1
00:00:15,476 --> 00:00:23,436
Speaker 1: Pushkin Tinache's changing what a pop music career can look like.

2
00:00:24,276 --> 00:00:27,516
Speaker 1: Back in twenty fourteen, her song two On featuring Schoolboy

3
00:00:27,636 --> 00:00:30,756
Speaker 1: Q became a huge hit. It was her very first

4
00:00:30,796 --> 00:00:33,356
Speaker 1: single from her very first album and seems like a

5
00:00:33,396 --> 00:00:37,796
Speaker 1: clear indication that she was poised for more chart success. Instead,

6
00:00:37,876 --> 00:00:41,756
Speaker 1: something maybe more interesting happened. Instead of dominating the pop market,

7
00:00:41,876 --> 00:00:45,196
Speaker 1: she released projects that missed the Billboard chart but gained

8
00:00:45,196 --> 00:00:49,076
Speaker 1: her an incredibly strong and loyal fan base. She even

9
00:00:49,116 --> 00:00:51,436
Speaker 1: left her label in twenty nineteen to go independent and

10
00:00:51,476 --> 00:00:54,956
Speaker 1: brought her fans along with her, and now ten years later,

11
00:00:55,236 --> 00:00:59,036
Speaker 1: has her second Billboard hit with the viral sensation Nasty.

12
00:00:59,916 --> 00:01:03,156
Speaker 1: Nasty comes from her new album Quantum Baby, the second

13
00:01:03,196 --> 00:01:05,596
Speaker 1: part in a trilogy of albums that, to my ears,

14
00:01:05,636 --> 00:01:09,276
Speaker 1: sounds like her best work yet. I spoke to Tina

15
00:01:09,516 --> 00:01:13,316
Speaker 1: from Amazon's Studio one twenty six about these trio of albums,

16
00:01:13,356 --> 00:01:16,916
Speaker 1: including her big summer hit and the time she spent

17
00:01:17,036 --> 00:01:23,596
Speaker 1: weeks filming The Polar Express with Tom Hanks. This is

18
00:01:23,676 --> 00:01:27,436
Speaker 1: broken record liner notes for the digital Age. I'm justin Mitchman.

19
00:01:28,316 --> 00:01:35,036
Speaker 1: Here's my conversation with Tinche Yo. Congratulations on like everything,

20
00:01:35,196 --> 00:01:36,756
Speaker 1: Yeah thing is crazy.

21
00:01:36,836 --> 00:01:37,716
Speaker 2: I know, I'm excited.

22
00:01:37,796 --> 00:01:42,076
Speaker 1: We kind of set this up like a while ago.

23
00:01:42,076 --> 00:01:44,516
Speaker 1: I want to say, like before the song was going

24
00:01:44,556 --> 00:01:48,916
Speaker 1: to do it. You've been doing incredible work for so long.

25
00:01:49,036 --> 00:01:52,756
Speaker 1: It's like it's incredible to see the payoff.

26
00:01:53,276 --> 00:01:56,716
Speaker 3: Yeah, it feels good time having fun.

27
00:01:56,836 --> 00:01:59,676
Speaker 1: Yeah, yeah, what was Maybe we can just start with

28
00:01:59,796 --> 00:02:05,196
Speaker 1: Nasty and yeah what I guess, or maybe let's just

29
00:02:05,196 --> 00:02:08,156
Speaker 1: start with the new part two in general, like how

30
00:02:08,196 --> 00:02:12,356
Speaker 1: were you part one in part two of Baby Angel,

31
00:02:12,476 --> 00:02:17,636
Speaker 1: Baby Angel? Pronounce it a baby Angel, Baby Angel, Like

32
00:02:17,676 --> 00:02:21,516
Speaker 1: how did you kind of make both at the same time?

33
00:02:21,756 --> 00:02:22,516
Speaker 2: Yeah?

34
00:02:22,676 --> 00:02:25,236
Speaker 3: Yeah, well I initially went in with the intention of

35
00:02:25,996 --> 00:02:28,356
Speaker 3: making a full length project, but breaking it up into

36
00:02:28,356 --> 00:02:31,516
Speaker 3: parts to give people enough time to really chew on

37
00:02:31,596 --> 00:02:34,796
Speaker 3: each piece of material. I think, you know, we live

38
00:02:34,836 --> 00:02:37,476
Speaker 3: in this day and age, it's very quick to consume,

39
00:02:38,116 --> 00:02:39,636
Speaker 3: and I think as an artist, you know, you spend

40
00:02:39,676 --> 00:02:43,236
Speaker 3: so much time working on the songs and curating them

41
00:02:43,236 --> 00:02:45,036
Speaker 3: so perfectly and listening to them over and over and

42
00:02:45,076 --> 00:02:47,276
Speaker 3: over again. There's something kind of sad every time you

43
00:02:47,316 --> 00:02:49,156
Speaker 3: release like a full length project and you're like.

44
00:02:49,196 --> 00:02:51,596
Speaker 2: Well, what about this track and this track and this track?

45
00:02:51,756 --> 00:02:53,116
Speaker 2: You know, like people get caught up.

46
00:02:53,156 --> 00:02:55,676
Speaker 3: Obviously, the singles get their light, they get their shine,

47
00:02:55,716 --> 00:02:57,916
Speaker 3: they get their little focused track.

48
00:02:57,676 --> 00:02:59,476
Speaker 2: Moment or a music video or something.

49
00:02:59,516 --> 00:03:02,116
Speaker 3: But there's usually so many other songs on a record

50
00:03:02,116 --> 00:03:04,996
Speaker 3: that you want to like celebrate or you know, let

51
00:03:05,076 --> 00:03:08,156
Speaker 3: them have their flowers. So I thought it would be

52
00:03:08,236 --> 00:03:11,196
Speaker 3: smart to break it up into three different parts, seven

53
00:03:11,276 --> 00:03:14,556
Speaker 3: songs each. So I initially started working on just like

54
00:03:14,676 --> 00:03:15,836
Speaker 3: a huge batch.

55
00:03:15,796 --> 00:03:18,396
Speaker 1: Yeah, so you wanted people to be able to digest yeah,

56
00:03:18,436 --> 00:03:18,956
Speaker 1: something in.

57
00:03:19,036 --> 00:03:23,516
Speaker 2: Yeah, just each individual batch chunk.

58
00:03:23,756 --> 00:03:26,636
Speaker 1: So then how many how many songs did you wind

59
00:03:26,716 --> 00:03:27,796
Speaker 1: up recording?

60
00:03:29,716 --> 00:03:30,116
Speaker 2: A lot?

61
00:03:30,876 --> 00:03:33,636
Speaker 3: Every project, I end up recording a lot of material usually,

62
00:03:33,756 --> 00:03:37,316
Speaker 3: so I don't know, there's not really like a set number.

63
00:03:37,316 --> 00:03:39,396
Speaker 3: But I would say it was getting into like the

64
00:03:40,196 --> 00:03:43,596
Speaker 3: I would say fifty, I would say fifty fifty records

65
00:03:43,596 --> 00:03:44,436
Speaker 3: maybe wow.

66
00:03:44,556 --> 00:03:46,556
Speaker 2: But those aren't all like fully fleshed out ideas.

67
00:03:46,836 --> 00:03:50,156
Speaker 3: They're usually like I'll start a song, make a verse hook,

68
00:03:50,996 --> 00:03:53,596
Speaker 3: call that a song, you know, Yeah, decide if I'm

69
00:03:54,356 --> 00:03:54,956
Speaker 3: fucking with.

70
00:03:54,876 --> 00:03:56,036
Speaker 2: It, I want to change it.

71
00:03:56,076 --> 00:03:57,876
Speaker 1: We'll take me to the inception of stuff. So like,

72
00:03:57,916 --> 00:04:00,836
Speaker 1: how do you how do you work with it? Like

73
00:04:00,876 --> 00:04:04,076
Speaker 1: there's some great producers on here, obviously Nasty's Ricky reed,

74
00:04:04,156 --> 00:04:07,556
Speaker 1: but you got no such thing. Yeah, he had some

75
00:04:07,596 --> 00:04:09,316
Speaker 1: incredible cuts on the part too.

76
00:04:09,596 --> 00:04:11,796
Speaker 2: Yeah, Andy produce talks to me nice on part one.

77
00:04:11,836 --> 00:04:14,196
Speaker 3: So I feel like that's like a great connection of

78
00:04:14,436 --> 00:04:17,196
Speaker 3: and also kind of shows how the cohesion between the

79
00:04:17,236 --> 00:04:20,476
Speaker 3: first project the second project, and also the evolution of

80
00:04:20,516 --> 00:04:22,556
Speaker 3: the from the first project to the second project, you know,

81
00:04:22,556 --> 00:04:25,636
Speaker 3: because they're both the same, but you know they're different,

82
00:04:26,076 --> 00:04:28,116
Speaker 3: they have their own personalities.

83
00:04:29,236 --> 00:04:31,436
Speaker 1: So how do you how do you like lock in

84
00:04:31,476 --> 00:04:33,436
Speaker 1: with the producer and kind of like tell me the

85
00:04:33,476 --> 00:04:36,156
Speaker 1: process of like who starts, like are you are you

86
00:04:36,196 --> 00:04:38,956
Speaker 1: going to listen through? Listen for some for tracks, listen for.

87
00:04:38,996 --> 00:04:40,716
Speaker 3: Yeah, and then I mean it kind of depends on

88
00:04:40,756 --> 00:04:42,916
Speaker 3: who I'm working with or kind of the mood of

89
00:04:42,956 --> 00:04:47,236
Speaker 3: the day. A lot of times will start from scratch,

90
00:04:47,276 --> 00:04:49,916
Speaker 3: depending on the producer. If they're more comfortable with like

91
00:04:49,956 --> 00:04:52,916
Speaker 3: playing beats that they've kind of made, then like that's

92
00:04:52,956 --> 00:04:56,516
Speaker 3: cool too, because I will definitely take an idea, start

93
00:04:56,556 --> 00:04:58,316
Speaker 3: something and then kind of go back in and like

94
00:04:58,396 --> 00:04:59,516
Speaker 3: make tweaks and make.

95
00:04:59,476 --> 00:05:00,156
Speaker 2: Edits that way.

96
00:05:00,796 --> 00:05:02,956
Speaker 3: But I also love starting from scratch if people are

97
00:05:02,996 --> 00:05:05,996
Speaker 3: down for that, So you know, just kind of starting

98
00:05:06,076 --> 00:05:09,716
Speaker 3: usually with like a bpm a tempo, something that feels inspiring,

99
00:05:09,996 --> 00:05:12,356
Speaker 3: something I want to dance to, something that feels different

100
00:05:12,356 --> 00:05:13,236
Speaker 3: and unique as well.

101
00:05:13,236 --> 00:05:16,316
Speaker 1: That's something in that moment feels Yeah.

102
00:05:15,996 --> 00:05:18,676
Speaker 2: Yeah, it feels right, it feels inspiring.

103
00:05:19,236 --> 00:05:21,436
Speaker 1: Is there something off Part two that started that way?

104
00:05:21,436 --> 00:05:23,196
Speaker 1: It's kind of like was all a card to you?

105
00:05:25,276 --> 00:05:27,876
Speaker 3: Yeah? I mean I feel like every record was, honestly,

106
00:05:27,956 --> 00:05:34,876
Speaker 3: thinking back on it, nasty definitely, red flags mmmm yeah,

107
00:05:34,916 --> 00:05:38,396
Speaker 3: so many, all of them. Okay, getting no sleep. He

108
00:05:38,396 --> 00:05:40,116
Speaker 3: didn't cook that one in the room though. That was

109
00:05:40,156 --> 00:05:42,556
Speaker 3: more like we had a session the first day. I

110
00:05:42,596 --> 00:05:44,676
Speaker 3: told him what I wanted. He said, I'll come back

111
00:05:44,676 --> 00:05:47,276
Speaker 3: with something tomorrow. So it was still like it was

112
00:05:47,276 --> 00:05:52,396
Speaker 3: still special, you know, Taylor tailor made for you?

113
00:05:52,596 --> 00:05:53,236
Speaker 2: Yeah, exactly.

114
00:05:53,596 --> 00:05:56,356
Speaker 1: Spend a lot more time on it, given you have

115
00:05:56,676 --> 00:06:00,116
Speaker 1: so many like great deep cuts on an album. M hm.

116
00:06:00,156 --> 00:06:01,836
Speaker 1: And that was kind of the impetus for maybe breaking

117
00:06:01,876 --> 00:06:04,196
Speaker 1: these these up a bit. How do you go about

118
00:06:04,196 --> 00:06:06,476
Speaker 1: deciding once you have a set of songs, what's what

119
00:06:06,556 --> 00:06:07,436
Speaker 1: the single is going to be?

120
00:06:07,676 --> 00:06:12,876
Speaker 3: Yeah, this, I may actually get some feedback on the

121
00:06:12,916 --> 00:06:15,356
Speaker 3: single because I do want to hear what other people

122
00:06:15,396 --> 00:06:20,076
Speaker 3: are into, but not necessarily the songs on the album itself.

123
00:06:20,116 --> 00:06:24,556
Speaker 3: Like I'll definitely refer to which ones I'm looking back

124
00:06:24,636 --> 00:06:28,396
Speaker 3: on and constantly playing to see which songs are like

125
00:06:28,476 --> 00:06:31,996
Speaker 3: the keepers. But sometimes the singles is just like playing

126
00:06:32,036 --> 00:06:33,916
Speaker 3: it for a few people and you can tell.

127
00:06:34,116 --> 00:06:35,076
Speaker 2: Sometimes it's the one that.

128
00:06:35,036 --> 00:06:37,796
Speaker 3: Sparks the idea for a music video, like, oh, I

129
00:06:37,796 --> 00:06:39,356
Speaker 3: could do this really cool concept.

130
00:06:39,836 --> 00:06:42,316
Speaker 2: I'd love to give this a moment.

131
00:06:42,596 --> 00:06:45,156
Speaker 3: Sometimes it's just highlighting up record that I feel like

132
00:06:45,236 --> 00:06:48,916
Speaker 3: would otherwise be just lost in the shuffle.

133
00:06:50,596 --> 00:06:54,036
Speaker 2: There's not like a huge rhymor reason mind.

134
00:06:53,756 --> 00:06:55,396
Speaker 1: It so, But there are some songs at the end

135
00:06:55,396 --> 00:06:57,036
Speaker 1: of the day you'll set aside as being like maybe

136
00:06:57,036 --> 00:06:58,396
Speaker 1: you have a hunch these could or.

137
00:06:58,636 --> 00:07:01,596
Speaker 3: Yeah, just because people are usually excited about it.

138
00:07:02,196 --> 00:07:05,636
Speaker 1: People in the studio, yeah yeah, or play things in

139
00:07:05,636 --> 00:07:09,516
Speaker 1: your life or whatnot. Any thing you can point as

140
00:07:09,556 --> 00:07:11,796
Speaker 1: to why you feel like Nasty is doing what it's doing.

141
00:07:13,916 --> 00:07:17,476
Speaker 2: I mean I think a lot of things.

142
00:07:17,516 --> 00:07:22,756
Speaker 3: Probably, I think the fact that the song is very catchy,

143
00:07:22,876 --> 00:07:25,116
Speaker 3: it's easy to get in your head. You can hear

144
00:07:25,156 --> 00:07:27,516
Speaker 3: it one time, you kind of remember it, or you

145
00:07:27,596 --> 00:07:31,156
Speaker 3: kind of know what's what it's about. I think the

146
00:07:31,196 --> 00:07:34,516
Speaker 3: simplicity of it lends itself to being a hit song.

147
00:07:35,556 --> 00:07:37,956
Speaker 3: I think it doesn't really sound like too much other

148
00:07:37,996 --> 00:07:40,516
Speaker 3: stuff on the radio right now or like in the

149
00:07:40,636 --> 00:07:42,836
Speaker 3: universe right now. I think it has its own vibe

150
00:07:42,876 --> 00:07:45,196
Speaker 3: with kind of the minor chord section going into like

151
00:07:45,236 --> 00:07:48,636
Speaker 3: the major chord hook. So I think that stands out

152
00:07:48,636 --> 00:07:51,316
Speaker 3: in a way. I think it's memeable. You know. It's

153
00:07:51,316 --> 00:07:54,476
Speaker 3: got these like funny, funny lines that are like is

154
00:07:54,476 --> 00:07:57,676
Speaker 3: somebody gonna match my freak? Or I having a nasty girl?

155
00:07:57,716 --> 00:08:01,636
Speaker 3: You know that people are just finding these little memorable moments.

156
00:08:02,316 --> 00:08:07,276
Speaker 3: And I also just think like time and place, like

157
00:08:07,396 --> 00:08:10,076
Speaker 3: you know, just sometimes the universe just the perfect storm

158
00:08:10,156 --> 00:08:14,316
Speaker 3: of everything coming together, everything else that's out right now

159
00:08:15,596 --> 00:08:19,116
Speaker 3: where I'm at my career, the fact that it's summer,

160
00:08:19,836 --> 00:08:20,076
Speaker 3: you know.

161
00:08:20,156 --> 00:08:22,916
Speaker 2: I think there's just so many things that go into it.

162
00:08:23,196 --> 00:08:26,476
Speaker 1: The lines part about the meaning of life, even like

163
00:08:26,516 --> 00:08:29,236
Speaker 1: you deliver it is really like your delivery on that yeah,

164
00:08:29,356 --> 00:08:32,996
Speaker 1: so interesting, even like I need somebody with a good technique.

165
00:08:36,036 --> 00:08:38,116
Speaker 1: It's just it makes you, It makes you feel something different,

166
00:08:38,156 --> 00:08:39,556
Speaker 1: you know. I mean you're like, oh, it's just like

167
00:08:39,596 --> 00:08:42,516
Speaker 1: there's a you could tell that there was really almost

168
00:08:42,516 --> 00:08:44,836
Speaker 1: sounds like a I mean in a way, it's almost

169
00:08:44,876 --> 00:08:47,556
Speaker 1: like maybe the way like an actor reads lines. Yeah,

170
00:08:47,916 --> 00:08:49,516
Speaker 1: treated I don't know that you did that.

171
00:08:49,636 --> 00:08:55,396
Speaker 3: But as a listener, there was definitely a purposefulness of

172
00:08:55,436 --> 00:08:57,836
Speaker 3: the approach to the verse. Like how I said it,

173
00:08:57,876 --> 00:08:59,956
Speaker 3: I really wanted it to be in like a conversational

174
00:09:00,036 --> 00:09:03,356
Speaker 3: part of my voice, and so it felt very in

175
00:09:03,396 --> 00:09:06,276
Speaker 3: your face and really like I was just talking to

176
00:09:06,316 --> 00:09:08,676
Speaker 3: you and not like I was trying too hard to

177
00:09:08,716 --> 00:09:10,916
Speaker 3: like perform it or sing it or do it in

178
00:09:10,956 --> 00:09:13,676
Speaker 3: my singing voice or any particular voice. Because sometimes easy

179
00:09:13,716 --> 00:09:15,276
Speaker 3: to do that too, you know, like perform it in

180
00:09:15,316 --> 00:09:17,996
Speaker 3: like a sexier tone or like you can do so

181
00:09:17,996 --> 00:09:21,236
Speaker 3: many different ways to make it interesting if you will.

182
00:09:21,236 --> 00:09:23,596
Speaker 3: But I really wanted it to be like in a talky,

183
00:09:23,756 --> 00:09:26,716
Speaker 3: conversational kind of tone.

184
00:09:27,116 --> 00:09:28,876
Speaker 1: Is that like an intentional set out in the studio?

185
00:09:29,116 --> 00:09:33,236
Speaker 1: And then like, I guess, how do you get vocal feedback? Yeah?

186
00:09:33,276 --> 00:09:35,476
Speaker 2: I also don't really get vocal feedback.

187
00:09:35,476 --> 00:09:38,676
Speaker 3: I usually it's just me and my engineer recording everything

188
00:09:39,276 --> 00:09:44,516
Speaker 3: and yeah, just doing whatever feels right. I actually don't

189
00:09:44,676 --> 00:09:46,756
Speaker 3: like vocal feedback. Every time there's like a vocal producer

190
00:09:46,796 --> 00:09:49,036
Speaker 3: in the room. I'm like, this is so annoying. Let

191
00:09:49,076 --> 00:09:52,076
Speaker 3: me sing it how I want to see it. The

192
00:09:52,196 --> 00:09:55,676
Speaker 3: initial reason was because I'd recorded it as a freestyle

193
00:09:56,156 --> 00:09:59,156
Speaker 3: and I had that tone. So listening back to the

194
00:09:59,196 --> 00:10:02,916
Speaker 3: freestyle that I'd recorded, I was like, that sounds good.

195
00:10:03,076 --> 00:10:06,276
Speaker 3: I tried to mimic it, and it didn't come across

196
00:10:06,316 --> 00:10:08,636
Speaker 3: that same way. So I was very specific in trying

197
00:10:08,676 --> 00:10:12,796
Speaker 3: to like mimic it the way that I just was

198
00:10:12,836 --> 00:10:14,476
Speaker 3: saying when I was messing around.

199
00:10:14,836 --> 00:10:16,756
Speaker 1: Wait, so what part of exactly was a freestyle?

200
00:10:16,876 --> 00:10:21,236
Speaker 3: The whole I've been a nasty girl, nasty and is

201
00:10:21,276 --> 00:10:24,916
Speaker 3: somebody gonna match my freak? Is somebody gonna match my freak?

202
00:10:24,996 --> 00:10:26,516
Speaker 3: Is somebody gonna match my nasty?

203
00:10:26,596 --> 00:10:30,756
Speaker 2: The whole thing? The uh, the whole thing.

204
00:10:31,676 --> 00:10:31,996
Speaker 3: I have it.

205
00:10:32,116 --> 00:10:34,876
Speaker 2: I have it in my computer on photo booth.

206
00:10:35,636 --> 00:10:38,356
Speaker 1: Wait, is that what you were? It wasn't like a

207
00:10:38,436 --> 00:10:40,596
Speaker 1: voicemail you got you hopped on photo booth.

208
00:10:40,716 --> 00:10:42,796
Speaker 3: Yeah. Because I was driving in my car and the

209
00:10:42,876 --> 00:10:44,476
Speaker 3: music was playing off my phone, so I had to

210
00:10:44,516 --> 00:10:47,956
Speaker 3: record myself. So I had my laptop and the passengers like,

211
00:10:47,996 --> 00:10:51,876
Speaker 3: open it up, very sick. I wasn't filming myself.

212
00:10:51,876 --> 00:10:55,596
Speaker 2: It was just filming the audio then Yeah, how.

213
00:10:55,516 --> 00:10:58,316
Speaker 1: Much is that a part of your process freestyling?

214
00:10:58,436 --> 00:11:01,196
Speaker 3: Yeah, I feel like that gives me the best product.

215
00:11:01,316 --> 00:11:04,076
Speaker 3: So I always try to be very purposeful about following

216
00:11:04,076 --> 00:11:08,236
Speaker 3: my instinct and making sure that I record my initial

217
00:11:08,276 --> 00:11:12,796
Speaker 3: instinct on a b That's really important too, because a

218
00:11:12,796 --> 00:11:14,396
Speaker 3: lot of times I just think that that's your best

219
00:11:14,396 --> 00:11:15,716
Speaker 3: idea for some reason.

220
00:11:16,476 --> 00:11:19,916
Speaker 1: Just is so recording things going back to hear what

221
00:11:19,956 --> 00:11:22,916
Speaker 1: the initial like, Yeah, what really spoke to you initially? Yeah,

222
00:11:22,956 --> 00:11:27,476
Speaker 1: and then yeah, not exaggerating but building on them yeah hmm.

223
00:11:27,516 --> 00:11:30,276
Speaker 3: And a lot of times either there will be words already,

224
00:11:30,676 --> 00:11:33,836
Speaker 3: like with Nasty there were actual words, tangible words, but

225
00:11:33,876 --> 00:11:35,196
Speaker 3: sometimes it's just melodies.

226
00:11:35,276 --> 00:11:36,356
Speaker 2: Sometimes it's gibberish.

227
00:11:36,836 --> 00:11:39,556
Speaker 3: Sometimes it's a word here and there, mumbo jumbo, and

228
00:11:39,556 --> 00:11:43,236
Speaker 3: you kind of have to like excavate the lyrics. But yeah,

229
00:11:43,276 --> 00:11:46,356
Speaker 3: I think that's usually how I write nearly every song.

230
00:11:46,796 --> 00:11:47,876
Speaker 1: Wow, that's really cool.

231
00:11:48,036 --> 00:11:50,516
Speaker 3: Yeah, you just kind of felt like, yeah, well I

232
00:11:50,516 --> 00:11:53,956
Speaker 3: really love that, Like West Coast kind of chilled but

233
00:11:54,076 --> 00:11:56,476
Speaker 3: still makes you want to dance. It's that pocket that

234
00:11:56,516 --> 00:12:00,036
Speaker 3: like everyone wants to bob their head. Everyone could kind

235
00:12:00,036 --> 00:12:03,076
Speaker 3: of catch that beat. It's not too up, it's not

236
00:12:03,196 --> 00:12:07,116
Speaker 3: too slow. Yeah, And I've been DJing a lot lately

237
00:12:07,156 --> 00:12:08,916
Speaker 3: and there's always like a lot of songs in that

238
00:12:08,956 --> 00:12:12,556
Speaker 3: like ninety nine one hundred bpm that I love to play.

239
00:12:12,916 --> 00:12:14,556
Speaker 3: I don't know because I grew up on the West Coast,

240
00:12:14,596 --> 00:12:16,796
Speaker 3: but it was like sweet Spot.

241
00:12:17,436 --> 00:12:18,436
Speaker 1: What are those tracks?

242
00:12:18,796 --> 00:12:21,196
Speaker 3: I don't know, like anything like Ti Dolla Sign or

243
00:12:21,236 --> 00:12:24,436
Speaker 3: like YG you know, like that it's giving that laid back,

244
00:12:24,716 --> 00:12:28,796
Speaker 3: effortless bop energy and wanting to kind of start with

245
00:12:28,836 --> 00:12:29,916
Speaker 3: that pocket.

246
00:12:29,716 --> 00:12:33,676
Speaker 1: Okay, dope. When did you officially move to California?

247
00:12:33,756 --> 00:12:34,636
Speaker 2: How old were seven?

248
00:12:34,796 --> 00:12:35,396
Speaker 1: You were seven?

249
00:12:35,556 --> 00:12:35,916
Speaker 2: Yeah?

250
00:12:36,156 --> 00:12:40,036
Speaker 1: Did it feel? How was coming out here? Like? Because

251
00:12:40,076 --> 00:12:42,796
Speaker 1: you were obviously from a young age plugged into the arts,

252
00:12:42,796 --> 00:12:46,196
Speaker 1: plugged into music, digesting things that you're taking in. How

253
00:12:46,196 --> 00:12:50,516
Speaker 1: did how to moving here change the way you you

254
00:12:50,796 --> 00:12:52,796
Speaker 1: listened to things and felt things and what you wanted

255
00:12:52,796 --> 00:12:53,036
Speaker 1: to do.

256
00:12:53,116 --> 00:12:55,116
Speaker 3: I feel like the West Coast has such a specific

257
00:12:56,316 --> 00:13:00,476
Speaker 3: style of just culture and sound, whether it be like

258
00:13:00,636 --> 00:13:03,956
Speaker 3: how the culture of creating music, you know, being in

259
00:13:04,676 --> 00:13:06,996
Speaker 3: that culture from really young age, being in the studios,

260
00:13:07,156 --> 00:13:09,876
Speaker 3: you know, seeing how songs were made, you know how

261
00:13:09,956 --> 00:13:14,116
Speaker 3: producers worked, you know, just the culture of chilling in

262
00:13:14,276 --> 00:13:16,556
Speaker 3: La and the laid backness of it all. And I

263
00:13:16,636 --> 00:13:19,796
Speaker 3: think that has a lot to do with like approach,

264
00:13:20,116 --> 00:13:25,636
Speaker 3: subject matter, PPM style, just different things that I tend

265
00:13:25,676 --> 00:13:28,996
Speaker 3: to like, you know, growing up here has a very

266
00:13:29,196 --> 00:13:32,316
Speaker 3: clear vibe in my opinion.

267
00:13:32,876 --> 00:13:35,716
Speaker 1: Yeah, it's hard to explain I think to people that

268
00:13:35,756 --> 00:13:37,556
Speaker 1: don't grow I grew up here too. It's like and

269
00:13:37,716 --> 00:13:42,116
Speaker 1: there is a certain cadence and a swim rhythm. I

270
00:13:42,116 --> 00:13:44,316
Speaker 1: guess a rhythm to life here, and I guess it's

271
00:13:44,316 --> 00:13:45,956
Speaker 1: maybe like you can explain to New Yorker because they

272
00:13:45,996 --> 00:13:48,236
Speaker 1: also have a rhythm that they're plugged.

273
00:13:47,916 --> 00:13:49,876
Speaker 2: Into the different one, but they feel.

274
00:13:49,916 --> 00:13:52,956
Speaker 1: Very much and feels superior.

275
00:13:53,036 --> 00:13:53,316
Speaker 3: Yeah.

276
00:13:53,436 --> 00:13:58,876
Speaker 1: Sometimes, But but I do think like like coming like

277
00:13:59,276 --> 00:14:04,316
Speaker 1: you know, obviously the legacy of kind of like that

278
00:14:04,436 --> 00:14:06,676
Speaker 1: West Coast swing that goes into like a yg My

279
00:14:06,756 --> 00:14:10,276
Speaker 1: crazy life and all these others like I love And

280
00:14:10,316 --> 00:14:11,756
Speaker 1: now that you're saying that, I can kind of hear

281
00:14:11,796 --> 00:14:14,756
Speaker 1: that because you do have a unique.

282
00:14:13,956 --> 00:14:15,596
Speaker 2: Style, Yeah, thank you.

283
00:14:15,756 --> 00:14:19,556
Speaker 1: And it feels like because Tuon it was your first single, Yeah,

284
00:14:19,876 --> 00:14:22,836
Speaker 1: turned out to be a big Yeah, definitely, and it

285
00:14:22,876 --> 00:14:25,556
Speaker 1: feels like you kind of came fully formed.

286
00:14:25,916 --> 00:14:28,116
Speaker 3: Yeah, well it had that pocket too, so I feel

287
00:14:28,116 --> 00:14:30,596
Speaker 3: like that's another reference point always like going back to

288
00:14:30,636 --> 00:14:33,116
Speaker 3: being like, how do we you know that there was

289
00:14:33,156 --> 00:14:34,996
Speaker 3: some magic in that what was that?

290
00:14:35,116 --> 00:14:37,156
Speaker 2: You know, what set that song apart?

291
00:14:37,516 --> 00:14:39,636
Speaker 3: And I think that part of it is that identity,

292
00:14:39,836 --> 00:14:43,876
Speaker 3: having that kind of its own identity, its own vibe,

293
00:14:43,916 --> 00:14:48,236
Speaker 3: its own cadence, And yeah, I don't know, I just

294
00:14:48,276 --> 00:14:50,316
Speaker 3: remember like growing up and going to dance it, you know,

295
00:14:50,436 --> 00:14:52,756
Speaker 3: just being around at the house parties and stuff like that.

296
00:14:52,796 --> 00:14:55,556
Speaker 3: I think it's just very visceral and you want to

297
00:14:55,556 --> 00:14:56,796
Speaker 3: be a part of it and you want to just

298
00:14:56,836 --> 00:15:00,676
Speaker 3: like have that energy. So going into my entire career,

299
00:15:00,716 --> 00:15:02,236
Speaker 3: I kind of always had in the back of my

300
00:15:02,236 --> 00:15:04,516
Speaker 3: head like every project has a couple of those little

301
00:15:04,756 --> 00:15:07,236
Speaker 3: tracks sprinkled in, from back to my first mixtape, Like

302
00:15:07,276 --> 00:15:09,436
Speaker 3: I have a record on there called Chainless that's like

303
00:15:09,476 --> 00:15:11,956
Speaker 3: the super West Coast, just like we shot it on Fairfax,

304
00:15:12,036 --> 00:15:14,556
Speaker 3: like shot the music video. It's just kind of funny

305
00:15:14,596 --> 00:15:16,716
Speaker 3: to see how everything comes very full circle, you know.

306
00:15:17,076 --> 00:15:21,156
Speaker 1: Yeah, Yeah, you've stayed based here your whole career. Yeah right, yeah,

307
00:15:21,196 --> 00:15:24,236
Speaker 1: how do you You're just I'm just thinking you shot your

308
00:15:24,276 --> 00:15:28,036
Speaker 1: very first video from your mixtape on Fair Facts. Yeah,

309
00:15:28,516 --> 00:15:30,716
Speaker 1: you're a very different stage in your career in life

310
00:15:30,996 --> 00:15:32,116
Speaker 1: at this point today.

311
00:15:32,276 --> 00:15:35,876
Speaker 3: Yeah, I was just driving in traffic in the exact

312
00:15:35,916 --> 00:15:37,476
Speaker 3: same location where I shot that video.

313
00:15:38,276 --> 00:15:41,356
Speaker 1: Like wow, I'm just dripping about, like how like how

314
00:15:41,396 --> 00:15:43,516
Speaker 1: you must experience a city so differently.

315
00:15:44,076 --> 00:15:45,876
Speaker 2: Yeah, I don't know, it's amazing.

316
00:15:45,996 --> 00:15:49,156
Speaker 3: I think the evolution and the journey is all these

317
00:15:49,156 --> 00:15:52,516
Speaker 3: little moments along the way really make it so much

318
00:15:52,676 --> 00:15:55,356
Speaker 3: more meaningful and impactful to be where I am now

319
00:15:55,476 --> 00:15:58,796
Speaker 3: and to kind of see firsthand you can you can

320
00:15:58,836 --> 00:16:01,596
Speaker 3: compare very easily like the then and now, and I

321
00:16:01,596 --> 00:16:03,356
Speaker 3: think that that makes it really sweet.

322
00:16:03,636 --> 00:16:07,756
Speaker 1: Yeah, yeah, absolutely. We'll be right back with more from

323
00:16:07,756 --> 00:16:16,836
Speaker 1: a conversation with Tina. We're back with Tinache. I want

324
00:16:16,836 --> 00:16:21,876
Speaker 1: to talk a bit about your journey to being like

325
00:16:21,876 --> 00:16:27,396
Speaker 1: an independent artist or your journey since becoming an independent artist.

326
00:16:28,116 --> 00:16:31,076
Speaker 1: It's interesting that you seem to kind of be ahead

327
00:16:31,076 --> 00:16:33,276
Speaker 1: of the curve a bit on that.

328
00:16:33,796 --> 00:16:34,196
Speaker 2: I don't know.

329
00:16:34,276 --> 00:16:36,076
Speaker 3: I don't know, it's the queriesst of me, Like we're

330
00:16:36,116 --> 00:16:37,276
Speaker 3: always trying to move.

331
00:16:38,596 --> 00:16:40,716
Speaker 2: Ahead of the curve.

332
00:16:40,836 --> 00:16:42,716
Speaker 1: I guess I always trying to see about corners and

333
00:16:43,036 --> 00:16:43,596
Speaker 1: I was just.

334
00:16:43,556 --> 00:16:45,916
Speaker 2: Trying to make your own path, you know, carve your

335
00:16:45,916 --> 00:16:46,476
Speaker 2: own way.

336
00:16:46,356 --> 00:16:50,796
Speaker 1: Because it's like you left your label in twenty nineteen, yeah,

337
00:16:50,836 --> 00:16:55,516
Speaker 1: and so five years later it seems to be like,

338
00:16:55,956 --> 00:16:58,996
Speaker 1: like I just saw today Neo is going independent. Really

339
00:17:00,596 --> 00:17:05,036
Speaker 1: like this is a real sort of time, a real

340
00:17:05,076 --> 00:17:08,876
Speaker 1: pivotal like kind of like a boiling point in music

341
00:17:08,916 --> 00:17:11,596
Speaker 1: where artists are realizing what they can do for themselves

342
00:17:11,596 --> 00:17:15,476
Speaker 1: and you've got like a five year head start on it.

343
00:17:16,276 --> 00:17:18,236
Speaker 1: Can you take me through the decision to go independent?

344
00:17:18,436 --> 00:17:18,916
Speaker 2: Yeah?

345
00:17:19,316 --> 00:17:22,916
Speaker 3: I think for me it The thing about the independent

346
00:17:22,996 --> 00:17:27,476
Speaker 3: route that I you know, try to emphasize or keep

347
00:17:27,516 --> 00:17:30,516
Speaker 3: in mind is that I do think I wouldn't necessarily

348
00:17:30,636 --> 00:17:32,916
Speaker 3: ride out the gate be like everyone should be independent.

349
00:17:32,996 --> 00:17:35,276
Speaker 3: I think it's like a very case by case basis.

350
00:17:35,516 --> 00:17:37,556
Speaker 3: I feel like I had a very lucky perfect storm

351
00:17:37,596 --> 00:17:39,956
Speaker 3: of like having the experience with the major label that

352
00:17:40,036 --> 00:17:42,196
Speaker 3: kind of sowed a lot of seeds for me, and

353
00:17:42,236 --> 00:17:45,316
Speaker 3: then like you know, establishing a fan base that was

354
00:17:45,556 --> 00:17:50,276
Speaker 3: very dedicated and like super loyal, so that when I

355
00:17:50,396 --> 00:17:52,076
Speaker 3: was able to make that step, they were able to

356
00:17:52,116 --> 00:17:53,996
Speaker 3: go with me and follow me and still continue to

357
00:17:53,996 --> 00:17:56,476
Speaker 3: support me. Because I do think the independent grind is

358
00:17:56,636 --> 00:18:04,116
Speaker 3: super difficult, and so I think it's it's more what's

359
00:18:04,236 --> 00:18:07,036
Speaker 3: really important is being able to tailor your career specifically

360
00:18:07,036 --> 00:18:09,636
Speaker 3: for like what works for you. Because the reason I

361
00:18:09,716 --> 00:18:14,196
Speaker 3: went into bed personally was because I just like mentally

362
00:18:14,436 --> 00:18:14,756
Speaker 3: was not.

363
00:18:16,436 --> 00:18:17,396
Speaker 2: Enjoying being in the.

364
00:18:17,396 --> 00:18:20,996
Speaker 3: Place where I couldn't make all of the creative financial,

365
00:18:22,556 --> 00:18:26,396
Speaker 3: you know, timing decisions when it came to my music.

366
00:18:26,396 --> 00:18:28,556
Speaker 3: And I think it works for some people. You know,

367
00:18:29,476 --> 00:18:31,356
Speaker 3: you know it's a complicated relationship.

368
00:18:31,876 --> 00:18:34,436
Speaker 1: Sure, yeah, but I mean like it must have been

369
00:18:34,636 --> 00:18:36,316
Speaker 1: because you know, like there's a world it must not

370
00:18:36,356 --> 00:18:38,636
Speaker 1: have even been label specific, or you could tell me

371
00:18:38,636 --> 00:18:40,556
Speaker 1: if it was, because it's like, I'm sure you could

372
00:18:40,596 --> 00:18:45,196
Speaker 1: have just like found a different relationship that worked.

373
00:18:45,236 --> 00:18:46,436
Speaker 2: You mean, like a different record late.

374
00:18:47,436 --> 00:18:47,636
Speaker 3: Yeah.

375
00:18:47,996 --> 00:18:48,276
Speaker 2: Yeah.

376
00:18:48,476 --> 00:18:51,316
Speaker 3: I wasn't interested in that at that point because I

377
00:18:51,396 --> 00:18:55,716
Speaker 3: really wanted to, I guess, prove to myself that my

378
00:18:55,796 --> 00:18:58,036
Speaker 3: decisions were still the right decisions. And I was very

379
00:18:58,076 --> 00:19:01,956
Speaker 3: wary of adding more cooks to the kitchen, if you will,

380
00:19:02,276 --> 00:19:04,556
Speaker 3: I think it you know, like when you're working with

381
00:19:04,756 --> 00:19:09,116
Speaker 3: a bigger team, a bigger machine, you start making little

382
00:19:09,196 --> 00:19:11,996
Speaker 3: compromises here and there. It's not necessarily like it's in

383
00:19:12,036 --> 00:19:14,036
Speaker 3: your face, and it's very cut and dry, like I'm

384
00:19:14,036 --> 00:19:17,196
Speaker 3: making the wrong decision. It's you know, you start listening

385
00:19:17,276 --> 00:19:19,556
Speaker 3: to so many different opinions and there's a lot of

386
00:19:19,556 --> 00:19:21,596
Speaker 3: outside noise, and I think I really wanted to just

387
00:19:21,636 --> 00:19:24,316
Speaker 3: eliminate all of that, go back to my roots, go

388
00:19:24,396 --> 00:19:27,316
Speaker 3: back to making music in my house, in my home,

389
00:19:27,716 --> 00:19:31,476
Speaker 3: and being the sole decider of like this is the one,

390
00:19:31,556 --> 00:19:32,716
Speaker 3: this is what I'm going to do, this is what

391
00:19:32,756 --> 00:19:35,276
Speaker 3: I want to put out, and so yeah, it was

392
00:19:35,356 --> 00:19:37,076
Speaker 3: just really important for me at the time to make

393
00:19:37,116 --> 00:19:40,836
Speaker 3: that decision to like fully embrace.

394
00:19:42,276 --> 00:19:45,796
Speaker 2: Being by myself, you know, on a creative front.

395
00:19:46,116 --> 00:19:50,596
Speaker 1: Yeah, you had mentioned that it's like, you know, when

396
00:19:50,596 --> 00:19:53,916
Speaker 1: you go independent, there's not like some you know, I

397
00:19:53,956 --> 00:19:57,876
Speaker 1: mean there's kind of there's not some like predetermined path

398
00:19:57,916 --> 00:19:59,196
Speaker 1: like you kind of have to tailor it to you.

399
00:19:59,436 --> 00:20:01,716
Speaker 1: That's who you are as an artist and you taste.

400
00:20:01,916 --> 00:20:04,556
Speaker 1: So what were some of those early conversations you were

401
00:20:04,596 --> 00:20:07,436
Speaker 1: having amongst you know, your team at that point about

402
00:20:07,476 --> 00:20:10,236
Speaker 1: what how you could position yourself to be successful?

403
00:20:10,516 --> 00:20:13,836
Speaker 3: Yeah, I mean the biggest question mark is always like

404
00:20:13,876 --> 00:20:16,436
Speaker 3: how are we going to fund this? So it's there's

405
00:20:16,476 --> 00:20:19,796
Speaker 3: big ideas, but without you know, a major label budget.

406
00:20:20,036 --> 00:20:23,116
Speaker 3: You're constantly thinking about how are we going to find

407
00:20:23,156 --> 00:20:27,676
Speaker 3: the funds, get the funds or you know, like make

408
00:20:27,756 --> 00:20:28,316
Speaker 3: the funds.

409
00:20:28,836 --> 00:20:30,596
Speaker 2: You know, like you just have to figure it out.

410
00:20:30,636 --> 00:20:31,956
Speaker 2: You get very super.

411
00:20:33,116 --> 00:20:36,156
Speaker 3: Smart about how you spread out your financial decisions, where

412
00:20:36,196 --> 00:20:38,916
Speaker 3: you spend the money, how you spend the money, looking

413
00:20:38,916 --> 00:20:40,876
Speaker 3: for like the tiniest ways to be able to cut

414
00:20:40,876 --> 00:20:45,276
Speaker 3: corners to maximize the art itself. And I think for

415
00:20:45,356 --> 00:20:49,436
Speaker 3: a couple of years that was definitely something that was

416
00:20:49,476 --> 00:20:51,356
Speaker 3: a big focus was just trying to figure out how

417
00:20:51,396 --> 00:20:54,796
Speaker 3: do we just keep it going, keep the art coming, keep.

418
00:20:54,636 --> 00:20:58,316
Speaker 2: The music videos coming with the budget that we've got.

419
00:20:58,596 --> 00:21:01,116
Speaker 1: And did you feel like you had to almost step

420
00:21:01,236 --> 00:21:02,756
Speaker 1: up the output in a sense.

421
00:21:02,956 --> 00:21:05,316
Speaker 3: Of course, because you always have to continue to step

422
00:21:05,396 --> 00:21:09,116
Speaker 3: up the output, I think just competing in this environment,

423
00:21:09,236 --> 00:21:11,276
Speaker 3: and also as the type of artist that I am,

424
00:21:11,556 --> 00:21:13,756
Speaker 3: Like I'm not brand new, so I'm constantly trying to

425
00:21:13,836 --> 00:21:17,156
Speaker 3: raise the bar creatively and with my own work.

426
00:21:17,556 --> 00:21:18,596
Speaker 2: So I mean a lot.

427
00:21:18,436 --> 00:21:21,116
Speaker 3: Of times when you have like crazier and crazier ideas,

428
00:21:21,356 --> 00:21:23,356
Speaker 3: you know, it costs more and more money, so you're

429
00:21:23,756 --> 00:21:27,356
Speaker 3: it's just something that you're constantly trying to figure out

430
00:21:27,396 --> 00:21:30,036
Speaker 3: where how to negotiate that, like within your own mind.

431
00:21:30,196 --> 00:21:32,116
Speaker 3: You know, as an artist, obviously you never want to

432
00:21:32,116 --> 00:21:34,156
Speaker 3: compromise your art and you can't, but you have to

433
00:21:34,236 --> 00:21:37,996
Speaker 3: figure out how to be crafty sometimes.

434
00:21:38,756 --> 00:21:44,476
Speaker 1: Right How how I mean, how did that then impact

435
00:21:44,916 --> 00:21:45,756
Speaker 1: the art?

436
00:21:46,116 --> 00:21:46,436
Speaker 2: Yeah?

437
00:21:46,956 --> 00:21:50,396
Speaker 3: I think I enjoyed it because it was empowering in

438
00:21:50,436 --> 00:21:52,236
Speaker 3: a sense. I mean, it was difficult, but it was

439
00:21:52,276 --> 00:21:55,556
Speaker 3: empowering to know that all of the output was because

440
00:21:55,596 --> 00:21:58,796
Speaker 3: of hard work and great relationships and.

441
00:22:00,276 --> 00:22:04,036
Speaker 2: You know, just the strength if you will.

442
00:22:05,956 --> 00:22:09,636
Speaker 3: So Yeah, I think everything that we did have going

443
00:22:09,676 --> 00:22:12,636
Speaker 3: independent really led up to these moments that I'm having now,

444
00:22:12,836 --> 00:22:14,996
Speaker 3: really paved the way because I was able to re

445
00:22:15,196 --> 00:22:20,716
Speaker 3: establish I think how like my perception within the industry.

446
00:22:20,756 --> 00:22:23,356
Speaker 3: I think people respected the fact that I was making

447
00:22:23,476 --> 00:22:27,476
Speaker 3: it on my own and that kind of changed I

448
00:22:27,516 --> 00:22:29,396
Speaker 3: think how people perceived me.

449
00:22:29,876 --> 00:22:32,556
Speaker 1: Yeah, I could see that because you know, like obviously

450
00:22:32,556 --> 00:22:35,676
Speaker 1: when your first singles too on and it does what

451
00:22:35,756 --> 00:22:38,236
Speaker 1: it does, I mean, I'm sure there must have been

452
00:22:38,396 --> 00:22:40,116
Speaker 1: some sort of temptation to just sort of slot you

453
00:22:40,156 --> 00:22:45,396
Speaker 1: into the pop machinery. Yeah, but very clearly like you

454
00:22:45,436 --> 00:22:47,316
Speaker 1: are a different kind of artist.

455
00:22:47,556 --> 00:22:47,916
Speaker 2: Yeah.

456
00:22:47,956 --> 00:22:52,116
Speaker 3: Well, I don't like being put in a specific box

457
00:22:52,556 --> 00:22:57,036
Speaker 3: very much. I tend to break and push against that.

458
00:22:57,516 --> 00:23:00,916
Speaker 3: So I feel that initially there were a lot of labels,

459
00:23:01,356 --> 00:23:03,956
Speaker 3: whether it was just simple things like genre. Like I

460
00:23:03,996 --> 00:23:07,796
Speaker 3: was very opposed to being labeled as like a particular genre,

461
00:23:08,396 --> 00:23:10,956
Speaker 3: and still to this day, I don't feel that pressure

462
00:23:10,956 --> 00:23:12,876
Speaker 3: as much anymore because I feel like people have an

463
00:23:12,956 --> 00:23:15,476
Speaker 3: understanding of like the fact that I do genre hop

464
00:23:15,476 --> 00:23:18,396
Speaker 3: and use a lot of inspiration from different things. But

465
00:23:18,996 --> 00:23:22,356
Speaker 3: I definitely feel like at the beginning, just a very

466
00:23:22,876 --> 00:23:26,276
Speaker 3: visceral reaction to be like, no, not put me in

467
00:23:26,316 --> 00:23:26,756
Speaker 3: that box.

468
00:23:26,876 --> 00:23:28,476
Speaker 1: You're right, you know, and they're trying to just sell

469
00:23:28,516 --> 00:23:29,436
Speaker 1: you to a certain market.

470
00:23:29,596 --> 00:23:30,556
Speaker 2: Yeah, but it's so.

471
00:23:30,516 --> 00:23:33,716
Speaker 3: Much more nuanced and complicated and layered and colorful than that.

472
00:23:33,916 --> 00:23:38,956
Speaker 1: Yeah. Yeah. One one of the things I noticed about

473
00:23:39,076 --> 00:23:42,476
Speaker 1: like it was so is listening to that we spent

474
00:23:42,516 --> 00:23:45,036
Speaker 1: the last almost year with part one and now getting

475
00:23:45,036 --> 00:23:49,916
Speaker 1: the chance to preview Part two, it's refreshing that there's

476
00:23:49,956 --> 00:23:54,836
Speaker 1: no features, Like it's nice just to hear you like

477
00:23:54,876 --> 00:23:56,476
Speaker 1: straight up you like, you know what I mean, And

478
00:23:56,516 --> 00:24:02,756
Speaker 1: I feel like that's something that is I don't know,

479
00:24:02,796 --> 00:24:06,276
Speaker 1: it's not it's we don't get a lot of these days.

480
00:24:06,316 --> 00:24:08,236
Speaker 1: And I love that you're able to make decisions like that,

481
00:24:08,236 --> 00:24:10,676
Speaker 1: Like it's just gonna be you going to work on

482
00:24:10,716 --> 00:24:12,756
Speaker 1: a song with the producer and we're only going to

483
00:24:12,796 --> 00:24:14,916
Speaker 1: hear from you because I mean you have a real

484
00:24:15,036 --> 00:24:16,076
Speaker 1: distinct point of view.

485
00:24:16,236 --> 00:24:16,996
Speaker 2: Yeah, thank you.

486
00:24:17,476 --> 00:24:17,716
Speaker 1: Yeah.

487
00:24:17,796 --> 00:24:21,876
Speaker 3: I mean I love just having the work speak for itself.

488
00:24:21,916 --> 00:24:24,356
Speaker 3: And I think that that's what these projects do, which

489
00:24:24,436 --> 00:24:27,196
Speaker 3: I really love is that they're simple and the fact

490
00:24:27,196 --> 00:24:32,996
Speaker 3: that it's all me. There's not as many like side

491
00:24:33,116 --> 00:24:36,516
Speaker 3: quests and different things added to like add flavor or spice.

492
00:24:36,556 --> 00:24:41,076
Speaker 3: You know, it's just it's simple and it's all me.

493
00:24:41,276 --> 00:24:43,796
Speaker 2: So that's great, that's amazing.

494
00:24:44,236 --> 00:24:46,676
Speaker 1: Do what kind of how do you so if you're

495
00:24:46,676 --> 00:24:50,516
Speaker 1: coming from a system where there's like it's more team yeah,

496
00:24:50,676 --> 00:24:54,356
Speaker 1: or there's just kind of a larger decision making body. Yeah,

497
00:24:54,396 --> 00:24:58,916
Speaker 1: and you kind of scale this way down when you record,

498
00:24:59,036 --> 00:25:03,236
Speaker 1: say fifty something songs, Yeah, and you're thinking about, well,

499
00:25:03,276 --> 00:25:05,956
Speaker 1: I like these I want to make this into something.

500
00:25:06,396 --> 00:25:10,316
Speaker 1: Who are you talking with to sort of figure out

501
00:25:10,316 --> 00:25:13,156
Speaker 1: what the what the viue with the move is? Yeah?

502
00:25:13,236 --> 00:25:16,556
Speaker 1: Like all these good and ye put them out, et cetera.

503
00:25:16,916 --> 00:25:18,956
Speaker 3: I mean, I do have like a team that I trust,

504
00:25:19,076 --> 00:25:22,316
Speaker 3: like people that are close to me that I trust

505
00:25:22,356 --> 00:25:24,996
Speaker 3: by keep my circle super small, so I would say

506
00:25:24,996 --> 00:25:29,676
Speaker 3: it's not that many people, and even within that team,

507
00:25:29,916 --> 00:25:32,036
Speaker 3: I don't know. I think it's important to really not

508
00:25:32,116 --> 00:25:35,036
Speaker 3: even ask that many people's opinions, like really, not at all,

509
00:25:35,156 --> 00:25:37,036
Speaker 3: like truly, not at all, because I think that that

510
00:25:37,316 --> 00:25:39,676
Speaker 3: just messes with your instinct and I think a lot

511
00:25:39,716 --> 00:25:41,316
Speaker 3: of the times, at the end of the day, you

512
00:25:41,436 --> 00:25:42,996
Speaker 3: know what you want to do.

513
00:25:43,036 --> 00:25:43,556
Speaker 2: If you don't, you.

514
00:25:43,556 --> 00:25:46,516
Speaker 3: Can ask, which is great, but you don't always have

515
00:25:46,556 --> 00:25:49,596
Speaker 3: to ask. I don't know, it's not that many people.

516
00:25:49,676 --> 00:25:50,516
Speaker 3: You got to keep it tight.

517
00:25:50,636 --> 00:25:52,036
Speaker 1: Do you have any Do you have any other artists

518
00:25:52,036 --> 00:25:54,196
Speaker 1: that are kind of in your circle of people that

519
00:25:54,236 --> 00:25:55,996
Speaker 1: you could hit up to be like on a creative

520
00:25:56,036 --> 00:25:57,156
Speaker 1: decision level, like.

521
00:25:57,396 --> 00:26:01,316
Speaker 3: Not really, honestly, no really no really yeah no, not

522
00:26:01,316 --> 00:26:05,956
Speaker 3: really shocking. I mean, maybe I'm sure I could, but

523
00:26:06,036 --> 00:26:06,556
Speaker 3: I haven't.

524
00:26:07,276 --> 00:26:09,916
Speaker 1: That's really impressive because I mean the output's really good.

525
00:26:09,916 --> 00:26:13,436
Speaker 3: But I'm also very precious with my music, Like I

526
00:26:13,596 --> 00:26:17,076
Speaker 3: don't really like the experience of sharing, Like I don't

527
00:26:17,076 --> 00:26:20,236
Speaker 3: like sharing it with people. I like sharing it with people.

528
00:26:20,676 --> 00:26:23,556
Speaker 3: I don't want to be a part of it. Once

529
00:26:23,596 --> 00:26:25,516
Speaker 3: I've shared it with you, like I want to, It's

530
00:26:25,556 --> 00:26:27,796
Speaker 3: almost like I don't want to hear your feedback.

531
00:26:27,876 --> 00:26:28,396
Speaker 2: I don't want to.

532
00:26:28,796 --> 00:26:31,076
Speaker 3: I don't want to consider what you thought of it

533
00:26:31,196 --> 00:26:33,276
Speaker 3: or how you took it. Like the art speaks. It

534
00:26:33,356 --> 00:26:35,836
Speaker 3: is what it is. The art was made for the

535
00:26:35,876 --> 00:26:39,716
Speaker 3: purpose of expressing a certain feeling. How you interpret it

536
00:26:39,796 --> 00:26:42,796
Speaker 3: is your business in a sense. And that goes for

537
00:26:42,876 --> 00:26:45,076
Speaker 3: like my family friends, Like I don't like to watch

538
00:26:45,116 --> 00:26:48,036
Speaker 3: people listen to my music or hear people hear it

539
00:26:48,036 --> 00:26:51,316
Speaker 3: for the first time, Like I'd rather be totally separate.

540
00:26:50,916 --> 00:26:52,076
Speaker 2: From them, be like here it is.

541
00:26:52,836 --> 00:26:55,636
Speaker 3: Enjoy it is, yeah, Like enjoy, hate it, whatever you

542
00:26:55,756 --> 00:26:57,916
Speaker 3: do with it. But at that point, it's really not.

543
00:27:00,196 --> 00:27:03,116
Speaker 2: My business.

544
00:27:02,556 --> 00:27:08,036
Speaker 1: A strong strong that's a strong that's a strong way

545
00:27:08,076 --> 00:27:10,796
Speaker 1: to handle that. Yeah, you say too in interviews that

546
00:27:10,836 --> 00:27:14,236
Speaker 1: like you really don't. You don't even when you're making

547
00:27:14,316 --> 00:27:18,476
Speaker 1: music consider yeah, like whoa, this could be this could

548
00:27:18,476 --> 00:27:20,556
Speaker 1: be a hit, Like there's that not that that that's

549
00:27:20,716 --> 00:27:23,916
Speaker 1: not an expectation that you put on your on your art.

550
00:27:24,116 --> 00:27:26,116
Speaker 3: Yeah, because I feel like I did for a certain

551
00:27:26,116 --> 00:27:29,556
Speaker 3: amount of time and it was detrimental to my creative process.

552
00:27:29,596 --> 00:27:32,236
Speaker 2: I feel like it just changed how I would approach things.

553
00:27:32,916 --> 00:27:36,156
Speaker 3: It's too formulaic in what way, Like it's too formulaic,

554
00:27:36,436 --> 00:27:40,116
Speaker 3: Like it's too gameplaye. It limits you and how you

555
00:27:40,276 --> 00:27:43,236
Speaker 3: just like think about things like you're trying to make

556
00:27:43,276 --> 00:27:45,476
Speaker 3: it fit a certain amount of bars or you know,

557
00:27:45,676 --> 00:27:47,676
Speaker 3: sound like we got to get to the hook first,

558
00:27:47,756 --> 00:27:49,636
Speaker 3: or you know, we have to it has to be

559
00:27:49,676 --> 00:27:53,316
Speaker 3: these certain you have to say the hook, you have

560
00:27:53,356 --> 00:27:55,156
Speaker 3: to say the word four times, you know, Like there's

561
00:27:55,196 --> 00:27:57,596
Speaker 3: all these like fake rules that people make up of

562
00:27:57,676 --> 00:27:59,396
Speaker 3: like how to make a hit song, and I think

563
00:27:59,396 --> 00:28:01,756
Speaker 3: it's very limiting in terms of just like how you

564
00:28:01,796 --> 00:28:05,676
Speaker 3: approach it. I think a better decision is to just

565
00:28:06,116 --> 00:28:09,396
Speaker 3: make it however you want to make it, and then

566
00:28:09,436 --> 00:28:12,636
Speaker 3: if you want to edit it to something that feels

567
00:28:12,676 --> 00:28:15,276
Speaker 3: more consumable or more hit like or whatever.

568
00:28:15,076 --> 00:28:17,396
Speaker 1: That's different or even just more to your liking or

569
00:28:17,396 --> 00:28:17,716
Speaker 1: more to.

570
00:28:17,676 --> 00:28:19,396
Speaker 3: Your liking, which is what I tend to focus on,

571
00:28:19,476 --> 00:28:21,636
Speaker 3: Like I just don't even bother trying to like make

572
00:28:21,676 --> 00:28:21,996
Speaker 3: a hit.

573
00:28:22,116 --> 00:28:23,796
Speaker 2: I think that's fickle.

574
00:28:23,956 --> 00:28:27,036
Speaker 3: And also I consider like every song I make could

575
00:28:27,036 --> 00:28:30,036
Speaker 3: be potentially a hit, so I don't like to put

576
00:28:30,036 --> 00:28:31,636
Speaker 3: that like hierarchy on them.

577
00:28:31,676 --> 00:28:34,316
Speaker 1: You know, it's just so funny. I'm just so bugged

578
00:28:34,356 --> 00:28:36,916
Speaker 1: out because I mean I was talking to someone before

579
00:28:36,956 --> 00:28:39,556
Speaker 1: you got here, like needs to.

580
00:28:39,516 --> 00:28:42,996
Speaker 2: Me, Yeah, needs a great song sounds like just as like.

581
00:28:42,596 --> 00:28:46,316
Speaker 1: Like I'm thinking about, I'm like as great as Nasty

582
00:28:46,316 --> 00:28:50,956
Speaker 1: as I'm like, you never know, but it really goes

583
00:28:50,996 --> 00:28:53,636
Speaker 1: to it really just illustrates the point you really never do.

584
00:28:53,636 --> 00:28:55,996
Speaker 1: You never know, you never know, and so much is

585
00:28:56,036 --> 00:28:58,556
Speaker 1: out of everyone's control.

586
00:28:58,756 --> 00:29:00,396
Speaker 2: Yeah, so just make what you want to make and

587
00:29:00,436 --> 00:29:02,276
Speaker 2: then like let it, let it happen.

588
00:29:02,716 --> 00:29:09,196
Speaker 1: Does does this just having Nasty which is like like

589
00:29:10,356 --> 00:29:12,436
Speaker 1: kind of shape up to the song on the Summer?

590
00:29:12,516 --> 00:29:15,076
Speaker 1: You know what I mean? Well, like what like does

591
00:29:15,076 --> 00:29:17,676
Speaker 1: that impact the way you feel about your music or

592
00:29:17,716 --> 00:29:21,156
Speaker 1: the way that you're thinking about your sort of career

593
00:29:21,196 --> 00:29:24,196
Speaker 1: now that you are more in control of Yeah.

594
00:29:23,636 --> 00:29:26,636
Speaker 3: I mean, oh, I mean you have the thoughts, the

595
00:29:26,716 --> 00:29:29,596
Speaker 3: thoughts like creep in where you're like what now, what?

596
00:29:29,796 --> 00:29:32,476
Speaker 2: Like where do we go next? Like yeah, what if?

597
00:29:33,516 --> 00:29:37,716
Speaker 2: The what ifs? Like what happens next? What does this mean?

598
00:29:38,596 --> 00:29:41,196
Speaker 3: Thoughts of like does this mean that everything else I've

599
00:29:41,236 --> 00:29:45,556
Speaker 3: ever done is not as valuable as this? You know,

600
00:29:45,636 --> 00:29:47,316
Speaker 3: Like there's so many different ways you can look at it,

601
00:29:47,316 --> 00:29:50,476
Speaker 3: but at the end of the day, not really.

602
00:29:50,756 --> 00:29:51,236
Speaker 2: I feel like.

603
00:29:51,196 --> 00:29:53,916
Speaker 3: I'm more focused on the fact that I'm just enjoying

604
00:29:53,956 --> 00:29:56,796
Speaker 3: what's going on and like living in the moment, trying

605
00:29:56,836 --> 00:30:00,276
Speaker 3: not to like let those intrusive thoughts in or really

606
00:30:00,316 --> 00:30:01,276
Speaker 3: focus on any of that.

607
00:30:01,396 --> 00:30:02,556
Speaker 2: I think that's where you mess up.

608
00:30:02,916 --> 00:30:06,116
Speaker 3: Yeah, so yeah, I'm not really trying to change anything

609
00:30:06,116 --> 00:30:08,836
Speaker 3: about the process in terms of the art or what

610
00:30:08,836 --> 00:30:09,756
Speaker 3: I would do next.

611
00:30:10,196 --> 00:30:13,036
Speaker 1: Have you had what are the conversations you've had with

612
00:30:13,036 --> 00:30:15,796
Speaker 1: with Ricky Reid who produced it? Around it?

613
00:30:16,076 --> 00:30:19,156
Speaker 3: We're just happy, Like it's it's fun every day just

614
00:30:19,196 --> 00:30:21,876
Speaker 3: seeing all the way people are sharing it and all

615
00:30:21,876 --> 00:30:23,516
Speaker 3: the different milestones that we're hitting.

616
00:30:24,156 --> 00:30:25,276
Speaker 2: It's just like a celebration.

617
00:30:26,076 --> 00:30:29,036
Speaker 1: Yeah, it's gotta be huge. I mean it's like and

618
00:30:29,076 --> 00:30:32,196
Speaker 1: I feel like for your fans too, it's funny. Your

619
00:30:32,236 --> 00:30:35,436
Speaker 1: fans are super dedicated. Yeah, And it almost seemed as

620
00:30:35,516 --> 00:30:38,556
Speaker 1: if when you went independent, they went into like overdrive,

621
00:30:38,716 --> 00:30:44,516
Speaker 1: like super like protective, super and like so for a while,

622
00:30:44,756 --> 00:30:46,836
Speaker 1: it was like the narrative was like that you were

623
00:30:46,916 --> 00:30:49,116
Speaker 1: like underrated for something that was like your fans were

624
00:30:49,116 --> 00:30:51,396
Speaker 1: always in things like ye, people would be like, oh,

625
00:30:51,436 --> 00:30:54,396
Speaker 1: the best R and B vocalist of the twenty tens.

626
00:30:54,436 --> 00:30:55,796
Speaker 1: Then they'd be like, why.

627
00:30:55,636 --> 00:30:57,156
Speaker 2: Isn't this.

628
00:30:58,516 --> 00:31:02,676
Speaker 1: Yeah, well no, of course. It's like, dude, what a

629
00:31:02,716 --> 00:31:04,756
Speaker 1: blessing to have like fans like that that it got

630
00:31:04,796 --> 00:31:08,636
Speaker 1: your back like that, and but it's like it's so

631
00:31:09,316 --> 00:31:10,996
Speaker 1: I don't know, just as a as a I'm a

632
00:31:11,236 --> 00:31:12,796
Speaker 1: huge R and B fan, I feel like R and

633
00:31:12,796 --> 00:31:15,596
Speaker 1: B doesn't get and not that not to put you

634
00:31:15,596 --> 00:31:17,956
Speaker 1: in a box, but I feel like R and B

635
00:31:18,036 --> 00:31:19,396
Speaker 1: doesn't always get no.

636
00:31:19,436 --> 00:31:20,036
Speaker 2: It doesn't.

637
00:31:20,636 --> 00:31:22,556
Speaker 3: I think that's why I was so had such an

638
00:31:22,596 --> 00:31:25,236
Speaker 3: aversion to like being in that box. It wasn't because

639
00:31:25,236 --> 00:31:26,916
Speaker 3: I don't love R and B. It's because I know

640
00:31:27,756 --> 00:31:30,956
Speaker 3: how push to the side R and B always gets.

641
00:31:31,156 --> 00:31:31,436
Speaker 1: Yeah.

642
00:31:31,676 --> 00:31:34,156
Speaker 3: It always feels like a side category or like something

643
00:31:34,196 --> 00:31:37,036
Speaker 3: that's like, yeah, R and B, it's cool.

644
00:31:37,516 --> 00:31:40,356
Speaker 1: Yeah, it gets no, like in terms of like we

645
00:31:40,396 --> 00:31:43,756
Speaker 1: think about it like hip hop before that rock and roll, Yeah,

646
00:31:44,756 --> 00:31:46,276
Speaker 1: like take up all the oxygen in the room.

647
00:31:46,396 --> 00:31:48,236
Speaker 3: Yeah, But every time that R and B has had

648
00:31:48,276 --> 00:31:50,916
Speaker 3: its like main moment, they just consider it pop. And

649
00:31:50,996 --> 00:31:52,876
Speaker 3: I think that was like that was my issue when

650
00:31:52,916 --> 00:31:54,636
Speaker 3: I first got in the game. So I'd be like, yeah,

651
00:31:54,836 --> 00:31:57,756
Speaker 3: I make R and B. But to me that's I

652
00:31:57,756 --> 00:32:00,156
Speaker 3: don't know. I grew up in like the early two thousands,

653
00:32:00,476 --> 00:32:02,876
Speaker 3: all of the pop songs were like R and B songs.

654
00:32:02,996 --> 00:32:04,996
Speaker 1: Yeah, that is a great point that every time R

655
00:32:04,996 --> 00:32:06,956
Speaker 1: and B has a moment, it just gets called pop

656
00:32:06,996 --> 00:32:08,396
Speaker 1: like Michael Jackson's like.

657
00:32:08,596 --> 00:32:11,116
Speaker 2: Or hip hop, like it falls into other categories.

658
00:32:11,196 --> 00:32:16,516
Speaker 3: So, you know, people just the borders are so loose

659
00:32:16,596 --> 00:32:17,676
Speaker 3: in certain regards like.

660
00:32:17,676 --> 00:32:18,236
Speaker 1: What is what.

661
00:32:20,076 --> 00:32:20,436
Speaker 2: Exactly?

662
00:32:20,476 --> 00:32:22,196
Speaker 1: But there is music that we call that I guess

663
00:32:22,236 --> 00:32:24,396
Speaker 1: just for shorthand. But the funny thing about it is

664
00:32:24,396 --> 00:32:26,836
Speaker 1: like I feel like, more than any of the music,

665
00:32:26,956 --> 00:32:30,636
Speaker 1: it's always been relevant to our lives as people, like

666
00:32:30,956 --> 00:32:35,116
Speaker 1: total everyone like has you know rumbers their first dance

667
00:32:35,236 --> 00:32:37,836
Speaker 1: or like their wedding song or like whatever, like whatever.

668
00:32:37,996 --> 00:32:41,076
Speaker 1: There's all these like landmark moments in our lives are

669
00:32:41,156 --> 00:32:44,676
Speaker 1: kind of soundtracked totally bar and B. And it's always there.

670
00:32:44,676 --> 00:32:47,596
Speaker 1: It's like it's always selling. It's always these popular artists,

671
00:32:47,636 --> 00:32:49,716
Speaker 1: but no one really is, like no one talks about it.

672
00:32:49,756 --> 00:32:51,796
Speaker 2: Give R and be her flowers.

673
00:32:51,836 --> 00:32:56,276
Speaker 1: It needs it, you know. After one more quick break,

674
00:32:56,276 --> 00:33:03,036
Speaker 1: we'll be back with the rest of t Nashe. We're

675
00:33:03,036 --> 00:33:06,956
Speaker 1: back with the rest of my conversation with Tshe. How

676
00:33:06,996 --> 00:33:10,316
Speaker 1: does d Jane you mentioned that you DJ in Yeah,

677
00:33:10,356 --> 00:33:13,356
Speaker 1: how does Djane impact your your sort of your palette.

678
00:33:14,596 --> 00:33:16,836
Speaker 3: I think it's just again like that awareness of like

679
00:33:16,916 --> 00:33:21,716
Speaker 3: bpm and how I want to approach mixing certain songs

680
00:33:23,196 --> 00:33:28,156
Speaker 3: where I see them in a set kind of affects

681
00:33:28,196 --> 00:33:34,516
Speaker 3: like how I approach it in the studio, just considering

682
00:33:35,636 --> 00:33:37,756
Speaker 3: the different tempos and the different energies that I want

683
00:33:37,796 --> 00:33:39,956
Speaker 3: to convey, but at the same time also flipping the

684
00:33:39,956 --> 00:33:42,716
Speaker 3: script in that way, like if I have a BPM

685
00:33:42,756 --> 00:33:46,356
Speaker 3: that's super fast, approaching it like in a halftime speed

686
00:33:46,876 --> 00:33:49,436
Speaker 3: or vice versa. Right, So I think that that, Yeah,

687
00:33:49,476 --> 00:33:52,196
Speaker 3: like if we have like a seventy bpm kind of

688
00:33:52,196 --> 00:33:53,596
Speaker 3: approaching it, how I would.

689
00:33:59,476 --> 00:34:04,076
Speaker 1: You know exactly? Do you do you spin your own

690
00:34:04,156 --> 00:34:04,796
Speaker 1: music as well?

691
00:34:05,036 --> 00:34:08,196
Speaker 2: Yeah? Of course I do. Okay, Yeah that's the fun part.

692
00:34:08,556 --> 00:34:10,716
Speaker 1: How like out is it like you just sneak a

693
00:34:10,756 --> 00:34:12,796
Speaker 1: song in or like yeah.

694
00:34:12,596 --> 00:34:16,156
Speaker 3: Yeah, I'm not shy about it. Like whatever, I want

695
00:34:16,156 --> 00:34:18,516
Speaker 3: to play my songs. I like them, I made them,

696
00:34:18,836 --> 00:34:20,036
Speaker 3: I'm putting them in the setlist.

697
00:34:20,156 --> 00:34:22,436
Speaker 1: Will you play new stuff like you would you play stuff.

698
00:34:22,476 --> 00:34:24,036
Speaker 1: Have you played stuff that you haven't even put.

699
00:34:23,876 --> 00:34:24,996
Speaker 2: Out totally unreleased?

700
00:34:25,236 --> 00:34:28,116
Speaker 3: I've played like unreleased remixes and things like that, but

701
00:34:28,116 --> 00:34:30,556
Speaker 3: I've never played a fully, fully fully unreleased song in

702
00:34:30,596 --> 00:34:31,036
Speaker 3: a set.

703
00:34:31,316 --> 00:34:32,596
Speaker 2: Wow, I don't.

704
00:34:32,716 --> 00:34:34,876
Speaker 3: Yeah, that's probably a good idea, but I've been getting

705
00:34:34,996 --> 00:34:37,276
Speaker 3: I told you, I don't like list watching people listen

706
00:34:37,276 --> 00:34:38,436
Speaker 3: to my music for my first time.

707
00:34:38,556 --> 00:34:40,836
Speaker 2: So like in a DJ set's like my worst night.

708
00:34:40,956 --> 00:34:42,916
Speaker 1: Well, you know, it's kind of like a really organic

709
00:34:43,036 --> 00:34:45,276
Speaker 1: way to like just sort of see how people are vibing.

710
00:34:45,876 --> 00:34:48,636
Speaker 3: But in my mind I would though, in my mind,

711
00:34:48,636 --> 00:34:51,876
Speaker 3: I'd be like, they're all dancing because they hate it,

712
00:34:51,916 --> 00:34:53,756
Speaker 3: and they're trying to act like they like it.

713
00:34:53,836 --> 00:34:54,556
Speaker 1: They're trying to dance.

714
00:34:54,796 --> 00:35:00,956
Speaker 2: They that's a really convoluted Wow, these people are dark.

715
00:35:01,236 --> 00:35:05,796
Speaker 1: How did you connect with the hot Like, how did

716
00:35:05,796 --> 00:35:08,436
Speaker 1: you connect with the producers on across these various projects?

717
00:35:08,516 --> 00:35:11,716
Speaker 2: Yeah, this one was a lot of.

718
00:35:13,076 --> 00:35:17,436
Speaker 3: People that I knew through my management Rock Nation, and

719
00:35:17,476 --> 00:35:19,836
Speaker 3: then also just people that I've worked with on my

720
00:35:19,956 --> 00:35:22,196
Speaker 3: last project, kind of carrying over.

721
00:35:23,796 --> 00:35:26,156
Speaker 1: Not not Baby angel Part one, but.

722
00:35:26,996 --> 00:35:30,396
Speaker 3: Yeah, like the three three three two Baby Angel Era

723
00:35:30,556 --> 00:35:33,396
Speaker 3: on probably within the last I would say five years.

724
00:35:33,396 --> 00:35:36,636
Speaker 3: People that I've worked with or like one of the

725
00:35:36,636 --> 00:35:39,676
Speaker 3: producers on this projects, like my brother's friend and like

726
00:35:39,796 --> 00:35:40,836
Speaker 3: was my brother's roommate.

727
00:35:40,996 --> 00:35:43,516
Speaker 1: Who's that His name's Troy Okay.

728
00:35:43,396 --> 00:35:46,276
Speaker 3: Yeah, he's produced. He produced him. He also produced a

729
00:35:46,316 --> 00:35:49,236
Speaker 3: song on three three three. So I'm like, I'll find

730
00:35:49,396 --> 00:35:54,916
Speaker 3: beats or I'll work with whoever. Honestly, kind of if

731
00:35:54,956 --> 00:35:57,236
Speaker 3: your shit taught, I'm into it. I'm interested.

732
00:35:58,316 --> 00:35:59,916
Speaker 2: I enjoy the process.

733
00:35:59,476 --> 00:36:04,596
Speaker 3: Of getting new vibes from different creatives and having new

734
00:36:04,596 --> 00:36:06,756
Speaker 3: people in the room and fresh energy. I guess I'm

735
00:36:06,796 --> 00:36:08,396
Speaker 3: not really the type of artist that like we're the

736
00:36:08,396 --> 00:36:11,916
Speaker 3: same producer for like a really long period of time. Yeah,

737
00:36:12,036 --> 00:36:14,396
Speaker 3: if I do work with someone for a long period

738
00:36:14,396 --> 00:36:18,036
Speaker 3: of time or multiple times, like I really we really

739
00:36:18,036 --> 00:36:20,596
Speaker 3: have a good vibe, like an especially good vibe.

740
00:36:20,676 --> 00:36:23,116
Speaker 1: So it's like the producers like no such thing on

741
00:36:23,316 --> 00:36:26,276
Speaker 1: like as been across Bar one and two. Yeah, that's

742
00:36:26,396 --> 00:36:28,636
Speaker 1: I imagine this producer got like a pretty strong vie.

743
00:36:28,676 --> 00:36:29,836
Speaker 2: I've got a great vibe for sure.

744
00:36:29,876 --> 00:36:33,076
Speaker 3: He's a super creative guy, just super down to earth,

745
00:36:33,396 --> 00:36:36,076
Speaker 3: and I think I enjoy the fact that he is

746
00:36:36,116 --> 00:36:38,716
Speaker 3: like an ultra creative Some people I feel don't push

747
00:36:38,756 --> 00:36:41,516
Speaker 3: me as much and others do. Like his stuff is

748
00:36:41,596 --> 00:36:43,956
Speaker 3: so it's so out of the box sometimes that I

749
00:36:43,996 --> 00:36:46,916
Speaker 3: feel pushed creatively to try to meet him at that level,

750
00:36:47,116 --> 00:36:49,196
Speaker 3: And I think that that's really inspiring for me, rather

751
00:36:49,276 --> 00:36:52,276
Speaker 3: than you know, beats that I feel, Oh, this is easy.

752
00:36:52,636 --> 00:36:54,956
Speaker 3: I'm coming up with ideas right away. Sometimes I like

753
00:36:54,956 --> 00:36:56,676
Speaker 3: a challenge to get in the studio be like I

754
00:36:56,716 --> 00:36:57,716
Speaker 3: have no idea what I.

755
00:36:57,676 --> 00:36:59,516
Speaker 1: Would sing on this, how to approach this.

756
00:36:59,636 --> 00:37:03,436
Speaker 2: I have no idea how to approach this. That's more exciting.

757
00:37:03,956 --> 00:37:12,076
Speaker 1: Wow, how much do you how many different like iterations

758
00:37:12,196 --> 00:37:16,476
Speaker 1: of what will like songs go through? Like yeah, especially particular,

759
00:37:16,716 --> 00:37:18,556
Speaker 1: like I just talk about this project.

760
00:37:18,276 --> 00:37:22,236
Speaker 2: In particular, It kind of depends on the song. I

761
00:37:22,236 --> 00:37:24,596
Speaker 2: would say. Usually there's an.

762
00:37:24,476 --> 00:37:29,436
Speaker 3: Initial draft of the song where I decide that I

763
00:37:29,476 --> 00:37:31,796
Speaker 3: like really like it, or I don't like it, and

764
00:37:31,836 --> 00:37:34,716
Speaker 3: then I'll kind of go in and make little individual tweaks.

765
00:37:34,716 --> 00:37:38,836
Speaker 3: And that can be adding backgrounds, that can be changing

766
00:37:38,876 --> 00:37:41,676
Speaker 3: the beat, that can be changing lyrics on a verse,

767
00:37:41,796 --> 00:37:44,596
Speaker 3: that could be re singing sections. And that can either

768
00:37:44,636 --> 00:37:48,916
Speaker 3: be like one session or like ten sessions. You know,

769
00:37:49,196 --> 00:37:53,316
Speaker 3: like just kind of depends on how many things I

770
00:37:53,396 --> 00:37:56,756
Speaker 3: end up wanting to add or change, but initially to

771
00:37:56,836 --> 00:37:59,556
Speaker 3: come up with the like main meat of the song.

772
00:38:00,116 --> 00:38:01,956
Speaker 3: It's usually like one main session.

773
00:38:02,476 --> 00:38:09,716
Speaker 1: Nice, Yeah, what I want to talk about? No sleep. Yeah,

774
00:38:09,956 --> 00:38:14,836
Speaker 1: that's a song that sounds almost like like I guess

775
00:38:14,876 --> 00:38:16,796
Speaker 1: it doesn't could sound disparaging, but almost sounds like a

776
00:38:16,836 --> 00:38:19,636
Speaker 1: demo to me in the sense that it sounds like effortless. Yeah,

777
00:38:19,956 --> 00:38:21,956
Speaker 1: like that it sounded like you like you guys put

778
00:38:22,036 --> 00:38:24,316
Speaker 1: like like you just like like a Michael Jordan game

779
00:38:24,436 --> 00:38:26,996
Speaker 1: or something that just came out with the flu and

780
00:38:27,236 --> 00:38:28,316
Speaker 1: some shots and you're.

781
00:38:28,116 --> 00:38:33,476
Speaker 3: Like, yeah, I like that feedback because I feel like

782
00:38:33,596 --> 00:38:37,156
Speaker 3: there was a certain there were some decisions made in

783
00:38:37,276 --> 00:38:39,436
Speaker 3: how I approached that song that I wanted it to

784
00:38:39,436 --> 00:38:42,756
Speaker 3: feel very effortless, not singing, not like I was trying

785
00:38:42,756 --> 00:38:45,236
Speaker 3: to overly perform. Whether it's the fact that a lot

786
00:38:45,236 --> 00:38:47,556
Speaker 3: of that song is like a single vocal, there's not

787
00:38:47,596 --> 00:38:51,476
Speaker 3: a lot of stacks. It feels very kind of like

788
00:38:51,516 --> 00:38:53,796
Speaker 3: a freestyle, like it all just kind of spilled out,

789
00:38:54,196 --> 00:38:56,356
Speaker 3: the fact that the structure of the song is different

790
00:38:56,556 --> 00:38:59,356
Speaker 3: from the first hook being shorter, the second hook adding

791
00:38:59,396 --> 00:39:03,756
Speaker 3: like a whole nother you know, refrain of that with

792
00:39:03,796 --> 00:39:06,556
Speaker 3: different lyrics, So yeah, I think that was one of

793
00:39:06,636 --> 00:39:08,796
Speaker 3: the things that made that song interesting. And also when

794
00:39:08,996 --> 00:39:11,476
Speaker 3: he brought that beat back after you know, he kind

795
00:39:11,516 --> 00:39:13,796
Speaker 3: of took it overnight and brought that beat back, it

796
00:39:13,956 --> 00:39:16,836
Speaker 3: already had these really interesting like progressions to it.

797
00:39:17,356 --> 00:39:19,036
Speaker 2: He would add like this.

798
00:39:19,076 --> 00:39:22,596
Speaker 3: Kind of garage sounding kick over the regular kick, only

799
00:39:22,796 --> 00:39:26,036
Speaker 3: like twice I'd be like, well, that part was really cool.

800
00:39:26,516 --> 00:39:29,156
Speaker 3: Let's make that the post or whatever. Trying to just

801
00:39:30,316 --> 00:39:35,236
Speaker 3: go with the flow of how the beat moves, of

802
00:39:35,276 --> 00:39:38,036
Speaker 3: how it all evolves. I think that that's how the

803
00:39:38,116 --> 00:39:39,956
Speaker 3: lyrics kind of match it in that sense, like they

804
00:39:39,996 --> 00:39:41,316
Speaker 3: all just kind of evolve together.

805
00:39:41,596 --> 00:39:44,276
Speaker 1: Yeah. Yeah, what about enough?

806
00:39:44,796 --> 00:39:46,956
Speaker 2: I like enough to Both of these are no Sage

807
00:39:46,996 --> 00:39:47,876
Speaker 2: thing produced songs.

808
00:39:47,996 --> 00:39:48,756
Speaker 1: Both of those are enough.

809
00:39:49,316 --> 00:39:49,836
Speaker 2: Yeah.

810
00:39:49,916 --> 00:39:51,916
Speaker 1: I love the pre like I think I guess it's

811
00:39:51,916 --> 00:39:53,996
Speaker 1: maybe like a pre course on that all. I've really

812
00:39:54,036 --> 00:39:56,156
Speaker 1: like like that was one of the moments on that

813
00:39:56,196 --> 00:39:59,836
Speaker 1: album where I'm like, like that maybe it's not meant

814
00:39:59,876 --> 00:40:02,556
Speaker 1: to be or you like it's like damn you really

815
00:40:02,556 --> 00:40:05,076
Speaker 1: singing on that problem came through.

816
00:40:05,236 --> 00:40:05,756
Speaker 2: Yeah.

817
00:40:05,956 --> 00:40:08,116
Speaker 3: I love that song because I feel like it has

818
00:40:08,196 --> 00:40:13,636
Speaker 3: this really interesting contradictory energy, like I love songs that

819
00:40:13,676 --> 00:40:16,156
Speaker 3: feel really happy and jovial, but then like talk about

820
00:40:16,156 --> 00:40:16,836
Speaker 3: something sad.

821
00:40:17,396 --> 00:40:18,356
Speaker 2: I feel like that song.

822
00:40:18,956 --> 00:40:20,876
Speaker 3: It's not that it's sad, but there's like a bitter

823
00:40:20,916 --> 00:40:24,996
Speaker 3: sweet energy too enough, which I love. I love bittersweet songs,

824
00:40:25,036 --> 00:40:26,556
Speaker 3: Like I don't know, it's like the artist, I mean,

825
00:40:26,596 --> 00:40:28,676
Speaker 3: the romantic in me loves like a bittersweet moment.

826
00:40:28,956 --> 00:40:30,796
Speaker 2: Yeah, so I am. I love that.

827
00:40:30,916 --> 00:40:36,036
Speaker 3: It's about feeling maybe like you you gave it, you're all,

828
00:40:36,116 --> 00:40:38,316
Speaker 3: but it wasn't enough, Like just knowing that you know

829
00:40:39,276 --> 00:40:43,356
Speaker 3: it's not quite good enough and feeling that like sense

830
00:40:43,356 --> 00:40:45,436
Speaker 3: of disappointment, but then at the end of the day

831
00:40:45,436 --> 00:40:47,796
Speaker 3: coming to the conclusion that you have everything that you

832
00:40:47,876 --> 00:40:50,916
Speaker 3: need and being thankful and having gratitude.

833
00:40:50,956 --> 00:40:54,196
Speaker 2: I think that that's what that song is. But it

834
00:40:54,236 --> 00:40:56,116
Speaker 2: sounds really happy, so like I love that.

835
00:40:56,636 --> 00:40:58,236
Speaker 1: I feel like when I get your loans a little

836
00:40:58,276 --> 00:41:01,156
Speaker 1: bitter sweet too, and like the end, Yeah, it's kind

837
00:41:01,156 --> 00:41:04,356
Speaker 1: of like a like it really is a love song. Yeah,

838
00:41:04,356 --> 00:41:06,796
Speaker 1: it's like at the end those kind of like, well,

839
00:41:07,436 --> 00:41:10,556
Speaker 1: it's a little morphosic, kind of sounds like maybe things

840
00:41:10,556 --> 00:41:11,996
Speaker 1: weren't so it's perfect, you know what I'm saying.

841
00:41:11,996 --> 00:41:15,516
Speaker 2: I mean, it's love ever perfect. It hasn't been for me, but.

842
00:41:20,556 --> 00:41:21,436
Speaker 1: Speak for ourselves.

843
00:41:21,556 --> 00:41:22,476
Speaker 2: Yeah, absolutely.

844
00:41:22,556 --> 00:41:25,556
Speaker 1: How much how much do you put your own personal

845
00:41:26,036 --> 00:41:30,636
Speaker 1: i mean, romantic love life into your music.

846
00:41:30,676 --> 00:41:33,236
Speaker 2: I feel like it's always the core of the inspiration.

847
00:41:33,596 --> 00:41:36,316
Speaker 3: Like I would never sing something that like I totally

848
00:41:37,076 --> 00:41:47,116
Speaker 3: couldn't relate to. But definitely I can exaggerate on certain feelings, thoughts, emotions.

849
00:41:47,156 --> 00:41:48,996
Speaker 3: I can kind of pinpoint maybe how I feel on

850
00:41:49,036 --> 00:41:52,196
Speaker 3: a particular day and kind of go with that, you know.

851
00:41:52,316 --> 00:41:56,236
Speaker 3: I think emotions are also always changing and always evolving,

852
00:41:56,276 --> 00:41:59,836
Speaker 3: So I think it's it's important to speak to them

853
00:41:59,916 --> 00:42:02,796
Speaker 3: as they come up and like make a song that

854
00:42:03,076 --> 00:42:06,516
Speaker 3: represents them and then move through it, go to, you know,

855
00:42:06,676 --> 00:42:10,516
Speaker 3: onto the next. But I'd say the core of it

856
00:42:10,556 --> 00:42:14,196
Speaker 3: is always pretty real or something that I relate to.

857
00:42:14,596 --> 00:42:18,476
Speaker 1: At least the idea of exaggerating it's pretty interesting. I've

858
00:42:18,516 --> 00:42:19,956
Speaker 1: never heard anyone.

859
00:42:20,836 --> 00:42:24,596
Speaker 3: Yeah, I mean, it's just kind of taking the feeling

860
00:42:24,676 --> 00:42:27,236
Speaker 3: and going deeper with it and expanding upon it.

861
00:42:30,116 --> 00:42:32,316
Speaker 2: Yeah, And sometimes you want to tell.

862
00:42:32,116 --> 00:42:34,996
Speaker 3: A story and you you know, want to make it

863
00:42:35,076 --> 00:42:39,116
Speaker 3: even more real for the listener, And I think that

864
00:42:39,116 --> 00:42:41,996
Speaker 3: that's where like little exaggeration comes into play.

865
00:42:42,156 --> 00:42:46,596
Speaker 1: Yeah, have you ever found yourself having to explain things

866
00:42:46,596 --> 00:42:48,956
Speaker 1: that you've written to like partners or things like that,

867
00:42:50,036 --> 00:42:51,516
Speaker 1: because I've gotten you in trouble.

868
00:42:53,516 --> 00:42:55,996
Speaker 3: In like cheeky ways but not in like real ways

869
00:42:57,356 --> 00:42:59,316
Speaker 3: if Yeah, not really, not not in.

870
00:42:59,316 --> 00:43:02,156
Speaker 2: Real ways, not in like okay not Yeah.

871
00:43:02,076 --> 00:43:04,316
Speaker 3: No one's ever been like very upset, but people have

872
00:43:04,356 --> 00:43:07,916
Speaker 3: definitely been like, oh my god, are you gonna ran

873
00:43:08,036 --> 00:43:09,196
Speaker 3: a song about it? Me?

874
00:43:09,556 --> 00:43:11,636
Speaker 2: Like maybe maybe?

875
00:43:12,276 --> 00:43:13,036
Speaker 1: Or maybe you already have?

876
00:43:13,356 --> 00:43:17,316
Speaker 2: Right do you?

877
00:43:17,316 --> 00:43:17,556
Speaker 1: You were?

878
00:43:17,716 --> 00:43:18,116
Speaker 2: Uh?

879
00:43:18,596 --> 00:43:20,956
Speaker 1: You were mentioned? Three three three are kind of like

880
00:43:21,076 --> 00:43:25,276
Speaker 1: keeping the same more or less cast to collaborators. Yeah,

881
00:43:25,276 --> 00:43:28,476
Speaker 1: Past three, three three and Baby Angel, they kind of

882
00:43:28,516 --> 00:43:32,996
Speaker 1: sound like extensions of one. Yeah, like in like real

883
00:43:33,156 --> 00:43:39,116
Speaker 1: major ways. What was that a conscious decision when you

884
00:43:39,156 --> 00:43:41,476
Speaker 1: started making these sets of songs? Yeah, that you felt

885
00:43:41,476 --> 00:43:43,796
Speaker 1: like you you liked what you you did on three

886
00:43:43,796 --> 00:43:45,476
Speaker 1: three three and you wanted to extend it or.

887
00:43:45,556 --> 00:43:47,836
Speaker 2: I think I just was making I think they're all

888
00:43:47,956 --> 00:43:48,876
Speaker 2: kind of of an era.

889
00:43:49,436 --> 00:43:51,996
Speaker 3: I started making three through three in the pandemic like

890
00:43:52,036 --> 00:43:55,476
Speaker 3: twenty twenty, and I just think like my energy shifted

891
00:43:55,556 --> 00:43:58,476
Speaker 3: since then, and it's just kind of been evolving, like

892
00:43:58,556 --> 00:44:00,916
Speaker 3: to me, three three three feels.

893
00:44:00,476 --> 00:44:03,516
Speaker 2: Like Baby Angel and Quantum Baby, but.

894
00:44:03,476 --> 00:44:07,836
Speaker 3: It also doesn't feel as like as confident and as

895
00:44:07,956 --> 00:44:10,396
Speaker 3: resolved does these songs do.

896
00:44:10,876 --> 00:44:12,156
Speaker 2: So I feel like this is again.

897
00:44:12,236 --> 00:44:16,596
Speaker 3: It's not that it's they're different, but it feels like

898
00:44:16,636 --> 00:44:17,676
Speaker 3: an evolution to me.

899
00:44:18,676 --> 00:44:23,396
Speaker 1: God, no, no, it makes sense. There's some some I

900
00:44:23,476 --> 00:44:25,316
Speaker 1: love that album though, three through three like a song

901
00:44:25,396 --> 00:44:29,076
Speaker 1: like Angels songs, amazing, out of control than you. I

902
00:44:29,116 --> 00:44:31,596
Speaker 1: want to let you go, but I won't have this

903
00:44:31,676 --> 00:44:34,356
Speaker 1: random question want to ask. I want to ask randomly

904
00:44:34,356 --> 00:44:37,796
Speaker 1: about Tom Hanks. I know you were you did the

905
00:44:38,036 --> 00:44:41,396
Speaker 1: motion motion capture for Polar Express. Yeah, but I was.

906
00:44:41,556 --> 00:44:43,076
Speaker 1: I was always curious. I couldn't find an answer.

907
00:44:43,116 --> 00:44:44,316
Speaker 2: Did was he there?

908
00:44:44,476 --> 00:44:44,876
Speaker 1: Was he there?

909
00:44:45,196 --> 00:44:47,476
Speaker 2: Yeah? We acted the whole Yes, he was there for

910
00:44:47,636 --> 00:44:49,556
Speaker 2: I think it was like six weeks, eight weeks.

911
00:44:49,756 --> 00:44:51,036
Speaker 1: It wasn't someone right.

912
00:44:50,876 --> 00:44:55,956
Speaker 3: Here, I was saying on the Paramount lot, literally here really, Yes,

913
00:44:56,756 --> 00:45:00,956
Speaker 3: we acted the entire movie, but like they built the

914
00:45:01,076 --> 00:45:03,316
Speaker 3: entire set out of wires, so we all have these

915
00:45:03,316 --> 00:45:05,156
Speaker 3: weird suits. It was all in a sound stage with

916
00:45:05,236 --> 00:45:08,636
Speaker 3: wires and they dubbed over the whole audio. But we

917
00:45:08,756 --> 00:45:13,676
Speaker 3: had to the entire movie filmed it. Someone's got that, like,

918
00:45:13,916 --> 00:45:16,436
Speaker 3: someone's got the file of the real footage of us

919
00:45:16,436 --> 00:45:17,476
Speaker 3: with the funny suits.

920
00:45:17,676 --> 00:45:19,516
Speaker 1: It's probably like on the DVD extras or.

921
00:45:19,436 --> 00:45:21,116
Speaker 2: Something deep somewhere in the vault.

922
00:45:21,156 --> 00:45:24,116
Speaker 1: In the vault, what what was working? I mean you

923
00:45:24,156 --> 00:45:25,196
Speaker 1: were young that.

924
00:45:25,516 --> 00:45:26,636
Speaker 2: I was in fourth grade.

925
00:45:26,676 --> 00:45:27,236
Speaker 3: I was nine.

926
00:45:27,756 --> 00:45:28,676
Speaker 2: Yeah, yeah, I was nine.

927
00:45:28,796 --> 00:45:30,876
Speaker 3: It came out I think when I was twelve, because

928
00:45:30,876 --> 00:45:33,116
Speaker 3: it was very early technology. Took them a long time

929
00:45:33,436 --> 00:45:36,836
Speaker 3: to come to do the animation. I remember when I

930
00:45:36,836 --> 00:45:37,516
Speaker 3: was nine being like.

931
00:45:37,476 --> 00:45:39,916
Speaker 2: It's not going to come out to do thousand fun.

932
00:45:41,556 --> 00:45:42,676
Speaker 1: So far away it was.

933
00:45:43,996 --> 00:45:44,636
Speaker 2: It was really cool.

934
00:45:44,716 --> 00:45:47,756
Speaker 3: He was a professional, which was very cool to see

935
00:45:47,796 --> 00:45:51,116
Speaker 3: from early days. I feel like just witnessing professionals on

936
00:45:51,236 --> 00:45:53,476
Speaker 3: set gives you a lot of motivation, like how they

937
00:45:53,476 --> 00:45:56,876
Speaker 3: would treat the pas. And he bought a lot of

938
00:45:56,916 --> 00:45:59,436
Speaker 3: tickets for everyone. I remember thinking that was really impressive.

939
00:45:59,436 --> 00:46:02,596
Speaker 3: I was like, whoa everyone A lot of people.

940
00:46:04,036 --> 00:46:06,676
Speaker 2: Yeah, it was really fun experience. I was young, though.

941
00:46:07,196 --> 00:46:07,916
Speaker 2: I loved it though.

942
00:46:07,956 --> 00:46:12,516
Speaker 3: I really enjoyed being on sets and doing all the things.

943
00:46:12,836 --> 00:46:15,876
Speaker 1: How much do you still how much does that? Because

944
00:46:15,916 --> 00:46:17,316
Speaker 1: you mean you did a good amount of acting when

945
00:46:17,316 --> 00:46:19,156
Speaker 1: you're younger, Like, how much does that still feel like

946
00:46:19,156 --> 00:46:20,236
Speaker 1: a part of you, like something you want.

947
00:46:20,396 --> 00:46:22,676
Speaker 3: Yeah, I feel like I use all the skills that

948
00:46:22,716 --> 00:46:26,396
Speaker 3: I gained when I was young, entertaining and acting for

949
00:46:26,476 --> 00:46:29,196
Speaker 3: what I do. Whether it's entertaining, whether it's how to

950
00:46:29,276 --> 00:46:32,276
Speaker 3: be a professional, whether it's just you know, how to

951
00:46:32,636 --> 00:46:34,436
Speaker 3: turn it on, how to turn it off. I think

952
00:46:34,436 --> 00:46:37,196
Speaker 3: there's so many ways that I'm still incorporating, like my

953
00:46:37,316 --> 00:46:41,876
Speaker 3: acting skills or you know whatever now. But music's definitely

954
00:46:41,876 --> 00:46:44,076
Speaker 3: my number one focus, and I want to return to

955
00:46:44,116 --> 00:46:48,156
Speaker 3: acting is something that I focus on probably later, So.

956
00:46:48,196 --> 00:46:49,796
Speaker 1: It's still that kind of acting bug is.

957
00:46:49,756 --> 00:46:51,356
Speaker 3: Still Yeah, I mean I love it. I just love

958
00:46:51,396 --> 00:46:52,756
Speaker 3: being in front of a camera. I love putting on

959
00:46:52,796 --> 00:46:57,116
Speaker 3: a show. I love performing. So I would definitely do it.

960
00:46:57,196 --> 00:46:59,796
Speaker 1: In your mind, who's the greatest performer who's like your inspiration?

961
00:47:01,756 --> 00:47:02,116
Speaker 2: Dang?

962
00:47:02,316 --> 00:47:05,716
Speaker 3: Well, music wise, I would always say Janish Action, She's

963
00:47:05,796 --> 00:47:08,996
Speaker 3: like up there, But then like, I don't know, Probably

964
00:47:09,116 --> 00:47:11,276
Speaker 3: my biggest inspiration is like my dad when it comes

965
00:47:11,276 --> 00:47:13,676
Speaker 3: to being a performer. He's like a he's a theater guy.

966
00:47:13,836 --> 00:47:16,916
Speaker 3: He loves he loves the theater, he loves stage acting

967
00:47:18,876 --> 00:47:22,236
Speaker 3: kind of you know, initially was the person who like

968
00:47:22,236 --> 00:47:24,356
Speaker 3: brought me to all my auditions and things like that,

969
00:47:25,156 --> 00:47:28,476
Speaker 3: So he's an inspiration. Did you we went to a

970
00:47:28,476 --> 00:47:29,236
Speaker 3: play last night?

971
00:47:29,476 --> 00:47:31,196
Speaker 1: Did you? Would you go see?

972
00:47:31,436 --> 00:47:34,636
Speaker 2: What is it called something a Strange Loop?

973
00:47:35,236 --> 00:47:35,916
Speaker 1: I don't know it.

974
00:47:36,036 --> 00:47:37,876
Speaker 3: I saw driving down the street. I saw all these

975
00:47:37,876 --> 00:47:40,076
Speaker 3: posters for it. It's like you don't ever notice something

976
00:47:40,116 --> 00:47:41,476
Speaker 3: until you see it, and then you're like.

977
00:47:41,516 --> 00:47:43,836
Speaker 1: It's everywhere. So when you get a car in the yeah,

978
00:47:43,876 --> 00:47:47,956
Speaker 1: the same car car? What just to follow upon that?

979
00:47:48,036 --> 00:47:50,916
Speaker 1: We can we wrap up? But like would your dad

980
00:47:51,436 --> 00:47:53,676
Speaker 1: being that he's like a teacher, and like would he

981
00:47:54,036 --> 00:47:56,556
Speaker 1: was he always kind of showing you, pointing things out

982
00:47:56,556 --> 00:47:59,716
Speaker 1: to you about performances or about films or plays, you

983
00:47:59,756 --> 00:47:59,956
Speaker 1: know what.

984
00:48:00,116 --> 00:48:03,796
Speaker 2: Yes, but I was really I didn't like it.

985
00:48:03,916 --> 00:48:05,916
Speaker 3: Like every time he would try to help me with

986
00:48:05,956 --> 00:48:08,716
Speaker 3: my lines or like give me feedback or whatever I would,

987
00:48:09,516 --> 00:48:11,836
Speaker 3: I didn't want to take it. So that's that's very

988
00:48:12,116 --> 00:48:14,716
Speaker 3: true of like who I still am today, Like I just.

989
00:48:14,876 --> 00:48:16,476
Speaker 2: Don't do well.

990
00:48:17,796 --> 00:48:17,996
Speaker 3: Well.

991
00:48:18,116 --> 00:48:22,476
Speaker 1: I can see it's even by the way I was like, no,

992
00:48:22,876 --> 00:48:23,756
Speaker 1: would make you like.

993
00:48:23,956 --> 00:48:26,156
Speaker 2: Stop telling me how to read the lines?

994
00:48:26,436 --> 00:48:27,636
Speaker 1: You feel like it's in there somewhere.

995
00:48:28,676 --> 00:48:29,236
Speaker 2: What the.

996
00:48:31,196 --> 00:48:33,636
Speaker 1: Whatever he passed over to you pass of course.

997
00:48:33,396 --> 00:48:37,156
Speaker 3: Of course, like you're always listening secretly, I just don't

998
00:48:37,196 --> 00:48:39,396
Speaker 3: like being told what to do, makes.

999
00:48:39,276 --> 00:48:45,276
Speaker 1: Sense, It's very it's very Janet of you. Cool. Well, hey,

1000
00:48:45,476 --> 00:48:46,316
Speaker 1: thanks for doing this.

1001
00:48:46,636 --> 00:48:46,996
Speaker 2: Thank you.

1002
00:48:47,956 --> 00:48:55,316
Speaker 1: It's incredible, incredible, see like you know that uh, the

1003
00:48:55,356 --> 00:48:57,836
Speaker 1: success that the singles happened, and that like I hope

1004
00:48:57,836 --> 00:48:59,876
Speaker 1: people listen to the rest of the project and it's

1005
00:48:59,916 --> 00:49:02,476
Speaker 1: like there's some incredible songs on both part one and

1006
00:49:02,556 --> 00:49:03,996
Speaker 1: part two. So thanks for.

1007
00:49:03,956 --> 00:49:09,836
Speaker 2: Doing this, Thanks for having me, Thanks che for.

1008
00:49:09,796 --> 00:49:12,516
Speaker 1: Talking about her career and her new album Quantum Baby

1009
00:49:12,556 --> 00:49:16,196
Speaker 1: with me, and also for indulging my question about Tom Hanks.

1010
00:49:16,836 --> 00:49:18,316
Speaker 1: If you want to hear a playlist of our favorite

1011
00:49:18,316 --> 00:49:21,916
Speaker 1: TENAHA songs, check out our playlist at broken record podcast

1012
00:49:22,036 --> 00:49:25,716
Speaker 1: dot com or in the episode notes. Subscribe to our

1013
00:49:25,756 --> 00:49:29,036
Speaker 1: YouTube channel at YouTube dot com slash broken record Podcast,

1014
00:49:29,116 --> 00:49:32,196
Speaker 1: where you can find all of our new episodes. You

1015
00:49:32,236 --> 00:49:35,636
Speaker 1: can follow us on Twitter at broken Record. Broken Record

1016
00:49:35,676 --> 00:49:38,636
Speaker 1: is produced and edited by Leah Rose, with marketing help

1017
00:49:38,676 --> 00:49:42,476
Speaker 1: from Eric Sandler and Jordan McMillan. Our engineer is Ben Holliday.

1018
00:49:43,156 --> 00:49:46,676
Speaker 1: Broken Record is a production of Pushkin Industries. If you

1019
00:49:46,716 --> 00:49:49,996
Speaker 1: love this show and others from pushkin consider subscribing to

1020
00:49:50,116 --> 00:49:54,116
Speaker 1: Pushkin Plus. Pushkin Plus is a podcast subscription that offers

1021
00:49:54,116 --> 00:49:57,196
Speaker 1: bonus content and ad three listening for four ninety nine

1022
00:49:57,276 --> 00:50:01,236
Speaker 1: a month. Look for Pushkin Plus on Apple podcast subscriptions,

1023
00:50:02,036 --> 00:50:04,636
Speaker 1: and if you like this show, please remember to share, rate,

1024
00:50:04,676 --> 00:50:07,516
Speaker 1: and review us on your podcast app. Our theme music's

1025
00:50:07,516 --> 00:50:10,156
Speaker 1: by Kenny Beats. I'm justin Richmond. What