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Speaker 1: Quest Love Supreme is a production of iHeart Radio. All Right,

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Speaker 1: ladies and gentlemen, do not attempt to adjust your dial.

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Speaker 1: I'm so old school, of course, I would say a

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Speaker 1: dial as if it was a radio. We learned on

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Speaker 1: a previous episode of Quest Love Supreme you gotta file

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Speaker 1: the light. And so we're doing something rather different. This

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Speaker 1: is going to be a one on one interview, and

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Speaker 1: you know, oftentimes we just have to you know what, Okay.

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Speaker 1: Normally I would do my normal jargon of you know,

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Speaker 1: we have greatness in the room and da da da da,

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Speaker 1: But I feel that's a lot of pressure. Sometimes, oh,

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Speaker 1: I will just simply say that there is an episode

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Speaker 1: of two friends, two colleagues having a conversation with each other,

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Speaker 1: and uh, I don't know it's happening, Ladies and gentlemen,

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Speaker 1: there's a conversation with the one and only. How do

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Speaker 1: I describe Andre Lauren Benjamin aka three stacks shit, he's

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Speaker 1: so enlightened he might be four stacks right about now

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Speaker 1: aka Johnny Vulture, Sunny Bridges. I forgot about just chipped

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Speaker 1: out the nicest Gemini I know, like he's the acceptance

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Speaker 1: of my new Gemini's rule. Sorry, about that. Come on, now,

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Speaker 1: you're man. You're made Gemini though, So you know, I

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Speaker 1: like to think you're more tarist adjacent than Junie Geminis.

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Speaker 1: I don't know, I don't. I don't get along with

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Speaker 1: many June Geminis. So Gemini is crazy, man, like exactly.

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Speaker 2: Yes, you are all crazy, but so crazy that you

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Speaker 2: just into it. Like whatever we're into, we're crazy about it.

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Speaker 1: Yeah. No, you guys are bold. I mean, look, dude,

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Speaker 1: our hero Prince is a Gemini. Yeah, so many Geminis

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Speaker 1: out there. Yeah. So yeah, I want to do something

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Speaker 1: a bit different because I know you're on a press

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Speaker 1: run and I know when an artist does a press

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Speaker 1: run where you're just doing an interview at the interview,

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Speaker 1: at the interview to interview, the muscle memory kicks in.

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Speaker 1: You're answering the same exact questions over and over again.

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Speaker 1: And I kind of want to use this as an

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Speaker 1: opportunity to actually to get to know you as a human.

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Speaker 1: All right, let's stretch Dan. Yeah, And so I'm yeah,

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Speaker 1: I'll say that I'm taking a three thousand approach in

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Speaker 1: quest love Supreme Land, and I'm gonna throw out questions

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Speaker 1: that I wouldn't typically ask on AQLS episode and no, no, no,

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Speaker 1: this is gonna get fun. Yeah, I assure you, I

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Speaker 1: assure you it's that. So my first question to you

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Speaker 1: is what time do you wake up in the morning,

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Speaker 1: just automatically, not like on the clock that I got

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Speaker 1: to get to the airport, but what's your body clock?

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Speaker 1: When do you wake up?

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Speaker 2: About about eight eight am? Maybe like naturally about eight am?

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Speaker 1: Naturally eight am? Okay, do you have a morning routine?

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Speaker 1: What do you do in the first half hour of

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Speaker 1: your day?

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Speaker 2: Like, I've never used social media, so I've never had

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Speaker 2: a Twitter account. I only have an Instagram account now

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Speaker 2: to preserve my name, but I've never ever posted anything

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Speaker 2: in my life. So it's funny that when I see

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Speaker 2: most people in the world and they're constantly checking their Instagram,

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Speaker 2: like you know, kind of going through these little things.

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Speaker 2: So when I get up in the morning, I have

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Speaker 2: my TV set up to like I'm a YouTube person, man,

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Speaker 2: Like YouTube is my university. So I just watch a

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Speaker 2: whole bunch of shorts, just random, random shorts. I guess

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Speaker 2: the same thing someone would do scrolling through Instagram. But yeah,

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Speaker 2: I kind of get thrown stuff from the youtubel.

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Speaker 1: Alga, Okay, where do you live?

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Speaker 2: I live in Venice Beach. I live a few blocks

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Speaker 2: up from here. I live in Venice Beach, California. How

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Speaker 2: long have you lived out in Venice?

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Speaker 1: About four? Four or five years now? Maybe? So was

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Speaker 1: there every time you lived in New York? Yeah?

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Speaker 2: I lived in New York for four years before I

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Speaker 2: came here. So I lived in Atlanta, lived in Dallas

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Speaker 2: for two years. Then I moved to New York for

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Speaker 2: about three years maybe, and then then moved here.

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Speaker 1: I heard a crazy room. Are you a fishing a fishonado? No?

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Speaker 2: I started going deep sea fishing, like my family took

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Speaker 2: me dee deep sea fishing, and I enjoyed. And I

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Speaker 2: invited a big boy on a on a couple of them,

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Speaker 2: and big boy like he's been running with it, Like

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Speaker 2: big boy goes out in deep sea fishes all the time.

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Speaker 1: So I think you may be confusing me with big boy. Well,

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Speaker 1: I heard that someone told me like in Long Island

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Speaker 1: once that you like I saw one hundred and three

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Speaker 1: thousand like going fishing in Long Island. I was like,

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Speaker 1: Long Island, he's not from New York. And it's like, yeah,

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Speaker 1: he's from New York.

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Speaker 2: So now what do young people say? That's cal Okay,

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Speaker 2: that's a good room. I mean, fishing is awesome, you know, now,

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Speaker 2: just I've never done it in Long Island.

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Speaker 1: Though, okay. And these are also non secuitur and random questions.

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Speaker 2: No, I love these kind of questions, like you're interviewing me, like, like, well,

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Speaker 2: when we go to Europe, they asked different questions.

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Speaker 1: Exactly, you know what I mean. I like figure you're

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Speaker 1: just tired of asking the same thing. Where have you been?

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Speaker 1: You know? How many instruments do you play or can

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Speaker 1: you play?

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Speaker 2: I can mess around with maybe four or five to

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Speaker 2: get a sound out of them. But I don't even

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Speaker 2: consider myself a musician in that way, Like I can't

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Speaker 2: even claim that.

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Speaker 1: I know real musicians, you know. But I can write.

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Speaker 2: I use them as kind of like writing to sometimes

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Speaker 2: I can record myself doing it, but I'm not proficient.

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Speaker 2: I'm probably more proficient on flute than I am on

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Speaker 2: any of them.

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Speaker 1: So in a world full of instruments, why.

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Speaker 2: The flute natural? How I got there? How I discovered it?

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Speaker 2: With instruments, you kind of you pick them up and

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Speaker 2: you mess around with them, and you start to see

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Speaker 2: where am I spending most of my time, and it

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Speaker 2: ended up being the flute. But then I go through

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Speaker 2: phases too, because I I did it with guitar for

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Speaker 2: a little bit, then I did it with bass for

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Speaker 2: a little bit, and then flute just happened to be

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Speaker 2: the thing that I think stuck. And because I think

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Speaker 2: the mobileness of a flute too, because I mean, right

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Speaker 2: now I'm holding the flut. I cared it kind of everywhere,

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Speaker 2: So any inspiration I get, I just pick it up

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Speaker 2: and start messing around.

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Speaker 1: I can't do that with a bass guitar. I can't

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Speaker 1: do that with a piano.

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Speaker 2: You can do it with a guitar acoustic maybe, but

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Speaker 2: this is so unassuming and you just kind of carry

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Speaker 2: it like you know. So I think that the portability

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Speaker 2: of a flute probably made it my favorite. How many

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Speaker 2: do you own about thirty thirty flutes?

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Speaker 1: Maybe?

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Speaker 2: So you have thirty versions of that, No, and they're

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Speaker 2: all from different makers. But this style of flute, I

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Speaker 2: probably owned more vs and my double flutes than any

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Speaker 2: other style because it's kind of the flute that I

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Speaker 2: really fell in love with the first, which is based

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Speaker 2: in like meso American culture. You know Mayan and Nastec flutes,

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Speaker 2: and now this is the Native American version of them,

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Speaker 2: made by gear Moore. They were made of clay originally,

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Speaker 2: but I own a lot of these. But I think

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Speaker 2: once I started to go on the flute path, I

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Speaker 2: started to get schooled by uber drivers because I play

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Speaker 2: all the time, So I play in ubers, I play,

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Speaker 2: I play in the back word yeah. And so if

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Speaker 2: I'm playing and it's a Chinese driver, he'll turn around like, oh, man,

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Speaker 2: that reminds me of my country. Or if it's Japanese,

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Speaker 2: oh that reminds me.

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Speaker 1: Oh, it reminds me.

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Speaker 2: So everybody I'm playing the same flute, but every nationality

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Speaker 2: of driver will turn around and tell me it reminds

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Speaker 2: them of their country. So that let me know that culturally,

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Speaker 2: every culture has a flute and a and a dram

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Speaker 2: of course. But yeah, but I started to get schooled

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Speaker 2: on the street and by uber drivers while people asking

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Speaker 2: me about things like I was in Philly shooting the film,

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Speaker 2: and I spent a lot of time in Philly and

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Speaker 2: I would just walk and play, and this dude comes

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Speaker 2: up to me and he's like, oh, you're doing that

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Speaker 2: Japanese thing, and I was like, what Japanese thing are

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Speaker 2: you talking about? And then he schools me and tell

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Speaker 2: me that there was a whole shakahachi culture where you know,

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Speaker 2: these Japanese players will walk around with baskets on their

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Speaker 2: head to have no identity and no ego and just

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Speaker 2: play for people.

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Speaker 1: That was the thing. End.

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Speaker 2: I would just walk around in public and play. So

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Speaker 2: he was asking me was I doing that? Which I

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Speaker 2: had no idea what that was, and went to research

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Speaker 2: that and learned about that.

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Speaker 1: I was going to say, there's a show that came

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Speaker 1: on h in the seventies called Kung Fu Yes, and

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Speaker 1: of which David Carodine's character is sort of and he

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Speaker 1: Tarantinas sort of alluded to that and Kill Bill in

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Speaker 1: which he played the same exact flute, like just walking

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Speaker 1: around and start playing and okay, so yeah, I was wondering, like, wow,

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Speaker 1: I wonder if he's in his kung fu face.

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Speaker 3: It's it's just I'm being taught.

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Speaker 2: I'm learning, and I see now that anything that I

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Speaker 2: can blow when through and manipulate the notes with my fingers,

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Speaker 2: I want to play it. So if I'm turned onto

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Speaker 2: Persian nay flute or Indian bunstori flute or like a

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Speaker 2: gore a Chinese go. Like I just like discovering things

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Speaker 2: that I can blow, you know, and it's and it's fun,

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Speaker 2: you know, paulse.

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Speaker 1: How long did it How long did it take? How

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Speaker 1: long did it take you for muscle memory to I

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Speaker 1: get the feeling you're going to say, I have yet

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Speaker 1: to master the flute, but oh yeah, man, I mean,

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Speaker 1: but you do know, Like and right now when you're playing,

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Speaker 1: are your hands telling you what to do? Or do

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Speaker 1: you know that this particular position will yield this note

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Speaker 1: and that note?

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Speaker 2: And no, that's the fun and scary part about how

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Speaker 2: I play, like when people hear the record like we've

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Speaker 2: made it up as it was going So I'm discovering

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Speaker 2: that melody as is going along, but I don't know

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Speaker 2: what I'm doing.

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Speaker 1: Until I do it.

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Speaker 2: So like I couldn't like if you played a note

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Speaker 2: for me right now on a keyboard, I cannot tell

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Speaker 2: you what that note was. If you played a chord,

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Speaker 2: I couldn't tell you. See, I understand when musicians talk

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Speaker 2: about a key center or you know the bottom of

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Speaker 2: this chord, but I don't know what that is.

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Speaker 1: None of that. So for me.

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Speaker 2: It's all physical and it's all shapes. So I do

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Speaker 2: know if I take one finger and spread, I can't

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Speaker 2: say it on the microphone or how to say it,

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Speaker 2: but do these et kind of fingers. I know that

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Speaker 2: gives me an odd note. That's all I know. I

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Speaker 2: know it's odd, which may be of I don't know

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Speaker 2: a flat or something. And I know if I put

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Speaker 2: all my fingers down, I get a certain thing. So

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Speaker 2: when I'm playing, I'm actually responding to what note I

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Speaker 2: just played before, not knowing what that note is. So

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Speaker 2: everything is on a tight rope. See you take one

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Speaker 2: step at a time, purely one step at a time,

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Speaker 2: but it is it is very physical. It is very

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Speaker 2: physical because I'm trying to wheel something out because I

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Speaker 2: know I never trained, so I have to find another way,

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Speaker 2: another route to get to it.

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Speaker 1: How often do you practice to day?

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Speaker 2: I wouldn't even call it practice, which I'm now getting

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Speaker 2: into practice, like because I started playing flute, Like I'm

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Speaker 2: actually meeting like kick ass flute players, Like someone introduced

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Speaker 2: me to shabaka and so Shebacca will show me exercise

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Speaker 2: like but I've never done that before, and so I'm

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Speaker 2: learning how to practice. I never went to college or anything,

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Speaker 2: so I don't even have like the I just never

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Speaker 2: had to study, so I don't have that. Emmy, It's

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Speaker 2: all for me. It's always playing. I just try to

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Speaker 2: play as much as possible, which ends up being studied.

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Speaker 2: So even before I'm just always out playing. But I

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Speaker 2: don't know, I don't have a regimen really, you know.

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Speaker 1: Fun fact that's you're speaking for at least seventy percent

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Speaker 1: of all musicians out there, Like I play by ear, yeah,

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Speaker 1: I mean I've just recently, maybe in the last twenty years,

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Speaker 1: and only because like some of the more intellectual roots

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Speaker 1: will eye roll because I don't know. I didn't know

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Speaker 1: previously how to say, like play a a C sharp sus.

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Speaker 2: I know those words, but that's so that's foreign to me, right.

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Speaker 2: But for the majority of creatives there there's.

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Speaker 1: Two types of musicians, technical musicians and musicians that feel

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Speaker 1: I'm a field musician. Totally feel like if you were

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Speaker 1: to put notaate notes in front of me, I wouldn't

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Speaker 1: know what the hell is in front of me.

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Speaker 2: So I got to go feel Yeah, that's all I have, man,

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Speaker 2: That's all I kind of and and the thing about

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Speaker 2: hip hop too, hip hop forces you to do the

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Speaker 2: immediate thing. I don't know, it's just a certain energy that, Yeah,

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Speaker 2: I don't know. We just kind of have this kind

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Speaker 2: of flying by the seat of our parents kind of thing.

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Speaker 2: And so when I put it towards an instrument, I'm

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Speaker 2: kind of transferring in that way of like we just

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Speaker 2: try stuff, like we pick up something that's not supposed

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Speaker 2: to be for a thing and make it for something else,

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Speaker 2: you know.

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Speaker 3: So I'm using a lot of that.

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Speaker 1: How did you assemble the musicians for New Blue Son?

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Speaker 1: How did it come together?

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Speaker 2: It naturally came about by me meeting Carlos. Carlos Nino.

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Speaker 1: We met. It's such a Venice Venus story. We met

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Speaker 1: in airwine no joke, no joke, we met it. We

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Speaker 1: met like.

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Speaker 2: And actually, uh, Mike d from Beastie Boys was there

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Speaker 2: at the meeting because I saw him in line checking

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Speaker 2: out and I went up.

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Speaker 3: To him something man, you know, and then Carlos comes up.

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Speaker 2: So there's three of us standing right here at the

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Speaker 2: cash register, right and Carlos invites us out to an

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Speaker 2: event that he's doing at night, and yeah, we kind

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Speaker 2: of started hanging out since then he had heard that

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Speaker 2: I was in town in Venice, and people were like,

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Speaker 2: I think y'all need to meet, you know, and some

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Speaker 2: people would say that to Carlos, and Carlos was like, yeah,

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Speaker 2: I'm gonna meet him, you know at some point, you know.

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Speaker 2: And we finally ended up meeting and he invited me

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Speaker 2: over to his house. We recorded in his garage, and

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Speaker 2: that was kind of like our first kind of getting

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Speaker 2: into it. And I knew I wanted to work on

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Speaker 2: this Wind project, and I knew a lot of the

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Speaker 2: sounds that I was looking for.

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Speaker 1: Uh that's what That's what Carlos does.

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Speaker 2: And so when he was brought him to the Fold,

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Speaker 2: he was like, man, I know a lot of people

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Speaker 2: I could bring, you know, to help. And so we

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Speaker 2: tried out a lot of different outfits, you know, different situations,

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Speaker 2: and the core four of us ended up kind of

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Speaker 2: ended up being Yes, Aihen Nate, and but that ended

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Speaker 2: up being the core, and then we would invite just

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Speaker 2: anybody in to come and you know, hang out. But yeah,

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Speaker 2: this album definitely, it couldn't have been made without Carlos Nino,

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Speaker 2: like Nino is.

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Speaker 1: What I love about Nino is.

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Speaker 2: He reminds me of when I was producing earlier on

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Speaker 2: for outcasts, Like there's a certain excitement, like he's more

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Speaker 2: concerned with what's the most interesting thing? Okay, you know,

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Speaker 2: and I love that. It's like kind of kid spirit,

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Speaker 2: you know.

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Speaker 1: So okay. In the credits of the album, under Carlos's title,

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Speaker 1: there's also play like It's listed as gongs, various instruments,

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Speaker 1: and then there's plants. How are plants a part of

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Speaker 1: the instrumentation of this album? I mean, you will see

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Speaker 1: when we when we play live.

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Speaker 2: But sounds are everywhere, man, like anything is anything is

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Speaker 2: a sound. You know, We've only settled on certain instruments

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Speaker 2: because we're used to them. But like Colos may just

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Speaker 2: grab a palm leaf off the side of the road

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Speaker 2: and shake it.

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Speaker 1: Oh okay, I see, you know what I mean?

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Speaker 2: So I get anything like it could be a beanstalk

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Speaker 2: or drive anything, you know, just whatever makes a cool

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Speaker 2: noise that you like.

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Speaker 1: And Colos has like.

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Speaker 2: Man and a myriad of sounds of stuff anything like, Yeah,

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Speaker 2: plants happen to be one of them.

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Speaker 1: So what's the division of labor as far as the

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Speaker 1: technical aspect. I'm only asking this because when I read

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Speaker 1: the credits to your album, there's a name there, a

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Speaker 1: legendary Philadelphia name, gentleman named Andy Kravitz. Andy mastered this album. Yes, now,

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Speaker 1: Andy Kravitz to me is a very legendary Philadelphia native. Trauma.

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Speaker 1: We got our record deal in nineteen ninety three. I

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Speaker 1: used to intern at Ropoul's Records, and so Andy Kravitz

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Speaker 1: was sort of like a house producer at Studio fifty four.

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Speaker 1: So I'm there like when he's working with ten Dog,

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Speaker 1: He's played on Steady be stuff and so I you know,

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Speaker 1: he was like really the first hip hop drummer I've

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Speaker 1: seen with my own eyes. Nothing sorry Bobby Simmons of

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Speaker 1: steps to signing forgive me, but yeah, Andy Kravits like

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Speaker 1: and then he just disappeared off the radar for like

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Speaker 1: twenty and I always wondered what happened to him. So

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Speaker 1: he's mastering.

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Speaker 2: Yeah, it's so cool that the relationship, Like Carlos has

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Speaker 2: worked with him before, and so his mastering studio is

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Speaker 2: in Venice, so it was all in the neighborhood. So

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Speaker 2: like his mastering studio is right by the beach, and

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Speaker 2: we just kind of go to his house and he

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Speaker 2: got like crazy equipment like knee.

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Speaker 3: Boards, and a little bit of ass apartment.

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Speaker 1: It's awesome. Like so basically I have to move to Venice.

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Speaker 1: Why Venice?

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Speaker 2: I have no idea, man like I got here havingstance,

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Speaker 2: like I wasn't even supposed to be living in Ventage.

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Speaker 2: And then this real estate agent lady and she was like, hey,

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Speaker 2: check out this little house I got in Venice. I mean,

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Speaker 2: it's just check it out. And all my friends in

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Speaker 2: LA they were like, please, man, don't move to Venice.

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Speaker 2: Like all right, LA people be like, man, we'll never

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Speaker 2: see you because that's on the west side.

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Speaker 1: That's way. Yeah. I was gonna say it's beautiful, but

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Speaker 1: then I was like a man so much on sunset

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Speaker 1: and all my favorite restaurants I would never know.

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Speaker 2: But I never get back on that side though, Like

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Speaker 2: everything I need is pretty much over here. And I

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Speaker 2: think all of that, like me moving to Venice, catapulted

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Speaker 2: me in the direction I needed to go. And I

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Speaker 2: will say that because I met I went to a

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Speaker 2: breathwork class in Venice. That's when I first heard this

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Speaker 2: certain kind of.

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Speaker 1: Flute that I love. And it was all because of Venice.

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Speaker 2: So I have to say, sometimes them certain breadcrumbs.

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Speaker 1: Or wherever You're wherever you are.

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Speaker 2: Are for a reason, and you may not even know

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Speaker 2: it at the time. But if I didn't move to Venice,

359
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Speaker 2: this album probably wouldn't have been made.

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Speaker 1: Okay, not in this way. What was the batter year

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Speaker 1: or the starting year of your flute curiosity?

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Speaker 2: I don't know the actual starting year, but I will

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Speaker 2: say because it's me and college was just talking about

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Speaker 2: it the other day. Since the love below, I've been

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Speaker 2: interested in wind instruments, like I've messed around with saxophone,

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Speaker 2: even though like and she lives in my life at

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Speaker 2: the end, the horrible saxophone, that's me messing around on saxophone.

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Speaker 1: Oh, I thought you had a free jazz saxophone players.

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Speaker 1: That's me, that was you. Yeah, that's me playing. I

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Speaker 1: have to listen to that. Okay, it's horrible.

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Speaker 2: It's horrible, but it was like, I don't believe in

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Speaker 2: wrong notes and I love Now.

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Speaker 1: I got to go back and listen again. You're here,

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Speaker 1: you're here. The thing is if you do with a

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Speaker 1: straight face and confidence.

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Speaker 2: Oh yeah, yeah, Oh, it's always for real. Now it's serious,

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Speaker 2: even if it's horrible, you don't believe it, Okay.

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Speaker 1: I just thought you had some free jazz. Okay, now

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Speaker 1: I have to revisit that.

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Speaker 2: So yeah, I started wanting to play saxophone first tenor

381
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Speaker 2: saxophone because of John Coltrane. I mean because I was

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Speaker 2: a fan of John Coltrane, and me reading bios of

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Speaker 2: John Coltrane, I learned that he played clarinet in school

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Speaker 2: first before he switched over to so I was.

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Speaker 1: Like, well, let me give me a clarinet.

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Speaker 2: So I bought a clarinet straight B flat, the straight

387
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Speaker 2: one be flat clarinet, and I played around with for

388
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Speaker 2: a few months. And then we were on tour and

389
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Speaker 2: I went to a pawn shop in New York and

390
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Speaker 2: there was this Selmer bass clarinet.

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Speaker 1: I don't know why I was there, and I was like, this,

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Speaker 1: it looked cool. A lot of time.

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Speaker 2: I'm gonna track it to an instrument because the way

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Speaker 2: it looked. And so I saw it and it was

395
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Speaker 2: in its case, it was open, and it happened to

396
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Speaker 2: be like a nineteen sixty seven Selmer bass clarinet. Bought

397
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Speaker 2: it and as soon as I started playing it, like

398
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Speaker 2: and the thing is with wind players, it's a thing

399
00:20:58,960 --> 00:21:01,960
Speaker 2: called armbiture. It's kind of like how your mouth fits

400
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Speaker 2: over the tip of the the read and all that

401
00:21:05,160 --> 00:21:07,600
Speaker 2: kind of stuff. It's weird, but I was just blessed

402
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Speaker 2: to immediately have an amatry. Like my first time picking

403
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Speaker 2: it up and putting my mouth on, it was like,

404
00:21:12,680 --> 00:21:14,840
Speaker 2: I'm getting a good tone, like a good sound. So

405
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Speaker 2: it motivated me to even want to play more, you know.

406
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Speaker 2: So from there, once I hit the bass claerinet, I

407
00:21:23,359 --> 00:21:26,240
Speaker 2: noticed that I love the deeper tones and I love

408
00:21:26,440 --> 00:21:30,399
Speaker 2: wind on wood compared to metal, which is you know,

409
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Speaker 2: soprano or but you I tried a little soprano too, okay.

410
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Speaker 1: So from there it's just.

411
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Speaker 2: Me loving what I could get out of wind instruments.

412
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Speaker 2: So I even got into Obo, which is the hardest

413
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Speaker 2: one to play, like I love the Obo sound, got

414
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Speaker 2: into Obo, went into Obo Day, Obo Day, which yeah,

415
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Speaker 2: Obo Day. At the new School, they have like Obow Day. Okay,

416
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Speaker 2: see what I'm saying, like dre d but Obo Day.

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Speaker 1: All right, Okay. I was like, is that a pun

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Speaker 1: or no? Get it?

419
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Speaker 2: So yeah, when I moved to New York, I would

420
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Speaker 2: just kind of look at the school schedule of whatever

421
00:22:08,160 --> 00:22:10,840
Speaker 2: performances were at the New School because I always like

422
00:22:10,920 --> 00:22:11,960
Speaker 2: to go where the youth.

423
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Speaker 1: Is performing new music. I don't care.

424
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Speaker 2: Like there's something about that college age where you're dumb

425
00:22:17,440 --> 00:22:20,679
Speaker 2: enough to try new things, but you're developed enough to

426
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Speaker 2: do them well.

427
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Speaker 1: And that's that. It's about that that period.

428
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Speaker 2: And so I would just go to the new school

429
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Speaker 2: and see whatever recital as a plan. I don't care

430
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Speaker 2: if piano one night, it could be the soon it's

431
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Speaker 2: another night, or whole orchestra, and I just sit there

432
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Speaker 2: and listen.

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Speaker 1: And side question, are you freaking people out as you're

434
00:22:37,320 --> 00:22:39,639
Speaker 1: like just wandering into their school?

435
00:22:39,920 --> 00:22:42,960
Speaker 2: Not really, because we're no. I just you know, talk

436
00:22:43,040 --> 00:22:44,639
Speaker 2: to the students. You know, they'd be like, oh, he

437
00:22:44,680 --> 00:22:47,640
Speaker 2: came to the show, but it would be maybe fifteen

438
00:22:47,680 --> 00:22:49,720
Speaker 2: people in there, like ten people just sitting.

439
00:22:50,200 --> 00:22:51,680
Speaker 3: So it was it was not like a big.

440
00:22:51,520 --> 00:22:53,480
Speaker 2: Production or anything, so I could easily just slip in

441
00:22:53,480 --> 00:22:56,040
Speaker 2: and slip out. But just my my interest and when

442
00:22:56,160 --> 00:22:59,439
Speaker 2: instruments just kept growing, and so I would just collect

443
00:22:59,480 --> 00:23:04,199
Speaker 2: different wind instruments, and then I discovered the Guiermo the

444
00:23:04,240 --> 00:23:07,639
Speaker 2: Maya double flute, which is kind of what really pushed

445
00:23:07,640 --> 00:23:11,640
Speaker 2: me into wanting to play it all the time. And

446
00:23:11,800 --> 00:23:15,199
Speaker 2: maybe like even with the bass claierinet, you have to

447
00:23:15,359 --> 00:23:17,760
Speaker 2: it's like a gun. You have to construct it, put

448
00:23:17,760 --> 00:23:19,479
Speaker 2: it together, put it back in the case, clean it.

449
00:23:19,520 --> 00:23:19,760
Speaker 1: You know.

450
00:23:20,320 --> 00:23:22,480
Speaker 2: With these it was so instant. I can just carry

451
00:23:22,520 --> 00:23:25,760
Speaker 2: it around, So it was very instant. I think because

452
00:23:25,800 --> 00:23:28,359
Speaker 2: I could carry it, I kept it with me longer

453
00:23:29,280 --> 00:23:33,280
Speaker 2: than any other instrument. So yeah, I've been interested in

454
00:23:33,359 --> 00:23:34,440
Speaker 2: win for a long time.

455
00:23:34,480 --> 00:23:38,960
Speaker 1: But okay, yeah, so this album, Marks have returned to

456
00:23:39,080 --> 00:23:43,320
Speaker 1: the spotlight for you for the first time in as

457
00:23:43,320 --> 00:23:47,360
Speaker 1: of this recording, seventeen years, basically meaning you haven't released

458
00:23:47,480 --> 00:23:49,800
Speaker 1: product with your name on it since two thousand and six.

459
00:23:50,920 --> 00:23:53,200
Speaker 1: My own product, yes, your own product. Yet, even though

460
00:23:53,200 --> 00:23:58,400
Speaker 1: you've done things here and there. Could you describe if

461
00:23:58,400 --> 00:24:01,560
Speaker 1: you can go back that far two thousand and seven,

462
00:24:02,480 --> 00:24:05,240
Speaker 1: like a year after two thousand and seven, Well, a

463
00:24:05,359 --> 00:24:08,120
Speaker 1: year after two thousand and six where you know you're

464
00:24:08,280 --> 00:24:12,000
Speaker 1: starting your I'm sure then you didn't think of it

465
00:24:12,040 --> 00:24:15,560
Speaker 1: as I'm gonna start my exile or my rest from

466
00:24:16,359 --> 00:24:20,240
Speaker 1: my day job that people know me from. But like

467
00:24:20,320 --> 00:24:22,960
Speaker 1: a year or two after it, when you're not in

468
00:24:23,320 --> 00:24:26,600
Speaker 1: daily motion of gotta have an au mount, got to

469
00:24:26,600 --> 00:24:30,520
Speaker 1: figure out a tour, got it? Like, Yeah, what was

470
00:24:30,600 --> 00:24:34,320
Speaker 1: two thousand and seven like for you you were thirty

471
00:24:34,359 --> 00:24:35,040
Speaker 1: two years old.

472
00:24:38,480 --> 00:24:42,440
Speaker 2: I don't remember, but that's cool too, Yeah, because it's

473
00:24:42,480 --> 00:24:44,960
Speaker 2: harked me to place the dates like I you have

474
00:24:45,000 --> 00:24:48,439
Speaker 2: to give me kind of like a like a marker,

475
00:24:48,600 --> 00:24:51,040
Speaker 2: like that was a year after the leve Blow came out,

476
00:24:51,160 --> 00:24:54,440
Speaker 2: or a year before Idlewow, or like.

477
00:24:54,400 --> 00:24:55,880
Speaker 1: I kind of have to mark I think a year

478
00:24:55,920 --> 00:24:58,159
Speaker 1: after Idawoa came out in two thousand and six. So

479
00:24:58,240 --> 00:25:02,840
Speaker 1: I say a year after Idlewold, then, uh, you have

480
00:25:02,920 --> 00:25:03,520
Speaker 1: to Idlewow.

481
00:25:03,840 --> 00:25:07,520
Speaker 2: I'm at home, and I was blessed to start getting

482
00:25:07,640 --> 00:25:11,720
Speaker 2: asked to be on remixes, okay, and that was a

483
00:25:11,720 --> 00:25:15,120
Speaker 2: blessing for me because it gave me a chance to rap,

484
00:25:16,080 --> 00:25:18,159
Speaker 2: you know, after all that had, So you see it

485
00:25:18,160 --> 00:25:21,920
Speaker 2: as a blessing now because it feel good to wrap.

486
00:25:21,960 --> 00:25:24,239
Speaker 2: So whenever you get to like the opportunity to do

487
00:25:24,280 --> 00:25:25,600
Speaker 2: it and you in it, I know.

488
00:25:25,760 --> 00:25:28,679
Speaker 1: But like, okay, So I remember once when you appeared

489
00:25:28,720 --> 00:25:31,639
Speaker 1: on the remix of Walk It Out, walk It Out? Right?

490
00:25:31,720 --> 00:25:35,320
Speaker 1: Yeah yeah, and the so I know you're not on

491
00:25:35,359 --> 00:25:42,240
Speaker 1: social media, so to see the social media reaction to

492
00:25:42,400 --> 00:25:44,720
Speaker 1: you even being on that remix one was a shocker,

493
00:25:44,760 --> 00:25:46,360
Speaker 1: Like wait, one hundred and three thousands on a walk

494
00:25:46,359 --> 00:25:49,080
Speaker 1: It Out song and with Jim Jones whatever. So but

495
00:25:49,440 --> 00:25:52,399
Speaker 1: it was such a mind blowing thing. But in my

496
00:25:52,480 --> 00:25:54,560
Speaker 1: mind I was like, wow, I wonder if he notices

497
00:25:55,080 --> 00:25:59,280
Speaker 1: like that. And again, I mean, this was no pressure,

498
00:26:00,080 --> 00:26:02,679
Speaker 1: new intent of pressure, like you're kind of holding the

499
00:26:02,720 --> 00:26:08,840
Speaker 1: world's oxygen supply, you know, hostage, because you can spit

500
00:26:08,880 --> 00:26:11,359
Speaker 1: a verse and it's guarantee that at least three things

501
00:26:11,400 --> 00:26:13,400
Speaker 1: that you say in that verse will be like holy shit,

502
00:26:13,520 --> 00:26:15,920
Speaker 1: here are a couple of those words together, like it's

503
00:26:16,040 --> 00:26:19,600
Speaker 1: it's an event I've seen people like, for instance, the

504
00:26:19,680 --> 00:26:22,600
Speaker 1: verse on the Rick Ross thing, like I didn't think

505
00:26:22,640 --> 00:26:27,440
Speaker 1: i'd ever experience coming from a place where we would

506
00:26:27,480 --> 00:26:32,200
Speaker 1: have daily meetings about wait, what about this start doing

507
00:26:32,240 --> 00:26:34,640
Speaker 1: your PowerPoint thing? And the way he does supposed these

508
00:26:34,640 --> 00:26:38,880
Speaker 1: words together. But man, so it's just weird to hear

509
00:26:38,960 --> 00:26:40,560
Speaker 1: you say like, oh, I'm just so blessed to be

510
00:26:40,600 --> 00:26:41,880
Speaker 1: able to get the opportunity to.

511
00:26:41,840 --> 00:26:43,880
Speaker 2: Do that, And I'm like, no, and when you are

512
00:26:43,920 --> 00:26:46,560
Speaker 2: the opportunity, no, But when I say blessing, you got

513
00:26:46,560 --> 00:26:50,399
Speaker 2: to understand too, this is a town, a town creating

514
00:26:50,440 --> 00:26:53,399
Speaker 2: a new sound too. So dj unk like that actually

515
00:26:53,440 --> 00:26:57,120
Speaker 2: came through another DJ friend of mine that no unt

516
00:26:57,280 --> 00:26:59,240
Speaker 2: just saying, Hey, asked Andrea here you to get on

517
00:26:59,240 --> 00:27:01,399
Speaker 2: this beat, and it came that way. It was no,

518
00:27:01,520 --> 00:27:04,120
Speaker 2: it was nothing, no big production, Like I don't even

519
00:27:04,119 --> 00:27:06,639
Speaker 2: know if I got paid for the song, like I think.

520
00:27:07,720 --> 00:27:10,320
Speaker 2: I think the trade off was, hey, can you do

521
00:27:10,400 --> 00:27:13,200
Speaker 2: a couple of beats that we scratched in the background

522
00:27:13,200 --> 00:27:16,520
Speaker 2: of my cartoon. That'll be the payment class for class

523
00:27:16,520 --> 00:27:19,080
Speaker 2: of three thousand. So I think it was set up

524
00:27:19,080 --> 00:27:22,159
Speaker 2: that way. But the beat was so jamming that you

525
00:27:22,240 --> 00:27:24,159
Speaker 2: just want to get on it. So I say the

526
00:27:24,200 --> 00:27:27,040
Speaker 2: blessing because any rapid just want to be on a

527
00:27:27,080 --> 00:27:29,560
Speaker 2: good beat and beat in the city, you know, you.

528
00:27:29,560 --> 00:27:31,280
Speaker 1: Just want to be out. You want to be heard.

529
00:27:31,359 --> 00:27:34,720
Speaker 2: So if producers are making new sounds or even like

530
00:27:34,800 --> 00:27:37,520
Speaker 2: even later like new artists. So even if a Frank

531
00:27:37,560 --> 00:27:40,840
Speaker 2: Ocean says, hey, get on my song. Frank Ocean a

532
00:27:40,840 --> 00:27:42,920
Speaker 2: new artist, I don't know him, like, get on my song.

533
00:27:43,000 --> 00:27:46,119
Speaker 2: But when I say a blessing, that reintroduced me to

534
00:27:46,119 --> 00:27:48,800
Speaker 2: a whole nother generation too, you know what I mean?

535
00:27:48,800 --> 00:27:52,880
Speaker 2: That were following that, you know, so I do look

536
00:27:52,920 --> 00:27:56,680
Speaker 2: at it as blessings, am I say blessing because we

537
00:27:56,760 --> 00:28:00,920
Speaker 2: had just come off of Speakerbox Cluve Below Idle Wow,

538
00:28:01,320 --> 00:28:06,760
Speaker 2: which was a musical, more focused, melodic kind of thing,

539
00:28:06,800 --> 00:28:10,119
Speaker 2: And so I didn't rap a lot, okay, and those

540
00:28:10,200 --> 00:28:12,479
Speaker 2: offerings a little bit. So when I say a blessing,

541
00:28:12,560 --> 00:28:15,760
Speaker 2: it gave me another opportunity to do what I enjoyed doing.

542
00:28:16,720 --> 00:28:23,879
Speaker 1: Yeah, what five albums can you not live without? What

543
00:28:24,040 --> 00:28:28,480
Speaker 1: five albums can you not live without? That's a hard pressure.

544
00:28:28,880 --> 00:28:32,199
Speaker 2: Yeah, you should have gave me some time before we

545
00:28:32,240 --> 00:28:33,600
Speaker 2: got on the microphone.

546
00:28:33,640 --> 00:28:36,239
Speaker 1: Man. Well, the thing is, I think oftentimes when you

547
00:28:36,440 --> 00:28:39,680
Speaker 1: when people are in this high pressure situation of like,

548
00:28:40,440 --> 00:28:44,640
Speaker 1: I gotta give the most intellectual answer, Like sometimes I

549
00:28:44,720 --> 00:28:46,480
Speaker 1: listen to boring as shit, you know what I mean.

550
00:28:47,000 --> 00:28:48,920
Speaker 1: I'm on an Elvis kick right now because i just

551
00:28:48,960 --> 00:28:55,120
Speaker 1: saw the Lisa Marie biopic and I'm interested in that

552
00:28:55,280 --> 00:28:58,960
Speaker 1: sixty eight comeback Black Leather, so i'm and plus you

553
00:28:58,960 --> 00:29:02,880
Speaker 1: know the record crew were playing on that record. So

554
00:29:04,080 --> 00:29:06,520
Speaker 1: right now I'm on an Elvis kicking Okay for some

555
00:29:06,600 --> 00:29:09,080
Speaker 1: strange reason, but it doesn't have to be five.

556
00:29:09,160 --> 00:29:12,280
Speaker 2: I've gone through that Elvis kick too, really, Yeah, man,

557
00:29:12,440 --> 00:29:14,280
Speaker 2: Like E was a bad motherfucker, man.

558
00:29:14,440 --> 00:29:17,160
Speaker 1: Or what five albums? Would you not expect us to

559
00:29:17,240 --> 00:29:21,480
Speaker 1: think that you're into hmm, not think that I'm into.

560
00:29:24,600 --> 00:29:27,160
Speaker 2: That's another thing because when you say your five albums,

561
00:29:27,160 --> 00:29:30,120
Speaker 2: it's almost like I'm trying not to give you the

562
00:29:30,120 --> 00:29:31,880
Speaker 2: ones that everybody's going to say too.

563
00:29:31,920 --> 00:29:33,600
Speaker 1: So I'm double thinking.

564
00:29:33,640 --> 00:29:37,240
Speaker 2: Like if I say, you know, you know Love Supreme,

565
00:29:37,960 --> 00:29:40,960
Speaker 2: you know what I mean, that's everybody's you know what

566
00:29:41,000 --> 00:29:41,240
Speaker 2: I mean?

567
00:29:41,280 --> 00:29:43,360
Speaker 3: So I'm trying to figure out that's a good question.

568
00:29:43,440 --> 00:29:48,680
Speaker 1: What okay, So everyone has a go to song that

569
00:29:48,720 --> 00:29:52,800
Speaker 1: they put on to just calm them down, and you know,

570
00:29:52,800 --> 00:29:55,960
Speaker 1: when the album came out, I hit you with twelve paragraphs.

571
00:29:56,120 --> 00:29:58,280
Speaker 1: I'm certain the whole world was hitting you with paragraphs.

572
00:29:58,800 --> 00:30:03,000
Speaker 1: But you know, okay, I won't say an album because

573
00:30:03,040 --> 00:30:06,720
Speaker 1: what's an album in twenty twenty three? What music? What's

574
00:30:06,800 --> 00:30:09,280
Speaker 1: your go to music that you escape to.

575
00:30:11,560 --> 00:30:14,600
Speaker 2: It's different phases, man, And just like you're saying right now,

576
00:30:14,680 --> 00:30:21,360
Speaker 2: you're into Elvis phase right now, I'm into like a

577
00:30:22,280 --> 00:30:27,560
Speaker 2: kind of classical Steve reikish kind of Oh okay, it's

578
00:30:27,720 --> 00:30:32,640
Speaker 2: very repetitive, calming and meditative at the same time, but

579
00:30:32,680 --> 00:30:34,960
Speaker 2: at the same time, like very complex and moving it's

580
00:30:35,080 --> 00:30:41,440
Speaker 2: like and it's rhythmic, you know, it's tight, you know,

581
00:30:41,560 --> 00:30:43,160
Speaker 2: so I guess I'm into that.

582
00:30:43,280 --> 00:30:44,040
Speaker 1: And I listened to.

583
00:30:47,160 --> 00:30:50,360
Speaker 2: Like a lot of native drum circle music like Cree

584
00:30:50,440 --> 00:30:56,800
Speaker 2: Indian cre Nation kind of drumming the way they sing. Man, Yeah,

585
00:30:56,880 --> 00:31:00,000
Speaker 2: that just that just blows my mind some very powerful

586
00:31:00,480 --> 00:31:01,440
Speaker 2: okay about that?

587
00:31:01,920 --> 00:31:06,560
Speaker 1: Is there any lyric that is ever stuck in your head?

588
00:31:06,960 --> 00:31:12,680
Speaker 1: A stanza or a lyric of any song or I've

589
00:31:12,680 --> 00:31:15,120
Speaker 1: been I've been working on a slide documentaries for so

590
00:31:15,360 --> 00:31:21,680
Speaker 1: long that I think almost every day here the last

591
00:31:21,680 --> 00:31:23,960
Speaker 1: line of Family Fair, like you can't cry because you

592
00:31:24,000 --> 00:31:25,920
Speaker 1: look broke down, but you're cry anyway because you're all

593
00:31:25,960 --> 00:31:29,239
Speaker 1: broke down. So that's that's stuck in my head? Like,

594
00:31:29,480 --> 00:31:31,959
Speaker 1: are there lyrics that are often just stuck in your

595
00:31:32,000 --> 00:31:34,720
Speaker 1: head even if it's dumb? I met her in a

596
00:31:34,760 --> 00:31:37,800
Speaker 1: hotel lobby, like anything like the.

597
00:31:37,760 --> 00:31:40,160
Speaker 2: Song fast Card by Tracy Chapman, Like it's one of

598
00:31:40,200 --> 00:31:42,400
Speaker 2: those songs that I wish you know how people ask you, man,

599
00:31:42,440 --> 00:31:42,920
Speaker 2: what song.

600
00:31:42,760 --> 00:31:44,800
Speaker 1: Do you wish you wish you wrote? Yeah?

601
00:31:45,000 --> 00:31:49,920
Speaker 2: Like, as a child hearing that song, it introduced me to, oh,

602
00:31:50,040 --> 00:31:51,960
Speaker 2: you can you can actually hit people in the heart

603
00:31:52,000 --> 00:31:54,440
Speaker 2: with words, you know, and when she when she said

604
00:31:54,520 --> 00:31:59,600
Speaker 2: the line, uh, something like the body is too young

605
00:31:59,640 --> 00:32:01,880
Speaker 2: for bodies too old for working, but bodies too old,

606
00:32:02,400 --> 00:32:04,720
Speaker 2: too young to look like his. My mama went off

607
00:32:04,720 --> 00:32:07,440
Speaker 2: and left him. She wanted more than he could give.

608
00:32:07,760 --> 00:32:11,160
Speaker 2: Somebody's got to take care of him, so I quit school.

609
00:32:11,520 --> 00:32:17,160
Speaker 1: I was like, yeah, you wish she wrote that.

610
00:32:17,720 --> 00:32:19,920
Speaker 2: Yeah, it was like we were like we were we

611
00:32:19,920 --> 00:32:22,719
Speaker 2: were listening and watching a real life Like it's almost

612
00:32:22,760 --> 00:32:29,960
Speaker 2: like the black, the black kind of trailer park story,

613
00:32:30,080 --> 00:32:32,800
Speaker 2: you know what I mean, Like you and you were

614
00:32:32,840 --> 00:32:35,160
Speaker 2: on the ride the whole time, like these big dreams

615
00:32:35,240 --> 00:32:36,400
Speaker 2: of hurting this dude.

616
00:32:36,480 --> 00:32:39,560
Speaker 1: And someone running away from a past life.

617
00:32:40,120 --> 00:32:42,360
Speaker 2: And it went full circle like she had these big

618
00:32:42,400 --> 00:32:45,320
Speaker 2: dreams just like a mama did. Then at the end

619
00:32:45,880 --> 00:32:49,600
Speaker 2: she got to keep moving like WHOA right hard?

620
00:32:50,480 --> 00:32:54,480
Speaker 1: Okay? Yeah. Anyone that has ever asked me like what

621
00:32:54,720 --> 00:32:57,760
Speaker 1: song that I wish I wrote or a part of

622
00:32:58,000 --> 00:33:00,880
Speaker 1: I will never hesitate to say. I think will ever

623
00:33:01,000 --> 00:33:08,160
Speaker 1: beat the moment in which we were in our tour bus.

624
00:33:09,040 --> 00:33:13,680
Speaker 1: We had one week to finish our Things Fallow Apart album.

625
00:33:14,200 --> 00:33:19,200
Speaker 1: We were coming back from Pittsburgh.

626
00:33:17,680 --> 00:33:18,840
Speaker 3: And this is.

627
00:33:20,240 --> 00:33:25,479
Speaker 1: August of ninety eight and you know back in the day,

628
00:33:25,520 --> 00:33:27,440
Speaker 1: of course your album had to be done like three

629
00:33:27,440 --> 00:33:31,000
Speaker 1: months ahead of Oh yeah, man, yeah. So somehow my

630
00:33:31,120 --> 00:33:37,480
Speaker 1: publicist was connected to Drew Dixon at Arista and had

631
00:33:37,480 --> 00:33:43,680
Speaker 1: a copy of Equimini and The Feeling of Fear. When

632
00:33:43,720 --> 00:33:49,760
Speaker 1: Spotioli Doplicious came on, I was like, fuck, they sound

633
00:33:49,840 --> 00:33:53,920
Speaker 1: like a better band than we do, like and instantly

634
00:33:53,960 --> 00:34:01,320
Speaker 1: I knew, like every black university marching ben like, this

635
00:34:01,480 --> 00:34:03,680
Speaker 1: was gonna be something I heard like forever. And I

636
00:34:03,720 --> 00:34:06,360
Speaker 1: was like, damn, how come ideas don't come to me

637
00:34:06,480 --> 00:34:09,319
Speaker 1: like that? Man, Like, what the fuck you know? And

638
00:34:09,360 --> 00:34:13,200
Speaker 1: plus it's very rare. It's it's it's rare in what

639
00:34:13,400 --> 00:34:20,919
Speaker 1: you hear stream of conscious thinking, black people thinking. And man,

640
00:34:21,520 --> 00:34:24,760
Speaker 1: that paralyzed me so goddamn much, man, Like I wish

641
00:34:24,880 --> 00:34:27,240
Speaker 1: I don't know if I should say thank you or sorry?

642
00:34:29,280 --> 00:34:32,160
Speaker 1: You know, made it made me try harder, man like,

643
00:34:32,239 --> 00:34:34,759
Speaker 1: and I've yet to still create that, so like, in

644
00:34:34,760 --> 00:34:42,080
Speaker 1: my mind, that's that's what I'm doing. What's the best

645
00:34:42,280 --> 00:34:45,440
Speaker 1: piece of advice you've ever been given? It?

646
00:34:45,560 --> 00:34:48,920
Speaker 2: Actually, the best piece of advice I would say came

647
00:34:49,000 --> 00:34:54,040
Speaker 2: from Erica's grandmother, Erica would all Erica's grandmama would always

648
00:34:54,080 --> 00:34:56,759
Speaker 2: say anything, any problem in the issue that come up,

649
00:34:56,880 --> 00:34:58,719
Speaker 2: she'd be like, keep on living.

650
00:34:59,320 --> 00:35:03,880
Speaker 1: It happened to you. That was it. Did you know

651
00:35:03,920 --> 00:35:07,839
Speaker 1: what you meant? Yes? Okay, yeah, keep on living. It'll

652
00:35:07,880 --> 00:35:10,040
Speaker 1: happen to you. Yeah, okay.

653
00:35:10,320 --> 00:35:12,640
Speaker 2: And it's as simple as that, it's going to happen.

654
00:35:13,160 --> 00:35:14,520
Speaker 2: Keep on living. It'll happen to you.

655
00:35:15,120 --> 00:35:19,000
Speaker 1: If you can astro travel. If you can astro travel

656
00:35:19,080 --> 00:35:23,240
Speaker 1: back to nineteen ninety two, and you were allowed you today,

657
00:35:23,320 --> 00:35:28,080
Speaker 1: were allowed a twenty second window to disrupt the timeline

658
00:35:28,200 --> 00:35:31,759
Speaker 1: and talk to yourself. And I believe you were seventeen

659
00:35:31,760 --> 00:35:36,279
Speaker 1: in nineteen ninety two. What would you tell yourself in

660
00:35:36,320 --> 00:35:41,480
Speaker 1: those twenty seconds? This is like before first album ninety two.

661
00:35:41,480 --> 00:35:44,160
Speaker 2: I consider that at the beginning of the podcast, what

662
00:35:44,160 --> 00:35:48,359
Speaker 2: would I tell myself? Get ready for the ride, man,

663
00:35:50,080 --> 00:35:51,920
Speaker 2: get ready for a ride that you don't even know

664
00:35:51,960 --> 00:35:55,760
Speaker 2: how to hold on because you can't even fathom what's

665
00:35:55,960 --> 00:36:00,960
Speaker 2: going to happen, you know. So I don't know if

666
00:36:00,960 --> 00:36:03,719
Speaker 2: there's any any more advice than that, just to get

667
00:36:03,760 --> 00:36:08,160
Speaker 2: ready for the ride and just yeah, yeah, because there's

668
00:36:08,200 --> 00:36:11,760
Speaker 2: nothing to prepare you for, because we can have plans

669
00:36:11,880 --> 00:36:14,440
Speaker 2: like as humans, we you know, you just want to

670
00:36:14,480 --> 00:36:17,839
Speaker 2: wrap okay, but those are kind of on the ground,

671
00:36:18,960 --> 00:36:21,360
Speaker 2: you know, goals. But then there's a higher force that

672
00:36:22,080 --> 00:36:25,080
Speaker 2: takes you further that things that I couldn't even imagine,

673
00:36:25,360 --> 00:36:27,680
Speaker 2: that I couldn't even think about. So really, just get

674
00:36:27,680 --> 00:36:28,600
Speaker 2: ready for the rode.

675
00:36:29,280 --> 00:36:32,960
Speaker 1: Most people, when they dream, they often have themes that

676
00:36:33,000 --> 00:36:36,560
Speaker 1: occur all the time. Yep, trains are always in my dream.

677
00:36:36,680 --> 00:36:38,400
Speaker 1: For the least the last thirty year of trains are

678
00:36:38,400 --> 00:36:42,080
Speaker 1: always in my dream. What is the prevalent theme of

679
00:36:42,120 --> 00:36:46,000
Speaker 1: all of your dreams? Flying? You're always on a plane? No,

680
00:36:46,040 --> 00:36:49,799
Speaker 1: I'm always flying no plane. Do you have a fear

681
00:36:49,800 --> 00:36:55,239
Speaker 1: of flying? No? Besides trains. And this is weird. I live.

682
00:36:55,640 --> 00:36:57,160
Speaker 1: I live in an apartment in New York and I'm

683
00:36:57,200 --> 00:37:00,560
Speaker 1: on the seventy third floor and people always ask all

684
00:37:00,600 --> 00:37:01,960
Speaker 1: the time, wait, aren't you a free to be up here?

685
00:37:02,000 --> 00:37:05,040
Speaker 1: You know that that sort of thing. But yet when

686
00:37:05,080 --> 00:37:09,720
Speaker 1: I sleep, because I often believe that times your brain

687
00:37:09,760 --> 00:37:17,000
Speaker 1: can't register fantasy in real life. So I tried an

688
00:37:17,040 --> 00:37:19,640
Speaker 1: exercise where, you know, I was watching somebody on YouTube

689
00:37:19,640 --> 00:37:22,680
Speaker 1: and they said, like, imagine yourself flying, and when I

690
00:37:22,719 --> 00:37:25,280
Speaker 1: close my eyes tot like to stand on a ledge

691
00:37:25,320 --> 00:37:29,400
Speaker 1: to make that leap. I get that I can't imagine

692
00:37:29,440 --> 00:37:33,920
Speaker 1: myself even in my dreams. I can't imagine myself flying

693
00:37:33,960 --> 00:37:36,239
Speaker 1: over like it's it's the same fear as if I

694
00:37:36,280 --> 00:37:37,960
Speaker 1: were on the ledge and want to hang on to

695
00:37:38,040 --> 00:37:41,480
Speaker 1: deer life. M So in your dreams, you have the

696
00:37:41,520 --> 00:37:43,600
Speaker 1: ability to just transport and fly.

697
00:37:44,040 --> 00:37:46,719
Speaker 2: Yes, And it was from wherever I am, like not

698
00:37:46,840 --> 00:37:48,400
Speaker 2: a I have to be on the top of a

699
00:37:48,440 --> 00:37:51,480
Speaker 2: building like I can be on the ground. And I

700
00:37:51,520 --> 00:37:54,839
Speaker 2: start to do this type it's almost like a a

701
00:37:54,960 --> 00:37:58,520
Speaker 2: hover like it's like a floating kind of thing, and

702
00:37:58,560 --> 00:38:02,120
Speaker 2: you're kind of like it's not like it's not like

703
00:38:02,360 --> 00:38:07,000
Speaker 2: direct control. It's almost like you're drifted and you're able

704
00:38:07,040 --> 00:38:11,120
Speaker 2: to manipulate the drift a little bit, but not fast.

705
00:38:11,280 --> 00:38:12,640
Speaker 3: So if I want to make a turn, I got

706
00:38:12,680 --> 00:38:13,680
Speaker 3: to start drifting a little.

707
00:38:13,960 --> 00:38:16,520
Speaker 2: But yeah, like I'm always flying, I'm looking down on

708
00:38:16,560 --> 00:38:19,239
Speaker 2: the world like I'm looking down on mountains, I'm looking

709
00:38:19,280 --> 00:38:23,920
Speaker 2: down on things. But here's the craziest thing. Whenever I

710
00:38:24,000 --> 00:38:27,000
Speaker 2: try to show my friends, like I remember one of

711
00:38:27,080 --> 00:38:29,279
Speaker 2: dream I was trying to trying to show sea law,

712
00:38:29,400 --> 00:38:33,879
Speaker 2: like see look man, check this out. And I tried

713
00:38:33,880 --> 00:38:37,920
Speaker 2: to do it for him. It didn't work, you know

714
00:38:37,960 --> 00:38:39,279
Speaker 2: what I mean, Like it's almost like you wanted to

715
00:38:39,280 --> 00:38:41,799
Speaker 2: share and you were planning it, you couldn't do it.

716
00:38:41,840 --> 00:38:44,560
Speaker 2: But it's when I was by myself and it was happening,

717
00:38:44,600 --> 00:38:46,360
Speaker 2: I was like, whoa, look at this flying thing. And

718
00:38:46,400 --> 00:38:49,319
Speaker 2: now at this point I want to show people. You're

719
00:38:49,320 --> 00:38:51,799
Speaker 2: almost like I almost want to show off the trick, like, oh,

720
00:38:52,160 --> 00:38:55,399
Speaker 2: check this out, and whenever I try, it just doesn't work,

721
00:38:56,440 --> 00:38:59,600
Speaker 2: which is which is weird, you know. But I have

722
00:38:59,760 --> 00:39:02,960
Speaker 2: that dream a lot, and it's the same flying style,

723
00:39:04,239 --> 00:39:05,919
Speaker 2: which is and it's kind of like it's a really

724
00:39:05,960 --> 00:39:08,120
Speaker 2: awesome style because it's.

725
00:39:09,680 --> 00:39:11,640
Speaker 1: Because even in your dreams, you're cool shit.

726
00:39:14,880 --> 00:39:17,719
Speaker 3: Because it because it's so it's so floaty.

727
00:39:18,239 --> 00:39:19,080
Speaker 1: It's so floaty.

728
00:39:19,120 --> 00:39:21,960
Speaker 2: It's not like a plain ship when I'm able to

729
00:39:21,960 --> 00:39:23,040
Speaker 2: make quick rights or anything.

730
00:39:23,120 --> 00:39:25,879
Speaker 3: So it's almost like it's hard.

731
00:39:26,400 --> 00:39:29,240
Speaker 2: Okay, I guess how to describe dreams on a microphone.

732
00:39:29,239 --> 00:39:33,160
Speaker 1: It's hard. It's hard. Who are three of the most

733
00:39:33,400 --> 00:39:35,440
Speaker 1: in your career? Who are three of the most important

734
00:39:35,440 --> 00:39:40,600
Speaker 1: people that you've met? La Reid who signed this.

735
00:39:42,080 --> 00:39:45,839
Speaker 2: Big Boy, And I just I say third, i'd have

736
00:39:45,920 --> 00:39:51,880
Speaker 2: to say collectively, the Dungeon, those are the most important, okay,

737
00:39:51,960 --> 00:39:52,239
Speaker 2: you know.

738
00:39:53,360 --> 00:39:56,320
Speaker 3: Because because and for for different reasons.

739
00:39:56,320 --> 00:39:57,480
Speaker 1: But well, la read.

740
00:39:57,520 --> 00:39:59,560
Speaker 2: Of course, he gave us our first opportunity, you know,

741
00:39:59,640 --> 00:40:01,920
Speaker 2: so he he saw enough in us to sign us,

742
00:40:01,960 --> 00:40:05,600
Speaker 2: to give us an opportunity to do something. Big Boy,

743
00:40:05,680 --> 00:40:09,880
Speaker 2: because he's my high school friend, that started this whole

744
00:40:09,960 --> 00:40:12,200
Speaker 2: thing with me that oh we can do this, you know,

745
00:40:12,480 --> 00:40:16,040
Speaker 2: and not only not only that just contributing and like

746
00:40:16,239 --> 00:40:21,080
Speaker 2: a music form, but in a motivational form too, because

747
00:40:21,200 --> 00:40:23,680
Speaker 2: Big Boy knows me more than anybody, and he knows,

748
00:40:24,360 --> 00:40:26,719
Speaker 2: you know, when I'm not feeling a certain thing or

749
00:40:27,520 --> 00:40:29,560
Speaker 2: you know, when I've given up in a way. And

750
00:40:29,560 --> 00:40:31,279
Speaker 2: Big Boy's always been kind of like the Chileader. Like

751
00:40:31,280 --> 00:40:34,400
Speaker 2: I remember before we even first our first album came out,

752
00:40:34,760 --> 00:40:38,879
Speaker 2: our first showcase, people didn't like us, you know, and

753
00:40:38,960 --> 00:40:42,760
Speaker 2: we got the feedback from that showcase when all labels

754
00:40:42,800 --> 00:40:44,880
Speaker 2: were coming you would do your acting.

755
00:40:45,160 --> 00:40:47,520
Speaker 3: You know, it's kind of funny thing about it now,

756
00:40:47,880 --> 00:40:49,560
Speaker 3: but we.

757
00:40:49,520 --> 00:40:53,040
Speaker 2: Got word that, you know, some feedback was they're okay,

758
00:40:53,120 --> 00:40:55,000
Speaker 2: they're not stars, you know.

759
00:40:55,120 --> 00:40:56,280
Speaker 1: That's that was the feedback.

760
00:40:56,600 --> 00:40:58,359
Speaker 2: And so at that point I remember we were kind

761
00:40:58,360 --> 00:41:01,960
Speaker 2: of sad we were at the Dungeon, and I was like, oh, well,

762
00:41:02,040 --> 00:41:03,839
Speaker 2: well shit, man, I'm gonna go ahead and do this

763
00:41:03,960 --> 00:41:06,080
Speaker 2: art thing like I always like, I thought i'd be

764
00:41:06,160 --> 00:41:09,319
Speaker 2: drawing and paint like that's why I started doing so

765
00:41:09,400 --> 00:41:11,080
Speaker 2: I was the plan was like, all right, well we're

766
00:41:11,080 --> 00:41:12,960
Speaker 2: just going to our school now. You know, this rap

767
00:41:13,000 --> 00:41:15,040
Speaker 2: thing is not working so big boys kind of a

768
00:41:15,080 --> 00:41:16,719
Speaker 2: person like, no, man, we don't came this far.

769
00:41:17,280 --> 00:41:17,839
Speaker 1: Let's do it.

770
00:41:18,440 --> 00:41:26,600
Speaker 2: So that value importance in my life and career the

771
00:41:26,680 --> 00:41:34,000
Speaker 2: Dungeon because they created an environment to show me to well,

772
00:41:34,040 --> 00:41:36,799
Speaker 2: to make me feel comfortable enough to do all the

773
00:41:36,840 --> 00:41:39,480
Speaker 2: things that y'all are seeing now, Like you have to

774
00:41:39,520 --> 00:41:45,360
Speaker 2: have a good ground to to feel comfortable enough to

775
00:41:45,360 --> 00:41:49,279
Speaker 2: try stuff, you know. If yeah, I mean you've seen

776
00:41:49,280 --> 00:41:51,080
Speaker 2: a year, your producer, you've been in the studio, Like

777
00:41:51,719 --> 00:41:53,920
Speaker 2: you've gotten certain things out of artists when they're opening

778
00:41:53,920 --> 00:41:57,400
Speaker 2: and you know, freer than if they're you know, nervous

779
00:41:57,600 --> 00:42:00,880
Speaker 2: or you know they're scared to fuck up, you know,

780
00:42:01,040 --> 00:42:01,680
Speaker 2: or scared.

781
00:42:01,440 --> 00:42:02,760
Speaker 1: To not be great.

782
00:42:02,880 --> 00:42:04,560
Speaker 2: You know, you got to create that environment, and I

783
00:42:04,560 --> 00:42:08,640
Speaker 2: think the Dungeon created that environment for me to yeah,

784
00:42:08,640 --> 00:42:13,520
Speaker 2: for me to know how to dream like they taught me, Like, yeah,

785
00:42:13,520 --> 00:42:15,680
Speaker 2: they taught me how to get out.

786
00:42:15,800 --> 00:42:19,719
Speaker 1: You know, what's the hidden talent that you possess that

787
00:42:19,800 --> 00:42:26,160
Speaker 1: the world doesn't know about drawing paint? You're still actively

788
00:42:26,280 --> 00:42:31,719
Speaker 1: paint right now? Yeah? Yeah. Are you into selling your work? Yes,

789
00:42:31,880 --> 00:42:34,440
Speaker 1: very soon, stay tuned, very soon. Yeah. I want to

790
00:42:34,480 --> 00:42:37,680
Speaker 1: be for because that's I collect works from different artists. Yeah. Man,

791
00:42:37,760 --> 00:42:41,239
Speaker 1: So finally George Clinton gave an official piece.

792
00:42:40,960 --> 00:42:43,960
Speaker 2: And yeah, man, I can't wait to share it because

793
00:42:43,960 --> 00:42:45,400
Speaker 2: it's a whole nother thing. And I've been I've been

794
00:42:45,440 --> 00:42:48,920
Speaker 2: sharing it a little bit, but only like on outcast CDs.

795
00:42:49,160 --> 00:42:52,000
Speaker 2: Uh yeah, although our sketches a little quick. And that's

796
00:42:52,120 --> 00:42:54,319
Speaker 2: that's another thing that was. That was a big boy thing,

797
00:42:54,400 --> 00:42:56,120
Speaker 2: like I did it one time for the first album

798
00:42:56,120 --> 00:42:58,520
Speaker 2: and then big boys like you're gonna do another one

799
00:42:58,520 --> 00:42:59,120
Speaker 2: for the next one.

800
00:42:59,480 --> 00:43:01,240
Speaker 3: I was like, yeah, sure, why not? So it became

801
00:43:01,280 --> 00:43:03,000
Speaker 3: a thing because.

802
00:43:02,680 --> 00:43:08,040
Speaker 1: He you've done all that artwork of on the AC Yeah,

803
00:43:08,120 --> 00:43:09,279
Speaker 1: that's your work. Yeah.

804
00:43:09,280 --> 00:43:11,799
Speaker 2: And I'm I'm I call myself more of a like

805
00:43:11,840 --> 00:43:15,480
Speaker 2: a classroom drawer more than anything. I wouldn't say I'm,

806
00:43:15,560 --> 00:43:18,000
Speaker 2: you know, full fledged. I'm learning how to paint now.

807
00:43:18,719 --> 00:43:21,080
Speaker 2: But yeah, I've been doing it for a while now

808
00:43:21,560 --> 00:43:24,000
Speaker 2: and I'm loving that I'm finding what. I am loving

809
00:43:24,040 --> 00:43:26,319
Speaker 2: that I'm finding my style and can't wait to share it.

810
00:43:26,960 --> 00:43:30,920
Speaker 2: But that I cook how good I have to cook it?

811
00:43:31,000 --> 00:43:33,960
Speaker 2: You have to tell me, Like, but people that have

812
00:43:34,000 --> 00:43:36,399
Speaker 2: had food, they enjoy it. And I really be doing

813
00:43:36,440 --> 00:43:38,640
Speaker 2: the same thing that my mom and my daddy showed me,

814
00:43:38,760 --> 00:43:42,280
Speaker 2: just recipes they showed me. So it's like Jim Salmon

815
00:43:42,320 --> 00:43:47,960
Speaker 2: Patti's and cheese grits or fried fish. My dad had

816
00:43:47,960 --> 00:43:51,600
Speaker 2: a fish shop on Riverdale Road, Okay, and my mom

817
00:43:51,680 --> 00:43:54,920
Speaker 2: taught me, you know, recipes. I'm only child, so I

818
00:43:54,920 --> 00:43:57,840
Speaker 2: cooked for myself a lot, so I had that skill

819
00:43:57,960 --> 00:44:03,759
Speaker 2: to do it. So okay, other talents. I can make

820
00:44:04,000 --> 00:44:09,719
Speaker 2: water noises with my mouth. Okay, you want to hear them?

821
00:44:09,880 --> 00:44:18,880
Speaker 1: Hit me. What's the greatest cereal of all time?

822
00:44:23,960 --> 00:44:27,400
Speaker 2: I would have to say, you gotta eat it quick

823
00:44:28,000 --> 00:44:29,480
Speaker 2: with them fruit the pebbles though.

824
00:44:29,320 --> 00:44:33,040
Speaker 1: Like oh before yeah, super sivy.

825
00:44:32,800 --> 00:44:35,680
Speaker 3: Yeah yeah, them fruity pebbles. Man, they something else.

826
00:44:37,160 --> 00:44:39,360
Speaker 1: The story that you told me before we started taping

827
00:44:40,320 --> 00:44:43,600
Speaker 1: about Coachella at night one, Yeah, yeah, man, could you

828
00:44:43,640 --> 00:44:47,240
Speaker 1: share that story. Yeah, for sure, and it's funny.

829
00:44:47,239 --> 00:44:48,920
Speaker 2: For a long time, I wouldn't sure if you know,

830
00:44:48,960 --> 00:44:51,640
Speaker 2: when people pass away, you just wanted to kind of respect.

831
00:44:53,000 --> 00:44:56,239
Speaker 2: But I think I think Prince would. I think he

832
00:44:56,280 --> 00:44:59,719
Speaker 2: would enjoy it. So yeah, like I don't, I don't.

833
00:44:59,800 --> 00:45:03,400
Speaker 2: I've met Prince in passing. Like when I was finishing

834
00:45:03,440 --> 00:45:05,840
Speaker 2: up The Love Below, I lived in LA and I

835
00:45:05,880 --> 00:45:09,839
Speaker 2: remember being a homie going out to a club on sunset,

836
00:45:10,400 --> 00:45:14,359
Speaker 2: normal night, and I go, I say, hey, I'm going

837
00:45:14,360 --> 00:45:16,480
Speaker 2: to use the bathroom and walking away use the bathroom

838
00:45:16,920 --> 00:45:19,240
Speaker 2: and this big, huge bodyguard dude.

839
00:45:19,000 --> 00:45:20,600
Speaker 3: Comes and grabbed me, and you say, hey, Prince is

840
00:45:20,600 --> 00:45:21,040
Speaker 3: in the corner.

841
00:45:21,040 --> 00:45:21,600
Speaker 1: He wants to meet you.

842
00:45:22,719 --> 00:45:24,600
Speaker 2: And so that was my first time meeting Prince when

843
00:45:24,600 --> 00:45:29,560
Speaker 2: I got a pee. Man, this was making Love Below.

844
00:45:29,640 --> 00:45:32,960
Speaker 2: So no, actually this was Hey, y'all was already out. Hey,

845
00:45:33,040 --> 00:45:35,040
Speaker 2: y'all was out. Yeah, and that's the only like the

846
00:45:35,040 --> 00:45:35,600
Speaker 2: whole album.

847
00:45:35,640 --> 00:45:36,720
Speaker 1: You were just meeting him.

848
00:45:36,960 --> 00:45:39,440
Speaker 2: No, the album had just come out. Yeah I hadn't

849
00:45:39,440 --> 00:45:40,040
Speaker 2: met him before.

850
00:45:40,400 --> 00:45:40,760
Speaker 1: Crap.

851
00:45:41,360 --> 00:45:43,759
Speaker 2: Yeah, okay, yeah, all my friends had met him. You know,

852
00:45:43,840 --> 00:45:46,799
Speaker 2: Erica told me stories. You know, I never met him,

853
00:45:47,120 --> 00:45:50,919
Speaker 2: but so his bodyguard. I never mind you. I still

854
00:45:50,920 --> 00:45:54,719
Speaker 2: got a pee, right, So I go over to this

855
00:45:54,800 --> 00:45:59,200
Speaker 2: booth and this prince and he's sitting and uh, I'm

856
00:45:59,320 --> 00:46:01,400
Speaker 2: very nervous, and he, you know, motions his hand like

857
00:46:01,440 --> 00:46:03,640
Speaker 2: sit down, sit down, man, you know. So I go

858
00:46:03,680 --> 00:46:06,040
Speaker 2: and sit down and I just I didn't know what

859
00:46:06,160 --> 00:46:08,120
Speaker 2: to say, and he could he could tell that I

860
00:46:08,120 --> 00:46:10,160
Speaker 2: didn't know what to say, right, so he was like,

861
00:46:10,200 --> 00:46:10,799
Speaker 2: it's all good.

862
00:46:10,920 --> 00:46:11,120
Speaker 1: Man.

863
00:46:11,360 --> 00:46:12,960
Speaker 2: He didn't say all good, but he was like it's

864
00:46:12,960 --> 00:46:15,200
Speaker 2: okay or something like that. He's like, it's okay. He's like,

865
00:46:15,239 --> 00:46:17,080
Speaker 2: we don't have to talk about everything now. That's what

866
00:46:17,120 --> 00:46:18,719
Speaker 2: we said. We don't have to say everything now. It's like,

867
00:46:18,760 --> 00:46:20,640
Speaker 2: you can come out to Paisley Park, you know. He

868
00:46:20,719 --> 00:46:23,040
Speaker 2: invite it in which I've never been to Paisley Park.

869
00:46:23,080 --> 00:46:27,640
Speaker 2: But and so I'm sitting there and I didn't So

870
00:46:27,880 --> 00:46:30,960
Speaker 2: he starts talking about, hey, y'all, and I didn't.

871
00:46:30,760 --> 00:46:33,319
Speaker 1: Know if it was did that freak you out? It?

872
00:46:33,360 --> 00:46:35,239
Speaker 1: Did that? He knew you were alive, that.

873
00:46:35,160 --> 00:46:37,960
Speaker 2: You existed, Yes, But what he said I didn't know

874
00:46:37,960 --> 00:46:39,440
Speaker 2: how to take it. I didn't know if he was

875
00:46:39,719 --> 00:46:44,360
Speaker 2: taking a dig at me or what. Because he said, yeah,

876
00:46:44,480 --> 00:46:46,160
Speaker 2: I liked that song hey, y'all man. He was like,

877
00:46:46,239 --> 00:46:48,040
Speaker 2: I thought I was the only person that did songs

878
00:46:48,040 --> 00:46:51,120
Speaker 2: in those tempos. That's what he said to me. And

879
00:46:51,160 --> 00:46:53,880
Speaker 2: I didn't know if he was like, take that, nigga,

880
00:46:53,880 --> 00:46:54,319
Speaker 2: you know what I mean?

881
00:46:55,520 --> 00:46:57,279
Speaker 1: You know what I mean? I didn't know how to

882
00:46:57,320 --> 00:46:59,120
Speaker 1: take it. You know, this is my hero. I think

883
00:46:59,200 --> 00:47:02,880
Speaker 1: he considered, did you appear like I don't know, I

884
00:47:02,880 --> 00:47:05,640
Speaker 1: don't know. And so naturally, the album had just come

885
00:47:05,719 --> 00:47:09,080
Speaker 1: out and we were trying to figure out what's the

886
00:47:09,120 --> 00:47:11,839
Speaker 1: next single, and so I didn't know what to say

887
00:47:11,880 --> 00:47:13,200
Speaker 1: to him, and I just said, hey, have.

888
00:47:13,160 --> 00:47:14,719
Speaker 2: You heard the album? He was like, yeah, I've heard it.

889
00:47:15,320 --> 00:47:17,120
Speaker 2: Then and I said, well, what do you think the

890
00:47:17,120 --> 00:47:20,040
Speaker 2: next single should be? Then he said another Prince thing.

891
00:47:20,080 --> 00:47:22,960
Speaker 2: He said in my day, we only had one shot.

892
00:47:25,080 --> 00:47:29,200
Speaker 2: So basically he was saying, it don't matter now, whatever

893
00:47:29,239 --> 00:47:31,920
Speaker 2: you do, it don't matter, right, And I know how

894
00:47:31,920 --> 00:47:34,280
Speaker 2: to take that either, you know, It's like okay, okay, cool.

895
00:47:34,880 --> 00:47:38,279
Speaker 2: The next time I saw Prince, I'm I'm and it's

896
00:47:38,320 --> 00:47:42,439
Speaker 2: always random. So I'm walking down the street like close

897
00:47:42,480 --> 00:47:46,000
Speaker 2: to Rodeo by myself, and a limo pulls up close

898
00:47:46,000 --> 00:47:46,239
Speaker 2: to me.

899
00:47:49,120 --> 00:47:51,200
Speaker 1: I'm not I swear to all the gods. Man.

900
00:47:51,400 --> 00:47:53,480
Speaker 2: No, dude, every Prince story is this rand Yes, I

901
00:47:53,480 --> 00:47:54,440
Speaker 2: know because I've heard him too.

902
00:47:54,640 --> 00:47:54,799
Speaker 1: Yes.

903
00:47:55,160 --> 00:47:57,640
Speaker 2: And so he so this window rolls down and his

904
00:47:57,760 --> 00:47:59,600
Speaker 2: little head pops out and his prince and.

905
00:48:01,400 --> 00:48:03,560
Speaker 3: He said, what's up man? I was like, what's up man?

906
00:48:03,680 --> 00:48:03,920
Speaker 1: You know?

907
00:48:04,000 --> 00:48:08,200
Speaker 2: And then he was like, you heard about this something.

908
00:48:08,280 --> 00:48:10,239
Speaker 2: I can't say I remember which magazine, but they were

909
00:48:11,360 --> 00:48:13,480
Speaker 2: they opposed the thing, or we want to put you

910
00:48:13,560 --> 00:48:15,560
Speaker 2: in prints on the cover of a magazine together.

911
00:48:16,440 --> 00:48:18,640
Speaker 1: And Prince said, you heard about that. Uh.

912
00:48:19,000 --> 00:48:20,319
Speaker 2: I don't know if a rap paid, I don't know

913
00:48:20,320 --> 00:48:23,400
Speaker 2: what complex. I have no idea which magazine was, but

914
00:48:23,480 --> 00:48:24,719
Speaker 2: I was like, yeah, I heard about it. And I

915
00:48:24,719 --> 00:48:26,239
Speaker 2: was asking him like what do you what do you think?

916
00:48:26,560 --> 00:48:29,600
Speaker 2: And he said don't let them do you like that?

917
00:48:32,360 --> 00:48:34,320
Speaker 1: Yeah? And I still.

918
00:48:36,239 --> 00:48:40,440
Speaker 2: Like, I don't know, but but now, like in retrospect,

919
00:48:40,600 --> 00:48:46,960
Speaker 2: I think what he meant was don't let them boil

920
00:48:47,040 --> 00:48:50,640
Speaker 2: you down to being next to me, right, you know

921
00:48:50,680 --> 00:48:52,680
Speaker 2: what I mean. That's that's what I got from it, Like,

922
00:48:53,880 --> 00:48:55,319
Speaker 2: you know, you know what I mean, and people will

923
00:48:55,360 --> 00:48:56,800
Speaker 2: try to put you in them boxes, you know what

924
00:48:56,840 --> 00:48:57,160
Speaker 2: I mean?

925
00:48:57,840 --> 00:48:59,200
Speaker 3: And I respected that from him.

926
00:48:59,239 --> 00:48:59,680
Speaker 1: You know what I mean.

927
00:48:59,680 --> 00:49:01,760
Speaker 2: He was like, You're more than whatever people are saying,

928
00:49:01,880 --> 00:49:05,200
Speaker 2: you know what I mean, And that's what I that's

929
00:49:05,239 --> 00:49:08,399
Speaker 2: what I took. So so fast forward. I hadn't talked

930
00:49:08,400 --> 00:49:11,399
Speaker 2: to him and seen him that whole time. Big Boy

931
00:49:11,440 --> 00:49:15,080
Speaker 2: done toured ten years, So we have this Coachella opportunities

932
00:49:15,120 --> 00:49:16,200
Speaker 2: outcast twenty years.

933
00:49:16,320 --> 00:49:20,040
Speaker 1: Wait, you must really be off the radar because Prince

934
00:49:20,160 --> 00:49:22,160
Speaker 1: is super like I will see him in the most

935
00:49:22,640 --> 00:49:26,000
Speaker 1: random situations. Yeah. So you're saying ten years went by

936
00:49:26,080 --> 00:49:27,080
Speaker 1: before you saw him again.

937
00:49:27,280 --> 00:49:29,720
Speaker 3: Yeah, I think it was seven to ten years.

938
00:49:29,800 --> 00:49:30,080
Speaker 1: Damn.

939
00:49:30,160 --> 00:49:33,319
Speaker 2: Okay, I'd moved from LA too, so I only saw

940
00:49:33,400 --> 00:49:35,040
Speaker 2: him in LA. I think he was hanging out right

941
00:49:35,040 --> 00:49:40,080
Speaker 2: here a lot. So the Coachella opportunity comes up, I

942
00:49:40,200 --> 00:49:44,120
Speaker 2: was kind of like whatever about it, Like you know

943
00:49:44,320 --> 00:49:45,960
Speaker 2: I was there were certain times I didn't even remember

944
00:49:46,000 --> 00:49:48,200
Speaker 2: my raps, you know, I was kind of all right, whatever,

945
00:49:48,280 --> 00:49:48,600
Speaker 2: let's go.

946
00:49:48,600 --> 00:49:49,239
Speaker 1: I hadn't do it.

947
00:49:50,360 --> 00:49:53,760
Speaker 2: So the first night of the first weekend of Coachella,

948
00:49:55,719 --> 00:49:58,239
Speaker 2: nerves like I hadn't been on stage, you know what

949
00:49:58,239 --> 00:50:00,520
Speaker 2: I mean, Like, that's not my normal every day anymore.

950
00:50:00,800 --> 00:50:02,800
Speaker 2: Big Boy does it every night, so this is normal

951
00:50:02,840 --> 00:50:07,960
Speaker 2: to him. So I'm coming out the dressing room. They

952
00:50:08,040 --> 00:50:10,239
Speaker 2: start the show. I'm walking to the stage and I

953
00:50:10,320 --> 00:50:14,600
Speaker 2: see Paul McCartney. Wow, no, walk to the left side

954
00:50:14,600 --> 00:50:18,120
Speaker 2: of the stage and sit. I saw Prince walk to

955
00:50:18,160 --> 00:50:20,040
Speaker 2: the right side of the stage, and.

956
00:50:21,520 --> 00:50:29,560
Speaker 4: Oh god, I'm sorry. And you see what I'm saying.

957
00:50:30,880 --> 00:50:34,640
Speaker 4: Tyler the creator just met us backstage. Tyler is new,

958
00:50:34,920 --> 00:50:38,520
Speaker 4: He's sorry. We were talking. He came backstage. We tripping.

959
00:50:39,239 --> 00:50:42,920
Speaker 4: I'm nervous as fuck. I'm walking to the stage and

960
00:50:42,960 --> 00:50:47,040
Speaker 4: I see these gods standing on both sides of the stage.

961
00:50:47,840 --> 00:50:50,640
Speaker 4: Mind you, my whole career, I've never used in ears.

962
00:50:50,880 --> 00:50:53,279
Speaker 4: You know, the monitors. We always just worked out for

963
00:50:53,320 --> 00:50:56,600
Speaker 4: whatever speaker was on stage. My first time ever using

964
00:50:56,640 --> 00:50:59,040
Speaker 4: in the ears, and they're acting up, so they're clipping out.

965
00:50:59,080 --> 00:51:01,719
Speaker 4: I'm him people voices I don't even know talking in

966
00:51:01,760 --> 00:51:02,080
Speaker 4: my ear.

967
00:51:02,080 --> 00:51:04,480
Speaker 2: I'm like, what the fuck? So it was a disaster

968
00:51:04,600 --> 00:51:08,239
Speaker 2: to me, like I was trying to get through it.

969
00:51:08,320 --> 00:51:10,120
Speaker 2: I didn't know how to do it anymore, Like it

970
00:51:10,200 --> 00:51:13,400
Speaker 2: was just a new awakening for an old thing that

971
00:51:13,440 --> 00:51:14,040
Speaker 2: I used to do.

972
00:51:14,160 --> 00:51:16,960
Speaker 1: So halfway through the show.

973
00:51:17,480 --> 00:51:20,560
Speaker 2: I'm checked out, Like I'm already just trying to get

974
00:51:20,600 --> 00:51:20,920
Speaker 2: through it.

975
00:51:20,960 --> 00:51:22,480
Speaker 1: I'm just trying to get through the night. You know,

976
00:51:23,400 --> 00:51:24,760
Speaker 1: I'm already in my bed.

977
00:51:25,840 --> 00:51:29,080
Speaker 2: So as soon as I walked off stage, I went

978
00:51:29,239 --> 00:51:33,480
Speaker 2: home and went straight to sleep. When you crash, you

979
00:51:33,520 --> 00:51:36,200
Speaker 2: go straight to sleep, like it's like a bad night.

980
00:51:36,239 --> 00:51:37,759
Speaker 2: So you just let me go to sleep and you know,

981
00:51:37,760 --> 00:51:40,160
Speaker 2: wake up in the morning. So when I woke up

982
00:51:40,200 --> 00:51:43,879
Speaker 2: and I'm driving back to LA, my manager called and said, hey,

983
00:51:43,880 --> 00:51:46,239
Speaker 2: Prince wants to talk to you. So he calls. I

984
00:51:46,280 --> 00:51:50,080
Speaker 2: don't know where he got the number from. Yeah he

985
00:51:50,080 --> 00:51:52,320
Speaker 2: should work for like the Secret Service, right exactly.

986
00:51:53,040 --> 00:51:56,840
Speaker 3: But he calls and it's Prince on the phone.

987
00:51:56,840 --> 00:51:59,399
Speaker 2: I'm like, hey, man, I'm like, you know, I don't

988
00:51:59,400 --> 00:52:02,239
Speaker 2: even know, like I got prints on the fucking phone right.

989
00:52:03,480 --> 00:52:06,080
Speaker 2: First thing he says, he says, you know what your

990
00:52:06,160 --> 00:52:11,080
Speaker 2: problem is? He digs, he goes in straight like that.

991
00:52:11,400 --> 00:52:16,799
Speaker 2: He said, you don't understand how big y'all are. And

992
00:52:17,560 --> 00:52:20,680
Speaker 2: of course I'm telling him my sob story, like yeah, man,

993
00:52:20,719 --> 00:52:22,440
Speaker 2: you know, I ain't really been wanting to do it anymore,

994
00:52:22,480 --> 00:52:23,560
Speaker 2: like I don't like doing old.

995
00:52:23,600 --> 00:52:25,920
Speaker 3: So he was like, and this is him.

996
00:52:26,000 --> 00:52:28,680
Speaker 2: He's saying, I've been there, man, like I know exactly

997
00:52:28,680 --> 00:52:30,319
Speaker 2: what you mean, I've been there where I don't want

998
00:52:30,360 --> 00:52:31,320
Speaker 2: to do those songs.

999
00:52:31,280 --> 00:52:35,959
Speaker 1: Blah blah blah. But he said, but you're a grown man.

1000
00:52:37,480 --> 00:52:44,240
Speaker 2: You signed up to do these shows, so do them.

1001
00:52:42,800 --> 00:52:43,359
Speaker 1: Just like that.

1002
00:52:43,640 --> 00:52:47,920
Speaker 2: And so that conversation made me have to re figure

1003
00:52:47,960 --> 00:52:50,560
Speaker 2: out how can I make these shows exciting to me?

1004
00:52:51,320 --> 00:52:53,640
Speaker 2: You know, how can I be in it? And that's

1005
00:52:53,680 --> 00:52:56,000
Speaker 2: when the idea to try to put messages on my

1006
00:52:56,160 --> 00:52:58,840
Speaker 2: uniform every night where That's what got me excited.

1007
00:52:58,840 --> 00:53:02,000
Speaker 1: Where are those uniforms. We have them in storage, all

1008
00:53:02,040 --> 00:53:03,239
Speaker 1: of them, all of them.

1009
00:53:03,960 --> 00:53:07,279
Speaker 2: So my biggest excitement of that tour was figuring out

1010
00:53:07,320 --> 00:53:08,880
Speaker 2: what I was going to say that night, because I

1011
00:53:08,920 --> 00:53:11,200
Speaker 2: was trying to say something new, like I love I mean,

1012
00:53:11,520 --> 00:53:15,360
Speaker 2: here's my thing. I love the blessing of the songs

1013
00:53:15,360 --> 00:53:18,560
Speaker 2: that we've been given. I don't like performing old songs, really,

1014
00:53:18,560 --> 00:53:19,919
Speaker 2: I just I just don't because I'm in a whole

1015
00:53:19,960 --> 00:53:21,480
Speaker 2: nother space and I have to kind of get back

1016
00:53:21,520 --> 00:53:24,520
Speaker 2: and remember what that felt like to do that, and

1017
00:53:24,560 --> 00:53:27,040
Speaker 2: I don't necessarily like doing that. It's almost like playing

1018
00:53:27,160 --> 00:53:29,640
Speaker 2: dress up to an eighth grade picture that you saw

1019
00:53:29,680 --> 00:53:33,120
Speaker 2: and now you're trying to rebe that person again and

1020
00:53:33,200 --> 00:53:37,040
Speaker 2: so I was trying to figure out how do I

1021
00:53:37,080 --> 00:53:41,799
Speaker 2: make this exciting this tour, and so the messages on

1022
00:53:42,200 --> 00:53:46,080
Speaker 2: the suits were just fun to me. It was just hilarious.

1023
00:53:46,080 --> 00:53:49,000
Speaker 2: What can I do to make it fun? That's that's

1024
00:53:49,000 --> 00:53:51,480
Speaker 2: how I got through it. And that gave me something,

1025
00:53:51,960 --> 00:53:55,960
Speaker 2: an entry way to make this exciting and that's.

1026
00:53:57,560 --> 00:53:57,920
Speaker 1: Yeah.

1027
00:53:57,760 --> 00:53:58,120
Speaker 4: Oh oh.

1028
00:53:58,160 --> 00:53:59,839
Speaker 3: But but back to back to Prince another thing.

1029
00:54:00,239 --> 00:54:05,960
Speaker 2: So when I was telling him about, you know, how

1030
00:54:06,000 --> 00:54:07,759
Speaker 2: I felt, and he was like, yeah, I've been there.

1031
00:54:07,800 --> 00:54:08,160
Speaker 1: I've been there.

1032
00:54:08,200 --> 00:54:09,719
Speaker 2: He's like, but you got to do these shows. You're

1033
00:54:09,760 --> 00:54:15,560
Speaker 2: grown man. And then he said, oh oh, so back

1034
00:54:15,560 --> 00:54:18,480
Speaker 2: when he was like, you got to remind people who

1035
00:54:18,480 --> 00:54:20,279
Speaker 2: you are. It's like when you've been gone for a

1036
00:54:20,280 --> 00:54:22,960
Speaker 2: long time, you have to remind people who you are.

1037
00:54:23,000 --> 00:54:24,920
Speaker 2: Every time he's like, you got to do that first.

1038
00:54:25,120 --> 00:54:26,960
Speaker 2: This is him telling me, like, you got to do

1039
00:54:27,040 --> 00:54:29,760
Speaker 2: that first, and then you can do whatever. He actually said,

1040
00:54:30,160 --> 00:54:32,560
Speaker 2: if you remind people what you do first, you can

1041
00:54:32,640 --> 00:54:34,560
Speaker 2: shave off all your hair and tell them to do

1042
00:54:34,600 --> 00:54:36,359
Speaker 2: it and they will do it. This is what this is.

1043
00:54:36,440 --> 00:54:39,000
Speaker 2: These are his words, and he said, I learned that

1044
00:54:39,040 --> 00:54:39,520
Speaker 2: from Mary J.

1045
00:54:39,640 --> 00:54:41,600
Speaker 1: Blige. This is Prince telling me I toured.

1046
00:54:41,800 --> 00:54:43,359
Speaker 2: I did a couple of shows with her, and I'm

1047
00:54:43,360 --> 00:54:45,520
Speaker 2: trying to do all this new stuff and she's doing

1048
00:54:45,520 --> 00:54:48,800
Speaker 2: what people know. And he said, I learned that from Mary,

1049
00:54:50,000 --> 00:54:53,040
Speaker 2: to give the people what they want first, then you

1050
00:54:53,040 --> 00:54:56,799
Speaker 2: can do whatever you want after that. And him trying to,

1051
00:54:57,160 --> 00:55:01,680
Speaker 2: I guess, plead his case about reminding people who y'all are.

1052
00:55:02,320 --> 00:55:05,480
Speaker 2: He started naming artists and I won't name the names

1053
00:55:05,480 --> 00:55:08,360
Speaker 2: because I don't think it's about these names. But he

1054
00:55:08,480 --> 00:55:11,080
Speaker 2: was like, this person, this person, this person. None of

1055
00:55:11,080 --> 00:55:13,280
Speaker 2: these people would be here if it wasn't for y'all.

1056
00:55:14,200 --> 00:55:15,759
Speaker 2: And you have to remember that, and you have to

1057
00:55:16,400 --> 00:55:21,279
Speaker 2: remind people of that all the time. So and then

1058
00:55:21,360 --> 00:55:24,279
Speaker 2: he said, and this is I guess the musician. And

1059
00:55:24,440 --> 00:55:26,360
Speaker 2: he was like, and why you didn't play your guitar

1060
00:55:26,400 --> 00:55:28,799
Speaker 2: on hey y'all on stage? Why you didn't do it?

1061
00:55:28,840 --> 00:55:30,920
Speaker 2: I was like, I'm not like a great guitarist or anything.

1062
00:55:31,000 --> 00:55:32,360
Speaker 2: You know, It's like, I know how to play a

1063
00:55:32,400 --> 00:55:35,040
Speaker 2: couple of chords. He's like, but you're good enough. You

1064
00:55:35,080 --> 00:55:35,839
Speaker 2: should have played it.

1065
00:55:35,960 --> 00:55:37,080
Speaker 1: So, you know, he digging it.

1066
00:55:37,080 --> 00:55:40,120
Speaker 2: And then I didn't tell everybody at the time because

1067
00:55:40,120 --> 00:55:43,840
Speaker 2: I wanted to keep the momentum together, but he totally

1068
00:55:43,880 --> 00:55:46,719
Speaker 2: dissed our band. Right, yeah, He's like, and what's up

1069
00:55:46,760 --> 00:55:48,480
Speaker 2: with that fucking band? This is Prince saying, what's up

1070
00:55:48,480 --> 00:55:49,280
Speaker 2: with that fucking band?

1071
00:55:49,880 --> 00:55:50,319
Speaker 1: And at that.

1072
00:55:50,320 --> 00:55:53,560
Speaker 2: Point I was like, ah, man, you know, I really

1073
00:55:53,640 --> 00:55:55,520
Speaker 2: didn't want a band, you know, I was trying to

1074
00:55:55,520 --> 00:55:58,160
Speaker 2: find a new way to be modern looking on stage

1075
00:55:58,239 --> 00:56:00,239
Speaker 2: or something like that. Anyway, I said, but you know,

1076
00:56:00,280 --> 00:56:02,840
Speaker 2: I'm in a group, and you know, we have to

1077
00:56:02,840 --> 00:56:05,520
Speaker 2: be fair about decisions, and I'm telling Prince about my

1078
00:56:05,680 --> 00:56:09,080
Speaker 2: inner you know, right, and a decision with me and Big,

1079
00:56:09,120 --> 00:56:10,799
Speaker 2: you know, Big like I want the band, the band,

1080
00:56:10,840 --> 00:56:12,839
Speaker 2: you know, shit, that's you know, these are folks who

1081
00:56:12,840 --> 00:56:15,920
Speaker 2: support our band, which I'm with on that, but I

1082
00:56:16,040 --> 00:56:19,440
Speaker 2: wanted to do something new. But we are together in

1083
00:56:19,480 --> 00:56:21,719
Speaker 2: this thing, so we had we made decisions to do

1084
00:56:21,760 --> 00:56:23,600
Speaker 2: the band, and it was our first night, so we're

1085
00:56:23,640 --> 00:56:26,640
Speaker 2: trying to get as tight as we can be. But anyway,

1086
00:56:26,719 --> 00:56:29,480
Speaker 2: he was like, what's up with that band? They sound horrible?

1087
00:56:30,320 --> 00:56:33,520
Speaker 1: Yeah that's all I remember from that conversation. But yeah, brother,

1088
00:56:33,760 --> 00:56:37,680
Speaker 1: you know, I just want to say that I've been

1089
00:56:38,080 --> 00:56:42,240
Speaker 1: a long time, long, long long time fan of yours.

1090
00:56:42,880 --> 00:56:46,359
Speaker 1: One of my prime career. Regrets in the in the

1091
00:56:46,400 --> 00:56:49,200
Speaker 1: early start is that we never got to shop it

1092
00:56:49,280 --> 00:56:55,840
Speaker 1: up or or like work together. Then in the what

1093
00:56:55,920 --> 00:56:59,319
Speaker 1: I call the fossil years, we started our careers thirty

1094
00:56:59,400 --> 00:57:03,319
Speaker 1: years ago, folks. But man, you know, but you're an

1095
00:57:03,360 --> 00:57:07,800
Speaker 1: inspiration in terms of like pushing boundaries because you know

1096
00:57:07,840 --> 00:57:10,000
Speaker 1: a lot of us are walking out here sort of

1097
00:57:10,080 --> 00:57:14,960
Speaker 1: mired and self doubt, you know, thinking of survival first.

1098
00:57:16,080 --> 00:57:18,640
Speaker 1: All right, I gotta get I gotta bring this money

1099
00:57:18,640 --> 00:57:20,960
Speaker 1: in so I can, you know, help my mom out,

1100
00:57:21,000 --> 00:57:24,680
Speaker 1: and obligations and stuff like that. And we never allow

1101
00:57:24,720 --> 00:57:28,720
Speaker 1: ourselves to like break free and dream and take risks

1102
00:57:29,160 --> 00:57:32,400
Speaker 1: and do these things. And you know, you've proven time

1103
00:57:32,440 --> 00:57:36,760
Speaker 1: and time again that there is a payoff when you

1104
00:57:36,840 --> 00:57:39,840
Speaker 1: do listen to your heart. And I'm a brain person.

1105
00:57:40,080 --> 00:57:41,880
Speaker 1: I used to be a brain person where I'm always

1106
00:57:41,880 --> 00:57:44,760
Speaker 1: thinking of fight or flight survival first, that sort of thing,

1107
00:57:44,800 --> 00:57:48,480
Speaker 1: and not what do I really feel? And yeah, man,

1108
00:57:48,520 --> 00:57:52,000
Speaker 1: with New Blue Man, Dude, it couldn't have come at

1109
00:57:52,040 --> 00:57:55,680
Speaker 1: a better time in my life because that's the type

1110
00:57:55,680 --> 00:57:59,200
Speaker 1: of music I always listen to just to calm down.

1111
00:58:00,120 --> 00:58:02,040
Speaker 1: Just a twenty four to seven, that's all I listened to.

1112
00:58:02,040 --> 00:58:05,160
Speaker 1: It listen like tones and all those things. Man. So no, man,

1113
00:58:05,200 --> 00:58:05,720
Speaker 1: thank you. Man.

1114
00:58:05,760 --> 00:58:09,840
Speaker 2: I'm glad that it's useful for you. Man, Like I'm

1115
00:58:09,840 --> 00:58:13,040
Speaker 2: just happy to be a part of that this time.

1116
00:58:13,280 --> 00:58:13,760
Speaker 1: You know what I mean?

1117
00:58:13,800 --> 00:58:15,680
Speaker 2: You said an attention and you never know where it's

1118
00:58:15,680 --> 00:58:19,000
Speaker 2: gonna land. Like my idea of what people are calling

1119
00:58:19,040 --> 00:58:22,720
Speaker 2: the Flute album, which I think it's I think it

1120
00:58:22,840 --> 00:58:25,120
Speaker 2: belittles it to call it a flute album, you know

1121
00:58:25,160 --> 00:58:27,160
Speaker 2: what I mean, It's not just a flute. I do

1122
00:58:27,200 --> 00:58:29,480
Speaker 2: play flute on it a bit. I play electronic flute

1123
00:58:29,480 --> 00:58:32,280
Speaker 2: on it. But it's it's just it's just music, man,

1124
00:58:32,320 --> 00:58:34,280
Speaker 2: It's just music. But can I ask you something?

1125
00:58:35,000 --> 00:58:37,760
Speaker 1: Have you heard from Stevie Wonder yet? Because no, I haven't.

1126
00:58:37,880 --> 00:58:44,280
Speaker 1: To me, this reminds me so my father and I,

1127
00:58:44,360 --> 00:58:48,320
Speaker 1: our bond was always been shopping records. I grew up

1128
00:58:48,360 --> 00:58:52,360
Speaker 1: in a household like three thousand records. So once a

1129
00:58:52,400 --> 00:58:55,600
Speaker 1: month we just go been chopping everything. And one day

1130
00:58:55,600 --> 00:59:00,760
Speaker 1: in nineteen seventy nine, he comes home with Stevie Wonder's

1131
00:59:00,840 --> 00:59:04,280
Speaker 1: Journey through the Secret Life of Plants album, which is

1132
00:59:04,480 --> 00:59:06,760
Speaker 1: like a three year follow up to Songs in the

1133
00:59:06,800 --> 00:59:08,240
Speaker 1: Key of Life. Songs in The Key of Life was

1134
00:59:08,280 --> 00:59:12,040
Speaker 1: like one of those events like Thriller. You know, everyone

1135
00:59:12,120 --> 00:59:14,040
Speaker 1: had to have it in the household, and we're listening

1136
00:59:14,040 --> 00:59:16,320
Speaker 1: to it together as a family. Brought the family together,

1137
00:59:17,120 --> 00:59:19,800
Speaker 1: and so we're waiting three years for this follow up

1138
00:59:19,840 --> 00:59:25,720
Speaker 1: record and the look of utter disappointment on my dad's

1139
00:59:25,760 --> 00:59:30,480
Speaker 1: face where he's like Stevie Wonder doesn't even sing until

1140
00:59:30,560 --> 00:59:34,080
Speaker 1: like the fourth song and he couldn't get it. Now,

1141
00:59:34,080 --> 00:59:37,520
Speaker 1: I'm eight years old and seventy nine, so I've never

1142
00:59:37,600 --> 00:59:42,160
Speaker 1: had a Dark Side of the Moon psychedelic experience. So

1143
00:59:42,240 --> 00:59:44,240
Speaker 1: for me, I'm putting my headphones on and I'm like

1144
00:59:44,960 --> 00:59:48,120
Speaker 1: imagine in space and all these things. So I totally

1145
00:59:48,160 --> 00:59:51,919
Speaker 1: took that record different. I think that for a new

1146
00:59:52,000 --> 00:59:55,760
Speaker 1: generation that this is going to be that for them.

1147
00:59:55,840 --> 00:59:59,280
Speaker 1: Like for me, I use it for meditative and sleeping purposes.

1148
01:00:00,040 --> 01:00:01,280
Speaker 3: Because I've heard a lot of that.

1149
01:00:01,400 --> 01:00:05,760
Speaker 1: Man, Like I used to sleep to the news, especially

1150
01:00:06,120 --> 01:00:10,040
Speaker 1: with the past administration, and it's just unhealthy to have

1151
01:00:10,480 --> 01:00:14,000
Speaker 1: that on like twenty four to seven and all the

1152
01:00:14,080 --> 01:00:17,640
Speaker 1: bad news. So then I started sleeping to that and

1153
01:00:17,680 --> 01:00:20,960
Speaker 1: when you're soundtrack, oh man, that to me, that was everything.

1154
01:00:21,000 --> 01:00:22,120
Speaker 1: So I thank you for that.

1155
01:00:22,120 --> 01:00:25,480
Speaker 2: Man, man, I'm so happy that you're finding use and

1156
01:00:25,520 --> 01:00:28,600
Speaker 2: people are finding use in it, like it's it's become

1157
01:00:28,640 --> 01:00:32,400
Speaker 2: a thing that people are actually using, like it's a tool,

1158
01:00:32,400 --> 01:00:34,320
Speaker 2: like I have to be in traffic. So I put

1159
01:00:34,320 --> 01:00:36,880
Speaker 2: this album on, and I'm not mad anymore, you know, Like,

1160
01:00:37,800 --> 01:00:40,880
Speaker 2: so I'm happy that I'm a part of something that

1161
01:00:41,200 --> 01:00:44,000
Speaker 2: can contribute positively.

1162
01:00:43,400 --> 01:00:45,040
Speaker 1: To somebody's life, you know what I mean.

1163
01:00:45,160 --> 01:00:47,880
Speaker 2: Like, and the sleep thing is really important because I've

1164
01:00:47,920 --> 01:00:49,959
Speaker 2: read like a lot of people like man, I don't

1165
01:00:49,960 --> 01:00:52,280
Speaker 2: really sleep, and I've gotten the best sleep in the

1166
01:00:52,360 --> 01:00:54,720
Speaker 2: last three days after listening to the album. So to me,

1167
01:00:56,400 --> 01:00:58,480
Speaker 2: I'm just happy that it's it's working in that in

1168
01:00:58,480 --> 01:01:01,640
Speaker 2: that way too, and not just on a you know,

1169
01:01:01,760 --> 01:01:03,560
Speaker 2: Oh this is a moment and he's a rapper and

1170
01:01:03,600 --> 01:01:07,320
Speaker 2: he made this flute thing, you know, like beyond that,

1171
01:01:07,720 --> 01:01:11,040
Speaker 2: you know, And I'm kind of I'm upset that people

1172
01:01:11,080 --> 01:01:14,400
Speaker 2: are upset, but I understand because if you've been waiting

1173
01:01:14,440 --> 01:01:16,800
Speaker 2: for a thing for seventeen years, which I haven't been

1174
01:01:16,840 --> 01:01:20,120
Speaker 2: waiting for a thing, that's the that's the difference. I've

1175
01:01:20,160 --> 01:01:22,040
Speaker 2: never said, hey, I'm about to put the solo albm ount,

1176
01:01:22,200 --> 01:01:24,200
Speaker 2: Hey I'm about to put this solo albm ount, but

1177
01:01:24,400 --> 01:01:28,840
Speaker 2: I didn't do that for seventeen years, so I didn't

1178
01:01:28,840 --> 01:01:30,560
Speaker 2: see it the same as like when I put it out,

1179
01:01:30,600 --> 01:01:32,960
Speaker 2: I forgot, oh it has been seventeen years, so I

1180
01:01:32,960 --> 01:01:36,040
Speaker 2: didn't see it as hey, fuck y'all listen to this.

1181
01:01:36,360 --> 01:01:38,280
Speaker 3: I just saw this. This is where I am right now.

1182
01:01:38,800 --> 01:01:40,280
Speaker 3: You know, put it out.

1183
01:01:41,000 --> 01:01:45,040
Speaker 2: I didn't think that it would have as wide of

1184
01:01:45,120 --> 01:01:47,120
Speaker 2: wings as it's had.

1185
01:01:48,160 --> 01:01:50,920
Speaker 1: Are I'm happy for it? Are you planning on the

1186
01:01:51,040 --> 01:01:54,000
Speaker 1: visual aspect of it now? Are you trying to figure

1187
01:01:54,000 --> 01:01:58,560
Speaker 1: out how to present this live? Either by film or

1188
01:01:59,360 --> 01:02:01,439
Speaker 1: some sort like what salons used to do take over

1189
01:02:01,600 --> 01:02:03,439
Speaker 1: museums and both both both.

1190
01:02:03,480 --> 01:02:06,120
Speaker 2: We we did shoot a film to it that's going

1191
01:02:06,200 --> 01:02:10,080
Speaker 2: to be playing mid December, very simple kind of thing.

1192
01:02:10,360 --> 01:02:13,560
Speaker 2: It's gonna be an IMAX theaters, so you'll have a

1193
01:02:13,640 --> 01:02:16,480
Speaker 2: visual to it. But live, man like, that's what I'm

1194
01:02:16,480 --> 01:02:20,320
Speaker 2: really looking forward to, because that's honestly, that's the kind

1195
01:02:20,360 --> 01:02:23,440
Speaker 2: of jew and the magic in it. It's kind of

1196
01:02:23,480 --> 01:02:26,200
Speaker 2: like the feeding off of each other and making that thing.

1197
01:02:26,280 --> 01:02:29,440
Speaker 2: You know, it's kind of like watching a formation like

1198
01:02:29,480 --> 01:02:32,240
Speaker 2: and we don't know, especially I'm not a trained musician,

1199
01:02:32,280 --> 01:02:35,000
Speaker 2: so it's even more surprising to me when a note

1200
01:02:35,120 --> 01:02:38,240
Speaker 2: comes out or something falls a certain way. You're like

1201
01:02:38,360 --> 01:02:41,480
Speaker 2: when right, and you don't and you don't know it,

1202
01:02:41,720 --> 01:02:46,840
Speaker 2: Like I don't know like music theory wise, to make

1203
01:02:46,880 --> 01:02:49,160
Speaker 2: something land. I only know how to land because I

1204
01:02:49,280 --> 01:02:51,560
Speaker 2: jumped up before it, you know what I mean.

1205
01:02:52,160 --> 01:02:54,000
Speaker 3: So that's that's the only way that I know.

1206
01:02:54,200 --> 01:02:58,480
Speaker 2: So doing it live and actually doing music with these brothers,

1207
01:02:58,600 --> 01:03:02,440
Speaker 2: like that's the fun and out and I can't wait

1208
01:03:02,480 --> 01:03:05,240
Speaker 2: for people to experience in a room watching us do

1209
01:03:05,320 --> 01:03:06,400
Speaker 2: it do it, you know what I mean.

1210
01:03:06,640 --> 01:03:09,520
Speaker 1: So that's yeah, that's what I'm looking forward to. Well,

1211
01:03:09,560 --> 01:03:12,680
Speaker 1: let's have it, ladies and gentlemen on behalf of my

1212
01:03:12,840 --> 01:03:16,960
Speaker 1: fellow Quest Love Supremes Layah and Fontekelo and Humpey Bill

1213
01:03:17,000 --> 01:03:18,560
Speaker 1: and it's your birthday to day as we do this.

1214
01:03:19,240 --> 01:03:19,400
Speaker 4: Uh.

1215
01:03:19,640 --> 01:03:22,040
Speaker 1: Shout to Brian and cousin Jake and Brittany as well

1216
01:03:22,160 --> 01:03:25,680
Speaker 1: on the home front. UH. Once again the great Andre

1217
01:03:25,800 --> 01:03:29,400
Speaker 1: three thousand on Quest Love Supreme. Uh and we'll see

1218
01:03:29,400 --> 01:03:31,760
Speaker 1: you in the next go round. Thank you, brother, appreciate now,

1219
01:03:31,760 --> 01:03:35,800
Speaker 1: Thank you man, appreciate it. Thank you for listening to

1220
01:03:35,880 --> 01:03:39,720
Speaker 1: Quest Love Supreme. Posted by a mere Quest, Love, Thompson,

1221
01:03:40,520 --> 01:03:45,960
Speaker 1: Why You Saying, Claire Fonte, Coleman, Sugar, Steve Mandell, and

1222
01:03:46,160 --> 01:03:50,840
Speaker 1: unpaid Bill Sherman. The executive producers are a Mere Quest,

1223
01:03:50,840 --> 01:03:57,640
Speaker 1: Loved Thompson, Sean Che and Brian Calhoun. Produced by Brittany

1224
01:03:57,720 --> 01:04:04,680
Speaker 1: Benjamin Cousin, Jake Payne, Eliah Saint Clair, edited by Alex Conroy.

1225
01:04:05,760 --> 01:04:11,120
Speaker 1: Produced by iHeart by Noel Brown and Mike Johnson. This

1226
01:04:11,280 --> 01:04:18,840
Speaker 1: episode was engineered by Trevor Young. What's Love Supreme is

1227
01:04:18,840 --> 01:04:27,400
Speaker 1: a production of iHeart Radio. For more podcasts from iHeart Radio,

1228
01:04:27,520 --> 01:04:31,240
Speaker 1: visit the iHeartRadio app, Apple Podcasts, or wherever you listen

1229
01:04:31,280 --> 01:04:32,160
Speaker 1: to your favorite shows.