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Speaker 1: The Quest Left Show is a production of iHeart Radio.

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Speaker 2: Okay, put them on the table. Do you do what?

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Speaker 2: You make more sense? Right, because we're going to talk.

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Speaker 1: We're gonna talk.

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Speaker 2: We're talking about it.

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Speaker 1: Yes, we're going to playing our spot nay Man a

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Speaker 1: year tonight.

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Speaker 2: I'm here, your name, I'm leaving. I'm leaving.

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Speaker 1: Okay, where are you? Next? Thing?

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Speaker 3: Next is the Australia, New Zealand and Tokyo in Japan.

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Speaker 3: I'm doing the Ronnie Foster.

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Speaker 2: I'm leaving on a midnight playing.

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Speaker 1: Ah. Okay, wait are we on? I'm sorry?

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Speaker 4: Yeah?

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Speaker 1: All right, god I did that like Walter Crime. Good evening.

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Speaker 1: All right, So once again, ladies and gentlemen, you are

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Speaker 1: tuned into the platform that apparently is a haven for

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Speaker 1: bass players. Yes, we've had so far, James Alexander, we

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Speaker 1: have flee. You had none but coin words for our

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Speaker 1: guest today. Of course, the Mono Neon episode, which we

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Speaker 1: guys were highly happy with today, is no exception. I

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Speaker 1: got to get a drummer on here. Eventually, it's probably

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Speaker 1: reductive to just refer to our guests as a bass

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Speaker 1: player or a Grammy winning bass player. I really don't

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Speaker 1: know the proper superlative that could accurately describe our guest today.

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Speaker 1: He's definitely one of the quirkiest I mean, of course,

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Speaker 1: these are things you've heard about him. Quirky, genius, very distinctive,

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Speaker 1: very original. I love his work because it's full of

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Speaker 1: truth and humor and pain. It scares me to here

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Speaker 1: is music because these are often the thoughts that are

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Speaker 1: in my head.

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Speaker 2: Oh man.

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Speaker 1: Yeah, So as we celebrate Black Music Month, we at

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Speaker 1: QLs here are happy to welcome the one of the

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Speaker 1: only Thundercat to the show.

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Speaker 2: Thank you, bro Man, thank you, thank you, thank you.

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Speaker 1: All right, number one, you got to show me the chain.

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Speaker 2: Okay, what's the Doom?

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Speaker 3: I wore these because I wanted to get a chance

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Speaker 3: to talk to you about him.

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Speaker 2: This is a very very special story.

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Speaker 1: He hold it up to our you know, two of them.

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Speaker 3: If you look on the inside, there's an inscription too,

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Speaker 3: there's a wow. This was These were created by Han Soolo,

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Speaker 3: who was the person who created the actual Doom mask.

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Speaker 3: And on the inside it says here lies Victor von

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Speaker 3: Doom aka Daniel du Malay rip. Nineteen seventy one. There's

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Speaker 3: a long there's a story behind him.

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Speaker 1: What's the story.

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Speaker 3: Okay, so there is there's a little bit of a

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Speaker 3: history between me Flying Lotus Doom, you know, working on

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Speaker 3: a couple of things together, this specific moment where these

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Speaker 3: come about or these take effect. They were like some

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Speaker 3: things I think that were released or Adult Swim, and

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Speaker 3: it was like one song was called Between Friends and

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Speaker 3: Between Villains and it was kind of like Captain Murphy

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Speaker 3: Flying Lotus. So it's like it's kind of like you

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Speaker 3: know him, you know, spitting and like it's one of

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Speaker 3: those moments where from that fast forward there's so many

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Speaker 3: you know, like the legendary stories of how he really

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Speaker 3: was the villain slash, you know, be.

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Speaker 2: Doing all kinds of stuff like, man, wait a minute,

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Speaker 2: is that him? You know?

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Speaker 3: No, these two take place after he's moved back to

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Speaker 3: London and I think they, oh, yeah, I'm forgetting. One

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Speaker 3: of the songs that was also leading to this, there's

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Speaker 3: a song called lunch Break on Grand Theft Auto five

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Speaker 3: where this was a moment of Doom also like kind

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Speaker 3: of you know, getting back into doing stuff. So it's

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Speaker 3: like it was kind of like the idea or notion

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Speaker 3: of getting getting a chance to work more with him

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Speaker 3: was like really you know, Oh my god, you know,

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Speaker 3: it's exciting, it's you know, and.

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Speaker 1: How many songs were completed at all?

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Speaker 3: I mean this, I feel like Flying Lotus would know more,

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Speaker 3: bit you know, but I know that there was a couple,

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Speaker 3: you know, and but nonetheless, i'd me again, I'm like,

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Speaker 3: I have a doom tattoo, you know what I mean?

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Speaker 3: Like again, come into the knowledge of doom is such

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Speaker 3: like a spiritual experience, you know what I mean, It's

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Speaker 3: like for anybody. And I think that's kind of why

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Speaker 3: the mass kind of even just resonates with people.

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Speaker 1: Well, I sort of experienced this firsthand when Kolkeith hmm,

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Speaker 1: you know, he came to me as you know, one

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Speaker 1: fourth of the ultraman Negin seas and then he had

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Speaker 1: this whole nother afterlife now doomed to me like because

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Speaker 1: of my age, I guess or my experience, you know,

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Speaker 1: and on third base in the gas face like he's

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Speaker 1: always been zev love X to me. And I had

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Speaker 1: to get accustomed to doom because they're so radically different, yeah,

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Speaker 1: than just your traditional break pieces and stuff. But I

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Speaker 1: would like to ask people that worship at the altar

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Speaker 1: of doom, like is there ever any curiosity into his

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Speaker 1: past his Clark Kent period?

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Speaker 2: Absolutely?

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Speaker 3: And you got to For me, it's kind of like

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Speaker 3: I would have to go backwards because it's like I

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Speaker 3: removed by about ten, twelve, fifteen years and I would

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Speaker 3: come to discover that stuff later on before I.

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Speaker 2: After right, Okay, that's why I want to know the

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Speaker 2: osmosis thing. For me, I got it. And again I come.

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Speaker 3: I come from a history that with the dudes that

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Speaker 3: Sara where it was like do your history, No, no,

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Speaker 3: go backwards and know where things came from and leading

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Speaker 3: to these chains being made. There's like this him expression

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Speaker 3: to want to work more, but I would have to

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Speaker 3: go meet him in London because you know.

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Speaker 2: He wasn't wasn't allowed by states.

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Speaker 3: You know, good Lord, that did not age well right now.

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Speaker 3: But we were like, nah, whatever it takes, let's it

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Speaker 3: don't matter. I'm pulling up. I was like I saw

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Speaker 3: the goal, I saw the you know, the you know,

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Speaker 3: I know where we were going and what could have been man,

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Speaker 3: oh my god. Now I'm thinking about it, like, ah,

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Speaker 3: what could have been lying Lotus? And you know it's

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Speaker 3: we were building a nuke, you know what I'm saying.

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Speaker 1: I always at least in my head, and this is

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Speaker 1: weird for me to ask a question because like I know,

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Speaker 1: now I'm playing the role of journalists and you're the artist.

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Speaker 1: But also forget that in my day job, i'm one

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Speaker 1: of you. However, when you have an entire ecosystem. And

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Speaker 1: I mean this in the most lovinglessiest way. Ever, when

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Speaker 1: I say batch it crazy, I just meant like eccentric.

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Speaker 2: Oh you know, we got it?

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Speaker 1: Like someone has to play the straight person, do they not?

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Speaker 2: Or like, look, there's the years of who.

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Speaker 1: Wants to be in the alpha in a room, like

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Speaker 1: in this situation, if it is Lotus, who's the alpha

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Speaker 1: and who's someone has to be fifty one forty nine?

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Speaker 1: Do they not?

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Speaker 2: Or m speaking of it in that terminology? I think

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Speaker 2: no way.

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Speaker 3: There's a place that exists in the heart of knowing

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Speaker 3: that the value of it is worth its ability to

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Speaker 3: figure it out.

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Speaker 2: So it's almost as.

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Speaker 1: If being the president and if it works, it works exactly.

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Speaker 3: So like even when me and Lotus would look at

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Speaker 3: each other, it would be like this, it was like

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Speaker 3: it was like Star Trek.

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Speaker 2: It was like make it so it was like here we.

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Speaker 1: Go, all right, see this is why I have this platform.

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Speaker 1: I think because of my drill Sergeant Dad like has

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Speaker 1: made me into such a control freak that I'm almost

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Speaker 1: afraid to have that level. I mean, I guess you

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Speaker 1: could say I might have had it with D'Angelo, but

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Speaker 1: even with him, by like month one, I think I

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Speaker 1: was operating in fear.

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Speaker 2: Hmm.

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Speaker 1: Because label people will drop by and you know, mind

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Speaker 1: you this is ninety six ninety seven, so everything's like

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Speaker 1: sexy and shiny, and yeah, you know they're thinking he's

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Speaker 1: going to come up with like one twelve's only you.

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Speaker 3: Right right and jeans with a big belt buckle and right, and.

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Speaker 1: You know, by like the first year, I was like,

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Speaker 1: oh god, they're gonna blame me. They're gonna blame me

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Speaker 1: for this, blame me for this. So I just was

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Speaker 1: never in that.

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Speaker 2: Place that's awesome.

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Speaker 1: I would try to reel it backwards like the crazier

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Speaker 1: they got right, So right, okay, But I always wanted

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Speaker 1: to know that, what is your first musical memory in life?

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Speaker 3: Oh there's something that did pop in my mind and

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Speaker 3: I vaguely remember it. I don't know if this was like,

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Speaker 3: you know, this is from a different era of like

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Speaker 3: I don't even know I'm remembering it wrong, I'm sure,

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Speaker 3: but I remember. I think this was in Detroit with

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Speaker 3: my mom.

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Speaker 1: I think you born.

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Speaker 3: I was born here in La Okay, raised in Compton

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Speaker 3: for maybe the first ten some odd years of my life.

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Speaker 3: Four Oh yeah, oh yeah, I'm from Compton, like my

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Speaker 3: dad's really from Compton. Like my dad is like Compton Compton,

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Speaker 3: went to like Centennial and then when he when the family,

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Speaker 3: my dad married my mom and she was from Inkster, Michigan, and.

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Speaker 2: She moved to La to be with my dad.

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Speaker 3: And we at the in in that first few years

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Speaker 3: of life. I would I think they were maybe trying

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Speaker 3: to figure.

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Speaker 2: Out where we were going to go or.

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Speaker 3: And I remember my mom always always make sure to

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Speaker 3: try to remind me of things, like you know, growing

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Speaker 3: up at church out there, or like I don't remember anything.

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Speaker 2: I remember McDonald's.

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Speaker 3: I remember, you know, like drawing the Ninja turtles and

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Speaker 3: getting in trouble falling off a swing. I think I

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Speaker 3: got in trouble for flashing my neighbor. Like I don't know,

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Speaker 3: I remember it's snowing a lot. I think I got

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Speaker 3: remember cat poop in Compton. No, no, no, this is

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Speaker 3: in Detroit, Detroy. No, not snowing in Compton.

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Speaker 1: Okay. I was like, wait a minute.

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Speaker 3: From what I can remember growing up in Compton, I

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Speaker 3: just remember my grandma's back door that led to the kitchen.

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Speaker 2: I think I got in trouble. There a lot you

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Speaker 2: got in trouble.

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Speaker 1: A lot didn't.

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Speaker 2: Yeah, I would imagine.

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Speaker 3: I think there's a couple of there's like a couple

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Speaker 3: of moments that I can see in my brain, Like

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Speaker 3: I think there was a garage, and I think there

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Speaker 3: was like this brick wall around our house that was

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Speaker 3: blocking us off from the main road in the freeway

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Speaker 3: and everything, but it was like concrete. I think I

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Speaker 3: remember standing face in the corner with like a voice

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Speaker 3: changing helmet in my like my toy guitar. That was

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Speaker 3: like but but it wasn't like because I was in trouble.

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Speaker 3: I just think I liked the corner and I liked

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Speaker 3: how I was, like it made my voice sound, so

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Speaker 3: I would like base the corner and like play with

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Speaker 3: the toy. I don't know, maybe that sounds weird. I'm

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Speaker 3: pretty sure it does. But yeah, no, that's but it

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Speaker 3: was lived between Compton and for a small stint of

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Speaker 3: time Inkster, Michigan. Okay, and my first memory would be

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Speaker 3: singing this song. I don't know it was for church

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Speaker 3: or something with my brother where it was like I remember.

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Speaker 2: Take my life and let it be constantly created.

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Speaker 3: And I don't remember what it was for. I feel

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Speaker 3: like there was a video and that was the only

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Speaker 3: time I can remember wearing a suit.

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Speaker 1: I think I hated it ever in life.

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Speaker 3: Yeah, I think that was the I feel like I

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Speaker 3: remember it was like my mom had us in it

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Speaker 3: was like Christmas suits. I had like a green suit

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Speaker 3: with a bolo tie. It was like a seersucker and

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Speaker 3: I think that was my I was like, never again and.

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Speaker 1: You stuck to that. Yeah. Okay. So when you said

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Speaker 1: you're from Compton, and I'm certain that that's maybe ninety

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Speaker 1: percent of your reactions, But I also realized that my

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Speaker 1: reactions are based on what I hear from the news. Yeah,

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Speaker 1: because we live where we live, I'm now questioning everything

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Speaker 1: I hear. So I will ask you, what do we

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Speaker 1: get wrong about Compton? And was that just marketing to

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Speaker 1: sell some records? Because the thing is is that my

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Speaker 1: mother's side of the family left Pittsburgh. Half of them

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Speaker 1: moved to Alta Dina, and I think my grandmother got

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Speaker 1: a house in Compton. So apparently I lived in Compton

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Speaker 1: in like for one year in nineteen seventy three while

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Speaker 1: my parents went to make a record, right, and you know,

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Speaker 1: I have slight memories of life childhood.

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Speaker 2: And it wouldn't act. It wouldn't act.

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Speaker 1: Yeah, So I mean it wasn't just the marketing, like

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Speaker 1: what was your Compton neighborhood like, or more specifically, if

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Speaker 1: you were this quirky, eccentric kid or this person that

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Speaker 1: you are, now, how do you navigate that in your childhood?

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Speaker 1: Because I was that person in my neighborhood. Yeah, And

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Speaker 1: by the age of five, my parents were wise enough.

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Speaker 2: To be like, we got to move.

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Speaker 1: No, you no, Like you're staying in the house.

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Speaker 2: So yeah, yeah, okay.

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Speaker 1: They wouldn't let me go outside. They just thought, like,

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Speaker 1: you're way too vulnerable, you'll get beat up every day.

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Speaker 1: And so I just lived in the house with records.

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Speaker 2: I hear you.

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Speaker 3: There's a lot of intersectional points academically to socially that

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Speaker 3: existed for the places that we were growing up and

256
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Speaker 3: stuff like that. And I got two versions of the

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Speaker 3: story for what this is because there is the person

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Speaker 3: that's got their head in the clouds, so to speak.

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Speaker 3: That has to be kind of like all right, Stephen,

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Speaker 3: you know. And that takes place a little bit later

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Speaker 3: in life, like from maybe thirteen up. And that was

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Speaker 3: on meeting Reggie Andrews. But my name I always hear

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Speaker 3: the most.

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Speaker 1: Yeah he is, Uh, was Reggie Andrews specifically responsible for

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Speaker 1: every musician? Yes, And because I hear the name Reggie

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Speaker 1: Andrews of course of the Dazz Band.

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Speaker 3: Yeah, it's like it's almost like a sitcom because like

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Speaker 3: for me, he's just the teacher, mister Andrews. You know,

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Speaker 3: he's like, you know, it's bald, big mustache, you know,

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Speaker 3: and like that old like it's almost like a vigner

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Speaker 3: and a TV show.

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Speaker 2: It's like you and me and my heyday.

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Speaker 3: And then when I only saw a video him in

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Speaker 3: the Dazz Band on the funeral and my jaw was

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Speaker 3: on the floor, I was like.

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Speaker 1: So you didn't know let it whip or let it

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Speaker 1: or enjoy stick or no.

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Speaker 2: I knew all the songs. I knew all the songs.

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Speaker 3: I knew everything, but again esthetically or seeing it in action,

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Speaker 3: I didn't know what that was. I was like I

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Speaker 3: always would hear, like mister Andrews was like, oh earth

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Speaker 3: wind and fire level, Like I would be like, I

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Speaker 3: mean the guy that wears the card again with the

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Speaker 3: with I'm like, nah, I know, I just don't see it.

285
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Speaker 3: And then I saw it and I was like, if

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Speaker 3: that's what he was instilling in me, Oh yeah, I'm

287
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Speaker 3: I'm there it is.

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Speaker 1: How long did he teach at the school? Since it

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Speaker 1: was built from the ground up.

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Speaker 3: There's a picture of him at the beginning of the

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Speaker 3: school getting built.

292
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Speaker 1: Yeah, with a silver shovel. Who else of note went there?

293
00:14:33,760 --> 00:14:37,600
Speaker 1: Because literally, you gotta be the twentieth person. I know,

294
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Speaker 1: that's name.

295
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Speaker 3: And the far side Patrese Terrace Martin, I mean off

296
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Speaker 3: the top. That's just the first thing there's So there's

297
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Speaker 3: a lot. My teacher went to fire a horn section

298
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Speaker 3: of Gerald Albright.

299
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Speaker 2: Good lord? What was he teaching us?

300
00:14:53,520 --> 00:14:55,000
Speaker 1: Yes, good lord?

301
00:14:55,400 --> 00:14:57,200
Speaker 2: What didn't he teach us? He taught us how to

302
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Speaker 2: be men.

303
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Speaker 3: We used to have a program called Men of Life

304
00:15:00,160 --> 00:15:04,840
Speaker 3: delegation Tyres Gibson too. You know, my brother, my older brother,

305
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Speaker 3: Ronald good lord. But it's like he taught us how

306
00:15:08,240 --> 00:15:11,960
Speaker 3: to survive, like for real, for real, like he taught

307
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Speaker 3: us how to survive, Like our school was central to

308
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Speaker 3: multiple gang territories.

309
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Speaker 1: How do you avoid that?

310
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Speaker 2: Mister Andrews will whoop your asss Like he was that teacher.

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Speaker 3: He'd be like, don't come in here with that, and

312
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Speaker 3: he would drop kick you in the hallway. For me

313
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Speaker 3: and my brother, he was like a second father. My

314
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Speaker 3: dad had known Reggie maybe since high school to college,

315
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Speaker 3: and so it was one of those things where like

316
00:15:40,400 --> 00:15:42,600
Speaker 3: mister Andrews was like, when they're of age, you know

317
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Speaker 3: where to send him because he started teaching early on,

318
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Speaker 3: I think. But in the bigger scheme of the experience

319
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Speaker 3: of growing up, we grew up on the line of

320
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Speaker 3: the line between Compton and Watts which was separated by

321
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Speaker 3: the one oh five Freeway.

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Speaker 2: Okay, so it's like I don't know, like we kind.

323
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Speaker 3: Of slowly migrated further north, like landing in West Adams

324
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Speaker 3: by the time I was about thirteen fourteen, which is

325
00:16:04,280 --> 00:16:06,400
Speaker 3: where this all kind of meets in a different place.

326
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Speaker 3: Me in middle school, I would get picked up. We

327
00:16:11,000 --> 00:16:12,560
Speaker 3: were going to go to lack High School. I wanted

328
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Speaker 3: to go to Fairfax for illustration, like you know, I

329
00:16:15,920 --> 00:16:17,680
Speaker 3: was like I knew Tom McFarland went there. I was like,

330
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Speaker 3: I want to be I want to be an illustrator,

331
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Speaker 3: and my dad was like, absolutely not. Why because I

332
00:16:27,040 --> 00:16:29,760
Speaker 3: don't know if there's like an undertone of like, you know, nah,

333
00:16:29,840 --> 00:16:32,200
Speaker 3: you will you will definitely be broke for the rest

334
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Speaker 3: of your life. I don't know what that was, but

335
00:16:34,040 --> 00:16:37,120
Speaker 3: it was also like the wanting to be the illustrator

336
00:16:37,880 --> 00:16:41,880
Speaker 3: versus mister Andrews being at the helm. I think it

337
00:16:41,920 --> 00:16:44,600
Speaker 3: was my dad knew the importance of us being with

338
00:16:44,640 --> 00:16:45,520
Speaker 3: Reggie Andrews.

339
00:16:45,880 --> 00:16:46,440
Speaker 1: Is this him?

340
00:16:46,800 --> 00:16:48,080
Speaker 2: No, that's Don Cornelius.

341
00:16:48,200 --> 00:16:50,120
Speaker 1: Now come on, now, I know Don Cornelius.

342
00:16:50,080 --> 00:16:50,960
Speaker 4: Is him?

343
00:16:50,960 --> 00:16:51,600
Speaker 2: No, that ain't him.

344
00:16:51,640 --> 00:16:54,280
Speaker 1: Okay, I'm on an old episode of Soul Train.

345
00:16:54,400 --> 00:16:57,480
Speaker 3: He played keyboards, So if he is on soul Train,

346
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Speaker 3: you're gonna blow my mind too.

347
00:16:58,960 --> 00:17:01,440
Speaker 1: No, he's definitely want the dash man's on Soul Train.

348
00:17:01,480 --> 00:17:04,560
Speaker 3: That looked like, no, no, that's not him. No, I

349
00:17:04,600 --> 00:17:07,159
Speaker 3: may not see man. I can't I see a like.

350
00:17:07,240 --> 00:17:10,040
Speaker 3: I know I can recognize people's faces, but mister Andrews

351
00:17:10,080 --> 00:17:12,680
Speaker 3: with a Jerry Crow Is is that him right there.

352
00:17:12,600 --> 00:17:15,360
Speaker 2: On the far left? That's him on the far left?

353
00:17:15,720 --> 00:17:19,320
Speaker 2: Is that right there? That just pointed to the drummer. Yes, wait, no,

354
00:17:19,359 --> 00:17:22,320
Speaker 2: that can't be Reggie Andrews. No, hold on, it's a

355
00:17:22,359 --> 00:17:23,320
Speaker 2: whole lot of members.

356
00:17:24,359 --> 00:17:29,560
Speaker 3: Hold on, they've had members throughout the Yeah, that looked.

357
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Speaker 2: That looked a little bit like need to me. I'm

358
00:17:31,480 --> 00:17:33,280
Speaker 2: like they had the softness of the face.

359
00:17:33,320 --> 00:17:34,719
Speaker 1: I was like, wait, I definitely know one of these

360
00:17:34,760 --> 00:17:35,760
Speaker 1: catch is Reggie Andrews.

361
00:17:35,800 --> 00:17:37,320
Speaker 3: Yeah, because I'm saying, I was like, wait a minute,

362
00:17:38,760 --> 00:17:40,640
Speaker 3: all I see is a handlebar mustache.

363
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Speaker 2: I can't I don't know how long he's had to

364
00:17:42,840 --> 00:17:44,040
Speaker 2: handle I now.

365
00:17:44,080 --> 00:17:47,119
Speaker 1: I feel like there should be a documentary short on

366
00:17:47,200 --> 00:17:50,920
Speaker 1: him on his mustache or just yes on the mustache.

367
00:17:52,080 --> 00:17:52,320
Speaker 2: Yeah.

368
00:17:52,359 --> 00:17:54,639
Speaker 1: What did your parents do? I know your dad was

369
00:17:54,640 --> 00:17:55,200
Speaker 1: a musician.

370
00:17:55,320 --> 00:17:57,680
Speaker 3: Yeah, my dad both musicians. My mom used to play

371
00:17:57,680 --> 00:18:00,880
Speaker 3: in the Philharmonic. My dad what did he play? Flute,

372
00:18:01,000 --> 00:18:04,920
Speaker 3: floutist and a bit of percussion, and my U show

373
00:18:05,000 --> 00:18:07,520
Speaker 3: again also played grew up playing at Crenshaw Christian Center

374
00:18:07,560 --> 00:18:11,200
Speaker 3: and all that, And then my dad was more of

375
00:18:11,240 --> 00:18:14,480
Speaker 3: a road traveled musician who worked with many people like

376
00:18:14,560 --> 00:18:17,720
Speaker 3: Jody Wattley. Again, I was every you know, As I

377
00:18:17,760 --> 00:18:20,159
Speaker 3: get older, I just, you know, sometimes I don't remember

378
00:18:20,200 --> 00:18:22,159
Speaker 3: every last thing. But I know my dad was a

379
00:18:22,280 --> 00:18:25,439
Speaker 3: very working musician and then also kind of has been

380
00:18:25,480 --> 00:18:28,600
Speaker 3: working at Disneyland for the majority of my life. Yeah,

381
00:18:29,240 --> 00:18:32,359
Speaker 3: Pops is a real He's a g man. Really, he

382
00:18:32,480 --> 00:18:34,280
Speaker 3: is a g I'll never forget the day he got

383
00:18:34,320 --> 00:18:35,560
Speaker 3: the job working at Disneyland.

384
00:18:35,600 --> 00:18:37,240
Speaker 2: That was a as a kid.

385
00:18:37,240 --> 00:18:39,120
Speaker 3: It's like, I don't have too many core memories because

386
00:18:39,119 --> 00:18:41,000
Speaker 3: it's all washed over and all the things that we're

387
00:18:41,040 --> 00:18:43,720
Speaker 3: talking about, But I do remember seeing my dad in

388
00:18:43,760 --> 00:18:45,800
Speaker 3: a in a grass skirt playing in the Lion King

389
00:18:45,840 --> 00:18:48,600
Speaker 3: Parade or it was one of the it was like, it's.

390
00:18:48,520 --> 00:18:51,359
Speaker 2: A core memory. Yeah, yeah, it was. It was a

391
00:18:51,400 --> 00:18:51,760
Speaker 2: big deal.

392
00:18:51,840 --> 00:18:53,440
Speaker 3: I remember he was blushing, he was trying to play

393
00:18:53,480 --> 00:18:55,080
Speaker 3: and he was playing.

394
00:18:55,080 --> 00:18:56,119
Speaker 2: He was playing Jim Bay.

395
00:18:56,320 --> 00:18:58,240
Speaker 3: Really yeah, yeah, he was playing Jim Bay and he

396
00:18:58,320 --> 00:18:59,879
Speaker 3: was walking down and he was like you saw us,

397
00:18:59,880 --> 00:19:03,360
Speaker 3: like waving and stuff, and he's like, okay, okay, yeah.

398
00:19:03,320 --> 00:19:06,560
Speaker 2: I'll never forget it saved our lives, you know.

399
00:19:07,200 --> 00:19:13,040
Speaker 1: So would you often go to Disneyland like Rucini? Yeah,

400
00:19:13,080 --> 00:19:16,800
Speaker 1: like this explains everything. Yeah, Like I used to hang

401
00:19:16,840 --> 00:19:19,639
Speaker 1: out access to Disneyland this much. Then that means I

402
00:19:19,680 --> 00:19:20,879
Speaker 1: would hang out in Tomorrowland.

403
00:19:21,040 --> 00:19:23,080
Speaker 3: I would hang out in tomorrow Land and play video

404
00:19:23,119 --> 00:19:25,480
Speaker 3: games and go see Captain the Yoh like I would.

405
00:19:25,480 --> 00:19:29,200
Speaker 3: Just there was a small window because right as a kid,

406
00:19:29,240 --> 00:19:32,200
Speaker 3: that's when all this stuff started happening, like right, which

407
00:19:32,200 --> 00:19:34,159
Speaker 3: we you know, here we go, you know, God bless

408
00:19:34,160 --> 00:19:37,240
Speaker 3: his heart. But I remember, I remember just going and

409
00:19:37,240 --> 00:19:38,919
Speaker 3: being like I want to get on any right, let

410
00:19:38,960 --> 00:19:41,600
Speaker 3: me just go hang out in the arcade. It was

411
00:19:41,640 --> 00:19:44,679
Speaker 3: like Beavis and butt heead, you know, like Zach and Cody,

412
00:19:44,800 --> 00:19:46,119
Speaker 3: but not no camera.

413
00:19:46,480 --> 00:19:49,040
Speaker 1: What's the age difference between you and your brother?

414
00:19:49,200 --> 00:19:50,000
Speaker 2: Two years?

415
00:19:50,119 --> 00:19:52,760
Speaker 3: Okay, the older brother, and then there's ten is ten

416
00:19:52,920 --> 00:19:55,199
Speaker 3: the other way, so Jamial is ten years younger and

417
00:19:55,280 --> 00:19:56,359
Speaker 3: Ronald is two years older.

418
00:19:56,960 --> 00:20:00,320
Speaker 1: Ronald of course is monster drummer and you're young. What

419
00:20:00,359 --> 00:20:00,880
Speaker 1: does he play?

420
00:20:00,960 --> 00:20:04,720
Speaker 3: Pianist? Keyboards and piano. He used to play accordion. Yeah,

421
00:20:04,800 --> 00:20:06,200
Speaker 3: my little brother used to play accordion.

422
00:20:06,480 --> 00:20:09,560
Speaker 1: So he's instantly gonna like, how come this hasn't happened yet.

423
00:20:09,720 --> 00:20:10,159
Speaker 1: I don't know.

424
00:20:10,480 --> 00:20:11,879
Speaker 3: Maybe it's my fault. I need I need to go

425
00:20:11,920 --> 00:20:13,960
Speaker 3: ahead and get him that accordion. I'm like, bro, there's

426
00:20:14,000 --> 00:20:15,959
Speaker 3: not too many black dudes that play accordion, Bro, you

427
00:20:16,040 --> 00:20:16,800
Speaker 3: need to lock in.

428
00:20:16,960 --> 00:20:20,000
Speaker 1: Oh my god to do that. One of my most

429
00:20:20,040 --> 00:20:25,800
Speaker 1: treasure moments at the Tonight Show is us teaching speaking

430
00:20:25,840 --> 00:20:31,640
Speaker 1: of which I think when doom passed or I'm forgetting

431
00:20:31,640 --> 00:20:35,400
Speaker 1: when we did this, but we made where Al Jankovic

432
00:20:35,720 --> 00:20:41,240
Speaker 1: learn accordion. Yeah, and we did it on the Tonight Show.

433
00:20:41,320 --> 00:20:45,159
Speaker 3: It's for the culture, bro, like it's jamil I'm saying, bro, like,

434
00:20:45,240 --> 00:20:46,320
Speaker 3: pick the accordion back.

435
00:20:46,440 --> 00:20:49,120
Speaker 1: Yeah, dude, oh my god, I will use him instantly.

436
00:20:50,160 --> 00:20:53,639
Speaker 1: Look in Brazilian music, Savuka.

437
00:20:53,200 --> 00:20:56,959
Speaker 3: Is it's important, man, monster Like imagine like keeping that

438
00:20:57,000 --> 00:20:58,960
Speaker 3: thing on you, you like, like, oh, what's pop it?

439
00:20:59,080 --> 00:21:03,920
Speaker 2: Oh? Hold on? Let me just are y'all jamming right now?

440
00:21:03,960 --> 00:21:04,320
Speaker 2: Hold on?

441
00:21:04,840 --> 00:21:08,880
Speaker 1: Coming from you guys? Lineage that would make absolute sense

442
00:21:08,920 --> 00:21:09,119
Speaker 1: to me.

443
00:21:09,280 --> 00:21:20,359
Speaker 4: Yeah.

444
00:21:21,000 --> 00:21:24,320
Speaker 1: Do you remember your first concert ever? Yes?

445
00:21:24,359 --> 00:21:25,439
Speaker 2: I do, I think I do.

446
00:21:25,640 --> 00:21:26,880
Speaker 1: Who was it?

447
00:21:26,880 --> 00:21:29,439
Speaker 3: It was Chucky Booker and Janet Jackson on the Rhythm

448
00:21:29,480 --> 00:21:31,919
Speaker 3: Nation tour and I wore a Ghostbusters outfit and I

449
00:21:31,960 --> 00:21:33,879
Speaker 3: remember Jane rubbing her booty and my mom trying to

450
00:21:33,880 --> 00:21:34,639
Speaker 3: cover my eyes.

451
00:21:35,160 --> 00:21:35,400
Speaker 2: What.

452
00:21:36,080 --> 00:21:38,359
Speaker 3: I never forgot that And that was the day I

453
00:21:38,359 --> 00:21:40,400
Speaker 3: fell in love with the tune Turned away too.

454
00:21:40,440 --> 00:21:45,320
Speaker 2: That was my that's still my jents to this date.

455
00:21:46,359 --> 00:21:51,200
Speaker 1: That does inform Yes, plane, if you were born twenty

456
00:21:51,280 --> 00:21:55,600
Speaker 1: years earlier, I can see those are your court structures.

457
00:21:55,720 --> 00:21:58,240
Speaker 2: I jam chucky.

458
00:21:58,359 --> 00:22:01,520
Speaker 1: See the novice would just say like, oh, George Duke,

459
00:22:01,840 --> 00:22:04,280
Speaker 1: George Duke example all day now, I.

460
00:22:04,359 --> 00:22:06,520
Speaker 2: See is deep in the DNA.

461
00:22:06,840 --> 00:22:09,600
Speaker 1: You know. It's just when's the first time that you

462
00:22:10,440 --> 00:22:15,200
Speaker 1: got on a stage to perform for an audience, your

463
00:22:15,240 --> 00:22:17,399
Speaker 1: first audience, your first performance.

464
00:22:17,440 --> 00:22:18,320
Speaker 2: First performance.

465
00:22:18,640 --> 00:22:20,480
Speaker 3: That's a good question because there's again I don't know

466
00:22:20,520 --> 00:22:23,240
Speaker 3: if it's uh, you know, when you're growing up in church.

467
00:22:23,240 --> 00:22:25,520
Speaker 3: I don't know if that's I would consider that performing

468
00:22:25,600 --> 00:22:27,919
Speaker 3: for me because it's like I would always like to

469
00:22:27,960 --> 00:22:31,679
Speaker 3: consider the first performance the first time somebody paid me,

470
00:22:32,560 --> 00:22:36,040
Speaker 3: because everything else is just like everything else is like

471
00:22:36,800 --> 00:22:38,000
Speaker 3: what's your backup plan?

472
00:22:38,119 --> 00:22:41,200
Speaker 1: Well, I mean like, okay, so I don't count church either,

473
00:22:41,400 --> 00:22:43,160
Speaker 1: and I don't count playing with my dad.

474
00:22:42,960 --> 00:22:44,520
Speaker 3: Even That's what I'm saying, because it's like, it's not

475
00:22:44,600 --> 00:22:48,600
Speaker 3: it's it's part of the so the frech non family lineage,

476
00:22:48,760 --> 00:22:55,359
Speaker 3: non spiritual community gathering, something that you yourself created or

477
00:22:55,400 --> 00:22:56,920
Speaker 3: you got hired for.

478
00:22:57,880 --> 00:23:00,840
Speaker 1: Hmmm, like there were no bands in the school that

479
00:23:01,280 --> 00:23:03,480
Speaker 1: mister Andrews organized, you guys at or.

480
00:23:03,600 --> 00:23:06,359
Speaker 3: Yes there was, and again I really think about this.

481
00:23:06,400 --> 00:23:08,680
Speaker 3: I know Fernando Pullam, who was also another one of

482
00:23:08,720 --> 00:23:11,880
Speaker 3: the music educators in Los Angeles, is of great importance

483
00:23:11,920 --> 00:23:13,960
Speaker 3: that you know, with the programming and stuff like that

484
00:23:14,000 --> 00:23:16,800
Speaker 3: for kids and music. But at the time that we

485
00:23:16,840 --> 00:23:20,720
Speaker 3: grew up to meet the Terraces, Ronalds, the Kumasies, we

486
00:23:20,800 --> 00:23:23,480
Speaker 3: had a lot of like care or a lot of

487
00:23:23,560 --> 00:23:27,360
Speaker 3: like like the like Nissan and the the Loniest Monk Institute.

488
00:23:27,560 --> 00:23:30,680
Speaker 3: They would come together, the Playboy Jazz Institution, they would

489
00:23:30,680 --> 00:23:34,000
Speaker 3: come together and find things and have like this. Mister

490
00:23:34,040 --> 00:23:37,359
Speaker 3: Andrews had a band called Multi School Jazz Band, and

491
00:23:37,400 --> 00:23:40,520
Speaker 3: it was like if you could play, it's not about

492
00:23:40,520 --> 00:23:42,800
Speaker 3: how well, it's like if you can play, bring bring

493
00:23:42,840 --> 00:23:43,600
Speaker 3: your kids here to.

494
00:23:43,600 --> 00:23:46,800
Speaker 2: Lock High School. You had to drive the Lock High School, which.

495
00:23:46,640 --> 00:23:49,960
Speaker 3: Was definitely like a challenge if you if you come

496
00:23:50,119 --> 00:23:53,480
Speaker 3: come through, if you dare after school, you know, hey man,

497
00:23:53,680 --> 00:23:56,720
Speaker 3: it's it's But at the same time, driving down Say

498
00:23:56,760 --> 00:24:00,000
Speaker 3: Street again, those friendships and the people that we meet

499
00:24:00,200 --> 00:24:02,119
Speaker 3: there are still our lifetime.

500
00:24:02,240 --> 00:24:04,080
Speaker 2: Go to the sto you know.

501
00:24:04,560 --> 00:24:09,480
Speaker 1: Okay, So the musicians that I grew up with. And

502
00:24:09,840 --> 00:24:13,479
Speaker 1: here's the thing that most people can't not fathom or whatever.

503
00:24:13,680 --> 00:24:16,720
Speaker 1: But I mean there's a period where I will say,

504
00:24:17,400 --> 00:24:21,640
Speaker 1: if you are a teenager or in your mid twenties,

505
00:24:22,040 --> 00:24:27,000
Speaker 1: especially in the sixties, and then you had this debaucherous

506
00:24:27,720 --> 00:24:32,640
Speaker 1: hedonism seventies sort of pushback existence, like everything that all

507
00:24:32,680 --> 00:24:36,399
Speaker 1: the ideas of the sixties just sort of whittled away,

508
00:24:36,600 --> 00:24:40,240
Speaker 1: and then people just went batshit crazy in the seventies.

509
00:24:40,359 --> 00:24:42,080
Speaker 2: I love that.

510
00:24:41,160 --> 00:24:46,719
Speaker 1: But here's the thing, though, you know, starting with like

511
00:24:46,920 --> 00:24:51,000
Speaker 1: Ronald Reagan's America, like the original one point o version

512
00:24:51,080 --> 00:24:55,840
Speaker 1: of Make America Great Again, suddenly turned this crazy deluge

513
00:24:55,960 --> 00:25:00,200
Speaker 1: of just conservatism, and so I kind of grew up

514
00:25:00,359 --> 00:25:03,719
Speaker 1: like my parents were super hip. Yeah, but then around

515
00:25:03,800 --> 00:25:08,920
Speaker 1: eighty one, suddenly we're a Christian household and you can't

516
00:25:08,920 --> 00:25:12,080
Speaker 1: listen to secular music. Yeah, I have prince punishments all

517
00:25:12,080 --> 00:25:12,440
Speaker 1: the time.

518
00:25:12,840 --> 00:25:15,159
Speaker 2: Prince punishments. That's crazy. So I mean he was in

519
00:25:15,240 --> 00:25:16,080
Speaker 2: his draws though.

520
00:25:16,560 --> 00:25:20,080
Speaker 1: Yeah, But I was like, the education was worth getting

521
00:25:20,080 --> 00:25:23,720
Speaker 1: my ass enrichment, yeah, exactly. However, I will say that

522
00:25:24,200 --> 00:25:27,720
Speaker 1: a lot of my I will say ninety five percent

523
00:25:27,720 --> 00:25:32,119
Speaker 1: of my music community suddenly had no references, Like I

524
00:25:32,200 --> 00:25:34,840
Speaker 1: defiantly listened to Prince so I can get that musical education,

525
00:25:35,480 --> 00:25:40,199
Speaker 1: whereas the closest they might listen to Stevie Wonder, but

526
00:25:40,280 --> 00:25:43,639
Speaker 1: most of the time they're listening to commissioned.

527
00:25:43,240 --> 00:25:49,440
Speaker 2: Yeah, and commissions and transfer commission Yeah. Like but Amy Grant, right, yeah,

528
00:25:49,600 --> 00:25:53,600
Speaker 2: you know, look, look knowing, No.

529
00:25:53,720 --> 00:25:56,600
Speaker 1: My whole point is because I grew up in a

530
00:25:56,640 --> 00:26:00,679
Speaker 1: household knowing what bands were and who the idol That

531
00:26:00,760 --> 00:26:04,359
Speaker 1: stuff just whittled out in the eighties and by the

532
00:26:04,480 --> 00:26:09,480
Speaker 1: nineties is almost like nonexistent. If he's preparing you to

533
00:26:09,520 --> 00:26:14,760
Speaker 1: be musicians, who are you, guys looking up to when

534
00:26:14,960 --> 00:26:17,840
Speaker 1: all that's left is Tony Tony Tony and.

535
00:26:18,280 --> 00:26:19,520
Speaker 2: Men conditions and condition.

536
00:26:20,480 --> 00:26:21,879
Speaker 1: By the time I got a record deal, there was

537
00:26:21,920 --> 00:26:25,000
Speaker 1: like seven bands left, right, So who are you idolizing?

538
00:26:25,080 --> 00:26:27,160
Speaker 1: Like I see myself in that? Or is this how

539
00:26:27,200 --> 00:26:29,240
Speaker 1: you wind up in suicidal tendencies?

540
00:26:29,760 --> 00:26:34,200
Speaker 3: This is man that No, that moment, that what you're

541
00:26:34,240 --> 00:26:36,879
Speaker 3: saying right now, that's a real thing. I felt like

542
00:26:37,240 --> 00:26:40,600
Speaker 3: in a way, we had to feed off of each other, gotcha,

543
00:26:40,720 --> 00:26:44,320
Speaker 3: So growing up and realizing like I mean, it's like

544
00:26:44,359 --> 00:26:45,760
Speaker 3: it was almost like the movie Kids.

545
00:26:45,960 --> 00:26:47,920
Speaker 2: It was kind of like we made our own rule.

546
00:26:48,040 --> 00:26:48,680
Speaker 1: Goddamn.

547
00:26:48,880 --> 00:26:51,840
Speaker 2: Yeah. We would be outside me.

548
00:26:50,960 --> 00:26:57,720
Speaker 3: Me, me, Kamasi, Austin Peralta, like Zane Musa, like Ryan Porter,

549
00:26:59,640 --> 00:27:01,040
Speaker 3: Ronald we would just be.

550
00:27:01,200 --> 00:27:04,040
Speaker 2: We would be doing whatever felt right to us.

551
00:27:04,680 --> 00:27:07,560
Speaker 3: There's that and then the reality of there's this big

552
00:27:07,680 --> 00:27:10,320
Speaker 3: gap in bridge that doesn't exist that you're talking about

553
00:27:11,080 --> 00:27:13,760
Speaker 3: that nobody walked us across. But like growing up with

554
00:27:13,840 --> 00:27:16,879
Speaker 3: Reggie Andrews and my father and my mom who it

555
00:27:16,960 --> 00:27:20,280
Speaker 3: wasn't all just like Christian music. Growing up, it was

556
00:27:20,359 --> 00:27:23,720
Speaker 3: like we were listening to Tony Williams in Stanley Clark

557
00:27:24,080 --> 00:27:27,760
Speaker 3: and George Duke and I'm sorry, but that's what we

558
00:27:27,760 --> 00:27:31,400
Speaker 3: were listening to. There was no mistaking where to go.

559
00:27:31,920 --> 00:27:34,399
Speaker 3: So like I would be surprised growing up, even as

560
00:27:34,400 --> 00:27:36,639
Speaker 3: we're talking about this gap between like the bands and

561
00:27:36,680 --> 00:27:38,480
Speaker 3: all these things like this and then what the eighties

562
00:27:38,520 --> 00:27:42,560
Speaker 3: were into the nineties, there was like I would be

563
00:27:42,600 --> 00:27:45,359
Speaker 3: surprised because even for me, like growing up with the

564
00:27:45,480 --> 00:27:49,280
Speaker 3: household full of drummers, the stuff like just using like

565
00:27:49,280 --> 00:27:52,120
Speaker 3: like using Tony Williams as an example, the amount of

566
00:27:52,160 --> 00:27:55,080
Speaker 3: my friends that didn't know who Tony Williams was growing up.

567
00:27:55,600 --> 00:27:58,399
Speaker 3: It was almost like me and my brother or my

568
00:27:58,440 --> 00:28:00,800
Speaker 3: brothers were speaking like an alienanguage a lot of time.

569
00:28:01,200 --> 00:28:03,760
Speaker 3: And it's like if growing up with Miles and Tony

570
00:28:03,840 --> 00:28:08,440
Speaker 3: and John McLoughlin and and Alan Holsworth as preference, that

571
00:28:08,520 --> 00:28:11,280
Speaker 3: wasn't It was mostly a lot of gospel musicians that

572
00:28:11,320 --> 00:28:15,040
Speaker 3: were like inspiring more musicians growing up again, which is

573
00:28:15,040 --> 00:28:16,439
Speaker 3: where a lot of it would come out of. But

574
00:28:16,520 --> 00:28:19,840
Speaker 3: we were like we knew everything from the Manhattan Transfer

575
00:28:20,400 --> 00:28:23,120
Speaker 3: to John McLoughlin. There was no and then and then

576
00:28:23,200 --> 00:28:26,280
Speaker 3: and then you got Reggie Andrews being like, it's what

577
00:28:26,320 --> 00:28:29,320
Speaker 3: it's what you make it. Mister Andrews taught us it's

578
00:28:29,359 --> 00:28:32,320
Speaker 3: what you make it. So we would be outside. We

579
00:28:32,359 --> 00:28:35,960
Speaker 3: would like Kamasi got Kamasi got a Mustang like it

580
00:28:36,000 --> 00:28:37,680
Speaker 3: was like a seventy six months like not not.

581
00:28:37,640 --> 00:28:39,200
Speaker 2: A good one, like one of the ones that have

582
00:28:39,200 --> 00:28:39,600
Speaker 2: break down.

583
00:28:40,640 --> 00:28:42,880
Speaker 3: If we would have hit it, even getting rear ended,

584
00:28:42,920 --> 00:28:45,040
Speaker 3: we all would have been buried in the car. It

585
00:28:45,080 --> 00:28:46,720
Speaker 3: was like we had the drums and then the upright

586
00:28:46,760 --> 00:28:48,360
Speaker 3: bass and the Kamasi with the saxophones.

587
00:28:48,400 --> 00:28:48,960
Speaker 2: I'd be in the.

588
00:28:48,920 --> 00:28:53,480
Speaker 3: Back fit like a jinger piece and because Ronald always

589
00:28:53,480 --> 00:28:55,200
Speaker 3: had the front seat, so I'll be wrapped around the

590
00:28:55,200 --> 00:28:57,440
Speaker 3: bass drum in the bass and we would get to

591
00:28:57,480 --> 00:29:00,000
Speaker 3: the gig like man, they gonna pay us, and we also,

592
00:29:00,040 --> 00:29:02,719
Speaker 3: okay eat and they'd be like, man, this was This

593
00:29:02,840 --> 00:29:04,760
Speaker 3: was one of the joys of growing up, because you know,

594
00:29:04,760 --> 00:29:07,720
Speaker 3: people would hire us to do stuff and it'd be

595
00:29:07,720 --> 00:29:09,640
Speaker 3: funny as hell because we get to somebody's thing. You

596
00:29:09,640 --> 00:29:11,239
Speaker 3: know people, you know, people do the thing where they

597
00:29:11,240 --> 00:29:13,160
Speaker 3: hold the phone up and request something from the DJ

598
00:29:13,200 --> 00:29:14,600
Speaker 3: and even shut your answer.

599
00:29:15,160 --> 00:29:16,160
Speaker 2: People will walk up.

600
00:29:16,040 --> 00:29:19,360
Speaker 3: And be like, hey, hey, making y'all play some of Yeah,

601
00:29:19,440 --> 00:29:21,240
Speaker 3: making y'all play some I don't know. It's like, you know,

602
00:29:21,680 --> 00:29:24,880
Speaker 3: play some vibe music and COMMASI be like yeah yeah,

603
00:29:24,960 --> 00:29:27,320
Speaker 3: and you turn to us and be like, you're gonna

604
00:29:27,320 --> 00:29:31,080
Speaker 3: take play the message. Next step giant steps right and

605
00:29:31,800 --> 00:29:33,320
Speaker 3: like what you said you want you wanted to hear

606
00:29:33,400 --> 00:29:36,920
Speaker 3: some some prints? Okay, hold on, I'll be right, yeah,

607
00:29:37,040 --> 00:29:38,120
Speaker 3: I'll be right back.

608
00:29:39,520 --> 00:29:43,240
Speaker 1: Just full till were you proficient in the fake book?

609
00:29:43,720 --> 00:29:46,120
Speaker 2: Oh yeah, that's what we lived our lives by growing up.

610
00:29:46,280 --> 00:29:48,960
Speaker 1: I think I explained this some previous episodes. If you're

611
00:29:49,720 --> 00:29:54,000
Speaker 1: learning to play jazz, we refer to the we refer

612
00:29:54,120 --> 00:29:59,160
Speaker 1: to the fake book is basically the Wikipedia of probably

613
00:29:59,200 --> 00:30:01,680
Speaker 1: the five hundred as standards that you have to know.

614
00:30:01,800 --> 00:30:05,280
Speaker 3: You just got to know autumn leaves and it's just chords.

615
00:30:05,640 --> 00:30:07,719
Speaker 3: So and if you don't, this is the book. This

616
00:30:07,800 --> 00:30:10,920
Speaker 3: is the You're going to make it easy for every.

617
00:30:10,760 --> 00:30:12,680
Speaker 1: Jazz song you need to know before you even call

618
00:30:12,720 --> 00:30:15,280
Speaker 1: yourself a jazz musician. You called it fake book, which

619
00:30:15,360 --> 00:30:17,920
Speaker 1: was the opposite of I guess there's a real book counterpart.

620
00:30:17,960 --> 00:30:20,440
Speaker 1: But there were better there was better songs in the

621
00:30:20,440 --> 00:30:23,160
Speaker 1: fake book. R Yeah, yeah, I got that. Wait, first

622
00:30:23,160 --> 00:30:25,520
Speaker 1: of all, how did the bass call you? Why did

623
00:30:25,560 --> 00:30:27,200
Speaker 1: you choose the bass.

624
00:30:27,120 --> 00:30:28,720
Speaker 2: Against the bass gets no attention?

625
00:30:29,560 --> 00:30:32,840
Speaker 3: It's not supposed to or something, right, But yeah, I

626
00:30:32,880 --> 00:30:35,080
Speaker 3: mean unless you're Charles Mingus and you punch somebody and

627
00:30:35,160 --> 00:30:36,880
Speaker 3: you know, I don't know, you know you got you got.

628
00:30:36,880 --> 00:30:39,600
Speaker 2: Like there's a slippery slope for said bass players.

629
00:30:39,360 --> 00:30:41,920
Speaker 1: Besides Larry Graham, like I really don't know. I mean

630
00:30:42,080 --> 00:30:45,560
Speaker 1: maybe Raphael, but even that, Rafael's usually one third of

631
00:30:45,640 --> 00:30:49,440
Speaker 1: another entity. Yeah, Like you don't see you know the

632
00:30:49,920 --> 00:30:53,280
Speaker 1: saxophone is supposed to be the yeah or the guitar.

633
00:30:53,440 --> 00:30:55,800
Speaker 3: I always said the horn player line is funny for

634
00:30:55,840 --> 00:30:58,200
Speaker 3: me because it's like you got two modes with horn player.

635
00:30:58,240 --> 00:31:00,360
Speaker 3: It's like, if you not it's this is I mean,

636
00:31:00,400 --> 00:31:02,320
Speaker 3: no offense to anybody, but I always say it's the

637
00:31:02,360 --> 00:31:04,120
Speaker 3: line between Kenny g and Kenny Garrett.

638
00:31:05,120 --> 00:31:07,200
Speaker 1: Do you know what his email is? What's his Ny

639
00:31:07,200 --> 00:31:10,880
Speaker 1: Garrett's email? What's Oh I can't see it? Yeah, yeah,

640
00:31:11,880 --> 00:31:14,640
Speaker 1: I don't want to dox you. Well, I guess old

641
00:31:14,640 --> 00:31:20,000
Speaker 1: people are embarrassed and having a certain three letters after Yeah,

642
00:31:20,240 --> 00:31:27,120
Speaker 1: but it's his is no, no, no, no, you see it?

643
00:31:27,200 --> 00:31:27,800
Speaker 2: You see it?

644
00:31:27,960 --> 00:31:31,640
Speaker 1: Yes, so yeah, he used to love let me know.

645
00:31:31,800 --> 00:31:33,800
Speaker 3: Yeah, like you know, like Tim Capello, the guy from

646
00:31:34,080 --> 00:31:36,520
Speaker 3: the Lost Boys movie where he had his shirt off

647
00:31:36,560 --> 00:31:38,440
Speaker 3: with the saxophone that used to like.

648
00:31:38,440 --> 00:31:41,000
Speaker 2: Haunt that haunted me. Yes, that was I mean the

649
00:31:41,000 --> 00:31:43,040
Speaker 2: song again. I love the Lost Boys. I love the song.

650
00:31:43,120 --> 00:31:45,400
Speaker 3: But I remember I'll being like, man, playing saxophone with

651
00:31:45,440 --> 00:31:47,920
Speaker 3: your shirt off is crazy work. And then I got

652
00:31:47,960 --> 00:31:49,920
Speaker 3: Kamasi and we were on the other side listening to

653
00:31:50,000 --> 00:31:52,480
Speaker 3: Ordain at Coleman and and you know what I'm saying,

654
00:31:52,520 --> 00:31:55,000
Speaker 3: like and Coltrane and all this and Sonny Rollins and

655
00:31:55,040 --> 00:31:59,880
Speaker 3: like you know, and I'm sitting here like a.

656
00:31:58,840 --> 00:32:00,000
Speaker 1: Kids into free jazz.

657
00:32:00,240 --> 00:32:02,000
Speaker 2: Oh, we were going turbo as kids.

658
00:32:02,000 --> 00:32:02,080
Speaker 4: Me.

659
00:32:02,360 --> 00:32:06,080
Speaker 3: Oh my god, seriously, like Pharaoh Sanders. We were on

660
00:32:06,080 --> 00:32:09,360
Speaker 3: the other side of the spectrum. And literally and figuratively,

661
00:32:09,480 --> 00:32:13,240
Speaker 3: Camassi we would just he would do, he would be

662
00:32:13,320 --> 00:32:15,680
Speaker 3: at school, and then afterwards we play a little bit

663
00:32:15,720 --> 00:32:18,040
Speaker 3: of PlayStation. But the rest of the night we were

664
00:32:18,120 --> 00:32:21,400
Speaker 3: running the streets, playing these standards and playing original tunes.

665
00:32:22,200 --> 00:32:26,440
Speaker 3: And again, I am so grateful for the years that

666
00:32:26,640 --> 00:32:29,400
Speaker 3: we spent doing that, you know, like the part where

667
00:32:29,400 --> 00:32:31,400
Speaker 3: we got to grow together. Because I'm looking at the

668
00:32:31,480 --> 00:32:34,800
Speaker 3: landscape of things now. Everything it doesn't go anywhere, it

669
00:32:34,840 --> 00:32:37,280
Speaker 3: just changes shape. Sometimes I look at it and I

670
00:32:37,280 --> 00:32:39,360
Speaker 3: look at the type of men that we've become, and

671
00:32:39,400 --> 00:32:41,880
Speaker 3: I go wow. And I look to the generations underneath us,

672
00:32:42,320 --> 00:32:43,840
Speaker 3: and it feels like they were just throwing off a

673
00:32:43,880 --> 00:32:45,360
Speaker 3: cliff when it comes to stuff in that. But then

674
00:32:45,400 --> 00:32:48,120
Speaker 3: at the same time, I go, as it should be,

675
00:32:48,320 --> 00:32:50,479
Speaker 3: because you have to make it yours. Whatever it is,

676
00:32:50,480 --> 00:32:52,600
Speaker 3: if you that's what it is for the next generations,

677
00:32:52,640 --> 00:32:54,840
Speaker 3: you just make it yours. Because we had no rules

678
00:32:54,920 --> 00:32:55,840
Speaker 3: to how we would show.

679
00:32:55,720 --> 00:32:58,440
Speaker 1: Up, all right, So you know, I went to school

680
00:32:58,440 --> 00:33:05,280
Speaker 1: with McBride, Yeah, Christian mcbriden and Kurt Rosenwinkle, and that

681
00:33:05,400 --> 00:33:08,880
Speaker 1: was my bloods and crips hey, because in order to

682
00:33:08,920 --> 00:33:15,080
Speaker 1: get Christian's respect you had to know straight jazz. But

683
00:33:15,120 --> 00:33:20,640
Speaker 1: then Rosenwinkle is also feeding you Captain beef Hart and

684
00:33:21,200 --> 00:33:23,920
Speaker 1: Mount of Vishu orchestra and stuff, and then on that

685
00:33:23,960 --> 00:33:25,479
Speaker 1: I'm cheating on both of them with Tariq.

686
00:33:25,840 --> 00:33:26,080
Speaker 4: Yeah.

687
00:33:27,240 --> 00:33:30,480
Speaker 1: But the thing was is just that I never could

688
00:33:30,560 --> 00:33:33,880
Speaker 1: find cats that look like me that were really into

689
00:33:34,200 --> 00:33:38,920
Speaker 1: free jazz. Like I entered Miles Davis via Bitches brew right,

690
00:33:39,520 --> 00:33:41,920
Speaker 1: and then went backwards because I belonged to Columbia House

691
00:33:41,960 --> 00:33:44,200
Speaker 1: And I'm really dating myself with all these references, but

692
00:33:44,720 --> 00:33:47,400
Speaker 1: you know, getting its entire disc thing. But I just

693
00:33:47,480 --> 00:33:51,080
Speaker 1: never had cats to play free jazz with them, because

694
00:33:51,120 --> 00:33:53,080
Speaker 1: the thing was like, well, you learned the basics and

695
00:33:53,120 --> 00:33:55,400
Speaker 1: the foundation first, then you go to free jazz.

696
00:33:55,600 --> 00:33:58,720
Speaker 2: But I never had it shows up. How it shows up,

697
00:33:59,320 --> 00:33:59,880
Speaker 2: we would be out.

698
00:34:00,040 --> 00:34:02,120
Speaker 1: I just wish, you know, I wish I had that

699
00:34:03,080 --> 00:34:06,360
Speaker 1: experience with that, like who are your three base gods?

700
00:34:06,680 --> 00:34:12,640
Speaker 3: Base gods Stanley, Jocko and if I uh in Anthony

701
00:34:12,719 --> 00:34:13,760
Speaker 3: Jackson of course.

702
00:34:14,040 --> 00:34:19,359
Speaker 1: Okay, the legendary Anthony Jes sir, yes, yes, sir, straight up.

703
00:34:19,840 --> 00:34:24,680
Speaker 1: So what is your morning routine? What is the first

704
00:34:24,719 --> 00:34:26,719
Speaker 1: thing you do in the first half hour of your day.

705
00:34:27,000 --> 00:34:30,279
Speaker 3: I try not to cry, and then I try to

706
00:34:30,360 --> 00:34:32,440
Speaker 3: like not pick my I mean I try not to

707
00:34:32,440 --> 00:34:35,680
Speaker 3: pick my phone up. And then the first half hour

708
00:34:35,840 --> 00:34:39,400
Speaker 3: is like it's really jolting for me because it almost

709
00:34:39,400 --> 00:34:41,000
Speaker 3: feels like somebody threw cold water on me.

710
00:34:41,719 --> 00:34:44,320
Speaker 2: So in that thirty minutes, if I'm not careful, how.

711
00:34:44,200 --> 00:34:46,680
Speaker 1: Long does it take you to not grab the Because

712
00:34:46,719 --> 00:34:50,319
Speaker 1: the thing is I wake up feeling great, yeah, and

713
00:34:50,360 --> 00:34:52,359
Speaker 1: then the second I want to feel like it's twenty

714
00:34:52,400 --> 00:34:55,160
Speaker 1: twenty six. Yeah, I picked the phone up. Sometimes the

715
00:34:55,200 --> 00:34:57,879
Speaker 1: evidence sort yeah, oh we're living in hell right now.

716
00:34:57,960 --> 00:34:58,200
Speaker 4: Yeah.

717
00:34:59,080 --> 00:35:02,400
Speaker 1: Out the gate that I feel with letting, like letting

718
00:35:02,440 --> 00:35:06,319
Speaker 1: two hours go by, yeah and bliss. Yeah, is like

719
00:35:06,360 --> 00:35:08,520
Speaker 1: I'm doing it as a daily practice, like do not

720
00:35:08,560 --> 00:35:09,640
Speaker 1: pick your phone up till ten.

721
00:35:09,719 --> 00:35:13,080
Speaker 3: But of course, like yeah, well for you though, like

722
00:35:13,840 --> 00:35:16,720
Speaker 3: for me, Like for me, I have my little routine.

723
00:35:16,760 --> 00:35:18,560
Speaker 3: I love to go get my little coffee and read

724
00:35:18,560 --> 00:35:19,160
Speaker 3: some comics.

725
00:35:19,200 --> 00:35:19,400
Speaker 1: You know.

726
00:35:20,320 --> 00:35:24,600
Speaker 3: I trained boxing, okay, as often as possible, So everything

727
00:35:24,640 --> 00:35:26,520
Speaker 3: is always me. It's kind of leading up to that

728
00:35:26,560 --> 00:35:29,200
Speaker 3: for me until there's after. So there's before and then

729
00:35:29,200 --> 00:35:32,560
Speaker 3: there's after working out for me, and it's like, I

730
00:35:32,560 --> 00:35:34,640
Speaker 3: don't know, I feel like again. I didn't realize we

731
00:35:34,640 --> 00:35:37,000
Speaker 3: were crazy in LA until maybe just the last.

732
00:35:36,800 --> 00:35:37,440
Speaker 2: Couple of years.

733
00:35:38,000 --> 00:35:39,920
Speaker 3: Somebody had to bring it to my attention. She was like,

734
00:35:39,920 --> 00:35:41,840
Speaker 3: you do know you're crazy right now? I was like,

735
00:35:43,000 --> 00:35:44,120
Speaker 3: is this why you ended?

736
00:35:44,160 --> 00:35:45,839
Speaker 1: All right? One of the one of the greatest song

737
00:35:45,960 --> 00:35:51,200
Speaker 1: endings of all time? Okay, initially I gave this award

738
00:35:51,239 --> 00:35:54,440
Speaker 1: to Prince's Dinner with Dolors because I love the line

739
00:35:54,680 --> 00:35:58,279
Speaker 1: no more, that's the end and the song stops. But

740
00:35:59,480 --> 00:36:03,359
Speaker 1: when you said you know, I'm from Los Angeles, right,

741
00:36:04,239 --> 00:36:06,800
Speaker 1: it's one thing. If it just cut off there, I

742
00:36:06,800 --> 00:36:09,080
Speaker 1: would have been like, oh, that's clever. It had been

743
00:36:09,120 --> 00:36:12,080
Speaker 1: another thing if the laugh that ensued afterwards was like

744
00:36:12,160 --> 00:36:15,839
Speaker 1: in studio banter. But the fact that you mixed it

745
00:36:16,760 --> 00:36:21,080
Speaker 1: and you know, put the effect on the laugh that

746
00:36:21,160 --> 00:36:24,120
Speaker 1: made me listen to that song like ten times over

747
00:36:24,320 --> 00:36:28,919
Speaker 1: just to analyze everything about it. How self aware of

748
00:36:28,960 --> 00:36:31,919
Speaker 1: you and I'm assuming that all of your therapy talk

749
00:36:32,239 --> 00:36:35,759
Speaker 1: in your records is real life the experiences.

750
00:36:35,840 --> 00:36:37,680
Speaker 2: I do need another therapist to be honest.

751
00:36:37,760 --> 00:36:40,200
Speaker 1: Hey, dog, I have three of them right now at

752
00:36:40,200 --> 00:36:43,279
Speaker 1: the moment, so there's no I'm saying I'm going full

753
00:36:43,360 --> 00:36:44,000
Speaker 1: in on therapy.

754
00:36:44,040 --> 00:36:46,880
Speaker 2: I have three, man, so I'm about to about to

755
00:36:46,880 --> 00:36:50,640
Speaker 2: be right behind you. Help help, let's help, please help.

756
00:36:50,920 --> 00:36:54,960
Speaker 1: When did you become self aware that you need to

757
00:36:55,000 --> 00:36:59,799
Speaker 1: live your authentic life? Because I was told to hide this.

758
00:37:00,120 --> 00:37:02,400
Speaker 1: I think I look at you kind of with envy

759
00:37:03,440 --> 00:37:07,040
Speaker 1: because the answer for me was like hide, don't go

760
00:37:07,080 --> 00:37:09,160
Speaker 1: outside because you'll get picked on, you'll get bullied.

761
00:37:09,760 --> 00:37:12,120
Speaker 2: And then we were getting shot at for sure, but.

762
00:37:15,800 --> 00:37:19,440
Speaker 3: He was staying inside. You would get shot at it

763
00:37:19,480 --> 00:37:21,480
Speaker 3: even if he was inside in La like that's that's

764
00:37:21,480 --> 00:37:23,120
Speaker 3: one of the reasons why we moved from Compton though,

765
00:37:24,440 --> 00:37:25,080
Speaker 3: you know, like.

766
00:37:24,960 --> 00:37:27,239
Speaker 1: My dad, the Compton thing was real.

767
00:37:27,480 --> 00:37:28,879
Speaker 2: It was to have made.

768
00:37:28,960 --> 00:37:31,720
Speaker 1: It's like, yeah, can I ask what was this straw

769
00:37:31,760 --> 00:37:32,879
Speaker 1: that broke the camel's back?

770
00:37:32,960 --> 00:37:38,160
Speaker 3: That it was definitely somebody shooting at my dad on

771
00:37:38,200 --> 00:37:39,960
Speaker 3: the porch from across the street eight.

772
00:37:40,120 --> 00:37:43,560
Speaker 2: Just for fun or probably high off a showroom or something.

773
00:37:43,640 --> 00:37:46,080
Speaker 3: Oh god, And when my dad tells me because it's like,

774
00:37:46,120 --> 00:37:48,200
Speaker 3: you know, again, growing up in that area, you would

775
00:37:48,480 --> 00:37:50,840
Speaker 3: you could fall victim to it no matter. At any point.

776
00:37:51,080 --> 00:37:53,200
Speaker 3: If you asked Vince Staples, he would tell you the

777
00:37:53,280 --> 00:37:55,799
Speaker 3: same thing. Growing up in LA in this certain area.

778
00:37:55,840 --> 00:37:58,759
Speaker 3: It doesn't mean that you it's always adjacent. It's right here.

779
00:37:59,280 --> 00:38:00,920
Speaker 3: It's right here. It doesn't mean you got to get

780
00:38:00,960 --> 00:38:02,600
Speaker 3: touched by it, but it's still right here.

781
00:38:02,600 --> 00:38:03,560
Speaker 1: You can hit you it anymore.

782
00:38:03,640 --> 00:38:05,560
Speaker 3: Yeah, And my dad tells me, because I was probably

783
00:38:05,560 --> 00:38:07,799
Speaker 3: a baby when it happened, but he was. I was like,

784
00:38:07,800 --> 00:38:09,960
Speaker 3: I didn't understand why we moved so much, you know,

785
00:38:10,000 --> 00:38:13,440
Speaker 3: a younger, he told me, And it stuck maybe twenty

786
00:38:13,480 --> 00:38:15,120
Speaker 3: years later or so where he was like, yeah, man,

787
00:38:15,120 --> 00:38:17,160
Speaker 3: I was on the porch and all I saw was

788
00:38:17,160 --> 00:38:20,520
Speaker 3: like dust, you know, like a dust and you see dust.

789
00:38:21,239 --> 00:38:22,640
Speaker 2: And my dad said he could see it.

790
00:38:22,680 --> 00:38:24,920
Speaker 3: He could see a dude in the distance by the

791
00:38:24,920 --> 00:38:27,600
Speaker 3: grocery store, just like aiming at him on the porch.

792
00:38:27,640 --> 00:38:30,000
Speaker 3: And I think that that was the straw that literally

793
00:38:30,040 --> 00:38:32,160
Speaker 3: and figuratively broke the camel's back.

794
00:38:32,200 --> 00:38:32,879
Speaker 2: So yeah, it did.

795
00:38:33,360 --> 00:38:36,360
Speaker 3: Like growing up in that area was But at the

796
00:38:36,360 --> 00:38:39,839
Speaker 3: same time, my high school homecomings and all our games

797
00:38:39,920 --> 00:38:40,600
Speaker 3: used to get shot up.

798
00:38:40,600 --> 00:38:42,080
Speaker 2: So this was not weird to me.

799
00:38:45,360 --> 00:38:48,000
Speaker 1: I never thought I see the day where most of

800
00:38:48,040 --> 00:38:52,400
Speaker 1: the humor I have is there's at least twenty tragic

801
00:38:52,440 --> 00:38:55,880
Speaker 1: stories that would have paralized any other human being. Yeah,

802
00:38:56,560 --> 00:38:58,960
Speaker 1: but now if I were seeing up comed like, I'd

803
00:38:58,960 --> 00:38:59,960
Speaker 1: be the king of comedy.

804
00:39:00,239 --> 00:39:02,400
Speaker 3: The line that you're talking about that existed where it

805
00:39:02,440 --> 00:39:05,040
Speaker 3: was like, how did I know to just be? If

806
00:39:05,080 --> 00:39:07,440
Speaker 3: I showed you a picture of my mom, you know, like,

807
00:39:07,520 --> 00:39:09,759
Speaker 3: I'm starting to realize more and more, no matter what

808
00:39:09,840 --> 00:39:12,960
Speaker 3: the case is. My mom was like my mom was like,

809
00:39:13,320 --> 00:39:16,279
Speaker 3: it don't matter be who you are. And I see

810
00:39:16,320 --> 00:39:18,040
Speaker 3: it and I'm like looking at her out and I'm like,

811
00:39:18,440 --> 00:39:19,960
Speaker 3: you know, you have the years with your mama, whoop

812
00:39:19,960 --> 00:39:21,440
Speaker 3: your ass and you'd be like, you did this to me,

813
00:39:21,480 --> 00:39:23,480
Speaker 3: And it's like, no, I did this to myself. After this,

814
00:39:23,840 --> 00:39:26,680
Speaker 3: after you can acknowledge that you then it's your turn

815
00:39:26,719 --> 00:39:28,960
Speaker 3: to realize that it's you doing this to yourself at

816
00:39:28,960 --> 00:39:30,720
Speaker 3: this point, you know. So I'm looking at my mom

817
00:39:31,120 --> 00:39:33,279
Speaker 3: and me in my older age, and I look at

818
00:39:33,280 --> 00:39:35,520
Speaker 3: her and I'm like, my mom is maybe the coolest person.

819
00:39:35,520 --> 00:39:38,120
Speaker 3: I'm like, I see why my dad married her, Like

820
00:39:38,160 --> 00:39:39,920
Speaker 3: my mom. I get everything from my mom. I get

821
00:39:39,920 --> 00:39:42,200
Speaker 3: my sense of style from my mom. I get my

822
00:39:42,400 --> 00:39:45,080
Speaker 3: inability to see, my ability to see. I get all

823
00:39:45,160 --> 00:39:47,520
Speaker 3: of it from my mom. And even when it comes

824
00:39:47,600 --> 00:39:49,640
Speaker 3: to the part where like I make the joke about

825
00:39:49,680 --> 00:39:52,120
Speaker 3: that's the last time I wore a suit, my mom

826
00:39:52,200 --> 00:39:55,200
Speaker 3: believed who I was the whole time.

827
00:39:55,880 --> 00:39:57,960
Speaker 2: She would see me drawing. She didn't question it.

828
00:39:58,120 --> 00:39:59,600
Speaker 1: So when you said I never want to wear a

829
00:39:59,600 --> 00:40:01,400
Speaker 1: suit again, that.

830
00:40:01,440 --> 00:40:03,120
Speaker 2: Was my mom did. She was like, we'll do what

831
00:40:03,160 --> 00:40:03,640
Speaker 2: you gotta do.

832
00:40:04,360 --> 00:40:09,279
Speaker 1: No, damn, this is the generational thing, man, because you

833
00:40:09,320 --> 00:40:10,680
Speaker 1: were given agency.

834
00:40:11,120 --> 00:40:13,160
Speaker 2: Yeah, mister Andrews, and my parents were like.

835
00:40:13,280 --> 00:40:14,200
Speaker 1: You were respected.

836
00:40:14,320 --> 00:40:16,880
Speaker 3: Like what do you think, Oh, I wasn't respected. Well,

837
00:40:17,080 --> 00:40:18,560
Speaker 3: I still got shot at That's what I'm saying. Like

838
00:40:18,600 --> 00:40:20,719
Speaker 3: I was doing as Kamasi. He'd be like Steve.

839
00:40:20,800 --> 00:40:21,080
Speaker 4: They thought.

840
00:40:21,120 --> 00:40:22,719
Speaker 3: They used to call me snoopy because it was like

841
00:40:22,800 --> 00:40:25,640
Speaker 3: I couldn't It was almost very something. I used to

842
00:40:25,680 --> 00:40:27,440
Speaker 3: look like a girl when I was a kid. I

843
00:40:27,520 --> 00:40:29,400
Speaker 3: used to get like mistaken for a girl when I

844
00:40:29,440 --> 00:40:32,800
Speaker 3: was a kid. Those used to be absolute horror stories

845
00:40:32,800 --> 00:40:35,520
Speaker 3: and like trauma. Right. It would be like even the

846
00:40:35,520 --> 00:40:37,960
Speaker 3: way I dressed, mister Andrews the way I would get

847
00:40:37,960 --> 00:40:39,680
Speaker 3: picked on all the time. I just didn't care. It

848
00:40:39,719 --> 00:40:42,360
Speaker 3: was like some pooty tang level. Like I was crashed

849
00:40:42,360 --> 00:40:44,279
Speaker 3: out on a rival. So there's a part where you

850
00:40:44,320 --> 00:40:47,400
Speaker 3: could do your worst. I'd be like, I do not care, Bro,

851
00:40:47,440 --> 00:40:51,399
Speaker 3: We're gonna die. I'm like you probably before me because

852
00:40:51,440 --> 00:40:52,920
Speaker 3: I got at least I got on Mickey Mouse here

853
00:40:53,120 --> 00:40:54,600
Speaker 3: so they won't shoot the mouse.

854
00:40:57,800 --> 00:41:12,759
Speaker 1: But oh my god, have you ever met the cats

855
00:41:12,760 --> 00:41:18,720
Speaker 1: from Fishblone? And I believe they weren't at your high school.

856
00:41:18,760 --> 00:41:22,480
Speaker 1: But yeah, that's almost like the same existence with their

857
00:41:22,520 --> 00:41:26,560
Speaker 1: family seven weirdos like oh yeah made a pack to

858
00:41:27,120 --> 00:41:31,880
Speaker 1: oh yeah stick together? Wow you unpacked so much with that.

859
00:41:31,880 --> 00:41:35,560
Speaker 3: That's this real. It's my parents brother, Yeah, that's real.

860
00:41:35,880 --> 00:41:37,279
Speaker 3: My brother used to get bullied all the time.

861
00:41:37,320 --> 00:41:39,799
Speaker 2: Older brother. He would get picked on. People would steal

862
00:41:39,840 --> 00:41:42,759
Speaker 2: his stick bag. Yeah, like people would take his hand.

863
00:41:42,880 --> 00:41:44,160
Speaker 1: That's blasphemous.

864
00:41:44,160 --> 00:41:45,920
Speaker 3: There's a I was that little brother, like get your

865
00:41:45,920 --> 00:41:47,480
Speaker 3: hands off my brother and just jump on you and

866
00:41:47,560 --> 00:41:47,840
Speaker 3: kill you.

867
00:41:48,200 --> 00:41:49,200
Speaker 2: I was definitely that kid.

868
00:41:49,239 --> 00:41:50,680
Speaker 3: You'd have to pull me if I saw you touch

869
00:41:50,760 --> 00:41:52,480
Speaker 3: my brother, I would you'd have to pull me off.

870
00:41:52,520 --> 00:41:54,920
Speaker 2: If you with a spatula. I would be on you

871
00:41:55,000 --> 00:41:55,640
Speaker 2: like a badger.

872
00:41:56,320 --> 00:42:00,120
Speaker 3: But it's also because I knew where I subconsciously, I

873
00:42:00,120 --> 00:42:03,480
Speaker 3: think that somewhere between it was almost like growing up.

874
00:42:03,600 --> 00:42:05,319
Speaker 2: If I had to describe what it felt like.

875
00:42:05,280 --> 00:42:09,200
Speaker 3: When I can think about it cinematically, somewhere between Hollywood shuffle,

876
00:42:09,360 --> 00:42:13,359
Speaker 3: don't be a menace to South Central and literally menace

877
00:42:13,440 --> 00:42:16,960
Speaker 3: to society. For me, that's what my memory of said.

878
00:42:17,040 --> 00:42:19,759
Speaker 3: Things of this nature were somewhere in between because I

879
00:42:19,760 --> 00:42:22,040
Speaker 3: could see the line. I think the Waynes Brothers made

880
00:42:22,280 --> 00:42:24,759
Speaker 3: it clear to be able to see it. So I

881
00:42:24,800 --> 00:42:26,839
Speaker 3: saw the joke when I saw the when I saw that,

882
00:42:26,920 --> 00:42:29,680
Speaker 3: when I saw Robert Townsend, when I saw the Waynes Brothers,

883
00:42:29,719 --> 00:42:31,520
Speaker 3: I was like, oh, yeah, this is a stick. I

884
00:42:31,560 --> 00:42:33,840
Speaker 3: was like, oh, yeah, you're gonna it was like okay.

885
00:42:34,880 --> 00:42:36,919
Speaker 3: I would be did we be you know, it would exist.

886
00:42:37,000 --> 00:42:37,799
Speaker 3: You'd be like, where are you from?

887
00:42:37,800 --> 00:42:38,560
Speaker 2: Homie? Did be like this?

888
00:42:38,760 --> 00:42:41,120
Speaker 3: Uh, go ahead and kill me bro I don't even

889
00:42:41,440 --> 00:42:43,520
Speaker 3: I don't even know. I was like, do you know

890
00:42:43,560 --> 00:42:45,080
Speaker 3: where you're from? That would be in the back of

891
00:42:45,120 --> 00:42:46,000
Speaker 3: my mind. I wouldn't ask that.

892
00:42:46,320 --> 00:42:50,320
Speaker 2: I was like, yeah, no. But but if walking.

893
00:42:50,120 --> 00:42:52,880
Speaker 3: Up on me and talking to me. I would imagine

894
00:42:52,920 --> 00:42:54,279
Speaker 3: you couldn't tell what was going on. I would be

895
00:42:54,280 --> 00:42:57,680
Speaker 3: talking about screwdrivers and hammers and like PlayStation and so

896
00:42:57,719 --> 00:42:59,239
Speaker 3: you would try to be banging on me, and i'ld

897
00:42:59,239 --> 00:43:01,319
Speaker 3: be sitting there looking off into space, and I'd be like,

898
00:43:01,560 --> 00:43:02,000
Speaker 3: I wouldn't.

899
00:43:02,040 --> 00:43:02,360
Speaker 1: I don't know.

900
00:43:02,360 --> 00:43:04,040
Speaker 2: I probably sounded like snoopy. That's what I was told

901
00:43:04,040 --> 00:43:04,760
Speaker 2: when I was younger.

902
00:43:04,880 --> 00:43:09,240
Speaker 1: So my thing is I had to get out Hooker Crook.

903
00:43:10,760 --> 00:43:13,480
Speaker 1: And I don't know how I willed myself out of

904
00:43:13,480 --> 00:43:19,040
Speaker 1: West Philly stories too. Yeah, it's I willed myself out

905
00:43:19,080 --> 00:43:22,359
Speaker 1: of it. But I mean, and I will admit, like

906
00:43:22,400 --> 00:43:25,879
Speaker 1: when we finally moved to Europe, that was the first

907
00:43:25,920 --> 00:43:30,840
Speaker 1: time where I could like wow, like wow, I made it.

908
00:43:30,880 --> 00:43:33,000
Speaker 1: And then the fear of I gotta do what I

909
00:43:33,040 --> 00:43:36,080
Speaker 1: gotta do to never go back to West Philly, which

910
00:43:36,120 --> 00:43:39,480
Speaker 1: is why this is one of ten jobs, Like I'm

911
00:43:39,480 --> 00:43:41,279
Speaker 1: never going back to West Philly. But in my mind

912
00:43:41,280 --> 00:43:43,680
Speaker 1: it's always like, Okay, I'll take this job, and I'll

913
00:43:43,680 --> 00:43:46,959
Speaker 1: write this book and I'll do this. Ain't for you, though,

914
00:43:47,040 --> 00:43:51,120
Speaker 1: did you ever have a moment where, well, it almost

915
00:43:51,120 --> 00:43:55,120
Speaker 1: sounds like you had no fear of whatever was going

916
00:43:55,200 --> 00:43:57,280
Speaker 1: to happen to you, or it was just so normal

917
00:43:57,760 --> 00:44:00,440
Speaker 1: that it's like, hey, it is, that's what it is.

918
00:44:00,480 --> 00:44:03,080
Speaker 1: But I mean, did you ever have a moment where

919
00:44:03,120 --> 00:44:08,880
Speaker 1: you actually felt like, Okay, that chapter of my life

920
00:44:09,200 --> 00:44:13,040
Speaker 1: is now two blocks behind me in the rear view mirror.

921
00:44:13,280 --> 00:44:16,319
Speaker 3: Or I think that there was so many things to

922
00:44:16,360 --> 00:44:18,800
Speaker 3: focus on that there's a part of me that couldn't

923
00:44:18,880 --> 00:44:22,200
Speaker 3: I couldn't even think for the most part, Like I

924
00:44:22,239 --> 00:44:24,279
Speaker 3: mean jokingly, it was kind of like, so I got

925
00:44:24,280 --> 00:44:26,840
Speaker 3: to learn to read music, then I gotta wear a suit,

926
00:44:27,239 --> 00:44:29,040
Speaker 3: then I gotta show up, and then I gotta like

927
00:44:29,640 --> 00:44:31,239
Speaker 3: keep my art book with me, and then I gotta

928
00:44:31,280 --> 00:44:33,600
Speaker 3: go to church after and then and then I got

929
00:44:33,640 --> 00:44:35,319
Speaker 3: to like have homework done, and then I gotta go

930
00:44:35,360 --> 00:44:36,440
Speaker 3: on tour with you know.

931
00:44:36,520 --> 00:44:38,279
Speaker 2: And like as a part of me where I was.

932
00:44:38,239 --> 00:44:42,240
Speaker 3: Like, I don't think at any point I could ever see,

933
00:44:42,360 --> 00:44:44,640
Speaker 3: I was like I didn't even know what death was.

934
00:44:44,719 --> 00:44:46,040
Speaker 3: I was just kind of like, all right, I guess

935
00:44:46,680 --> 00:44:48,960
Speaker 3: I wasn't thinking so much. I think there's a part

936
00:44:48,960 --> 00:44:51,320
Speaker 3: where I was like I wasn't aware of the fear,

937
00:44:51,920 --> 00:44:53,400
Speaker 3: if that's a better way to put it. So like

938
00:44:54,680 --> 00:44:56,360
Speaker 3: I think I was just more so just kind of

939
00:44:56,400 --> 00:44:58,000
Speaker 3: like observant of things.

940
00:44:58,320 --> 00:45:00,960
Speaker 1: All right, So I pay thousands of dollars to learn

941
00:45:01,000 --> 00:45:04,319
Speaker 1: how to live in the present, and you know, and

942
00:45:04,360 --> 00:45:07,680
Speaker 1: I maintained the gift of the first pandemic. This is

943
00:45:07,680 --> 00:45:10,480
Speaker 1: the second pandemic, by the way, we full in it. Right,

944
00:45:10,719 --> 00:45:14,640
Speaker 1: So the first pandemic, the gift was Okay, I got

945
00:45:14,640 --> 00:45:16,600
Speaker 1: to get some therapy. I got a bunch of issues

946
00:45:16,640 --> 00:45:18,960
Speaker 1: I've been holding on to you. I can't get a

947
00:45:19,000 --> 00:45:23,279
Speaker 1: proper relationship or a relationship with myself or anything. And

948
00:45:23,320 --> 00:45:26,000
Speaker 1: so I had to do a lot of cleanup for

949
00:45:26,080 --> 00:45:30,920
Speaker 1: three years to our pandemic. Now I figured out the

950
00:45:30,960 --> 00:45:34,120
Speaker 1: only way I'm really going to survive this period that

951
00:45:34,160 --> 00:45:38,680
Speaker 1: we're in with my brand intact is literally this day,

952
00:45:39,520 --> 00:45:42,120
Speaker 1: this day, every great day, all right, tomorrow, I'm gonna

953
00:45:42,120 --> 00:45:44,480
Speaker 1: say the same thing this day. Yeah, I almost feel

954
00:45:44,520 --> 00:45:49,560
Speaker 1: like you're I think your parents instilled in you the

955
00:45:49,719 --> 00:45:52,600
Speaker 1: idea of living in the present.

956
00:45:52,719 --> 00:45:54,920
Speaker 3: I'm actually going to this may this made trip out

957
00:45:54,960 --> 00:45:57,120
Speaker 3: of it. It was actually Erica. That's yeah.

958
00:45:57,320 --> 00:45:58,080
Speaker 1: I can see that.

959
00:45:58,080 --> 00:46:00,640
Speaker 2: That was Erica that taught me that you're right.

960
00:46:01,160 --> 00:46:03,120
Speaker 3: I can see that the younger me was just like

961
00:46:03,200 --> 00:46:06,120
Speaker 3: my art book was like another world for me. You know,

962
00:46:07,360 --> 00:46:09,560
Speaker 3: playing with my friends was like the best thing ever.

963
00:46:10,360 --> 00:46:13,759
Speaker 3: But it was on meeting Erica that for me was

964
00:46:13,840 --> 00:46:17,960
Speaker 3: like right here, this is where you're at, this is

965
00:46:18,040 --> 00:46:20,040
Speaker 3: this is you can always do this.

966
00:46:20,920 --> 00:46:24,640
Speaker 2: It was heard that taught me right here. Wow yeah

967
00:46:24,840 --> 00:46:28,440
Speaker 2: okay Yeah.

968
00:46:28,520 --> 00:46:30,720
Speaker 1: Have you ever had a regular job?

969
00:46:31,680 --> 00:46:36,920
Speaker 2: Eh? No, I think working at a comic store is

970
00:46:36,920 --> 00:46:37,919
Speaker 2: considered regular either.

971
00:46:37,920 --> 00:46:39,200
Speaker 1: I was like, are you big?

972
00:46:39,239 --> 00:46:40,960
Speaker 2: You're a big I'm a comic.

973
00:46:41,680 --> 00:46:44,319
Speaker 1: So do you like comics? No? Like, how bad is

974
00:46:44,360 --> 00:46:45,200
Speaker 1: your collection?

975
00:46:46,080 --> 00:46:49,000
Speaker 2: This crash out worthy? It's where somebody being like, you need.

976
00:46:48,880 --> 00:46:51,600
Speaker 1: Help, but what's your most valuable one?

977
00:46:51,840 --> 00:46:52,920
Speaker 2: Most valuable comic?

978
00:46:53,600 --> 00:46:58,000
Speaker 1: Like, are you a I gotta get Edition one? Yeah?

979
00:46:58,000 --> 00:46:58,919
Speaker 2: I'm definitely that guy.

980
00:46:59,239 --> 00:47:03,239
Speaker 3: Okay from me at this moment in life again, you know,

981
00:47:03,280 --> 00:47:05,120
Speaker 3: like you know, I was, I look at Marvel and

982
00:47:05,200 --> 00:47:06,640
Speaker 3: DC like it's like bloods and crips.

983
00:47:06,640 --> 00:47:08,360
Speaker 2: There's a part where my dad, what side are you on?

984
00:47:08,560 --> 00:47:11,279
Speaker 2: I am through and through Marvel, kid, Let's keep let's

985
00:47:11,280 --> 00:47:12,279
Speaker 2: be clear about that one.

986
00:47:12,760 --> 00:47:16,960
Speaker 3: Marvel the Bullpen crash out level insanity from the forties,

987
00:47:17,040 --> 00:47:20,240
Speaker 3: I go less go. You know why Batman sticks around

988
00:47:20,239 --> 00:47:23,719
Speaker 3: two because that's like crash out level like depression. Like

989
00:47:23,800 --> 00:47:25,799
Speaker 3: if you ever watched those early Batman's and you go like,

990
00:47:25,800 --> 00:47:28,600
Speaker 3: what was Batman? It was like that was full blown autism,

991
00:47:28,719 --> 00:47:31,560
Speaker 3: Like that was yes, yes, you just goes see he's

992
00:47:31,600 --> 00:47:34,440
Speaker 3: still here. Yes, it's like, oh, they made him rich later,

993
00:47:34,600 --> 00:47:36,840
Speaker 3: way later. But it was like bro was in soup

994
00:47:36,920 --> 00:47:40,040
Speaker 3: lines with a sock on his head, like helping the cops,

995
00:47:40,080 --> 00:47:43,319
Speaker 3: like there's no such thing, and so like that's why

996
00:47:43,320 --> 00:47:46,799
Speaker 3: Batman will always stick to me. But like that's like real,

997
00:47:46,880 --> 00:47:50,080
Speaker 3: Like there's there's some realness to Batman. But Marvel, Marvel

998
00:47:50,120 --> 00:47:52,479
Speaker 3: for me as a child, was everything and it still

999
00:47:52,560 --> 00:47:55,000
Speaker 3: is because it even informed the next generation of comics

1000
00:47:55,000 --> 00:47:56,840
Speaker 3: where we have the image comics and all this stuff

1001
00:47:56,840 --> 00:47:57,200
Speaker 3: like that.

1002
00:47:57,400 --> 00:48:00,960
Speaker 2: It was Marvel that did that, like it If Marvel didn't,

1003
00:48:01,680 --> 00:48:02,680
Speaker 2: if Marvel.

1004
00:48:02,480 --> 00:48:07,040
Speaker 3: Didn't pay Todd McFarlane absolute shite to do everything, if

1005
00:48:07,160 --> 00:48:09,040
Speaker 3: he didn't stand up and go, who's coming with me

1006
00:48:09,120 --> 00:48:11,879
Speaker 3: and leave to make image, we wouldn't have this generational

1007
00:48:12,080 --> 00:48:14,160
Speaker 3: like uh, like, we wouldn't have this fandom like we

1008
00:48:14,239 --> 00:48:16,760
Speaker 3: do from the sixties, the Silver Rage from the sixties

1009
00:48:17,080 --> 00:48:21,000
Speaker 3: into where Tom McFarland shows up and leaves and creates

1010
00:48:21,040 --> 00:48:23,040
Speaker 3: image and all the things that have been from the

1011
00:48:23,360 --> 00:48:27,400
Speaker 3: newer writers like Trad Moore to Donnie Kates or Ryan Stegman, Like, yeah, no,

1012
00:48:27,440 --> 00:48:28,560
Speaker 3: I'm a real nerd with this stuff.

1013
00:48:28,640 --> 00:48:30,880
Speaker 2: And you know what I mean, Like it's we wouldn't

1014
00:48:30,920 --> 00:48:33,440
Speaker 2: have that. So it's a I'm sorry, I'm about to

1015
00:48:33,440 --> 00:48:34,000
Speaker 2: start crashing out.

1016
00:48:34,000 --> 00:48:36,920
Speaker 1: Probably I want to know this. You know, first I

1017
00:48:36,920 --> 00:48:38,640
Speaker 1: felt insecure because.

1018
00:48:38,520 --> 00:48:39,360
Speaker 2: I do not hide.

1019
00:48:39,200 --> 00:48:42,760
Speaker 1: One of my biggest shames in the world is because

1020
00:48:42,800 --> 00:48:48,000
Speaker 1: people think that I'm that level nerd. Around like maybe

1021
00:48:48,200 --> 00:48:51,279
Speaker 1: seven years ago, it started being hey, man, I know

1022
00:48:51,400 --> 00:48:53,480
Speaker 1: you have every record that ever existed, but I got

1023
00:48:53,480 --> 00:48:56,560
Speaker 1: some of you don't got. And then they'll pull out

1024
00:48:56,560 --> 00:49:06,880
Speaker 1: this thing and instantly I got to get performative, like no, yo, outside, no,

1025
00:49:07,160 --> 00:49:11,879
Speaker 1: when I tell you, I know I own eighteen of

1026
00:49:12,040 --> 00:49:16,600
Speaker 1: like the most like maybe the first words that got

1027
00:49:16,680 --> 00:49:19,319
Speaker 1: himself printed on paper as a cartoon or some sort

1028
00:49:19,320 --> 00:49:22,120
Speaker 1: of right, and again people are like, what is he

1029
00:49:22,160 --> 00:49:24,239
Speaker 1: want for his birthday? Well, he has every record, he

1030
00:49:24,280 --> 00:49:26,640
Speaker 1: has all the soul drains, right is he in the comics?

1031
00:49:26,680 --> 00:49:30,799
Speaker 1: And my assistants don't know. Yah, And so I can

1032
00:49:30,840 --> 00:49:36,280
Speaker 1: say that I have an immaculate, like Ace comic collection.

1033
00:49:36,920 --> 00:49:39,400
Speaker 1: I have no clue what the hell I have, but

1034
00:49:39,480 --> 00:49:44,239
Speaker 1: I do know based on the ah, you know what

1035
00:49:44,280 --> 00:49:47,120
Speaker 1: this is, right dog? Come on, man, what's my name?

1036
00:49:47,200 --> 00:49:50,759
Speaker 1: Of course I know what it is. Yeah, yeah, And

1037
00:49:50,920 --> 00:49:55,840
Speaker 1: so that's I I wasn't allowed And that's what I

1038
00:49:55,880 --> 00:49:57,680
Speaker 1: want to talk to you about, especially with your love

1039
00:49:57,680 --> 00:50:02,200
Speaker 1: of anime. Yeah. A big part of my turnaround was me.

1040
00:50:02,560 --> 00:50:05,040
Speaker 1: All right, So the first time I'm just psychedelics. I

1041
00:50:05,120 --> 00:50:07,920
Speaker 1: watched Fantasia Wow.

1042
00:50:08,040 --> 00:50:10,399
Speaker 2: And that's the right way to do it. Actually, that's

1043
00:50:10,400 --> 00:50:12,120
Speaker 2: the only way to do.

1044
00:50:12,080 --> 00:50:15,120
Speaker 1: It, like for real, because there's inspiration, like for a

1045
00:50:15,120 --> 00:50:17,680
Speaker 1: person that's trying to channel his higher consciousness and all

1046
00:50:17,680 --> 00:50:21,040
Speaker 1: that stuff like that is and for me, you know,

1047
00:50:21,160 --> 00:50:23,239
Speaker 1: after watching it seventeen times, I'm like, what else is

1048
00:50:23,280 --> 00:50:25,200
Speaker 1: out there? And people are like, dude, how are you

1049
00:50:25,239 --> 00:50:26,000
Speaker 1: not on anime?

1050
00:50:26,320 --> 00:50:26,560
Speaker 4: Boy?

1051
00:50:26,640 --> 00:50:37,480
Speaker 1: Watches that talk about just your obsession and entry into cartoons, anime, oh, comics?

1052
00:50:37,840 --> 00:50:38,279
Speaker 3: What is it?

1053
00:50:38,680 --> 00:50:39,279
Speaker 4: What is it?

1054
00:50:39,480 --> 00:50:41,640
Speaker 1: This is your soul train? What soul train is to me?

1055
00:50:41,800 --> 00:50:42,279
Speaker 2: This is.

1056
00:50:44,800 --> 00:50:46,680
Speaker 1: What is it?

1057
00:50:46,680 --> 00:50:48,359
Speaker 3: It just depends on where you're starting from, because there's

1058
00:50:48,400 --> 00:50:50,600
Speaker 3: a part where I'm genuinely like, you know, there's different

1059
00:50:50,600 --> 00:50:52,400
Speaker 3: eras of it again when it comes from the sixties

1060
00:50:52,440 --> 00:50:54,200
Speaker 3: to the seventies to the eighties again with the coming

1061
00:50:54,239 --> 00:50:55,759
Speaker 3: out of World War Two, where it's like, you know,

1062
00:50:56,120 --> 00:50:58,200
Speaker 3: Betty Betty Boop at the time was kind of like

1063
00:50:58,280 --> 00:51:00,719
Speaker 3: more influential character in comics and tunes, and so they

1064
00:51:00,800 --> 00:51:02,480
Speaker 3: were kind of following suit and trying to like, you know,

1065
00:51:02,480 --> 00:51:04,560
Speaker 3: appeal to the American audience, you know, which create which

1066
00:51:04,600 --> 00:51:07,640
Speaker 3: created like wee buu culture or like jet panophile level

1067
00:51:07,719 --> 00:51:09,600
Speaker 3: otaku kind of stuff like that. But there's a part

1068
00:51:09,600 --> 00:51:12,160
Speaker 3: where it's also kind of like somewhere along the lines

1069
00:51:12,200 --> 00:51:14,359
Speaker 3: of between working at a comic store and then growing

1070
00:51:14,440 --> 00:51:16,520
Speaker 3: up with Kamasi, we were really into that. So there's

1071
00:51:16,520 --> 00:51:18,520
Speaker 3: a part where it was kind of like, I've my

1072
00:51:18,520 --> 00:51:21,279
Speaker 3: first experience with the anime was like in maybe I

1073
00:51:21,320 --> 00:51:21,960
Speaker 3: don't even know what.

1074
00:51:21,880 --> 00:51:22,160
Speaker 1: To call it.

1075
00:51:22,160 --> 00:51:23,560
Speaker 3: At this point, I would say this is the silver

1076
00:51:23,640 --> 00:51:25,560
Speaker 3: age of the eighties into the nineties was like the

1077
00:51:25,560 --> 00:51:27,279
Speaker 3: silver age because now we're kind of living in a

1078
00:51:27,280 --> 00:51:28,520
Speaker 3: post of it, and a lot of the time the

1079
00:51:28,560 --> 00:51:30,600
Speaker 3: things that people get excited about about it, it's really

1080
00:51:30,640 --> 00:51:32,680
Speaker 3: like not worth his weight in gold. I'm gonna just

1081
00:51:32,719 --> 00:51:35,640
Speaker 3: be honest, because reality is the level of manic depressive

1082
00:51:35,680 --> 00:51:37,560
Speaker 3: that it would create with the art. If the artist,

1083
00:51:37,640 --> 00:51:39,360
Speaker 3: if I'm like, if they're not depressed, this's just not

1084
00:51:39,360 --> 00:51:40,839
Speaker 3: going to be good. I'm sorry, it's just what it is,

1085
00:51:41,160 --> 00:51:43,279
Speaker 3: just like music. But it's the part where I'm just like,

1086
00:51:43,640 --> 00:51:46,279
Speaker 3: it just depends on where you're asking that from. And

1087
00:51:46,360 --> 00:51:49,640
Speaker 3: for me, where it starts is the realization that everything

1088
00:51:49,680 --> 00:51:51,400
Speaker 3: we watched in the eighties was Japanese animation.

1089
00:51:52,560 --> 00:51:59,000
Speaker 1: Okay, so once a year I'll allow myself to watch

1090
00:52:00,480 --> 00:52:05,279
Speaker 1: Tarik's Hot ninety seven free style. Yeah, because especially in

1091
00:52:05,320 --> 00:52:07,080
Speaker 1: the age of the podcast.

1092
00:52:07,120 --> 00:52:09,359
Speaker 3: Bro, Yeah, I probably need some like some magnesium. I'm

1093
00:52:09,400 --> 00:52:11,080
Speaker 3: probably like right on the edge of crashing out and

1094
00:52:11,120 --> 00:52:12,080
Speaker 3: running into the like.

1095
00:52:12,680 --> 00:52:15,840
Speaker 1: No, no, no, no. But here's the thing. I never thought

1096
00:52:16,440 --> 00:52:25,920
Speaker 1: I get the ideal intellectual explanation of comic history than what.

1097
00:52:25,760 --> 00:52:29,800
Speaker 3: You just gave me, like camal t because I'm like, a,

1098
00:52:29,960 --> 00:52:31,960
Speaker 3: here's the thing, man, It's like I started boxing, is it.

1099
00:52:33,000 --> 00:52:35,320
Speaker 1: I'm okay, I'm gonna go slightly rogue. I'm gonna have

1100
00:52:35,360 --> 00:52:37,880
Speaker 1: another Jamie Lee Curtis moment where I'm gonna do this.

1101
00:52:38,880 --> 00:52:44,040
Speaker 1: I owe you an apology. No, I owe you an apology. Okay,

1102
00:52:44,080 --> 00:52:49,200
Speaker 1: so before you know, the twenty twenty thing was me

1103
00:52:49,320 --> 00:52:53,280
Speaker 1: dealing with a lot of issues. But I was so

1104
00:52:53,280 --> 00:53:00,000
Speaker 1: socially avoiding and had anxiety about just people in jail.

1105
00:53:00,000 --> 00:53:02,640
Speaker 1: Animal the way that you were like yo, man, like

1106
00:53:02,719 --> 00:53:06,200
Speaker 1: let's hang out, let's jam, and the way I would

1107
00:53:06,200 --> 00:53:10,400
Speaker 1: try to make matrix bullet eye, because I mean there

1108
00:53:10,440 --> 00:53:13,399
Speaker 1: was a whole other it was you glassper Chris dave

1109
00:53:13,480 --> 00:53:16,200
Speaker 1: O Man, let's say out, listen, and I would have

1110
00:53:16,360 --> 00:53:20,240
Speaker 1: so much literally like anxiety, like crazy.

1111
00:53:21,719 --> 00:53:21,919
Speaker 3: No.

1112
00:53:22,000 --> 00:53:25,879
Speaker 1: But thing was I think I was too, and I

1113
00:53:25,880 --> 00:53:28,440
Speaker 1: saw that you guys were my squad. But I just

1114
00:53:28,480 --> 00:53:33,759
Speaker 1: saw y'all it's so technically advanced past me that I

1115
00:53:33,800 --> 00:53:39,719
Speaker 1: think subconsciously I thought, nah, man, I'm gonna get I'm

1116
00:53:39,719 --> 00:53:42,040
Speaker 1: gonna get caught like they'll they'll, they'll, they'll find me

1117
00:53:42,040 --> 00:53:44,400
Speaker 1: out like everyone always lives in this whole, like I'm

1118
00:53:44,400 --> 00:53:46,080
Speaker 1: gonna be found out as a broad thing.

1119
00:53:47,280 --> 00:53:50,960
Speaker 2: And marriages a lot of failed marriages based on.

1120
00:53:51,960 --> 00:53:56,239
Speaker 1: Find out about me. But is that way, Kama see,

1121
00:53:56,320 --> 00:53:58,640
Speaker 1: I know Lotus has to be feeling some sort of way.

1122
00:53:59,160 --> 00:54:02,880
Speaker 1: We have not spoken. We might have said one sentence

1123
00:54:02,920 --> 00:54:05,359
Speaker 1: to each other and I'm a massive Lotus fan.

1124
00:54:05,480 --> 00:54:08,320
Speaker 2: Yeah, I like he's like Batman. He is like literally

1125
00:54:08,360 --> 00:54:08,840
Speaker 2: like Batman.

1126
00:54:10,160 --> 00:54:14,279
Speaker 1: But I'm regretting now like I'm and now on my head,

1127
00:54:14,320 --> 00:54:17,920
Speaker 1: I'm just thinking, like man, like all the enlightenment I

1128
00:54:17,960 --> 00:54:22,560
Speaker 1: could have had in twenty ten on if I just

1129
00:54:22,680 --> 00:54:26,120
Speaker 1: texted this motherfucker back when he texted like, I'm now

1130
00:54:26,200 --> 00:54:30,720
Speaker 1: regretting the friendship we should have had in the last

1131
00:54:30,760 --> 00:54:35,000
Speaker 1: fifteen years just based on this. Oh man, this is like,

1132
00:54:35,160 --> 00:54:37,719
Speaker 1: this is our first real conversation even though we see

1133
00:54:37,760 --> 00:54:40,680
Speaker 1: each other all the time. H And all right, so

1134
00:54:40,760 --> 00:54:43,120
Speaker 1: this has evolved mere talking. I'm not trying to carjack

1135
00:54:43,200 --> 00:54:45,279
Speaker 1: the James looking at me like this is about to

1136
00:54:45,320 --> 00:54:49,520
Speaker 1: turn into open my eagle thing? All right? Who are

1137
00:54:49,560 --> 00:54:52,839
Speaker 1: the five creatives that are your north Star?

1138
00:54:53,840 --> 00:54:55,239
Speaker 2: Five creatives that are my north Star?

1139
00:54:55,719 --> 00:55:00,600
Speaker 1: Yes, any any area doesn't have to be musicians.

1140
00:55:00,640 --> 00:55:05,239
Speaker 2: Okay, definitely Stanley Clark. Definitely Stanley Clark.

1141
00:55:05,280 --> 00:55:07,960
Speaker 1: All Right, because I'm from Philly, I can't believe I'm

1142
00:55:07,960 --> 00:55:10,880
Speaker 1: saying this, Like what era of Stanley Clark is yours?

1143
00:55:11,400 --> 00:55:16,400
Speaker 1: Because wait, speaking of which, are you Team school Days

1144
00:55:16,520 --> 00:55:18,120
Speaker 1: or Team Town Team Town?

1145
00:55:18,719 --> 00:55:18,839
Speaker 4: Who?

1146
00:55:19,360 --> 00:55:21,680
Speaker 1: And it's tea. I know what you mean, it's team Town,

1147
00:55:23,239 --> 00:55:27,960
Speaker 1: the solo that you have to memorize in order to

1148
00:55:27,960 --> 00:55:29,239
Speaker 1: get respect.

1149
00:55:29,640 --> 00:55:36,239
Speaker 3: I think that any transcribing of Jocko's said knowledge or solos,

1150
00:55:36,320 --> 00:55:40,200
Speaker 3: it's in the transcribing the solos, it's there's a path

1151
00:55:40,280 --> 00:55:44,120
Speaker 3: to understanding, to get better, which is why it's so key,

1152
00:55:44,200 --> 00:55:47,360
Speaker 3: you know what I mean. Like in specifically with Jocko's,

1153
00:55:47,560 --> 00:55:52,040
Speaker 3: Jocko reminds me of Charlie Parker because of the part

1154
00:55:52,080 --> 00:55:54,759
Speaker 3: where it's like the phrasing and the types of things

1155
00:55:54,760 --> 00:55:58,960
Speaker 3: that he would do. It's a vast comprehension of the

1156
00:55:59,080 --> 00:56:01,880
Speaker 3: chortal structures of things to where it's like it doesn't

1157
00:56:01,880 --> 00:56:03,680
Speaker 3: have to start in the same place, it doesn't have

1158
00:56:03,719 --> 00:56:06,160
Speaker 3: to start all these things, these tropes that we've come to.

1159
00:56:05,920 --> 00:56:08,600
Speaker 3: Even if you know, like like even where Frank Zappa said,

1160
00:56:08,600 --> 00:56:10,640
Speaker 3: you know, there's no such thing. You're not improvising, you know,

1161
00:56:10,680 --> 00:56:13,560
Speaker 3: it's like it's okay, Frank Beethoven, like all right, all right,

1162
00:56:13,600 --> 00:56:16,120
Speaker 3: we all suck, thank you, But there's a part where

1163
00:56:16,120 --> 00:56:19,239
Speaker 3: it's like Jocko's Like one of my favorite solos other

1164
00:56:19,320 --> 00:56:23,560
Speaker 3: than teen Town, actually is on Ursula Dudziak's album, where

1165
00:56:23,600 --> 00:56:26,719
Speaker 3: him and Michael Urbaniac in Erzla Dudziak, who's married to

1166
00:56:26,719 --> 00:56:29,279
Speaker 3: Michael Urbaniac. I'm pretty sure they're still married. It's his

1167
00:56:29,360 --> 00:56:31,360
Speaker 3: solo in the beginning of Roxanna. For me, it's not

1168
00:56:31,520 --> 00:56:34,400
Speaker 3: teen Town was just iconic, but his solo in the

1169
00:56:34,400 --> 00:56:37,839
Speaker 3: beginning of Roxanna, on on, on.

1170
00:56:37,000 --> 00:56:39,480
Speaker 1: On, I gotta go back to this, Okay.

1171
00:56:39,200 --> 00:56:40,440
Speaker 2: It's this moment, and there's a story.

1172
00:56:40,480 --> 00:56:42,200
Speaker 3: I think there's always even the story of him, like

1173
00:56:42,239 --> 00:56:43,759
Speaker 3: the way he would read and how he would turn

1174
00:56:43,800 --> 00:56:45,759
Speaker 3: papers upside down and read the stuff he was just like,

1175
00:56:45,960 --> 00:56:48,600
Speaker 3: you know, this is one of those moments and it's.

1176
00:56:48,480 --> 00:56:49,839
Speaker 2: Like, I never know you could do that.

1177
00:56:49,920 --> 00:56:52,920
Speaker 3: Yeah, Jocko was full tilt. But if you're saying, if

1178
00:56:52,920 --> 00:56:58,440
Speaker 3: you're asking me like teen Town versus A school days, Yeah, Stanley.

1179
00:56:59,320 --> 00:57:02,520
Speaker 3: Stanley to me, in all his knowledge and everything that

1180
00:57:02,560 --> 00:57:07,319
Speaker 3: he was bringing into his own music is unmatched. It's

1181
00:57:07,400 --> 00:57:11,720
Speaker 3: unmatched again, from the Pharaoh Sanders years to the Return

1182
00:57:11,840 --> 00:57:15,160
Speaker 3: Forever years. This man is carrying the legacy of jazz

1183
00:57:15,200 --> 00:57:17,520
Speaker 3: on his back with Tony Williams and you know what

1184
00:57:17,520 --> 00:57:22,480
Speaker 3: I'm saying and spearheading it, yes, alongside the other ones

1185
00:57:22,480 --> 00:57:25,240
Speaker 3: that we love. But the reality is Stanley to me

1186
00:57:26,080 --> 00:57:28,800
Speaker 3: Jocko's first album for Me, it has an air of

1187
00:57:28,800 --> 00:57:30,680
Speaker 3: this if you're putting it against those two, which are

1188
00:57:30,720 --> 00:57:33,360
Speaker 3: kind of like they're two different eras of their creative

1189
00:57:33,400 --> 00:57:38,080
Speaker 3: process and who they are. School Days for me versus

1190
00:57:38,760 --> 00:57:42,840
Speaker 3: Weather Reports, Team Town to me, Oh my god, I'm

1191
00:57:43,000 --> 00:57:47,080
Speaker 3: Stanley all day. And there's the reason why is because

1192
00:57:47,960 --> 00:57:52,920
Speaker 3: everything from the personnel to how Stanley presented himself in

1193
00:57:52,960 --> 00:57:56,760
Speaker 3: this moment, there was no guessing what type of artist

1194
00:57:56,800 --> 00:57:59,959
Speaker 3: Stanley was, you know, like the part where Jocko ended

1195
00:58:00,080 --> 00:58:03,280
Speaker 3: his solo album and him playing piano, you were.

1196
00:58:03,360 --> 00:58:06,200
Speaker 2: Left to be like, what the hell, what is this?

1197
00:58:06,520 --> 00:58:06,960
Speaker 1: What is this?

1198
00:58:07,080 --> 00:58:09,720
Speaker 3: And it's like it gave way to so many other things.

1199
00:58:09,880 --> 00:58:14,280
Speaker 3: But Stanley Stanley was like, I think that life is

1200
00:58:14,400 --> 00:58:19,080
Speaker 3: just a game. Changed my life. Like after there's me

1201
00:58:19,200 --> 00:58:21,480
Speaker 3: before hearing life is just a game. There's me my

1202
00:58:21,560 --> 00:58:24,600
Speaker 3: mom paying me twenty dollars to learn Stanley Clark solo really,

1203
00:58:24,680 --> 00:58:27,880
Speaker 3: and then there's me realizing it's him singing what he's saying,

1204
00:58:28,760 --> 00:58:30,960
Speaker 3: and like the whole span of the album, him doing

1205
00:58:30,960 --> 00:58:33,200
Speaker 3: this concerto at the end of the album, Life is

1206
00:58:33,280 --> 00:58:36,240
Speaker 3: just a game. It just it still haunts me to

1207
00:58:36,240 --> 00:58:39,120
Speaker 3: this day that helicopter sound at the end of the song.

1208
00:58:39,240 --> 00:58:41,840
Speaker 3: I can It's like I can see myself almost like

1209
00:58:41,880 --> 00:58:44,080
Speaker 3: it's a straight line to my I don't have.

1210
00:58:44,400 --> 00:58:46,120
Speaker 2: My memory is really blurry and fuzzy.

1211
00:58:46,360 --> 00:58:49,480
Speaker 1: You're totally making me recontextualize, like.

1212
00:58:51,720 --> 00:58:54,720
Speaker 2: Stanley's the man. He is the man.

1213
00:59:06,720 --> 00:59:09,800
Speaker 1: One of the coolest moments I ever saw Prince was

1214
00:59:09,800 --> 00:59:12,680
Speaker 1: in concert, and I believe Stanley was in the audience.

1215
00:59:12,960 --> 00:59:14,320
Speaker 2: That had to be funny.

1216
00:59:14,720 --> 00:59:18,640
Speaker 1: He got on bass and they did school days verbatim.

1217
00:59:19,040 --> 00:59:21,840
Speaker 2: I think I saw footage of this, did you posts?

1218
00:59:22,360 --> 00:59:25,800
Speaker 1: I might have, but he did it verbatim, And that's

1219
00:59:25,880 --> 00:59:29,920
Speaker 1: the first time I said, oh, so Prince does no

1220
00:59:30,040 --> 00:59:33,760
Speaker 1: ventral quism, because there's a thing where I'd ask him,

1221
00:59:34,000 --> 00:59:36,240
Speaker 1: like he would do a cover song but then not

1222
00:59:36,320 --> 00:59:38,560
Speaker 1: learn the lyrics. Yeah, And I think that was just

1223
00:59:38,600 --> 00:59:42,320
Speaker 1: an exercise for him to not be too derivative of

1224
00:59:42,320 --> 00:59:44,400
Speaker 1: someone's things, but just let it inspire enough to get

1225
00:59:44,400 --> 00:59:47,200
Speaker 1: into it and I do my own thing. But when

1226
00:59:47,240 --> 00:59:50,160
Speaker 1: he did it note for note, I was like, oh, okay,

1227
00:59:50,240 --> 00:59:55,280
Speaker 1: so you can show me that you've proven Okay, I

1228
00:59:55,600 --> 00:59:58,480
Speaker 1: got that speak Wait, speaking of bass, the last time

1229
00:59:58,480 --> 01:00:03,600
Speaker 1: we played you grabbed a four string and I'd never

1230
01:00:03,960 --> 01:00:07,160
Speaker 1: you know, I'm thinking, oh, any bass player can get

1231
01:00:07,200 --> 01:00:11,000
Speaker 1: on any acts and bring the magic up. What is

1232
01:00:11,000 --> 01:00:13,320
Speaker 1: the muscle memory? Like when you don't have the two

1233
01:00:13,560 --> 01:00:18,439
Speaker 1: extra strings on the Berserker to go to Well, because

1234
01:00:18,440 --> 01:00:21,520
Speaker 1: I saw you literally thinking yeah, or trying to go

1235
01:00:21,640 --> 01:00:22,960
Speaker 1: back to Well.

1236
01:00:22,960 --> 01:00:25,240
Speaker 3: It's in a way, it's like, again, this is all

1237
01:00:25,360 --> 01:00:27,320
Speaker 3: it's a matter of knowing the neck to a major degree.

1238
01:00:27,360 --> 01:00:28,760
Speaker 3: So there's a part of it where I'm just kind

1239
01:00:28,760 --> 01:00:32,440
Speaker 3: of like, I think knowing the neck in this manner,

1240
01:00:32,480 --> 01:00:33,120
Speaker 3: it's just it's.

1241
01:00:33,000 --> 01:00:34,880
Speaker 2: Almost it's I literally it's like you.

1242
01:00:34,760 --> 01:00:37,800
Speaker 3: Don't ever not know those four strings, you know, so

1243
01:00:37,920 --> 01:00:40,800
Speaker 3: even knowing the different places that the octaves exist where

1244
01:00:40,960 --> 01:00:42,960
Speaker 3: you know, it's like, but it's always about a lot

1245
01:00:42,960 --> 01:00:44,880
Speaker 3: of the time those two other strings just offer a

1246
01:00:44,880 --> 01:00:47,400
Speaker 3: different type of facility that's a bit more stated than

1247
01:00:47,480 --> 01:00:50,080
Speaker 3: just a simple line on the tymple baseline. So a

1248
01:00:50,080 --> 01:00:51,800
Speaker 3: lot of time, it's more so like it's pretty fun

1249
01:00:51,840 --> 01:00:55,360
Speaker 3: for me, like because I already know somebody's usually like, oh, yeah,

1250
01:00:55,360 --> 01:00:57,560
Speaker 3: here's a real challenge of four string, and it's like, oh,

1251
01:00:57,600 --> 01:00:59,200
Speaker 3: it's a real challenge of forestring.

1252
01:00:59,240 --> 01:01:00,240
Speaker 2: You know, it's like it's a part to me.

1253
01:01:00,280 --> 01:01:04,640
Speaker 3: That's like whatever, whatever works, buddy, you know what I mean,

1254
01:01:04,720 --> 01:01:06,720
Speaker 3: Like cause it's like going into the years of the

1255
01:01:06,760 --> 01:01:08,160
Speaker 3: records of me playing on for a string.

1256
01:01:08,160 --> 01:01:10,600
Speaker 2: I don't even have to you know, I can.

1257
01:01:11,160 --> 01:01:14,520
Speaker 1: Is there a smaller bodied acts that can accommodate a

1258
01:01:14,560 --> 01:01:15,920
Speaker 1: six string or do you?

1259
01:01:16,120 --> 01:01:18,200
Speaker 2: I would never wish that on anybody that's that would

1260
01:01:18,240 --> 01:01:18,640
Speaker 2: be like.

1261
01:01:19,240 --> 01:01:21,919
Speaker 1: But how's your upper strength? Because like I know now,

1262
01:01:22,000 --> 01:01:25,640
Speaker 1: Bootsy Collins, yeah, doesn't play his bass for that very reason.

1263
01:01:25,680 --> 01:01:27,680
Speaker 1: He's just like, my back has killing me, and I

1264
01:01:27,720 --> 01:01:29,520
Speaker 1: never knew that. You guys have to deal.

1265
01:01:29,360 --> 01:01:32,240
Speaker 3: With I'm going to I'm like, I'm going out on them.

1266
01:01:32,360 --> 01:01:35,080
Speaker 3: I'm dying on this hill. Let let it disintegrate my back.

1267
01:01:35,120 --> 01:01:37,040
Speaker 3: Bro I'm ready for me. I just knew, like it

1268
01:01:37,080 --> 01:01:39,880
Speaker 3: doesn't matter. I'm gonna do that. I will do that

1269
01:01:39,920 --> 01:01:42,520
Speaker 3: till my dying day, Like in the manner in which

1270
01:01:42,560 --> 01:01:44,240
Speaker 3: I saw, you know, like when we watched Ozzie in

1271
01:01:44,240 --> 01:01:45,920
Speaker 3: this final performance where he's like, you're gonna have to

1272
01:01:45,960 --> 01:01:46,600
Speaker 3: pry me from this.

1273
01:01:47,120 --> 01:01:47,680
Speaker 2: I don't care.

1274
01:01:48,480 --> 01:01:50,360
Speaker 3: It's like the reality is a lot of the time,

1275
01:01:51,160 --> 01:01:52,560
Speaker 3: it's about what it is to you, and it's what

1276
01:01:52,760 --> 01:01:52,960
Speaker 3: it's like.

1277
01:01:53,000 --> 01:01:54,480
Speaker 2: It's like some Bruce Lee stuff. It's like, it is

1278
01:01:54,480 --> 01:01:55,240
Speaker 2: what you say it is.

1279
01:01:56,200 --> 01:01:58,160
Speaker 3: I don't go around telling people I've been in pain

1280
01:01:58,200 --> 01:02:01,200
Speaker 3: the whole time playing my hands hurt. That's just what

1281
01:02:01,400 --> 01:02:04,840
Speaker 3: comes with it, and it only hurts when you stop.

1282
01:02:06,040 --> 01:02:09,200
Speaker 3: When you lose a trusted collaboratory.

1283
01:02:09,880 --> 01:02:13,480
Speaker 1: How do you cope through that? Because I happen to

1284
01:02:13,520 --> 01:02:18,960
Speaker 1: see you, like the night before that, I knew D'Angel

1285
01:02:19,040 --> 01:02:20,640
Speaker 1: was going to you, know, so I was like, really

1286
01:02:20,800 --> 01:02:23,240
Speaker 1: my feelings and I know that you you want on

1287
01:02:23,280 --> 01:02:25,320
Speaker 1: a record a lot talking about like Max passing and

1288
01:02:25,320 --> 01:02:29,720
Speaker 1: how that affect your life and everything, and like I again,

1289
01:02:29,840 --> 01:02:32,000
Speaker 1: I so wanted to come up to you to be like,

1290
01:02:32,720 --> 01:02:37,120
Speaker 1: how do you cope with the shit? Because I didn't

1291
01:02:37,160 --> 01:02:38,680
Speaker 1: want to get to a place where I like start

1292
01:02:39,040 --> 01:02:40,760
Speaker 1: and I don't mean self harming like whatever. I mean

1293
01:02:40,880 --> 01:02:43,880
Speaker 1: like me, I could binge it or whatever, like anything

1294
01:02:43,920 --> 01:02:46,320
Speaker 1: that puts me in danger. How did like, how did

1295
01:02:46,360 --> 01:02:50,040
Speaker 1: you allow yourself to have that grief as far as

1296
01:02:50,120 --> 01:02:53,600
Speaker 1: like not affecting your creativity or oh it did it

1297
01:02:53,680 --> 01:02:54,680
Speaker 1: affect your creativity?

1298
01:02:54,760 --> 01:02:54,920
Speaker 4: Yeah?

1299
01:02:55,240 --> 01:02:55,959
Speaker 2: Oh man?

1300
01:02:58,160 --> 01:03:04,880
Speaker 3: Yeah, losing Mac was very complicated, very complicated to navigate,

1301
01:03:05,120 --> 01:03:07,560
Speaker 3: thank God, I had Flying Lotus there with me in

1302
01:03:07,640 --> 01:03:12,960
Speaker 3: that moment, because it's like he kept me moving forward

1303
01:03:13,040 --> 01:03:17,440
Speaker 3: until we both until we both till fail. It was

1304
01:03:17,440 --> 01:03:19,560
Speaker 3: like we were working on the again. This was it

1305
01:03:19,640 --> 01:03:23,640
Speaker 3: was very weirdly like it became this dark pit of

1306
01:03:23,640 --> 01:03:27,800
Speaker 3: a hole in my life that was like it was

1307
01:03:27,920 --> 01:03:32,840
Speaker 3: just like it felt like, uh, I've had a few

1308
01:03:32,880 --> 01:03:35,640
Speaker 3: moments with you know, like from Austin to Meg to

1309
01:03:35,880 --> 01:03:38,920
Speaker 3: you know, Zaane, to my few friends that were like

1310
01:03:39,720 --> 01:03:43,480
Speaker 3: that crossed over in this manner, But this moment was

1311
01:03:43,560 --> 01:03:47,320
Speaker 3: so deafening. And it wasn't just because like it was

1312
01:03:47,400 --> 01:03:50,120
Speaker 3: there was my Mac that was dying, and then it

1313
01:03:50,240 --> 01:03:52,880
Speaker 3: was the world's Mac that was dying, you know. I

1314
01:03:52,880 --> 01:03:56,960
Speaker 3: mean there's a part where I uh, for a long time,

1315
01:03:57,200 --> 01:03:59,080
Speaker 3: if I had to compare it to something, it was

1316
01:03:59,080 --> 01:04:01,640
Speaker 3: like somebody through a grid made next to me and

1317
01:04:01,680 --> 01:04:04,920
Speaker 3: I couldn't see straight for years and still I'm still

1318
01:04:04,920 --> 01:04:06,320
Speaker 3: you know, you go, it goes in waves.

1319
01:04:07,120 --> 01:04:10,160
Speaker 1: How hard was it to release this song into the

1320
01:04:10,160 --> 01:04:13,360
Speaker 1: world and not hang on to it for like yourself.

1321
01:04:14,080 --> 01:04:16,800
Speaker 3: The reason why this felt like such the right thing

1322
01:04:16,840 --> 01:04:20,120
Speaker 3: to do with this is because of what it did

1323
01:04:20,160 --> 01:04:23,320
Speaker 3: for me when I would hear it, I think that

1324
01:04:23,440 --> 01:04:25,400
Speaker 3: in so many places that the trauma.

1325
01:04:25,120 --> 01:04:28,280
Speaker 2: Could like rest, which it does.

1326
01:04:28,960 --> 01:04:31,919
Speaker 3: There's a part where when I heard this song, it's

1327
01:04:31,960 --> 01:04:33,680
Speaker 3: like the thing where we were talking about Stanley Clark

1328
01:04:33,680 --> 01:04:36,400
Speaker 3: with life is just a game. When I hear this song,

1329
01:04:37,760 --> 01:04:41,960
Speaker 3: I can only see the good that we did. I

1330
01:04:42,000 --> 01:04:45,000
Speaker 3: can only see the person he really was. I would

1331
01:04:45,120 --> 01:04:49,080
Speaker 3: never cry hearing this. That song, to me is the Mac.

1332
01:04:49,000 --> 01:04:52,840
Speaker 1: That I knew outside she knows too much.

1333
01:04:53,120 --> 01:04:55,800
Speaker 3: Yeah, Like that was like I see that and the

1334
01:04:56,960 --> 01:05:01,560
Speaker 3: everything from his whimsical silliness and even the message of it,

1335
01:05:01,600 --> 01:05:04,240
Speaker 3: and like knowing the things around and what this was

1336
01:05:04,360 --> 01:05:07,040
Speaker 3: for us, and like I'd see it and I would

1337
01:05:07,080 --> 01:05:10,280
Speaker 3: see the one time I would wear a suit. We

1338
01:05:10,320 --> 01:05:12,560
Speaker 3: always joked about the video. We would always be like, man,

1339
01:05:12,560 --> 01:05:14,000
Speaker 3: how are we gonna shoot this video? And I was like,

1340
01:05:14,040 --> 01:05:16,520
Speaker 3: you know, we get some get some ultra Goliath glasses

1341
01:05:16,560 --> 01:05:19,000
Speaker 3: with like some tuxedos with the frilly shirts, and you

1342
01:05:19,040 --> 01:05:21,560
Speaker 3: do the guitar and I got the bass, and you know,

1343
01:05:21,600 --> 01:05:24,400
Speaker 3: we just you know, being like you know, somewhere between

1344
01:05:24,480 --> 01:05:28,200
Speaker 3: David Ruffin and the Temptations and just like you know,

1345
01:05:28,280 --> 01:05:30,920
Speaker 3: the It was really like this thing where we were like,

1346
01:05:31,000 --> 01:05:35,080
Speaker 3: oh man, this is like this was like this Mac again.

1347
01:05:35,080 --> 01:05:36,760
Speaker 3: I always I've compared him to like a one man

1348
01:05:36,840 --> 01:05:38,520
Speaker 3: rat pack, you know what I mean, Like he was

1349
01:05:38,600 --> 01:05:41,680
Speaker 3: the embodiment of cool with this stuff. So even in

1350
01:05:41,720 --> 01:05:44,760
Speaker 3: those in this moment, for me, I only saw me

1351
01:05:44,840 --> 01:05:46,840
Speaker 3: and him in the suits with the glasses, with the

1352
01:05:46,880 --> 01:05:49,600
Speaker 3: bass and the guitar, just talking shit, you know what

1353
01:05:49,640 --> 01:05:49,960
Speaker 3: I mean.

1354
01:05:50,520 --> 01:05:53,320
Speaker 1: Well, I thank you and I apologize for this long

1355
01:05:53,440 --> 01:05:58,400
Speaker 1: overdue conversation. Oh man, I'm a massive, massive, massive fan

1356
01:05:58,440 --> 01:05:59,200
Speaker 1: of your work, so.

1357
01:05:59,440 --> 01:06:01,760
Speaker 2: Quest, I've been in this my whole life. I've been

1358
01:06:01,800 --> 01:06:02,600
Speaker 2: a fan of your work.

1359
01:06:02,720 --> 01:06:05,480
Speaker 1: Well, I thank you for that, man, and hopefully this

1360
01:06:05,560 --> 01:06:10,080
Speaker 1: will be the first of many conversations. I'm man Undercat,

1361
01:06:10,080 --> 01:06:14,480
Speaker 1: thank you. This was the Quest Love Show, Thundercat our guest,

1362
01:06:15,000 --> 01:06:16,800
Speaker 1: and uh we'll see you on the next go round,

1363
01:06:16,800 --> 01:06:28,320
Speaker 1: all right, see you. Quest Love Show is hosted by

1364
01:06:28,360 --> 01:06:32,960
Speaker 1: Me amir guest Love Thompson. The executive producers are Sean

1365
01:06:33,040 --> 01:06:39,240
Speaker 1: g Brian Calhan and Me. Produced by Britney Benjamin and

1366
01:06:39,360 --> 01:06:45,320
Speaker 1: Jake Payne. Produced for iHeart by Noel Brown, edited by

1367
01:06:45,440 --> 01:06:52,000
Speaker 1: Alex Conroth. iHeart Video support by Mark Canton Logos Graphics

1368
01:06:52,000 --> 01:06:57,280
Speaker 1: and animation by Nick Paloe, additional support by Lance Coleman,

1369
01:06:58,800 --> 01:07:03,520
Speaker 1: Special Things to Kathy, Special thanks to Sugar Steve Mandel.

1370
01:07:05,000 --> 01:07:08,080
Speaker 1: Please subscribe, rate, review, and share The Quest Loup Show

1371
01:07:08,360 --> 01:07:11,560
Speaker 1: wherever you stream your podcast, make sure you follow us

1372
01:07:11,560 --> 01:07:18,360
Speaker 1: on socials that's at QLs. Check out hundreds and hundreds

1373
01:07:18,400 --> 01:07:21,680
Speaker 1: of QLs episodes, including the Quest Loup Supreme Shows, and

1374
01:07:21,760 --> 01:07:27,080
Speaker 1: our podcast archives. Quest Loup Show is a production of

1375
01:07:27,240 --> 01:07:28,120
Speaker 1: iHeartRadio