Speaker 1: Quest Love Show is a production of iHeart Radio. All right,
Speaker 1: So just came to my attension that not only do
Speaker 1: we not have a kind of an umbrella title for
Speaker 1: what this is, but I don't even know what these
Speaker 1: quikies are called. Are these called quest Love quikies or
Speaker 1: not Quest Love Quickies? Why we're all adults here?
Speaker 2: Does everybody who listens to this show have a gutter mind?
Speaker 1: Is that what you're afraid? Yeah? Pretty much, we do,
Speaker 1: we do, all right? So, uh, of course I'm here
Speaker 1: with new family member, opened my eagle. I am in
Speaker 1: the family, our fearless leader, our silent leader. You know.
Speaker 1: One of the things that people have given me a
Speaker 1: lot of great feedback on are the kind of the
Speaker 1: anime shorts that sort of advertise who comes here. And
Speaker 1: it's kind of been like a long running tradition here
Speaker 1: at q LS, and we thought, hey, why don't we
Speaker 1: shed some light, give more flowers to the people behind
Speaker 1: the scenes. And one of such one such person is
Speaker 1: our animator of those great shorts to those audio clips
Speaker 1: that we do. Nick Peloe, did I say it right?
Speaker 3: You said it perfectly.
Speaker 1: Literally When I said the name, I'd literally imagined me
Speaker 1: like Crossing Cherriots of Fire, Nick Peloe, how are you?
Speaker 3: I'm doing great. How are you guys doing?
Speaker 1: We're great, great, we're great. Well, we're doing Yeah, we're great,
Speaker 1: and we're well. Yeah, So let's not just jump into
Speaker 1: the business all.
Speaker 3: Where are you from? How am I from? That's a
Speaker 3: that's a question.
Speaker 4: I'm from a lot of places now because I've kind
Speaker 4: of jumped around a lot. I'm initially from James Down,
Speaker 4: New York area, Cassadega, New York, little tiny town of
Speaker 4: like six hundred people. I'm not supposed to be here.
Speaker 4: I'm supposed to be there like fishing or something. Whatever
Speaker 4: they're doing there, shout out to them. But yeah, I've
Speaker 4: been everywhere. I've jumped to Pittsburgh for like six years
Speaker 4: through college and working in the news there. I worked
Speaker 4: at a haunted house there. I went to New York,
Speaker 4: did more news there, comedy and stuff.
Speaker 1: Wait, since we have to Pittsburgh residents here? Oh yeah,
Speaker 1: when is the actual proper time to use the word
Speaker 1: Yin's because I've been trying to connect with people, but
Speaker 1: I don't want to sound like people trying to say.
Speaker 4: Join sure, So I say talk about high pressure as
Speaker 4: a as a non resident there, I can give you
Speaker 4: my best shot and Jake will give me a thumbs up.
Speaker 1: What exact a use?
Speaker 4: It's like a you ones is the source of it,
Speaker 4: but it doesn't it I know what it sounds.
Speaker 1: Like, yeah, yeah, but wait, that's the origin. I did
Speaker 1: not know.
Speaker 4: That's at least where like the fanatics I think come from.
Speaker 4: But it's a it's a y'all. It's so it's our
Speaker 4: uns going downtown to see the stillers or you know whatever.
Speaker 1: Yeah, so it has to start with you. I didn't
Speaker 1: know I was using yen's almost as a yeo instead of.
Speaker 4: I mean, you could use it as like a y'all,
Speaker 4: but I think that's so. I think you wouldn't be
Speaker 4: incorrect and that it's.
Speaker 3: Just uhn yeah.
Speaker 4: Usually it's like a question that sounds like a statements
Speaker 4: went to Walmart kind of a thing.
Speaker 3: But like, I don't know that's about.
Speaker 1: Okay, because we're both from Pennsylvania. I want to know, Okay,
Speaker 1: so what is inside of this control?
Speaker 4: The word won't catch the double D from me, butter
Speaker 4: is that where we're are we going to?
Speaker 3: I don't say water, but like I know Woter. I'm
Speaker 3: a water.
Speaker 1: Guy, Okay, I think I say water water. Do I
Speaker 1: sound like a Philadelphian's is it? Yeah? Okay, so yeah,
Speaker 1: because because whatater I s? Yeah? Water? Got it?
Speaker 3: Yeah, I'm a water guy.
Speaker 4: But we also grew up in like a very enunsative
Speaker 4: family that famously, if we were baby talked, were precocious children.
Speaker 4: Like my older brother had a famous line of an
Speaker 4: uncle was like you want some wal wine, as a
Speaker 4: baby was like water, I want water. And that's how
Speaker 4: we were. We were all raised like super enunciate and
Speaker 4: then like.
Speaker 1: Yeah, I do not talk baby talk to kids. Yeah,
Speaker 1: I talked them as adults.
Speaker 4: Yeah, it's the best way to talk to just about anybody.
Speaker 4: I'm a new dog dad, and I can't be really okay,
Speaker 4: how old you? This dog just turned five, but I
Speaker 4: came in around two years old as the dad. So
Speaker 4: I'm getting used to us sometimes doing a little bit
Speaker 4: of like hey, boody, but I'm just kind of a hey,
Speaker 4: what's up guy? No matter who it is, I talk.
Speaker 2: To your dog like a like a guy, like a person.
Speaker 4: I'd say like seventy five percent of the time, and
Speaker 4: then I like I'm softening.
Speaker 3: Up to the rest.
Speaker 1: I was told I was very mean spirited.
Speaker 3: Oh no, just to make a cold or straight up.
Speaker 1: Well, yeah, because you know he's in sort of territorial
Speaker 1: marking mood a right, And I'm coming from motherfucker that
Speaker 1: said sheep's getting rugg You just did that.
Speaker 2: On okay, so that makes sense. Dollars when they ship
Speaker 2: places they're not supposed to.
Speaker 1: Ah. Yeah, you know, this dog knows what he's doing.
Speaker 1: And that's the thing like his territorials situation, very very
Speaker 1: jealous of, you know, the closeness of you know, me
Speaker 1: and his mom's Okay.
Speaker 4: See, I've actually taken over as like the source of attention.
Speaker 4: But I'm like a reluctant leader. So I get a
Speaker 4: lot of like dog laying on my chest trying to
Speaker 4: get in my face, and I'm like, go do this
Speaker 4: with your mom.
Speaker 1: She wants this. He did? You used it with snacks?
Speaker 3: A couple snacks, yea too many?
Speaker 1: Yeah. I get his respect now because he knows that
Speaker 1: I will sneak him snacks too.
Speaker 2: I'm curious. You said you worked at a haunted house.
Speaker 2: You said real fast.
Speaker 4: So I was at the place called the Scarehouse in
Speaker 4: Pittsburgh for like all six years. I was in Pittsburgh,
Speaker 4: and I was like, through my college job wasn't building
Speaker 4: sets and stuff.
Speaker 3: And this actually leads.
Speaker 4: Well into kind of what we want to talk about
Speaker 4: with animation stuff, because this is like i'd say, big
Speaker 4: budget place, like you think of like a big hunted
Speaker 4: house with lines around the blocks and stuff. But we
Speaker 4: worked on it all year, even though we're only opened
Speaker 4: for two years.
Speaker 3: It's since closed down.
Speaker 4: But it was in Etna, Pennsylvania, and I was a
Speaker 4: line actor as like a silent scary rabbit, and I
Speaker 4: would just like, boy.
Speaker 1: Let me know about this. So what is the process
Speaker 1: of how does one choreograph working at a hornet house?
Speaker 4: So it was largely in an improvised situation. I would say,
Speaker 4: like as far as being an actor there, I was
Speaker 4: in my places there because I was someone who could
Speaker 4: wing it. Like I started as scary and then eventually
Speaker 4: when you can't talk for long enough in front of
Speaker 4: the same people, you're not scary anymore. So then you
Speaker 4: just default to dancing because you're in a mascot costume.
Speaker 4: So there was like a dance off with Chris Brown
Speaker 4: at one point when he rolled through with this tour bus.
Speaker 4: There was a dance off with him that I did.
Speaker 1: Not win, But how's that happening? Don't know? For me?
Speaker 4: That was you know, there's I found that my career,
Speaker 4: as many are. You're you're in like a maybe relatively
Speaker 4: small situation, something awesome happens. You go, this is the
Speaker 4: best it's gonna get right, and you go, great, that's
Speaker 4: that's crazy that that happened to me. And when you
Speaker 4: don't expect anything to happen to you, you don't expect
Speaker 4: it to keep swinging up and be bigger spikes.
Speaker 3: But that to me was like the first like, what
Speaker 3: the hell?
Speaker 4: I guess I did something interesting.
Speaker 1: What's the other side of that coin? Because my experiences
Speaker 1: with hornet houses, okay, usually some form of pugilism is
Speaker 1: going to go down where somebody might get hit, well
Speaker 1: at least out of shot, sure shot, you know that
Speaker 1: sort of thing.
Speaker 4: I think, uh, And it's uh, for good reason, a
Speaker 4: fairly common question for haunted house actors, because I think
Speaker 4: that there is some press around the idea that not press,
Speaker 4: but people when they're scared do do that, and it
Speaker 4: has happened.
Speaker 1: I think, Uh, how many punches do you go through
Speaker 1: a whek?
Speaker 3: I think I only got hit once. Oh no.
Speaker 4: The only physicality I ran into was like usually the
Speaker 4: younger the person and the like. But honestly, like security
Speaker 4: and stuff like, they pull those people who are going
Speaker 4: to do that out way before they get anywhere inside.
Speaker 4: If you have like a two hour line and you're
Speaker 4: wasted and you're already gonna get physical with an actor, yeah,
Speaker 4: you're gonna do that to me in the lines instead
Speaker 4: of somebody inside. Because like, there's people who grab, there's
Speaker 4: people who like, especially when you're dressed like a mascot,
Speaker 4: are like, hey, let's take a photo and I'm gonna
Speaker 4: do whatever I want to because you're not a person,
Speaker 4: You're a rabbit.
Speaker 3: So you get a lot of that.
Speaker 4: But I was the person to weed those people out
Speaker 4: and say, hey, security before they get in, like, no,
Speaker 4: go Like.
Speaker 1: Are you guys as a cast allowed to have physical
Speaker 1: interaction with us? We just can't touch you guys.
Speaker 4: So what's interesting is no in the upstairs, But at
Speaker 4: least at that place at the time, we had another
Speaker 4: We had basically two different things you'd go to. There
Speaker 4: was the scarehouse upstairs, and then there was the basement
Speaker 4: down stairs, and there you could sign a release to
Speaker 4: be touched. And I did work down there a bit,
Speaker 4: and you run into a lot of people where you're like,
Speaker 4: I'm gonna put my hand near your throat and they
Speaker 4: like sort of like sign permission, they sign away, where you're, oh,
Speaker 4: you're not here to get scared.
Speaker 1: This is more.
Speaker 4: That's the thing is working in there for just a set,
Speaker 4: Like I only did a little bit down there, and
Speaker 4: you could tell it's a very different demographic of people
Speaker 4: who were looking for that. And then upstairs nobody wants that,
Speaker 4: so we all agree it's not going to happen. It's
Speaker 4: sort of the unwritten contract of the haunted House.
Speaker 1: See. I didn't even think about this part only because
Speaker 1: do you know what Sleep No More? Is? From New York? Yeah,
Speaker 1: at one point, you know, and they'll do like different
Speaker 1: iterations of it, but at one point they would literally
Speaker 1: take your date hostage. Like there's one time where I
Speaker 1: had to literally look for my date again because they
Speaker 1: took it. Do you know what Sleep No More? Yeah,
Speaker 1: it's like an abandoned hotel with five floors, and it's
Speaker 1: really a play because they're a playbook that comes with it, playbill,
Speaker 1: but it's you don't know it yet. But you're figuring
Speaker 1: out what it is. The first time I did it,
Speaker 1: I didn't realize that I was on the set of Hamlet.
Speaker 1: And what you're doing is you walk into this sort
Speaker 1: of what was the film who directed the Shining Kubrick's
Speaker 1: last movie with as Well Shut Yeah, Like, so you
Speaker 1: put a mask on, and anyone without a mask is
Speaker 1: in the play. So you just followed them and you
Speaker 1: look at their action and then this is a two
Speaker 1: hour thing and sometimes they might take you hostage. Yeah.
Speaker 4: I got kidnapped twice. When I went one. There was
Speaker 4: this woman who brought me into a room and wrapped
Speaker 4: me in a blanket and started coughing up screws onto
Speaker 4: my chest.
Speaker 2: Wait, coughing up what screws? Like?
Speaker 1: Metal?
Speaker 3: Metal screws.
Speaker 1: Screws.
Speaker 3: I started coughing up screws and sting on my chest.
Speaker 1: Dude, you pay for this wait fun time. See, I
Speaker 1: would have rather had that experience twice. When I got caught,
Speaker 1: I got taken to a room, locked, and I think
Speaker 1: to this day this person went rogue. She decided she
Speaker 1: was going to sing to me one of the songs
Speaker 1: off of her new record. Oh yeah, there was like
Speaker 1: a piano in there, but you know, she didn't character
Speaker 1: and now I will serenate you with the you know,
Speaker 1: I will summon the demons of the sonic sound. And
Speaker 1: then like I was like, this sounds like Alusia keys
Speaker 1: want to be like it sounds like a contemporary song.
Speaker 3: So took you right out.
Speaker 1: This is when I realized, like, oh, they're going rogue now,
Speaker 1: just like she's my chance to get him. Yeah, when
Speaker 1: it happened a second time, and then I just stopped going. So,
Speaker 1: so how do graphics enter the picture? Like? What did you? So?
Speaker 4: Art was always the thing. My mother was very supportive
Speaker 4: because she drew in high school and stuff and never
Speaker 4: really did anything with it, had kids right away and
Speaker 4: just sort of there was never a big what if
Speaker 4: for her, but it was for her. She was happy
Speaker 4: with the kids, and my what if was like I
Speaker 4: wish she would have pushed further. And so we lost
Speaker 4: her a year ago and said a big theme to
Speaker 4: my entire career has been sort of like, look, ma,
Speaker 4: we did it. So every single step is like a
Speaker 4: look mam, we did it.
Speaker 3: We did it.
Speaker 4: And so I leaned into the validation of the drawing
Speaker 4: on the fridge, and then through college went to a
Speaker 4: graphic design and then ended up at Pittsburgh News station,
Speaker 4: the NBC station there, which was actually I was there.
Speaker 4: It would have been during the Tonight Show transition, so
Speaker 4: we were working with like a lot of marketing materials
Speaker 4: for that launch and stuff, and I was already animating
Speaker 4: there and then I was like, hard gonna quit. And
Speaker 4: I was like, I gotta try comedy because it's what
Speaker 4: I wanted to do on the other side of everything.
Speaker 4: And then yeah, and since you can't do everything, you
Speaker 4: gotta pick one thing. I was like, all right, I'm
Speaker 4: gonna quit this and I'm going to New York and ye, well,
Speaker 4: we're at.
Speaker 2: The table where people do all the stuff challenge excepted.
Speaker 4: So when I moved to New York, I was like,
Speaker 4: I'm done with the news. I'm done not necessarily with
Speaker 4: like art in general, but like the commercial side of marketing.
Speaker 3: I'm good on.
Speaker 4: I wasn't gonna do advertising. And then I needed a
Speaker 4: job in New York and couldn't find one, and I
Speaker 4: went back to those golden handcuffs and I got a
Speaker 4: job at CBS News at the network level there, and
Speaker 4: I was there for several years and we're still doing
Speaker 4: news there back then, so that was like interesting, but
Speaker 4: like it was a lot of looking at people on
Speaker 4: the cameras and going, I'm too.
Speaker 3: Close to this.
Speaker 4: It's upsetting me. I gotta try stuff. So I finally
Speaker 4: did some stand up in improv in New York at
Speaker 4: EUCB and did some interesting shows that way. But like,
Speaker 4: ultimately I found that I was sort of chasing a
Speaker 4: little bit of Oh, if I'm good at it, I
Speaker 4: should do it, because it feels good to be good
Speaker 4: at stuff. And only once I freed myself from the
Speaker 4: news there was I like, Okay, I'm going to take
Speaker 4: a real swing at figuring out who I am creatively.
Speaker 4: And that was the LA move is like I had
Speaker 4: to get away from New York to get away from
Speaker 4: the job that kept calling and I, you know, overnight shifts.
Speaker 3: Hey it's two am.
Speaker 4: Can you come in? And I'm like, I need the money, Okay,
Speaker 4: I had I moved away. I just moved away from it.
Speaker 4: And then I came here in September twenty nineteen, right
Speaker 4: before the pandemic, and I was just kind of sitting
Speaker 4: around figuring out what the world's going to be like.
Speaker 4: And then I was already doing animation for like general
Speaker 4: advertising stuff just.
Speaker 3: Out of necessity.
Speaker 4: And I got a call from somebody years back who
Speaker 4: was looking for a fill in for this show, the
Speaker 4: old show. They just needed like a one off person
Speaker 4: to animate something. It was a very basic clip and
Speaker 4: I got sort of integrated here through there. That's a
Speaker 4: short long version.
Speaker 3: But when you.
Speaker 2: Animate a clip for this show, do you just get
Speaker 2: a clip? Do you listen to the entire interview?
Speaker 1: Like?
Speaker 3: How does that party?
Speaker 1: A process? For sure?
Speaker 4: So I think every single episode for me is entirely
Speaker 4: different process. Even like at his core, I do the
Speaker 4: same thing on the final day, which is put it
Speaker 4: all together. But depending on timelines of like when you
Speaker 4: guys record versus when stuff is edited, when there's a
Speaker 4: clip selected, I usually have a q of these, where
Speaker 4: like my process starts with research. It's a whole day
Speaker 4: of just absorbing that person, whether I know them or not.
Speaker 4: I go into every nook and cranny I can listening
Speaker 4: to albums, watching movies, going through eBay to find weird photos,
Speaker 4: and those deep dives for me are sort of how
Speaker 4: I if you're familiar with Mega Man the video game,
Speaker 4: Oh yeah, uh, I like to think of it sort
Speaker 4: of like I'm collecting pieces from every project I do.
Speaker 4: Like so some of the things I could talk about.
Speaker 4: We even did day La Soul Animations together a couple
Speaker 4: of years ago.
Speaker 1: Oh for the tribute. Yeah that was you, that was me. Wow.
Speaker 4: So we've been at this longer than it feels like,
Speaker 4: even because this new iteration is, like I think, a
Speaker 4: pretty exciting, like there's some momentum behind like what we're
Speaker 4: doing creatively with it, so it's like a little different.
Speaker 4: But even back then, like dal La Soul, I was
Speaker 4: working only black and white as an artist because I
Speaker 4: was going through a broody thing and then there was
Speaker 4: all this day glow color in my life and I'm
Speaker 4: back to designing with color. That's what I got from
Speaker 4: that project. So like I'm absorbing as much as I
Speaker 4: can from every single person that I sometimes listen to
Speaker 4: the person that trained somebody that I'm talking about, and
Speaker 4: it I just want to know who influences them. So
Speaker 4: my drawings are influenced by all the people they're influenced by.
Speaker 4: So it goes really deep for some people. And if
Speaker 4: it's a clip that's meant to be kind of easy,
Speaker 4: breezy and not get too deep, sometimes it's a little
Speaker 4: more illustrative and storytelling, But the trick is to get
Speaker 4: the assignment figure out. Am I making the guests look good?
Speaker 4: Am I making the show look like a cool place
Speaker 4: to be. Am I making am I reinforcing the brand
Speaker 4: that this is a place where a magical new thing
Speaker 4: can come out for somebody we already know everything about.
Speaker 4: I don't have to deep dive everybody. If we already
Speaker 4: know everything about that person.
Speaker 1: It's almost like job training or HR. How can I
Speaker 1: make your life easier? Let you see yourself for five years,
Speaker 1: I mean, well when I okay, so especially like ten
Speaker 1: years of doing this, I'm you know, absolutely aware when
Speaker 1: I feel as though there's gonna be a highlight clip
Speaker 1: story that they're telling, like they're you know, it's a
Speaker 1: good beginning, good end. They're getting to the point in
Speaker 1: less than a minute. And you know, previously I would
Speaker 1: say like we were unaware of how we talked on
Speaker 1: top of each other and those things and missing words
Speaker 1: and all that stuff. But like generally, well, of course,
Speaker 1: I guess you could say the less words the better,
Speaker 1: or well, I because you're doing words and actions.
Speaker 4: Yeah, yeah, Well, because I try to think of them
Speaker 4: as scenes. So sometimes not every word matters to me
Speaker 4: in an animated capacity, Like I really like to hit
Speaker 4: the core points to like, if you're listening to the story,
Speaker 4: what's gonna like get you through that? So even talking
Speaker 4: over like many people talking. Actually, at least early on
Speaker 4: in my QLs, like before I really had a voice
Speaker 4: and I was just sort.
Speaker 3: Of a feeling guy.
Speaker 4: I'm like that taught me how to animate more than
Speaker 4: one person talking at the same time, which it sounds
Speaker 4: free well, but it sounds like a bad challenge. But
Speaker 4: for me, it taught me like, Okay, how do I
Speaker 4: pick out these two different rhythms happening, find the words
Speaker 4: that matter for each one of them, and then show
Speaker 4: that they're coming from different people, And that could be
Speaker 4: anything from one person's words or in one corner, one
Speaker 4: person's words are white, an other it's in black. Like
Speaker 4: there's a lot of ways to tackle that stuff, but
Speaker 4: kind of when you reframe everything as an interesting puzzle
Speaker 4: in your mind, there is no imperfect clip for me
Speaker 4: in that every clip will be a different challenge. But
Speaker 4: I guess if there's something that makes a good clip
Speaker 4: in my mind, it's something that is actionably visible like
Speaker 4: if somebody's talking super abstract. A good example is like
Speaker 4: synaestigia is a common topic just because it's this sort
Speaker 4: of mystical thing people don't understand but they feel and
Speaker 4: then try to talk about it. Right, Synastigia is interesting
Speaker 4: because how do you show somebody feeling a color while
Speaker 4: listening to music? And for me, that's a puzzle I'm
Speaker 4: working on right now on a clip. And the answer
Speaker 4: to that is, don't go that deep with it. Instead,
Speaker 4: put on a show with color, right Like, that is
Speaker 4: the actionable thing here, is like if I can't show
Speaker 4: you what they're feeling, I might try and show the
Speaker 4: viewer what that might be like, right, like, how do
Speaker 4: I illustrate using a lot of rich colors that like
Speaker 4: are a motive but not literal to like.
Speaker 3: Blue is jazz?
Speaker 4: So I think anything that's actionable, like a good story
Speaker 4: that's physical, like we did the Princes animation of him
Speaker 4: getting like uh owned in basketball, owned in all sports.
Speaker 4: A clip like that, I know exactly what to do
Speaker 4: because it's a really easy directive and it's fun to see.
Speaker 4: And then some things, if it's just somebody about their
Speaker 4: life journey and it's an if the important thing about
Speaker 4: that clip is the audio and not the visual, then
Speaker 4: it's my job to back off and make sure that
Speaker 4: that's what shines and not me the animator.
Speaker 3: So there are.
Speaker 4: Really cool, actionable things, but I also love a nice
Speaker 4: heady like they didn't really say anything except for show
Speaker 4: us who they are. That's a great clip to me too,
Speaker 4: It's just a different way of animating.
Speaker 2: Well, you haven't heard all of these interviews with all
Speaker 2: of these amazing people. Sure of all of these years
Speaker 2: and you being a creative person yourself and hear from
Speaker 2: all these other brilliant creatives, what do you think has
Speaker 2: been the most impactful takeaway for you?
Speaker 3: It's a great question.
Speaker 4: I think with these interviews, I'm not gonna say that
Speaker 4: there's one line from any one interview where I was like, damn, well,
Speaker 4: I've had that many times. But it's I'm also listening
Speaker 4: to people who have a wealth of knowledge that I'm
Speaker 4: so not disconnected from. But like, the institutional knowledge is
Speaker 4: so rich that I can only pull small parallels out
Speaker 4: of people's journeys where I go, oh, they did that too,
Speaker 4: or oh okay, Like I guess if I'm going to
Speaker 4: pull a recent one out of memory mono neon and
Speaker 4: just self doubt as an artist, just being in your
Speaker 4: own head and not getting in your own way right, Like, I.
Speaker 1: Got admit for that one because I've never had a
Speaker 1: conversation with them before. In my mind, I already knew,
Speaker 1: like part of me was like, man, like his is
Speaker 1: gonna be so triviy out. So it's kind of jarring
Speaker 1: for me to see him in such a weird space
Speaker 1: of sure, like oh there's there's a little person that's
Speaker 1: behind the Wizard of Oz thing, which I mean actually
Speaker 1: made it more endearing based on the comments. Sure, but yeah,
Speaker 1: walking into that interview, I thought, man, the graphics on
Speaker 1: this thing is just going to be like absolutely out
Speaker 1: out of its mind.
Speaker 4: Honestly, when I was told we were doing him, because
Speaker 4: I'll do like a little preview. If I know who
Speaker 4: the person is, I'll still do like a short preview.
Speaker 4: If if I'm not so familiar, I'll do a bigger
Speaker 4: deep dive, even before I hear in the audio or anything,
Speaker 4: just to familiarize with him. Looking into his world, I went,
Speaker 4: this is gonna be a fun place to play. And
Speaker 4: then I got a clip with some self doubt and it.
Speaker 4: I went, this isn't this isn't the bright thing. But
Speaker 4: it ended up working great because no, no, no, it
Speaker 4: worked great because as an artist, hearing that, I go, oh,
Speaker 4: this dude that I'm looking at and going, oh, I
Speaker 4: love his vibe. I wish his vibe was my vibe.
Speaker 4: Like seeing that and it's an incredible Basi's funky, like
Speaker 4: I just his by the way, I should just say,
Speaker 4: like I've been listening to him NonStop since, like it
Speaker 4: totally absorbed him into my world because I not just
Speaker 4: but like just diving into like everything about him. So
Speaker 4: seeing a guy like that that, I'm going like, oh,
Speaker 4: this guy has it all. And then just hearing myself,
Speaker 4: I don't know if I would be in this room
Speaker 4: right now if without that interview of hearing you guys
Speaker 4: say like, oh man, you gotta like show up for yourself,
Speaker 4: Like I might have been afraid to come here and
Speaker 4: talk to you guys in the same way. But I
Speaker 4: did literally thought about Mono neon and going, don't get
Speaker 4: in your own way, man, Like, if somebody's offering you
Speaker 4: a place to talk, you should come and talk like
Speaker 4: to me. That to me, maybe that's my biggest takeaway
Speaker 4: is like that one was powerful for.
Speaker 1: Me, us working with people from the inside. Thank you
Speaker 1: Nick Polo. I feel like we did our due diligence man,
Speaker 1: Thank you. Muslim shows a production of iHeartRadio