00:48:30,880
Speaker 4: did joh Stone, That's on a lot of records.

920
00:48:30,920 --> 00:48:33,760
Speaker 3: We did Our Green you know what I'm saying.

921
00:48:35,120 --> 00:48:37,040
Speaker 4: That was the one and to the point where even

922
00:48:37,120 --> 00:48:39,719
Speaker 4: Rich was like, hey, yo, where's the bring the four

923
00:48:39,760 --> 00:48:44,760
Speaker 4: string in? Like, you know, like I had to learn

924
00:48:45,480 --> 00:48:50,000
Speaker 4: genre specific vocabulary, not just what I hadn't known through

925
00:48:50,120 --> 00:48:52,239
Speaker 4: chops or whatever. So that's even what I look for,

926
00:48:52,719 --> 00:48:55,319
Speaker 4: you know, the antithesis of what I started is what

927
00:48:55,360 --> 00:48:56,279
Speaker 4: I look for now.

928
00:48:56,480 --> 00:48:58,720
Speaker 3: You know what I mean? You hate the music.

929
00:48:59,440 --> 00:49:02,640
Speaker 4: I'd made a lot of money and a big living

930
00:49:02,880 --> 00:49:06,640
Speaker 4: playing low on the base, Like you know what I'm saying,

931
00:49:06,800 --> 00:49:09,839
Speaker 4: Like I don't have to do all that up high

932
00:49:09,880 --> 00:49:13,279
Speaker 4: stuff to make it feel right for me personally, you

933
00:49:13,280 --> 00:49:16,120
Speaker 4: know what I'm saying. And like, coming from a dealer record,

934
00:49:16,200 --> 00:49:18,800
Speaker 4: it's like that ain't even what he was doing, coming

935
00:49:18,840 --> 00:49:21,840
Speaker 4: from a from a from a slum or a voodoo place,

936
00:49:21,880 --> 00:49:24,160
Speaker 4: it's like, you know, I mean, Peanut can play anything,

937
00:49:24,200 --> 00:49:26,279
Speaker 4: but it's like it was really about the groove and

938
00:49:26,320 --> 00:49:26,800
Speaker 4: the feeling.

939
00:49:26,880 --> 00:49:28,920
Speaker 3: So that's what I tried to hone in on for

940
00:49:28,960 --> 00:49:30,040
Speaker 3: about two years.

941
00:49:31,000 --> 00:49:33,040
Speaker 9: What were you listening to growing up? Because you were

942
00:49:33,040 --> 00:49:35,040
Speaker 9: saying that James and everbody were putting you on like

943
00:49:35,080 --> 00:49:35,480
Speaker 9: the slum.

944
00:49:35,800 --> 00:49:37,840
Speaker 4: I had never listened to that stuff, so I was

945
00:49:37,880 --> 00:49:43,600
Speaker 4: listening to the Clark Sisters gospel well, and then like

946
00:49:43,680 --> 00:49:47,320
Speaker 4: a lot of now Rogers, but through samples, like you couldn't.

947
00:49:47,400 --> 00:49:47,680
Speaker 1: I was.

948
00:49:47,800 --> 00:49:49,839
Speaker 3: I was Biggie Smalls in my head. So I was like,

949
00:49:50,320 --> 00:49:52,120
Speaker 3: who's hot? Who's not? Tell me.

950
00:49:54,680 --> 00:49:56,760
Speaker 4: Who got to So I was like, wait a minute,

951
00:49:56,760 --> 00:49:59,680
Speaker 4: but that that guitar part is cold, Like let me

952
00:49:59,719 --> 00:50:01,040
Speaker 4: find now what that is?

953
00:50:02,040 --> 00:50:06,840
Speaker 2: Edwards was your base god in and now Rogers.

954
00:50:06,840 --> 00:50:07,719
Speaker 3: Now Rogers.

955
00:50:07,760 --> 00:50:11,560
Speaker 4: And then I was like a lot of Yo, I'm

956
00:50:11,560 --> 00:50:13,480
Speaker 4: gonna be I'm gonna keeping the honey. I ain't never

957
00:50:13,520 --> 00:50:16,440
Speaker 4: said this out loud, but like, you couldn't tell me

958
00:50:16,480 --> 00:50:20,359
Speaker 4: that Bad Boy didn't have the coldest musicians.

959
00:50:20,480 --> 00:50:26,719
Speaker 3: Before I knew they were samples. I was like no, no, no,

960
00:50:26,719 --> 00:50:35,719
Speaker 3: no, no no no. I was like what I was like?

961
00:50:35,840 --> 00:50:39,560
Speaker 3: Boom boom? I was like, Yo, they killing in the studio.

962
00:50:40,200 --> 00:50:42,000
Speaker 3: I was twelve years old, you know what I'm saying.

963
00:50:42,040 --> 00:50:44,160
Speaker 4: So I'm listening to One More Chance, I'm listening in

964
00:50:44,239 --> 00:50:47,160
Speaker 4: the warning, I'm listening to more Money, more Problems. I'm

965
00:50:47,200 --> 00:50:50,920
Speaker 4: listening to hypnotized boom boom Oh. I played that at

966
00:50:50,920 --> 00:50:54,760
Speaker 4: my marching BANDJO and they was like, yo, you Biggie Sall.

967
00:50:55,719 --> 00:50:57,640
Speaker 8: But that was but the way you described that album,

968
00:50:57,680 --> 00:51:00,759
Speaker 8: that's the same way. That's what midnight As was for me.

969
00:51:01,040 --> 00:51:04,080
Speaker 9: Yeah, Dog, I swore you you couldn't have told me

970
00:51:04,200 --> 00:51:04,960
Speaker 9: mann Mardas.

971
00:51:05,000 --> 00:51:06,319
Speaker 8: Wasn't them playing all that role?

972
00:51:07,680 --> 00:51:10,280
Speaker 2: Like you know what I mean the amount of times

973
00:51:10,320 --> 00:51:16,320
Speaker 2: I grew Bob Power about Electric Relaxation. Yes, even Michelle

974
00:51:16,360 --> 00:51:20,560
Speaker 2: Degolchella gave like damn near her whole entire Rolling Stone

975
00:51:20,600 --> 00:51:24,840
Speaker 2: interview about like qtup is the the next uh just

976
00:51:24,920 --> 00:51:29,840
Speaker 2: his court structure of blah blah blah blah blah.

977
00:51:30,040 --> 00:51:32,719
Speaker 1: You buy the record like damn No.

978
00:51:32,800 --> 00:51:34,960
Speaker 2: But I mean even then to Discovery and hear it

979
00:51:35,000 --> 00:51:36,280
Speaker 2: in that way, that's still genius.

980
00:51:36,280 --> 00:51:37,520
Speaker 1: So that's not to take away.

981
00:51:37,280 --> 00:51:39,759
Speaker 4: From no no, no no, but I'm just saying, like,

982
00:51:39,800 --> 00:51:43,520
Speaker 4: those are the baselines that like, tell me what you

983
00:51:43,640 --> 00:51:45,960
Speaker 4: want from dude.

984
00:51:46,080 --> 00:51:50,480
Speaker 3: I'm like, Yo, these dudes is cold. The Hitman is cold.

985
00:51:51,239 --> 00:51:55,440
Speaker 4: Yeah, And so you know, learning where they came from

986
00:51:55,480 --> 00:51:58,600
Speaker 4: and Eld the Barge flips and and and you know

987
00:51:59,360 --> 00:52:02,520
Speaker 4: Bernard flips and now slips, it was like it was

988
00:52:02,600 --> 00:52:05,000
Speaker 4: mind boggling to me. So then when I finally dove

989
00:52:05,040 --> 00:52:08,120
Speaker 4: into the original records and really honed in on my

990
00:52:08,200 --> 00:52:10,799
Speaker 4: own tone, I was like, this is where it comes

991
00:52:10,840 --> 00:52:13,239
Speaker 4: from you know what I mean, the original, the original vibe.

992
00:52:13,239 --> 00:52:15,160
Speaker 4: And then like you know, a huge Ron Carter fan

993
00:52:15,400 --> 00:52:19,160
Speaker 4: and you know, flipping that from tribe as well, Like

994
00:52:20,280 --> 00:52:21,399
Speaker 4: was mind boggling too.

995
00:52:21,840 --> 00:52:23,680
Speaker 8: Did you commission for hamm were you?

996
00:52:25,080 --> 00:52:26,440
Speaker 3: I was more take six?

997
00:52:26,680 --> 00:52:28,160
Speaker 8: You would take sick? Okay, gotcha?

998
00:52:28,239 --> 00:52:29,400
Speaker 3: I was more take six.

999
00:52:29,800 --> 00:52:31,840
Speaker 1: Wow the generation after commission?

1000
00:52:32,400 --> 00:52:35,319
Speaker 3: Right, I was, I'm being honest. I was a Fred

1001
00:52:35,360 --> 00:52:35,960
Speaker 3: Hammon fan.

1002
00:52:36,080 --> 00:52:38,320
Speaker 4: And then it was like, oh he came from commission,

1003
00:52:38,400 --> 00:52:39,760
Speaker 4: so you know, I'm just being honest.

1004
00:52:39,760 --> 00:52:40,200
Speaker 3: I'm just.

1005
00:52:42,120 --> 00:52:43,640
Speaker 1: Church all right.

1006
00:52:43,960 --> 00:52:47,120
Speaker 4: And then lastly, my uncle had a gospel group, so

1007
00:52:47,239 --> 00:52:50,239
Speaker 4: to me, they was like they was commissioned in New Jersey.

1008
00:52:50,320 --> 00:52:54,440
Speaker 3: I was like, oh, that's they better than they like jobicy.

1009
00:52:54,080 --> 00:52:54,680
Speaker 8: In my town.

1010
00:52:56,440 --> 00:52:59,560
Speaker 2: I always wanted to know, have you ever been in

1011
00:52:59,640 --> 00:53:03,640
Speaker 2: a musical situation where it did not work out?

1012
00:53:03,719 --> 00:53:04,040
Speaker 1: Well?

1013
00:53:04,400 --> 00:53:05,800
Speaker 4: I don't know if this is what you mean, but

1014
00:53:05,800 --> 00:53:08,840
Speaker 4: I'm gonna tell this one story. We're doing Coachella with doctor.

1015
00:53:08,640 --> 00:53:12,360
Speaker 1: Dre Right, right, is this the Tupacca.

1016
00:53:15,160 --> 00:53:18,200
Speaker 4: He brings in, this this new young kid rapper from

1017
00:53:18,320 --> 00:53:25,080
Speaker 4: from from La Compton. Right, I was like, he's all right,

1018
00:53:25,320 --> 00:53:28,399
Speaker 4: I mean, y'all want me to arrange. He's gonna he's

1019
00:53:28,400 --> 00:53:30,840
Speaker 4: gonna do two songs in the middle of ourselves, Like

1020
00:53:31,840 --> 00:53:35,160
Speaker 4: I don't know, man, like he he okay, you.

1021
00:53:35,160 --> 00:53:35,760
Speaker 3: Know what I'm saying.

1022
00:53:37,440 --> 00:53:39,960
Speaker 4: I was like, you know what, i'ma I'm gonna let

1023
00:53:40,040 --> 00:53:41,919
Speaker 4: my man do this one because like I really want

1024
00:53:41,920 --> 00:53:44,600
Speaker 4: to concentrate on this pop and I'm a really, you know,

1025
00:53:44,680 --> 00:53:45,960
Speaker 4: I really want to get this right.

1026
00:53:46,160 --> 00:53:47,440
Speaker 3: Eminem's on the way.

1027
00:53:47,400 --> 00:53:50,319
Speaker 4: And it's like, nah, like yo, just you know, help

1028
00:53:50,400 --> 00:53:52,880
Speaker 4: the kid out. I was like, I can't do it.

1029
00:53:53,400 --> 00:53:58,000
Speaker 4: And I was like, all right, he comes in great energy.

1030
00:53:58,840 --> 00:54:01,920
Speaker 4: I was like, what's your name, man, Kendrick, And I

1031
00:54:02,080 --> 00:54:05,400
Speaker 4: was like all right, all right, okay.

1032
00:54:05,320 --> 00:54:08,600
Speaker 3: Like you know what I'm saying. So it's like I've

1033
00:54:08,719 --> 00:54:12,760
Speaker 3: lost twice like that in my life.

1034
00:54:13,239 --> 00:54:16,440
Speaker 4: Really wasn't really feeling it when I first heard it,

1035
00:54:16,440 --> 00:54:19,960
Speaker 4: and then I'm his his energy is what brought me

1036
00:54:20,040 --> 00:54:21,960
Speaker 4: into him, if I can be honest, you know what

1037
00:54:22,000 --> 00:54:22,480
Speaker 4: I'm saying.

1038
00:54:22,800 --> 00:54:25,359
Speaker 8: Before the music, before.

1039
00:54:25,040 --> 00:54:28,200
Speaker 4: The early music, it was like he was just like

1040
00:54:28,440 --> 00:54:32,399
Speaker 4: and then same thing, Sean G said, Yo, I need

1041
00:54:32,440 --> 00:54:35,080
Speaker 4: you to work with this kid from North Carolina. I

1042
00:54:35,120 --> 00:54:39,040
Speaker 4: was like, oh, you know, I'm busy, bro, Like he

1043
00:54:39,120 --> 00:54:40,799
Speaker 4: said listen to this he could rap.

1044
00:54:40,920 --> 00:54:41,080
Speaker 3: Bro.

1045
00:54:41,120 --> 00:54:44,759
Speaker 2: I was like Friday Night Lights all right, you know,

1046
00:54:45,680 --> 00:54:48,960
Speaker 2: ran Friday Night Lights down my throat man like yo,

1047
00:54:49,640 --> 00:54:50,640
Speaker 2: cold man.

1048
00:54:50,640 --> 00:54:53,279
Speaker 4: Jay Cole Bro, And it was like, Yo, just let

1049
00:54:53,320 --> 00:54:55,560
Speaker 4: me fly you to North Carolina. I was at ninth

1050
00:54:55,600 --> 00:54:59,520
Speaker 4: Wonder was like, come to North Carolina and same thing.

1051
00:55:00,120 --> 00:55:02,000
Speaker 4: His energy is what did it for me?

1052
00:55:02,160 --> 00:55:02,520
Speaker 3: Over to me?

1053
00:55:02,800 --> 00:55:06,400
Speaker 4: So I got two l's for sure, I got else. Like,

1054
00:55:06,880 --> 00:55:10,080
Speaker 4: you know, they arguably top ten of all time right now.

1055
00:55:10,000 --> 00:55:12,680
Speaker 5: Yo, But how many more Kendred shows have you been

1056
00:55:12,760 --> 00:55:15,040
Speaker 5: kind of forced to md anyway based off of like

1057
00:55:15,520 --> 00:55:19,760
Speaker 5: from halftime to award shows, Like it's been.

1058
00:55:19,600 --> 00:55:23,000
Speaker 4: Great to work with him, you know, specifically yeah, last halftime,

1059
00:55:23,680 --> 00:55:26,480
Speaker 4: you know, And like I said, the relationship and the

1060
00:55:26,640 --> 00:55:30,560
Speaker 4: energy is always right. But I'm saying I've taken creative

1061
00:55:30,800 --> 00:55:33,040
Speaker 4: l's because I was like, I don't hear it, Yo,

1062
00:55:33,160 --> 00:55:35,080
Speaker 4: I don't. I don't know what to do, I don't

1063
00:55:35,080 --> 00:55:37,840
Speaker 4: know how to range. I'm not I'm not connected to

1064
00:55:38,040 --> 00:55:41,880
Speaker 4: this two l's Kendrick and j Cole for sure, arguably

1065
00:55:41,960 --> 00:55:44,439
Speaker 4: like I said, number one, two great human black men,

1066
00:55:44,680 --> 00:55:49,120
Speaker 4: just great guys hey, and then arguably top ten lyricists

1067
00:55:49,160 --> 00:55:51,839
Speaker 4: and then it was like, you know, I almost missed it.

1068
00:55:52,040 --> 00:55:55,400
Speaker 2: I do want to ask I mean, so many questions

1069
00:55:55,400 --> 00:55:56,560
Speaker 2: to ask you about your career.

1070
00:55:56,640 --> 00:56:03,120
Speaker 1: But now with you winning the Emmys, yes, and I.

1071
00:56:03,280 --> 00:56:07,840
Speaker 2: You know, I know that to be in that particular position,

1072
00:56:08,280 --> 00:56:12,440
Speaker 2: like it's such a teugh line air tight space where

1073
00:56:13,080 --> 00:56:15,360
Speaker 2: one person can monopolized the whole marketplace.

1074
00:56:15,440 --> 00:56:18,120
Speaker 1: Like for the longest, I thought, what's the brother's name?

1075
00:56:18,440 --> 00:56:19,120
Speaker 1: A bass player?

1076
00:56:20,600 --> 00:56:24,279
Speaker 2: Yeah, like I thought, like, oh god, Ricky Mine is

1077
00:56:24,280 --> 00:56:27,000
Speaker 2: going to own the Emmys until he's one hundred and

1078
00:56:27,080 --> 00:56:30,760
Speaker 2: ninety seven years old, like not ever giving up space

1079
00:56:30,840 --> 00:56:31,240
Speaker 2: or whatever.

1080
00:56:31,320 --> 00:56:34,640
Speaker 1: But tell me about navigating your.

1081
00:56:34,480 --> 00:56:39,520
Speaker 2: Way through non concert stage, non studio world, like getting

1082
00:56:39,560 --> 00:56:42,680
Speaker 2: into television scoring, and I mean eventually, I guess you're

1083
00:56:42,719 --> 00:56:43,879
Speaker 2: going to start doing movie soon.

1084
00:56:44,280 --> 00:56:47,040
Speaker 3: Yeah, man, I'm looking forward to that as well. I've

1085
00:56:47,080 --> 00:56:48,120
Speaker 3: worked on a couple.

1086
00:56:48,400 --> 00:56:53,760
Speaker 4: Big ones, Greatest Showman, I did the soundtrack in the Heights,

1087
00:56:53,840 --> 00:56:56,840
Speaker 4: and I just did a kid's one called Lyle Lyle Crocodile,

1088
00:56:56,920 --> 00:56:59,160
Speaker 4: and all of that is what our brother our Philly brothers,

1089
00:56:59,160 --> 00:56:59,799
Speaker 4: Binge and pop.

1090
00:57:01,520 --> 00:57:04,560
Speaker 3: But yeah, you know how I got into the television

1091
00:57:04,600 --> 00:57:05,600
Speaker 3: space for sure.

1092
00:57:06,080 --> 00:57:09,440
Speaker 4: You know, I remember two thousand and twelve thirteen be

1093
00:57:09,520 --> 00:57:11,560
Speaker 4: ET Awards. I had about six.

1094
00:57:11,440 --> 00:57:14,200
Speaker 3: Or seven clients on.

1095
00:57:14,080 --> 00:57:17,640
Speaker 4: The BET Awards and Jesse Collins was like, y'all, I'm

1096
00:57:17,640 --> 00:57:20,560
Speaker 4: giving this dude seven checks, Like just hire him to

1097
00:57:20,560 --> 00:57:25,640
Speaker 4: do the whole show. We could save some money. I'll

1098
00:57:25,680 --> 00:57:28,440
Speaker 4: never forget that. I just remember like showing up to

1099
00:57:28,600 --> 00:57:30,760
Speaker 4: meeting after meeting and they were like, Yo, you hear again,

1100
00:57:30,840 --> 00:57:33,360
Speaker 4: you hear again. And that was one of the things

1101
00:57:33,360 --> 00:57:38,040
Speaker 4: that I saw Ricky Minor do, and you know, at

1102
00:57:38,080 --> 00:57:42,400
Speaker 4: the time like Patreus Russian and like you know, Ray

1103
00:57:42,440 --> 00:57:46,640
Speaker 4: Schu of course, and from the Apollo I had been

1104
00:57:46,720 --> 00:57:51,000
Speaker 4: doing killing touring sets. So in my head I was like, Yo,

1105
00:57:51,120 --> 00:57:54,360
Speaker 4: what of these artists for three minutes and thirty seconds

1106
00:57:54,960 --> 00:57:59,800
Speaker 4: get a touring Adam Blackstone experience on television? And when

1107
00:57:59,800 --> 00:58:01,560
Speaker 4: I'm made up in my mind, I was going to

1108
00:58:01,640 --> 00:58:08,000
Speaker 4: spend the same amount of time programming and arranging one song.

1109
00:58:07,840 --> 00:58:09,440
Speaker 3: As I did a whole show.

1110
00:58:09,960 --> 00:58:12,040
Speaker 4: It was a game changer, man, And they haven't been

1111
00:58:12,080 --> 00:58:15,760
Speaker 4: able to, you know, like move forward from that because

1112
00:58:15,760 --> 00:58:20,000
Speaker 4: I give each artist an experience in that TV moment

1113
00:58:20,720 --> 00:58:23,320
Speaker 4: that they've never had before. I'm not just playing the

1114
00:58:23,320 --> 00:58:26,600
Speaker 4: record most of the time, I'm giving them that live

1115
00:58:26,680 --> 00:58:30,720
Speaker 4: show experience in their three minute segment, you know what

1116
00:58:30,720 --> 00:58:35,000
Speaker 4: I'm saying, and so that makes audiences excited, that makes

1117
00:58:35,040 --> 00:58:38,280
Speaker 4: the network excited. It was hard to navigate, though, and

1118
00:58:38,320 --> 00:58:40,640
Speaker 4: I'm still learning a mayor, like you know EMD and

1119
00:58:40,640 --> 00:58:43,440
Speaker 4: the Oscars last year and following you it was like

1120
00:58:44,240 --> 00:58:50,280
Speaker 4: making those sandwiches and writing out charts and you know, conducting.

1121
00:58:49,840 --> 00:58:53,360
Speaker 3: Sixty piece orchestra. It was like, Yo, I'm still learning.

1122
00:58:53,360 --> 00:58:56,000
Speaker 4: But at the same time, I believe in myself so

1123
00:58:56,160 --> 00:58:58,760
Speaker 4: much that I know I can do anything. And if

1124
00:58:58,800 --> 00:59:01,120
Speaker 4: I don't know something, huge question.

1125
00:59:01,000 --> 00:59:04,360
Speaker 2: Asker, So, all right, answer this question for me. Yeah,

1126
00:59:04,440 --> 00:59:08,560
Speaker 2: I've been dying to know for awards shows especially. Yeah,

1127
00:59:08,880 --> 00:59:13,840
Speaker 2: when you're doing award shows, how much leeway do you

1128
00:59:13,960 --> 00:59:17,880
Speaker 2: have a knowing who the winner is going to be?

1129
00:59:19,200 --> 00:59:21,160
Speaker 1: Or like, what is the process?

1130
00:59:21,200 --> 00:59:26,520
Speaker 2: Do you have five different sets of music on standby

1131
00:59:26,760 --> 00:59:28,680
Speaker 2: and they're like the winner is.

1132
00:59:30,040 --> 00:59:33,200
Speaker 1: Super so you're like, all right, see dude three?

1133
00:59:33,360 --> 00:59:37,760
Speaker 4: Like how so what we did for Oscars was the

1134
00:59:37,840 --> 00:59:42,240
Speaker 4: winner music. Specifically, I pre recorded down there in the

1135
00:59:42,280 --> 00:59:45,760
Speaker 4: pit each of the five nominees so that we could

1136
00:59:45,840 --> 00:59:49,439
Speaker 4: just trigger it almost like playback, depending on who won

1137
00:59:49,760 --> 00:59:52,400
Speaker 4: you know what I'm saying. They do not let me know.

1138
00:59:52,480 --> 00:59:54,560
Speaker 4: I want to be super clear with that. I do

1139
00:59:54,760 --> 00:59:57,400
Speaker 4: not know until it flashes up on the screen. But

1140
00:59:57,600 --> 01:00:00,560
Speaker 4: I've been able to kind of trick the system a

1141
01:00:00,560 --> 01:00:03,280
Speaker 4: little bit with how our normal playback works is now

1142
01:00:03,360 --> 01:00:06,320
Speaker 4: just putting all the music for that one moment in

1143
01:00:06,480 --> 01:00:08,960
Speaker 4: playback and they can play whichever one that they want

1144
01:00:09,000 --> 01:00:09,400
Speaker 4: to play.

1145
01:00:10,160 --> 01:00:13,280
Speaker 3: Now, if I'm doing something a little more general.

1146
01:00:13,520 --> 01:00:15,120
Speaker 1: Not even a ten second warning or.

1147
01:00:15,960 --> 01:00:18,560
Speaker 4: Not really, man, Nah, it might flash up on the

1148
01:00:18,600 --> 01:00:22,040
Speaker 4: screen five seconds before you know what I'm saying. But

1149
01:00:22,200 --> 01:00:25,120
Speaker 4: if I'm doing something a little more general category, I

1150
01:00:25,240 --> 01:00:29,080
Speaker 4: might just do something super you know in that space,

1151
01:00:29,280 --> 01:00:31,120
Speaker 4: you know what I mean, or tempo for somebody to

1152
01:00:31,160 --> 01:00:31,760
Speaker 4: walk up on.

1153
01:00:31,760 --> 01:00:33,120
Speaker 3: Stage or something like that.

1154
01:00:33,680 --> 01:00:36,160
Speaker 4: But when it's when it's it's a direct you know,

1155
01:00:36,240 --> 01:00:40,680
Speaker 4: Oscars movie song thing, I'm like, yo, without us messing up,

1156
01:00:40,760 --> 01:00:44,360
Speaker 4: let's record all of the nominees music and let you

1157
01:00:44,480 --> 01:00:46,440
Speaker 4: guys pick one's or what you want to play.

1158
01:00:46,880 --> 01:00:51,240
Speaker 2: So there's thirty seven categories for the Oscars.

1159
01:00:50,880 --> 01:00:52,960
Speaker 3: Times five or six or seven.

1160
01:00:53,200 --> 01:00:55,040
Speaker 2: Yeah, So you're trying to tell me that you have

1161
01:00:55,080 --> 01:00:58,520
Speaker 2: to at least prepare once like one hundred and thirty

1162
01:00:58,560 --> 01:01:01,000
Speaker 2: plus music cues I did.

1163
01:01:01,040 --> 01:01:04,880
Speaker 4: I was at eighty seven because some of the categories

1164
01:01:04,880 --> 01:01:08,280
Speaker 4: weren't on TV this year. I did eighty seven music cues.

1165
01:01:08,320 --> 01:01:11,600
Speaker 4: Bro it was nuts and that's not also play on

1166
01:01:11,800 --> 01:01:14,000
Speaker 4: music when they say lazy and Gentlemen Puff Daddy or

1167
01:01:14,080 --> 01:01:14,959
Speaker 4: lazy and Gentlemen Danny.

1168
01:01:15,000 --> 01:01:17,040
Speaker 1: Oh shit, I forgot the nominees and all that stuff.

1169
01:01:17,120 --> 01:01:18,640
Speaker 3: Yeah yeah, no, it's like.

1170
01:01:19,080 --> 01:01:21,360
Speaker 6: What is that in time? Like in time? How many

1171
01:01:21,840 --> 01:01:24,440
Speaker 6: how long is that you think Christmas?

1172
01:01:24,480 --> 01:01:27,160
Speaker 3: To do the Oscars, which was April, and I work

1173
01:01:27,480 --> 01:01:31,080
Speaker 3: every day like straight up.

1174
01:01:31,360 --> 01:01:35,160
Speaker 4: My team Dante Winslow, thank god, and Derek Hodge thank god.

1175
01:01:35,200 --> 01:01:39,439
Speaker 4: I brought them on first, all black conducting team. Yes,

1176
01:01:40,880 --> 01:01:44,360
Speaker 4: and those of you who know those two gentlemen.

1177
01:01:44,040 --> 01:01:48,440
Speaker 3: Oh yeah, Derek Mann, Yeah, they don't. They don't let

1178
01:01:48,480 --> 01:01:49,360
Speaker 3: nothing get passed.

1179
01:01:49,400 --> 01:01:51,720
Speaker 4: So it's like we pretty much divvated up and just

1180
01:01:51,800 --> 01:01:53,440
Speaker 4: was like, yo, you take these thirty.

1181
01:01:53,480 --> 01:01:55,840
Speaker 3: I would do these thirty, but how.

1182
01:01:55,760 --> 01:01:58,800
Speaker 2: Do you notate like orchestral arrangements, because even you know

1183
01:01:58,800 --> 01:02:01,080
Speaker 2: there was orchestra there, you.

1184
01:02:01,040 --> 01:02:02,800
Speaker 3: Know, Summer of Soul, Big Winner.

1185
01:02:02,840 --> 01:02:05,200
Speaker 4: It's like, you know, we took one of those records

1186
01:02:05,200 --> 01:02:09,000
Speaker 4: from the thing, and I orchestrated it with no vocal

1187
01:02:09,160 --> 01:02:11,920
Speaker 4: So maybe trumpet is playing the lead line for a

1188
01:02:11,960 --> 01:02:15,320
Speaker 4: BB King joint, you know what I'm saying, right, And

1189
01:02:15,320 --> 01:02:18,640
Speaker 4: and then I put you know, low brass and strings

1190
01:02:18,680 --> 01:02:19,800
Speaker 4: playing like it's an organ.

1191
01:02:20,000 --> 01:02:20,760
Speaker 3: You know what I'm saying.

1192
01:02:20,920 --> 01:02:24,480
Speaker 2: So well, I'm only I'm only asking because like, all right,

1193
01:02:24,520 --> 01:02:28,560
Speaker 2: so the year before you did it last year because

1194
01:02:28,560 --> 01:02:30,560
Speaker 2: of COVID, I DJ'ed.

1195
01:02:30,200 --> 01:02:31,240
Speaker 1: It, you know what I mean.

1196
01:02:31,480 --> 01:02:36,240
Speaker 2: Yeah, And even then, up until forty five minutes beforehand,

1197
01:02:37,320 --> 01:02:39,320
Speaker 2: you know, there were there are a lot of monkey wrenches.

1198
01:02:40,120 --> 01:02:43,200
Speaker 2: Regina King's going to now do the intro so fine

1199
01:02:43,240 --> 01:02:46,280
Speaker 2: to me, you know, to clear stuff like shit, we

1200
01:02:46,440 --> 01:02:50,920
Speaker 2: were calling Londel McMillan like a half hour before the Grammys, like, Yo,

1201
01:02:50,960 --> 01:02:53,200
Speaker 2: can we please clear this print song right now so

1202
01:02:54,680 --> 01:02:57,480
Speaker 2: I can imagine for you it's even more of a nightmare.

1203
01:02:58,160 --> 01:02:58,440
Speaker 3: Yeah.

1204
01:02:58,560 --> 01:03:02,080
Speaker 4: Interestingly enough, I will say about the orchestral music.

1205
01:03:02,600 --> 01:03:04,680
Speaker 3: If you choose four bars.

1206
01:03:04,360 --> 01:03:06,280
Speaker 4: And let's just say we're gonna vamp something or we're

1207
01:03:06,320 --> 01:03:09,080
Speaker 4: gonna move these four bars to a different intro because

1208
01:03:09,080 --> 01:03:11,120
Speaker 4: it has a similar vibe, you're able to do that,

1209
01:03:11,200 --> 01:03:13,320
Speaker 4: but that still comes with the preparation. I still got

1210
01:03:13,320 --> 01:03:17,640
Speaker 4: to do eighty nine ninety pieces to go which bars

1211
01:03:17,920 --> 01:03:21,040
Speaker 4: make sense for Regina Hall, and to know which bars

1212
01:03:21,080 --> 01:03:23,200
Speaker 4: make sense for Amy Schumer, to know which of the

1213
01:03:23,240 --> 01:03:25,200
Speaker 4: third set of bars make sense for Wanda.

1214
01:03:25,000 --> 01:03:26,680
Speaker 3: Sikes this year, like you know what I mean. So

1215
01:03:27,160 --> 01:03:28,600
Speaker 3: we had to play through the whole thing.

1216
01:03:28,640 --> 01:03:32,400
Speaker 4: It was I was one of my hardest jobs ever

1217
01:03:32,480 --> 01:03:35,880
Speaker 4: and very much like my first big, huge, huge tour

1218
01:03:35,920 --> 01:03:36,400
Speaker 4: with Kanye.

1219
01:03:36,440 --> 01:03:41,120
Speaker 3: I feel like like now orchestral wise, I can do anything, you.

1220
01:03:41,080 --> 01:03:47,080
Speaker 4: Know, and as you know, with the Oscars or Grammy specifically,

1221
01:03:48,040 --> 01:03:50,600
Speaker 4: we're not linked to any time thing.

1222
01:03:50,720 --> 01:03:53,280
Speaker 3: So all this talk about playback and stuff like that.

1223
01:03:53,520 --> 01:03:56,240
Speaker 4: No, we're rocking live, So if somebody trips or if

1224
01:03:56,320 --> 01:03:58,640
Speaker 4: somebody starts way.

1225
01:03:58,480 --> 01:04:01,080
Speaker 3: Back you was kind of far. Oh, we had to keep.

1226
01:04:00,880 --> 01:04:03,200
Speaker 1: Playing, Like I was gonna say, Matt.

1227
01:04:04,520 --> 01:04:08,320
Speaker 2: One, I can say with certainty that I had the

1228
01:04:08,320 --> 01:04:12,080
Speaker 2: most slowest awkward walk of all time to that podium

1229
01:04:12,240 --> 01:04:12,760
Speaker 2: all time.

1230
01:04:13,200 --> 01:04:15,680
Speaker 6: Well, who could blame you? Who could blame you?

1231
01:04:17,000 --> 01:04:18,439
Speaker 1: So it's a processing thing.

1232
01:04:18,800 --> 01:04:20,280
Speaker 3: Are we going to talk about this or no?

1233
01:04:21,160 --> 01:04:24,320
Speaker 1: Oh wow, I'm going on record before, but.

1234
01:04:24,480 --> 01:04:25,720
Speaker 6: I do want to hear from the three.

1235
01:04:25,720 --> 01:04:28,400
Speaker 5: It's interesting two coming from like y'all who also share

1236
01:04:28,440 --> 01:04:31,200
Speaker 5: this night of being from the same area. I mean,

1237
01:04:31,240 --> 01:04:34,240
Speaker 5: it's just so many levels to it, right, Like.

1238
01:04:34,680 --> 01:04:40,080
Speaker 4: I cried in that moment, happy for my brother.

1239
01:04:40,680 --> 01:04:40,880
Speaker 3: Right.

1240
01:04:41,960 --> 01:04:44,840
Speaker 1: You know something though, I will say this much.

1241
01:04:45,480 --> 01:04:49,640
Speaker 2: So yes, they they because of the whole COVID situation

1242
01:04:50,160 --> 01:04:52,040
Speaker 2: first of all. And you know, they chose the right theater.

1243
01:04:52,440 --> 01:04:55,200
Speaker 2: It was the Kodak right where we at the right,

1244
01:04:55,480 --> 01:04:59,640
Speaker 2: so they sat us. They set the documentary people way

1245
01:04:59,760 --> 01:05:01,840
Speaker 2: in the back, you know what I mean.

1246
01:05:02,320 --> 01:05:03,840
Speaker 1: So even then what they.

1247
01:05:03,680 --> 01:05:05,360
Speaker 6: Do every year, it just happened that they got you

1248
01:05:05,440 --> 01:05:05,800
Speaker 6: this year.

1249
01:05:05,840 --> 01:05:08,480
Speaker 1: So well, I think in normal times we would have

1250
01:05:08,480 --> 01:05:08,680
Speaker 1: been a.

1251
01:05:09,280 --> 01:05:12,000
Speaker 3: Little closer and like a little more intimate.

1252
01:05:12,240 --> 01:05:14,680
Speaker 2: And yeah, and if it were normal times, we would

1253
01:05:14,680 --> 01:05:16,920
Speaker 2: have been in a bigger thing and we would have

1254
01:05:16,920 --> 01:05:19,240
Speaker 2: been closer to the front. But they had us all

1255
01:05:19,280 --> 01:05:22,840
Speaker 2: spread out because of COVID and the documentary people way

1256
01:05:22,840 --> 01:05:25,960
Speaker 2: in the back. And so even then, I mean, three

1257
01:05:26,000 --> 01:05:29,600
Speaker 2: things are happening in my head. One was that was

1258
01:05:29,640 --> 01:05:33,840
Speaker 2: that a bad sketch going wrong, going wrong, And it

1259
01:05:33,880 --> 01:05:35,920
Speaker 2: wasn't until you know, and then like I'm managing my

1260
01:05:36,000 --> 01:05:37,640
Speaker 2: mom and she crying on my shoulder.

1261
01:05:37,760 --> 01:05:39,600
Speaker 1: Whatever, So that's distracting.

1262
01:05:40,920 --> 01:05:46,000
Speaker 2: And then I distinctly all right, I distinctly remember by

1263
01:05:46,040 --> 01:05:50,680
Speaker 2: the time I got towards the front, I was looking

1264
01:05:50,720 --> 01:05:54,680
Speaker 2: at the Williams sister and the look, the look they

1265
01:05:54,720 --> 01:05:59,000
Speaker 2: had on their face, like we're being held hostage. Then

1266
01:05:59,080 --> 01:06:03,960
Speaker 2: I was like, oh shit, that might have been real, right,

1267
01:06:04,680 --> 01:06:06,880
Speaker 2: because even then, when it's happening.

1268
01:06:06,920 --> 01:06:09,280
Speaker 4: No, you go, I was in the pit bro watching

1269
01:06:09,360 --> 01:06:13,040
Speaker 4: it from underneath directly, and I was like, I was like, man,

1270
01:06:13,120 --> 01:06:15,120
Speaker 4: I'm yo, I'm mayor, I promise to God.

1271
01:06:15,240 --> 01:06:19,280
Speaker 3: Like yeah, I'm like, I'm like, that's not in the script.

1272
01:06:19,400 --> 01:06:24,480
Speaker 1: I'm like, right right, And even as it's happening.

1273
01:06:24,200 --> 01:06:26,080
Speaker 3: Like, yo, somebody, what where was that?

1274
01:06:26,360 --> 01:06:26,440
Speaker 5: Like?

1275
01:06:26,520 --> 01:06:27,840
Speaker 1: Where? Right?

1276
01:06:28,240 --> 01:06:32,240
Speaker 2: So one, I was doing transmeditation. When you're doing transmeditation,

1277
01:06:32,400 --> 01:06:35,080
Speaker 2: I mean I do all the time, even with the Grammys.

1278
01:06:35,080 --> 01:06:37,240
Speaker 2: Knowing I'm not going to win, I'm like, okay, and

1279
01:06:38,000 --> 01:06:40,080
Speaker 2: remember your mom and remember I'm like trying to remember

1280
01:06:40,160 --> 01:06:43,120
Speaker 2: names and ship. And only when I heard the word

1281
01:06:43,240 --> 01:06:46,640
Speaker 2: fucking came out. When I heard fucking twice, I looked

1282
01:06:46,640 --> 01:06:49,520
Speaker 2: at my mom like, Yo, that's how.

1283
01:06:49,360 --> 01:06:51,160
Speaker 4: You knew it was That's how you know it was real.

1284
01:06:51,240 --> 01:06:52,919
Speaker 4: When the expensive started.

1285
01:06:52,920 --> 01:06:53,320
Speaker 8: Right, no.

1286
01:06:53,480 --> 01:06:56,240
Speaker 2: Even then I said, I said, dag, Mom, like will

1287
01:06:56,640 --> 01:06:58,400
Speaker 2: will Packer is allowing.

1288
01:06:58,200 --> 01:07:02,680
Speaker 1: Cursing on television. Take a risks, right.

1289
01:07:02,520 --> 01:07:05,720
Speaker 2: And so I'm talking to my mom, still not hearing

1290
01:07:06,560 --> 01:07:09,000
Speaker 2: what's happening, and there's no television monitor.

1291
01:07:09,080 --> 01:07:09,880
Speaker 1: I'm way in the back.

1292
01:07:10,400 --> 01:07:13,400
Speaker 2: So when I'm walking to the front, the first thing

1293
01:07:13,480 --> 01:07:18,200
Speaker 2: that I noticed, I was like, Ah, these bastards they're

1294
01:07:18,200 --> 01:07:18,680
Speaker 2: playing it.

1295
01:07:19,000 --> 01:07:20,040
Speaker 1: They they're they're playing the.

1296
01:07:20,120 --> 01:07:28,320
Speaker 2: J Dilla, the j Dilla sample, the fat Cat loop

1297
01:07:28,400 --> 01:07:30,600
Speaker 2: that was in Summer of Soul. So that was the

1298
01:07:30,600 --> 01:07:32,640
Speaker 2: first thing that helped me down. And then once I

1299
01:07:32,640 --> 01:07:34,120
Speaker 2: got closer, then it.

1300
01:07:34,160 --> 01:07:40,680
Speaker 1: Was like, oh shit. And then you know, by then

1301
01:07:40,720 --> 01:07:41,720
Speaker 1: my mind went blank.

1302
01:07:41,800 --> 01:07:45,200
Speaker 2: But I do remember at least walking to my chair

1303
01:07:45,320 --> 01:07:48,400
Speaker 2: to when I saw the Williams sisters, I was like,

1304
01:07:48,480 --> 01:07:52,000
Speaker 2: oh damn, Adam Adam chose a jay Dilla sample from

1305
01:07:52,040 --> 01:07:55,000
Speaker 2: Summer of Soul to bring me on to that.

1306
01:07:55,360 --> 01:07:56,720
Speaker 1: I really appreciate.

1307
01:07:56,280 --> 01:08:02,600
Speaker 4: It ran up there because, like I said, in my head,

1308
01:08:02,680 --> 01:08:06,080
Speaker 4: I'm about to go crazy because I'm like, y'all didn't

1309
01:08:06,120 --> 01:08:08,640
Speaker 4: tell me about this, this this.

1310
01:08:09,400 --> 01:08:10,120
Speaker 1: This extra skit.

1311
01:08:12,040 --> 01:08:14,360
Speaker 3: And then by the time I got in the room,

1312
01:08:15,120 --> 01:08:16,040
Speaker 3: I saw.

1313
01:08:17,479 --> 01:08:21,960
Speaker 4: Tifa and she was just had a dejected, sad look

1314
01:08:22,120 --> 01:08:22,960
Speaker 4: you know what I'm saying.

1315
01:08:23,080 --> 01:08:25,880
Speaker 3: I was like, oh, that was real. And then they.

1316
01:08:25,720 --> 01:08:28,679
Speaker 4: Said quest love and these four of the white guys

1317
01:08:28,760 --> 01:08:30,040
Speaker 4: that it was just so much.

1318
01:08:30,080 --> 01:08:33,320
Speaker 3: It was, yeah, I got it just was like a.

1319
01:08:34,000 --> 01:08:38,519
Speaker 5: I was like, y'all should have seen us at home watching, like,

1320
01:08:38,600 --> 01:08:41,120
Speaker 5: oh god, yah.

1321
01:08:42,479 --> 01:08:44,000
Speaker 1: Yo, I'll say I'll say this much.

1322
01:08:44,320 --> 01:08:47,519
Speaker 2: I never went on a record with this before walking

1323
01:08:48,040 --> 01:08:52,080
Speaker 2: off stage, maybe I mentioned it obviously, you know, like

1324
01:08:52,120 --> 01:08:54,080
Speaker 2: once you win your award, you got to take the

1325
01:08:54,120 --> 01:08:57,000
Speaker 2: march to the backstage in the press room. So I

1326
01:08:57,040 --> 01:09:00,880
Speaker 2: don't know what segment was next. I assume that it

1327
01:09:00,960 --> 01:09:02,880
Speaker 2: had something to do with the anniversary or either The

1328
01:09:02,920 --> 01:09:09,639
Speaker 2: Godfather or something my field sewish because backstage, I'm looking

1329
01:09:09,680 --> 01:09:15,600
Speaker 2: at the Niro but Sheino like Scorsese, like all the

1330
01:09:15,680 --> 01:09:19,719
Speaker 2: characters that I've known from these gangster drawings right and

1331
01:09:20,280 --> 01:09:24,400
Speaker 2: walking past them, and you know, Chris kind of went

1332
01:09:24,439 --> 01:09:31,320
Speaker 2: to them, like I remember hearing like that heavy talk,

1333
01:09:32,000 --> 01:09:34,120
Speaker 2: like just fucking got like that sort of.

1334
01:09:34,080 --> 01:09:38,839
Speaker 3: Thing like.

1335
01:09:38,680 --> 01:09:41,240
Speaker 2: Yeah, I don't want to you know, I'm not even

1336
01:09:41,280 --> 01:09:43,400
Speaker 2: trying to lose. But it was definitely that sort of

1337
01:09:43,520 --> 01:09:46,920
Speaker 2: energy of like, oh my god, this entire cast of

1338
01:09:47,040 --> 01:09:49,320
Speaker 2: like The Godfather and Goodfellas like here in the corner,

1339
01:09:51,280 --> 01:09:52,680
Speaker 2: and they were definitely like.

1340
01:09:53,800 --> 01:09:56,040
Speaker 3: Yeah, it was. It was. It was weird, but I

1341
01:09:56,080 --> 01:09:58,439
Speaker 3: will say in that moment, man like we.

1342
01:09:58,240 --> 01:10:02,599
Speaker 4: Was also proud and his speech was amazing.

1343
01:10:02,760 --> 01:10:05,799
Speaker 3: You honestly brought us.

1344
01:10:05,800 --> 01:10:12,559
Speaker 4: Stephen Hill just text me, he said, you brought it back,

1345
01:10:12,600 --> 01:10:16,439
Speaker 4: and then shout out to Amy Schumer because she came

1346
01:10:16,479 --> 01:10:18,240
Speaker 4: in the next seven and said, man, I was in

1347
01:10:18,240 --> 01:10:18,559
Speaker 4: the back.

1348
01:10:18,600 --> 01:10:20,240
Speaker 3: It's real heavy in here. What happened?

1349
01:10:22,960 --> 01:10:28,960
Speaker 4: I just remember laughing like about that, like you know,

1350
01:10:29,520 --> 01:10:31,639
Speaker 4: like she was like, did I miss something?

1351
01:10:31,840 --> 01:10:33,880
Speaker 3: Like it's real heavy in here right now?

1352
01:10:35,000 --> 01:10:39,040
Speaker 4: So so yeah, man, but that was an amazing expert

1353
01:10:39,240 --> 01:10:41,840
Speaker 4: to see you represent Philly. And I felt the same way,

1354
01:10:41,920 --> 01:10:43,720
Speaker 4: like going up to get my Emmy, I was like, yo,

1355
01:10:44,000 --> 01:10:49,200
Speaker 4: like all the work that you do because listen, Summer

1356
01:10:49,280 --> 01:10:52,320
Speaker 4: Saul was never going to be a bad movie. I

1357
01:10:52,320 --> 01:10:55,000
Speaker 4: feel like the super Bowl, my super Bowl was never

1358
01:10:55,040 --> 01:10:58,200
Speaker 4: going to be bad. We do things in excellence, right,

1359
01:10:58,280 --> 01:11:03,040
Speaker 4: But it feels a different way to have the outsiders

1360
01:11:03,720 --> 01:11:07,320
Speaker 4: recognize it as an award winning whatever, you know what

1361
01:11:07,360 --> 01:11:09,960
Speaker 4: I mean, Like whether you want or not.

1362
01:11:10,160 --> 01:11:12,240
Speaker 3: And I gotta say I might be easier to say

1363
01:11:12,280 --> 01:11:12,679
Speaker 3: this now.

1364
01:11:12,560 --> 01:11:14,640
Speaker 4: Because we got the trophies, but whether you want or

1365
01:11:14,640 --> 01:11:17,280
Speaker 4: whether I want, it doesn't diminish the work that we did.

1366
01:11:17,400 --> 01:11:19,760
Speaker 4: You know what I'm saying, And that's instilled in us

1367
01:11:19,840 --> 01:11:22,240
Speaker 4: at such a young age that, Yo, whatever you do,

1368
01:11:22,280 --> 01:11:24,240
Speaker 4: I don't care if you at the five spot, I'm Meares,

1369
01:11:24,280 --> 01:11:29,200
Speaker 4: living Room, Wetlands, Oscars, Emmys, do it in excellence and

1370
01:11:29,240 --> 01:11:31,280
Speaker 4: that's what I continue to strive to try and do.

1371
01:11:36,360 --> 01:11:40,960
Speaker 1: What is hard as super Bowl preparation or like award chills.

1372
01:11:42,120 --> 01:11:45,439
Speaker 4: I'm gonna say award shows for me because the last

1373
01:11:45,479 --> 01:11:49,479
Speaker 4: four Super Bowls I've done, I've been fans of the artists,

1374
01:11:49,920 --> 01:11:54,160
Speaker 4: so it helps me navigate how I would want to see.

1375
01:11:54,040 --> 01:11:55,200
Speaker 3: And hear it as a fan.

1376
01:11:56,360 --> 01:11:59,799
Speaker 4: You know, I'm a fan of Justin Timberlake and Timberland music.

1377
01:12:00,040 --> 01:12:03,519
Speaker 4: And then after that, I did Shakira and j Lo,

1378
01:12:03,720 --> 01:12:07,559
Speaker 4: so I really dove into what that Latino sound and

1379
01:12:07,640 --> 01:12:09,599
Speaker 4: culture was and.

1380
01:12:09,680 --> 01:12:11,400
Speaker 1: Doing is it the Weekend before? Right?

1381
01:12:11,640 --> 01:12:13,759
Speaker 3: I didn't do the Weekend. I didn't think that.

1382
01:12:13,760 --> 01:12:19,320
Speaker 4: That year is when I did Jasmine Sullivan, Yes National Anthem,

1383
01:12:19,360 --> 01:12:23,720
Speaker 4: that was yes, I raised the anthem, and then Dre

1384
01:12:24,080 --> 01:12:27,400
Speaker 4: last year, huge fan and then coming up now you

1385
01:12:27,439 --> 01:12:28,720
Speaker 4: know we got a special one.

1386
01:12:29,920 --> 01:12:31,800
Speaker 5: I need to I need to know this, Adam, because

1387
01:12:31,840 --> 01:12:33,639
Speaker 5: for a lot of folks that don't know, like you're

1388
01:12:33,680 --> 01:12:36,719
Speaker 5: connected in a lot of different ways, whether you're music direction,

1389
01:12:37,439 --> 01:12:40,360
Speaker 5: whether you're for award show, for a tour, but then

1390
01:12:40,400 --> 01:12:43,200
Speaker 5: also your business, your agency with your wife. So I'm

1391
01:12:43,280 --> 01:12:46,960
Speaker 5: kind of curious with your history with everything that you've

1392
01:12:47,000 --> 01:12:49,920
Speaker 5: done with this agency. Are you ever present in a moment,

1393
01:12:50,000 --> 01:12:52,160
Speaker 5: whether it be an award show, probably an award show,

1394
01:12:52,200 --> 01:12:54,360
Speaker 5: probably a music award show, is when it really happens

1395
01:12:54,400 --> 01:12:57,479
Speaker 5: when you look around and you see every single band

1396
01:12:57,680 --> 01:13:00,240
Speaker 5: and you see them from this background singer to every

1397
01:13:00,240 --> 01:13:03,040
Speaker 5: where you have a deep musical connection with, Like you

1398
01:13:03,080 --> 01:13:06,679
Speaker 5: could say either I've played with you or I put

1399
01:13:06,720 --> 01:13:08,960
Speaker 5: you on this on this gig, Like have you had

1400
01:13:09,000 --> 01:13:10,280
Speaker 5: a present moment like that?

1401
01:13:10,520 --> 01:13:13,439
Speaker 3: I think like a couple Coachella is in a row.

1402
01:13:13,479 --> 01:13:16,840
Speaker 4: I'm like looking at the lineups and I'm like, that's

1403
01:13:16,880 --> 01:13:17,479
Speaker 4: my folks.

1404
01:13:17,520 --> 01:13:19,880
Speaker 3: That's my folks. That's my folks. That's my folks.

1405
01:13:20,040 --> 01:13:21,840
Speaker 4: But I really see the fruit of it, Like Yah,

1406
01:13:21,840 --> 01:13:24,960
Speaker 4: when I do something like that Legacy experience where we're

1407
01:13:25,040 --> 01:13:28,480
Speaker 4: jam packing five, six, seven hundred people in the room,

1408
01:13:29,080 --> 01:13:32,040
Speaker 4: no posting, no ticket sales, and they come out and

1409
01:13:32,120 --> 01:13:35,280
Speaker 4: support and love on one another through the gift of

1410
01:13:35,400 --> 01:13:39,640
Speaker 4: music spawned by whatever I've done to create that environment.

1411
01:13:39,800 --> 01:13:42,120
Speaker 4: And so that's one of the times that or those

1412
01:13:42,120 --> 01:13:45,160
Speaker 4: are the times where I really see feel to love.

1413
01:13:45,280 --> 01:13:48,760
Speaker 4: I feel genuine, I feel thankful, I feel humbled by

1414
01:13:48,800 --> 01:13:51,799
Speaker 4: who comes out, and you know, Stevie hopped on stage

1415
01:13:51,920 --> 01:13:56,320
Speaker 4: last week, New Addition, you know before that, Stokely and

1416
01:13:57,120 --> 01:13:59,599
Speaker 4: just all these people where you know, they want to

1417
01:14:00,840 --> 01:14:03,920
Speaker 4: just say thank you for what I've contributed to music

1418
01:14:03,960 --> 01:14:05,120
Speaker 4: in their own way.

1419
01:14:05,520 --> 01:14:09,200
Speaker 3: And so those moments feel really good.

1420
01:14:09,520 --> 01:14:12,960
Speaker 4: I have to get more into the moment of the preparation,

1421
01:14:13,479 --> 01:14:14,880
Speaker 4: and I don't know if I know how to do

1422
01:14:14,960 --> 01:14:18,320
Speaker 4: that yet because I'm waiting for it to be over.

1423
01:14:18,640 --> 01:14:20,160
Speaker 3: Unfortunately. If I can be.

1424
01:14:20,120 --> 01:14:22,439
Speaker 1: Honest, I got a question I'm been drying to ask you.

1425
01:14:22,720 --> 01:14:25,519
Speaker 2: Yeah, okay, I know you're dealing with a new crop

1426
01:14:25,800 --> 01:14:29,400
Speaker 2: of what we call young boys. For instance, I saw

1427
01:14:29,479 --> 01:14:33,200
Speaker 2: Omar Edwards's kid that stay to the TI.

1428
01:14:33,560 --> 01:14:36,479
Speaker 1: I'm like, yo, dude, I used to take you bowling

1429
01:14:36,600 --> 01:14:41,080
Speaker 1: when you were six, kid, and you're now twenty three.

1430
01:14:41,800 --> 01:14:42,960
Speaker 3: Twenty four years old.

1431
01:14:43,080 --> 01:14:45,760
Speaker 1: Yeah, yeah, twenty four you're drunk, Like what the hell?

1432
01:14:46,400 --> 01:14:48,240
Speaker 2: Like you used to put them the boundaries on the

1433
01:14:48,240 --> 01:14:52,799
Speaker 2: bowling alley, so you're you're bowling gutter now, Like that's happening.

1434
01:14:53,040 --> 01:14:57,160
Speaker 2: So how are you How do you deal with mentoring?

1435
01:14:57,160 --> 01:14:59,400
Speaker 2: Because I know that also when you put sometimes you

1436
01:14:59,400 --> 01:15:01,920
Speaker 2: can put a pack together and not even step on stage.

1437
01:15:02,360 --> 01:15:03,800
Speaker 1: Yes, like you could put you can.

1438
01:15:03,720 --> 01:15:07,240
Speaker 2: Put Timberlake show together and not have to be on tour.

1439
01:15:07,720 --> 01:15:11,320
Speaker 2: So I guess it's the two part of one. How

1440
01:15:11,360 --> 01:15:15,760
Speaker 2: do you deal with artists that expect you to physically

1441
01:15:15,800 --> 01:15:18,920
Speaker 2: be there with them as opposed to you just put

1442
01:15:18,920 --> 01:15:23,320
Speaker 2: their jew on together? And how do you train the band?

1443
01:15:23,840 --> 01:15:26,479
Speaker 2: Like do they hire the band or do you also

1444
01:15:26,520 --> 01:15:29,320
Speaker 2: put together the band that you feel can best do it?

1445
01:15:29,360 --> 01:15:32,559
Speaker 2: And how do you just how do you deal with like, yo,

1446
01:15:32,760 --> 01:15:35,439
Speaker 2: make sure you're on time, make sure you're not late.

1447
01:15:36,160 --> 01:15:39,800
Speaker 4: I think the easiest thing bro is for me with

1448
01:15:40,120 --> 01:15:43,640
Speaker 4: putting things together. I make sure people have seen me

1449
01:15:43,840 --> 01:15:46,720
Speaker 4: lead by example, you know what I'm saying, Like they

1450
01:15:46,760 --> 01:15:50,559
Speaker 4: see my work ethic, they see me on time, they see.

1451
01:15:50,360 --> 01:15:53,840
Speaker 3: How hard I work in rehearsals.

1452
01:15:53,200 --> 01:15:55,599
Speaker 4: They see I'm a no nonsense, guy, Have you got

1453
01:15:55,600 --> 01:15:57,360
Speaker 4: to do a little something on the side and all that,

1454
01:15:57,400 --> 01:15:59,960
Speaker 4: don't bring it into the rehearsal. Like there's time everybody

1455
01:16:00,040 --> 01:16:02,240
Speaker 4: they had their own extracurricular thing. But when we're here

1456
01:16:02,280 --> 01:16:05,080
Speaker 4: to work, we're here to work. As far as managing

1457
01:16:05,120 --> 01:16:09,000
Speaker 4: the artist's expectations, that just comes with time and comfortability

1458
01:16:09,000 --> 01:16:10,680
Speaker 4: and trust. If I get on the phone, I'll be

1459
01:16:10,760 --> 01:16:13,479
Speaker 4: just a little baby on filin right. So it's like

1460
01:16:14,240 --> 01:16:16,519
Speaker 4: I was in La and I'm talking to baby, and

1461
01:16:16,560 --> 01:16:18,519
Speaker 4: I'm like, yo, I got you. I have a set

1462
01:16:18,560 --> 01:16:21,040
Speaker 4: of guys. What I'm going to do again, we're talking

1463
01:16:21,040 --> 01:16:23,280
Speaker 4: about these sketches. I'm going to send you a sketch

1464
01:16:23,280 --> 01:16:26,519
Speaker 4: and a rehearsal recording, so when you walk in, you

1465
01:16:26,640 --> 01:16:28,720
Speaker 4: know what it is, or if you hear something that

1466
01:16:28,760 --> 01:16:31,160
Speaker 4: you don't like, I can fix it ahead of time,

1467
01:16:31,240 --> 01:16:33,880
Speaker 4: so you're not walking in having to try to communicate

1468
01:16:35,120 --> 01:16:38,439
Speaker 4: an idea with me not being there. So it's very

1469
01:16:38,600 --> 01:16:42,320
Speaker 4: much still myself pre prepping so that when they walk

1470
01:16:42,360 --> 01:16:45,080
Speaker 4: in they already know what they're walking into. And then

1471
01:16:45,160 --> 01:16:47,280
Speaker 4: as far as the guys are concerned, I'm like, yo,

1472
01:16:47,400 --> 01:16:49,720
Speaker 4: if you ain't seen me, do it, don't do it

1473
01:16:49,840 --> 01:16:50,559
Speaker 4: on my gig.

1474
01:16:50,840 --> 01:16:53,719
Speaker 3: You know what I'm saying. And I know that sounds simple,

1475
01:16:53,800 --> 01:16:54,479
Speaker 3: but it's like.

1476
01:16:55,040 --> 01:16:57,679
Speaker 2: But have you had to have a situation where you're like, yeah,

1477
01:16:57,960 --> 01:17:00,320
Speaker 2: I gotta let you go and I'm sorry.

1478
01:17:00,479 --> 01:17:02,640
Speaker 4: Like, yo, it's not going to work. And then I

1479
01:17:02,720 --> 01:17:05,200
Speaker 4: break it down and say, this is what you did.

1480
01:17:05,520 --> 01:17:08,400
Speaker 4: Like and mayor me and you are very similar in

1481
01:17:08,479 --> 01:17:12,000
Speaker 4: our countenance with people. If you explain to somebody what

1482
01:17:12,040 --> 01:17:13,920
Speaker 4: they did and they actually take a step back and

1483
01:17:14,000 --> 01:17:16,080
Speaker 4: know who we are to know that we don't want

1484
01:17:16,080 --> 01:17:19,640
Speaker 4: to fire them. Really, they'll be like, yo, yeah, I

1485
01:17:19,800 --> 01:17:25,000
Speaker 4: really jacked up. So sometimes it's not a hard thing.

1486
01:17:25,200 --> 01:17:28,960
Speaker 4: I've learned to in the last five years. Like people

1487
01:17:29,040 --> 01:17:32,680
Speaker 4: really want me and so whoever I put on that

1488
01:17:32,800 --> 01:17:38,200
Speaker 4: stage represents me right, and if there's anything that goes wrong,

1489
01:17:39,200 --> 01:17:42,400
Speaker 4: it's a bad reflection on me and my brand and

1490
01:17:42,400 --> 01:17:45,720
Speaker 4: my business that I've worked so hard to bill. You know,

1491
01:17:45,760 --> 01:17:50,679
Speaker 4: we talked about spawning, you know, inspiring young young boys

1492
01:17:50,800 --> 01:17:53,400
Speaker 4: with the programing and stuff. It's getting easier and easier

1493
01:17:53,439 --> 01:17:56,320
Speaker 4: to find out who has studied me and who has

1494
01:17:56,880 --> 01:18:02,000
Speaker 4: you know, their Adam Blackstone BB templately already in that laptop,

1495
01:18:02,240 --> 01:18:04,160
Speaker 4: but at the same time being a people person.

1496
01:18:04,200 --> 01:18:06,120
Speaker 3: You can't teach that. You know what I'm saying.

1497
01:18:06,439 --> 01:18:08,120
Speaker 4: And so that's one of the one things that I

1498
01:18:08,160 --> 01:18:11,799
Speaker 4: would tell the young kids is like, yo, be humble,

1499
01:18:12,320 --> 01:18:15,400
Speaker 4: but at the same time, don't be afraid to speak

1500
01:18:15,439 --> 01:18:17,880
Speaker 4: and say hello, look people in the face and you know,

1501
01:18:18,000 --> 01:18:22,040
Speaker 4: oh yes, talk through ideas and shake hands and it's

1502
01:18:22,120 --> 01:18:24,519
Speaker 4: and it's all love because you remember those people who

1503
01:18:24,600 --> 01:18:25,720
Speaker 4: have had an impact on you.

1504
01:18:26,200 --> 01:18:28,040
Speaker 3: Over there playing yo real t.

1505
01:18:28,240 --> 01:18:31,559
Speaker 4: Everybody can plan and sing these days, everybody, and they

1506
01:18:31,680 --> 01:18:34,120
Speaker 4: playing circles around me, these young kids now. But at

1507
01:18:34,120 --> 01:18:36,679
Speaker 4: the same time, when I'm when I need to talk

1508
01:18:36,720 --> 01:18:38,640
Speaker 4: to a justin Timberlake or I need to talk to

1509
01:18:38,680 --> 01:18:40,880
Speaker 4: an eminem, they don't know how to do that.

1510
01:18:40,960 --> 01:18:44,200
Speaker 3: I think social media has been a crutch. I've been

1511
01:18:44,240 --> 01:18:45,680
Speaker 3: saying that and not be.

1512
01:18:45,720 --> 01:18:49,920
Speaker 4: Able to actually articulate their ideas verbally and just play,

1513
01:18:50,320 --> 01:18:51,040
Speaker 4: you know what I mean.

1514
01:18:51,160 --> 01:18:57,439
Speaker 2: So who are five of your most pleasurable clients to

1515
01:18:57,520 --> 01:19:02,160
Speaker 2: work with. I'm sure you love or with everybody, but

1516
01:19:02,479 --> 01:19:04,639
Speaker 2: like when you're like, ah, I man, it's gonna be fun.

1517
01:19:04,680 --> 01:19:08,680
Speaker 4: I can't wait for this, like no particular order at all,

1518
01:19:09,200 --> 01:19:12,920
Speaker 4: jay Z. I love playing his music. I'm a fan

1519
01:19:13,000 --> 01:19:15,679
Speaker 4: of the music as you really. As you see I'm

1520
01:19:15,680 --> 01:19:18,880
Speaker 4: married from three on. It's gotten more and more musical

1521
01:19:19,040 --> 01:19:23,760
Speaker 4: as well, you know. So I'm gonna have to say,

1522
01:19:24,080 --> 01:19:26,640
Speaker 4: I don't know if this is another person or slash,

1523
01:19:26,880 --> 01:19:30,320
Speaker 4: but puff Daddy. I did the bad Boy Reunion toward

1524
01:19:30,360 --> 01:19:32,479
Speaker 4: twenty sixteen, and like I said, I was talking to

1525
01:19:32,520 --> 01:19:37,240
Speaker 4: fine Tee like that music spawned how I felt. Sampling

1526
01:19:37,280 --> 01:19:39,599
Speaker 4: and hip hop and live bass playing, like what that

1527
01:19:39,800 --> 01:19:42,519
Speaker 4: was about for me as a kid, before I met

1528
01:19:42,520 --> 01:19:44,760
Speaker 4: the roots and before I was able to, you know,

1529
01:19:45,120 --> 01:19:47,360
Speaker 4: kind of do things. It was like the samples alone

1530
01:19:47,520 --> 01:19:51,479
Speaker 4: were the music bars that I was like, Yo, I

1531
01:19:51,520 --> 01:19:53,160
Speaker 4: gotta I could play this. And when I play this

1532
01:19:53,200 --> 01:19:55,559
Speaker 4: at the football game on Saturday morning, oh, they gonna

1533
01:19:55,600 --> 01:19:56,360
Speaker 4: go crazy.

1534
01:19:57,080 --> 01:19:57,280
Speaker 1: Right.

1535
01:19:57,600 --> 01:19:59,479
Speaker 6: That was a musty tour that year or two. I'm

1536
01:19:59,479 --> 01:20:00,080
Speaker 6: so mad i'.

1537
01:20:03,840 --> 01:20:07,960
Speaker 1: Jenny Jackson even one verse, one verse penny, like.

1538
01:20:08,040 --> 01:20:08,800
Speaker 3: One verse penny.

1539
01:20:09,320 --> 01:20:12,639
Speaker 4: Listen when I smack, when I smacked, miss you much,

1540
01:20:12,800 --> 01:20:18,080
Speaker 4: just the chorus it's okay you It was, And she

1541
01:20:18,080 --> 01:20:19,000
Speaker 4: she taught me that.

1542
01:20:19,080 --> 01:20:21,240
Speaker 3: She'd say like, Yo, we're just gonna get in and out.

1543
01:20:21,360 --> 01:20:24,680
Speaker 1: You know, I hate that, but go ahead.

1544
01:20:25,360 --> 01:20:27,720
Speaker 4: This is a this is this is a You can

1545
01:20:27,800 --> 01:20:29,519
Speaker 4: ask me this every day and it might change, So

1546
01:20:29,560 --> 01:20:30,720
Speaker 4: I apologize it.

1547
01:20:31,000 --> 01:20:37,600
Speaker 3: Sharon, Okay, very musical, he's the White quest Love. He

1548
01:20:37,680 --> 01:20:38,839
Speaker 3: don't want no tracks.

1549
01:20:39,160 --> 01:20:40,080
Speaker 1: Yeah, I was gonna say.

1550
01:20:40,080 --> 01:20:43,519
Speaker 2: Every time I seen Sharing, he's on stage by himself

1551
01:20:43,520 --> 01:20:44,120
Speaker 2: with his guitar.

1552
01:20:44,520 --> 01:20:47,000
Speaker 3: So he's been doing this looper thing all his life.

1553
01:20:47,000 --> 01:20:50,000
Speaker 4: But very recently we just did Tiny Desk and we've

1554
01:20:50,080 --> 01:20:53,080
Speaker 4: taken that Tiny Desk show to a bunch of different things,

1555
01:20:53,120 --> 01:20:54,840
Speaker 4: whether it be TV shows.

1556
01:20:54,560 --> 01:21:00,160
Speaker 3: Or whatever like that NFL, and so that's been really cool. Man.

1557
01:21:00,280 --> 01:21:02,120
Speaker 4: Like I said, you asked me this any other day,

1558
01:21:02,200 --> 01:21:06,160
Speaker 4: it's gonna it's gonna change. But the last one I'm

1559
01:21:06,200 --> 01:21:10,400
Speaker 4: gonna say, Kurt Franklin, Marry Mary, Nicki Minaj.

1560
01:21:10,200 --> 01:21:22,080
Speaker 1: Justin everybody all right? Number five is everybody.

1561
01:21:22,520 --> 01:21:24,599
Speaker 3: Nick Mary Mary Justice to relate.

1562
01:21:25,200 --> 01:21:31,439
Speaker 2: How does it feel, too, finally like fulfill your wish

1563
01:21:31,600 --> 01:21:34,040
Speaker 2: up making albums?

1564
01:21:34,880 --> 01:21:35,000
Speaker 3: Yo?

1565
01:21:35,200 --> 01:21:37,920
Speaker 4: I never in a million years, I'm gonna be completely honest,

1566
01:21:38,080 --> 01:21:40,479
Speaker 4: thought that I would be an artist.

1567
01:21:40,880 --> 01:21:41,880
Speaker 1: And what took you so long?

1568
01:21:42,400 --> 01:21:46,439
Speaker 4: Well, I'm gonna be honest with you man, like, well,

1569
01:21:46,560 --> 01:21:50,920
Speaker 4: I lost some friends through COVID, Like straight up, you

1570
01:21:50,960 --> 01:21:55,360
Speaker 4: know one of them. I lost a cousin forty five

1571
01:21:55,439 --> 01:21:58,519
Speaker 4: years old through COVID. A couple of my friends lost

1572
01:21:58,520 --> 01:22:03,200
Speaker 4: their parents, but specifically I lost Paris.

1573
01:22:02,800 --> 01:22:04,639
Speaker 3: Bonds, who parents.

1574
01:22:04,720 --> 01:22:08,839
Speaker 4: That's right, is arguably one of the greatest keyboard players

1575
01:22:08,840 --> 01:22:12,040
Speaker 4: and over that, one of the greatest human beings. Right,

1576
01:22:12,120 --> 01:22:15,880
Speaker 4: And so when I went to the celebration services, it

1577
01:22:16,040 --> 01:22:20,680
Speaker 4: really inspired me because I was like, Yo, Bible says like,

1578
01:22:20,880 --> 01:22:22,439
Speaker 4: you know, our day is are numbered, and.

1579
01:22:22,479 --> 01:22:24,639
Speaker 3: It's like we don't know the time or the day.

1580
01:22:25,000 --> 01:22:28,120
Speaker 4: But I don't want and this is no disrespect to anybody,

1581
01:22:28,200 --> 01:22:31,479
Speaker 4: but I don't want my service at the at the

1582
01:22:31,520 --> 01:22:34,480
Speaker 4: altar and the screens is showing.

1583
01:22:35,080 --> 01:22:38,320
Speaker 3: Me at the super Bowl or like I'm on.

1584
01:22:41,240 --> 01:22:44,760
Speaker 4: Support or I'm at you know that's my jam or

1585
01:22:44,800 --> 01:22:45,479
Speaker 4: something like that.

1586
01:22:47,520 --> 01:22:47,760
Speaker 8: Talk.

1587
01:22:47,840 --> 01:22:51,960
Speaker 4: I mean, I understand what you're saying. Those are all Listen,

1588
01:22:52,080 --> 01:22:55,000
Speaker 4: let me tell you something. Those are all positions that

1589
01:22:55,080 --> 01:22:57,519
Speaker 4: I'm so thankful for. People would die to be in

1590
01:22:57,640 --> 01:23:01,880
Speaker 4: right now. But I had to leave a legacy of

1591
01:23:01,920 --> 01:23:04,519
Speaker 4: something from my family, my children, and the people who

1592
01:23:04,640 --> 01:23:07,000
Speaker 4: know and love me to be proud of that I.

1593
01:23:06,920 --> 01:23:08,200
Speaker 3: Did on my own.

1594
01:23:09,880 --> 01:23:12,760
Speaker 4: I did my album in thirty days man and what

1595
01:23:13,280 --> 01:23:16,320
Speaker 4: me and my team have been found have been calling

1596
01:23:16,439 --> 01:23:20,240
Speaker 4: relationship equity right, And what that means to me is

1597
01:23:20,400 --> 01:23:26,920
Speaker 4: I have poured so much into people un without asking

1598
01:23:26,960 --> 01:23:30,559
Speaker 4: for anything in return, just because I value people in

1599
01:23:30,640 --> 01:23:33,760
Speaker 4: relationships for the last twenty years. That when I made

1600
01:23:33,760 --> 01:23:36,000
Speaker 4: a call to Questlove, when I made a call to

1601
01:23:36,080 --> 01:23:39,120
Speaker 4: James Poison, when I called Jasmine Sullivan, when I called Mary,

1602
01:23:39,160 --> 01:23:41,679
Speaker 4: when I called Kirk Franklin, when I called Leslie Oldham Junior,

1603
01:23:42,200 --> 01:23:44,839
Speaker 4: when I called Queen Latifa, when I called Robert glasper

1604
01:23:45,120 --> 01:23:49,439
Speaker 4: they immediately said, whatever you need, we got you.

1605
01:23:49,439 --> 01:23:51,559
Speaker 3: You've had us for all this time.

1606
01:23:52,360 --> 01:23:55,439
Speaker 4: And I get choked up even thinking about it, because like, nobody,

1607
01:23:55,600 --> 01:23:58,040
Speaker 4: nobody in twenty twenty two got the track list that

1608
01:23:58,120 --> 01:24:00,960
Speaker 4: I got, Perry, I don't care what maybe.

1609
01:24:00,720 --> 01:24:04,799
Speaker 1: Call it all right, Like my track.

1610
01:24:04,640 --> 01:24:08,520
Speaker 4: List is crazy, and it's like it's only because I've

1611
01:24:08,640 --> 01:24:09,759
Speaker 4: loved on these people.

1612
01:24:10,080 --> 01:24:12,519
Speaker 3: I exclaim it. I'm proud of who I love.

1613
01:24:12,600 --> 01:24:15,120
Speaker 4: I'm proud of the people that have inspired me, and

1614
01:24:15,439 --> 01:24:18,559
Speaker 4: for whatever reason, they also felt like I've inspired them,

1615
01:24:18,600 --> 01:24:22,479
Speaker 4: and so they returned that musical favor and we made

1616
01:24:22,520 --> 01:24:24,800
Speaker 4: this album called Legacy that I'm so so.

1617
01:24:24,800 --> 01:24:26,920
Speaker 3: Proud of That's what took me so long.

1618
01:24:27,040 --> 01:24:30,840
Speaker 4: Man, I think you know, you know, seeing loss and

1619
01:24:31,000 --> 01:24:34,120
Speaker 4: experiencing joy with my children. I was like, you know,

1620
01:24:34,960 --> 01:24:38,000
Speaker 4: it ain't nothing like having my son sing my song

1621
01:24:38,400 --> 01:24:40,559
Speaker 4: as one of his favorite songs, hearing him wake up

1622
01:24:40,560 --> 01:24:41,840
Speaker 4: and sing fly Me to the Moon.

1623
01:24:41,920 --> 01:24:43,599
Speaker 5: Or I was going to ask you what made you

1624
01:24:43,640 --> 01:24:46,120
Speaker 5: do the singing because people know you for playing, but

1625
01:24:46,240 --> 01:24:48,200
Speaker 5: also on his record as special because we get to

1626
01:24:48,240 --> 01:24:49,200
Speaker 5: hear you sing.

1627
01:24:49,479 --> 01:24:50,760
Speaker 3: Yeah, I sang a little bit.

1628
01:24:51,080 --> 01:24:53,519
Speaker 4: You know, I've been inspired by big band music all

1629
01:24:53,560 --> 01:24:58,559
Speaker 4: my life. Tony Bennet and rat Pack and Sinatra and

1630
01:24:58,640 --> 01:25:03,599
Speaker 4: Sammy and Nat came Cole. You know there's I mean,

1631
01:25:03,640 --> 01:25:06,160
Speaker 4: they all can sing, but it was it was the

1632
01:25:06,320 --> 01:25:10,080
Speaker 4: swag that made them songs cool too, you know what

1633
01:25:10,200 --> 01:25:14,040
Speaker 4: I'm saying, Like Louis Armstrong is like the swag behind it.

1634
01:25:14,120 --> 01:25:17,439
Speaker 4: So I was like, you know, man, I got some swag.

1635
01:25:17,560 --> 01:25:18,960
Speaker 4: Let me let me throw it on a record.

1636
01:25:19,960 --> 01:25:23,080
Speaker 6: Make me think I'll be sure more of a stylist.

1637
01:25:22,680 --> 01:25:23,000
Speaker 3: That's what.

1638
01:25:27,160 --> 01:25:27,400
Speaker 1: You know.

1639
01:25:27,640 --> 01:25:30,400
Speaker 4: And even the song that I sang on at the top,

1640
01:25:33,600 --> 01:25:35,479
Speaker 4: So yeah, the song I sang on it is called

1641
01:25:35,520 --> 01:25:36,960
Speaker 4: back on the Strip, and it's a it's a not

1642
01:25:37,160 --> 01:25:39,480
Speaker 4: the Philly in Jersey and do it with Queen Latifa

1643
01:25:39,520 --> 01:25:42,599
Speaker 4: and it's going good. So yeah that I'm so excited

1644
01:25:42,600 --> 01:25:47,360
Speaker 4: about Legacy. And it's able to showcase many, many different

1645
01:25:47,640 --> 01:25:49,600
Speaker 4: like facets of who I am.

1646
01:25:50,120 --> 01:25:51,760
Speaker 3: You know. This this is volume one.

1647
01:25:51,840 --> 01:25:54,240
Speaker 4: I don't know when or if Volume two happens, but

1648
01:25:54,280 --> 01:25:57,280
Speaker 4: it's like at the same time, I had to, I

1649
01:25:57,360 --> 01:25:58,000
Speaker 4: had to do it.

1650
01:25:58,040 --> 01:26:00,160
Speaker 3: You know. People have been great to me, music has

1651
01:26:00,160 --> 01:26:01,920
Speaker 3: been great to me. We blessed what.

1652
01:26:01,840 --> 01:26:03,960
Speaker 4: We do and and this is my this is my

1653
01:26:04,080 --> 01:26:08,120
Speaker 4: olde and and thank you to the music industry.

1654
01:26:08,600 --> 01:26:10,920
Speaker 5: Note for putting Lauren to Lease on there too, because

1655
01:26:10,960 --> 01:26:12,920
Speaker 5: everybody might not know her name, but you gonna know

1656
01:26:12,960 --> 01:26:13,439
Speaker 5: their voice.

1657
01:26:13,560 --> 01:26:16,400
Speaker 4: I feel that's why Philly Cleveland girl right there, that

1658
01:26:16,600 --> 01:26:21,840
Speaker 4: the project is on their you know yeah Baylor Yeah.

1659
01:26:22,360 --> 01:26:25,080
Speaker 4: And then I you know, made a call to John Schofield.

1660
01:26:25,080 --> 01:26:26,240
Speaker 3: He ended up jumping.

1661
01:26:26,040 --> 01:26:28,440
Speaker 1: Yeah, I see you got Schofield on the record.

1662
01:26:28,439 --> 01:26:32,920
Speaker 4: Scholfield on there, Kean, Harold, Wayne Burge, Run, Dante Winslow,

1663
01:26:33,960 --> 01:26:40,280
Speaker 4: the Truth, Jilly from Philly, spitting bars, yeah, uh, Swizzy

1664
01:26:40,320 --> 01:26:41,280
Speaker 4: on the backgrounds.

1665
01:26:41,280 --> 01:26:44,000
Speaker 3: It's just you know, it's it's fire man. I'm so

1666
01:26:44,000 --> 01:26:44,679
Speaker 3: so thankful.

1667
01:26:45,040 --> 01:26:47,040
Speaker 5: We just kind of went through your whole like crazy

1668
01:26:47,120 --> 01:26:49,679
Speaker 5: days and times. What does the rest look like? When

1669
01:26:49,720 --> 01:26:52,439
Speaker 5: do you end your day? Is your week seven days

1670
01:26:52,439 --> 01:26:54,640
Speaker 5: a week? What are the barriers that you put on

1671
01:26:54,880 --> 01:26:56,719
Speaker 5: for your own self and your family?

1672
01:26:57,080 --> 01:26:59,360
Speaker 4: That is that is a great question I'm still learning

1673
01:26:59,400 --> 01:27:01,599
Speaker 4: at forty years old, like where to say no?

1674
01:27:02,080 --> 01:27:04,760
Speaker 3: Where to draw the line. One of the reasons I

1675
01:27:04,800 --> 01:27:07,640
Speaker 3: think I haven't said no is, first of all, I

1676
01:27:07,640 --> 01:27:11,240
Speaker 3: grew up with the roots.

1677
01:27:11,640 --> 01:27:14,080
Speaker 4: But at the same time, we are and I'm mayrior

1678
01:27:14,160 --> 01:27:18,920
Speaker 4: you can attest possibly, but I'm so much further along

1679
01:27:19,080 --> 01:27:22,000
Speaker 4: in my head in my career than my dreams could

1680
01:27:22,080 --> 01:27:25,920
Speaker 4: ever imagine. So sometimes when I get an offer to do,

1681
01:27:27,040 --> 01:27:29,639
Speaker 4: I'm be completely honest. Like Stevie called me to day

1682
01:27:29,640 --> 01:27:31,559
Speaker 4: and was like, Yo, I need you to mdy his

1683
01:27:31,680 --> 01:27:33,840
Speaker 4: house of toys. I can't do it.

1684
01:27:34,080 --> 01:27:35,800
Speaker 3: That's the craziest thing for me to say.

1685
01:27:35,880 --> 01:27:38,400
Speaker 1: I was going to say, what prestigious person.

1686
01:27:39,160 --> 01:27:41,479
Speaker 4: It just happened to me today. It just happened to

1687
01:27:41,479 --> 01:27:43,880
Speaker 4: me today, and it happens all the time. But I'm

1688
01:27:43,880 --> 01:27:46,519
Speaker 4: speaking of today because Yo, I got I have Super

1689
01:27:46,520 --> 01:27:49,839
Speaker 4: Bowl rehearsal right, and I've already committed and I would

1690
01:27:49,880 --> 01:27:53,679
Speaker 4: wear myself in my thirties or twenties be like I'm

1691
01:27:53,720 --> 01:27:54,559
Speaker 4: doing it all.

1692
01:27:54,680 --> 01:27:55,200
Speaker 3: But at the.

1693
01:27:55,200 --> 01:27:59,839
Speaker 4: Older I get the more responsibility that these prestigious gigs

1694
01:27:59,840 --> 01:28:02,559
Speaker 4: have as well. So the responsibility for me to be

1695
01:28:02,640 --> 01:28:06,280
Speaker 4: at a meeting is different than me going to another gig.

1696
01:28:06,400 --> 01:28:10,360
Speaker 8: You know, the workload is higher when you like overseas.

1697
01:28:10,040 --> 01:28:12,680
Speaker 4: Higher up I get, the more responsibility that workload is on.

1698
01:28:12,840 --> 01:28:16,280
Speaker 4: It falls on me, and my team is incredible, do

1699
01:28:16,400 --> 01:28:18,479
Speaker 4: not get me wrong. But at the same time, at

1700
01:28:18,520 --> 01:28:21,520
Speaker 4: some I gotta show face and I have to implement

1701
01:28:22,000 --> 01:28:24,840
Speaker 4: my own knowledge into what makes this show what it is.

1702
01:28:24,880 --> 01:28:27,080
Speaker 4: So I had to say no to Stevie, and I

1703
01:28:27,120 --> 01:28:31,320
Speaker 4: think that that is is crazy, but it's also a

1704
01:28:31,360 --> 01:28:35,400
Speaker 4: testament to being a stand up person and what you've

1705
01:28:35,400 --> 01:28:38,280
Speaker 4: already agreed to, and then also knowing the time that

1706
01:28:38,360 --> 01:28:41,519
Speaker 4: I spend with my family and my children and my wife.

1707
01:28:42,280 --> 01:28:43,920
Speaker 3: That's what makes me a better.

1708
01:28:43,720 --> 01:28:47,559
Speaker 4: Musician, because we've all had that moment where you get

1709
01:28:47,560 --> 01:28:49,639
Speaker 4: that nod in your stomach and you like, I can't

1710
01:28:49,680 --> 01:28:52,479
Speaker 4: even perform today. I'm jacked up. I don't know what's

1711
01:28:52,520 --> 01:28:55,400
Speaker 4: going at home or or whatever. The you know, personal

1712
01:28:55,960 --> 01:28:58,120
Speaker 4: case may be in some of our lives. But it's like,

1713
01:28:58,200 --> 01:29:00,160
Speaker 4: as long as I make sure that routine and that

1714
01:29:00,280 --> 01:29:02,920
Speaker 4: home is straight, I'm a better person for the rest

1715
01:29:02,960 --> 01:29:06,439
Speaker 4: of the world. And sometimes in this business, unfortunately, the

1716
01:29:06,479 --> 01:29:09,400
Speaker 4: world doesn't care if we're greater, if we're better people,

1717
01:29:09,400 --> 01:29:11,120
Speaker 4: as long as we're servicing them.

1718
01:29:12,080 --> 01:29:14,679
Speaker 3: I've been blessed to be able to. I've been blessed

1719
01:29:14,720 --> 01:29:15,439
Speaker 3: to be able.

1720
01:29:15,280 --> 01:29:19,160
Speaker 4: To the last two three four years have people that

1721
01:29:19,240 --> 01:29:22,880
Speaker 4: want to pour back into me in certain gigs and that,

1722
01:29:22,720 --> 01:29:25,080
Speaker 4: and that is a blessing to me. It's a blessing

1723
01:29:25,120 --> 01:29:27,519
Speaker 4: when I can say, yo, I need a break, or

1724
01:29:27,520 --> 01:29:29,120
Speaker 4: I can't do this, or I got to get home,

1725
01:29:29,200 --> 01:29:31,040
Speaker 4: or my son got a soccer game or my daughter

1726
01:29:31,080 --> 01:29:33,519
Speaker 4: got swimming lessons. I promise you it's going to be okay.

1727
01:29:33,560 --> 01:29:36,400
Speaker 4: I'll be right back. They say, oh, man, we got you.

1728
01:29:36,439 --> 01:29:36,960
Speaker 8: It's okay.

1729
01:29:37,160 --> 01:29:37,760
Speaker 3: You know what I mean.

1730
01:29:37,880 --> 01:29:40,559
Speaker 4: So those are the moments that matter to me, which

1731
01:29:40,800 --> 01:29:44,840
Speaker 4: in turn supports what why I do what I do

1732
01:29:44,920 --> 01:29:46,160
Speaker 4: for them this legacy.

1733
01:29:46,200 --> 01:29:54,560
Speaker 1: You know, Adam, if there were a versus for mds, whoa.

1734
01:29:56,080 --> 01:30:02,760
Speaker 2: Whoa who would be the Adam Blackstone versus.

1735
01:30:04,160 --> 01:30:09,080
Speaker 1: For and someone that you didn't and I don't mean like,

1736
01:30:09,479 --> 01:30:10,000
Speaker 1: bro that.

1737
01:30:10,040 --> 01:30:12,760
Speaker 3: Do you about the this is that's really good?

1738
01:30:13,400 --> 01:30:13,519
Speaker 8: No?

1739
01:30:13,400 --> 01:30:16,559
Speaker 1: No know, well who's an MD out there? That's like okay,

1740
01:30:16,640 --> 01:30:17,880
Speaker 1: so I see you.

1741
01:30:18,400 --> 01:30:23,400
Speaker 3: I mean, listen, you know my West Coast brothers fifteen

1742
01:30:23,479 --> 01:30:24,679
Speaker 3: hundred and nothing they're.

1743
01:30:24,520 --> 01:30:28,960
Speaker 4: Doing they Yeah, I got like Rant and Mars.

1744
01:30:29,240 --> 01:30:30,000
Speaker 8: I got Mars.

1745
01:30:30,439 --> 01:30:34,719
Speaker 4: So that a lot of my influence in pop music

1746
01:30:34,800 --> 01:30:38,680
Speaker 4: came from Kevin and Tunes. Okay, I'm not sure if

1747
01:30:38,680 --> 01:30:41,200
Speaker 4: people are familiar with him, but he did every boy

1748
01:30:41,240 --> 01:30:45,759
Speaker 4: band in the nineties, So Backstreet, Incent Id Degrees, Bretty Spears,

1749
01:30:45,840 --> 01:30:49,680
Speaker 4: Christina Aguilera, them, Jurassic Park Sounds and all that.

1750
01:30:49,840 --> 01:30:52,160
Speaker 3: Like the in Sync was doing that. You know what

1751
01:30:52,240 --> 01:30:52,599
Speaker 3: I'm saying.

1752
01:30:53,000 --> 01:30:56,160
Speaker 4: Remember when the TVs came over their heads at Massive Squirrelark,

1753
01:30:57,360 --> 01:30:59,519
Speaker 4: So like Kevin and Tunes would be another one. And

1754
01:30:59,560 --> 01:31:02,320
Speaker 4: then I'm just inspired by so many others. You know,

1755
01:31:02,600 --> 01:31:06,920
Speaker 4: Ricky Minor with what he did with Whitney Houston. I

1756
01:31:06,960 --> 01:31:11,080
Speaker 4: took a lot of that catalyst and tried to bring

1757
01:31:11,120 --> 01:31:11,639
Speaker 4: it to Jill.

1758
01:31:12,120 --> 01:31:12,920
Speaker 3: You know what I'm saying.

1759
01:31:13,120 --> 01:31:17,160
Speaker 4: It was like, our live versions of this music is

1760
01:31:17,320 --> 01:31:21,040
Speaker 4: almost just as good or hopefully better experience than some

1761
01:31:21,160 --> 01:31:22,040
Speaker 4: of the record joints.

1762
01:31:22,040 --> 01:31:24,160
Speaker 3: That's how you feel about Whitney. You know what I'm saying.

1763
01:31:24,680 --> 01:31:27,960
Speaker 4: He was doing when Ricky was doing Whitney, and so

1764
01:31:28,160 --> 01:31:31,280
Speaker 4: like we Jill loved singing live, you know what I'm saying,

1765
01:31:31,280 --> 01:31:33,519
Speaker 4: And at that time I hadn't experienced somebody that was.

1766
01:31:33,479 --> 01:31:35,080
Speaker 3: Like, Yo, let's go on the stage and were just

1767
01:31:35,080 --> 01:31:35,639
Speaker 3: gonna vibe.

1768
01:31:35,640 --> 01:31:39,200
Speaker 4: And it's Jill is such a you know, a class

1769
01:31:39,240 --> 01:31:42,639
Speaker 4: act when it comes to that and commanding that stage.

1770
01:31:42,640 --> 01:31:44,360
Speaker 3: She taught me so much of how to just be.

1771
01:31:44,439 --> 01:31:45,120
Speaker 8: In the moment.

1772
01:31:46,040 --> 01:31:48,120
Speaker 4: I got a lot of that from watching Ricky and

1773
01:31:48,600 --> 01:31:51,320
Speaker 4: with Whitney and all the other TV things he has done.

1774
01:31:52,560 --> 01:31:55,559
Speaker 1: And Jill still use colorful metaphors when she wants something.

1775
01:31:56,640 --> 01:31:58,120
Speaker 8: I need, I need, I need.

1776
01:31:59,479 --> 01:32:02,240
Speaker 3: Yeah, yeah. I sent her a song for my album

1777
01:32:02,560 --> 01:32:05,799
Speaker 3: that this sounds like that tying down. She said, it's

1778
01:32:06,600 --> 01:32:07,959
Speaker 3: not yellow enough.

1779
01:32:08,080 --> 01:32:08,639
Speaker 1: Yo, dog.

1780
01:32:09,080 --> 01:32:13,439
Speaker 2: Every Jill is the most song rejecting person I know

1781
01:32:13,520 --> 01:32:14,400
Speaker 2: in this lifetime.

1782
01:32:14,680 --> 01:32:17,040
Speaker 1: And it's always a metaphor.

1783
01:32:17,640 --> 01:32:19,280
Speaker 3: It's gotta be green. It's like.

1784
01:32:20,800 --> 01:32:22,200
Speaker 1: She's big on synesthesia.

1785
01:32:22,479 --> 01:32:24,760
Speaker 3: Yeah she gets it, but but let me write that

1786
01:32:24,800 --> 01:32:25,160
Speaker 3: word down.

1787
01:32:25,240 --> 01:32:25,640
Speaker 1: Say what now?

1788
01:32:25,760 --> 01:32:26,320
Speaker 6: Synesthesia?

1789
01:32:26,760 --> 01:32:30,360
Speaker 2: Synesthesia that's when you hear music or sounds, and it

1790
01:32:30,439 --> 01:32:34,040
Speaker 2: makes you think of a color. That is all. That

1791
01:32:34,160 --> 01:32:37,559
Speaker 2: is all Jill Skoy is about. Yes, and he wanted

1792
01:32:37,680 --> 01:32:38,760
Speaker 2: like strawberry moon.

1793
01:32:39,560 --> 01:32:43,519
Speaker 4: Yeah, and her wanted and her genius allows her to

1794
01:32:43,600 --> 01:32:46,160
Speaker 4: convey it right in a way where you like, oh,

1795
01:32:46,400 --> 01:32:48,240
Speaker 4: this sound, this chord.

1796
01:32:48,000 --> 01:32:50,480
Speaker 3: This feeling, whether you're.

1797
01:32:50,160 --> 01:32:53,080
Speaker 4: You're I'm gonna make this up, whether you're a synesthetic

1798
01:32:53,200 --> 01:32:57,320
Speaker 4: or not, you understand what she's saying back.

1799
01:32:57,120 --> 01:33:01,240
Speaker 1: To right, we play. We can do that, all right?

1800
01:33:01,320 --> 01:33:03,000
Speaker 1: So I learned a lot this episode.

1801
01:33:03,640 --> 01:33:07,880
Speaker 4: Also listen, I gotta I gotta do this man. I

1802
01:33:07,920 --> 01:33:11,560
Speaker 4: gotta give my man quest love his flowers. I continue

1803
01:33:11,600 --> 01:33:16,639
Speaker 4: to say in every interview, every problems, I just gotta

1804
01:33:16,680 --> 01:33:19,600
Speaker 4: say this, Like every MD also has an m D

1805
01:33:20,520 --> 01:33:23,800
Speaker 4: and a mere quest love. Thompson is my forever m D.

1806
01:33:24,280 --> 01:33:28,400
Speaker 4: I he can or cannot. I set three in the

1807
01:33:28,439 --> 01:33:30,640
Speaker 4: morning and I say, Yo, what you think about D

1808
01:33:30,760 --> 01:33:32,800
Speaker 4: D D D D or what the cord for this?

1809
01:33:32,920 --> 01:33:33,880
Speaker 3: Or how should I do this?

1810
01:33:34,000 --> 01:33:37,280
Speaker 4: Or like I'm still asking and gaining knowledge and and

1811
01:33:37,280 --> 01:33:41,040
Speaker 4: and hopefully you know, you know, bro that what you've

1812
01:33:41,120 --> 01:33:45,639
Speaker 4: spawned in me is so many other Now the people

1813
01:33:45,680 --> 01:33:47,960
Speaker 4: you say I've inspired, they got to know that where

1814
01:33:48,000 --> 01:33:51,120
Speaker 4: I get it from. And so between you and James

1815
01:33:51,160 --> 01:33:54,280
Speaker 4: and Rich and and and just the whole crew, it's like,

1816
01:33:54,720 --> 01:33:57,599
Speaker 4: I appreciate you for taking a chance on me. Literally

1817
01:33:57,600 --> 01:34:01,800
Speaker 4: Philadelphia changed my life and you know here we are QLs.

1818
01:34:02,000 --> 01:34:06,720
Speaker 1: Well, thank you very much, thank you. Yes, I'll take

1819
01:34:06,760 --> 01:34:07,719
Speaker 1: these damn flowers.

1820
01:34:07,760 --> 01:34:08,600
Speaker 3: Thank you.

1821
01:34:08,640 --> 01:34:10,040
Speaker 1: Now you know what I learned. You know what I

1822
01:34:10,160 --> 01:34:11,120
Speaker 1: learned this episode.

1823
01:34:11,160 --> 01:34:13,920
Speaker 2: And I was quasi joking when it came to me,

1824
01:34:13,960 --> 01:34:19,360
Speaker 2: but now realize, like, damn, Adam's right, like I gotta

1825
01:34:19,400 --> 01:34:24,719
Speaker 2: control my my deaths is a real Yeah. I don't

1826
01:34:24,760 --> 01:34:27,280
Speaker 2: want nobody showing that damn Like every time I go

1827
01:34:27,360 --> 01:34:30,839
Speaker 2: to sports events, they always show the damn Justin Bieber

1828
01:34:31,000 --> 01:34:31,679
Speaker 2: drum battle.

1829
01:34:32,479 --> 01:34:36,040
Speaker 3: Yeah you like you know, listen, I gotta say.

1830
01:34:35,880 --> 01:34:39,000
Speaker 1: Man, like, no offense is just to biberm only.

1831
01:34:39,320 --> 01:34:40,160
Speaker 3: No, no, we're not talking.

1832
01:34:40,200 --> 01:34:43,200
Speaker 4: It's not about Beber, but what we've done in our

1833
01:34:43,280 --> 01:34:47,160
Speaker 4: lives that what has made the you know, the impact on.

1834
01:34:47,200 --> 01:34:49,960
Speaker 3: People, because you don't you know that casket.

1835
01:34:49,600 --> 01:34:51,240
Speaker 4: Man is real and we don't want to be like,

1836
01:34:51,280 --> 01:34:53,720
Speaker 4: oh he was an asshole, look at him up there

1837
01:34:53,760 --> 01:34:57,439
Speaker 4: with like you know what I'm saying, like that, ain't

1838
01:34:57,840 --> 01:35:00,320
Speaker 4: we want to. We want to know when you freaking

1839
01:35:00,400 --> 01:35:04,040
Speaker 4: started playing drumming jungle and drumming based on you got me? Like,

1840
01:35:04,200 --> 01:35:09,080
Speaker 4: whoa how? That just was like what the like? Those

1841
01:35:09,120 --> 01:35:11,120
Speaker 4: are the things? You know what I'm saying, that's.

1842
01:35:11,080 --> 01:35:12,960
Speaker 6: My moment to Adam, that's my favorite quest.

1843
01:35:13,120 --> 01:35:14,080
Speaker 1: It's called a legacy.

1844
01:35:14,439 --> 01:35:16,000
Speaker 3: Legacy, Baby, it's.

1845
01:35:15,840 --> 01:35:19,240
Speaker 2: Called a legacy left that you've yet to do that

1846
01:35:19,280 --> 01:35:20,040
Speaker 2: you want to do.

1847
01:35:21,360 --> 01:35:24,920
Speaker 4: Winning that in me, bro let me know that Egot

1848
01:35:25,120 --> 01:35:29,040
Speaker 4: was was stop playing very much was very much a

1849
01:35:29,200 --> 01:35:33,920
Speaker 4: real thing, and it's attainable. It's very much attainable. Watching

1850
01:35:33,960 --> 01:35:37,719
Speaker 4: you get two in one year, it was like okay

1851
01:35:38,600 --> 01:35:41,200
Speaker 4: and there you go and inspira And sometimes we just

1852
01:35:41,240 --> 01:35:43,759
Speaker 4: need to see our own whether it's our own color,

1853
01:35:43,880 --> 01:35:46,040
Speaker 4: or our own people or our own friends, like do

1854
01:35:46,120 --> 01:35:47,760
Speaker 4: it because you know that you can do it. What

1855
01:35:47,840 --> 01:35:52,040
Speaker 4: I want to do is inspire kids to know that

1856
01:35:52,680 --> 01:35:54,960
Speaker 4: follow your dreams and it could happen like I. You know,

1857
01:35:55,240 --> 01:35:56,840
Speaker 4: earlier I might have thought I wanted to be in

1858
01:35:56,880 --> 01:36:01,200
Speaker 4: the NBA or play baseball. Now I'm like doing halftime

1859
01:36:01,240 --> 01:36:03,200
Speaker 4: at the NBA All Star Game every year. I'm like,

1860
01:36:03,200 --> 01:36:05,160
Speaker 4: if this is if the music is what got me

1861
01:36:05,200 --> 01:36:08,960
Speaker 4: to the NBA. Thank your you know what I'm saying.

1862
01:36:11,240 --> 01:36:13,320
Speaker 4: But I don't know if there's anything else. Man, I'm

1863
01:36:13,320 --> 01:36:16,040
Speaker 4: gonna just take it day by day and you know,

1864
01:36:16,439 --> 01:36:20,439
Speaker 4: gig by gig and you know, just be super thankful, yo.

1865
01:36:20,600 --> 01:36:21,320
Speaker 3: Thankful music.

1866
01:36:21,479 --> 01:36:23,920
Speaker 4: Music has the power to take to do anything and

1867
01:36:24,000 --> 01:36:27,160
Speaker 4: heal and take us anywhere.

1868
01:36:26,200 --> 01:36:28,360
Speaker 5: Inspire and grown ups to just so you know a

1869
01:36:28,400 --> 01:36:30,280
Speaker 5: lot of us.

1870
01:36:30,680 --> 01:36:33,559
Speaker 3: Yeah, well you gave question Love all his flowers. Now

1871
01:36:33,640 --> 01:36:35,040
Speaker 3: to tell everybody who your favorite you.

1872
01:36:35,240 --> 01:36:48,080
Speaker 4: Is Mandell Mix, don't get in trouble'd be right.

1873
01:36:48,400 --> 01:36:50,920
Speaker 3: That's a hard question, a rough question.

1874
01:36:51,720 --> 01:36:52,400
Speaker 6: About the day.

1875
01:36:52,920 --> 01:36:57,000
Speaker 1: We are chilling and ship everybody.

1876
01:36:57,360 --> 01:37:02,320
Speaker 11: We love every God No, Adam, I yo, man, I

1877
01:37:02,360 --> 01:37:05,640
Speaker 11: couldn't be more proud of you man and I and

1878
01:37:05,840 --> 01:37:08,360
Speaker 11: just to see your growth, this is awesome.

1879
01:37:09,040 --> 01:37:13,240
Speaker 2: I thank you for doing this and it's it's amazing

1880
01:37:13,280 --> 01:37:14,679
Speaker 2: to see your work.

1881
01:37:14,720 --> 01:37:16,759
Speaker 1: I can't see what you have in the future.

1882
01:37:17,000 --> 01:37:20,080
Speaker 2: And thank you for spending this time with us on

1883
01:37:20,160 --> 01:37:24,360
Speaker 2: behalf of Unpaid Bill who's working on his umteeenth Tony

1884
01:37:25,040 --> 01:37:31,160
Speaker 2: and Sugar Steve, our favorite person of all time, voniglo.

1885
01:37:30,920 --> 01:37:32,559
Speaker 3: An inside joke between me and.

1886
01:37:32,479 --> 01:37:39,120
Speaker 1: Adam and and my year. This is another great episode

1887
01:37:39,160 --> 01:37:41,280
Speaker 1: of Quest Love Supreme. You know we will see you

1888
01:37:41,320 --> 01:37:54,960
Speaker 1: on the next go round, all right? What's Love Supreme?

1889
01:37:55,040 --> 01:38:03,640
Speaker 1: Is a production of iHeartRadio. For more podcasts from iHeartRadio,

1890
01:38:03,760 --> 01:38:07,479
Speaker 1: visit the iHeartRadio app, Apple Podcasts, or wherever you listen

1891
01:38:07,520 --> 01:38:08,439
Speaker 1: to your favorite shows.