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

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Speaker 1: Ladies and gentlemen. This is the Quest Left Show. I'm

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Speaker 1: your host, Quest Love. I became familiar with our guest

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Speaker 1: I want to say two thousand and four, two thousand

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Speaker 1: and five, back when.

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Speaker 2: Air quote that site was in full bloom.

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Speaker 1: Her demo was making the rounds and I forgot who

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Speaker 1: put me onto it, And all I can say is

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Speaker 1: that I when I was flabbergasted. I mean, you know,

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Speaker 1: she did a majority of the production, the writing, the

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Speaker 1: recording by herself, so instantly, like my antennas went up,

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Speaker 1: and you know, I listened to it. I mean, now

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Speaker 1: we're you know, we're in an age where everything is

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Speaker 1: streamed and there's SoundCloud, and there's ways to access records

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Speaker 1: without the help of a major label. But you know, before,

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Speaker 1: you know, two thousand and seven, that was hard. So

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Speaker 1: you know, basically I just had a burnt CD and

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Speaker 1: I mean I would sleep to it. That's pretty much

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Speaker 1: my obsession to it. Of course, when I heard from

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Speaker 1: her next her debut LP, She's part of the Stone's

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Speaker 1: Throw community. Since then, she has literally collaborated with I'll

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Speaker 1: be here all day if I'd say the artist I

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Speaker 1: mean either Brittany Howard, Brian Jackson, Anderson Pac, Lotus Badu,

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Speaker 1: Yasim Bay, everyone, everyone but the roots.

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Speaker 2: And I gotta change that quickly.

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Speaker 1: And I'm certain that she's tired of hearing this, but yeah,

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Speaker 1: she's the pioneer of the term stay woke. As we

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Speaker 1: celebrate Women's History Month, this is a person who makes

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Speaker 1: history every day. You can check out her new album,

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Speaker 1: Electrical Field of Love by her band Harriet Tubman, and

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Speaker 1: we're going to talk about that and her journey, she

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Speaker 1: what makes her tick. Georgia and Moldrew, thank you so

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Speaker 1: much for coming on the show.

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Speaker 2: How are you?

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Speaker 3: I'm related quest Love. We've known each other a long

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Speaker 3: time and I love you. I love your sister, don Tie.

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Speaker 3: She's the GM of a being. Yes, she's just a

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Speaker 3: wonderful big sister to have, So thanks for sharing her

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Speaker 3: with me, you know, I mean, just thank you for

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Speaker 3: you know, when I think about just the roots, you know,

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Speaker 3: like when I think about just I can't tell you

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Speaker 3: how many permission slips I got from listening to you

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Speaker 3: guys about you know how to mix creatively? Really, yeah,

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Speaker 3: I mean I think so for sure. I remember, like

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Speaker 3: listening to you guys records and going like I'm anna

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Speaker 3: note in people. Those are my people. I'm like, no,

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Speaker 3: that's my family. I'm ready to listen and be like, no,

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Speaker 3: I know, I'm going to talk to them one day.

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Speaker 3: I want to speak with these people. Are gonna understand

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Speaker 3: what it did I'm doing. And it was never like

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Speaker 3: nothing ambitious. It was like really from like the glow

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Speaker 3: of It's like that native tongue's glow.

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Speaker 1: You know.

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Speaker 2: It's like, well, you're a manifesto.

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Speaker 3: Yeah you knew you was a part of the music.

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Speaker 2: Yeah, thank you. It's weird, you know. I listen.

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Speaker 1: I mean, you have over twenty albums and probably more

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Speaker 1: than twenty albums, and it's a lot. I listened to you,

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Speaker 1: and I don't feel like I'm doing enough, like I'd

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Speaker 1: like to think that I'm a hard worker, but you're

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Speaker 1: definitely leading that charge. So I got to learn from you.

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Speaker 1: So my first question to you is what is your

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Speaker 1: first musical memory.

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Speaker 3: My first musical memory is honestly hearing my dad play

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Speaker 3: Giant Steps on guitar every morning, so it was like

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Speaker 3: my ABC's and depending on how he played, let me

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Speaker 3: know if I should stay in a corner somewhere, so

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Speaker 3: I don't get like, like himmed up you feel me

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Speaker 3: or like I can tell he if he's jovial or

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Speaker 3: if he's upset, or if he's angry.

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Speaker 1: Or is you know, based on how he solo.

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Speaker 3: So it was I had to understand because like, you know,

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Speaker 3: the song b like but on the jazz guitar, not

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Speaker 3: plugged into nothing, so you got to listen in close,

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Speaker 3: so like you know, it's like a you know, like

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Speaker 3: a big body. You know the L five, you know

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Speaker 3: with Gibson Joint and you know the West Montgomery Special,

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Speaker 3: and you know, my dad's really from south side Chicago. Really,

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Speaker 3: you know, listen to me. Listen to West Montgomery, you know,

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Speaker 3: and that gen Ammons you feel me like all of it.

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Speaker 3: And that's my first memory is listening, okay, to see

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Speaker 3: see what kind of day we're gonna have as a whole,

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Speaker 3: to see what kind of day we're gonna have.

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Speaker 1: What does your house look like as in your childhood?

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Speaker 1: Do you have siblings your domestic situation?

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Speaker 3: Yeah, yeah, I got older brother, Stephen. Like my early

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Speaker 3: childhood is my mom, my dad, and my brother. Okay,

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Speaker 3: small little house in La.

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Speaker 1: What does your mom do my mom's.

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Speaker 3: A singer songwriter too. She's amazing, you know. Actually her

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Speaker 3: first record was on Music Records and it's called slow

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Speaker 3: Down Baby. Yeah, what did this come out? I think

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Speaker 3: in seventy life.

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Speaker 1: Seventy five and what's her name.

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Speaker 3: At that time? It said Ricky Boga Okay, Ricky bo Yeah,

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Speaker 3: Ricky Boga. And but you know, you'll see it. It's

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Speaker 3: a big old fro somebody who looked like kind of

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Speaker 3: look like me. I think that that's an important record

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Speaker 3: to check out quest because I didn't hear this till

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Speaker 3: after all the worth nothing stuff and all this kind

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Speaker 3: of stuff. But it's like real epigenetic stuff because the

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Speaker 3: way she's taking like she's banking all the chords and

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Speaker 3: it's like too many chords for one song, and like

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Speaker 3: time stops and all this kind of stuff in her arrangements.

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Speaker 3: And it's produced by Howard Johnson who played Toogle with

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Speaker 3: mingas Lot. Yeah, yeah, real for real, My mom's actually

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Speaker 3: go there. Like actually like she played in Rollanhanna New

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Speaker 3: York Jazz Quartet. She played with Pharaoh Sanders, played keys

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Speaker 3: with Pharaoh like and for the record, like with Philis

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Speaker 3: Simon on it. Because when she didn't feel like touring

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Speaker 3: almost playing Yeah, she's playing keys and the ensemble everything,

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Speaker 3: singing and playing keys with Pharaoh. So it's just like

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Speaker 3: on both sides, it's like that, you know. And I

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Speaker 3: think another thing too is just like my mom just

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Speaker 3: with the Women's History Month of black Stuff. You know,

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Speaker 3: it's just like the fallout from the disco era, how

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Speaker 3: that affected a lot of black singer songwriters, you know,

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Speaker 3: where it's like you have people like lower Nero, she

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Speaker 3: could break through, but then there was a lot of

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Speaker 3: people like the songwriting sisters was kind of co worse

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Speaker 3: to make dance records or they was gonna get signed.

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Speaker 3: I mean like getting literally told during those years, you know,

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Speaker 3: we're not signing nobody who's thinking right now it's love

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Speaker 3: to love you baby, or you need to like go

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Speaker 3: work at a at a restaurant. So my mom, my

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Speaker 3: mom didn't respond to that was be like a piano

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Speaker 3: bar hustler, you know, and you know do it like that.

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Speaker 3: M h.

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Speaker 1: Yeah. I was gonna say for that time period, probably

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Speaker 1: an occasional Joan armor trading could get inside miracle.

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Speaker 3: It's a miracle, but yeah, I mean Joan arbitrating is

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Speaker 3: like parallel universe. Right, occasionally the Russell is a miracle

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Speaker 3: at this point, like as far as like when you

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Speaker 3: talk about racism and the used to business and things

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Speaker 3: like that. You know, it's like have you heard Jones

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Speaker 3: latest record?

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Speaker 1: You know what people are talking about this and I

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Speaker 1: have to peep it. Yes, No, she went in.

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Speaker 3: She got some stuff on there. You know, I love

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Speaker 3: Joning a lot. I'm seriously a Jon Chad family real.

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Speaker 3: I love her work.

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Speaker 2: Wait where are you right now?

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Speaker 1: Like I love the blue red juxtaposition of this interview.

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Speaker 3: It's funny because whatever's happening in the camera is making

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Speaker 3: its own decision about what it wants you to see.

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Speaker 3: So right now I'm in my avatar, I'm my avatar era,

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Speaker 3: but it's still just the red lights above. So it's like,

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Speaker 3: I don't know, something shifting gotch but yeah, but this

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Speaker 3: is this is my mom's arriety. This is where I

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Speaker 3: record at. This is my little, my little two door

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Speaker 3: recording studio. It's a little ten of love. You know.

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Speaker 2: The lights are always this moody so that you can create.

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Speaker 3: Yeah, because you know, I need the disco light because

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Speaker 3: it's my favorite color is disco lights.

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Speaker 2: Nice your whole house is designed like this.

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Speaker 3: Nope, okay up here, but gotch you Diceral lights is

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Speaker 3: like it's where my I could hear all the music.

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Speaker 3: It's like because I'm synesthetic very much, and it works

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Speaker 3: in reverse too, so like when it's going around, I'm like, hey,

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Speaker 3: and you're like reverse engineering, you know, you know it's.

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Speaker 1: Like and you know, I always wanted to take this

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Speaker 1: test with a fellow because I'm also synesthesia and I

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Speaker 1: see songs in colors when I hear.

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Speaker 2: Them, So I want to try this test on you

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Speaker 2: to see if we see it the same.

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Speaker 1: All right, I'm going to pick the most common album

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Speaker 1: of all time, which I would like to think that

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Speaker 1: you've heard Thriller at least five times in.

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Speaker 2: Your life, have you?

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Speaker 3: Of course? Yeah?

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Speaker 1: So what color is going to be starting something to

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Speaker 1: you when you hear it?

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Speaker 3: I have to go through a little bit. Yeah, definitely,

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Speaker 3: I'm definitely getting like these colors, the blue, like definitely,

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Speaker 3: it's it's definitely cool neon greens, but when the guitar

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Speaker 3: comes in, it's more like there's more neon reds.

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Speaker 2: And then when different parts come in, you see different colors.

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Speaker 3: Yes, And with that pepper into the landscape because what

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Speaker 3: happens to me is that there's a whole sonic image

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Speaker 3: that begin to create. So the first thing I see

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Speaker 3: is a mirrored floor, like first, okay, there's a lot

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Speaker 3: of black toobes. It's like black with illumined It's like tron.

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Speaker 2: It's like, really, okay, I see light blue for some reason.

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Speaker 1: I see it as a daytime light blue, like the

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Speaker 1: sky blue.

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Speaker 3: That's really good. That's really good for.

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Speaker 1: The song after Baby be Mine. What color do you see?

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Speaker 3: Definitely pink? Orange, pink?

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Speaker 1: Get it's weird. Do I see orange? Okay, only because

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Speaker 1: I see rock with view as orange and that's the

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Speaker 1: second so I say that, all right, So the girl

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Speaker 1: is mine? What color do you see?

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Speaker 3: I don't nothing, just that I don't know. I don't

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Speaker 3: know what song with color. That song is white. I

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Speaker 3: don't know. I just oh the song white.

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Speaker 2: Okay, all right, I.

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Speaker 3: See I don't believe. I don't know, like because it's

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Speaker 3: weird because with my synesthesia it's like it's land too.

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Speaker 3: It's like I see objects, you know, like yeah, so

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Speaker 3: like say like a certain snare like I started I

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Speaker 3: started seeing like if it sounds metallic, like a certain

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Speaker 3: kind of snare, like you know, like the hip hop

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Speaker 3: head style. You know, yes, it'll be like a whole

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Speaker 3: gauntlet like you know, like and then like the I

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Speaker 3: had to be like swords like that. So it's like

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Speaker 3: it all depends. Sometimes it's sometimes a high hat is

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Speaker 3: like a scimitar, that's like an age rest you know. Color.

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Speaker 3: Sometimes it's like a bright you know what I mean.

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Speaker 3: So it's like it's those kinds of things too. I

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Speaker 3: really do get objects too. I think Baby Be Mine

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Speaker 3: would probably, I don't know. It's just white too. It's

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Speaker 3: just khaki. I don't know how I feel.

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Speaker 1: The girl's mind is the girl of mine.

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Speaker 3: Not baby Mine. I like Baby be Mine, but it's

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Speaker 3: just khaki pants.

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Speaker 1: See. I see Grace Skies only because because I was

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Speaker 1: alive in real time when that album came out, I

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Speaker 1: was coming on from school and it was raining, and

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Speaker 1: they premiered it on the radio.

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Speaker 2: So I forever with that.

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Speaker 1: So when you hear Thriller the title cut, what color

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Speaker 1: do you see?

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Speaker 2: Or does the video already influence what you see?

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Speaker 3: No, Because the first time I heard Thriller was at

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Speaker 3: my Grandmama's house on vinyl. I was like I had

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Speaker 3: nothing to do, so like video, the videos didn't mean

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Speaker 3: nothing because you know, I was in North Carolina at

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Speaker 3: my grandma's house and just like in the corner. So yeah,

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Speaker 3: I think I don't know the go go go Google. Interesting,

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Speaker 3: all of them have this neon thing to him. To me,

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Speaker 3: just because of Cozy Jon mixing, like the profile he

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Speaker 3: had on his production. It's like there is very much

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Speaker 3: everything is like on Thriller. I feel like the cover

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Speaker 3: matches the way it sounds so well, you know what

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Speaker 3: I'm saying, because like cover, Yeah.

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Speaker 2: So the white, the black and the.

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Speaker 3: It's a lot of black. It's like a lot of black.

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Speaker 3: But then just these like the airbrush you know what

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Speaker 3: I mean, airbrush glow in the dark like and so

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Speaker 3: I think Thriller the goo goo gee goos.

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Speaker 1: Have you ever spoken to Jill Scott about music? Jill

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Speaker 1: Scott is the only other person I know that will

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Speaker 1: literally describe like she'll go up to a musician.

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Speaker 2: Be like mm mmm, I need more more blue, give me.

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Speaker 1: Blue, yeah, and like what the hell's blue?

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Speaker 3: So I've definitely done that in a gig. I've definitely

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Speaker 3: done that in a gig where I just call out

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Speaker 3: start calling out colors, definitely do that. But I but

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Speaker 3: I find that it's better to call out weather than

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Speaker 3: colors because whether it's like more of a collective thing,

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Speaker 3: you know, like the milanocytes have it give you some

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Speaker 3: type of like measuring tool with milanocytes and and such.

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Speaker 3: You know. But but with synesthesia, there's people who I

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Speaker 3: know who are synesthetic, but the way they see colors different.

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Speaker 3: Like a perfect example is L's e. He's synesthetic and

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Speaker 3: that's why he's like completely really anal about his takes

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Speaker 3: because he wants to make sure all the colors match,

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Speaker 3: and he wanted to make sure that the contrast that

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Speaker 3: he has even his vocal range, like the melody he

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Speaker 3: finds over the beat is like creating enough compliment. He's

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Speaker 3: serious about that. And he was one of the people

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Speaker 3: that we see the same. He's like, yo, most of

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Speaker 3: your So that was a mad orange yoke. I was like,

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Speaker 3: I know, he's like, you got any more blue songs?

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Speaker 3: And say, yeah, a few of them, but those are

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Speaker 3: the ones that tend to be more of the techno

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Speaker 3: like like kind of like as of house sonic value,

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Speaker 3: you know what I mean. But I love to have

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Speaker 3: a lot of rais in my music, like solar, the

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Speaker 3: solar sound, you know, And the perfect example for like

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Speaker 3: a solar sound would be ray a is anything exactly okay,

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Speaker 3: you know, like everybody loves the sunshine. The reason why

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Speaker 3: I work, I think the reason why the song works

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Speaker 3: so well is because it sounds like the sun. You know.

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Speaker 3: George Duke has a lot of solar jams too. Very solar,

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Speaker 3: you know, like so prepare yourself, you know, or mint tests,

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Speaker 3: you know, whichever one. It's like, it's just very this

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Speaker 3: rays of sun, you know, Earth wind and fire is

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Speaker 3: very solar, you know.

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Speaker 2: I see that.

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Speaker 1: Actually, I'm gonna I'm gonna skip thriller and I'm gonna

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Speaker 1: ask you a deeper question, what is your favorite key?

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Speaker 3: Haa? It changes, it changes, and then it's funny because

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Speaker 3: people wrote to me like, Okay, she's gonna jam and

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Speaker 3: D again.

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Speaker 2: Z your go to DZ, your go to thing.

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Speaker 3: I jammed in D for so long. I don't know,

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Speaker 3: I think right now. I love G. I love G,

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Speaker 3: I love F Shop, I love I love F for

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Speaker 3: a lot. I don't know. It just kind of tilt

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Speaker 3: the head forward a little bit.

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Speaker 1: I have a least favorite key I want to know

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Speaker 1: if this is the same. You know what C sharp

294
00:16:31,000 --> 00:16:33,920
Speaker 1: minor is one of the hartists. Okay, So the way

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Speaker 1: that I DJ is I DJ every song in Keys.

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Speaker 3: Yeah you do the keys, yeah, uh huh.

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Speaker 1: And for some reason I noticed that the songs that

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Speaker 1: people do the key and the least is in C

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Speaker 1: sharp for some reason, and prop like, my favorite all

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Speaker 1: time C sharp minor song is seven seven seven ninety

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Speaker 1: three eleven, but it's rare.

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Speaker 2: Besides that, I don't know it's for me.

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Speaker 1: I feel like C sharp minors is the redheaded stepchild

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Speaker 1: of Keys.

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Speaker 3: So I think you ain't never lied. I think you

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00:17:11,880 --> 00:17:14,720
Speaker 3: ain't never lie, you know. I feel like people like

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00:17:14,760 --> 00:17:20,600
Speaker 3: Solami Rose Joe Lewis definitely lives there, like she really

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Speaker 3: be composed there. But that's why she starts from I think.

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Speaker 3: And then also you're reminded me of Pocket Queen how

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Speaker 3: she plays the mess out of that pattern. Pocket Queen

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Speaker 3: played it, and she played it her own way. I

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Speaker 3: feel like that's so difficult to do.

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Speaker 1: It took me the longest and then you know, I

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Speaker 1: mastered it at eleven and then my dad's bass player

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Speaker 1: told me that that's a drum machine and I was

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Speaker 1: just like, oh, what's a drum machine?

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Speaker 2: I had no clue. We mutate speak on it, we do.

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Speaker 3: Just I mean, I just love that. I mean I

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Speaker 3: really absolutely love that. Like there's it's almost like when

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Speaker 3: Jimmy he and Jix was like, yo, man, they playing

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Speaker 3: my mistakes. Man, I don't know they even copying the

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Speaker 3: mistakes I made. You know, It's like I feel like

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Speaker 3: that's the thing where it's just like if you take

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Speaker 3: everything at face value and you say, well, that's what's

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Speaker 3: going on. Like for me, like when I first heard

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Speaker 3: Public Enemy, I thought that I didn't know about sampling

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Speaker 3: at all. All I knew was musicians. So I was

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Speaker 3: thinking at that.

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Speaker 2: You thought that was real?

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Speaker 3: That was yeah, Like because I was little like you

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Speaker 3: know what I'm saying, I'm going any three like I

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Speaker 3: was going to ask.

333
00:18:29,680 --> 00:18:31,320
Speaker 2: I was like, I hope you don't mind me asking

334
00:18:31,359 --> 00:18:31,879
Speaker 2: what you were you?

335
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Speaker 3: Wow?

336
00:18:32,640 --> 00:18:35,720
Speaker 2: So you experienced Public Enemy at like five and.

337
00:18:35,640 --> 00:18:39,840
Speaker 3: Six as a musical like, and I'm going like, that's

338
00:18:39,880 --> 00:18:42,320
Speaker 3: how music should sound, you know what I mean, Hank Shock,

339
00:18:42,440 --> 00:18:46,119
Speaker 3: I'm going like, this is amazing. And they got somebody going,

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Speaker 3: they got somebody in it and go whoa like it's

341
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Speaker 3: just like all this is I'm thinking like it's Duke

342
00:18:52,200 --> 00:18:56,399
Speaker 3: Ellington or something. I'm thinking like it's like you know

343
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Speaker 3: what I'm saying. Like, but if that didn't hit me

344
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Speaker 3: like that, I wouldn't be this kind of musician. I

345
00:19:01,200 --> 00:19:02,760
Speaker 3: wouldn't be this kind of composer.

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Speaker 1: You spoke of your grandmother's house in North Carolina.

347
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Speaker 2: Where were you born?

348
00:19:20,200 --> 00:19:23,119
Speaker 3: I was born in Los Angeles, California. Okay, I'm a

349
00:19:23,200 --> 00:19:24,280
Speaker 3: child in mid city.

350
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Speaker 2: Okay, So you would visit your grandma? Okay, I thought

351
00:19:27,560 --> 00:19:28,920
Speaker 2: you were my grandma.

352
00:19:29,240 --> 00:19:35,320
Speaker 3: My MAM's North Carolina. Ye city, Charlotte, Okay, Charlotte, No Carolina, Yeah, Charlotte,

353
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Speaker 3: North Carolina.

354
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Speaker 1: I almost feel as though you're so musically immersed that

355
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Speaker 1: this might be a dumb question, but I'll ask anyway.

356
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Speaker 3: Okay, there's not no dumb questions, just the one you

357
00:19:44,960 --> 00:19:45,760
Speaker 3: don't know answer to.

358
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Speaker 1: Okay, So what TV show would you say to find

359
00:19:50,200 --> 00:19:51,080
Speaker 1: your childhood?

360
00:19:51,280 --> 00:19:55,199
Speaker 3: Oh my god, I mean definitely Reading Rainbow, Reading Rainbow.

361
00:19:55,320 --> 00:20:01,040
Speaker 3: I'm PBS baby for show b p b ask. So

362
00:20:01,280 --> 00:20:05,840
Speaker 3: this is like definitely mysterizes, definitely all the loving kindness,

363
00:20:05,960 --> 00:20:08,240
Speaker 3: but also there's a video I kept I would rint

364
00:20:08,720 --> 00:20:11,399
Speaker 3: all the time, and it was be somebody or to

365
00:20:11,400 --> 00:20:15,000
Speaker 3: be somebody's food by mister T. And I feel like

366
00:20:15,200 --> 00:20:19,720
Speaker 3: mister T is like my hero role model. He's really

367
00:20:19,720 --> 00:20:21,680
Speaker 3: my role model for real, for real.

368
00:20:21,880 --> 00:20:25,720
Speaker 1: Like you purchased the Mister T Commandments album in eighty four.

369
00:20:25,920 --> 00:20:28,880
Speaker 3: The nope, I was only one years old time out.

370
00:20:29,400 --> 00:20:30,959
Speaker 3: I don't know. I didn't know you have a record.

371
00:20:31,000 --> 00:20:32,679
Speaker 3: Like now I'm about to lose my mind, Like what

372
00:20:32,720 --> 00:20:34,520
Speaker 3: do you mean. I have an at I have an

373
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Speaker 3: eighteen shirt, but I don't have no Mister T record.

374
00:20:37,760 --> 00:20:40,560
Speaker 3: There's more my mother, no other.

375
00:20:41,720 --> 00:20:47,639
Speaker 1: He performed the T's Commandment on Soul Train, Yes I was.

376
00:20:47,680 --> 00:20:49,760
Speaker 2: I'll send it to you, Yes, I'll send it to you.

377
00:20:50,320 --> 00:20:54,640
Speaker 1: I often find that people born after me, like eighties

378
00:20:54,720 --> 00:20:58,040
Speaker 1: babies and on. If I say to them like you,

379
00:20:59,480 --> 00:21:02,520
Speaker 1: they'll say, oh, but I was two years old then,

380
00:21:03,320 --> 00:21:05,760
Speaker 1: And I'm like, man, when I was born, I had

381
00:21:05,760 --> 00:21:07,800
Speaker 1: to listen to Duke Ellington records at the age of

382
00:21:07,880 --> 00:21:08,960
Speaker 1: two and study them things.

383
00:21:09,000 --> 00:21:11,480
Speaker 3: But I did too. I did too. But I'm just saying,

384
00:21:11,560 --> 00:21:15,560
Speaker 3: like my parents, I was the vanguard of the Mister

385
00:21:15,680 --> 00:21:18,879
Speaker 3: T aesthetic in my home. You feel me?

386
00:21:19,520 --> 00:21:20,720
Speaker 2: Uh, They weren't into that.

387
00:21:21,280 --> 00:21:25,399
Speaker 3: They wasn't on that, like like the only rap song

388
00:21:25,560 --> 00:21:29,280
Speaker 3: my dad can condone was the message. He was like,

389
00:21:29,400 --> 00:21:31,440
Speaker 3: now he's rapping for his life. Now that that's a

390
00:21:31,520 --> 00:21:34,280
Speaker 3: rap record. Now that and puts they loved jigs Chase

391
00:21:34,359 --> 00:21:36,160
Speaker 3: it all like all that shit, you know what I'm saying, right,

392
00:21:36,280 --> 00:21:39,800
Speaker 3: Like I inherited who DENI like we're on the side

393
00:21:39,800 --> 00:21:42,040
Speaker 3: of who DEENI we had beef with drun DMC as

394
00:21:42,040 --> 00:21:44,840
Speaker 3: a home like that. I knew that from like the

395
00:21:44,920 --> 00:21:46,240
Speaker 3: musicians side of stuff.

396
00:21:46,600 --> 00:21:49,000
Speaker 2: What's your age difference between you and your brother?

397
00:21:49,560 --> 00:21:51,640
Speaker 3: A year? A year and some change, like a year

398
00:21:51,640 --> 00:21:55,200
Speaker 3: and a few months, like yeah, like seventeen months apart.

399
00:21:55,520 --> 00:21:58,000
Speaker 1: Okay, did you have like an older cousin or someone

400
00:21:58,160 --> 00:22:01,159
Speaker 1: older that put you onto Oh yeah.

401
00:22:00,920 --> 00:22:04,320
Speaker 3: All the way. So like my cousin DJG he like

402
00:22:04,920 --> 00:22:07,159
Speaker 3: I call him like bumble Bee from like you know,

403
00:22:07,280 --> 00:22:11,720
Speaker 3: the Transformers. So his mixtapes were very neurosaucy. So it's

404
00:22:11,800 --> 00:22:16,159
Speaker 3: like every other second like he used the records to

405
00:22:16,280 --> 00:22:19,080
Speaker 3: actually say what he wanted to say, you know, DJ

406
00:22:19,200 --> 00:22:21,320
Speaker 3: and behind the back all that kind of stuff, you

407
00:22:21,359 --> 00:22:24,000
Speaker 3: know what I mean. So I definitely had a plug

408
00:22:24,040 --> 00:22:27,080
Speaker 3: into like hip hop and stuff like that. But as

409
00:22:27,080 --> 00:22:30,720
Speaker 3: far as getting exposed to like music outside of Canniball,

410
00:22:30,800 --> 00:22:34,600
Speaker 3: Adelie Art, Blake Key or my mom at the time

411
00:22:34,760 --> 00:22:36,800
Speaker 3: was just so into her own compositions, you know what

412
00:22:36,840 --> 00:22:41,560
Speaker 3: I'm saying, or outside of train. My mom's ear was

413
00:22:41,640 --> 00:22:43,880
Speaker 3: very eclectic. So it'd be like Biden mcfharri and Sally

414
00:22:44,040 --> 00:22:48,200
Speaker 3: Kate to Diane Reeves, James Brown, Curtis Mayfield, Mahelia Jackson

415
00:22:48,680 --> 00:22:51,879
Speaker 3: kind of thing, like a mixed bag of like a

416
00:22:52,000 --> 00:22:54,320
Speaker 3: very limited amount of records that we listened to all

417
00:22:54,359 --> 00:22:57,159
Speaker 3: the time. And then like my dad would be like

418
00:22:58,640 --> 00:23:02,920
Speaker 3: a more extensive collection of music that'd be like very

419
00:23:02,960 --> 00:23:06,000
Speaker 3: straight ahead like post bop. And then you know him

420
00:23:06,040 --> 00:23:09,560
Speaker 3: playing with Eddie Harris and everything for such a long time.

421
00:23:09,960 --> 00:23:13,919
Speaker 1: What was your father's name, Ronald Muldrow? Okay, and he

422
00:23:13,960 --> 00:23:16,640
Speaker 1: played with Eddie Harris.

423
00:23:16,119 --> 00:23:19,240
Speaker 3: Uh huh yeah, like part of the usual suspects game,

424
00:23:19,280 --> 00:23:22,240
Speaker 3: you know, playing all the guitar like from records like

425
00:23:22,320 --> 00:23:27,080
Speaker 3: Turbulence to his Hand to Carnival like I need some money,

426
00:23:27,200 --> 00:23:30,920
Speaker 3: you know, all those records. Yeah, word, he's on all

427
00:23:30,920 --> 00:23:31,240
Speaker 3: of them.

428
00:23:31,840 --> 00:23:34,200
Speaker 1: Wait, what year didn't they join join?

429
00:23:34,359 --> 00:23:36,800
Speaker 3: Like I think it was shortly after the last McCann,

430
00:23:37,080 --> 00:23:39,399
Speaker 3: like right after I think it was right after the

431
00:23:39,480 --> 00:23:43,080
Speaker 3: Swiss movement. Then he was in there, so like they innovated,

432
00:23:43,119 --> 00:23:46,199
Speaker 3: like the funk jazz stuff together. So my dad was

433
00:23:46,200 --> 00:23:47,240
Speaker 3: playing all that stuff.

434
00:23:47,760 --> 00:23:51,240
Speaker 1: I have your dad playing live on Soul Train in

435
00:23:51,359 --> 00:23:53,760
Speaker 1: nineteen seventy four with Eddie.

436
00:23:53,600 --> 00:23:56,600
Speaker 2: Harris and they did this incredible dance thing.

437
00:23:57,080 --> 00:24:01,080
Speaker 1: They do this African Oh my god, okay, ladies and gentlemen,

438
00:24:01,160 --> 00:24:03,600
Speaker 1: I'm sorry, I had to take it.

439
00:24:03,640 --> 00:24:05,480
Speaker 2: When she mentioned her father, I was like.

440
00:24:05,440 --> 00:24:07,880
Speaker 3: Wait a minute, you can tell her with my dad, right,

441
00:24:08,000 --> 00:24:08,520
Speaker 3: you could.

442
00:24:08,320 --> 00:24:14,760
Speaker 1: Tell Oh, my god, that is your father. Shit, that

443
00:24:14,880 --> 00:24:15,680
Speaker 1: is crazy.

444
00:24:16,160 --> 00:24:18,600
Speaker 2: Okay the last time. Okay, So this is what you're

445
00:24:18,640 --> 00:24:19,439
Speaker 2: gonna know about me.

446
00:24:20,080 --> 00:24:23,399
Speaker 1: Soul Train is the air I breathe and the blood

447
00:24:23,440 --> 00:24:30,480
Speaker 1: in my veins. I religiously watch this show and being

448
00:24:30,480 --> 00:24:34,000
Speaker 1: as though I have a new form of expression that

449
00:24:34,320 --> 00:24:37,840
Speaker 1: people have just discovered in the last five years. One

450
00:24:37,840 --> 00:24:40,359
Speaker 1: of the myths that I would like to dispel about

451
00:24:40,480 --> 00:24:42,960
Speaker 1: Soul Training is the fact that they're like, well, people

452
00:24:43,000 --> 00:24:45,320
Speaker 1: don't play live on there. People do play live on

453
00:24:45,400 --> 00:24:51,919
Speaker 1: Soul Train. Probably one of the rarest moments where a

454
00:24:52,040 --> 00:24:56,200
Speaker 1: jazz group gets to flex their muscles on Soul Train

455
00:24:56,920 --> 00:24:59,000
Speaker 1: is where Paddy Harris was on Oh my god, I

456
00:24:59,000 --> 00:25:02,080
Speaker 1: can't believe that you're f okay yeah man.

457
00:25:02,080 --> 00:25:04,240
Speaker 3: And the guitar gan it's something that he had invented,

458
00:25:04,400 --> 00:25:06,840
Speaker 3: like you know, so they were like tinkerers, like you

459
00:25:06,880 --> 00:25:10,199
Speaker 3: know him and like that was really Eddie Harris is

460
00:25:10,200 --> 00:25:12,679
Speaker 3: like the fairy god father for me. He was like

461
00:25:12,680 --> 00:25:16,280
Speaker 3: a very grandfather. I grew up knowing him and what

462
00:25:16,359 --> 00:25:20,720
Speaker 3: were like, you know, that's why we would talk, you know,

463
00:25:20,800 --> 00:25:23,360
Speaker 3: he'd be like, what about you know.

464
00:25:23,680 --> 00:25:26,800
Speaker 1: This explains everything about you now everything.

465
00:25:26,960 --> 00:25:31,080
Speaker 2: Yeah, when you when you said epigenetics, Now I get it.

466
00:25:31,960 --> 00:25:32,520
Speaker 3: They get it.

467
00:25:32,880 --> 00:25:35,200
Speaker 2: Oh my god, I'm so glad. This is how I'm

468
00:25:35,240 --> 00:25:35,720
Speaker 2: finding out.

469
00:25:35,800 --> 00:25:39,560
Speaker 3: Can I ask you one thing, to ask you what's

470
00:25:39,600 --> 00:25:40,960
Speaker 3: your favorite soul chain thing?

471
00:25:41,720 --> 00:25:47,080
Speaker 1: The only answer and shout out to uh dj Nick Fresh,

472
00:25:47,080 --> 00:25:48,080
Speaker 1: who hates when I say this.

473
00:25:48,800 --> 00:25:51,440
Speaker 2: O'Brien's nineteen.

474
00:25:52,600 --> 00:25:58,560
Speaker 1: Yeah, oh Baker, no no, no, no, no, you're doing the Hollywood,

475
00:25:58,760 --> 00:25:59,760
Speaker 1: you're doing the disco.

476
00:26:04,240 --> 00:26:14,440
Speaker 3: Okay, So O'Brien didn't want yes, yes, yeah, no, no,

477
00:26:14,480 --> 00:26:17,919
Speaker 3: that's my favorite too, O'Brien. O'Brien did it. Yeah, but

478
00:26:17,960 --> 00:26:20,440
Speaker 3: this is my second. That's the second one.

479
00:26:20,480 --> 00:26:22,520
Speaker 2: I like, got you, got you.

480
00:26:22,840 --> 00:26:24,879
Speaker 3: My second, but my favorite O'Brien too.

481
00:26:26,560 --> 00:26:30,240
Speaker 1: You're alright, all right, yeah, you are right to tell

482
00:26:30,280 --> 00:26:35,200
Speaker 1: me this much. What is your morning routine? What's the

483
00:26:35,240 --> 00:26:37,239
Speaker 1: first thing you do in the half hour of your

484
00:26:37,320 --> 00:26:38,240
Speaker 1: day every morning?

485
00:26:39,119 --> 00:26:42,600
Speaker 3: I go like, I kind of gasp because I got

486
00:26:42,640 --> 00:26:50,360
Speaker 3: another one. Yeah, okay, it's not over yet. And then

487
00:26:50,400 --> 00:26:55,880
Speaker 3: I take time that that blow my mind in a while. Okay, yeah,

488
00:26:56,040 --> 00:26:59,840
Speaker 3: thank god, I feel. I take time to feel life

489
00:26:59,880 --> 00:27:03,600
Speaker 3: online around me, you know, I could feel the network

490
00:27:03,600 --> 00:27:08,360
Speaker 3: of life. And then by that time, you know, it's

491
00:27:08,440 --> 00:27:11,840
Speaker 3: tea time, so I have some a nice cup of tea.

492
00:27:12,280 --> 00:27:15,200
Speaker 3: I spend most of my morning pretty much non vocal

493
00:27:15,560 --> 00:27:18,320
Speaker 3: if I can, and I find that when I do that,

494
00:27:18,880 --> 00:27:22,280
Speaker 3: I'm better regulated for the all the way into the evening.

495
00:27:22,960 --> 00:27:27,160
Speaker 3: But if I start talking too soon, I become very

496
00:27:27,160 --> 00:27:30,919
Speaker 3: oversimilated for most of the day. So it's definitely I

497
00:27:31,040 --> 00:27:35,680
Speaker 3: take time to just cool and hum. And even as

498
00:27:35,680 --> 00:27:38,400
Speaker 3: we talk right now, it's like, Bebop's my first language,

499
00:27:38,440 --> 00:27:40,840
Speaker 3: you know, just because of all of the giant step stuff,

500
00:27:40,840 --> 00:27:44,880
Speaker 3: it's actually my first language. So like, I take time

501
00:27:45,040 --> 00:27:47,440
Speaker 3: just to be bop. You know, just to be bop,

502
00:27:47,600 --> 00:27:51,800
Speaker 3: just to be, and that's how I pray and be bop,

503
00:27:51,920 --> 00:27:57,800
Speaker 3: you know, And yeah, I just be, you know, take

504
00:27:57,840 --> 00:28:00,480
Speaker 3: time to just be that way and then that way.

505
00:28:01,000 --> 00:28:03,760
Speaker 3: It might be like there's going to be a current

506
00:28:03,800 --> 00:28:06,440
Speaker 3: that takes me east west, north south, you know, then

507
00:28:06,520 --> 00:28:09,280
Speaker 3: I'm like ready, I'm prepared for it. But if I

508
00:28:09,280 --> 00:28:13,400
Speaker 3: don't take time to calibrate my heart, mind equipment, then

509
00:28:13,760 --> 00:28:16,679
Speaker 3: it comes to be a very confusing day. So my

510
00:28:16,800 --> 00:28:21,199
Speaker 3: routine is based in more of a spiritual discipline. My

511
00:28:21,359 --> 00:28:25,439
Speaker 3: minurosis is more on the spiritual side, whereas there's just

512
00:28:25,480 --> 00:28:29,119
Speaker 3: certain things that have to take place, like spiritually in

513
00:28:29,480 --> 00:28:31,800
Speaker 3: for you to you know, in order for me to

514
00:28:31,840 --> 00:28:34,119
Speaker 3: flow with where I'm like supposed to be at the

515
00:28:34,160 --> 00:28:35,320
Speaker 3: right place at the right time.

516
00:28:35,880 --> 00:28:40,760
Speaker 1: Gotcha. So, before the age of ten, what were your

517
00:28:40,840 --> 00:28:45,320
Speaker 1: desires in terms of what you wanted to do when

518
00:28:45,440 --> 00:28:48,560
Speaker 1: you became an adult. Did you come out the moon

519
00:28:48,880 --> 00:28:52,680
Speaker 1: wanting to do music or did you have other fantasies

520
00:28:53,040 --> 00:28:54,320
Speaker 1: or to do something else.

521
00:28:55,480 --> 00:28:57,400
Speaker 3: By the time I was nine years old, I had

522
00:28:57,520 --> 00:29:05,200
Speaker 3: completed the autobiography of Asada School and I was already

523
00:29:05,200 --> 00:29:08,720
Speaker 3: playing in a dazz ensemble. I was playing drums and

524
00:29:08,840 --> 00:29:13,840
Speaker 3: jazz ensemble. I was, you know, yeah, I like I

525
00:29:13,920 --> 00:29:18,280
Speaker 3: was kind of raised serious. So it was my dream

526
00:29:18,480 --> 00:29:23,760
Speaker 3: was total total black liberation. Total liberation for black people

527
00:29:24,640 --> 00:29:26,680
Speaker 3: was already my goal because I was like maybe three

528
00:29:26,800 --> 00:29:29,720
Speaker 3: years old, because that's when I learned about the trans

529
00:29:29,800 --> 00:29:35,240
Speaker 3: Atlantic slave holocausts. So I was definitely raised to be

530
00:29:35,280 --> 00:29:40,920
Speaker 3: an RBG assassin. And so that's the undercurrent there, you know.

531
00:29:41,320 --> 00:29:44,560
Speaker 3: But the beautiful thing about that is that it encouraged

532
00:29:44,600 --> 00:29:48,400
Speaker 3: me to it encouraged me in the things in my abilities,

533
00:29:48,640 --> 00:29:52,280
Speaker 3: that there was a purpose behind my abilities. So like

534
00:29:52,440 --> 00:29:55,400
Speaker 3: if you're reading all the hotepie and books, you know,

535
00:29:55,480 --> 00:29:56,840
Speaker 3: like as a child, they used to glow in the

536
00:29:57,000 --> 00:29:59,600
Speaker 3: dark for me, Like you know, so like Soling Legacy,

537
00:29:59,640 --> 00:30:04,120
Speaker 3: George GM James. You you haven't seen family Guy that cartoon. Yes,

538
00:30:05,360 --> 00:30:09,320
Speaker 3: I was like Stewie that baby, like I was thinking

539
00:30:09,320 --> 00:30:11,480
Speaker 3: of a master plan. So I see George GM james

540
00:30:11,520 --> 00:30:14,040
Speaker 3: Stolen Legacy the book, right, and it's like this glowing

541
00:30:14,080 --> 00:30:16,920
Speaker 3: you know, some of my odd roster Tevin rows on

542
00:30:16,960 --> 00:30:20,360
Speaker 3: the book, you know, and like or Ramsey's the second

543
00:30:20,360 --> 00:30:22,680
Speaker 3: as y'all would say, Right, so you have this other

544
00:30:22,760 --> 00:30:24,680
Speaker 3: children's book and you go like, I have to figure

545
00:30:24,720 --> 00:30:28,440
Speaker 3: this out to get over there. So like I'm like

546
00:30:28,560 --> 00:30:31,760
Speaker 3: the cat in the hat. That's what you're saying, right,

547
00:30:31,880 --> 00:30:33,320
Speaker 3: d Cat.

548
00:30:33,520 --> 00:30:34,000
Speaker 2: And I'm.

549
00:30:36,640 --> 00:30:39,880
Speaker 3: Reading like Doctor Seuss, but I'm looking at George gm Jans,

550
00:30:40,240 --> 00:30:44,120
Speaker 3: like how do I get over there? So just like

551
00:30:44,600 --> 00:30:46,440
Speaker 3: I think I've been like since I was nine, I

552
00:30:46,440 --> 00:30:48,800
Speaker 3: think it was absolutely had something to do with the

553
00:30:48,840 --> 00:30:53,040
Speaker 3: liberation of black folks to know that they're free, to

554
00:30:53,160 --> 00:30:56,720
Speaker 3: know that they're for them to have successful lives, for

555
00:30:56,760 --> 00:30:59,920
Speaker 3: them to have full and happy lives.

556
00:31:00,840 --> 00:31:01,520
Speaker 2: Age nine.

557
00:31:01,760 --> 00:31:05,520
Speaker 1: Yes, Jesus Christ, I'm so ashamed because it took me

558
00:31:06,040 --> 00:31:11,160
Speaker 1: why I didn't read ASADA's book until when we were

559
00:31:11,160 --> 00:31:14,280
Speaker 1: working on Commons like Water for Chocolate record.

560
00:31:14,760 --> 00:31:16,320
Speaker 2: They had just started.

561
00:31:15,960 --> 00:31:22,920
Speaker 1: Lifting the like embargoes for visiting Cuba and whatnot, and

562
00:31:23,560 --> 00:31:26,600
Speaker 1: so Common was like, I'm gonna go down there to

563
00:31:26,920 --> 00:31:30,680
Speaker 1: you know, because he shout out to Dreamhampton, who had

564
00:31:30,720 --> 00:31:34,680
Speaker 1: Black August Organization take us down there, like we were

565
00:31:34,720 --> 00:31:36,880
Speaker 1: like one of the first American hip hop people. I

566
00:31:36,880 --> 00:31:38,640
Speaker 1: think The Roots was like maybe the second or third

567
00:31:38,720 --> 00:31:43,320
Speaker 1: show down there. But it's so weird because we went

568
00:31:43,400 --> 00:31:48,480
Speaker 1: down there to meet her and like when you go there,

569
00:31:49,160 --> 00:31:52,120
Speaker 1: usually they tell you like to bring things that you

570
00:31:52,200 --> 00:31:56,800
Speaker 1: don't need anymore for people there. Yeah, And for some reason,

571
00:31:56,880 --> 00:31:59,200
Speaker 1: I just I was like, you know what, I know,

572
00:31:59,360 --> 00:32:03,240
Speaker 1: being here all this time, I wonder if she will

573
00:32:03,400 --> 00:32:08,240
Speaker 1: like something simple like Essence magazines or Vibe magazine, you

574
00:32:08,240 --> 00:32:10,360
Speaker 1: know what I mean, like just to catch.

575
00:32:10,240 --> 00:32:11,800
Speaker 2: Up on black pop culture.

576
00:32:12,560 --> 00:32:15,880
Speaker 1: And I gave her bag of just like and it's

577
00:32:15,920 --> 00:32:19,360
Speaker 1: like all these magazines throughout the years that I found

578
00:32:19,440 --> 00:32:22,360
Speaker 1: that like thrift stores like across America and whatnot. And

579
00:32:22,400 --> 00:32:26,959
Speaker 1: she was like so beautiful. Yeah, that was so beautiful.

580
00:32:27,320 --> 00:32:29,400
Speaker 3: And I mean, look and you being able to meet

581
00:32:29,440 --> 00:32:33,800
Speaker 3: her because of because of music, Like that's that's very intense.

582
00:32:33,840 --> 00:32:35,600
Speaker 3: That's that's very beautiful thing.

583
00:32:35,800 --> 00:32:38,240
Speaker 1: She knew we all were like she was very much

584
00:32:38,360 --> 00:32:42,680
Speaker 1: hipped to everything music was happening. So that was right.

585
00:32:54,440 --> 00:32:56,680
Speaker 1: You mentioned that mister T was kind of the first

586
00:32:57,480 --> 00:33:00,200
Speaker 1: entity that you yourself uniquely brought in that how so

587
00:33:00,400 --> 00:33:04,480
Speaker 1: not like from someone inherited me? But can I ask

588
00:33:05,000 --> 00:33:05,760
Speaker 1: was on my own, dad?

589
00:33:05,760 --> 00:33:07,200
Speaker 3: Like I was on my own with mister T. Like

590
00:33:07,200 --> 00:33:08,240
Speaker 3: like I was on my own with it?

591
00:33:09,000 --> 00:33:14,040
Speaker 1: What was the first record that you yourself purchased? Not that

592
00:33:14,120 --> 00:33:17,200
Speaker 1: was in the household already. But what's the first right now?

593
00:33:17,200 --> 00:33:19,560
Speaker 3: Oh? I know, because I had you know what, I

594
00:33:19,600 --> 00:33:22,680
Speaker 3: had to wait to give them some lunch money because

595
00:33:22,840 --> 00:33:27,160
Speaker 3: we used sometimes we packed lunches school, so I literally

596
00:33:27,280 --> 00:33:31,040
Speaker 3: had to earn from like not eating like And the

597
00:33:31,080 --> 00:33:35,760
Speaker 3: first was a cassette single. It was and oh my god,

598
00:33:35,920 --> 00:33:39,520
Speaker 3: it was they saw me, myself and I and Tom

599
00:33:39,600 --> 00:33:42,320
Speaker 3: to be Hippie on the other side. That's my first

600
00:33:42,360 --> 00:33:45,120
Speaker 3: cassette ever. I bought it with my own money, from

601
00:33:45,160 --> 00:33:47,960
Speaker 3: my well, my parents money, but it was from the

602
00:33:48,000 --> 00:33:51,440
Speaker 3: food money that I had saved to the side so

603
00:33:51,440 --> 00:33:53,680
Speaker 3: that I could buy you.

604
00:33:53,640 --> 00:33:56,480
Speaker 2: Two, your sister, yourself.

605
00:33:57,760 --> 00:34:01,040
Speaker 3: Yeah, And I was like, I want to buy us.

606
00:34:02,160 --> 00:34:03,600
Speaker 3: I want to buy a cassette.

607
00:34:04,680 --> 00:34:07,160
Speaker 2: So you brought the K single instead of the twelve inch.

608
00:34:08,200 --> 00:34:09,200
Speaker 3: They had no record player.

609
00:34:09,680 --> 00:34:11,480
Speaker 2: Ah damn, because here's the thing.

610
00:34:11,840 --> 00:34:14,200
Speaker 3: It plus a twelve inch cost more than a dollar.

611
00:34:15,200 --> 00:34:16,600
Speaker 2: Here's the thing, all right.

612
00:34:16,680 --> 00:34:18,279
Speaker 1: So I don't know if you know this, but what

613
00:34:18,520 --> 00:34:21,960
Speaker 1: what makes that twelve inch very unique? They did something

614
00:34:22,000 --> 00:34:26,360
Speaker 1: really innovative, which was, you know, side one was regular

615
00:34:26,480 --> 00:34:31,080
Speaker 1: me myself and I. Side two they did something really innovative,

616
00:34:31,760 --> 00:34:34,840
Speaker 1: which is they did a three sided record, so you

617
00:34:34,840 --> 00:34:37,560
Speaker 1: would start the record and get the remixes to me

618
00:34:37,680 --> 00:34:41,239
Speaker 1: myself and I, but then you started again and it's

619
00:34:41,360 --> 00:34:45,960
Speaker 1: too labeled to be a hippie. What's more And the

620
00:34:46,000 --> 00:34:49,759
Speaker 1: brainwash flower where they meet the kid Jeff and he's

621
00:34:49,760 --> 00:34:52,640
Speaker 1: making fun of their shit, you know, like it's Yes,

622
00:34:53,000 --> 00:34:56,560
Speaker 1: it's basically hidden grooves, hidden grooves on the twelve inch

623
00:34:56,880 --> 00:35:01,120
Speaker 1: and yeah, I two purchased that in twelfth grade.

624
00:35:01,239 --> 00:35:04,640
Speaker 3: And but it was the person of my own. It

625
00:35:04,719 --> 00:35:08,840
Speaker 3: was like the first this is my, this is mine.

626
00:35:08,880 --> 00:35:10,880
Speaker 3: So when I put it out, I know they hate

627
00:35:10,880 --> 00:35:15,399
Speaker 3: it and everything, but I have to say, it's the

628
00:35:15,400 --> 00:35:20,440
Speaker 3: best neuro divirgin anthem. It's the best about like like Normanies,

629
00:35:20,800 --> 00:35:23,560
Speaker 3: like I hate you Normanies, Like I don't have to

630
00:35:23,560 --> 00:35:26,400
Speaker 3: fit in with none of you guys. I don't want to.

631
00:35:27,000 --> 00:35:30,400
Speaker 3: I don't want to. I'm different and it's okay and

632
00:35:30,520 --> 00:35:33,239
Speaker 3: I'm on my own world and I don't. And because

633
00:35:33,280 --> 00:35:36,160
Speaker 3: at that point I think that I was getting sent

634
00:35:36,200 --> 00:35:38,040
Speaker 3: to office every day, I.

635
00:35:38,000 --> 00:35:39,560
Speaker 1: Was gonna say, what were you like in school?

636
00:35:40,000 --> 00:35:44,520
Speaker 3: Oh my god, do like militant? So like in public school,

637
00:35:44,520 --> 00:35:47,359
Speaker 3: I'm getting I'm getting sent to jail every day I'll

638
00:35:47,400 --> 00:35:51,480
Speaker 3: get I have a political prison at school. What because

639
00:35:51,520 --> 00:35:53,960
Speaker 3: my mom said, don't you pleasure at least is anohing?

640
00:35:53,960 --> 00:35:57,879
Speaker 3: But god, I was like okay, So it's like now

641
00:35:57,880 --> 00:35:59,480
Speaker 3: we're going through a pledge at least, I said, And

642
00:35:59,520 --> 00:36:06,640
Speaker 3: you know, I'm that one.

643
00:36:06,760 --> 00:36:08,080
Speaker 1: I'm Georgia.

644
00:36:08,160 --> 00:36:15,600
Speaker 3: Go to the office, okay every day. So it was

645
00:36:15,680 --> 00:36:18,759
Speaker 3: just like me and schools. It's like it was really hard.

646
00:36:18,840 --> 00:36:21,200
Speaker 3: It was very hard because like, where did you go

647
00:36:21,280 --> 00:36:25,480
Speaker 3: to school? I went to Community Magnet, which was in

648
00:36:25,640 --> 00:36:29,680
Speaker 3: mid City and it's also the same I think it

649
00:36:29,760 --> 00:36:32,320
Speaker 3: was saved it the school. There was a few folks

650
00:36:32,320 --> 00:36:35,600
Speaker 3: that went there. But anyway, it was after the first

651
00:36:35,600 --> 00:36:37,919
Speaker 3: school I went to ruined me for every school, which

652
00:36:37,960 --> 00:36:42,960
Speaker 3: was Huru shoe Le, lived by amazing matriarchs of Sister

653
00:36:43,080 --> 00:36:49,239
Speaker 3: Carry who was an amazing, amazing, amazing pillar of the

654
00:36:49,280 --> 00:36:54,200
Speaker 3: black Garvyait community in Los Angeles, alongside with Sister Lola

655
00:36:54,280 --> 00:36:56,879
Speaker 3: Comen and all of this stuff. And and I mean,

656
00:36:56,960 --> 00:37:01,120
Speaker 3: these are the people who really held up the underground

657
00:37:01,200 --> 00:37:04,760
Speaker 3: hip hop community, the folks from the Black consciousness movement.

658
00:37:05,120 --> 00:37:08,320
Speaker 3: That's why I'm not surprised that aside of New Year music,

659
00:37:08,440 --> 00:37:13,480
Speaker 3: because for instance, ex clan would be another early influence

660
00:37:14,080 --> 00:37:17,399
Speaker 3: because Brother J literally hand delivered the tapes like Black

661
00:37:17,480 --> 00:37:20,360
Speaker 3: Watch literally hand delivered the tapes to Marcus Garbage School

662
00:37:20,760 --> 00:37:25,640
Speaker 3: for African Minds United Children's Program, So like I could

663
00:37:25,640 --> 00:37:28,439
Speaker 3: talk to Brother J and be like, yo, I learned

664
00:37:28,440 --> 00:37:30,640
Speaker 3: about yourself. He's like, oh, oh yeah, I delivered that

665
00:37:30,680 --> 00:37:34,200
Speaker 3: over there, sister, yes, And I'm like, I'm the demographic

666
00:37:34,239 --> 00:37:36,440
Speaker 3: that you read, like if it wasn't for him, like

667
00:37:36,760 --> 00:37:40,920
Speaker 3: sending something by hand. And at that time, mind you,

668
00:37:40,960 --> 00:37:43,600
Speaker 3: I'm thinking everybody's playing everything from scratch, so it's like

669
00:37:44,040 --> 00:37:47,440
Speaker 3: I'm chripping out like this is the best. Like, so

670
00:37:47,480 --> 00:37:49,640
Speaker 3: that's another Like that was the first time I saw

671
00:37:49,680 --> 00:37:53,360
Speaker 3: other mister T adjacent people too. Was like through the

672
00:37:53,440 --> 00:37:56,200
Speaker 3: hip hop world, everybody had different kind of names like

673
00:37:56,280 --> 00:37:58,240
Speaker 3: that superhero aesthetic thing.

674
00:37:59,640 --> 00:38:05,320
Speaker 1: So hip to ask in yeah California, Okay, okay, yeah

675
00:38:05,760 --> 00:38:08,280
Speaker 1: wait you said other notable people went to your school?

676
00:38:08,280 --> 00:38:09,520
Speaker 2: Who else went to your school with you?

677
00:38:10,600 --> 00:38:15,640
Speaker 3: There was Marcus Houston. We went to the school and

678
00:38:15,680 --> 00:38:17,960
Speaker 3: then like like the group kind of got together at

679
00:38:18,000 --> 00:38:20,000
Speaker 3: the school, at the Magnet School, and that's like a

680
00:38:20,000 --> 00:38:22,680
Speaker 3: whole nother story's Bless the Hearts of all.

681
00:38:23,360 --> 00:38:28,480
Speaker 1: So what would you say was your first real creative

682
00:38:29,760 --> 00:38:33,799
Speaker 1: project like that you did as a I don't know

683
00:38:33,800 --> 00:38:36,000
Speaker 1: if you created as a kid or made demos as

684
00:38:36,000 --> 00:38:37,360
Speaker 1: a kid, but what was your first.

685
00:38:37,160 --> 00:38:41,360
Speaker 2: Creative project mixtapes? What will be on these mixtapes?

686
00:38:41,719 --> 00:38:44,839
Speaker 3: A man? Like? I mean, I was a mixtape queen,

687
00:38:45,000 --> 00:38:47,839
Speaker 3: you know what I'm saying. Like so just like that's

688
00:38:47,880 --> 00:38:49,680
Speaker 3: why I just I was so fond of y'all because

689
00:38:49,719 --> 00:38:52,239
Speaker 3: y'all sound like my mixtapes. So it'd be like like

690
00:38:52,320 --> 00:38:55,200
Speaker 3: my guy name god mother gave me all these fail

691
00:38:55,239 --> 00:38:59,400
Speaker 3: like Coutie records, you know, So I had failah and

692
00:38:59,440 --> 00:39:02,759
Speaker 3: then I have had some boy modeling school, and then

693
00:39:02,800 --> 00:39:06,359
Speaker 3: I would have a freestyle fellowship. Then I would have

694
00:39:07,440 --> 00:39:11,400
Speaker 3: I definitely have like some like fantastic part one, and

695
00:39:11,440 --> 00:39:14,560
Speaker 3: then I have just I mean staying up so late,

696
00:39:15,600 --> 00:39:18,560
Speaker 3: I never got no sleep because like you know, can't

697
00:39:18,560 --> 00:39:24,520
Speaker 3: tell you KPFK, you know, k CRW staying up so

698
00:39:24,920 --> 00:39:28,440
Speaker 3: late to hear all of the independent musicians. And I

699
00:39:28,480 --> 00:39:30,200
Speaker 3: would make that and then I would add it with

700
00:39:30,239 --> 00:39:32,960
Speaker 3: my eyes a k, add it with my nina to

701
00:39:33,040 --> 00:39:35,239
Speaker 3: my own record, add it with my bad brains. But

702
00:39:35,239 --> 00:39:40,279
Speaker 3: everybody would tell me fast forward through that. Yeah, I

703
00:39:40,360 --> 00:39:43,440
Speaker 3: learned about it. I learned about bad brains through the

704
00:39:43,480 --> 00:39:46,879
Speaker 3: bargain binch. I learned about bad brains and Sun rather

705
00:39:46,880 --> 00:39:50,320
Speaker 3: the same day, because I would go to the warehouse

706
00:39:50,360 --> 00:39:52,960
Speaker 3: like the music store, but I noticed, if you get

707
00:39:53,000 --> 00:39:55,640
Speaker 3: what they're promoting, you have to pay, like so much

708
00:39:55,680 --> 00:39:57,480
Speaker 3: money you have to pay. It costs you like twenty

709
00:39:57,480 --> 00:40:01,440
Speaker 3: dollars anth change. Whereas if I went to the bargain bend,

710
00:40:01,520 --> 00:40:04,480
Speaker 3: I could get like three, I could get three or four.

711
00:40:05,440 --> 00:40:07,839
Speaker 3: So I would look and then they'd be looking back

712
00:40:07,880 --> 00:40:10,560
Speaker 3: at me, so it'd be like muddy water. I'm like

713
00:40:10,640 --> 00:40:15,960
Speaker 3: Johnny Hooker, I'm like, who's that? You know? I'm a

714
00:40:16,000 --> 00:40:19,280
Speaker 3: bargain bin child, Like I really am, Like the reason

715
00:40:19,280 --> 00:40:21,880
Speaker 3: why of all that ecollected kind of things, like before

716
00:40:22,000 --> 00:40:26,880
Speaker 3: the iPod shuffle is really bargain bin surfing, and I

717
00:40:26,880 --> 00:40:30,200
Speaker 3: would just be getting like Errol Garner Ero Garner needed

718
00:40:30,200 --> 00:40:33,719
Speaker 3: some own the same day, Ero Garner needed some own,

719
00:40:34,000 --> 00:40:35,480
Speaker 3: and Isaac Hayes the same day.

720
00:40:36,600 --> 00:40:43,840
Speaker 1: Okay, so name me five unskippable perfect albums that you

721
00:40:43,920 --> 00:40:48,200
Speaker 1: cannot live without, and they cannot be box sets and they.

722
00:40:48,080 --> 00:40:51,200
Speaker 3: Cannot be great like a record of day made.

723
00:40:51,719 --> 00:40:54,319
Speaker 1: It cannot be greatest hits or box sets. I might

724
00:40:54,400 --> 00:40:56,799
Speaker 1: let you have with live because live is different. But

725
00:40:58,120 --> 00:40:59,520
Speaker 1: namely five perfect.

726
00:40:59,160 --> 00:41:05,399
Speaker 3: Album, see you five perfect album? Okay. One perfect album

727
00:41:05,760 --> 00:41:11,279
Speaker 3: is salif Kta Sorrow. It's perfect sally K I grew

728
00:41:11,360 --> 00:41:15,319
Speaker 3: up with Darek salif Kta is in from nineteen eighty eight. Like,

729
00:41:15,400 --> 00:41:16,759
Speaker 3: that's the record I grew up with.

730
00:41:16,880 --> 00:41:17,600
Speaker 2: You spell that for me.

731
00:41:18,480 --> 00:41:23,000
Speaker 3: Yeah. S l I f k e I t A

732
00:41:24,080 --> 00:41:28,000
Speaker 3: is produced by Ibraheim Sillah okay. And and then the

733
00:41:28,040 --> 00:41:31,839
Speaker 3: name of the record called s O r O Yes Sorrow, Yes,

734
00:41:32,120 --> 00:41:36,160
Speaker 3: I know this is it's an amazing he's we called

735
00:41:36,200 --> 00:41:39,759
Speaker 3: me and my my homegirl Malaika Eagle Nebula. We call

736
00:41:39,960 --> 00:41:42,280
Speaker 3: him the West African Frankie Beverley.

737
00:41:43,160 --> 00:41:45,480
Speaker 2: I see sorrow, Yes, okay, I know this.

738
00:41:46,160 --> 00:41:49,680
Speaker 1: Wow. Yeah, what's your next album?

739
00:41:49,920 --> 00:41:54,560
Speaker 3: The next album is bib mcfair and Medicine man Ah.

740
00:41:54,400 --> 00:41:59,880
Speaker 2: Man Sweet in the Morning. Yep, Amelue put onto that.

741
00:42:04,719 --> 00:42:07,919
Speaker 3: Yes, no, like, I'm not skipping past none of those.

742
00:42:08,560 --> 00:42:14,279
Speaker 3: I'm in each one like yes, yes you I like

743
00:42:14,440 --> 00:42:19,320
Speaker 3: I'm angry as he ran all the way.

744
00:42:22,080 --> 00:42:26,239
Speaker 1: And in high school, emmel Rue put me on to

745
00:42:27,360 --> 00:42:33,240
Speaker 1: that record, and then I went through his entire discography amazing.

746
00:42:33,440 --> 00:42:36,040
Speaker 3: Yeah, like yeah, that one. I mean, you just it's

747
00:42:36,160 --> 00:42:39,080
Speaker 3: just not it's not it like each one is amazing,

748
00:42:39,320 --> 00:42:42,640
Speaker 3: and you just follow him through the whole thing, like

749
00:42:42,840 --> 00:42:45,040
Speaker 3: no discipline is pressent, Like like when he started just

750
00:42:45,120 --> 00:42:47,799
Speaker 3: going off, like on his guitar solo at the end,

751
00:42:50,040 --> 00:42:53,680
Speaker 3: I was just like, those are such golded scat solos,

752
00:42:54,400 --> 00:42:57,520
Speaker 3: Like I'm saying, like, that's the goals.

753
00:42:57,719 --> 00:43:00,440
Speaker 1: The scariest job ever did in my life, you know,

754
00:43:00,480 --> 00:43:04,200
Speaker 1: because there's a period where the family lived in Philadelphia

755
00:43:05,239 --> 00:43:09,359
Speaker 1: and Madison hit me up and was like, yo, Dad said,

756
00:43:09,440 --> 00:43:12,960
Speaker 1: stop ducking him and let's do the two man chill already.

757
00:43:14,040 --> 00:43:17,640
Speaker 1: And you know, it took me about a year to

758
00:43:17,719 --> 00:43:21,080
Speaker 1: agree because I was scared, like because I know, I.

759
00:43:21,160 --> 00:43:23,239
Speaker 3: Know what you mean, and I've been there. I've been there,

760
00:43:23,360 --> 00:43:24,359
Speaker 3: i know what you're talking about.

761
00:43:24,560 --> 00:43:25,960
Speaker 1: And so I called him. I was like, all right,

762
00:43:26,000 --> 00:43:28,320
Speaker 1: so should we rehearse to do something. He's like no,

763
00:43:29,480 --> 00:43:31,400
Speaker 1: And I was like, well, well let's go to soundcheck

764
00:43:31,480 --> 00:43:34,840
Speaker 1: or whatever. He's like, no, need I said, huh. And

765
00:43:35,040 --> 00:43:37,120
Speaker 1: then we got there and I'm like, well let's map

766
00:43:37,200 --> 00:43:39,239
Speaker 1: it out. He says, nope, let's not map it out.

767
00:43:40,200 --> 00:43:41,799
Speaker 1: And I said, what are we going to do? He said,

768
00:43:41,840 --> 00:43:44,439
Speaker 1: We're going to walk on stage and we're going.

769
00:43:44,400 --> 00:43:46,000
Speaker 2: To create for two hours.

770
00:43:47,080 --> 00:43:47,200
Speaker 3: Right.

771
00:43:47,760 --> 00:43:53,200
Speaker 1: It was the fastest my heart has ever beaten. That's

772
00:43:53,280 --> 00:43:59,239
Speaker 1: true artistry and vulnerability when you work it out in

773
00:43:59,400 --> 00:44:02,880
Speaker 1: real time on stage. And he yeah, man, I mean

774
00:44:02,920 --> 00:44:06,880
Speaker 1: here's the thing, like I'm a deciphle Jade Diller and and.

775
00:44:08,560 --> 00:44:13,399
Speaker 2: And you know, mistakes were a really that was part

776
00:44:13,440 --> 00:44:14,440
Speaker 2: of their their fiber.

777
00:44:14,760 --> 00:44:18,799
Speaker 3: You know, mistakes, right, that's it, come on, but that's

778
00:44:18,840 --> 00:44:19,480
Speaker 3: what you think.

779
00:44:19,400 --> 00:44:23,920
Speaker 1: To embrace it live like literally, McFerrin said, hey, if

780
00:44:23,960 --> 00:44:26,320
Speaker 1: you make a mistake, I want you to repeat it

781
00:44:26,440 --> 00:44:31,040
Speaker 1: four times. And I was like, okay, that's why I

782
00:44:31,200 --> 00:44:32,160
Speaker 1: love him that.

783
00:44:32,320 --> 00:44:34,879
Speaker 3: I think you you're summing up all the reasons why

784
00:44:34,920 --> 00:44:37,239
Speaker 3: I love Bobby mcfair and so much. I mean, he

785
00:44:37,480 --> 00:44:40,600
Speaker 3: just that raw. You know, he's just wrong. That's raw,

786
00:44:41,040 --> 00:44:42,839
Speaker 3: like to be like that, like yeah, no, okay, now

787
00:44:42,960 --> 00:44:44,920
Speaker 3: mean it because it came out of you. So how

788
00:44:44,960 --> 00:44:47,560
Speaker 3: do you honor the things that you wouldn't? You know,

789
00:44:47,800 --> 00:44:50,680
Speaker 3: how you honor the things that are happening from you?

790
00:44:51,239 --> 00:44:53,520
Speaker 3: Like how you do that? I mean I say my

791
00:44:53,600 --> 00:44:58,880
Speaker 3: style is completely ninety generated from era. Really like, if

792
00:44:58,960 --> 00:45:02,320
Speaker 3: not percent, we had to be up in the eighties,

793
00:45:04,080 --> 00:45:08,000
Speaker 3: you know what. My whole stylet even the composing melodies

794
00:45:08,040 --> 00:45:10,960
Speaker 3: and stuff. I mean like even just like and vibing

795
00:45:11,000 --> 00:45:13,920
Speaker 3: out on loops and stuff. Because that Jamie Abersol. I'm like,

796
00:45:13,960 --> 00:45:15,600
Speaker 3: I'm not gonna be able to be the musician I

797
00:45:15,680 --> 00:45:17,520
Speaker 3: need to be. I need to make I need to

798
00:45:17,560 --> 00:45:19,600
Speaker 3: throw out some other chords. I need to have some

799
00:45:19,680 --> 00:45:22,759
Speaker 3: other stuff like cycling around and if I can find

800
00:45:22,800 --> 00:45:26,080
Speaker 3: a melody in there, then I'll be doing something. So

801
00:45:26,200 --> 00:45:28,000
Speaker 3: I need to make my mistakes in a different way

802
00:45:28,000 --> 00:45:30,680
Speaker 3: because it's two five to one thing. I'm like, this

803
00:45:30,880 --> 00:45:33,320
Speaker 3: is boring because you know, I got raised with the

804
00:45:33,360 --> 00:45:35,960
Speaker 3: Giant Steps. So it's just like when I heard the

805
00:45:36,040 --> 00:45:39,000
Speaker 3: Abra Salt record, I wanted to die. It was horrible.

806
00:45:39,719 --> 00:45:42,960
Speaker 3: So shout out to Jamie Abrassold, that's where the jazz

807
00:45:43,040 --> 00:45:46,279
Speaker 3: heads out there. But got one, two, three, I'm like,

808
00:45:46,400 --> 00:45:47,640
Speaker 3: oh god, this is horrible.

809
00:45:48,080 --> 00:45:50,960
Speaker 1: This is wait. This is one question I didn't ask

810
00:45:51,000 --> 00:45:54,800
Speaker 1: you well, knowing that you played any and everything, what

811
00:45:55,000 --> 00:45:59,160
Speaker 1: is your preferred weapon of choice as far as one

812
00:45:59,280 --> 00:45:59,920
Speaker 1: instrument only?

813
00:46:00,120 --> 00:46:01,040
Speaker 2: What is your instrument?

814
00:46:01,840 --> 00:46:12,719
Speaker 3: Wow, I'd have to say, hm hmm, Kazoo, what down

815
00:46:13,640 --> 00:46:17,640
Speaker 3: I begin, I get begin my Henry Threaguil impersonations. I'd

816
00:46:17,640 --> 00:46:20,279
Speaker 3: be I'll be on it. I'd be because I like it.

817
00:46:20,280 --> 00:46:23,800
Speaker 3: Because it's like I could get in there, you know

818
00:46:23,800 --> 00:46:25,719
Speaker 3: what I mean. I'm holding something and then I have

819
00:46:25,880 --> 00:46:28,759
Speaker 3: my little microphone up there and I'm like, you know, now,

820
00:46:28,760 --> 00:46:31,239
Speaker 3: I got my dazzy Gillespie angle. I got my little

821
00:46:32,360 --> 00:46:34,000
Speaker 3: but I think I want a kazoo to have a

822
00:46:34,040 --> 00:46:36,279
Speaker 3: bell on it so I could really, like, you know,

823
00:46:37,000 --> 00:46:39,239
Speaker 3: you know, be tripping, you know, a little bit more

824
00:46:39,560 --> 00:46:41,239
Speaker 3: the enjoy that got the bill that go like this.

825
00:46:41,520 --> 00:46:44,640
Speaker 3: I think they have a marching bank. But I mean

826
00:46:45,080 --> 00:46:48,680
Speaker 3: to be honest, Yes, Kazoo. Tamboo Marine, I like it

827
00:46:48,800 --> 00:46:53,200
Speaker 3: a lot. Tam Marine is like this Doppler device of

828
00:46:53,440 --> 00:47:00,440
Speaker 3: like it's dope. It's dope. It's like it's it's like

829
00:47:00,480 --> 00:47:04,600
Speaker 3: a graphic instrument. It's like a radar instrument. So I

830
00:47:04,800 --> 00:47:07,000
Speaker 3: like a tambourine a lot. My approach to tambourine is

831
00:47:07,080 --> 00:47:12,400
Speaker 3: like a mix of motown and and like just Negro,

832
00:47:13,800 --> 00:47:17,160
Speaker 3: like you know, ancient Negro spirits, you know, so It's

833
00:47:17,200 --> 00:47:19,600
Speaker 3: like that's how I like to play, you know, like

834
00:47:19,719 --> 00:47:22,400
Speaker 3: play odd time on it and but with the motown,

835
00:47:22,680 --> 00:47:26,120
Speaker 3: you know, flip over this play. You know, those are

836
00:47:26,200 --> 00:47:29,759
Speaker 3: my favorite right now. But piano, of course, because I

837
00:47:29,920 --> 00:47:34,680
Speaker 3: love to do sound design, love synthesizers very much. I'm

838
00:47:34,800 --> 00:47:38,759
Speaker 3: definitely a synthesizer person, and I feel as though I'm

839
00:47:38,800 --> 00:47:42,040
Speaker 3: more of a roads pianist. I'm not a grand pianist.

840
00:47:42,080 --> 00:47:46,160
Speaker 3: I feel like, you know, with pianos that they should

841
00:47:46,200 --> 00:47:49,080
Speaker 3: be like needed out, just like how horns are. Like

842
00:47:49,200 --> 00:47:53,560
Speaker 3: you have a buried saxophonist, a soprano saxophone, alto saxophone.

843
00:47:53,600 --> 00:47:57,160
Speaker 3: I feel like they're grand pianists their upright pianiss roads

844
00:47:57,320 --> 00:48:00,359
Speaker 3: because somebody who plays on grand don't necessarily say great

845
00:48:00,400 --> 00:48:04,279
Speaker 3: on the roads facts, or they don't necessarily sound great

846
00:48:04,320 --> 00:48:08,480
Speaker 3: on upright either, Like there's some people that compose for upright,

847
00:48:08,680 --> 00:48:10,239
Speaker 3: like you know, you have your the Loneliest Monk. It's

848
00:48:10,239 --> 00:48:11,920
Speaker 3: not to say that he doesn't sound at home on

849
00:48:12,000 --> 00:48:16,360
Speaker 3: a grand piano, but for how he the angularity of

850
00:48:16,480 --> 00:48:20,800
Speaker 3: the cordal structures, like how it sustains Baby Grants is

851
00:48:20,880 --> 00:48:24,239
Speaker 3: his grand piano. So it's like I think that those

852
00:48:24,320 --> 00:48:26,880
Speaker 3: things are very interesting. I've been discussing that more like

853
00:48:27,080 --> 00:48:30,120
Speaker 3: largely just about like the different types of pianos as

854
00:48:30,560 --> 00:48:35,239
Speaker 3: being classified as different instruments instead of as piano being

855
00:48:35,400 --> 00:48:37,640
Speaker 3: one thing that when you lift the hood on it,

856
00:48:37,840 --> 00:48:41,040
Speaker 3: you have all these different shapes and all these different

857
00:48:41,080 --> 00:48:45,399
Speaker 3: string lengths and all these different like cabinets. Right when

858
00:48:45,440 --> 00:48:49,960
Speaker 3: that happens with any other instrument, it's like a different instrument.

859
00:48:49,600 --> 00:48:50,160
Speaker 1: You know what I mean.

860
00:48:50,560 --> 00:48:54,040
Speaker 3: So I'm definitely a roads girl. I'm a roads upright.

861
00:48:54,719 --> 00:48:58,040
Speaker 3: But I think even before all of that, because of

862
00:48:58,120 --> 00:49:01,960
Speaker 3: the mentorship I received from one of the original synthesized

863
00:49:02,040 --> 00:49:06,240
Speaker 3: players of Mothers of Invention. His name is Don Preston.

864
00:49:06,760 --> 00:49:08,360
Speaker 3: So he intervened in my life when I was like

865
00:49:08,400 --> 00:49:11,920
Speaker 3: about like fifteen, and he started like giving me see

866
00:49:11,960 --> 00:49:15,640
Speaker 3: these of like moonscapes of Jupiter and stuff like that.

867
00:49:15,840 --> 00:49:17,680
Speaker 3: So like the wind Greases has been with me the

868
00:49:17,719 --> 00:49:20,319
Speaker 3: whole time, Like I really like it's really my thing,

869
00:49:20,440 --> 00:49:23,440
Speaker 3: you know. It's like and Ducal Chancelly taught me cloud

870
00:49:23,480 --> 00:49:28,640
Speaker 3: he interrupted, he interrupted Sunday school and said, George you ready,

871
00:49:28,680 --> 00:49:31,880
Speaker 3: And it was like these big old, obnoxious white cloves

872
00:49:32,480 --> 00:49:35,759
Speaker 3: and He's like, George, you ready, and I'm like, uh huh,

873
00:49:37,120 --> 00:49:41,000
Speaker 3: this cloud a get get get get get clap it out.

874
00:49:41,320 --> 00:49:44,880
Speaker 3: I clapped it. He's like, good now that this reverse

875
00:49:45,400 --> 00:49:48,360
Speaker 3: get get get get get clap it out. Got it

876
00:49:48,840 --> 00:49:51,160
Speaker 3: all right, y'all have a good day and left.

877
00:49:51,760 --> 00:49:52,960
Speaker 2: Wait time out, time out.

878
00:49:52,960 --> 00:49:55,760
Speaker 1: All right. So you just said two mind blowing facts.

879
00:49:55,920 --> 00:49:59,879
Speaker 1: One that you were in proximity of somebody that went

880
00:50:00,040 --> 00:50:04,240
Speaker 1: at the school of Frank Zappa. Yeah, that's one.

881
00:50:04,120 --> 00:50:09,360
Speaker 3: Thing, like original, the original man, the original, like the criminal.

882
00:50:09,760 --> 00:50:15,040
Speaker 1: Like Preduin yea. And but then on top of that,

883
00:50:16,080 --> 00:50:17,760
Speaker 1: and Dougu was one of your teachers.

884
00:50:18,600 --> 00:50:22,240
Speaker 3: Yeah, and I didn't have no choice, you know, because

885
00:50:22,280 --> 00:50:26,360
Speaker 3: he played with my mom at church, so like.

886
00:50:26,840 --> 00:50:29,960
Speaker 2: He just casually just played drums on Sunday.

887
00:50:31,120 --> 00:50:33,759
Speaker 3: Yeah, and then when he would play, he would be

888
00:50:33,840 --> 00:50:37,600
Speaker 3: making eye contact like this is timing. Okay.

889
00:50:38,160 --> 00:50:41,960
Speaker 1: Now, I would do anything to have known what that

890
00:50:42,200 --> 00:50:42,600
Speaker 1: felt like.

891
00:50:43,000 --> 00:50:43,280
Speaker 2: Okay.

892
00:50:43,400 --> 00:50:46,160
Speaker 1: So I'm an artifact collector. And the last time I

893
00:50:46,280 --> 00:50:50,279
Speaker 1: saw in Dugu before he passed away. Every time I

894
00:50:50,360 --> 00:50:55,440
Speaker 1: see him, I beg him and Dougu, where is the

895
00:50:55,520 --> 00:50:56,640
Speaker 1: Billy Jean Snare?

896
00:50:57,680 --> 00:51:03,560
Speaker 2: And he claimed that he knew and I, ah, that

897
00:51:03,840 --> 00:51:04,200
Speaker 2: means the.

898
00:51:04,280 --> 00:51:09,080
Speaker 1: Holy Grail finding the dude Chandler Billy Jean Snare drum.

899
00:51:09,200 --> 00:51:11,520
Speaker 1: But the fact that he was just her Sunday school

900
00:51:11,680 --> 00:51:14,520
Speaker 1: church drummer is no.

901
00:51:14,600 --> 00:51:17,680
Speaker 3: I mean, but he no, he interrupted. He completely interrupted

902
00:51:17,880 --> 00:51:21,000
Speaker 3: Sunday school like he was like, Georgie.

903
00:51:20,760 --> 00:51:23,640
Speaker 2: Ready and we'll just teach you right there.

904
00:51:24,960 --> 00:51:28,480
Speaker 3: Wow, and then and then left like that and then

905
00:51:28,600 --> 00:51:33,000
Speaker 3: lee like he knew. He knew that, like somehow there

906
00:51:33,080 --> 00:51:35,000
Speaker 3: was enough in my spirit and now I can see

907
00:51:35,080 --> 00:51:38,560
Speaker 3: that and in kids too. But like it was, he's like, no,

908
00:51:38,719 --> 00:51:41,520
Speaker 3: that's a percussion in there. That's percussion in there, you know,

909
00:51:41,680 --> 00:51:45,080
Speaker 3: And so he gets he get everybody on water bottles

910
00:51:45,160 --> 00:51:47,800
Speaker 3: and give me the most hardest part to learn of

911
00:51:47,880 --> 00:51:50,440
Speaker 3: the ensemble, like we like I had to learn. He

912
00:51:50,520 --> 00:51:51,360
Speaker 3: taught me percussion.

913
00:51:51,560 --> 00:51:54,399
Speaker 1: That means he respected you. If he challenges you, that's

914
00:51:54,520 --> 00:51:55,120
Speaker 1: that's amazing.

915
00:51:55,280 --> 00:51:58,600
Speaker 3: Yeah, he put me through it though, And that was

916
00:51:58,719 --> 00:52:00,600
Speaker 3: on the other side of you know, I guess he

917
00:52:00,920 --> 00:52:04,040
Speaker 3: when my mom told him I was playing drums, so

918
00:52:04,200 --> 00:52:06,759
Speaker 3: that my nine year old life, you know, it's like, oh,

919
00:52:06,800 --> 00:52:09,719
Speaker 3: she playing jazz er, Okay, well then get with it.

920
00:52:10,400 --> 00:52:26,680
Speaker 1: Here you go. Wow, when you write lyrics, walk me

921
00:52:26,800 --> 00:52:29,319
Speaker 1: through what your creative process is oh.

922
00:52:29,280 --> 00:52:34,280
Speaker 3: Man, every song is so different. Sometimes the general aspect,

923
00:52:35,040 --> 00:52:35,719
Speaker 3: do you want to know.

924
00:52:35,800 --> 00:52:37,759
Speaker 2: The like does it hit you in a dream? Does

925
00:52:37,800 --> 00:52:38,520
Speaker 2: it hit you at night?

926
00:52:38,719 --> 00:52:39,640
Speaker 1: Does it? Yeah?

927
00:52:39,719 --> 00:52:42,520
Speaker 3: Yeah, it's like one of two things that's going on. Okay,

928
00:52:42,560 --> 00:52:45,520
Speaker 3: it's one of two things that's going on. So like say,

929
00:52:45,600 --> 00:52:48,839
Speaker 3: if it's like a nonlinear kind of compositional thing, like say,

930
00:52:48,880 --> 00:52:52,080
Speaker 3: if it's just something that's moving forward, if it ain't

931
00:52:52,160 --> 00:52:53,960
Speaker 3: like a loop, so to speak, or something like this,

932
00:52:54,160 --> 00:52:57,640
Speaker 3: if it's just like something that's happening, I'm literally translating

933
00:52:57,840 --> 00:53:02,320
Speaker 3: the changes into backend to English that Sometimes that's what

934
00:53:02,440 --> 00:53:07,440
Speaker 3: I'm doing that as a personal growth exercise, to do

935
00:53:07,600 --> 00:53:10,000
Speaker 3: the thing that my dad maybe couldn't. Well.

936
00:53:10,040 --> 00:53:10,960
Speaker 2: What comes first for you?

937
00:53:11,520 --> 00:53:14,279
Speaker 1: Music or lyrics, It all depends like it.

938
00:53:14,440 --> 00:53:17,719
Speaker 3: Sometimes the lyrics come first. Sometimes I'll be sitting outside

939
00:53:18,280 --> 00:53:20,839
Speaker 3: and the sunshine will give me a song like love

940
00:53:20,920 --> 00:53:25,120
Speaker 3: light you know, yeah, and I write it down because

941
00:53:25,120 --> 00:53:29,000
Speaker 3: that's how it told me, or the sunshine wrote the

942
00:53:29,200 --> 00:53:34,200
Speaker 3: wrong way, you know, and the love light within will

943
00:53:34,239 --> 00:53:37,080
Speaker 3: live on forever because like a lessie, there was a

944
00:53:37,120 --> 00:53:40,560
Speaker 3: three song, three different songs that the sunshine wrote. I

945
00:53:40,760 --> 00:53:42,040
Speaker 3: just like just took it down.

946
00:53:44,600 --> 00:53:44,799
Speaker 1: Yeah.

947
00:53:45,560 --> 00:53:48,400
Speaker 3: But then there's other times where it's like because the

948
00:53:48,480 --> 00:53:52,759
Speaker 3: way I hear overtones are very pronounced. So sometimes I

949
00:53:52,840 --> 00:53:55,720
Speaker 3: say like I'm living in my own little cathedral because

950
00:53:56,200 --> 00:54:00,759
Speaker 3: I hear overtones very very pronounced. So like say, if

951
00:54:00,840 --> 00:54:03,359
Speaker 3: y'all was playing and I go into the next room,

952
00:54:03,400 --> 00:54:05,759
Speaker 3: I might hear the whole thing transposed a fifth up

953
00:54:06,440 --> 00:54:08,879
Speaker 3: because it's like, depending on the size of the room,

954
00:54:08,960 --> 00:54:13,960
Speaker 3: I hear the overtones more loud, you know. So because

955
00:54:14,040 --> 00:54:17,239
Speaker 3: of that, if I have a disco like I start

956
00:54:17,320 --> 00:54:20,520
Speaker 3: to hear, you know, it's a melody sweller up here,

957
00:54:21,120 --> 00:54:23,719
Speaker 3: the whole song come to me, and it's like I'm

958
00:54:23,760 --> 00:54:28,040
Speaker 3: looking into a spoon kind of like, and the melody's there,

959
00:54:28,120 --> 00:54:30,640
Speaker 3: like the song's already kind of complete. It's just taking

960
00:54:30,800 --> 00:54:35,040
Speaker 3: time to like pan for the gold. Sometimes writing lyrics,

961
00:54:36,120 --> 00:54:38,920
Speaker 3: it's something that happens in real time, and I just

962
00:54:39,120 --> 00:54:43,400
Speaker 3: hyper zumem into each moment. I hypersume into each pulse

963
00:54:43,600 --> 00:54:48,680
Speaker 3: of each moment, and time flows down and I'm in

964
00:54:48,800 --> 00:54:53,279
Speaker 3: the booth already, and that's how the record is.

965
00:54:54,400 --> 00:54:57,279
Speaker 1: We now live in the age of the iPhone, which

966
00:54:57,400 --> 00:55:00,400
Speaker 1: I guess you can go to voice memo and hum

967
00:55:00,480 --> 00:55:03,760
Speaker 1: an idea, and you know, I hate doing that process

968
00:55:03,840 --> 00:55:10,840
Speaker 1: because you hear the entire arrangement outline, keyboard line and

969
00:55:10,920 --> 00:55:15,040
Speaker 1: all that stuff, and then when I revisited three weeks later,

970
00:55:16,000 --> 00:55:19,120
Speaker 1: it's nothing. It's like it's like wait a minute, I knew,

971
00:55:19,960 --> 00:55:22,920
Speaker 1: So how do you channel it from space to your

972
00:55:23,040 --> 00:55:27,040
Speaker 1: chakra to your mouth to tape? Like how do you

973
00:55:27,640 --> 00:55:27,920
Speaker 1: do that?

974
00:55:28,880 --> 00:55:32,080
Speaker 3: It's really interesting, right, because that is the question. It's like,

975
00:55:32,520 --> 00:55:35,920
Speaker 3: you know, I think being a sound designer helps me

976
00:55:36,120 --> 00:55:39,160
Speaker 3: very much in that gotch because then I can start

977
00:55:39,239 --> 00:55:42,880
Speaker 3: to trace the environment that it's coming from. You know.

978
00:55:43,840 --> 00:55:46,400
Speaker 3: Now I'm just dealing with sound waves and stuff. So

979
00:55:46,520 --> 00:55:49,040
Speaker 3: like people don't know, but like you know, black Men,

980
00:55:49,200 --> 00:55:50,719
Speaker 3: I'm going off of O lesson because it's like the

981
00:55:50,800 --> 00:55:54,839
Speaker 3: twentieth year anniversary, right, so it's like like black Men,

982
00:55:54,960 --> 00:55:56,160
Speaker 3: I did that in garage band.

983
00:55:56,239 --> 00:55:59,880
Speaker 2: You know, like you told me that and I didn't believe.

984
00:56:01,719 --> 00:56:05,399
Speaker 3: Yes, But the dealing is that I'm like the mod

985
00:56:05,480 --> 00:56:08,279
Speaker 3: wheels and I'm going to make it sound like what

986
00:56:08,440 --> 00:56:10,920
Speaker 3: it is that's going like this. I'm doing all the things.

987
00:56:11,000 --> 00:56:13,640
Speaker 3: I'm turning all the knobs, doing all that I can

988
00:56:14,200 --> 00:56:18,239
Speaker 3: so that it is echoing what I am hearing, you know,

989
00:56:18,680 --> 00:56:20,920
Speaker 3: So sound design helps a lot for me to take

990
00:56:20,960 --> 00:56:24,000
Speaker 3: a snapshot of a atmosphere.

991
00:56:24,560 --> 00:56:28,800
Speaker 2: You know black Man's on the second album, right, the Fragments.

992
00:56:28,400 --> 00:56:32,640
Speaker 3: Yeah yeah, yeah, okay, yeah yeah. So it's like that's

993
00:56:33,480 --> 00:56:37,120
Speaker 3: like sound design. You know, sound design is amazing as

994
00:56:37,160 --> 00:56:41,880
Speaker 3: a compositional tool because you know the way a signal

995
00:56:42,120 --> 00:56:44,879
Speaker 3: enters the room. So that's the beginning of the song.

996
00:56:45,120 --> 00:56:47,759
Speaker 3: Like it's a fractal image of what a song is

997
00:56:47,800 --> 00:56:50,799
Speaker 3: going to do as a whole. So it's like it's

998
00:56:50,880 --> 00:56:53,600
Speaker 3: the little blocks of these things. It's the letters that

999
00:56:53,719 --> 00:56:57,680
Speaker 3: make the words, that make the sentence. Yeah. So it's

1000
00:56:57,719 --> 00:57:00,439
Speaker 3: like if you see it in that kind of way,

1001
00:57:01,880 --> 00:57:06,120
Speaker 3: you know, I'll do that first. So sometimes I hear

1002
00:57:06,200 --> 00:57:10,880
Speaker 3: the baseline, I hear everything, but I know if I

1003
00:57:11,120 --> 00:57:14,440
Speaker 3: lose the sauce that all of it's suspended in, I'm

1004
00:57:14,440 --> 00:57:17,880
Speaker 3: gonna lose it. So I go for the sauce that

1005
00:57:17,960 --> 00:57:20,959
Speaker 3: it's all suspended in. First, the setting, I think about,

1006
00:57:21,040 --> 00:57:22,760
Speaker 3: like where is it? Is it in a force? Is

1007
00:57:22,880 --> 00:57:25,880
Speaker 3: this a forest? What is this? I keep asking questions

1008
00:57:25,960 --> 00:57:29,480
Speaker 3: of the song that's there, and then I'm like, definitely

1009
00:57:30,400 --> 00:57:31,880
Speaker 3: by Aluminescent forests.

1010
00:57:32,400 --> 00:57:35,240
Speaker 1: Are you able to answer your question?

1011
00:57:35,400 --> 00:57:37,240
Speaker 3: I know that's wild, but it's dude.

1012
00:57:37,360 --> 00:57:43,880
Speaker 1: I'm near a diversity, so I totally. But what is

1013
00:57:43,920 --> 00:57:47,840
Speaker 1: the percentage of you executing that to completion? And has

1014
00:57:47,880 --> 00:57:52,480
Speaker 1: there ever been moments where you lost it? I eat,

1015
00:57:52,880 --> 00:57:55,400
Speaker 1: you know, last night I had a great idea and

1016
00:57:57,280 --> 00:58:00,600
Speaker 1: I think I gave up midweight, Like what is in

1017
00:58:00,680 --> 00:58:02,480
Speaker 1: my head? I couldn't accurately.

1018
00:58:03,840 --> 00:58:09,240
Speaker 3: Yeah, I'll tell you. I'll tell you when it happens.

1019
00:58:09,440 --> 00:58:13,000
Speaker 3: And you know what's funny, It's the wildest thing because

1020
00:58:13,800 --> 00:58:15,840
Speaker 3: I usually my best kept secret is that I know

1021
00:58:15,920 --> 00:58:17,560
Speaker 3: how to read music. I don't want nobody to know.

1022
00:58:17,640 --> 00:58:19,320
Speaker 3: I want people to treat me like I can't read.

1023
00:58:19,720 --> 00:58:22,680
Speaker 3: Treat me like the niggas think Dianoni because it's racist,

1024
00:58:23,880 --> 00:58:28,680
Speaker 3: because like, well, no, it's not that. Well. This is

1025
00:58:28,720 --> 00:58:33,080
Speaker 3: my thing is if say, y'all read invented written music?

1026
00:58:33,760 --> 00:58:36,960
Speaker 3: Right the Ethiopian monk, He invented the systems of writing

1027
00:58:37,040 --> 00:58:40,480
Speaker 3: for music. It comes from Africa, right this brother? Like

1028
00:58:40,800 --> 00:58:42,800
Speaker 3: you know the mesmer is like it sets the tone

1029
00:58:42,840 --> 00:58:44,640
Speaker 3: for medieval music as we know it. You know what

1030
00:58:44,680 --> 00:58:47,200
Speaker 3: I'm saying. The way that one note we'll go to

1031
00:58:47,320 --> 00:58:49,680
Speaker 3: another had something to do with the group that was

1032
00:58:49,720 --> 00:58:52,280
Speaker 3: going to perform it. It had. It was a more

1033
00:58:52,400 --> 00:58:54,960
Speaker 3: dynamic notation, so that it was a better like let's

1034
00:58:54,960 --> 00:58:56,440
Speaker 3: stick a pin in this, and then we get here

1035
00:58:56,480 --> 00:58:58,720
Speaker 3: when we're ready, and then we get here when we're ready,

1036
00:58:58,720 --> 00:59:01,160
Speaker 3: and this is where the tone is going to shift

1037
00:59:01,200 --> 00:59:04,320
Speaker 3: into this and all this kind of stuff. But at

1038
00:59:04,360 --> 00:59:07,440
Speaker 3: the rate of agreement. I think now people think that

1039
00:59:07,480 --> 00:59:09,560
Speaker 3: they can write themselves to a beautiful place, and I

1040
00:59:09,600 --> 00:59:12,040
Speaker 3: don't think this too. So you got to learn it

1041
00:59:12,080 --> 00:59:14,120
Speaker 3: the way I did it. You know. I remember when

1042
00:59:14,120 --> 00:59:17,480
Speaker 3: I go, like for piano lessons and stuff, and I

1043
00:59:17,520 --> 00:59:19,720
Speaker 3: look at the music, but then I look at her hands.

1044
00:59:19,760 --> 00:59:23,520
Speaker 3: I go like, that's not on there. What you're doing

1045
00:59:23,560 --> 00:59:26,120
Speaker 3: with your hands is not on there. I learned it.

1046
00:59:26,200 --> 00:59:29,120
Speaker 3: I said, that's not on there. And so it wasn't

1047
00:59:29,200 --> 00:59:32,479
Speaker 3: until I learned about MIDI with the one twenty seven

1048
00:59:32,560 --> 00:59:35,120
Speaker 3: of the velocity and things like that, I was like,

1049
00:59:35,400 --> 00:59:38,080
Speaker 3: now that's on there. Like when I look at a

1050
00:59:38,160 --> 00:59:41,520
Speaker 3: piano roll, I like, it's on there, you know, Like

1051
00:59:41,640 --> 00:59:44,560
Speaker 3: how did you play each note? Like I understand where

1052
00:59:44,560 --> 00:59:46,480
Speaker 3: the note's supposed to be. I understand where it's supposed

1053
00:59:46,480 --> 00:59:46,560
Speaker 3: to be.

1054
00:59:46,640 --> 00:59:50,760
Speaker 1: Rhythmically, but how I was going to say, I almost

1055
00:59:50,760 --> 00:59:54,680
Speaker 1: feel like your father kind of well, I'm not saying

1056
00:59:54,720 --> 00:59:58,240
Speaker 1: he invented middy, but I mean to incorporate these things.

1057
00:59:58,320 --> 01:00:03,400
Speaker 1: That's basically yeah, it's basically many and so so it's

1058
01:00:03,440 --> 01:00:04,880
Speaker 1: like those kinds of things, those messages.

1059
01:00:04,920 --> 01:00:07,960
Speaker 3: When I learned those messages, I felt free to like, Okay,

1060
01:00:08,480 --> 01:00:11,320
Speaker 3: this is I need to explore it is more. And

1061
01:00:11,480 --> 01:00:13,760
Speaker 3: so I use the NPC as a mini production center

1062
01:00:13,800 --> 01:00:16,360
Speaker 3: for real. So like I feel like, you know, I

1063
01:00:16,560 --> 01:00:20,200
Speaker 3: love that because now I can record, like how it's

1064
01:00:20,200 --> 01:00:22,600
Speaker 3: coming to me, I can record all those messages. When

1065
01:00:23,120 --> 01:00:25,640
Speaker 3: I forget a song, it's because I've tried to write

1066
01:00:25,640 --> 01:00:25,960
Speaker 3: a chart.

1067
01:00:27,800 --> 01:00:32,440
Speaker 1: Ah, So the second you start, you're ama, dais process

1068
01:00:32,560 --> 01:00:34,240
Speaker 1: of writing it, That's.

1069
01:00:34,120 --> 01:00:34,720
Speaker 2: When you lose it.

1070
01:00:35,320 --> 01:00:38,520
Speaker 3: It just don't. It doesn't work that way. It does

1071
01:00:38,640 --> 01:00:41,440
Speaker 3: not work that way. It's like slash chord. At the

1072
01:00:41,480 --> 01:00:44,440
Speaker 3: slash chord, I'm here, I'm here today there, and I'm

1073
01:00:44,520 --> 01:00:48,400
Speaker 3: doing it and it's like, yeah, but there's another piece

1074
01:00:48,440 --> 01:00:51,440
Speaker 3: of information that is not there that I feel like

1075
01:00:51,560 --> 01:00:56,880
Speaker 3: I freeze it, like I feel like somehow it gets cryogenic,

1076
01:00:57,000 --> 01:01:01,280
Speaker 3: it gets so cold and ice. Yes, I just That's

1077
01:01:01,320 --> 01:01:03,520
Speaker 3: the way I lose songs is when I write them,

1078
01:01:04,200 --> 01:01:06,000
Speaker 3: Like when I write them down, it's better that I

1079
01:01:06,200 --> 01:01:08,240
Speaker 3: complete them and then I can write them.

1080
01:01:08,520 --> 01:01:11,479
Speaker 2: I feel like they come back to you eventually, I mean.

1081
01:01:11,400 --> 01:01:13,480
Speaker 3: I hope. So I got so many songs I finished.

1082
01:01:13,720 --> 01:01:15,840
Speaker 3: I don't have to be stingy. Some of them can

1083
01:01:15,920 --> 01:01:18,040
Speaker 3: go back to the wind, you know, like I don't

1084
01:01:18,080 --> 01:01:18,240
Speaker 3: have to.

1085
01:01:18,560 --> 01:01:20,120
Speaker 2: I'll take them them.

1086
01:01:20,960 --> 01:01:22,920
Speaker 1: Yeah, all right.

1087
01:01:23,080 --> 01:01:24,400
Speaker 2: So here's a question.

1088
01:01:25,520 --> 01:01:26,320
Speaker 3: What is.

1089
01:01:27,800 --> 01:01:31,480
Speaker 2: Or who is your longest friendship?

1090
01:01:33,720 --> 01:01:39,439
Speaker 3: Who my longest friendship? Yes, it had to mean Ego Nebula, Yeah,

1091
01:01:40,080 --> 01:01:43,520
Speaker 3: Ego Nebula? Who is who is the incredible MC with

1092
01:01:43,720 --> 01:01:47,240
Speaker 3: Rog's African Space program? Yes, but I know her as

1093
01:01:47,560 --> 01:01:52,520
Speaker 3: more like a jewels. We've been tight since I was fifteen,

1094
01:01:53,160 --> 01:01:56,080
Speaker 3: you know, and we're still like the same level of

1095
01:01:56,160 --> 01:01:58,680
Speaker 3: friendship that we are today. But there's a lot of

1096
01:01:58,760 --> 01:02:01,800
Speaker 3: people I'm meeting, like like day one isseris there coming

1097
01:02:01,880 --> 01:02:04,960
Speaker 3: back in which I'm happy to see them too. But

1098
01:02:05,240 --> 01:02:08,760
Speaker 3: as far as like consistent friendship all the way through it,

1099
01:02:08,960 --> 01:02:10,560
Speaker 3: it's Malaika. Yeah.

1100
01:02:11,000 --> 01:02:11,280
Speaker 1: Nice.

1101
01:02:11,560 --> 01:02:15,320
Speaker 3: Yeah. We have a record called Cosmic Headphones that's really wild,

1102
01:02:15,440 --> 01:02:18,800
Speaker 3: Like if you like km D like that record, it's like, Wow.

1103
01:02:19,840 --> 01:02:23,800
Speaker 1: I believe that I probably have listened to every one

1104
01:02:23,840 --> 01:02:26,480
Speaker 1: of your projects at least five to ten times each.

1105
01:02:26,840 --> 01:02:33,760
Speaker 1: So dude, I look, we met once when you first,

1106
01:02:34,040 --> 01:02:37,800
Speaker 1: like before you got a record deal, and I tried

1107
01:02:37,920 --> 01:02:42,800
Speaker 1: not to scare you with my fandom. So you know, yes,

1108
01:02:43,080 --> 01:02:46,360
Speaker 1: I know that could be overwhelming to be like, okay, stranger,

1109
01:02:46,560 --> 01:02:47,200
Speaker 1: get out of the way.

1110
01:02:47,280 --> 01:02:49,400
Speaker 2: But I mean, like, I know, you know what.

1111
01:02:49,960 --> 01:02:52,000
Speaker 3: A lot of the time, it'd be like it's funny

1112
01:02:52,040 --> 01:02:54,080
Speaker 3: because I don't find out till later on, you know.

1113
01:02:54,760 --> 01:02:57,840
Speaker 3: But it's a positive thing for me because somehow it's

1114
01:02:57,920 --> 01:03:02,920
Speaker 3: like I don't know, it's I love y'all, you know.

1115
01:03:03,960 --> 01:03:06,280
Speaker 3: And when I hear the stuff that you guys do,

1116
01:03:06,440 --> 01:03:09,840
Speaker 3: I like when I hear you know, catch's ill fifth dynamite.

1117
01:03:09,840 --> 01:03:12,760
Speaker 3: When I hear that, I'm like, they know, Like for me,

1118
01:03:12,960 --> 01:03:15,560
Speaker 3: it hits me in a whole other place because of

1119
01:03:17,200 --> 01:03:19,960
Speaker 3: that's my first language. I hear that, you know or

1120
01:03:20,120 --> 01:03:23,200
Speaker 3: like or that scat and all of that kind of stuff.

1121
01:03:23,200 --> 01:03:25,560
Speaker 3: I mean, like, there's so many different there's so many

1122
01:03:25,600 --> 01:03:31,080
Speaker 3: different records that I just like, wow, you know that

1123
01:03:31,200 --> 01:03:34,280
Speaker 3: they have painted the backdrop, you know, honestly, you know,

1124
01:03:34,280 --> 01:03:35,680
Speaker 3: what I mean. And I think the other thing I

1125
01:03:35,760 --> 01:03:40,000
Speaker 3: loved so much was I love the Due operas. I'm

1126
01:03:40,040 --> 01:03:42,120
Speaker 3: a fellow Due opera too, you know, no matter how

1127
01:03:42,200 --> 01:03:45,200
Speaker 3: avant garde things get on my end, I'm still still

1128
01:03:45,360 --> 01:03:46,600
Speaker 3: very much a Due opera you know.

1129
01:03:47,040 --> 01:03:50,920
Speaker 2: Okay, So I have something to ask about your vocal style. Okay,

1130
01:03:51,120 --> 01:03:51,680
Speaker 2: and this is.

1131
01:03:55,240 --> 01:03:55,840
Speaker 1: I remember.

1132
01:03:55,960 --> 01:03:56,240
Speaker 2: Okay.

1133
01:03:56,320 --> 01:04:01,520
Speaker 1: So when I first got the demo, uh, you know,

1134
01:04:01,600 --> 01:04:05,480
Speaker 1: I played it all of the usual suspects, and when

1135
01:04:05,520 --> 01:04:09,280
Speaker 1: I played it for d he got real quiet, and

1136
01:04:09,400 --> 01:04:11,800
Speaker 1: he was like, she wants some ship.

1137
01:04:12,560 --> 01:04:14,560
Speaker 2: So this is what I have to ask you because

1138
01:04:14,600 --> 01:04:17,760
Speaker 2: I know, Wow, that's real deep. That's really deep.

1139
01:04:17,840 --> 01:04:22,040
Speaker 1: That's deep. He has the gift of analyzing who you

1140
01:04:22,160 --> 01:04:26,240
Speaker 1: are as an artist based on your your vocal textures.

1141
01:04:27,080 --> 01:04:30,960
Speaker 1: These kind of parallel thing with Marvin Gaye is the

1142
01:04:31,080 --> 01:04:34,520
Speaker 1: fact that both these artists and this is something I

1143
01:04:34,680 --> 01:04:38,440
Speaker 1: noticed with your your music is and when you explained

1144
01:04:38,920 --> 01:04:41,280
Speaker 1: public enemy being in your life at the age of.

1145
01:04:41,360 --> 01:04:43,360
Speaker 2: Five, I was like, that's where the dinsness.

1146
01:04:43,760 --> 01:04:46,960
Speaker 1: Even though you're using all of these like h light

1147
01:04:47,120 --> 01:04:49,880
Speaker 1: colors to paint, and the thing is you have you

1148
01:04:49,960 --> 01:04:53,800
Speaker 1: have different genres like uh, I won't say Dandira, but

1149
01:04:53,920 --> 01:04:57,240
Speaker 1: I'll probably say like vocally, like what you do on

1150
01:04:57,320 --> 01:05:00,120
Speaker 1: the Seeds album whatever. But it's so much texture that

1151
01:05:00,200 --> 01:05:03,720
Speaker 1: I actually feel as though there's comfort in hiding behind

1152
01:05:03,760 --> 01:05:08,959
Speaker 1: it because there's so much going on that I'm trying

1153
01:05:08,960 --> 01:05:12,280
Speaker 1: to concentrate on your face and but you're you're you're

1154
01:05:12,320 --> 01:05:13,400
Speaker 1: throwing all these things at me.

1155
01:05:14,040 --> 01:05:16,919
Speaker 3: Do you everywhere in one time? Well?

1156
01:05:17,000 --> 01:05:20,240
Speaker 1: Okay, yeah, it's either being omni pressent or it's also

1157
01:05:20,360 --> 01:05:21,280
Speaker 1: hiding in plain sight.

1158
01:05:21,440 --> 01:05:22,560
Speaker 2: So this is what I'll ask you.

1159
01:05:23,440 --> 01:05:25,160
Speaker 1: All right, So I don't know if you're familiar with

1160
01:05:25,240 --> 01:05:31,200
Speaker 1: this method, but the Danish have invented this filmmaking style

1161
01:05:31,400 --> 01:05:35,680
Speaker 1: called Dogma ninety five, which is basically it's a bunch

1162
01:05:35,760 --> 01:05:38,520
Speaker 1: of limitations. It's like a challenge to each other, like

1163
01:05:38,640 --> 01:05:41,440
Speaker 1: you could only use natural light, you can't score it,

1164
01:05:41,960 --> 01:05:44,680
Speaker 1: like there's there's there's like fifty rules, and they all

1165
01:05:44,800 --> 01:05:49,400
Speaker 1: challenged each other to try to make movies with very

1166
01:05:49,480 --> 01:05:54,160
Speaker 1: limited resources, like you can't use a cry so for you, like,

1167
01:05:54,320 --> 01:05:59,480
Speaker 1: have you ever tried considering like the opposite of what

1168
01:05:59,600 --> 01:06:03,200
Speaker 1: you do, like a straight up I mean, I forget

1169
01:06:03,280 --> 01:06:04,520
Speaker 1: what the disco record that you did?

1170
01:06:04,680 --> 01:06:07,160
Speaker 3: Okay, the opposite of what I do. You're gonna have

1171
01:06:07,320 --> 01:06:09,600
Speaker 3: to really walk me through that, like, well, no, no.

1172
01:06:09,640 --> 01:06:12,480
Speaker 2: No, because you do everything. You do everything.

1173
01:06:12,560 --> 01:06:15,480
Speaker 3: I'm saying like, I feel like this Harriet Tubman record

1174
01:06:15,600 --> 01:06:19,080
Speaker 3: is like definitely a different a different zone, but but

1175
01:06:19,200 --> 01:06:22,360
Speaker 3: I feel like it is I feel you know what,

1176
01:06:22,760 --> 01:06:25,040
Speaker 3: you know what opposite of what I do. I feel

1177
01:06:25,080 --> 01:06:28,880
Speaker 3: like that got nominated for sure, like with the exercise

1178
01:06:28,920 --> 01:06:31,800
Speaker 3: and Restraint and like Overload, I feel like Overload was

1179
01:06:31,920 --> 01:06:34,960
Speaker 3: definitely like and you know, so wild. It was like

1180
01:06:35,440 --> 01:06:38,400
Speaker 3: I did Overload was actually a joke. It was like

1181
01:06:38,920 --> 01:06:41,440
Speaker 3: how fast can I ride it? Like a cut like this,

1182
01:06:41,680 --> 01:06:43,400
Speaker 3: like just live in a cliche?

1183
01:06:43,720 --> 01:06:45,240
Speaker 2: All right, here's the thing about Overload.

1184
01:06:45,320 --> 01:06:50,040
Speaker 1: Were you shocked that of all your work, that that's

1185
01:06:50,120 --> 01:06:54,200
Speaker 1: the one that like got nominated for Grammy And like

1186
01:06:54,240 --> 01:06:54,760
Speaker 1: what was your.

1187
01:06:54,680 --> 01:06:55,360
Speaker 2: Reaction to that?

1188
01:06:56,280 --> 01:06:59,040
Speaker 3: I was like that stuff had me laughing because I

1189
01:06:59,160 --> 01:07:01,600
Speaker 3: was like, don't like there was some songs like like

1190
01:07:01,680 --> 01:07:05,080
Speaker 3: Canadian Hill really. I called it Canadian Hill really because

1191
01:07:05,120 --> 01:07:07,360
Speaker 3: I'm like, how do I make a Drake song? Like

1192
01:07:07,880 --> 01:07:12,080
Speaker 3: the song as long as it takes to play twice,

1193
01:07:12,760 --> 01:07:14,800
Speaker 3: That's how long it took to make it like that?

1194
01:07:14,960 --> 01:07:18,280
Speaker 3: On that is I think the thing I'm most impressed

1195
01:07:18,400 --> 01:07:21,840
Speaker 3: with with that song is how I have a synthesizer

1196
01:07:22,000 --> 01:07:25,160
Speaker 3: with the symbols, like like if that's all built in,

1197
01:07:25,880 --> 01:07:30,000
Speaker 3: Like that's my pride of that. But for me, those

1198
01:07:30,120 --> 01:07:33,880
Speaker 3: kind of lyrics, for me, I feel like a definite

1199
01:07:34,880 --> 01:07:39,000
Speaker 3: I'm also doing my personal growth with that, right, Like

1200
01:07:39,280 --> 01:07:42,600
Speaker 3: what if a very successful musical life has something to

1201
01:07:42,640 --> 01:07:44,120
Speaker 3: do with you not thinking much at all?

1202
01:07:45,400 --> 01:07:46,720
Speaker 2: The Bobby farn method.

1203
01:07:47,880 --> 01:07:50,840
Speaker 3: Right, But but but then there's this other side. Right

1204
01:07:52,480 --> 01:07:56,920
Speaker 3: if before I could afford therapy, this was my personal

1205
01:07:57,040 --> 01:07:59,720
Speaker 3: growth gym, and this is my shit, and I'm a

1206
01:07:59,760 --> 01:08:03,520
Speaker 3: ship junkie, and I want to see how fast I

1207
01:08:03,600 --> 01:08:06,840
Speaker 3: can step in easily step into another world. This is

1208
01:08:06,960 --> 01:08:10,960
Speaker 3: my this is my time machine, my spaceship, you know,

1209
01:08:11,400 --> 01:08:14,720
Speaker 3: my musicianship is like places. It's something I used to travel,

1210
01:08:14,800 --> 01:08:18,880
Speaker 3: like a literal vehicle through time space. Yeah. So it's

1211
01:08:19,000 --> 01:08:21,840
Speaker 3: like when it's all of those things you start bringing

1212
01:08:21,840 --> 01:08:24,320
Speaker 3: into account and not to get heavy in like two seconds, right,

1213
01:08:24,600 --> 01:08:27,559
Speaker 3: but like you, but you get in you bring into

1214
01:08:27,600 --> 01:08:30,280
Speaker 3: account your friends who have overdosed because they couldn't be

1215
01:08:30,400 --> 01:08:32,760
Speaker 3: themselves in their music, so they had to go and

1216
01:08:32,800 --> 01:08:37,679
Speaker 3: textra curricular things so that they could experience the thrill

1217
01:08:38,240 --> 01:08:41,360
Speaker 3: of walking on that knife edge on stage, so they

1218
01:08:41,400 --> 01:08:44,200
Speaker 3: could experience certain things. So I feel like some of

1219
01:08:44,240 --> 01:08:49,400
Speaker 3: the sacrifices I have made have contributed to my life quality.

1220
01:08:50,600 --> 01:08:53,679
Speaker 3: I didn't have to go do coke to do things.

1221
01:08:53,720 --> 01:08:56,639
Speaker 3: I could just say, Okay, today's set list is trust God.

1222
01:08:57,320 --> 01:08:59,000
Speaker 3: And then also I can get the data. I can

1223
01:08:59,040 --> 01:09:01,160
Speaker 3: see where people can be blocked up and like you

1224
01:09:01,280 --> 01:09:03,560
Speaker 3: know somebody who say, oh, this person is killing But

1225
01:09:03,600 --> 01:09:08,439
Speaker 3: it's like, trust God, and then by the end of

1226
01:09:08,479 --> 01:09:10,439
Speaker 3: the game you had you would have worked through something.

1227
01:09:12,040 --> 01:09:14,160
Speaker 3: I don't know. It's like those kind of things. I

1228
01:09:14,240 --> 01:09:19,320
Speaker 3: don't have to do no cocaine, because I'm already like feeling.

1229
01:09:19,080 --> 01:09:20,320
Speaker 2: Like you're channeling.

1230
01:09:21,080 --> 01:09:23,639
Speaker 3: If the gig camp, if the gig cake one hundred

1231
01:09:23,640 --> 01:09:27,439
Speaker 3: percent completely fail at any second, I'm not having fun.

1232
01:09:27,880 --> 01:09:30,400
Speaker 3: Like it's the reason you want.

1233
01:09:30,280 --> 01:09:32,160
Speaker 2: To you want to be a daredevil?

1234
01:09:32,840 --> 01:09:47,720
Speaker 1: Yeah, are you scaring me? I'm in a place now,

1235
01:09:48,160 --> 01:09:49,560
Speaker 1: and I think this is where I am in my

1236
01:09:49,640 --> 01:09:53,439
Speaker 1: fifties where let me let me explain something to you.

1237
01:09:54,200 --> 01:09:58,760
Speaker 1: One time I asked George Clinton about first meeting Prince

1238
01:09:59,000 --> 01:10:01,640
Speaker 1: and he joked. He says, man, I never met a

1239
01:10:01,720 --> 01:10:09,120
Speaker 1: cat like so intense on rehearsing his spontaneity. He's like,

1240
01:10:09,200 --> 01:10:12,400
Speaker 1: Prince is the only cat I know that rehearses his spontaneity.

1241
01:10:13,840 --> 01:10:19,400
Speaker 1: And I had to think about that, and for me,

1242
01:10:19,720 --> 01:10:23,439
Speaker 1: I do find there is a comfort that I find

1243
01:10:23,680 --> 01:10:32,160
Speaker 1: when it's so tightly like the wheel is so tightly operational,

1244
01:10:33,200 --> 01:10:35,560
Speaker 1: that I don't have to think about it and I

1245
01:10:36,240 --> 01:10:38,880
Speaker 1: actually have I have fun and relax because I know

1246
01:10:39,000 --> 01:10:43,400
Speaker 1: the machine is going to work. But then will come

1247
01:10:43,479 --> 01:10:47,920
Speaker 1: a moment where I remember once and I know the

1248
01:10:48,000 --> 01:10:51,000
Speaker 1: only reason why I tell this story is because I'm

1249
01:10:51,040 --> 01:10:55,679
Speaker 1: so embarrassed of how I acted one time, Glasper. After

1250
01:10:56,080 --> 01:10:58,559
Speaker 1: years and years and years of my schedule not working out,

1251
01:10:58,640 --> 01:11:01,080
Speaker 1: I finally agreed. I said, Okay, I'm gonna do your

1252
01:11:01,160 --> 01:11:05,160
Speaker 1: October thing. I'm a jam with you. And you know

1253
01:11:05,280 --> 01:11:07,320
Speaker 1: again I got on my McFerrin thing. I was like,

1254
01:11:07,320 --> 01:11:09,559
Speaker 1: all right, so when we rehearse, what are the setlist?

1255
01:11:09,720 --> 01:11:10,519
Speaker 2: What can I study?

1256
01:11:11,200 --> 01:11:16,200
Speaker 3: And you know, he's like, NA, like, right, well.

1257
01:11:16,080 --> 01:11:19,240
Speaker 1: We made a plan and initially we were going to

1258
01:11:19,360 --> 01:11:21,680
Speaker 1: do something that we did like a month before. It's

1259
01:11:21,720 --> 01:11:25,760
Speaker 1: like cool, I know that, and then maybe like four

1260
01:11:25,880 --> 01:11:28,600
Speaker 1: days before I hit him up. I was like, all right,

1261
01:11:28,640 --> 01:11:31,439
Speaker 1: so what's the deal. And he's like, oh no, no, Instead,

1262
01:11:31,439 --> 01:11:33,040
Speaker 1: we're going to do this, that, this that, and this that,

1263
01:11:33,240 --> 01:11:35,240
Speaker 1: and the way that I panicked.

1264
01:11:35,280 --> 01:11:39,040
Speaker 3: And everybody got different ways that that they hooked up.

1265
01:11:39,120 --> 01:11:43,320
Speaker 3: Like sometimes to be prepared is like that. That is that. Yeah,

1266
01:11:43,439 --> 01:11:46,040
Speaker 3: like everybody has different ways. If they know what they're

1267
01:11:46,080 --> 01:11:48,600
Speaker 3: walking into, then they're not going to be like just

1268
01:11:48,880 --> 01:11:51,640
Speaker 3: embattled with a panic attack. Like that's just real, man,

1269
01:11:51,920 --> 01:11:53,280
Speaker 3: It's a different But the.

1270
01:11:53,320 --> 01:11:57,639
Speaker 1: Reason why I was angry at it because it's like, damn,

1271
01:11:58,520 --> 01:12:01,880
Speaker 1: I'm petrified. I don't want to let him know I'm

1272
01:12:01,960 --> 01:12:05,280
Speaker 1: petrified because then he'll go back and be like, hey, y'all,

1273
01:12:05,840 --> 01:12:10,439
Speaker 1: Chris Love was petrified and he want rehearse and you know,

1274
01:12:10,840 --> 01:12:17,600
Speaker 1: and I was angry because glasper forced me to the

1275
01:12:17,680 --> 01:12:21,439
Speaker 1: place where I should be, which is season of day,

1276
01:12:21,920 --> 01:12:23,120
Speaker 1: ready for a new challenge.

1277
01:12:23,680 --> 01:12:25,040
Speaker 2: And what you said is correct.

1278
01:12:25,160 --> 01:12:30,559
Speaker 1: If you're just in a place where it's well rehearsed

1279
01:12:31,760 --> 01:12:34,960
Speaker 1: and runs like a machine, that's not where you are

1280
01:12:35,080 --> 01:12:38,080
Speaker 1: you want. You want to be in a place where

1281
01:12:38,120 --> 01:12:41,040
Speaker 1: it's like you don't know what's going to happen.

1282
01:12:42,160 --> 01:12:44,160
Speaker 3: Yeah, and you know it's Swallo, though, I think it's

1283
01:12:44,200 --> 01:12:46,400
Speaker 3: wild because if I'm playing a song that i've current

1284
01:12:46,520 --> 01:12:50,719
Speaker 3: like that wrote prior, right, it's never like what cored

1285
01:12:50,840 --> 01:12:53,960
Speaker 3: is this? I'm thinking about the system behind everything, Like

1286
01:12:54,600 --> 01:12:57,600
Speaker 3: every song has a system of its own, you know,

1287
01:12:58,320 --> 01:13:01,080
Speaker 3: and that's how I can remember what my right hand's

1288
01:13:01,120 --> 01:13:03,519
Speaker 3: doing with my with my left hand, you know, and

1289
01:13:03,720 --> 01:13:07,920
Speaker 3: like its systems. So like what I find is I

1290
01:13:08,040 --> 01:13:10,559
Speaker 3: think the a one like the sweeting spot between these

1291
01:13:10,680 --> 01:13:15,559
Speaker 3: two different philosophies, right, is if there's this over it's

1292
01:13:15,720 --> 01:13:20,120
Speaker 3: understanding of who you're playing with, like an understanding of Okay,

1293
01:13:20,200 --> 01:13:23,720
Speaker 3: this is the harmonic ranges that everybody's in. You know

1294
01:13:23,760 --> 01:13:25,920
Speaker 3: what I'm saying. I know you're gonna be in this range.

1295
01:13:25,920 --> 01:13:27,439
Speaker 3: I know you're gonna be in this range, and then

1296
01:13:27,560 --> 01:13:30,640
Speaker 3: you can take your liberties within different ranges. But it's like,

1297
01:13:31,000 --> 01:13:33,880
Speaker 3: you know, to know what the expectations are, but that

1298
01:13:34,080 --> 01:13:37,360
Speaker 3: you're free. If you get struck with Holy Gooes, then

1299
01:13:37,520 --> 01:13:40,560
Speaker 3: you can like like let that out, you know what

1300
01:13:40,640 --> 01:13:44,320
Speaker 3: I'm saying. As opposed to it's so rigid and it's

1301
01:13:44,400 --> 01:13:46,800
Speaker 3: so on a train track that it wouldn't matter if

1302
01:13:47,040 --> 01:13:49,880
Speaker 3: you were just playing a tape and everybody was fake playing.

1303
01:13:50,720 --> 01:13:53,760
Speaker 3: That's got to be crazy. Like, you know, there's technology

1304
01:13:53,840 --> 01:13:58,160
Speaker 3: that solves for some of these things that have caused

1305
01:13:59,120 --> 01:14:03,320
Speaker 3: a certain amount of of problems off of the stage,

1306
01:14:04,960 --> 01:14:05,240
Speaker 3: you know.

1307
01:14:06,880 --> 01:14:11,480
Speaker 1: Yes, so if you're not gelling with your collaborators.

1308
01:14:11,200 --> 01:14:13,560
Speaker 3: The musicians are playing your work. I'm saying from a

1309
01:14:13,600 --> 01:14:17,120
Speaker 3: composer's point of view, right, because I mostly identify, like

1310
01:14:17,160 --> 01:14:20,080
Speaker 3: when I think about instrumentation, I mostly identify as a composer.

1311
01:14:20,439 --> 01:14:22,880
Speaker 3: I think, like through all of it, through and through,

1312
01:14:23,479 --> 01:14:27,720
Speaker 3: I mostly identify as a composer, you know, as a composer. Right,

1313
01:14:28,479 --> 01:14:31,200
Speaker 3: I've done the song as the producer, I did the

1314
01:14:31,280 --> 01:14:35,320
Speaker 3: record right, Yes, Basically I went through so much trouble,

1315
01:14:35,360 --> 01:14:37,080
Speaker 3: Like when I did the work, nothing is I had

1316
01:14:37,160 --> 01:14:39,040
Speaker 3: to wait for people to be able to play it,

1317
01:14:39,960 --> 01:14:45,040
Speaker 3: like because Uncle Doogle wasn't around the corner like he could,

1318
01:14:45,280 --> 01:14:48,800
Speaker 3: like I didn't have like he wasn't right around the corner.

1319
01:14:49,200 --> 01:14:50,960
Speaker 3: Oh yeah, she's playing the gym based stuff. I know.

1320
01:14:51,040 --> 01:14:53,479
Speaker 3: Oh yeah, she's doing that. She's doing that. Yeah yeah,

1321
01:14:53,520 --> 01:14:56,320
Speaker 3: I know. This is you know, so like the kind

1322
01:14:56,400 --> 01:14:59,719
Speaker 3: of musicianship that I needed, like from such an early age.

1323
01:15:00,280 --> 01:15:02,439
Speaker 3: It took a while for people to rehearse it. But

1324
01:15:02,520 --> 01:15:05,040
Speaker 3: then I could go to like Soul Village, Eric Rovers

1325
01:15:05,120 --> 01:15:07,920
Speaker 3: and Soul Village and like s Obs, you know, and

1326
01:15:08,000 --> 01:15:10,880
Speaker 3: then there'd be Daniel Jones there rest in peace, you know,

1327
01:15:11,040 --> 01:15:13,920
Speaker 3: my beautiful Like we were very much like twinsis like

1328
01:15:14,640 --> 01:15:17,240
Speaker 3: that was my other Like like we'd be very much

1329
01:15:17,320 --> 01:15:20,000
Speaker 3: you know. He had such rock and roll jams songs

1330
01:15:20,080 --> 01:15:22,519
Speaker 3: in like fifteen rock and rock and roll songs in

1331
01:15:22,640 --> 01:15:27,760
Speaker 3: fifteen and just punk funking odd meters and like we

1332
01:15:27,920 --> 01:15:29,840
Speaker 3: be and I'll be like, Okay, I'm gonna write to that.

1333
01:15:30,120 --> 01:15:32,760
Speaker 3: I want to write to that Daniel, you know. But

1334
01:15:32,920 --> 01:15:34,600
Speaker 3: like now I think about it like that they do

1335
01:15:34,760 --> 01:15:39,040
Speaker 3: not hear no more, you know, like because and I'm

1336
01:15:39,080 --> 01:15:42,920
Speaker 3: saying it wrong because it's like, yes, this fool was

1337
01:15:43,000 --> 01:15:45,040
Speaker 3: like I'm a Dais Mozart when it comes down to

1338
01:15:45,479 --> 01:15:51,600
Speaker 3: making arrangements for Janet Jackson, like everything's gonna hit, this

1339
01:15:51,800 --> 01:15:53,560
Speaker 3: is hitting now, this is it? I mean, and he

1340
01:15:53,680 --> 01:15:57,280
Speaker 3: could do that ship in fifteen minutes. Yes, I just

1341
01:15:57,800 --> 01:16:00,519
Speaker 3: this is my thing. Quiz It's like it you can

1342
01:16:00,640 --> 01:16:02,720
Speaker 3: do that in fifteen minutes. I want to know what

1343
01:16:02,800 --> 01:16:04,680
Speaker 3: you sound like when nobody's telling you what to do.

1344
01:16:05,120 --> 01:16:08,160
Speaker 3: What do you sound like when you're just like unbridled

1345
01:16:08,240 --> 01:16:10,240
Speaker 3: unhands Like, what does that sound like?

1346
01:16:11,000 --> 01:16:15,320
Speaker 1: You know you've had so many collaborators. What is the

1347
01:16:15,560 --> 01:16:20,960
Speaker 1: choice of knowing? You know your Kendrick Spirits? How do

1348
01:16:21,040 --> 01:16:25,559
Speaker 1: you choose collaborators? How do you know if a person's

1349
01:16:25,600 --> 01:16:28,960
Speaker 1: gonna work as opposed to like we're five of like

1350
01:16:30,000 --> 01:16:32,519
Speaker 1: my go to I know I'm gonna have some shit

1351
01:16:33,200 --> 01:16:34,280
Speaker 1: with these collaborators.

1352
01:16:35,400 --> 01:16:38,880
Speaker 3: Oh man, I don't you know. I love collaborate. I

1353
01:16:38,960 --> 01:16:42,800
Speaker 3: just love collaboration so much. It's like I love it

1354
01:16:42,960 --> 01:16:46,200
Speaker 3: because I get a chance to just enjoy it. I

1355
01:16:46,240 --> 01:16:48,760
Speaker 3: don't have to carry all the weight. It's not just

1356
01:16:48,880 --> 01:16:54,160
Speaker 3: my job by myself, you know, to do everything. I love.

1357
01:16:54,520 --> 01:16:58,360
Speaker 3: Let me see my top five collaborators because sometimes collaborating

1358
01:16:58,439 --> 01:17:00,320
Speaker 3: be remote though I still have to like turn in

1359
01:17:00,479 --> 01:17:04,920
Speaker 3: something from where I'm at. But I think from being

1360
01:17:04,960 --> 01:17:07,720
Speaker 3: in the studio with Michelle and Degiell Cello's definitely like

1361
01:17:08,520 --> 01:17:12,639
Speaker 3: mmm her as a producer, it's like a dream.

1362
01:17:13,760 --> 01:17:14,360
Speaker 1: What is she like?

1363
01:17:14,600 --> 01:17:16,599
Speaker 2: She's so quiet when we talk.

1364
01:17:16,880 --> 01:17:19,920
Speaker 3: She got I felt like I was talking to myself.

1365
01:17:20,000 --> 01:17:20,599
Speaker 1: It was weird.

1366
01:17:20,760 --> 01:17:21,400
Speaker 3: It was weird.

1367
01:17:22,240 --> 01:17:27,560
Speaker 1: Yeah, I she'll loosen up sometimes, but look like I

1368
01:17:27,680 --> 01:17:31,799
Speaker 1: get shy Michelle. I get very quiet, very reserved Michelle,

1369
01:17:32,120 --> 01:17:34,719
Speaker 1: and I want to know what she's like when she's

1370
01:17:36,200 --> 01:17:36,920
Speaker 1: running the ship.

1371
01:17:37,360 --> 01:17:42,120
Speaker 3: But it's so cool, you know, it's so cool. You

1372
01:17:42,280 --> 01:17:45,439
Speaker 3: feel taken care of, man like because she's her ears

1373
01:17:45,479 --> 01:17:48,680
Speaker 3: are like impeccable. It's just really refreshing when you have

1374
01:17:48,760 --> 01:17:52,439
Speaker 3: a producer that doesn't use the term vibe as a cliche.

1375
01:17:53,080 --> 01:17:55,640
Speaker 3: They're using the term vibe because they're a satellite that

1376
01:17:55,800 --> 01:17:58,600
Speaker 3: she understand me, like they're getting radio waves, you know,

1377
01:17:58,680 --> 01:18:00,920
Speaker 3: you know they hear radio Wait, you know what I mean.

1378
01:18:01,680 --> 01:18:04,640
Speaker 3: You know, some people say vibe and it's just like

1379
01:18:04,840 --> 01:18:08,680
Speaker 3: nondescripted and it's like falling apart and they're like yeah, yeah, yeah,

1380
01:18:09,080 --> 01:18:12,640
Speaker 3: you know. Like Michelle is like there's a hand on

1381
01:18:12,720 --> 01:18:15,599
Speaker 3: the hip, there's a hand out here, and she's listening

1382
01:18:15,880 --> 01:18:19,360
Speaker 3: and the hands out there, and then she'll ask God,

1383
01:18:19,439 --> 01:18:22,680
Speaker 3: like why that child sounds so old? She's like she's

1384
01:18:22,680 --> 01:18:25,800
Speaker 3: talking about Jermaine Paul, like why Jamaine sound like an

1385
01:18:25,800 --> 01:18:30,320
Speaker 3: old man? But it's while she's producing, and it's just

1386
01:18:30,439 --> 01:18:36,400
Speaker 3: like to be there, like hearing her listening, I think,

1387
01:18:36,680 --> 01:18:39,800
Speaker 3: is like that's an honor that that was an honor

1388
01:18:39,920 --> 01:18:42,320
Speaker 3: just as a fellow producer to see her producer. Like

1389
01:18:42,439 --> 01:18:46,680
Speaker 3: she's like, I got I've been a fan of her

1390
01:18:46,720 --> 01:18:49,040
Speaker 3: work so I was ten years old. Like she's like

1391
01:18:49,200 --> 01:18:52,400
Speaker 3: I'm swimming her water, Like are you serious? Like that's crazy. So, like,

1392
01:18:52,520 --> 01:18:56,479
Speaker 3: you know, Michelle is definitely a highlight with I think, well.

1393
01:18:56,400 --> 01:19:00,000
Speaker 1: Wait, let me ask you who is who's the collaboration

1394
01:19:01,240 --> 01:19:05,640
Speaker 1: that was the most challenging. And I'm not saying your

1395
01:19:05,760 --> 01:19:09,400
Speaker 1: least favorite. I'm not saying the one that you didn't

1396
01:19:09,520 --> 01:19:09,920
Speaker 1: vibe with.

1397
01:19:10,280 --> 01:19:12,640
Speaker 3: No, you're talking about the one that say, can you

1398
01:19:12,760 --> 01:19:15,360
Speaker 3: try that take again? Like I think you can get

1399
01:19:15,400 --> 01:19:15,720
Speaker 3: it better?

1400
01:19:16,120 --> 01:19:20,040
Speaker 1: Is that what you mean? Or just some does something

1401
01:19:20,160 --> 01:19:22,600
Speaker 1: a little different than how you would normally do it,

1402
01:19:22,720 --> 01:19:26,240
Speaker 1: But you're you know, who's a challenging collaborator?

1403
01:19:26,760 --> 01:19:27,600
Speaker 2: Who challenges you?

1404
01:19:27,920 --> 01:19:31,160
Speaker 3: I feel like the challenging collaborator would probably be I'd

1405
01:19:31,240 --> 01:19:34,240
Speaker 3: have to say Keith Rice from Little Black Kids, because

1406
01:19:34,680 --> 01:19:37,880
Speaker 3: like he's the one that would be like, I think

1407
01:19:37,920 --> 01:19:40,479
Speaker 3: you can get that take a little bit better, And

1408
01:19:40,640 --> 01:19:44,000
Speaker 3: I said I think I can too, you know, instead

1409
01:19:44,000 --> 01:19:47,639
Speaker 3: of like somebody's going like okay, no, no, no, no, no, no, no, nope, Nope,

1410
01:19:47,680 --> 01:19:50,400
Speaker 3: that's it. That's it just in comparison to other people,

1411
01:19:50,479 --> 01:19:54,200
Speaker 3: because I have a different sound, you know, but somebody

1412
01:19:54,240 --> 01:19:56,400
Speaker 3: who could hear intil it's down and be like, now

1413
01:19:56,479 --> 01:19:59,000
Speaker 3: let's get that one more time. I let's see who

1414
01:19:59,040 --> 01:20:01,880
Speaker 3: else is like the challenge to collaborate. I think because

1415
01:20:01,960 --> 01:20:04,759
Speaker 3: everything he's doing what was very intentional. I'd say Adrian

1416
01:20:04,880 --> 01:20:08,959
Speaker 3: Young because of all of the of all the equipment

1417
01:20:09,040 --> 01:20:12,960
Speaker 3: that's rolling. Then he wants to videotape everything, and then

1418
01:20:13,040 --> 01:20:16,320
Speaker 3: he has like he's cleaning while he cooks, like in

1419
01:20:16,439 --> 01:20:18,920
Speaker 3: a multi media expressive.

1420
01:20:22,120 --> 01:20:24,280
Speaker 2: I've worked with him before. Yeah, that's definitely Adrian.

1421
01:20:24,720 --> 01:20:30,840
Speaker 3: He's very particular about this chord and he's very going

1422
01:20:30,960 --> 01:20:34,280
Speaker 3: in and I you know, I think it's very whimsical.

1423
01:20:34,360 --> 01:20:37,320
Speaker 3: I think because he's like that, it makes the experience

1424
01:20:37,439 --> 01:20:38,640
Speaker 3: like even more whimsical.

1425
01:20:40,040 --> 01:20:42,719
Speaker 1: Got you. I love all your projects. He is probably

1426
01:20:42,720 --> 01:20:43,160
Speaker 1: my favorite.

1427
01:20:43,240 --> 01:20:43,640
Speaker 3: What is.

1428
01:20:45,560 --> 01:20:47,479
Speaker 2: What was the most fun album to make?

1429
01:20:47,920 --> 01:20:52,200
Speaker 3: The most fun album to make has been Jo t

1430
01:20:52,840 --> 01:20:55,560
Speaker 3: Oko Taya. It was the first time where I was

1431
01:20:55,640 --> 01:20:58,360
Speaker 3: just like, you know what, you know, because there was

1432
01:20:58,560 --> 01:21:01,240
Speaker 3: other influen We're gonna say, other voices in the sauce

1433
01:21:01,680 --> 01:21:05,240
Speaker 3: saying like no experimental music. Oh and I'm going like,

1434
01:21:05,600 --> 01:21:09,360
Speaker 3: but I'm raised by experimental people. Yeah. The first the

1435
01:21:09,439 --> 01:21:12,960
Speaker 3: first one, ok Taya, it was fun because it was

1436
01:21:13,080 --> 01:21:16,960
Speaker 3: this unbridling thing where I'm just like, nah, I think

1437
01:21:17,040 --> 01:21:21,760
Speaker 3: I'm going to just turn the feedback up on that.

1438
01:21:22,160 --> 01:21:24,479
Speaker 3: Uh yeah, I think I'm gonna just turn this. I

1439
01:21:24,560 --> 01:21:27,800
Speaker 3: want the feedback to just hang out on this little

1440
01:21:27,840 --> 01:21:28,599
Speaker 3: stereo delay.

1441
01:21:28,760 --> 01:21:28,960
Speaker 1: Nah.

1442
01:21:29,120 --> 01:21:32,000
Speaker 3: I think I wanted to be everywhere. Yeah, I think

1443
01:21:32,040 --> 01:21:35,160
Speaker 3: I want to just drag this snare through this like

1444
01:21:35,360 --> 01:21:41,080
Speaker 3: through like maybe probably eighteen bars and see what happened. Yeah. Yeah,

1445
01:21:41,479 --> 01:21:47,000
Speaker 3: And Oktaya was the moment where because I first started

1446
01:21:47,040 --> 01:21:50,280
Speaker 3: out on like the vsaad e X, like the digital

1447
01:21:50,479 --> 01:21:53,320
Speaker 3: the digital recorders, you know where you could burn a

1448
01:21:53,400 --> 01:21:56,320
Speaker 3: TD on there. So I'm like this weird hybrid eyz.

1449
01:21:56,560 --> 01:21:59,640
Speaker 3: Like the technology I had was very like when they

1450
01:21:59,680 --> 01:22:04,160
Speaker 3: had this term semipro, you know, but I think.

1451
01:22:04,080 --> 01:22:08,280
Speaker 2: Everyone uses when I asked them, like, what's your weapon

1452
01:22:08,320 --> 01:22:08,719
Speaker 2: of choice?

1453
01:22:08,760 --> 01:22:10,519
Speaker 1: Like what are you using? And I see what they

1454
01:22:10,640 --> 01:22:15,280
Speaker 1: work with the best people work on the most limiting

1455
01:22:16,479 --> 01:22:17,200
Speaker 1: kind of Yeah.

1456
01:22:19,000 --> 01:22:23,360
Speaker 3: Yeah. So I think like Okota was like I took

1457
01:22:23,400 --> 01:22:27,560
Speaker 3: myself like, yeah, I'll show you like but for Okotaya,

1458
01:22:27,600 --> 01:22:29,800
Speaker 3: it was just like just to finish. The thought was

1459
01:22:29,880 --> 01:22:33,679
Speaker 3: like it was the time where I just press record, gotcha,

1460
01:22:34,720 --> 01:22:37,200
Speaker 3: and I'm like, yo, I'm just checking. I'm just checking out,

1461
01:22:37,479 --> 01:22:41,080
Speaker 3: and like I turned everything on for every noad just

1462
01:22:41,160 --> 01:22:44,280
Speaker 3: record everything. I'm turning just record. And I had so

1463
01:22:44,400 --> 01:22:48,200
Speaker 3: much fun because I never knew that after I did it,

1464
01:22:48,760 --> 01:22:52,519
Speaker 3: you know, and I brought that into like all the

1465
01:22:52,600 --> 01:22:56,520
Speaker 3: music I would do after. It's like nah, like automation

1466
01:22:56,960 --> 01:23:00,439
Speaker 3: is like, you know, taking a bigger role, you know,

1467
01:23:01,280 --> 01:23:05,080
Speaker 3: and like returning it as like a real important quality

1468
01:23:05,120 --> 01:23:06,439
Speaker 3: instead of just like I need to bang and be

1469
01:23:06,640 --> 01:23:09,840
Speaker 3: you know, like doing record hello, record for MC's you know.

1470
01:23:10,680 --> 01:23:13,760
Speaker 1: Which record of yours you kind of see as a

1471
01:23:13,840 --> 01:23:18,960
Speaker 1: redheaded step child. Like I loved making my very first record,

1472
01:23:19,120 --> 01:23:24,600
Speaker 1: but I don't listen to it because we sound like amateurs.

1473
01:23:24,640 --> 01:23:27,960
Speaker 3: But like, for you, what album is that for the

1474
01:23:28,040 --> 01:23:31,679
Speaker 3: longest time, it was my first one for the longest song,

1475
01:23:32,800 --> 01:23:35,840
Speaker 3: the longest time, because yeah, because like my first record,

1476
01:23:36,760 --> 01:23:38,439
Speaker 3: I'm not talking about words nothing, I'm talking about my

1477
01:23:38,479 --> 01:23:42,439
Speaker 3: first record, the one that the demo, yeah, yeah, the

1478
01:23:42,520 --> 01:23:44,720
Speaker 3: one that you listened to though, the demo one that

1479
01:23:44,920 --> 01:23:47,760
Speaker 3: was the one that Venus Brown heard that and he

1480
01:23:47,960 --> 01:23:49,800
Speaker 3: wanted to clean it up. He was like, Okay, let's

1481
01:23:49,840 --> 01:23:54,320
Speaker 3: polish this. Oh yeah, it was a little all famous performance. Yeah,

1482
01:23:54,400 --> 01:23:56,639
Speaker 3: but what ended up getting released was the one from

1483
01:23:56,720 --> 01:23:59,519
Speaker 3: the VS A eighty e X, which is just me

1484
01:24:00,640 --> 01:24:03,160
Speaker 3: singing off key like you know. And so because of that,

1485
01:24:03,600 --> 01:24:06,760
Speaker 3: because I'm such a shit junkie, because like a lot

1486
01:24:06,760 --> 01:24:10,320
Speaker 3: of people don't know, like I really have like an

1487
01:24:10,360 --> 01:24:14,120
Speaker 3: instrumental approach to my vocalizations and stuff, like I really do,

1488
01:24:14,400 --> 01:24:16,880
Speaker 3: you know, So it'll just be like ah. But then

1489
01:24:17,000 --> 01:24:20,560
Speaker 3: like I think, now I could appreciate it, you know

1490
01:24:20,560 --> 01:24:23,160
Speaker 3: what I mean, Like, now I could appreciate it after

1491
01:24:23,240 --> 01:24:25,240
Speaker 3: all this time, be like, wow, at least I had

1492
01:24:25,280 --> 01:24:28,479
Speaker 3: the gut to sing my reparations, Like at least that's there.

1493
01:24:29,200 --> 01:24:32,800
Speaker 3: But I think also I think definitely another Step Child

1494
01:24:33,240 --> 01:24:37,360
Speaker 3: record at EP would definitely be Sogala Patti Bling Sgala

1495
01:24:37,760 --> 01:24:42,599
Speaker 3: because it's such a regional record, Like it's like when

1496
01:24:42,640 --> 01:24:44,880
Speaker 3: I go to d C, the black people know that

1497
01:24:45,040 --> 01:24:48,639
Speaker 3: Patti Bling records, so like it's so weird, like it's DC.

1498
01:24:48,880 --> 01:24:53,679
Speaker 3: It's like like Washington DC, Black DC, very very different

1499
01:24:54,320 --> 01:24:56,920
Speaker 3: vibrated with that with that record, you know what I mean,

1500
01:24:57,000 --> 01:24:59,280
Speaker 3: maybe because I call Laren Bush an apathetic hole, like

1501
01:24:59,439 --> 01:25:02,559
Speaker 3: I don't know why. But on the other side, it's

1502
01:25:02,600 --> 01:25:04,720
Speaker 3: like it wasn't like the conversation that you hear a

1503
01:25:04,760 --> 01:25:07,599
Speaker 3: lot now where it's like, oh, turnative black people. Oh

1504
01:25:07,880 --> 01:25:12,479
Speaker 3: you know, it's just like I'm just tuning into my

1505
01:25:12,600 --> 01:25:15,400
Speaker 3: punk funk. I got my punk funk on and I'm

1506
01:25:15,600 --> 01:25:19,920
Speaker 3: just going for whatever it is. I'm like smoking like

1507
01:25:20,320 --> 01:25:23,800
Speaker 3: so much weed, you know, I'm just making a record,

1508
01:25:23,880 --> 01:25:27,120
Speaker 3: you know. So I think that's I think that's really

1509
01:25:27,439 --> 01:25:31,080
Speaker 3: the Redheaded step Child, not in the sense that I

1510
01:25:31,200 --> 01:25:33,040
Speaker 3: don't like it, but in the sense that it's just

1511
01:25:33,120 --> 01:25:37,880
Speaker 3: like it's a strange like, yeah, it's super strange. But

1512
01:25:38,200 --> 01:25:40,720
Speaker 3: I think I think but for the longest time, like

1513
01:25:40,800 --> 01:25:43,439
Speaker 3: the one that you're talking about, like the one where

1514
01:25:43,479 --> 01:25:45,800
Speaker 3: you feel like it's almost a thrown in your side,

1515
01:25:45,920 --> 01:25:49,840
Speaker 3: like what in the world it was? It was that

1516
01:25:50,000 --> 01:25:53,599
Speaker 3: early album cause it's just like but then I had

1517
01:25:53,640 --> 01:25:57,680
Speaker 3: to give myself credit, that's what I'm talking about. That

1518
01:25:57,800 --> 01:26:00,519
Speaker 3: was the record because it was my first thing I

1519
01:26:00,600 --> 01:26:03,160
Speaker 3: ever made, So it was just like, but that's the song.

1520
01:26:03,360 --> 01:26:08,559
Speaker 3: But that's the records that most everybody everybody loved the record,

1521
01:26:09,400 --> 01:26:12,520
Speaker 3: but for me, I just felt like I sound so inexperienced,

1522
01:26:12,760 --> 01:26:17,040
Speaker 3: and I felt so, you know, all these different things,

1523
01:26:17,160 --> 01:26:20,360
Speaker 3: you know, So yeah, I mean, in that interesting. But

1524
01:26:20,600 --> 01:26:23,280
Speaker 3: now I can appreciate it because I'm like, dude, I

1525
01:26:23,479 --> 01:26:26,320
Speaker 3: was a child. My brain wasn't even done developing when

1526
01:26:26,360 --> 01:26:28,880
Speaker 3: I made that record. You know, I wasn't even twenty

1527
01:26:28,920 --> 01:26:30,960
Speaker 3: years old. I wasn't even like I was. I was

1528
01:26:31,000 --> 01:26:32,360
Speaker 3: a teenager making that record.

1529
01:26:32,400 --> 01:26:35,360
Speaker 1: So it's like, all right, So one of my least

1530
01:26:35,400 --> 01:26:40,439
Speaker 1: favorite Prince records was Diamonds and Borrels, right, Diamonds and Pearoles.

1531
01:26:40,560 --> 01:26:43,880
Speaker 3: Wow, okay was and then like you know, like, well.

1532
01:26:44,040 --> 01:26:48,760
Speaker 1: Here's the thing, and Prince fans get angry when I

1533
01:26:48,800 --> 01:26:52,559
Speaker 1: say this. So between seventy eight and eighty eight, Prince

1534
01:26:52,680 --> 01:26:58,880
Speaker 1: recorded in a very like, uh kind of it's a

1535
01:26:58,960 --> 01:27:03,600
Speaker 1: method that's it's mostly like it's it sounds demoi like

1536
01:27:03,800 --> 01:27:07,800
Speaker 1: he recorded in his bedroom. He recorded in a warehouse

1537
01:27:07,960 --> 01:27:14,320
Speaker 1: with no padding at all. So Princess sound. Yeah. And

1538
01:27:14,760 --> 01:27:18,160
Speaker 1: the thing is is that Diamonds and Pearls suddenly was

1539
01:27:18,320 --> 01:27:21,760
Speaker 1: this elegant, pretty sounding record.

1540
01:27:22,360 --> 01:27:25,360
Speaker 3: That also you felt like it was less pump, it

1541
01:27:25,479 --> 01:27:27,360
Speaker 3: had less punk punk values.

1542
01:27:27,760 --> 01:27:31,080
Speaker 1: Well, here's the thing, though, I maintained that for the

1543
01:27:31,360 --> 01:27:35,720
Speaker 1: thirty plus years it was out, and then two weeks ago,

1544
01:27:37,720 --> 01:27:39,360
Speaker 1: you know, the thing is is that the fact that

1545
01:27:39,439 --> 01:27:43,480
Speaker 1: we can carry our entire record collection inside this phone.

1546
01:27:43,760 --> 01:27:46,200
Speaker 3: Is that's so great.

1547
01:27:46,880 --> 01:27:50,360
Speaker 1: And so the thing is is that he released a

1548
01:27:50,720 --> 01:27:55,400
Speaker 1: five hour box set of Diamonds and Pearls with like

1549
01:27:55,720 --> 01:28:00,560
Speaker 1: outtakes and remixes and a live show, and and I

1550
01:28:00,680 --> 01:28:02,439
Speaker 1: had it was one of them days where it was like,

1551
01:28:02,560 --> 01:28:04,400
Speaker 1: you know, we had a snowstorm or whatever, and I

1552
01:28:04,520 --> 01:28:06,600
Speaker 1: was like, all right, you know what, I'm gonna sit

1553
01:28:06,720 --> 01:28:10,080
Speaker 1: here and listen to this five hour record. And when

1554
01:28:10,120 --> 01:28:16,200
Speaker 1: I listened to the outtakes, right, but here's the thing.

1555
01:28:16,360 --> 01:28:19,600
Speaker 1: When I listened to the outtakes, I realized that he

1556
01:28:19,920 --> 01:28:23,280
Speaker 1: demoed the album first, and then he went in the

1557
01:28:23,320 --> 01:28:27,599
Speaker 1: studio and did the pretty professional adult contemporary record.

1558
01:28:27,640 --> 01:28:28,959
Speaker 2: But man, those demos.

1559
01:28:29,200 --> 01:28:31,320
Speaker 3: Do you like their demo? Did you like the demo?

1560
01:28:31,920 --> 01:28:38,719
Speaker 1: I made a fourteen song compilation of outtakes that would

1561
01:28:38,760 --> 01:28:45,120
Speaker 1: have probably been my top five prints record because it's.

1562
01:28:45,720 --> 01:28:49,120
Speaker 3: Man, it made that much of a difference, exactly.

1563
01:28:49,439 --> 01:28:53,479
Speaker 1: And we get embarrassed by the blemishes and the not

1564
01:28:53,680 --> 01:28:58,440
Speaker 1: readiness of a record. But I now I now understand

1565
01:28:59,680 --> 01:29:03,080
Speaker 1: why it's important to keep the blemishes in the spots

1566
01:29:03,720 --> 01:29:04,879
Speaker 1: and where you're green.

1567
01:29:04,800 --> 01:29:06,280
Speaker 2: And that sort of thing.

1568
01:29:18,360 --> 01:29:21,320
Speaker 1: I definitely want to talk Harry Tubman now. I mean

1569
01:29:21,360 --> 01:29:24,040
Speaker 1: to me, it's not lost on me that Harriet Tubman

1570
01:29:25,040 --> 01:29:32,479
Speaker 1: represents freedom and Liberation's something that I know that you

1571
01:29:33,960 --> 01:29:39,720
Speaker 1: are experiencing in various ways in your life, your entire

1572
01:29:39,800 --> 01:29:43,040
Speaker 1: life as a restart, as a redo and whatnot. So

1573
01:29:43,320 --> 01:29:46,559
Speaker 1: talk about just talk about the genesis and the seeds

1574
01:29:46,840 --> 01:29:50,120
Speaker 1: of how this album came to be and.

1575
01:29:50,840 --> 01:29:53,600
Speaker 3: Oh my gosh, it's my dream gig. Actually this is

1576
01:29:53,680 --> 01:29:56,240
Speaker 3: like actually if it's like you know, you know, when

1577
01:29:56,320 --> 01:29:58,920
Speaker 3: like most Death had director when he had the band

1578
01:29:59,160 --> 01:30:03,160
Speaker 3: with like it was it was like Bernie Waring Doug

1579
01:30:03,240 --> 01:30:06,920
Speaker 3: went with like all of the sugar Hill realness, what

1580
01:30:07,320 --> 01:30:10,520
Speaker 3: like Jack Johnson. It was all of that all Sugarhill

1581
01:30:12,360 --> 01:30:17,640
Speaker 3: wish with Bernie Warril. And that's how I feel like

1582
01:30:17,800 --> 01:30:20,840
Speaker 3: as far as working with Harriet Tubman, because like God

1583
01:30:20,960 --> 01:30:23,200
Speaker 3: led me to this band. I was in Williamsburg, Brooklyn,

1584
01:30:23,600 --> 01:30:27,160
Speaker 3: and I just went out. I went out because I

1585
01:30:27,280 --> 01:30:29,880
Speaker 3: just had to. Yeah, and it's like make a left

1586
01:30:29,920 --> 01:30:31,479
Speaker 3: hand ter, make a right hand tern. I ended up

1587
01:30:31,520 --> 01:30:33,560
Speaker 3: at this place that it was like they had a

1588
01:30:33,640 --> 01:30:36,760
Speaker 3: lot of this is place called Galavagos. It's not there,

1589
01:30:36,800 --> 01:30:40,360
Speaker 3: not no more. But basically I happened upon the spot

1590
01:30:40,479 --> 01:30:44,400
Speaker 3: like I let myself be led to this sign on

1591
01:30:44,520 --> 01:30:48,960
Speaker 3: the sidewalk that says Harriet Tubman playing now. And I

1592
01:30:49,120 --> 01:30:54,920
Speaker 3: was like what I was like twenty years old. I

1593
01:30:55,080 --> 01:30:58,599
Speaker 3: go in there. I had just finished like worth nothings

1594
01:30:58,640 --> 01:31:01,080
Speaker 3: and all this, like like I'm myfulilosophies all the way

1595
01:31:01,120 --> 01:31:04,559
Speaker 3: together at this point. It's like it's all the way together.

1596
01:31:04,960 --> 01:31:08,120
Speaker 3: And I hear these cats that like live there, like

1597
01:31:08,720 --> 01:31:11,200
Speaker 3: they live there. I'm like they understand what it is

1598
01:31:11,240 --> 01:31:16,120
Speaker 3: I'm doing. I'm like, oh, I understand them. I'm one

1599
01:31:16,160 --> 01:31:21,559
Speaker 3: of them. And I remember being there and getting againnes

1600
01:31:21,600 --> 01:31:27,280
Speaker 3: stout for dinner and like tripping out like they had

1601
01:31:27,320 --> 01:31:29,439
Speaker 3: a month residency, and I went every day like I

1602
01:31:29,520 --> 01:31:32,439
Speaker 3: went every week that they were playing, because it felt

1603
01:31:32,520 --> 01:31:36,040
Speaker 3: like this alternative if there was a jew joint for

1604
01:31:36,160 --> 01:31:39,559
Speaker 3: somebody like me, this would be the Blues that would

1605
01:31:39,560 --> 01:31:40,639
Speaker 3: be playing on stage.

1606
01:31:40,840 --> 01:31:41,800
Speaker 2: Where can I find this.

1607
01:31:43,760 --> 01:31:46,240
Speaker 3: Harriet Tubman? You better do the knowledge. The terror end

1608
01:31:46,280 --> 01:31:49,760
Speaker 3: of Beauty is an incredible record. I mean they've been

1609
01:31:49,840 --> 01:31:52,439
Speaker 3: jamming since ninety eight, Like Melvin gives the bass players

1610
01:31:52,560 --> 01:31:54,759
Speaker 3: one of the founding members of the Black Rock Coalition.

1611
01:31:57,360 --> 01:31:59,040
Speaker 2: Well, yeah, yeah, I.

1612
01:31:59,040 --> 01:32:02,799
Speaker 3: Mean JT's liminal thrash Monster. I mean, as a drummer

1613
01:32:03,840 --> 01:32:06,720
Speaker 3: is one of the most genius drummers I've ever heard

1614
01:32:06,760 --> 01:32:09,960
Speaker 3: in my life as far as like being able to

1615
01:32:11,360 --> 01:32:16,040
Speaker 3: play not not much up above a hush and all

1616
01:32:16,160 --> 01:32:20,839
Speaker 3: this shit man like like like tumbling, like it's almost

1617
01:32:20,880 --> 01:32:23,920
Speaker 3: like a ninja that's like can hop on like the

1618
01:32:24,120 --> 01:32:26,400
Speaker 3: roof and you don't hear him land. You know. It's

1619
01:32:26,479 --> 01:32:33,120
Speaker 3: like these cats is musical ninjas, you know. And I've

1620
01:32:33,160 --> 01:32:35,639
Speaker 3: been a fan of them since I was twenty years old,

1621
01:32:35,720 --> 01:32:38,960
Speaker 3: like so like to be forty two. This is the

1622
01:32:39,040 --> 01:32:41,559
Speaker 3: dream gig. And so what happened is that we had

1623
01:32:41,680 --> 01:32:44,880
Speaker 3: both had the same booking agent. I was playing at

1624
01:32:44,920 --> 01:32:50,479
Speaker 3: the Detroit Jazz Festival and Maurice, the booking agent, was like, well,

1625
01:32:50,560 --> 01:32:54,120
Speaker 3: you know, Harriet Tubman's gonna be playing there too, and

1626
01:32:54,360 --> 01:32:56,800
Speaker 3: I represent them as well, and uh, what do you

1627
01:32:56,840 --> 01:32:58,960
Speaker 3: think about playing with her? I said, you don't know

1628
01:32:58,960 --> 01:33:01,160
Speaker 3: about Harriet Tully too st to know about some harrytails,

1629
01:33:01,200 --> 01:33:02,680
Speaker 3: like what youre talking about, but don't talk about my

1630
01:33:02,960 --> 01:33:05,439
Speaker 3: don't talk about my band. You don't know about Harry

1631
01:33:05,560 --> 01:33:08,280
Speaker 3: telling you know what you know about. No, I'll have

1632
01:33:08,400 --> 01:33:12,200
Speaker 3: them call it, you know. And so I was like,

1633
01:33:12,560 --> 01:33:14,080
Speaker 3: He's like, would you want them to? Because He's like,

1634
01:33:14,120 --> 01:33:17,320
Speaker 3: you're already because during the time where I'm like politically

1635
01:33:17,560 --> 01:33:21,360
Speaker 3: digging in, like as far as like music as our language,

1636
01:33:21,520 --> 01:33:23,920
Speaker 3: you know that we can have accents like you know,

1637
01:33:24,240 --> 01:33:26,400
Speaker 3: And I'm going like, I'm playing in the moment because

1638
01:33:26,520 --> 01:33:28,720
Speaker 3: coming out of the pandemic, I wanted a place for

1639
01:33:28,880 --> 01:33:32,360
Speaker 3: musicians to be able to acknowledge that we can't move forward.

1640
01:33:32,680 --> 01:33:34,560
Speaker 3: I wanted so I used my band staying as a

1641
01:33:34,560 --> 01:33:37,320
Speaker 3: place for advocacy for musicianship. So I was like, we're

1642
01:33:37,320 --> 01:33:38,040
Speaker 3: playing in the moment.

1643
01:33:38,600 --> 01:33:39,320
Speaker 2: What did you do?

1644
01:33:41,280 --> 01:33:44,599
Speaker 1: Twenty twenty was the year where I probably played drums

1645
01:33:44,640 --> 01:33:49,200
Speaker 1: the least. Was the year that I've I've never not

1646
01:33:49,360 --> 01:33:52,000
Speaker 1: been on a stage, like eight months in a row

1647
01:33:52,080 --> 01:33:54,799
Speaker 1: and not had a show, not been on a stage,

1648
01:33:54,960 --> 01:33:56,479
Speaker 1: not seeing an audience eight months.

1649
01:33:56,760 --> 01:33:58,280
Speaker 2: What did you do during the pandemic?

1650
01:33:58,640 --> 01:34:03,080
Speaker 3: I put out a record that was wild and it

1651
01:34:03,439 --> 01:34:05,960
Speaker 3: did well. I put out a record during the pandemic

1652
01:34:06,600 --> 01:34:09,800
Speaker 3: that that's wild, but I did, yeah, and it was

1653
01:34:09,880 --> 01:34:11,840
Speaker 3: called Momy. You can bet it's like my favorite record

1654
01:34:11,880 --> 01:34:15,080
Speaker 3: I made. It's my favorite one, you know, because it's

1655
01:34:15,120 --> 01:34:18,479
Speaker 3: like where Jot goes completely like vocal, Like there's vocal

1656
01:34:18,640 --> 01:34:19,400
Speaker 3: jams like you know.

1657
01:34:19,880 --> 01:34:25,200
Speaker 1: But so creativity didn't wane or change much in the pandemic,

1658
01:34:25,720 --> 01:34:28,680
Speaker 1: like and I mean, like what did you do? I mean,

1659
01:34:28,720 --> 01:34:32,680
Speaker 1: I know you've released records, but like for you, was

1660
01:34:32,880 --> 01:34:37,519
Speaker 1: creativity or just how you channeled different than it?

1661
01:34:37,720 --> 01:34:40,920
Speaker 3: I mean, I definitely it allowed me to rest a

1662
01:34:41,000 --> 01:34:43,920
Speaker 3: lot more because I have been working, and you know,

1663
01:34:44,000 --> 01:34:46,840
Speaker 3: when you worked so hard, I've been worked so hard

1664
01:34:46,920 --> 01:34:50,880
Speaker 3: for so long. I was able to really key back

1665
01:34:50,960 --> 01:34:55,360
Speaker 3: into like getting spiritually buffed, like you know, having meditate

1666
01:34:55,600 --> 01:35:00,360
Speaker 3: elongated meditation time and understanding the benefit of you know,

1667
01:35:00,560 --> 01:35:06,960
Speaker 3: spiritual spiritual activities you know, like things that help you

1668
01:35:07,240 --> 01:35:13,000
Speaker 3: to evolve, you know, breathing and meditation and prayer and

1669
01:35:13,520 --> 01:35:17,000
Speaker 3: you know, journaling and understand why what am I doing

1670
01:35:17,080 --> 01:35:17,320
Speaker 3: this for?

1671
01:35:17,520 --> 01:35:17,560
Speaker 1: What?

1672
01:35:18,040 --> 01:35:19,799
Speaker 3: You know, you get a chance to like take personal

1673
01:35:19,880 --> 01:35:22,240
Speaker 3: inventory and I feel like as I did that, I

1674
01:35:22,320 --> 01:35:27,040
Speaker 3: became very much magnetic, even like magnetizing certain songs at

1675
01:35:27,080 --> 01:35:30,000
Speaker 3: that time where social media really had like a height.

1676
01:35:30,640 --> 01:35:32,760
Speaker 3: I think it was a balloon that was growing, like

1677
01:35:32,800 --> 01:35:35,360
Speaker 3: I think it balloon during the pandemic because it was

1678
01:35:35,439 --> 01:35:38,040
Speaker 3: something still like so much real about it as far

1679
01:35:38,120 --> 01:35:41,040
Speaker 3: as like I could put out a song to help

1680
01:35:41,080 --> 01:35:45,200
Speaker 3: people feel good about themselves, or like putting out songs

1681
01:35:45,240 --> 01:35:47,680
Speaker 3: would be like just something that loops around and like

1682
01:35:48,400 --> 01:35:50,639
Speaker 3: help people to stay in a positive state of mind.

1683
01:35:51,280 --> 01:35:53,800
Speaker 2: You know, how do you deal with stress or what's

1684
01:35:53,840 --> 01:35:54,920
Speaker 2: your self cared routine?

1685
01:35:55,320 --> 01:35:58,360
Speaker 3: Well, God told me something about stress. And what God

1686
01:35:58,439 --> 01:36:03,519
Speaker 3: told me was that stresses. This is literally the veneration

1687
01:36:03,640 --> 01:36:05,960
Speaker 3: of a strange God. You know, before people start to

1688
01:36:06,120 --> 01:36:09,880
Speaker 3: like judge other people right, like to be like, oh,

1689
01:36:10,400 --> 01:36:15,240
Speaker 3: you know, yo, Jesus, don't look like he the Beg's

1690
01:36:15,560 --> 01:36:19,680
Speaker 3: from Australia, Like before all that happens, you know, or

1691
01:36:19,760 --> 01:36:21,960
Speaker 3: you know Christianity, Jesus, you know all that before all

1692
01:36:22,000 --> 01:36:25,720
Speaker 3: of this starts happening, right, Well, the strangest God is

1693
01:36:25,760 --> 01:36:29,599
Speaker 3: the one that that terrifies your nervous system. The strangest

1694
01:36:29,640 --> 01:36:32,519
Speaker 3: God is the one that actually like raises cortisol in

1695
01:36:32,600 --> 01:36:35,560
Speaker 3: your in your being that you know, like the Cortisol's

1696
01:36:35,560 --> 01:36:38,280
Speaker 3: alarm system to say that, hey, you haven't released this.

1697
01:36:38,960 --> 01:36:42,080
Speaker 3: You're not trusting that life has you in the call

1698
01:36:42,160 --> 01:36:45,320
Speaker 3: of its hand. You you're not trusting that that you

1699
01:36:45,640 --> 01:36:48,360
Speaker 3: are not just your own consciousness.

1700
01:36:49,920 --> 01:36:52,040
Speaker 2: Sometimes we all do.

1701
01:36:52,479 --> 01:36:54,160
Speaker 3: God wouldn't have told me nothing if I didn't, if

1702
01:36:54,160 --> 01:36:56,479
Speaker 3: I didn't need to get told, He got me told.

1703
01:36:56,880 --> 01:37:00,280
Speaker 3: So it was just like, stress is the veneration of

1704
01:37:00,439 --> 01:37:03,960
Speaker 3: a strange God, the one that doesn't come through, the

1705
01:37:04,080 --> 01:37:07,639
Speaker 3: one that doesn't keep the promises, the one that lies

1706
01:37:07,720 --> 01:37:13,280
Speaker 3: to you about everything. And when it was reframed as worship,

1707
01:37:14,320 --> 01:37:17,360
Speaker 3: that's when I could get really tight, you know. And

1708
01:37:17,520 --> 01:37:23,400
Speaker 3: sometimes I'm stressing non vocally, you know, just because of

1709
01:37:24,000 --> 01:37:26,600
Speaker 3: my neural sauce. Sometimes sometimes my fist will just be

1710
01:37:26,720 --> 01:37:30,439
Speaker 3: balled up kind of and I have to like remember

1711
01:37:30,439 --> 01:37:35,240
Speaker 3: it go, you know, and open up and be okay,

1712
01:37:35,800 --> 01:37:38,120
Speaker 3: you know. And I think a lot of the time too,

1713
01:37:38,479 --> 01:37:41,600
Speaker 3: because I'm a helper be you know, I love to

1714
01:37:41,680 --> 01:37:45,160
Speaker 3: help people so much that sometimes I do it to

1715
01:37:45,280 --> 01:37:48,120
Speaker 3: my own self because I just want to be help.

1716
01:37:48,200 --> 01:37:51,000
Speaker 3: I love solutions that I hear solutions so fast that

1717
01:37:51,120 --> 01:37:53,880
Speaker 3: I can like, oh, oh, let's try this, let's try it. Oh,

1718
01:37:54,240 --> 01:37:58,960
Speaker 3: and then when the level of engagement isn't met, then

1719
01:37:59,320 --> 01:38:02,560
Speaker 3: a stress can can happen. So now before I do

1720
01:38:02,760 --> 01:38:04,840
Speaker 3: those things, I can have an idea and I know

1721
01:38:04,920 --> 01:38:07,000
Speaker 3: that I can write it down somewhere as a prayer,

1722
01:38:07,680 --> 01:38:11,240
Speaker 3: and if it comes back up to me, if somebody

1723
01:38:11,360 --> 01:38:13,640
Speaker 3: asks me for my help, then I can say, oh,

1724
01:38:13,720 --> 01:38:15,840
Speaker 3: I was thinking about this. I have this for you,

1725
01:38:16,479 --> 01:38:19,680
Speaker 3: instead of going like taking on everyone's problems, you know.

1726
01:38:20,560 --> 01:38:22,320
Speaker 3: But for me, what I do with stress is that

1727
01:38:23,040 --> 01:38:28,280
Speaker 3: I go outside and I do this deep bent as

1728
01:38:28,400 --> 01:38:30,680
Speaker 3: if like you know, a moonwalk, like you know the

1729
01:38:30,760 --> 01:38:34,679
Speaker 3: astronaut like when they land, I do a deep slow

1730
01:38:34,800 --> 01:38:37,400
Speaker 3: motion BND like I just landed back on planet Earth.

1731
01:38:38,439 --> 01:38:42,120
Speaker 3: And when I get back up like this, somehow the

1732
01:38:42,200 --> 01:38:47,400
Speaker 3: trees begin to lay hello, and I start over, and

1733
01:38:47,479 --> 01:38:51,040
Speaker 3: then I remember the trees are holding hand beneath my feet,

1734
01:38:52,040 --> 01:38:55,519
Speaker 3: you know, they're holding their hands right under my feet,

1735
01:38:55,600 --> 01:38:58,920
Speaker 3: and I could feel that, you know, and I could

1736
01:38:59,040 --> 01:39:05,080
Speaker 3: listen like when I'm stressing out, it's because I'm jumping

1737
01:39:05,160 --> 01:39:09,760
Speaker 3: to conclusions about every passing moment. I'm jumping to these

1738
01:39:09,800 --> 01:39:13,160
Speaker 3: conclusions that are poisonous, you know, instead of going like,

1739
01:39:13,560 --> 01:39:18,920
Speaker 3: don't jump there yet, just listen, Just listen here, let

1740
01:39:18,960 --> 01:39:21,719
Speaker 3: your heart beat a few more times. You're not gonna

1741
01:39:21,760 --> 01:39:23,920
Speaker 3: die from letting your heart beat few more times. You're

1742
01:39:23,920 --> 01:39:27,320
Speaker 3: gonna die from not doing that. You're not gonna die

1743
01:39:27,400 --> 01:39:29,720
Speaker 3: from taking one more breath before you come up with

1744
01:39:29,840 --> 01:39:33,439
Speaker 3: an answer. You're gonna die from not taking a breath

1745
01:39:33,560 --> 01:39:35,960
Speaker 3: before you come up with another answer. So it's just

1746
01:39:36,040 --> 01:39:40,200
Speaker 3: those kind of things, you know. And then also music.

1747
01:39:41,880 --> 01:39:44,720
Speaker 3: I like, I'll turn on the mog, you know, I

1748
01:39:44,800 --> 01:39:48,519
Speaker 3: have a grandmother mog, and I'll I'll do the win

1749
01:39:48,600 --> 01:39:52,240
Speaker 3: grease man. I'll get start greasing the wind man. I'll start.

1750
01:39:52,600 --> 01:39:55,320
Speaker 3: I turn a knob intil the part of my spine,

1751
01:39:55,479 --> 01:40:01,559
Speaker 3: like relax, you know, And I use my I use

1752
01:40:01,640 --> 01:40:05,680
Speaker 3: my discomfort as a map for what sounds gonna come

1753
01:40:05,760 --> 01:40:09,640
Speaker 3: up next. I'll do that. And I'll do that with

1754
01:40:09,840 --> 01:40:12,120
Speaker 3: one speaker on. It don't even matter. I just funk

1755
01:40:12,160 --> 01:40:15,160
Speaker 3: in Monel right there. And then I'm like, then keep

1756
01:40:15,240 --> 01:40:17,519
Speaker 3: that on, right, I've done that for other folks. There's

1757
01:40:17,560 --> 01:40:20,400
Speaker 3: some other folks that I was supposed to produce their record, right,

1758
01:40:20,400 --> 01:40:22,760
Speaker 3: I'm gonna keep them anonymous to protect them, you know.

1759
01:40:23,320 --> 01:40:26,679
Speaker 3: But like there's people that was in such a world.

1760
01:40:27,479 --> 01:40:29,840
Speaker 3: It wasn't about making no music. It was about hearing

1761
01:40:29,880 --> 01:40:32,679
Speaker 3: what the problem was, turn it on that mode Model

1762
01:40:32,760 --> 01:40:37,040
Speaker 3: D and recording that and they can go home with that,

1763
01:40:37,880 --> 01:40:41,479
Speaker 3: go play that so that you can come on back,

1764
01:40:41,720 --> 01:40:44,120
Speaker 3: you know what I'm saying. You know, sometimes it just

1765
01:40:44,640 --> 01:40:46,880
Speaker 3: takes one tumb before it before somebody had to be

1766
01:40:47,000 --> 01:40:49,519
Speaker 3: working at something. It's just be like, well, take two

1767
01:40:49,600 --> 01:40:51,400
Speaker 3: of ease and call me in the morning for real,

1768
01:40:51,880 --> 01:40:54,280
Speaker 3: you know. So I've done that as a producer, like

1769
01:40:54,360 --> 01:40:57,360
Speaker 3: send somebody home, like just chill with that, and it'll

1770
01:40:57,400 --> 01:40:59,599
Speaker 3: be like, thank you so much, because it'd be like, yo,

1771
01:40:59,680 --> 01:41:02,280
Speaker 3: I feel like I went swimming or something, you know.

1772
01:41:03,400 --> 01:41:04,960
Speaker 3: And then of course I've had a lot of guinea

1773
01:41:05,000 --> 01:41:05,920
Speaker 3: pigs like tests on.

1774
01:41:06,000 --> 01:41:07,920
Speaker 1: People where do you feel it?

1775
01:41:08,760 --> 01:41:11,840
Speaker 3: Where do you feeling you know, like like and then

1776
01:41:11,840 --> 01:41:15,000
Speaker 3: when everybody's doing the same thing, you know, yeah here,

1777
01:41:15,760 --> 01:41:20,000
Speaker 3: you know. But the way that I answer stress is strategy.

1778
01:41:20,479 --> 01:41:24,920
Speaker 3: You know. Strategy helps me like mitigate stress, you know.

1779
01:41:25,600 --> 01:41:28,040
Speaker 3: So it's like it'll be like a whole sequence of

1780
01:41:28,120 --> 01:41:31,120
Speaker 3: some kind. Maybe it's me landing slow motion back on planet,

1781
01:41:31,200 --> 01:41:36,200
Speaker 3: or maybe it's you know, toning into my lumbard so

1782
01:41:36,320 --> 01:41:40,519
Speaker 3: that it loosens up. You know. Sometimes it's cooking, you know.

1783
01:41:40,600 --> 01:41:42,320
Speaker 3: Sometimes it's a pot of black eyed peas. You know,

1784
01:41:43,200 --> 01:41:46,080
Speaker 3: you know Collin Greens, you know, make some candy ams

1785
01:41:46,160 --> 01:41:48,920
Speaker 3: just because just make them, you know, make some candy. Hm.

1786
01:41:49,200 --> 01:41:51,080
Speaker 3: That's what's wrong with you. You ain't had no home cooking,

1787
01:41:51,479 --> 01:41:51,640
Speaker 3: you know.

1788
01:41:52,800 --> 01:41:57,519
Speaker 2: Question what other talent do you possess that we are

1789
01:41:57,680 --> 01:41:58,160
Speaker 2: unaware of?

1790
01:41:59,080 --> 01:42:01,800
Speaker 3: What other I don't know. I don't know, because if

1791
01:42:01,800 --> 01:42:05,160
Speaker 3: you it depends. I think it's regional because we're on town.

1792
01:42:05,240 --> 01:42:07,439
Speaker 3: Like I got the best black eyed peas in town.

1793
01:42:07,840 --> 01:42:10,920
Speaker 3: That's it. That's just the truth. That's just the truth,

1794
01:42:11,800 --> 01:42:13,560
Speaker 3: you know. And if and if they taste.

1795
01:42:13,320 --> 01:42:16,200
Speaker 2: Good, it's the way, go ahead, finish.

1796
01:42:16,400 --> 01:42:18,600
Speaker 3: Oh no, no, it's all right. No, I mean no,

1797
01:42:18,680 --> 01:42:20,560
Speaker 3: they're gonna be the best. I'm trying to tell you,

1798
01:42:20,640 --> 01:42:22,599
Speaker 3: you know what I'm saying. Like I think people judge

1799
01:42:22,600 --> 01:42:23,560
Speaker 3: because my wrists.

1800
01:42:23,320 --> 01:42:23,680
Speaker 1: Look like this.

1801
01:42:24,360 --> 01:42:26,920
Speaker 3: They'd be like, you don't be cooking. They'd be like,

1802
01:42:27,000 --> 01:42:29,400
Speaker 3: oh no, I don't see, No, you ain't got nothing

1803
01:42:29,439 --> 01:42:31,120
Speaker 3: going on right there, you know what I mean. I

1804
01:42:31,240 --> 01:42:34,000
Speaker 3: really do cook. I really, I actually really cook. I

1805
01:42:34,160 --> 01:42:36,599
Speaker 3: love to cook. I cook for the community. It's part

1806
01:42:36,640 --> 01:42:40,280
Speaker 3: of my spiritual path. It's like it's my spiritual It's

1807
01:42:40,320 --> 01:42:43,200
Speaker 3: like for me cooking as martial arts because I think

1808
01:42:43,960 --> 01:42:49,599
Speaker 3: one day it's gonna be a day where we love

1809
01:42:49,680 --> 01:42:52,920
Speaker 3: ourselves more as a people and we can value more

1810
01:42:53,000 --> 01:42:56,120
Speaker 3: things about how we go about stuff. When soul food

1811
01:42:56,240 --> 01:43:00,280
Speaker 3: can be like a whole. Like the way people teach

1812
01:43:00,360 --> 01:43:03,839
Speaker 3: yoga's way, they'll teach culinary arts. Like you know, everybody

1813
01:43:03,880 --> 01:43:06,240
Speaker 3: sit down and be like now, if you feel like

1814
01:43:06,360 --> 01:43:09,759
Speaker 3: yelling at somebody, you need to chill. Okay, take a breath.

1815
01:43:10,400 --> 01:43:12,559
Speaker 3: You know first of all that we don't want none

1816
01:43:12,560 --> 01:43:14,439
Speaker 3: of that in our food. That's nasty. Don't put that

1817
01:43:14,520 --> 01:43:16,080
Speaker 3: in our food, you know what I mean.

1818
01:43:16,280 --> 01:43:17,240
Speaker 1: But it's funny.

1819
01:43:18,360 --> 01:43:20,960
Speaker 3: But with the sisters, like we are like that anyway

1820
01:43:21,520 --> 01:43:23,160
Speaker 3: when you talk, when sisters talk to this other and

1821
01:43:23,240 --> 01:43:26,960
Speaker 3: be like good every day. I don't cook cookies when

1822
01:43:27,000 --> 01:43:32,320
Speaker 3: I got to work through it with this attitude, you

1823
01:43:32,400 --> 01:43:34,040
Speaker 3: know what I'm saying, Like that kind of stuff, Like

1824
01:43:34,080 --> 01:43:36,599
Speaker 3: I feel like I don't know the arts and sciences

1825
01:43:36,720 --> 01:43:40,639
Speaker 3: where they kind of like collide is through those kinds

1826
01:43:40,640 --> 01:43:43,519
Speaker 3: of conversations. So I'm always very interested in that. In cooking.

1827
01:43:44,760 --> 01:43:48,400
Speaker 3: I love cooking I love art. I'm an avid water colorist.

1828
01:43:49,000 --> 01:43:52,360
Speaker 3: Our water color every day. I love it like it's

1829
01:43:52,720 --> 01:43:55,320
Speaker 3: I love it. I mean, I have so much art

1830
01:43:55,360 --> 01:43:56,720
Speaker 3: to the point where I'm gonna have to figure out

1831
01:43:56,760 --> 01:43:59,240
Speaker 3: storage in a second. It's I do textile, al right.

1832
01:43:59,320 --> 01:44:02,120
Speaker 3: I love to quach. I love to I love to paint.

1833
01:44:02,560 --> 01:44:05,080
Speaker 3: And one of my favorite pieces in acrylic is called

1834
01:44:05,160 --> 01:44:10,000
Speaker 3: Father water Malone and it's like a like five feet

1835
01:44:10,120 --> 01:44:12,560
Speaker 3: by three feet, you know, like I'll be painting. So

1836
01:44:13,080 --> 01:44:16,120
Speaker 3: I love to paint. And I feel like.

1837
01:44:19,760 --> 01:44:20,360
Speaker 1: Who knew?

1838
01:44:21,400 --> 01:44:23,519
Speaker 3: I knew because that was like the first conversation we

1839
01:44:23,600 --> 01:44:26,120
Speaker 3: had back in the day, my first my first conversation

1840
01:44:26,240 --> 01:44:28,840
Speaker 3: with but I was like, do you paint?

1841
01:44:29,320 --> 01:44:36,000
Speaker 1: And he was like, yeah, everybody that paints. Chuck D's

1842
01:44:36,040 --> 01:44:37,639
Speaker 1: one of them. George Clinton is one of them.

1843
01:44:37,800 --> 01:44:38,479
Speaker 2: I collect.

1844
01:44:38,960 --> 01:44:41,280
Speaker 3: He's a beat us a beat yo.

1845
01:44:42,280 --> 01:44:48,519
Speaker 1: George Chuck D and I were talking last week about uh,

1846
01:44:49,160 --> 01:44:54,560
Speaker 1: I believe otis Redding And as we were talking, I

1847
01:44:54,600 --> 01:44:57,760
Speaker 1: didn't realize he did a full blown sketch. I guess

1848
01:44:57,800 --> 01:45:00,160
Speaker 1: he just does that as a therapeutic thing. And to

1849
01:45:00,600 --> 01:45:04,479
Speaker 1: here bono from you two also the same. I want

1850
01:45:04,520 --> 01:45:07,640
Speaker 1: to collect some of your work this conversation could have

1851
01:45:07,720 --> 01:45:12,400
Speaker 1: been more timely, and I'm also kicking myself that it's

1852
01:45:12,520 --> 01:45:17,200
Speaker 1: taken twenty plus years for us to really talk and

1853
01:45:17,840 --> 01:45:20,200
Speaker 1: have this conversation. But I'm actually glad I got to

1854
01:45:21,200 --> 01:45:24,320
Speaker 1: witness you from demo to where you are now. You're

1855
01:45:24,360 --> 01:45:29,040
Speaker 1: metamorphosis and yeah, man, you're just really You're so channeled.

1856
01:45:30,560 --> 01:45:35,200
Speaker 2: I have hope for the future because of your creative

1857
01:45:35,280 --> 01:45:36,680
Speaker 2: Thank you, and I want to.

1858
01:45:36,720 --> 01:45:39,400
Speaker 3: Thank you doing my podcast for me, Yo, thank you,

1859
01:45:39,760 --> 01:45:42,280
Speaker 3: Thank you so much for your love of music. Thank

1860
01:45:42,360 --> 01:45:44,240
Speaker 3: you so much for letting me know I could be

1861
01:45:44,479 --> 01:45:48,120
Speaker 3: expressive and be I just love how much you love music. Man.

1862
01:45:48,600 --> 01:45:51,679
Speaker 3: I love that, I love your I love how detail

1863
01:45:51,920 --> 01:45:55,400
Speaker 3: gets for you and it doesn't, you know, for me.

1864
01:45:56,160 --> 01:45:59,599
Speaker 3: I'm just happy that we can just see that we've

1865
01:45:59,600 --> 01:46:03,000
Speaker 3: been each other all along as people, that this is

1866
01:46:03,080 --> 01:46:05,720
Speaker 3: the time where we can draw nearer. And I'm so

1867
01:46:05,880 --> 01:46:08,560
Speaker 3: looking forward to all the rest of the things that

1868
01:46:08,680 --> 01:46:11,360
Speaker 3: you'll do to enjoy yourself even more and more all

1869
01:46:11,439 --> 01:46:11,840
Speaker 3: the time.

1870
01:46:12,040 --> 01:46:15,160
Speaker 2: Well, I'm looking forward to my play The Black Eyed Piece,

1871
01:46:15,200 --> 01:46:16,479
Speaker 2: so I'm gonna remind you of that.

1872
01:46:16,680 --> 01:46:20,719
Speaker 3: But yeah, thank you so much.

1873
01:46:20,760 --> 01:46:23,479
Speaker 2: Ladies and gentlemen. Once again, Georgia and Mandureau.

1874
01:46:23,720 --> 01:46:27,719
Speaker 1: There are twenty three plus albums that you can immerse

1875
01:46:27,760 --> 01:46:31,439
Speaker 1: yourself in and really and I never do this. I

1876
01:46:31,560 --> 01:46:33,640
Speaker 1: never have to sell an artists on the show, but

1877
01:46:34,240 --> 01:46:37,840
Speaker 1: we owe it to ourselves to I don't know, go

1878
01:46:38,160 --> 01:46:41,560
Speaker 1: go high vibrational and you know, and this is what

1879
01:46:42,040 --> 01:46:43,760
Speaker 1: and you know again, I've never been to the person

1880
01:46:43,800 --> 01:46:46,880
Speaker 1: and been like hey, like and subscribe like, but I

1881
01:46:47,040 --> 01:46:50,920
Speaker 1: want you guys to really support, like if you're here

1882
01:46:50,960 --> 01:46:53,840
Speaker 1: at this point of this interview, I want you to

1883
01:46:55,479 --> 01:46:57,280
Speaker 1: because we don't get to hear your words and this

1884
01:46:57,520 --> 01:47:00,400
Speaker 1: is what you know. And I'm a doom score like

1885
01:47:00,479 --> 01:47:02,599
Speaker 1: the rest of them, and I shouldn't be as much.

1886
01:47:03,320 --> 01:47:08,960
Speaker 1: And sometimes I need to hear artists that are divinely

1887
01:47:09,080 --> 01:47:12,440
Speaker 1: inspired to remind me why artists are so important.

1888
01:47:12,439 --> 01:47:13,600
Speaker 2: And I thank you for that.

1889
01:47:13,800 --> 01:47:16,000
Speaker 1: And so till the next episode of People, this is

1890
01:47:16,040 --> 01:47:19,200
Speaker 1: the Quest Love Show and once again the Great Georgia A. M.

1891
01:47:19,280 --> 01:47:22,479
Speaker 1: Moldrew by all of our records, purchase, go and sound,

1892
01:47:22,760 --> 01:47:23,559
Speaker 1: get all of our shit.

1893
01:47:23,600 --> 01:47:24,720
Speaker 2: Okay, thank you.

1894
01:47:32,280 --> 01:47:35,679
Speaker 1: Quest Love Show is hosted by me Amir quest Love Thompson.

1895
01:47:36,640 --> 01:47:40,479
Speaker 1: The executive producers are Sean G. Brian Calhoun and Me.

1896
01:47:42,120 --> 01:47:47,360
Speaker 4: Produced by Brittany Benjamin and Jake Payne. Produced for iHeart

1897
01:47:47,840 --> 01:47:53,320
Speaker 4: by Noel Brown, Edited by Alex Connelloy. iHeart video support

1898
01:47:53,479 --> 01:47:59,000
Speaker 4: by Mark Canson, Logos Graphics and animation by Nick Lowe.

1899
01:48:00,680 --> 01:48:05,400
Speaker 4: Additional support by Lance Colpan. Special thanks to Kathy Brown.

1900
01:48:06,920 --> 01:48:11,679
Speaker 4: Special thanks to Sugar Steve Mandel. Please subscribe, rate, review,

1901
01:48:11,840 --> 01:48:15,360
Speaker 4: and share The Quest Love Show wherever you stream your podcast,

1902
01:48:15,880 --> 01:48:17,880
Speaker 4: make sure you follow us on socials.

1903
01:48:18,040 --> 01:48:24,639
Speaker 1: That's at QLs. Check out hundreds and hundreds of QLs episodes,

1904
01:48:24,680 --> 01:48:28,240
Speaker 1: including the Quest Love Supreme Shows and our podcast archives.

1905
01:48:30,680 --> 01:48:33,320
Speaker 1: The Quest Love Shows the production of iHeartRadio