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Speaker 1: Couest Love Supreme is a production of iHeartRadio. This classic

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Speaker 1: episode was produced by the team at Pandora Ladies and Gentlemen.

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Speaker 2: This is QLs classic from May seventeen, fifty twenty seventeen.

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Speaker 2: Were talking to our old pal Ellie for Time about

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Speaker 2: our Portuguese Canadian roots and her work with Timbaland and

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Speaker 2: the ups and downs of touch in a career, motherhood,

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Speaker 2: squashing beef and normalcy.

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Speaker 3: We hope you.

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Speaker 1: Enjoy this episode of Quest Love Supreme with Nelly for Time.

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Speaker 4: Here we go, Supremo, Supremo, Roll Call, Suprema Son Sun Supremo,

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Speaker 4: Roll Call, Supremo, Roll Supremo.

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Speaker 1: Supremo, the twenty Dollars Challenge. Yeah, We're you, Supreme fam Nerds. Yeah,

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Speaker 1: whose opening bars don't rhyme?

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Speaker 5: We're miscuous up Birds, Suprema my name.

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Speaker 6: Is Fante on this instrumental My Whole Family with jam

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Speaker 6: to Nellie on Dance Central.

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Speaker 7: Suprema Sure, roll Call, my.

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Speaker 6: Name is Sugar, say it right, Yeah, Nellie for Tato,

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Speaker 6: turn off the light.

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Speaker 7: Oh car Subrever, Suprema.

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Speaker 3: Role paid Bill. I can't take no more. Yeah, I

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Speaker 3: guess I'll go knock there on one hundred.

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Speaker 4: Doors, Suprema Supremo roll call.

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Speaker 7: Sure So Supremo.

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Speaker 8: Roll is my nombre.

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Speaker 6: For goodness sakes, Yeah, Canada is not only that young

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Speaker 6: boy Drake roll.

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Speaker 7: Roll Supremo Supremo roll call.

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Speaker 9: I'm yeah, wold number one fan. Yeah, pottles here Yeah, man.

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Speaker 7: So supple roll.

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Speaker 10: Roll Nelly.

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Speaker 11: Yeah, that's who I am.

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Speaker 10: Excited to rock requests because he's my jam Supremo.

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Speaker 7: Roll came Supremo. Some some Supremo roll call Supremo.

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Speaker 4: So So Supremo, roll came Suprema Son.

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Speaker 7: Supremo roll.

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Speaker 1: Roll so so I one two, three four, one hundred dollars.

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Speaker 3: Wait a minute, no, because, like you said, whoa.

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Speaker 8: Who number one fan, I didn't rhyme it with woda O.

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Speaker 1: You saying that that deserves the black guy thinking pointing

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Speaker 1: to his.

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Speaker 3: That's what that belongs to.

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Speaker 1: Welcome, ladies and gentlemen to another a new edition of

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Speaker 1: Courts Love Supreme. I'm quests love this team Supreme Supreme.

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Speaker 1: Yes two point zero Courts Love Supreme. Our guest with

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Speaker 1: us today. She is a breath of fresh air. I

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Speaker 1: shall say I've been a long time admirer of this. Uh.

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Speaker 1: I'll say songbird for a voice or music, her artistry.

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Speaker 1: She came out the gate in two thousand as a

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Speaker 1: solo artist with her debut Woe Nelly. That kind of

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Speaker 1: captured our hearts and our minds in our ears with

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Speaker 1: hits like turn off the Light. Uh ship on the

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Speaker 1: radio and I said it, I didn't say ellipses, ellipses.

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Speaker 3: On the radio.

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Speaker 1: Uh. And of course like a bird, she won multiple

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Speaker 1: Juno Awards, Grammy Awards.

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Speaker 10: Uh.

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Speaker 1: Not stopping there, she collaborated with uh megastar acts like

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Speaker 1: any r D, Missy.

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Speaker 3: Elliott and the Roots.

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Speaker 1: Yeah, on Sacrifice, I forgot that she collaborated on my

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Speaker 1: own song.

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Speaker 3: I appreciate that.

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Speaker 1: Uh. Therese also Nos Jurassic fives to well remembers, uh

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Speaker 1: chaos Knon.

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Speaker 3: It just goes on and on. Paul can feel.

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Speaker 1: Tiesto probably her most important collaboration. I was in two

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Speaker 1: thousand and six with her uh her third album which

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Speaker 1: is Loose uh with Templand, and she didn't stop a

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Speaker 1: lot of Yeah, twelve million amazing.

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Speaker 6: If I sold twelve million copies, I wouldn't anything, answer,

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Speaker 6: would never see me anything exactly exactly.

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Speaker 3: I said, twelve million t Shirtain it's over Fi. She

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Speaker 3: stopped there.

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Speaker 1: She released an all Spanish record in two thousand and

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Speaker 1: nine with me, I'm not used to mirror the Wikipedia.

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Speaker 3: Man, this is this is well, I'm trying to human.

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Speaker 8: Cook.

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Speaker 11: Yeah, this is.

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Speaker 8: Starting to begin. Let him cook.

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Speaker 3: This is great.

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Speaker 1: You understand how much changed this is. This is I

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Speaker 1: thought I thought I was coming in like you know,

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Speaker 1: I just thought I.

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Speaker 11: Wasn't used to it.

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Speaker 10: I was appreciated.

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Speaker 6: This is great, this is this is amazing own anyway,

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Speaker 6: thank you all for interrupting me.

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Speaker 3: Guys, no problem, yeah.

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Speaker 1: Yeah, anyone else anything there in the studio.

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Speaker 3: Tell you.

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Speaker 1: She's offering us her sixth U studio album entitled well,

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Speaker 1: he missed the part about my Latin Grammy mentioned that.

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Speaker 6: I mentioned, I mentioned that, but interrupt about Yes.

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Speaker 3: I covered your whole life.

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Speaker 10: Thank you good. That was good.

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Speaker 1: I don't know what's the social Security it's five five five.

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Speaker 3: Ladies and gentlemen, childhood memory.

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Speaker 1: Yes, and she's also heading up the Donald Trump russigate investigations.

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Speaker 3: Ladies and gentlemen, please welcome Nelly for t.

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Speaker 10: Thank you.

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Speaker 11: Thanks. I was such a nice intro.

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Speaker 8: It was my first to see you again.

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Speaker 3: It's great to see you too.

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Speaker 10: What the hell?

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Speaker 11: Yeah, man, it's it's we occasionally send tweets to each other.

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Speaker 3: So you guys are close.

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Speaker 11: I guess we've I've been to Philly, that's legit.

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Speaker 10: I've been there in the old studio.

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Speaker 11: Well, I don't know before then it was ready join.

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Speaker 3: E've been in that studio forever. Have you ever seen

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Speaker 3: a stripper in the studio?

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Speaker 9: Yes?

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Speaker 11: Yeah, that was so long ago.

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Speaker 10: That was like in two thousand and one when we

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Speaker 10: went together and Philly and you guys like had the

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Speaker 10: whole thing written already, the chorus.

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Speaker 11: And I was bummed out because I thought I'd get

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Speaker 11: to co write with you.

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Speaker 3: Because I don't think sacrifice.

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Speaker 10: Is I'm like, okay, like this is cool.

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Speaker 3: Right now, Like, yeah, you should have done that.

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Speaker 10: It was like really it was fun though, I like,

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Speaker 10: I mean that album is amazing, but like, yeah, so

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Speaker 10: I was just happy to be there.

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Speaker 8: It was fine.

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Speaker 9: You felt like Missy, like, I'm gonna be on your

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Speaker 9: records just singing no hooks. That's kind of ew like because.

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Speaker 10: I always wrote my own song, so I had Actually

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Speaker 10: that was the first time someone had like written a

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Speaker 10: thing for me to sing.

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Speaker 11: So I was like, but it's the roots.

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Speaker 10: So I was like, of course, like I'm just happy

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Speaker 10: to be here and be on your album, and I say, fun,

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Speaker 10: how did you.

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Speaker 3: Get that postion check?

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Speaker 10: Next time Gott and I was one of.

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Speaker 1: There's always the future, exactly, There's always the future, you

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Speaker 1: know when I when I first met you, I think

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Speaker 1: the very first time we opened.

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Speaker 11: For you, we walked Area one.

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Speaker 3: No, this we we did.

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Speaker 11: We also sang together a bunch on Area one tour. Yeah,

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Speaker 11: but even before Area one and performed live with you, there.

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Speaker 1: Was there was a show we did together, and I

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Speaker 1: know that we You came on first and then we

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Speaker 1: came on, But I came in right when you were

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Speaker 1: dancing to BBD's Poison.

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Speaker 10: What Dutch, and I was like, you know my interlude

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Speaker 10: that I did in my in my head.

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Speaker 1: I already had it pecked out that you were just

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Speaker 1: a pop showing two that I saw on t r

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Speaker 1: L and you know, like like a bird leads you

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Speaker 1: to believe, at least at that time when the single

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Speaker 1: was just out and we all looked at each other like, wait,

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Speaker 1: who is this on stage?

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Speaker 3: Like Nelly for titles is the same person doing the

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Speaker 3: like she was doing the dance that they were doing

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Speaker 3: in the video.

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Speaker 1: In the video, and so it was like it was

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Speaker 1: a well Nelly moment, like we hardly knew.

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Speaker 10: You as I got to do Hello Cool Jay and

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Speaker 10: Mary and one other act something Pepa on the same

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Speaker 10: little routine.

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Speaker 3: Yeah I didn't know.

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Speaker 1: Yeah, but then you explained to me about your days

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Speaker 1: even before your sold, the career with Neil Starr and

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Speaker 1: that stuff.

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Speaker 10: So yeah, there's always so much, right, I mean, you

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Speaker 10: know this, You're an artist, So it's like there's so

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Speaker 10: much that goes into who you are that people don't

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Speaker 10: see when you make like a product or a packaged

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Speaker 10: thing and you just roll with it. It's okay, you know,

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Speaker 10: but but the people you know who end up like

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Speaker 10: digging deeper into maybe what you do, we are going

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Speaker 10: to see. I make the same mistake today, like I

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Speaker 10: judge artists all the time, and then I listen to

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Speaker 10: their catalog and I feel so guilty or see their show,

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Speaker 10: you know, and I'm like, oh, damn, I should never

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Speaker 10: judge an artist until I actually, like last night, I

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Speaker 10: was listening to the new Drake album because I'm like, well,

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Speaker 10: let me just put this on and listen to it.

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Speaker 10: You know what, I mean so like, you can't speak

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Speaker 10: on something unless you listen to unless you go to

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Speaker 10: the show.

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Speaker 1: He took you to South I feel like, you know

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Speaker 1: what's fair, he took you to South Africa.

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Speaker 3: Right now he's making South Africa house the No.

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Speaker 11: But like, honestly, like I feel like, I really feel.

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Speaker 10: Like you can't judge an artist until you listen to

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Speaker 10: something a whole album of one album at least, and

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Speaker 10: you go to their live show or watch like YouTube

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Speaker 10: live clips or something.

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Speaker 9: But is it fair to listen to the first album,

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Speaker 9: because sometimes it's not fair. I always listen to the

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Speaker 9: first one.

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Speaker 10: Because you know, sometimes you have to dig deeper. Yeah,

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Speaker 10: you have to dig a little deeper. I don't know,

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Speaker 10: I mean, but anyway, thanks for talking about that, because

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Speaker 10: I mean, well.

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Speaker 3: I wanted to know what your beginnings.

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Speaker 1: I said the word, Uh, what they were that at

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Speaker 1: least led you to wanting to start a music career.

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Speaker 12: Oh god, I was young.

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Speaker 11: I was young, Like there was no Mickey Mouse Club.

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Speaker 11: I was from a small town lot of Victoria, BC.

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Speaker 11: But they weren't even any talent shows.

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Speaker 10: But I had a church, I had a Portuguese church community,

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Speaker 10: so like I got to sing there. I get to

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Speaker 10: sing at church at our festivals. We call them fashtach.

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Speaker 13: Where yeah, fashduje at the fashtaka And I sang with

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Speaker 13: my mom in Portuguese when I was four years old,

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Speaker 13: and I got up on the stage and I just

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Speaker 13: knew that I loved it.

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Speaker 10: I just knew that I wanted to be doing that

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Speaker 10: because I felt like I was spreading joy and love

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Speaker 10: and good vibes, and I just I felt that at

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Speaker 10: the age of four, it was really kind of weird,

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Speaker 10: but I'd always sing songs like I would make up

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Speaker 10: songs on the spot from when I was apparently I

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Speaker 10: was two or three no around the house and my

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Speaker 10: sister would literally be like sing sing, make up a

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Speaker 10: song because my eyes would well up with tears and

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Speaker 10: I'd get super emotional.

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Speaker 11: So it was always inside of me.

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Speaker 10: I did an experiment at moment PS one in the fall.

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Speaker 10: I did an installation where I wrote songs with one

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Speaker 10: hundred strangers in the course of three hours, and I

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Speaker 10: was trying to explore this connection. We have to like

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Speaker 10: the source and why we write songs and why it

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Speaker 10: comes to you, and how we can tap into that

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Speaker 10: and prove that it's an empathic thing and prove that,

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Speaker 10: like a song can prove how we're all similar rather

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Speaker 10: than different.

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Speaker 3: And can I keep back up?

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Speaker 1: Yeah, without me making any Houston five hundred references.

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Speaker 3: So you there are a hundred people in the room.

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Speaker 11: No, okay. So it was anywhere from like one person.

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Speaker 10: The smallest group was one person, and then the largest

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Speaker 10: group was ten people and a dog the last group

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Speaker 10: and the moment passed. One had this back to school

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Speaker 10: fundraiser and I'm friends with this performance. Aren't his name

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Speaker 10: Ryan McNamara, And he told me I could do anything

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Speaker 10: with the one room. He's like, do you want a

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Speaker 10: room with this thing? And I was like I do

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Speaker 10: because I have this idea. I want to do this

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Speaker 10: experiment where I sit with my guitar. And this started

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Speaker 10: in I used to do songwriting workshops or ongoing like

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Speaker 10: in this place called Nara Kenya and with these girls

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Speaker 10: at this high school called Lali. So I go there

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Speaker 10: all the time. Made a bunch of friends are over

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Speaker 10: years working with this nonprofit. And what I do is

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Speaker 10: do a songwriting workshop. When we write a song, but

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Speaker 10: it just exists in that moment and then it's over,

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Speaker 10: you know. So I'm very into this idea that a

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Speaker 10: song is just this expression and it because you know

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Speaker 10: as well as I, we don't record everything we write.

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Speaker 11: We just do it to do it, you know what

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Speaker 11: I mean.

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Speaker 10: So I wanted to in that room like okay, So,

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Speaker 10: like one person will walk in and sit down.

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Speaker 11: I'd have my guitar. I'd tape it on tape.

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Speaker 10: Recorder because I didn't want it to be like this

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Speaker 10: branded moment that was videotaped.

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Speaker 11: I wanted it to exist in that moment.

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Speaker 10: Yeah, And so I'd come and sit down and I'd

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Speaker 10: be like, Okay, what did you dream last night? And

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Speaker 10: they tell me about their dream the night before, or

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Speaker 10: I'd be like, what was your favorite childhood vacation? And

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Speaker 10: then I'd start singing a song and they would contribute,

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Speaker 10: sometimes if they had any.

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Speaker 11: Musical ability or not.

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Speaker 10: And by the end, after fifteen minutes, if someone would

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Speaker 10: knock on the door when I had two minutes left,

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Speaker 10: then I would record the thing. Then I would wrap

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Speaker 10: the cassette in the paper with all our lyrics.

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Speaker 11: And usually there.

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Speaker 10: Were different reactions. Some people would cry there were two

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Speaker 10: people fighting, because some people didn't know each other in

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Speaker 10: the groups, because everybody was trying to get into the thing,

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Speaker 10: and they'd.

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Speaker 11: Be like some people didn't like each other.

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Speaker 10: But then there was a lot of laughter, and I

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Speaker 10: felt great because sometimes you wonder like will your inspiration

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Speaker 10: ever run out?

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Speaker 11: You know what I mean? Will it ever just like end?

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Speaker 10: And then the truth is more and more like the

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Speaker 10: more you share with people, like the more you.

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Speaker 8: Get how's it?

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Speaker 1: I mean, I'm just trying to figure the logistics, like

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Speaker 1: if I'm a fan of Nelly for Tylo, like, wouldn't

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Speaker 1: you be freaking out and all it? Like how do

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Speaker 1: you just calm them down? Just to get to the

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Speaker 1: point of the experiment.

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Speaker 11: I think they saw how chill I was.

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Speaker 10: And Ryan had left the room in this like really

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Speaker 10: moody orange light, and it was like a back to

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Speaker 10: school theme that night at the museum. So it was

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Speaker 10: almost like I was a teacher, So you were coming

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Speaker 10: into a classroom it was maybe just one or two people,

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Speaker 10: maybe you were with a friend, and so some people, yeah,

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Speaker 10: maybe I got them in this.

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Speaker 11: Weird, vulnerable moment where they're like, whoa, this is weird.

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Speaker 11: You got the place and why is she so chill?

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Speaker 14: And and they're probably like the version of me in

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Speaker 14: that room is nothing like anything they've seen in a

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Speaker 14: video or something. So I'm just like, hey, you know,

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Speaker 14: I start writing because you know, it's a different vibe

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Speaker 14: when you write a song.

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Speaker 10: It's nothing like your stage persona or anything like that.

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Speaker 10: It's a whole other thing.

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Speaker 11: So most people were pretty calm. Some people, I don't know.

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Speaker 10: Some people were songwriters aspiring songwriters, and they would they

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Speaker 10: were just enjoying it.

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Speaker 11: They're like, sweet, this is so cool.

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Speaker 3: Were there any particular moments in that experiment that stood

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Speaker 3: out to.

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Speaker 10: You, Like these two people were arguing because like the

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Speaker 10: lady didn't like the lyrics this younger guy was writing

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Speaker 10: because they were kind of goofy. They had like some

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Speaker 10: like Prince Arthur reverence or like something something crazy or

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Speaker 10: perverted or something. And then and then the lady was

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Speaker 10: all like I.

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Speaker 11: Don't like those, you know what I mean.

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Speaker 10: We had to agree, So it was like, oh, there

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Speaker 10: were some people who weren't really participating.

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Speaker 11: They were just staring at me.

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Speaker 10: But I was still I know you would have been

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Speaker 10: you would have been like, show me how you're going

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Speaker 10: to do this if I don't participate, Yeah, but you

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Speaker 10: asked me, you asked me. Then I wrote this whole

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Speaker 10: statement about it. And the whole point was, since I

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Speaker 10: was little, I never understood where the.

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Speaker 11: Songs came from.

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Speaker 10: I was like, where's this words coming from? The melodies

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Speaker 10: blah blah blah, the music in my head. I never

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Speaker 10: really understood it. So I just wanted to explore that

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Speaker 10: a little bit more, I guess. But the answered to

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Speaker 10: your question is I eventually moved to Toronto after I

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Speaker 10: graduated high school from Victoria, a very small small town,

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Speaker 10: and I moved to Toronto and I got immersed in

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Speaker 10: the scene. There was an urban scene that was burgeoning,

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Speaker 10: and so I started a trip hop group with my

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Speaker 10: friend Talis and we called it Nelstar, and I just

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Speaker 10: kind of did my thing. And I was seventeen, eighteen

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Speaker 10: years old. I missed my parents. I moved back home

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Speaker 10: and went to college for a year in Victoria, I

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Speaker 10: bought a guitar. I started playing at like coffee shops

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Speaker 10: and trying to get my songwriting better. And then but

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Speaker 10: right before I left, I sang in a talent show

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Speaker 10: called the Honey Jam.

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Speaker 11: I was eighteen, and it was mostly rappers in R and.

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Speaker 10: B, singers all female, and then I kind of came

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Speaker 10: up there and did this like weird little trip hop song.

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Speaker 10: And my manager at the time was there, and I

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Speaker 10: met him that night and sort of kept in touch

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Speaker 10: and ended up this.

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Speaker 11: It was like a Cinderella type thing. It was like, Ooh,

359
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Speaker 11: You're getting flown to New York because they like your demo.

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Speaker 10: I think the reason why I was because do you

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Speaker 10: remember back in the day when people had professional writers

362
00:17:25,040 --> 00:17:27,840
Speaker 10: write their bio and you got a professional headshot.

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Speaker 3: For your photos.

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Speaker 10: So when you had a demo and you were an

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Speaker 10: artist who wanted a record deal, you like would have

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Speaker 10: a professional photo and a pio.

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Speaker 11: So I said, I don't want that. I want to

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Speaker 11: stand out.

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Speaker 10: So I went to the local gallery of mall photo booth,

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Speaker 10: like down the street from my aunts where I was

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Speaker 10: staying on her sofa bed, and I took strip mall

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Speaker 10: photos of myself. I scanned them at work because I

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Speaker 10: had a job doing customer service at an alarm company.

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Speaker 10: I was like snuck into the room with the scanners

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Speaker 10: and the computer and I made friends with the systems

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Speaker 10: guy who worked there let music, and I photocopied my

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Speaker 10: own like strip mall photo like cool, the.

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Speaker 9: Crazy background like did you have liked Michael Jackson like.

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Speaker 8: Coming out of a war?

380
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Speaker 6: Yeah, not the Tupac not the club background was like

381
00:18:17,000 --> 00:18:22,520
Speaker 6: to champagne.

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Speaker 10: And like a dusty like orange curtain behind your blue

383
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Speaker 10: and I just made it look all like trippy and

384
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Speaker 10: then I wrote not a bio. I wrote like a

385
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Speaker 10: weird mantra, like I just did like a journal entry

386
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Speaker 10: style bio and at the time nobody was doing that.

387
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Speaker 3: Yeah. I was like, what made you do that?

388
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Speaker 8: I don't know.

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Speaker 11: My manager was cool, he was just like, this is great,

390
00:18:40,359 --> 00:18:41,359
Speaker 11: this will make you stand out.

391
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Speaker 10: That's cool that you did this. Write down what you

392
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Speaker 10: said to me in your office that day, you know where.

393
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Speaker 10: I said some super like megalomaniacle stuff like I want

394
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Speaker 10: to be Gandhi and mother Tosa, like you have that

395
00:18:52,640 --> 00:18:56,920
Speaker 10: ambition that burning like get me out of my circumstance ambition,

396
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Speaker 10: and you're just like, I.

397
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Speaker 11: Wrote this bio myself.

398
00:19:01,080 --> 00:19:04,440
Speaker 10: I wrote some crazy like mantra journal entry style bio

399
00:19:04,480 --> 00:19:06,280
Speaker 10: and people were like, who's this curl?

400
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Speaker 11: We want to meet her? And I had a demo

401
00:19:07,800 --> 00:19:08,320
Speaker 11: to go with it.

402
00:19:08,440 --> 00:19:09,440
Speaker 8: That was maybe I.

403
00:19:09,359 --> 00:19:10,160
Speaker 3: Should have done that.

404
00:19:11,119 --> 00:19:14,679
Speaker 1: No, because the protocol, uh the least that I learned

405
00:19:14,960 --> 00:19:21,280
Speaker 1: is whatever critic pans your album the most, when when

406
00:19:21,280 --> 00:19:25,120
Speaker 1: it's reviewed, you get that person to write the bio,

407
00:19:25,280 --> 00:19:27,760
Speaker 1: to write your bio, So that way it's a conflict

408
00:19:27,760 --> 00:19:31,919
Speaker 1: of interest from them reviewing your album again.

409
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Speaker 10: Music industry hack, same ones, the same ones will get

410
00:19:41,640 --> 00:19:41,960
Speaker 10: you again.

411
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Speaker 11: What I'm saying, if they don't like you, will continue to.

412
00:19:45,000 --> 00:19:49,280
Speaker 1: Writer blah blah blah has written your bio, your record,

413
00:19:49,400 --> 00:19:52,359
Speaker 1: he'll pass at Rolling Stone from giving you another you know,

414
00:19:52,800 --> 00:19:54,359
Speaker 1: Mundane three star writing.

415
00:19:54,440 --> 00:20:00,119
Speaker 3: But yeah, yeah, yeah, black black man. If you you.

416
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Speaker 8: Know, we get a.

417
00:20:02,359 --> 00:20:04,840
Speaker 10: Can we just say man that the reviews all us

418
00:20:04,920 --> 00:20:06,360
Speaker 10: artists were like, we don't care.

419
00:20:07,200 --> 00:20:09,320
Speaker 8: We almost so care.

420
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Speaker 11: It hurts when someone writes a bad review, I think.

421
00:20:12,480 --> 00:20:13,920
Speaker 3: But I'm saying that you're your friend.

422
00:20:15,560 --> 00:20:19,080
Speaker 1: Was it came out the gate as in, I mean,

423
00:20:19,240 --> 00:20:24,359
Speaker 1: everyone universally agreed that it was an unusual record for starters.

424
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Speaker 1: I the thing that impressed me about it the most

425
00:20:27,400 --> 00:20:31,359
Speaker 1: was well as as Bill and I were noting before

426
00:20:31,640 --> 00:20:39,200
Speaker 1: I realized that your production team was definitely into quote

427
00:20:39,280 --> 00:20:42,160
Speaker 1: unquote real hip hop. This is when I say real

428
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Speaker 1: hip hop, it's it's from the when the old guy,

429
00:20:45,840 --> 00:20:49,640
Speaker 1: the old hip hop fans is real hip hop, but

430
00:20:49,680 --> 00:20:55,080
Speaker 1: it's just certain nuances, certain snares used that I realized, like, oh,

431
00:20:56,160 --> 00:20:59,720
Speaker 1: whoever's producing this record really is dipped in the hip

432
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Speaker 1: hop culture because but it wasn't done in a way

433
00:21:03,119 --> 00:21:05,800
Speaker 1: where it exploits it, like you didn't come out the gate,

434
00:21:05,920 --> 00:21:09,040
Speaker 1: or you weren't marketed as a hip hop artist.

435
00:21:09,560 --> 00:21:12,000
Speaker 10: Yet there were a lot let it come to us.

436
00:21:12,720 --> 00:21:13,000
Speaker 3: It was.

437
00:21:13,040 --> 00:21:15,879
Speaker 1: It was probably the most pure, you know because at

438
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Speaker 1: least in between like nineteen ninety eight, ninety nine, two thousand,

439
00:21:21,040 --> 00:21:24,880
Speaker 1: you know, people's version of hip like hip hop being

440
00:21:24,880 --> 00:21:26,639
Speaker 1: infused inside the pop music.

441
00:21:26,400 --> 00:21:28,000
Speaker 3: Was like all right, let's steal my sunshine.

442
00:21:28,200 --> 00:21:31,119
Speaker 1: Yeah, let's get the piece of President's there, like the

443
00:21:31,119 --> 00:21:35,240
Speaker 1: theme of Scrubs right or or you know Atlantis Marsett

444
00:21:35,359 --> 00:21:40,200
Speaker 1: using a piece of President or George Michael using Funky Jones.

445
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Speaker 3: Exactly without prejudice album.

446
00:21:45,000 --> 00:21:48,080
Speaker 1: Yeah, it's just like okay, like you know, let me

447
00:21:48,119 --> 00:21:51,080
Speaker 1: just put this loop there. But your people were using

448
00:21:51,200 --> 00:21:55,480
Speaker 1: like some obscure shit and using it the right way

449
00:21:55,520 --> 00:21:59,920
Speaker 1: that real hip hop hits were like, hmm, okay, cheat,

450
00:22:00,080 --> 00:22:05,120
Speaker 1: she she just isn't the average guy the culture vulture. Yeah,

451
00:22:05,280 --> 00:22:08,760
Speaker 1: like you say, yeah, you're coming on some real shit.

452
00:22:08,920 --> 00:22:11,240
Speaker 1: So what was the process like doing the first record?

453
00:22:11,320 --> 00:22:12,239
Speaker 11: I'm glad you asked me that.

454
00:22:14,119 --> 00:22:18,760
Speaker 10: So we we started with a demo and we did

455
00:22:18,760 --> 00:22:22,920
Speaker 10: it in Brian West's like attic studio. Three of us me,

456
00:22:23,119 --> 00:22:25,679
Speaker 10: Jerald Eaton, and Brian West. They were part of an

457
00:22:25,800 --> 00:22:29,480
Speaker 10: R and B group called the Philosopher Kings, kind of

458
00:22:29,520 --> 00:22:32,040
Speaker 10: like what used to be called acid jazz pop, like

459
00:22:32,080 --> 00:22:34,280
Speaker 10: that kind of band. They were really good live and

460
00:22:34,320 --> 00:22:36,359
Speaker 10: really talented musicians. They've all gone on to have their

461
00:22:36,359 --> 00:22:39,160
Speaker 10: own production and writing careers, but anyway, I got two

462
00:22:39,200 --> 00:22:40,960
Speaker 10: of them. I got Brian West and Gerald Eaton, who

463
00:22:41,000 --> 00:22:42,679
Speaker 10: was a singer in the band. That was really key

464
00:22:42,720 --> 00:22:44,679
Speaker 10: because Gerald Eaton was such a good singer that he

465
00:22:44,720 --> 00:22:46,800
Speaker 10: really knew how to vocal arrange me. He really knew

466
00:22:46,840 --> 00:22:49,600
Speaker 10: how to like make sure that the vocals were interesting

467
00:22:49,680 --> 00:22:54,320
Speaker 10: and make sure that my harmonies were interesting on the album.

468
00:22:54,960 --> 00:22:57,040
Speaker 3: Because there's a lot of ideas floating around.

469
00:22:57,760 --> 00:22:59,520
Speaker 10: Yeah, and the three of us we co produced the

470
00:22:59,520 --> 00:23:02,159
Speaker 10: album to other we actually worked as a team and

471
00:23:02,200 --> 00:23:05,359
Speaker 10: we I actually programmed like the baseline on Turn Off

472
00:23:05,359 --> 00:23:06,960
Speaker 10: all Lit like, I just like actually played it on

473
00:23:06,960 --> 00:23:09,439
Speaker 10: the keyboard and ship on the radio. I wrote on guitar,

474
00:23:10,640 --> 00:23:16,200
Speaker 10: I played the guitar on the record, and I think

475
00:23:16,240 --> 00:23:19,159
Speaker 10: that the three of us were so invested in just

476
00:23:19,200 --> 00:23:22,359
Speaker 10: having fun. You know. Pro Tools had just been invented,

477
00:23:22,480 --> 00:23:26,359
Speaker 10: so the actual process was interesting. We were working in

478
00:23:26,400 --> 00:23:29,320
Speaker 10: this really cold it had no heating, this like studio

479
00:23:29,480 --> 00:23:34,200
Speaker 10: place in Toronto, in a warehouse building, and pro Tools

480
00:23:34,280 --> 00:23:36,159
Speaker 10: kept crashing because Brian didn't really know how to use

481
00:23:36,200 --> 00:23:37,800
Speaker 10: it yet and it was bugging out.

482
00:23:38,200 --> 00:23:40,240
Speaker 11: So in the long spells.

483
00:23:39,920 --> 00:23:46,400
Speaker 10: Of time, yeah, looking at me, like, no, it still.

484
00:23:46,200 --> 00:23:47,000
Speaker 11: Crashes all the time.

485
00:23:47,040 --> 00:23:50,639
Speaker 10: But like imagine like when it first like literally but

486
00:23:50,720 --> 00:23:52,320
Speaker 10: you know, like when it first came out, there were

487
00:23:52,400 --> 00:23:54,440
Speaker 10: like a lot of glitches and like he was trying

488
00:23:54,480 --> 00:23:56,960
Speaker 10: to merge them. He was trying to merge the midi

489
00:23:57,040 --> 00:24:00,600
Speaker 10: with it all the sounds, and that was causing problems

490
00:24:00,600 --> 00:24:04,840
Speaker 10: for us. And so I just like take naps and stuff.

491
00:24:04,840 --> 00:24:06,800
Speaker 10: So I'd wake up and Gerald will be like, your

492
00:24:06,880 --> 00:24:08,800
Speaker 10: voice sounds so cool right now. You got to sing

493
00:24:08,800 --> 00:24:10,800
Speaker 10: the vocal for this song right now. And it'd be

494
00:24:10,800 --> 00:24:12,880
Speaker 10: three in the morning. I'd be like really be like yeah,

495
00:24:12,880 --> 00:24:15,920
Speaker 10: and I'd sing this this like hook or whatever.

496
00:24:16,920 --> 00:24:18,159
Speaker 11: The other thing we were doing was we're one of

497
00:24:18,160 --> 00:24:19,160
Speaker 11: the records store a lot.

498
00:24:19,200 --> 00:24:21,920
Speaker 10: We were going to our friend Aki Aki store called

499
00:24:21,960 --> 00:24:23,399
Speaker 10: Cosmos in Toronto.

500
00:24:23,440 --> 00:24:25,800
Speaker 11: E've been that one the best you should go.

501
00:24:28,160 --> 00:24:32,000
Speaker 10: Anyway, So we we would go there and get a

502
00:24:32,040 --> 00:24:34,440
Speaker 10: lot of Brazilian music and stuff like that and just

503
00:24:34,520 --> 00:24:39,240
Speaker 10: kind of listen and get inspired, you know, everything from

504
00:24:39,240 --> 00:24:41,760
Speaker 10: Milch Andasimento to like Martinho de Villa or whatever, and

505
00:24:41,800 --> 00:24:44,119
Speaker 10: we would sample it and kind of create things that

506
00:24:44,160 --> 00:24:48,280
Speaker 10: way right on. Vocally too, I had experimented with a

507
00:24:48,280 --> 00:24:50,399
Speaker 10: lot of things in New Star that I kind of

508
00:24:50,440 --> 00:24:54,480
Speaker 10: like ended up kind of bringing that kind of like

509
00:24:54,520 --> 00:24:58,000
Speaker 10: that sort of uh sort of scat like singing, you know,

510
00:24:58,080 --> 00:24:59,880
Speaker 10: that kind of sing rap type.

511
00:24:59,680 --> 00:25:02,160
Speaker 8: Of when you started when you do this, I don't

512
00:25:02,200 --> 00:25:02,600
Speaker 8: know what you call.

513
00:25:02,600 --> 00:25:08,919
Speaker 10: It was very influenced by like Brazilian vocal percussion, but

514
00:25:08,960 --> 00:25:11,280
Speaker 10: the process was long. So the reason, well, Nelly, that

515
00:25:11,320 --> 00:25:12,920
Speaker 10: first record sounds like that and it sounds like this

516
00:25:13,000 --> 00:25:18,240
Speaker 10: crazy postiche is because it was very conscious the making

517
00:25:18,280 --> 00:25:19,920
Speaker 10: of it. Like I brought in albums that I love,

518
00:25:20,080 --> 00:25:22,640
Speaker 10: like I was really into Corner Shop at the time

519
00:25:22,800 --> 00:25:23,560
Speaker 10: when I was born.

520
00:25:23,640 --> 00:25:24,440
Speaker 11: For the seventh time.

521
00:25:24,680 --> 00:25:29,280
Speaker 10: Yeah, first groups to really merge pop with like cultural music,

522
00:25:29,440 --> 00:25:30,040
Speaker 10: you know what I mean.

523
00:25:30,040 --> 00:25:32,720
Speaker 3: A lot of Indian yeah influence. Thank you for seeing

524
00:25:32,760 --> 00:25:36,320
Speaker 3: me on that years.

525
00:25:39,480 --> 00:25:43,920
Speaker 10: Yeah, but we'd find like street buskers, street musicians in

526
00:25:43,960 --> 00:25:48,199
Speaker 10: the subway, like pillon, vibraphone or sitar, and we'd be like,

527
00:25:48,200 --> 00:25:49,920
Speaker 10: can you come to the studio today, Like we had

528
00:25:49,960 --> 00:25:52,840
Speaker 10: lots of people come play and we just sample them.

529
00:25:53,040 --> 00:25:55,520
Speaker 10: And well we'd not sample them, like we wouldn't pay them.

530
00:25:55,560 --> 00:25:57,400
Speaker 10: We'd pay them for their session and then we would

531
00:25:57,440 --> 00:26:01,720
Speaker 10: use it in different ways. But there's even Brazilian. There's

532
00:26:01,720 --> 00:26:04,240
Speaker 10: some quirky instruments on there. So anyway, all that hard

533
00:26:04,240 --> 00:26:08,119
Speaker 10: work and time and energy and technical difficulties led to

534
00:26:08,160 --> 00:26:09,000
Speaker 10: the sound of the album.

535
00:26:09,720 --> 00:26:12,600
Speaker 3: Technical so you say mistakes, yeah.

536
00:26:12,400 --> 00:26:15,239
Speaker 10: Man, like pro tools crashing, you know, and things like

537
00:26:16,040 --> 00:26:18,159
Speaker 10: taking longer to like what there's a song on that

538
00:26:18,200 --> 00:26:21,120
Speaker 10: album that took one month to record, and I mean

539
00:26:21,119 --> 00:26:23,600
Speaker 10: we were in the studio every day experimenting.

540
00:26:24,040 --> 00:26:25,400
Speaker 11: It's called trying to find a.

541
00:26:25,359 --> 00:26:28,440
Speaker 3: Way, Okay, okay, yeah that makes sense.

542
00:26:30,160 --> 00:26:34,080
Speaker 11: In San Francisco, kidst some way that one.

543
00:26:34,160 --> 00:26:39,360
Speaker 1: Okay, So were you how did you feel about the

544
00:26:39,400 --> 00:26:41,240
Speaker 1: reception of the record.

545
00:26:41,280 --> 00:26:44,800
Speaker 10: In the first album, it was weird because I wanted

546
00:26:44,800 --> 00:26:47,160
Speaker 10: Ship on the Radio to be the first single. I'm glad.

547
00:26:49,359 --> 00:26:49,879
Speaker 8: I was going to.

548
00:26:49,880 --> 00:26:56,680
Speaker 1: Say, how do you present that idea, like as I'm

549
00:26:56,680 --> 00:27:00,480
Speaker 1: going to criticize the radio and to be like, hey,

550
00:27:00,680 --> 00:27:02,760
Speaker 1: but I don't think it came out the gate thinking.

551
00:27:04,240 --> 00:27:05,400
Speaker 3: No, it was weird.

552
00:27:05,440 --> 00:27:06,240
Speaker 11: You know what it was?

553
00:27:06,320 --> 00:27:08,240
Speaker 10: It was my friend, Like you know, your friends and

554
00:27:08,240 --> 00:27:10,119
Speaker 10: then your real friends, so it's like there's always like

555
00:27:10,240 --> 00:27:14,240
Speaker 10: the Peanut gallery who's like too cool for everything, and

556
00:27:14,280 --> 00:27:16,760
Speaker 10: it's like, oh, I feel like it was a random

557
00:27:16,800 --> 00:27:20,600
Speaker 10: conversation in a car and somebody said, I.

558
00:27:23,000 --> 00:27:24,040
Speaker 3: No, no, I mean.

559
00:27:24,000 --> 00:27:26,320
Speaker 1: Us as if we are too cool and we're snobs,

560
00:27:26,320 --> 00:27:27,320
Speaker 1: and yeah, but that's cool.

561
00:27:27,320 --> 00:27:29,080
Speaker 11: You can do that, but not to your friends. So

562
00:27:29,200 --> 00:27:31,040
Speaker 11: like somebody had a car I.

563
00:27:34,320 --> 00:27:36,520
Speaker 10: No, but like should on the radio happened because I

564
00:27:36,560 --> 00:27:38,400
Speaker 10: was in a car with a friend from back home.

565
00:27:38,440 --> 00:27:41,320
Speaker 10: It was a group of people and someone said to me, hey,

566
00:27:41,480 --> 00:27:42,760
Speaker 10: it was like more like an acquaintance.

567
00:27:42,840 --> 00:27:44,640
Speaker 11: Was like, you signed a record deal.

568
00:27:44,760 --> 00:27:47,440
Speaker 10: Make sure you don't make cheesy music, make sure you

569
00:27:47,440 --> 00:27:50,200
Speaker 10: don't make bad music, make sure you make cool music.

570
00:27:50,240 --> 00:27:53,639
Speaker 10: And I was like, excuse me, Like that was like

571
00:27:54,040 --> 00:27:57,000
Speaker 10: it's like really hating before you even had a chance

572
00:27:57,040 --> 00:27:59,000
Speaker 10: to do anything, and people just hate just to hate,

573
00:27:59,119 --> 00:28:00,680
Speaker 10: and soh on radio was out that I was like,

574
00:28:00,720 --> 00:28:03,679
Speaker 10: you know what, I don't need to prove myself to

575
00:28:03,720 --> 00:28:05,600
Speaker 10: you or anyone. I can just like do what I

576
00:28:05,640 --> 00:28:08,640
Speaker 10: want to do and I don't need to worry about shoegazing,

577
00:28:08,680 --> 00:28:12,720
Speaker 10: you know. And so yeah, so anyway, so present into

578
00:28:12,760 --> 00:28:15,159
Speaker 10: a record label. Yeah, Mo Austin, I don't know, do

579
00:28:15,200 --> 00:28:15,959
Speaker 10: you know Mo Austin?

580
00:28:16,119 --> 00:28:17,400
Speaker 3: Yes, we know the legend of movie.

581
00:28:17,520 --> 00:28:18,240
Speaker 11: Yeah, man, like.

582
00:28:18,240 --> 00:28:20,480
Speaker 10: He worked at dream Works, like my label had like.

583
00:28:20,520 --> 00:28:22,720
Speaker 11: Lenny wren Coode Mo Austin and like.

584
00:28:26,440 --> 00:28:29,560
Speaker 3: Yeah nice, Yeah, they were like the classic.

585
00:28:30,040 --> 00:28:34,680
Speaker 10: Yeah Prince not real lucky. You know. I had these

586
00:28:34,760 --> 00:28:37,520
Speaker 10: like amazing seasoned people behind me and they believed in

587
00:28:37,560 --> 00:28:40,400
Speaker 10: everything I did. And Lenny Waronker came to the studio

588
00:28:40,440 --> 00:28:42,480
Speaker 10: when we're almost done well Nelly, and he go he

589
00:28:42,520 --> 00:28:45,160
Speaker 10: looked at me and he goes, savor this moment. You

590
00:28:45,200 --> 00:28:48,320
Speaker 10: will never make music like this again because you're just

591
00:28:48,360 --> 00:28:51,720
Speaker 10: starting out and your impression and the way you think

592
00:28:52,240 --> 00:28:54,440
Speaker 10: and the way you create will never be the same again.

593
00:28:54,960 --> 00:28:57,200
Speaker 1: I was gonna say that innocence and you can you

594
00:28:57,240 --> 00:29:02,040
Speaker 1: can feel and hear that innocence, like the boundaries of

595
00:29:02,640 --> 00:29:05,719
Speaker 1: they're not being boundaries, you coloring outside the lines and

596
00:29:05,800 --> 00:29:09,040
Speaker 1: that sort of stuff. You sort of you get the

597
00:29:09,080 --> 00:29:10,880
Speaker 1: sense of that, like, oh, this is a person that's

598
00:29:10,960 --> 00:29:15,880
Speaker 1: just discovering their body parts metaphorically speaking, like you know,

599
00:29:16,000 --> 00:29:17,880
Speaker 1: like oh, the limited.

600
00:29:17,520 --> 00:29:18,120
Speaker 3: Power I have.

601
00:29:18,920 --> 00:29:24,120
Speaker 1: And then it's almost like you get tainted or uh,

602
00:29:24,200 --> 00:29:28,360
Speaker 1: you know, there's there's a pressure on your hands when

603
00:29:28,360 --> 00:29:32,680
Speaker 1: you work up on following material like did you how

604
00:29:32,720 --> 00:29:33,920
Speaker 1: did you feel afterwards?

605
00:29:33,960 --> 00:29:36,440
Speaker 10: Like I know exactly what you mean because I hear

606
00:29:36,480 --> 00:29:38,760
Speaker 10: that on records when I listen to them, now, you

607
00:29:38,760 --> 00:29:41,120
Speaker 10: know what I mean? So like I heard I think

608
00:29:41,120 --> 00:29:42,959
Speaker 10: I heard drums album and I was like, oh, I

609
00:29:43,040 --> 00:29:45,280
Speaker 10: love how he doesn't care and it just seems so

610
00:29:46,040 --> 00:29:48,400
Speaker 10: you know, like there's an intentional and it will never

611
00:29:48,440 --> 00:29:49,000
Speaker 10: happen again.

612
00:29:50,320 --> 00:29:51,320
Speaker 11: I was like, oh my.

613
00:29:51,240 --> 00:29:53,200
Speaker 10: God, this is so beautiful because it's so free, you

614
00:29:53,240 --> 00:29:54,800
Speaker 10: know what I mean, Like, oh, this is so free,

615
00:29:54,880 --> 00:29:55,080
Speaker 10: you know.

616
00:29:57,360 --> 00:30:00,640
Speaker 11: But anyway myself, yeah, oh my god, you kidding me. Pressure.

617
00:30:00,640 --> 00:30:02,520
Speaker 10: Plus I was a girl. It was like a twenty

618
00:30:03,080 --> 00:30:05,520
Speaker 10: twenty one year old girl, like all of a sudden,

619
00:30:05,680 --> 00:30:08,880
Speaker 10: like what like I'm nominated for Grammy and like my

620
00:30:08,960 --> 00:30:11,240
Speaker 10: mom's sitting next to me, and were at the Grammys

621
00:30:11,280 --> 00:30:13,080
Speaker 10: and I went a grant like it was all surreal.

622
00:30:13,440 --> 00:30:15,160
Speaker 3: How'd you feel when they announced your name that night?

623
00:30:15,160 --> 00:30:16,560
Speaker 3: I think I was there that night when you won

624
00:30:16,640 --> 00:30:17,360
Speaker 3: Year Year.

625
00:30:17,640 --> 00:30:20,680
Speaker 10: Yeah, you were probably there, Yeah, back in the good

626
00:30:20,680 --> 00:30:23,800
Speaker 10: old days. I mean it was amazing.

627
00:30:24,160 --> 00:30:25,320
Speaker 11: I was like, what you.

628
00:30:25,360 --> 00:30:27,440
Speaker 1: Kind of I mean you expected to win. I mean

629
00:30:27,520 --> 00:30:29,240
Speaker 1: you were unstoppable.

630
00:30:29,640 --> 00:30:31,800
Speaker 10: I don't know, like it's still cool, like it's still

631
00:30:32,280 --> 00:30:34,680
Speaker 10: the funny thing that happens is afterwards. I remember I

632
00:30:34,800 --> 00:30:36,880
Speaker 10: was living in it. I remember, actually exactly because I

633
00:30:36,960 --> 00:30:39,360
Speaker 10: was living in LA for like a year. I remember

634
00:30:39,360 --> 00:30:41,000
Speaker 10: you invited me to a party one night and I

635
00:30:41,000 --> 00:30:43,880
Speaker 10: couldn't go, and I don't remember why. I couldn't convince

636
00:30:43,880 --> 00:30:45,200
Speaker 10: my friend to come out with me, and I didn't

637
00:30:45,240 --> 00:30:49,600
Speaker 10: go right my roommate, my friend. But around that time,

638
00:30:49,640 --> 00:30:52,800
Speaker 10: I remember starting to feel like, oh, I got a

639
00:30:52,840 --> 00:30:56,400
Speaker 10: deal with all the other ways I actually feel about

640
00:30:56,400 --> 00:30:57,680
Speaker 10: this business, you know what I mean.

641
00:30:58,120 --> 00:30:59,360
Speaker 11: The starry eyes are gone.

642
00:31:00,080 --> 00:31:02,440
Speaker 10: I'm now wondering does it all come down to wearing

643
00:31:02,480 --> 00:31:05,120
Speaker 10: a pretty dress on the red carpet? And that really

644
00:31:05,120 --> 00:31:06,800
Speaker 10: messes with you when you're only twenty two.

645
00:31:06,920 --> 00:31:08,320
Speaker 8: This is before the second album.

646
00:31:08,480 --> 00:31:09,480
Speaker 11: Yeah, it was right when.

647
00:31:09,320 --> 00:31:11,200
Speaker 1: I was about a record when you're worrying that you

648
00:31:11,280 --> 00:31:13,720
Speaker 1: might become the establishment that you were.

649
00:31:14,080 --> 00:31:18,080
Speaker 10: Yeah, and that's why my first single on Folklore is

650
00:31:18,120 --> 00:31:21,240
Speaker 10: called Powerless where magically sign of the times.

651
00:31:21,280 --> 00:31:23,200
Speaker 11: I asked me to sing it tomorrow on the Today Show.

652
00:31:23,400 --> 00:31:24,440
Speaker 11: I was like, is this a typo?

653
00:31:24,560 --> 00:31:24,920
Speaker 8: Do you think?

654
00:31:25,080 --> 00:31:26,560
Speaker 11: Ris right?

655
00:31:26,800 --> 00:31:26,880
Speaker 4: Like?

656
00:31:26,920 --> 00:31:28,200
Speaker 10: Do you know what I mean? Like people want to

657
00:31:28,200 --> 00:31:32,120
Speaker 10: hear songs like Powerless now, which was a kind of

658
00:31:32,120 --> 00:31:34,560
Speaker 10: like a protest song at the time. The first line says.

659
00:31:34,360 --> 00:31:35,920
Speaker 6: I mean, look at the times we're living in those

660
00:31:35,960 --> 00:31:37,840
Speaker 6: I know it's now, I think I know.

661
00:31:37,920 --> 00:31:40,240
Speaker 10: But it's amazing to me that music can live on

662
00:31:40,360 --> 00:31:43,040
Speaker 10: in that way and still inspire people. Because the first

663
00:31:43,040 --> 00:31:45,920
Speaker 10: line says, paint my face in your magazines, make it

664
00:31:45,960 --> 00:31:49,240
Speaker 10: look whiter than it seems. Paint me over with your dreams,

665
00:31:49,880 --> 00:31:53,160
Speaker 10: shove away my ethnicity because this life is too short

666
00:31:53,200 --> 00:31:55,400
Speaker 10: to live it just for you. But if you feel

667
00:31:55,720 --> 00:31:58,280
Speaker 10: when you feel so powerless, what are.

668
00:31:58,200 --> 00:31:58,719
Speaker 11: You going to do?

669
00:31:58,760 --> 00:31:58,840
Speaker 3: Oh?

670
00:31:58,880 --> 00:32:01,520
Speaker 11: Wait, I got to learn lyrics before tomorrow? Are you

671
00:32:01,720 --> 00:32:02,680
Speaker 11: yeah gonna do?

672
00:32:02,920 --> 00:32:03,000
Speaker 4: So?

673
00:32:03,120 --> 00:32:03,880
Speaker 11: Say what you want?

674
00:32:04,000 --> 00:32:04,840
Speaker 8: But is that true now?

675
00:32:05,040 --> 00:32:05,120
Speaker 10: Like?

676
00:32:05,160 --> 00:32:08,200
Speaker 9: Really at some point somebody because you're a part of

677
00:32:08,400 --> 00:32:11,040
Speaker 9: yeah sound, So somebody really came at you in a

678
00:32:11,160 --> 00:32:12,320
Speaker 9: label type that.

679
00:32:12,280 --> 00:32:14,080
Speaker 11: Way in photo shoots. Yeah, I felt like there was.

680
00:32:14,080 --> 00:32:20,400
Speaker 10: An how do I say anglizations anglicization, Yeah, anglicization on me.

681
00:32:20,600 --> 00:32:22,400
Speaker 10: I've always had olive skin, you know what I mean.

682
00:32:22,560 --> 00:32:24,120
Speaker 10: I was aware of that because I grew up in

683
00:32:24,160 --> 00:32:25,880
Speaker 10: a small town British colony.

684
00:32:25,920 --> 00:32:27,160
Speaker 11: I was like the only ethnic kid in.

685
00:32:27,080 --> 00:32:30,400
Speaker 10: My class in kindergarten, so it's all, you know, relative

686
00:32:30,480 --> 00:32:33,360
Speaker 10: and then I and so by the time I was

687
00:32:33,360 --> 00:32:35,280
Speaker 10: done with my first record and I was doing Powerless,

688
00:32:35,320 --> 00:32:36,880
Speaker 10: I was like, well, what about who am I really?

689
00:32:37,040 --> 00:32:37,560
Speaker 11: You know what I mean?

690
00:32:37,680 --> 00:32:39,320
Speaker 10: Like, what what am I really about? And what do

691
00:32:39,320 --> 00:32:40,560
Speaker 10: I want to say on this next record? So I

692
00:32:40,600 --> 00:32:43,120
Speaker 10: started talking about the next record. I have a song

693
00:32:43,160 --> 00:32:44,880
Speaker 10: called like Fresh off the Boat. You know, my parents

694
00:32:44,920 --> 00:32:48,000
Speaker 10: are immigrants. I was born in Canada. I have a

695
00:32:48,040 --> 00:32:51,040
Speaker 10: song called picture Perfect about my dad's like immigrant dream

696
00:32:51,160 --> 00:32:53,400
Speaker 10: of like coming to Canada and how everything looks so

697
00:32:53,480 --> 00:32:56,360
Speaker 10: good in the old seventies photographs when you look at it.

698
00:32:58,040 --> 00:33:00,920
Speaker 11: So anyway, yeah, that's that's what happened. Yeah, sometimes I

699
00:33:00,960 --> 00:33:03,480
Speaker 11: would feel, do you.

700
00:33:03,040 --> 00:33:04,880
Speaker 10: Like there was a paradigm you needed to fit into

701
00:33:05,000 --> 00:33:08,160
Speaker 10: At the time, I actually it didn't always match how

702
00:33:08,200 --> 00:33:09,080
Speaker 10: I felt.

703
00:33:08,960 --> 00:33:09,640
Speaker 11: Do you know what I mean?

704
00:33:09,800 --> 00:33:10,120
Speaker 3: Yeah?

705
00:33:10,200 --> 00:33:18,920
Speaker 1: Yeah, I have a theory about folklore, which is, you

706
00:33:18,960 --> 00:33:26,400
Speaker 1: know how like Weezer fans will now swear by Pinkerton, right,

707
00:33:26,920 --> 00:33:32,160
Speaker 1: like that's their picketon. I actually think that your your

708
00:33:32,880 --> 00:33:35,440
Speaker 1: folklore could be your Pinkerton moment.

709
00:33:35,840 --> 00:33:42,320
Speaker 3: Okay, because even though it again, you could.

710
00:33:42,120 --> 00:33:47,000
Speaker 1: Tell that you were older, wiser, sort of cynical eyes

711
00:33:47,040 --> 00:33:49,520
Speaker 1: even based on the album cover, because when I copped

712
00:33:49,520 --> 00:33:52,320
Speaker 1: the record, that's the first thing I noticed. I love

713
00:33:52,360 --> 00:33:55,480
Speaker 1: the fact that you've always kept your logo the same, right,

714
00:33:55,680 --> 00:33:59,920
Speaker 1: But based on the album cover even I was like, oh, Nelly,

715
00:34:00,040 --> 00:34:03,880
Speaker 1: it's serious here, like it's my tone, my face.

716
00:34:03,800 --> 00:34:08,120
Speaker 10: Right, So I got little Nevus in my belly too

717
00:34:07,960 --> 00:34:09,560
Speaker 10: a four months there.

718
00:34:09,680 --> 00:34:12,279
Speaker 1: But also I also know that, I mean, what we

719
00:34:12,320 --> 00:34:17,440
Speaker 1: also have in common is that, well both of us

720
00:34:17,480 --> 00:34:18,960
Speaker 1: got shipped to Geffen.

721
00:34:19,800 --> 00:34:22,839
Speaker 14: Oh my god, you were in that crazy well yeah,

722
00:34:22,840 --> 00:34:26,520
Speaker 14: because every are before well we were on m c A.

723
00:34:26,920 --> 00:34:30,279
Speaker 1: And when they announced in two thousand and three, like

724
00:34:30,360 --> 00:34:32,759
Speaker 1: you know, we're getting ready of the following eleven.

725
00:34:32,520 --> 00:34:34,040
Speaker 8: Labels, it was such a weird feeling.

726
00:34:34,200 --> 00:34:40,879
Speaker 1: We all got shipped and it was like the racial draft.

727
00:34:39,440 --> 00:34:41,160
Speaker 11: Like why is a cooler company buying me?

728
00:34:41,320 --> 00:34:45,520
Speaker 3: It was the it was the racial draft of labels.

729
00:34:45,560 --> 00:34:47,399
Speaker 3: All the black ones, all the black art is pretty

730
00:34:47,440 --> 00:34:48,600
Speaker 3: much went over to Geffen, right.

731
00:34:49,120 --> 00:34:51,200
Speaker 1: Yeah, but it was it was a weird process. Like

732
00:34:51,320 --> 00:34:57,040
Speaker 1: doctor dre told Ah, I mean doctor Drake kind of

733
00:34:58,120 --> 00:35:02,600
Speaker 1: kind of you know told uh uh president of Interscope

734
00:35:03,120 --> 00:35:03,760
Speaker 1: to Jimmy.

735
00:35:03,960 --> 00:35:06,000
Speaker 3: Yeah. I told Jimmy like, Okay, here are the cool

736
00:35:06,080 --> 00:35:10,040
Speaker 3: artists and wow, what Yeah.

737
00:35:10,960 --> 00:35:12,759
Speaker 9: He comes through, Oh because he picked you. But I'm

738
00:35:12,800 --> 00:35:15,120
Speaker 9: not you know what I'm saying, Like that's people who.

739
00:35:19,160 --> 00:35:24,320
Speaker 1: So I'm just saying that Unfortunately, a lot of notable

740
00:35:24,360 --> 00:35:30,080
Speaker 1: records got overlooked in the shift of getting to that moment.

741
00:35:30,120 --> 00:35:33,800
Speaker 1: So I mean, how did you How did you personally feel,

742
00:35:34,520 --> 00:35:39,000
Speaker 1: uh when that album sort of got lost in translation

743
00:35:39,280 --> 00:35:41,040
Speaker 1: as far as the commercial.

744
00:35:41,080 --> 00:35:43,480
Speaker 11: It was kind of weird because like I felt like,

745
00:35:43,600 --> 00:35:45,440
Speaker 11: because I.

746
00:35:45,560 --> 00:35:48,600
Speaker 10: Was like kind of playing guitar more songs and kind

747
00:35:48,600 --> 00:35:51,160
Speaker 10: of being more I guess traditionally what you would see

748
00:35:51,160 --> 00:35:53,080
Speaker 10: like more like a rock aesthetic, I felt like it

749
00:35:53,120 --> 00:35:56,799
Speaker 10: wasn't accepted because people just wanted maybe that girl with

750
00:35:56,840 --> 00:35:59,040
Speaker 10: the pigtails and like, you know, like the fun ethnic

751
00:35:59,080 --> 00:36:02,400
Speaker 10: girl with whop dare bouncing around. It's like she was

752
00:36:02,440 --> 00:36:04,000
Speaker 10: so happy. Why is she mad?

753
00:36:04,520 --> 00:36:04,759
Speaker 8: Wait?

754
00:36:04,800 --> 00:36:07,239
Speaker 10: Because Giuso Freako came at what point in.

755
00:36:07,239 --> 00:36:09,200
Speaker 11: The early times?

756
00:36:09,280 --> 00:36:09,400
Speaker 9: Right?

757
00:36:09,560 --> 00:36:11,560
Speaker 10: Yeah? Yeah, yeah, do you know what I mean? That's

758
00:36:11,560 --> 00:36:13,960
Speaker 10: how I organically fell. Just to be completely honest with you,

759
00:36:14,040 --> 00:36:16,800
Speaker 10: I felt like, oh, I'm not allowed to be angry okay,

760
00:36:17,000 --> 00:36:19,000
Speaker 10: Like I'm not allowed to like speak sing my truth.

761
00:36:19,040 --> 00:36:21,560
Speaker 11: I'm not allowed to be more emo? Why you put it?

762
00:36:21,560 --> 00:36:21,640
Speaker 3: Like?

763
00:36:21,640 --> 00:36:23,759
Speaker 11: Why am I like you? It's that first feeling of like,

764
00:36:23,760 --> 00:36:25,000
Speaker 11: oh shoot, I'm in a box.

765
00:36:25,120 --> 00:36:26,400
Speaker 8: Oh shoot, you never blamed it.

766
00:36:28,520 --> 00:36:29,840
Speaker 10: Yeah, I just kind of blame.

767
00:36:29,600 --> 00:36:32,360
Speaker 11: It on like just people and perceptions.

768
00:36:32,400 --> 00:36:35,799
Speaker 10: And luckily the album took off in some markets, thank god,

769
00:36:35,960 --> 00:36:41,520
Speaker 10: it really took off established in other markets. Yeah, Like

770
00:36:41,560 --> 00:36:43,759
Speaker 10: I think the song was number one in Canada and

771
00:36:43,800 --> 00:36:46,560
Speaker 10: like Germany and some other places. And I've really felt

772
00:36:46,560 --> 00:36:50,399
Speaker 10: the love on many levels, so it was okay. But yeah,

773
00:36:50,440 --> 00:36:51,839
Speaker 10: in the US, I was kind of like, oh, well,

774
00:36:51,840 --> 00:36:54,000
Speaker 10: I guess nobody wants to hear me singing about stuff

775
00:36:54,000 --> 00:36:56,000
Speaker 10: I don't like and biting the hand that feeds.

776
00:36:55,719 --> 00:37:00,600
Speaker 8: Are aren't we America. It's just weird interesting.

777
00:37:01,200 --> 00:37:03,360
Speaker 10: I never really thought it was about the label folding.

778
00:37:03,960 --> 00:37:07,120
Speaker 3: Really, maybe I was wrong. Maybe it helps.

779
00:37:07,200 --> 00:37:09,600
Speaker 10: It helps A really good song Try could have maybe

780
00:37:09,600 --> 00:37:10,240
Speaker 10: been on the radio.

781
00:37:10,239 --> 00:37:12,439
Speaker 1: I don't know, but it helps to have I don't

782
00:37:12,480 --> 00:37:17,680
Speaker 1: know your label intact during the six or seven month it.

783
00:37:17,640 --> 00:37:18,440
Speaker 10: Would have helped a bit.

784
00:37:18,560 --> 00:37:21,359
Speaker 1: Yeah, probably because the same the same happened with Comic

785
00:37:22,520 --> 00:37:28,239
Speaker 1: Electric Circus, and then the transition happened because.

786
00:37:27,520 --> 00:37:29,000
Speaker 8: I was sitting here thinking of Electric Circus.

787
00:37:29,000 --> 00:37:31,000
Speaker 9: That might have been Actually when Nelly thought about like

788
00:37:31,080 --> 00:37:34,320
Speaker 9: Folklore was maybe a little bit of a the same thing.

789
00:37:34,280 --> 00:37:36,760
Speaker 3: She released it and then dream Works sort of imploded.

790
00:37:37,680 --> 00:37:40,680
Speaker 6: This was all happening simultaneously, but it's still a different project.

791
00:37:40,840 --> 00:37:43,560
Speaker 9: So it's kind of like you'll never really feel like,

792
00:37:43,600 --> 00:37:45,840
Speaker 9: you know, if it was a lefty type project and

793
00:37:46,840 --> 00:37:47,960
Speaker 9: you know, no, you bring up.

794
00:37:47,920 --> 00:37:50,279
Speaker 10: An important point because I think it's perception too, So

795
00:37:50,440 --> 00:37:52,600
Speaker 10: you as an artist, you start to believe the hype

796
00:37:52,600 --> 00:37:56,560
Speaker 10: of like that album wasn't as commercial and then you

797
00:37:56,600 --> 00:38:01,640
Speaker 10: forget that wait a minute, label that other people to blame.

798
00:38:04,760 --> 00:38:07,960
Speaker 11: I because people will say the same thing about Electric Circus.

799
00:38:08,000 --> 00:38:08,960
Speaker 11: They won't remember that the.

800
00:38:08,920 --> 00:38:12,600
Speaker 10: Label folded, they'll be like, oh, it's just a weird album, but.

801
00:38:12,560 --> 00:38:15,840
Speaker 8: It wasn't right because they had it still had life

802
00:38:15,520 --> 00:38:16,080
Speaker 8: in Oh.

803
00:38:16,080 --> 00:38:18,040
Speaker 9: Yeah, I loved it. I mean but again, if for

804
00:38:18,239 --> 00:38:19,640
Speaker 9: common core fans, it might.

805
00:38:19,920 --> 00:38:21,759
Speaker 10: But then if wo Nellie never blew up, they could

806
00:38:21,760 --> 00:38:23,600
Speaker 10: have been like, well Nellie, her debut was a little

807
00:38:23,600 --> 00:38:26,200
Speaker 10: bit weird, so it never connected, you know what I'm

808
00:38:26,239 --> 00:38:28,439
Speaker 10: trying to say. It's weird how that worked.

809
00:38:28,440 --> 00:38:29,480
Speaker 8: But his second it.

810
00:38:29,440 --> 00:38:32,560
Speaker 6: Is always weird when it don't sell, that's you know,

811
00:38:32,560 --> 00:38:34,520
Speaker 6: it always get the weird title, you know, when it

812
00:38:34,560 --> 00:38:35,000
Speaker 6: don't sell.

813
00:38:35,200 --> 00:38:35,439
Speaker 3: Yeah.

814
00:38:36,120 --> 00:38:41,200
Speaker 1: Yeah, But the thing was I think Well Nelly was

815
00:38:41,400 --> 00:38:43,520
Speaker 1: I think the charm of will Nelly was the weirdness

816
00:38:43,680 --> 00:38:43,920
Speaker 1: of it.

817
00:38:45,080 --> 00:38:48,520
Speaker 3: It was a weird record. But this one was more focused.

818
00:38:48,120 --> 00:38:50,920
Speaker 11: And yeah, it had more of a concept straight.

819
00:38:50,680 --> 00:38:53,640
Speaker 3: Head, which really leads to.

820
00:38:53,640 --> 00:38:55,840
Speaker 11: It was like an exploration of identity really.

821
00:38:56,440 --> 00:38:59,800
Speaker 3: But that leads to when Loose came out, pay Dirt.

822
00:39:01,360 --> 00:39:01,440
Speaker 4: What.

823
00:39:03,040 --> 00:39:13,799
Speaker 3: Here's the thing something. My introduction to Loose though was

824
00:39:13,840 --> 00:39:16,200
Speaker 3: when you did S N L and.

825
00:39:17,600 --> 00:39:19,120
Speaker 8: Right and in like a brawl.

826
00:39:19,280 --> 00:39:25,600
Speaker 9: It was seriously, I always showed my midriff on tour.

827
00:39:25,719 --> 00:39:28,799
Speaker 10: You remember, I know you with Moby with like a

828
00:39:28,800 --> 00:39:29,719
Speaker 10: bikini top on.

829
00:39:29,880 --> 00:39:30,160
Speaker 3: You were.

830
00:39:31,920 --> 00:39:34,800
Speaker 1: You were like hippie Nelly, like that's what I was

831
00:39:34,920 --> 00:39:37,000
Speaker 1: used to. I seen it more than I've seen it

832
00:39:37,040 --> 00:39:41,080
Speaker 1: in shoes. So what was okay?

833
00:39:41,440 --> 00:39:42,760
Speaker 8: Did you feel I've never.

834
00:39:42,640 --> 00:39:44,960
Speaker 10: Seen your feet and high heels. I saw them in sneakers.

835
00:39:45,000 --> 00:39:45,239
Speaker 8: Yeah.

836
00:39:45,320 --> 00:39:49,800
Speaker 1: Yeah, Sometimes you just walk around bears with your bare feedbackstage.

837
00:39:50,719 --> 00:39:54,640
Speaker 3: But with loose was it just all systems go and

838
00:39:54,760 --> 00:39:55,399
Speaker 3: let me just.

839
00:39:59,040 --> 00:40:04,800
Speaker 9: I had to you said the internet, that's what you typed?

840
00:40:05,719 --> 00:40:11,400
Speaker 10: No I did, Oh my god, that's so funny. No,

841
00:40:11,520 --> 00:40:13,759
Speaker 10: but you're right. It's a far cry from like my

842
00:40:13,960 --> 00:40:16,120
Speaker 10: like moon boots and crazy.

843
00:40:15,760 --> 00:40:17,640
Speaker 11: Like raver pants the first time I did.

844
00:40:17,680 --> 00:40:18,040
Speaker 3: I don't know.

845
00:40:18,520 --> 00:40:19,600
Speaker 4: So why you.

846
00:40:19,680 --> 00:40:22,160
Speaker 1: Mentioned why you mentioned that you you did work on

847
00:40:22,360 --> 00:40:25,240
Speaker 1: the Get your Freak on uh remix?

848
00:40:26,239 --> 00:40:28,280
Speaker 11: Was that full tomboy like, no, no.

849
00:40:28,120 --> 00:40:28,640
Speaker 3: No, but that was?

850
00:40:28,680 --> 00:40:32,520
Speaker 1: That was That was a crucial summit meeting between you

851
00:40:32,600 --> 00:40:33,640
Speaker 1: and the Timberland group.

852
00:40:33,760 --> 00:40:35,800
Speaker 14: It was, And everybody forgot about it because they were like,

853
00:40:35,840 --> 00:40:37,319
Speaker 14: how did you meet Timbaland there.

854
00:40:37,239 --> 00:40:39,040
Speaker 3: Was actually didn't forget about it. There was actually guys.

855
00:40:39,080 --> 00:40:39,719
Speaker 3: You guys worked together.

856
00:40:40,160 --> 00:40:42,440
Speaker 11: The hip hop people, they know what's going on.

857
00:40:42,640 --> 00:40:45,240
Speaker 1: You guys, you worked with Timbling before before that remix

858
00:40:45,280 --> 00:40:47,520
Speaker 1: though right a remix, I can't remix.

859
00:40:48,040 --> 00:40:51,520
Speaker 10: We did three things before Loose like we did on

860
00:40:51,520 --> 00:40:54,560
Speaker 10: the radio and Turn Off Light remix. We toured together

861
00:40:55,040 --> 00:40:55,440
Speaker 10: on that tour.

862
00:40:55,560 --> 00:40:57,879
Speaker 11: We toured together. He was he came on the road

863
00:40:57,880 --> 00:40:59,920
Speaker 11: with Miss Jade for at least six or seven.

864
00:40:59,719 --> 00:41:03,719
Speaker 3: Show I forgot about because I was on Tim j.

865
00:41:07,680 --> 00:41:09,440
Speaker 8: Yeah, I'm sorry.

866
00:41:09,880 --> 00:41:11,960
Speaker 10: So Jimmy Ivan actually told me to go work with

867
00:41:12,000 --> 00:41:13,600
Speaker 10: Timberland again, and he's.

868
00:41:13,440 --> 00:41:14,800
Speaker 3: Like, of course, why that.

869
00:41:15,480 --> 00:41:18,160
Speaker 10: Yeah, he was like, you know, you guys made a

870
00:41:18,239 --> 00:41:21,120
Speaker 10: promise with the work you've done together and you haven't

871
00:41:21,160 --> 00:41:24,600
Speaker 10: fulfilled on it. I think you should go to Miami.

872
00:41:24,800 --> 00:41:27,200
Speaker 10: Timberland's in a really great creative space right now.

873
00:41:27,800 --> 00:41:28,560
Speaker 11: And I was like sure.

874
00:41:28,760 --> 00:41:32,560
Speaker 10: At that point, I had already worked with Pharrell, Scott Storge,

875
00:41:33,120 --> 00:41:36,759
Speaker 10: Nellie Hooper in England. I was just like enjoying my

876
00:41:36,920 --> 00:41:42,560
Speaker 10: record contract, flying around with my daughter recording recording with people.

877
00:41:43,280 --> 00:41:46,480
Speaker 10: So I was like, okay, sure. And so because she's

878
00:41:46,480 --> 00:41:48,319
Speaker 10: a toddler, you're not in school yet or anything and

879
00:41:48,400 --> 00:41:50,839
Speaker 10: just having fun. So we flew to Miami and worked

880
00:41:50,880 --> 00:41:55,440
Speaker 10: with tim first day Speaker caught Fire straight up. We

881
00:41:55,480 --> 00:41:57,280
Speaker 10: did man Eater and the speaker caught fire.

882
00:41:59,239 --> 00:42:02,880
Speaker 3: Yes, that's got to be a good sign, right, it

883
00:42:02,920 --> 00:42:03,439
Speaker 3: sounds bad.

884
00:42:04,000 --> 00:42:07,440
Speaker 1: Edi speakers caught on fire when Eddie van Halen did

885
00:42:07,440 --> 00:42:11,160
Speaker 1: his solo and yeah, notable hits have had burning speakers.

886
00:42:11,200 --> 00:42:16,640
Speaker 1: Michael Jackson's hair actually live on fire.

887
00:42:16,560 --> 00:42:18,360
Speaker 3: Because the commercial was so hot, and.

888
00:42:20,680 --> 00:42:24,240
Speaker 6: Cameron was actually covered by fire on the Confessions of Fire.

889
00:42:30,800 --> 00:42:35,920
Speaker 3: Is it Everyone? So? So?

890
00:42:36,480 --> 00:42:39,439
Speaker 1: And Eater was the first song you guys worked on. Yes,

891
00:42:39,600 --> 00:42:41,000
Speaker 1: what is the process.

892
00:42:41,000 --> 00:42:41,840
Speaker 11: Or was it glow?

893
00:42:43,440 --> 00:42:45,319
Speaker 10: You know when you like got your a game on

894
00:42:45,480 --> 00:42:47,640
Speaker 10: and you're like, I'm gonna pull out all the tricks.

895
00:42:47,280 --> 00:42:48,240
Speaker 11: In this first session.

896
00:42:48,360 --> 00:42:53,320
Speaker 10: You know, I'm gonna knock his socks off Timberland, timber

897
00:42:53,400 --> 00:42:57,279
Speaker 10: Land and yeah. So I was all like, like, dorite

898
00:42:57,320 --> 00:43:00,799
Speaker 10: his top with my vocals, like in this glow that's

899
00:43:00,840 --> 00:43:02,719
Speaker 10: on the record, And then we did man Eater that

900
00:43:02,800 --> 00:43:03,200
Speaker 10: same day.

901
00:43:03,400 --> 00:43:07,759
Speaker 3: Yeah, so what is he one of those? Is he

902
00:43:07,840 --> 00:43:08,319
Speaker 3: one of those?

903
00:43:09,600 --> 00:43:12,960
Speaker 1: Is he one of those work from scratch producers or

904
00:43:13,040 --> 00:43:13,680
Speaker 1: is it like.

905
00:43:14,040 --> 00:43:15,120
Speaker 8: You like from dance?

906
00:43:16,880 --> 00:43:18,439
Speaker 11: Yeah, work from dance.

907
00:43:19,080 --> 00:43:21,839
Speaker 10: So if he's dancing and he's hearing the beat and

908
00:43:21,920 --> 00:43:24,080
Speaker 10: his hand wants to do something different, like the body's

909
00:43:24,160 --> 00:43:27,120
Speaker 10: missing something. He'll add a sound so that he can

910
00:43:27,120 --> 00:43:31,480
Speaker 10: complete that physical, physical connection.

911
00:43:32,080 --> 00:43:36,080
Speaker 1: First, and then it's figure out what it's all vibe.

912
00:43:36,280 --> 00:43:37,440
Speaker 8: It's all vibe.

913
00:43:38,880 --> 00:43:41,279
Speaker 11: He's I don't know, he's just powerful. He has this

914
00:43:42,040 --> 00:43:44,200
Speaker 11: he has this connection. I don't know.

915
00:43:44,800 --> 00:43:47,359
Speaker 10: It's neat and him and I were weird, like when

916
00:43:47,360 --> 00:43:49,440
Speaker 10: we get together, we hardly see each other. I just

917
00:43:49,440 --> 00:43:51,800
Speaker 10: saw him because he invited me to come, like meet

918
00:43:52,239 --> 00:43:53,960
Speaker 10: some kids he was mentoring on a show called The

919
00:43:54,000 --> 00:43:56,080
Speaker 10: Pop Game for HLN or something.

920
00:43:56,239 --> 00:43:59,560
Speaker 11: I think, I hope that's a network. But we get

921
00:43:59,560 --> 00:44:02,399
Speaker 11: together we like old people like we talk. We talk

922
00:44:02,440 --> 00:44:06,239
Speaker 11: about life, death, love, marriage, divorced.

923
00:44:05,880 --> 00:44:09,120
Speaker 10: We talk about big things. There's no small talk with Timberland.

924
00:44:09,280 --> 00:44:14,440
Speaker 10: Timberland doesn't do small talk, and right, you don't. Yeah, no,

925
00:44:14,520 --> 00:44:17,040
Speaker 10: tim doesn't do small talk. So it's the same approach

926
00:44:17,080 --> 00:44:17,439
Speaker 10: to music.

927
00:44:17,480 --> 00:44:20,359
Speaker 11: There's no small talk. It's either good or it's over

928
00:44:20,440 --> 00:44:22,160
Speaker 11: and I don't care, you know what I mean. It's

929
00:44:22,200 --> 00:44:22,800
Speaker 11: either popping.

930
00:44:22,880 --> 00:44:25,360
Speaker 10: It's either I'm moving and I'm loving it or forgot

931
00:44:25,480 --> 00:44:28,399
Speaker 10: lost interest, you know, So you're constantly trying to get

932
00:44:28,400 --> 00:44:29,920
Speaker 10: his interest back when you're writing.

933
00:44:30,280 --> 00:44:31,279
Speaker 11: So it's like all right.

934
00:44:31,440 --> 00:44:34,280
Speaker 10: You did feel like you're like at the World Series.

935
00:44:34,760 --> 00:44:37,480
Speaker 11: And you gotta like, you know, you gotta knock it

936
00:44:37,480 --> 00:44:37,919
Speaker 11: out of the park.

937
00:44:38,040 --> 00:44:41,760
Speaker 1: But if you're if you're building a song from scratch, yeah,

938
00:44:42,560 --> 00:44:43,800
Speaker 1: which I imagine.

939
00:44:43,719 --> 00:44:45,839
Speaker 11: He came up with the cadence the flow for man Eater.

940
00:44:46,000 --> 00:44:46,560
Speaker 10: He was like.

941
00:44:49,160 --> 00:44:52,960
Speaker 3: About and roses at all was welcome to the Jungle.

942
00:44:56,640 --> 00:44:58,520
Speaker 10: And then I wrote the hook, and then he wrote

943
00:44:58,520 --> 00:45:00,320
Speaker 10: the cadence for that, and then I I wrote the

944
00:45:00,400 --> 00:45:02,800
Speaker 10: lyrics okay, and then we had an amazing vocal producer

945
00:45:02,880 --> 00:45:05,439
Speaker 10: named Jim Beans in there, and he was just coming

946
00:45:05,520 --> 00:45:08,239
Speaker 10: up with really cool like harmonies and things like say

947
00:45:08,280 --> 00:45:08,600
Speaker 10: it right.

948
00:45:09,040 --> 00:45:11,120
Speaker 11: Half the reason it's cool is because there's all those

949
00:45:11,120 --> 00:45:14,480
Speaker 11: little from about it, I can tell you.

950
00:45:14,280 --> 00:45:17,120
Speaker 10: You know, like all those little like calling responses, right,

951
00:45:17,280 --> 00:45:19,160
Speaker 10: That's what I think it takes it to the next level.

952
00:45:19,200 --> 00:45:21,000
Speaker 10: We were watching a Pink Foyd movie that day when

953
00:45:21,040 --> 00:45:23,320
Speaker 10: we did say it right. I put an alien effect

954
00:45:23,360 --> 00:45:26,520
Speaker 10: on my voice to inspire myself, and then you're just

955
00:45:26,600 --> 00:45:30,279
Speaker 10: kind of like, mmm, you know, just started singing that

956
00:45:31,239 --> 00:45:34,160
Speaker 10: and then uh yeah, him and I just kind of

957
00:45:34,520 --> 00:45:34,799
Speaker 10: just like.

958
00:45:34,800 --> 00:45:36,919
Speaker 3: Ping pong, you know, in that type.

959
00:45:36,960 --> 00:45:39,640
Speaker 10: But Nate Danjehans was in that session, like Nate Hills,

960
00:45:39,680 --> 00:45:43,320
Speaker 10: who's an incredible programmer and producer. Yes, so, and that

961
00:45:43,440 --> 00:45:46,440
Speaker 10: was early days when they just started working together. This

962
00:45:46,600 --> 00:45:50,120
Speaker 10: is before right before they did justin Timberlake's album. We

963
00:45:50,160 --> 00:45:51,440
Speaker 10: had finished our album.

964
00:45:51,600 --> 00:45:56,440
Speaker 3: So okay, Well, in that type of collaboration process.

965
00:45:58,040 --> 00:46:01,319
Speaker 1: Where it's it's you and him Loan working and with

966
00:46:01,480 --> 00:46:07,040
Speaker 1: danger as well, and you're kind of building this Jenga

967
00:46:07,120 --> 00:46:12,960
Speaker 1: game piece. Has there ever been a time where you

968
00:46:13,800 --> 00:46:16,799
Speaker 1: build something and the idea doesn't work? Like how do

969
00:46:16,840 --> 00:46:19,640
Speaker 1: you stingule? Or is it just everything you work on

970
00:46:20,520 --> 00:46:25,480
Speaker 1: adjust it until it works. Because usually, like in a

971
00:46:25,520 --> 00:46:28,520
Speaker 1: band scenario like if I'm if we're if me and

972
00:46:28,560 --> 00:46:32,560
Speaker 1: the guys are playing a groove and maybe it could

973
00:46:32,600 --> 00:46:34,600
Speaker 1: stay out to forty five minutes, or I could clearly

974
00:46:34,640 --> 00:46:37,600
Speaker 1: see that the client isn't feeling this, then I'll just

975
00:46:37,600 --> 00:46:39,480
Speaker 1: throw it away and then we'll start all over again.

976
00:46:40,160 --> 00:46:47,640
Speaker 1: But because of the intricacy of Timberland's production, you know,

977
00:46:47,800 --> 00:46:52,000
Speaker 1: does every song have to be take no prisoners?

978
00:46:52,080 --> 00:46:53,440
Speaker 3: Like yeah, does it have to.

979
00:46:53,360 --> 00:46:56,959
Speaker 1: Be finished to completion or do you have like five

980
00:46:57,000 --> 00:46:59,040
Speaker 1: songs that we worked on that didn't make the record

981
00:46:59,080 --> 00:47:01,319
Speaker 1: and you know, it is just sitting in.

982
00:47:01,520 --> 00:47:04,759
Speaker 10: The him and I had a really cool experience with

983
00:47:04,840 --> 00:47:10,360
Speaker 10: Loose because every single song we made was on the album.

984
00:47:10,800 --> 00:47:12,920
Speaker 3: That's what I wanted to know. Everything made it. It

985
00:47:13,000 --> 00:47:13,839
Speaker 3: was nothing left over.

986
00:47:14,880 --> 00:47:19,840
Speaker 10: Okay, there were two things that didn't end up getting completed.

987
00:47:21,120 --> 00:47:24,239
Speaker 10: One was a song I started with justin Timberlake and

988
00:47:24,320 --> 00:47:26,560
Speaker 10: it was called crowd Control, but that was late in

989
00:47:26,560 --> 00:47:30,480
Speaker 10: the game because I was almost done. And then there

990
00:47:30,560 --> 00:47:34,000
Speaker 10: was like a song that some other weird song. I

991
00:47:34,040 --> 00:47:36,080
Speaker 10: just remember it feeling like a Shakira song. I don't

992
00:47:36,080 --> 00:47:39,080
Speaker 10: remember what it was, but it was like it just

993
00:47:39,120 --> 00:47:42,359
Speaker 10: had that feel, but I did. We never finished it,

994
00:47:42,120 --> 00:47:45,640
Speaker 10: and then we just it just fell to the wayside,

995
00:47:45,880 --> 00:47:51,120
Speaker 10: you know. But it was very potent our time together

996
00:47:51,600 --> 00:47:55,040
Speaker 10: in that particular wave and we just finished all the

997
00:47:55,120 --> 00:47:57,320
Speaker 10: songs all in the same section of time.

998
00:47:58,160 --> 00:47:59,560
Speaker 3: Now, did you feel.

999
00:48:00,920 --> 00:48:04,319
Speaker 10: Nervous And it's like we couldn't make a bad song

1000
00:48:04,360 --> 00:48:05,280
Speaker 10: at that time or something.

1001
00:48:05,320 --> 00:48:05,799
Speaker 11: It was weird.

1002
00:48:05,840 --> 00:48:07,959
Speaker 3: I mean, it's easy to be in the zone.

1003
00:48:08,200 --> 00:48:11,520
Speaker 10: And at the time, I like kids met too, you know,

1004
00:48:11,600 --> 00:48:15,560
Speaker 10: because like Chris Martin from Coldplay was in town, so

1005
00:48:15,600 --> 00:48:19,799
Speaker 10: we invited him. I knew him Timblin did not know

1006
00:48:19,920 --> 00:48:22,240
Speaker 10: him but admired him and was from a big Coldplay

1007
00:48:22,280 --> 00:48:24,759
Speaker 10: wave at the time. I invited Chris In and he

1008
00:48:24,800 --> 00:48:26,440
Speaker 10: wrote the hook All Good Things Come to an End

1009
00:48:26,480 --> 00:48:28,440
Speaker 10: would end up being a huge hit around the world.

1010
00:48:28,600 --> 00:48:30,959
Speaker 3: Really, uh huh okay, okay.

1011
00:48:30,719 --> 00:48:33,360
Speaker 10: So things like that happened too, Like it was just

1012
00:48:33,400 --> 00:48:36,040
Speaker 10: a wave. It was just a moment were.

1013
00:48:35,880 --> 00:48:40,920
Speaker 1: You at all worried about not the label, but in

1014
00:48:41,000 --> 00:48:46,799
Speaker 1: terms of your original, everyone has their original. In my case,

1015
00:48:46,840 --> 00:48:49,439
Speaker 1: it's almost like the barbershop theory. You know, I don't

1016
00:48:49,440 --> 00:48:52,000
Speaker 1: know if you ever have the your barbershop thoughts, like

1017
00:48:52,040 --> 00:48:53,640
Speaker 1: Tarik has barbershop thoughts.

1018
00:48:54,120 --> 00:48:56,200
Speaker 3: This verse. I got to face the.

1019
00:48:56,239 --> 00:48:59,560
Speaker 1: Dudes in the barbershop when I do this verse, which

1020
00:48:59,600 --> 00:49:03,600
Speaker 1: is like yeah, his his sounding his soundboy his which

1021
00:49:04,040 --> 00:49:07,480
Speaker 1: could be an okay thing and sometimes can also be

1022
00:49:07,560 --> 00:49:08,200
Speaker 1: a handicap.

1023
00:49:09,680 --> 00:49:11,720
Speaker 3: And I see it more as a handicap than anything.

1024
00:49:11,840 --> 00:49:13,480
Speaker 3: What why is it a handicap for you?

1025
00:49:14,400 --> 00:49:14,680
Speaker 8: Well?

1026
00:49:14,719 --> 00:49:17,960
Speaker 1: I see it because it's a handicap because if your

1027
00:49:18,040 --> 00:49:22,280
Speaker 1: initial say, if her crew of six has those thoughts

1028
00:49:22,320 --> 00:49:25,279
Speaker 1: about if that's echoing in her head, like yo, don't

1029
00:49:25,280 --> 00:49:27,719
Speaker 1: make shit on the radio or keep it real or

1030
00:49:27,719 --> 00:49:31,120
Speaker 1: what you know, whatever music fans be like, you know

1031
00:49:31,360 --> 00:49:32,719
Speaker 1: the side I am ready for you?

1032
00:49:34,000 --> 00:49:35,920
Speaker 3: Are you thinking? Yo? What is my.

1033
00:49:35,920 --> 00:49:39,000
Speaker 1: Original crew back at home going to think when I

1034
00:49:39,080 --> 00:49:43,400
Speaker 1: drop this record with Timberland, which has the potential to

1035
00:49:43,440 --> 00:49:47,399
Speaker 1: sell gajillions, which it did. I mean, but it's also

1036
00:49:47,440 --> 00:49:50,919
Speaker 1: a risk because it's such a one eighty from how

1037
00:49:50,960 --> 00:49:53,040
Speaker 1: you started, Like, were you worried at all?

1038
00:49:53,920 --> 00:49:56,600
Speaker 10: I was really just kind of would loose? I just

1039
00:49:56,719 --> 00:49:58,680
Speaker 10: kind of well two things. I came up with the

1040
00:49:58,719 --> 00:50:01,840
Speaker 10: title loose about two years before I got in a

1041
00:50:01,840 --> 00:50:05,080
Speaker 10: studio with Timlin. I wanted to make a more broad

1042
00:50:05,719 --> 00:50:09,760
Speaker 10: project because I found that my early material didn't translate

1043
00:50:09,800 --> 00:50:13,840
Speaker 10: well to larger arena festival shows because of the sounds.

1044
00:50:14,760 --> 00:50:17,920
Speaker 10: So I really dreamed of playing arenas with a broader

1045
00:50:18,080 --> 00:50:19,680
Speaker 10: sounding album.

1046
00:50:19,960 --> 00:50:21,400
Speaker 11: So I wanted to also prove.

1047
00:50:21,239 --> 00:50:23,160
Speaker 10: To myself that I could make a big, shiny pop

1048
00:50:23,200 --> 00:50:26,719
Speaker 10: album like any other pop star. And I just set

1049
00:50:26,760 --> 00:50:29,960
Speaker 10: myself to that challenge because I'm real challenge motivated. So

1050
00:50:30,040 --> 00:50:31,480
Speaker 10: I just set that goal for myself.

1051
00:50:31,560 --> 00:50:33,200
Speaker 11: I was like, I want to make something huge.

1052
00:50:33,560 --> 00:50:35,360
Speaker 3: I admire that shit because.

1053
00:50:35,840 --> 00:50:37,120
Speaker 11: To see if I can do it, you know.

1054
00:50:37,280 --> 00:50:40,440
Speaker 1: I admire it because I know that most people, especially

1055
00:50:40,840 --> 00:50:44,840
Speaker 1: that are hip hop based, are so again, so at

1056
00:50:44,920 --> 00:50:48,520
Speaker 1: least my generation was so keep it real and anti.

1057
00:50:48,239 --> 00:50:50,560
Speaker 11: Pop that well, then I knew I could do it

1058
00:50:50,560 --> 00:50:51,680
Speaker 11: in a way that I still loved.

1059
00:50:52,560 --> 00:50:56,200
Speaker 3: Right, But I'm saying that I think it's actually.

1060
00:50:57,560 --> 00:51:00,520
Speaker 1: I think it's I think pop is is noble, which

1061
00:51:00,680 --> 00:51:03,279
Speaker 1: I know it's weird to say. I'm not saying that.

1062
00:51:03,320 --> 00:51:05,440
Speaker 1: You know, I'm the world's biggest tailors with fan, but

1063
00:51:06,120 --> 00:51:09,839
Speaker 1: I kind of, you know, I respect her steez, it's

1064
00:51:09,880 --> 00:51:11,640
Speaker 1: like kind of like a fifty million of his fans

1065
00:51:11,640 --> 00:51:12,759
Speaker 1: can't be wrong with anything.

1066
00:51:13,000 --> 00:51:17,000
Speaker 3: Not even that, not even that. No, no, no, no, not

1067
00:51:17,040 --> 00:51:17,400
Speaker 3: even that.

1068
00:51:17,480 --> 00:51:20,040
Speaker 1: It's just that I feel like with pop music, it's

1069
00:51:20,040 --> 00:51:21,800
Speaker 1: hard to write a song that millions and millions and

1070
00:51:21,840 --> 00:51:23,719
Speaker 1: millions of people all feel is great.

1071
00:51:23,760 --> 00:51:25,440
Speaker 3: At the same time, I think it's harder to.

1072
00:51:27,360 --> 00:51:27,440
Speaker 10: Like.

1073
00:51:27,680 --> 00:51:30,239
Speaker 1: Okay, some of the producers that we've interviewed on the

1074
00:51:30,280 --> 00:51:33,400
Speaker 1: show have made some of their best work with limited materials.

1075
00:51:34,000 --> 00:51:36,240
Speaker 10: Oh hell yeah, and then or even with.

1076
00:51:36,160 --> 00:51:38,480
Speaker 1: Like prints or whatever. Like, when you have limited materials,

1077
00:51:38,480 --> 00:51:40,960
Speaker 1: you're your most creative, But when you're giving the world

1078
00:51:41,000 --> 00:51:45,359
Speaker 1: then suddenly like results here, if he's best I think

1079
00:51:45,400 --> 00:51:48,640
Speaker 1: it's harder to write simple pop songs.

1080
00:51:50,040 --> 00:51:51,560
Speaker 3: I agree, I agree.

1081
00:51:52,000 --> 00:51:55,040
Speaker 1: If again, I always say, like for Nazi's Water, like

1082
00:51:55,520 --> 00:51:58,160
Speaker 1: eleven minutes, I had the whole diagram out. Okay, so

1083
00:51:58,440 --> 00:52:01,000
Speaker 1: minute number seven, we're gonna go, you know, free jazz here,

1084
00:52:01,200 --> 00:52:02,680
Speaker 1: and then we're going to pans left and right and

1085
00:52:02,719 --> 00:52:04,880
Speaker 1: do all this crazy ship. I could do ship like

1086
00:52:04,880 --> 00:52:10,200
Speaker 1: that my sleep. I could never do a three minutes.

1087
00:52:10,880 --> 00:52:13,480
Speaker 6: It's like you could just throw colors up against the

1088
00:52:13,520 --> 00:52:16,520
Speaker 6: canvas and call the ship abstract. But it's harder to

1089
00:52:16,600 --> 00:52:17,920
Speaker 6: draw a perfect circle.

1090
00:52:17,800 --> 00:52:20,160
Speaker 8: You know what I mean, A pop on by accident.

1091
00:52:21,360 --> 00:52:23,759
Speaker 3: No, but there's a there's a beauty of the simplicity.

1092
00:52:25,239 --> 00:52:25,839
Speaker 3: It's all math.

1093
00:52:25,960 --> 00:52:29,160
Speaker 1: I think it's hard to ship. It's hard to be disciplined.

1094
00:52:29,600 --> 00:52:33,760
Speaker 1: It's hard to be disciplined. It's hard to bullseye something

1095
00:52:33,840 --> 00:52:37,000
Speaker 1: that can can translate to millions.

1096
00:52:37,840 --> 00:52:40,760
Speaker 10: But I will I willn't want you.

1097
00:52:40,960 --> 00:52:41,399
Speaker 3: I was just saying.

1098
00:52:41,400 --> 00:52:43,839
Speaker 6: I do think once you find out what that formula is,

1099
00:52:44,400 --> 00:52:48,759
Speaker 6: it's easy to replicate it though, like if you, but

1100
00:52:48,760 --> 00:52:49,920
Speaker 6: the hard thing is finding it.

1101
00:52:50,000 --> 00:52:51,520
Speaker 8: You know what I'm saying, and cared about it because

1102
00:52:51,520 --> 00:52:52,840
Speaker 8: you know it, but you just don't feel like doing it.

1103
00:52:52,880 --> 00:52:54,759
Speaker 8: Sometimes that is true.

1104
00:52:54,880 --> 00:52:57,799
Speaker 9: I think that's the time you always give us a

1105
00:52:57,800 --> 00:52:59,640
Speaker 9: girl record. On the Roots album, we talked about like

1106
00:52:59,719 --> 00:53:00,920
Speaker 9: you but no.

1107
00:53:01,000 --> 00:53:05,360
Speaker 1: But that's the thing though, I think the misperception, especially

1108
00:53:05,360 --> 00:53:07,680
Speaker 1: with the Roots, is that, oh, you guys are artists.

1109
00:53:07,800 --> 00:53:11,040
Speaker 1: You don't want to sell, you don't want to get radio.

1110
00:53:12,800 --> 00:53:13,840
Speaker 3: I don't know how to do it.

1111
00:53:13,920 --> 00:53:15,440
Speaker 10: But you knew Water was not going to be a

1112
00:53:15,440 --> 00:53:17,000
Speaker 10: pop record. No.

1113
00:53:17,200 --> 00:53:17,440
Speaker 3: I know.

1114
00:53:17,520 --> 00:53:19,879
Speaker 1: I know how to do what I do well, which

1115
00:53:19,920 --> 00:53:24,600
Speaker 1: is the opposite. But until I became a DJ in

1116
00:53:24,680 --> 00:53:28,080
Speaker 1: the last five years and really understand what people respond to,

1117
00:53:29,360 --> 00:53:30,840
Speaker 1: now I know what the answer is.

1118
00:53:30,960 --> 00:53:34,200
Speaker 3: I still don't know if I know. No, I don't

1119
00:53:34,200 --> 00:53:34,480
Speaker 3: know how.

1120
00:53:34,440 --> 00:53:38,000
Speaker 1: To execute it. But I'm just saying that I know

1121
00:53:38,040 --> 00:53:40,960
Speaker 1: what the answer is now. Back then, I thought, hey,

1122
00:53:41,000 --> 00:53:42,560
Speaker 1: just put a girl on the hook, then it will

1123
00:53:42,600 --> 00:53:45,840
Speaker 1: be a hit. No, man, so much more.

1124
00:53:45,719 --> 00:53:47,440
Speaker 6: Than there's so much of its image, and I think

1125
00:53:47,440 --> 00:53:49,839
Speaker 6: and like lifestyle because I mean, it's not really you're

1126
00:53:49,840 --> 00:53:52,280
Speaker 6: selling the music like you're selling the lifestyle. You're selling

1127
00:53:52,880 --> 00:53:55,000
Speaker 6: you know, it's like some kind of colder personality shit, you.

1128
00:53:55,000 --> 00:53:55,399
Speaker 3: Know what I mean.

1129
00:53:55,440 --> 00:53:57,279
Speaker 1: So it's like, oh, it's way different now, yeah, you

1130
00:53:57,400 --> 00:53:58,640
Speaker 1: gotta be a personality.

1131
00:53:58,840 --> 00:54:00,920
Speaker 3: Four your even talented.

1132
00:54:01,000 --> 00:54:03,600
Speaker 6: So it's yeah, because like I could make a future record,

1133
00:54:03,640 --> 00:54:05,479
Speaker 6: but like I'm a dad of two.

1134
00:54:05,560 --> 00:54:08,680
Speaker 8: I mean not the futures, but he's the dad of six.

1135
00:54:08,800 --> 00:54:12,719
Speaker 3: Yeah, yeah, I mean it's like, who's gonna believe that?

1136
00:54:12,760 --> 00:54:14,600
Speaker 3: Shit's like, no, motherfucker.

1137
00:54:14,480 --> 00:54:16,719
Speaker 1: Well let me ask, because by that time you had

1138
00:54:16,760 --> 00:54:20,319
Speaker 1: a daughter, Like, yeah, I did change you.

1139
00:54:20,920 --> 00:54:22,680
Speaker 10: Yeah, a few things, like I feel like, okay, So

1140
00:54:22,719 --> 00:54:25,200
Speaker 10: my inspiration for Luis was definitely like I look to

1141
00:54:25,280 --> 00:54:29,440
Speaker 10: albums like Madonna Ray of Light, right, it was pop,

1142
00:54:29,480 --> 00:54:33,040
Speaker 10: but it had so much artistry and direction, and it

1143
00:54:33,080 --> 00:54:37,839
Speaker 10: had a sheen and a kind of mystery too to it,

1144
00:54:37,880 --> 00:54:38,360
Speaker 10: I thought.

1145
00:54:39,760 --> 00:54:42,640
Speaker 11: And then Janet Jackson's album when she came out as Janet,

1146
00:54:42,840 --> 00:54:46,960
Speaker 11: when she had the photo with someone holding her one behind.

1147
00:54:48,120 --> 00:54:50,319
Speaker 10: I was so inspired by that album as a I

1148
00:54:50,320 --> 00:54:52,799
Speaker 10: guess fourteen fifteen year old. My friends and I they

1149
00:54:52,800 --> 00:54:55,279
Speaker 10: called us the Janets, who all had very curly, long hair,

1150
00:54:56,080 --> 00:54:59,240
Speaker 10: and I really wanted Loose to be like my Janet album.

1151
00:54:59,440 --> 00:55:06,320
Speaker 10: I did, and it was yeah, my version right, vanilla

1152
00:55:06,440 --> 00:55:11,040
Speaker 10: version and yeah, and so with Promiscuous, I had trepidations.

1153
00:55:11,680 --> 00:55:13,239
Speaker 10: I was like, wow, I've never sang a song like

1154
00:55:13,280 --> 00:55:13,800
Speaker 10: this before.

1155
00:55:15,120 --> 00:55:17,680
Speaker 1: But well, I'll say you sold it well because when

1156
00:55:17,719 --> 00:55:25,040
Speaker 1: I saw SNL, I was like, whoa, I I hardly

1157
00:55:25,120 --> 00:55:26,480
Speaker 1: knew you.

1158
00:55:26,560 --> 00:55:28,520
Speaker 10: Yeah, you must have been like that because you had

1159
00:55:28,520 --> 00:55:30,799
Speaker 10: known me like real early days.

1160
00:55:30,680 --> 00:55:30,880
Speaker 3: You know.

1161
00:55:31,080 --> 00:55:33,080
Speaker 1: Yeah, and no, it's not even criticism. I was like,

1162
00:55:33,080 --> 00:55:34,640
Speaker 1: oh shit, I'm with this.

1163
00:55:35,760 --> 00:55:37,640
Speaker 10: But it came for my heart because I always I

1164
00:55:37,680 --> 00:55:40,160
Speaker 10: did grow up in R and B and hip hop music,

1165
00:55:40,440 --> 00:55:42,839
Speaker 10: so for me, it was very natural to sing that way.

1166
00:55:42,880 --> 00:55:45,720
Speaker 10: It was very natural to sing that type of music.

1167
00:55:45,760 --> 00:55:47,319
Speaker 10: You know, it was in my heart. So I just

1168
00:55:47,840 --> 00:55:49,319
Speaker 10: you know what I really think it is. I think

1169
00:55:49,360 --> 00:55:53,200
Speaker 10: my musical vocabulary is large, so that's why I can't.

1170
00:55:53,440 --> 00:55:55,320
Speaker 10: I don't fit into a box. And every album is

1171
00:55:55,360 --> 00:55:57,759
Speaker 10: different because I just I didn't like to speak the

1172
00:55:57,840 --> 00:56:00,640
Speaker 10: language in different ways, the music music language. You know,

1173
00:56:00,680 --> 00:56:02,479
Speaker 10: when you grow up playing instruments, you play the black

1174
00:56:02,480 --> 00:56:05,319
Speaker 10: notes on a page, like there's no genre. You know,

1175
00:56:05,360 --> 00:56:07,680
Speaker 10: it should be a democratic thing. I think music, you.

1176
00:56:07,640 --> 00:56:09,200
Speaker 9: Know, do you feel freedom in that because you know,

1177
00:56:09,200 --> 00:56:11,520
Speaker 9: a lot of artists don't really have that at the

1178
00:56:11,600 --> 00:56:13,160
Speaker 9: end of it, like some people would want to do

1179
00:56:13,239 --> 00:56:15,719
Speaker 9: other things. But I feel like what you you can

1180
00:56:15,760 --> 00:56:18,040
Speaker 9: do so many things because you're not in a box.

1181
00:56:18,480 --> 00:56:20,680
Speaker 9: But do you feel that privilege in that way?

1182
00:56:20,920 --> 00:56:23,279
Speaker 10: I guess so, because I don't know how to do

1183
00:56:23,320 --> 00:56:24,719
Speaker 10: it any other way, Like I don't know how to

1184
00:56:24,719 --> 00:56:26,480
Speaker 10: adhere to a genre. I don't know what that is.

1185
00:56:26,719 --> 00:56:28,160
Speaker 10: I don't I don't know what that is.

1186
00:56:28,280 --> 00:56:28,799
Speaker 11: You know what I mean?

1187
00:56:29,040 --> 00:56:30,560
Speaker 10: Or if I did know, I would get bored after

1188
00:56:30,600 --> 00:56:32,960
Speaker 10: doing it once. I get so bored, I get bored.

1189
00:56:33,040 --> 00:56:35,239
Speaker 10: It's pretty much, that's all it is. I'm just very

1190
00:56:35,239 --> 00:56:38,759
Speaker 10: curious person. I'm just led by my curiosity, and if

1191
00:56:38,840 --> 00:56:40,839
Speaker 10: I can be interested in something, then I'll do it,

1192
00:56:41,000 --> 00:56:43,480
Speaker 10: you know. But if I have no interest, I just can't.

1193
00:56:43,560 --> 00:56:44,399
Speaker 10: I just can't do it.

1194
00:56:45,080 --> 00:56:45,360
Speaker 4: Well.

1195
00:56:45,440 --> 00:56:49,520
Speaker 1: The success of Loose was really impressed in it, Like

1196
00:56:49,640 --> 00:56:54,560
Speaker 1: did you expect, especially coming off of Folklore, was just like,

1197
00:56:54,880 --> 00:56:56,399
Speaker 1: let me throw the spaghetti on the wall and see

1198
00:56:56,400 --> 00:56:56,800
Speaker 1: what happens.

1199
00:56:56,840 --> 00:56:57,720
Speaker 11: There's nothing to lose.

1200
00:56:59,000 --> 00:57:02,760
Speaker 3: Yeah, But then sudden it's like, I mean, twelve million

1201
00:57:02,800 --> 00:57:03,680
Speaker 3: is done in the sky fit.

1202
00:57:04,600 --> 00:57:05,680
Speaker 10: Yeah, it was crazy.

1203
00:57:06,120 --> 00:57:11,080
Speaker 1: So at the height of the madness of you surpassing

1204
00:57:11,160 --> 00:57:15,680
Speaker 1: even your debut record, I mean, what was what was

1205
00:57:15,680 --> 00:57:19,240
Speaker 1: it like? Suddenly like especially when you having to be

1206
00:57:19,280 --> 00:57:21,840
Speaker 1: an artist, having to be a mommy, ye, having to

1207
00:57:21,840 --> 00:57:25,400
Speaker 1: be a songwriter at like wearing all these hats.

1208
00:57:26,160 --> 00:57:29,560
Speaker 3: Where does that? You know? What does ten million feel like?

1209
00:57:29,640 --> 00:57:30,840
Speaker 3: At the height of the madness?

1210
00:57:31,040 --> 00:57:31,960
Speaker 11: It was exhausting.

1211
00:57:32,880 --> 00:57:34,920
Speaker 10: I was so tired because I was traveling with my

1212
00:57:35,000 --> 00:57:36,200
Speaker 10: daughter around the world.

1213
00:57:38,800 --> 00:57:41,560
Speaker 3: I took for two years, right, two years.

1214
00:57:41,840 --> 00:57:44,800
Speaker 10: Yeah, Like I toured like I was making the record

1215
00:57:45,080 --> 00:57:47,680
Speaker 10: when I made Loose, she had she was almost two.

1216
00:57:48,600 --> 00:57:50,360
Speaker 10: Who were you on tour with at the time or

1217
00:57:50,360 --> 00:57:52,680
Speaker 10: who were well, okay, so I made the record. Then

1218
00:57:52,680 --> 00:57:54,320
Speaker 10: it was like, I guess she was three when I

1219
00:57:54,320 --> 00:57:55,800
Speaker 10: brought her on the road, because by the time we

1220
00:57:55,880 --> 00:57:58,400
Speaker 10: went on the road, I was just like three, three years,

1221
00:57:58,400 --> 00:58:00,000
Speaker 10: four years old anyway, So I was really tired.

1222
00:58:00,240 --> 00:58:00,959
Speaker 11: I was on the road.

1223
00:58:01,000 --> 00:58:02,760
Speaker 10: It was amazing because I got to play these arena

1224
00:58:02,800 --> 00:58:05,040
Speaker 10: shows that I dreamed of. Right, it was like, ooh,

1225
00:58:05,320 --> 00:58:08,280
Speaker 10: these songs sound great in an arena. This is cool,

1226
00:58:08,880 --> 00:58:11,000
Speaker 10: and I'll fit in all the old songs too, and

1227
00:58:11,040 --> 00:58:15,520
Speaker 10: it was like really fun. But yeah, it's a lot

1228
00:58:15,560 --> 00:58:17,160
Speaker 10: of pressure because this is okay, this is what I

1229
00:58:17,160 --> 00:58:20,560
Speaker 10: will tell you. And I sympathize when I see pop

1230
00:58:20,560 --> 00:58:22,640
Speaker 10: stars with these huge careers because I know what they're

1231
00:58:22,680 --> 00:58:25,760
Speaker 10: really thinking, and what they're really thinking is, wow, I

1232
00:58:25,800 --> 00:58:28,560
Speaker 10: had two number ones. Why was my third single not

1233
00:58:28,680 --> 00:58:32,200
Speaker 10: number one? I feel like a failure. I have an

1234
00:58:32,240 --> 00:58:37,440
Speaker 10: arena tour. Why isn't Hamburg sold out? I have a

1235
00:58:37,480 --> 00:58:40,240
Speaker 10: sold out arena tour. Why didn't we sell out Hamburg

1236
00:58:40,280 --> 00:58:40,800
Speaker 10: and Munich?

1237
00:58:40,840 --> 00:58:42,480
Speaker 1: So you're one of the people that if one hundred

1238
00:58:42,480 --> 00:58:45,320
Speaker 1: people love if ninety nine people in the room love you,

1239
00:58:45,320 --> 00:58:47,520
Speaker 1: you only care about the one that's like indifferent.

1240
00:58:47,840 --> 00:58:50,480
Speaker 10: It's the nature of the business because all business models

1241
00:58:50,520 --> 00:58:54,680
Speaker 10: are based on growth in Yeah, So that's the problem

1242
00:58:54,680 --> 00:58:56,840
Speaker 10: with the music business is because you can never stay

1243
00:58:56,840 --> 00:58:59,640
Speaker 10: on top. So it's like you're on top and all

1244
00:58:59,680 --> 00:59:01,960
Speaker 10: your worsorried about and every single person who's number one

1245
00:59:02,000 --> 00:59:04,760
Speaker 10: right now, all they're worried about is is this album

1246
00:59:04,800 --> 00:59:06,160
Speaker 10: gonna hit? Is this gonna hit?

1247
00:59:06,200 --> 00:59:06,240
Speaker 13: Like?

1248
00:59:06,280 --> 00:59:07,240
Speaker 11: Am I gonna like?

1249
00:59:07,520 --> 00:59:07,680
Speaker 9: That?

1250
00:59:07,760 --> 00:59:10,200
Speaker 10: Never goes away? Like I was at a sting concert

1251
00:59:10,280 --> 00:59:13,520
Speaker 10: and like somewhere strange like Latvia ended up there because

1252
00:59:13,520 --> 00:59:15,320
Speaker 10: I had a show and he saw me. Was he

1253
00:59:15,360 --> 00:59:17,680
Speaker 10: going to his car and goes, oh, thank god, I

1254
00:59:17,720 --> 00:59:19,600
Speaker 10: didn't know you were here. I would have been so nervous,

1255
00:59:19,640 --> 00:59:23,560
Speaker 10: and I'm thinking you're saying it's never good enough for

1256
00:59:23,640 --> 00:59:28,400
Speaker 10: these habitative artists. If you're still that nerd who like

1257
00:59:28,480 --> 00:59:31,680
Speaker 10: nobody likes me, you do it's not crazy, it's so weird,

1258
00:59:31,760 --> 00:59:34,240
Speaker 10: or you're worried that you don't have credibility, or you're

1259
00:59:34,240 --> 00:59:36,840
Speaker 10: worried so that the Peanut Gallery doesn't like you anymore,

1260
00:59:36,880 --> 00:59:39,240
Speaker 10: because it's like you know what I'm saying, like you're

1261
00:59:39,520 --> 00:59:42,600
Speaker 10: it's always somebody to prove something to. It's never there

1262
00:59:42,640 --> 00:59:44,760
Speaker 10: is no yellow bricks people to keep me in line.

1263
00:59:45,560 --> 00:59:50,320
Speaker 1: Yeah, no that's why. But no, no, no, that that happens

1264
00:59:50,320 --> 00:59:52,720
Speaker 1: a lot. Like you'll you'll find out that you do

1265
00:59:53,240 --> 00:59:57,600
Speaker 1: your best shows ever in obscure towns that you know,

1266
00:59:57,680 --> 01:00:00,240
Speaker 1: industry people weren't watching you totally. Like have you ever

1267
01:00:00,320 --> 01:00:03,760
Speaker 1: had a really really good LA show, really good New

1268
01:00:03,880 --> 01:00:04,439
Speaker 1: York show?

1269
01:00:07,120 --> 01:00:08,880
Speaker 10: A handful, you know, Columbia.

1270
01:00:08,920 --> 01:00:09,320
Speaker 8: It's like.

1271
01:00:10,840 --> 01:00:13,400
Speaker 11: With us, I can remember maybe one.

1272
01:00:13,680 --> 01:00:15,560
Speaker 3: You know, yeah, it's it's always a fail.

1273
01:00:15,760 --> 01:00:23,480
Speaker 1: But yet you know, Montana the best show ever because yeah,

1274
01:00:23,560 --> 01:00:26,880
Speaker 1: I mean there's no pressure of of of.

1275
01:00:27,000 --> 01:00:29,000
Speaker 3: People watching you.

1276
01:00:29,000 --> 01:00:31,120
Speaker 1: You know, the people there are actually want to be there,

1277
01:00:31,160 --> 01:00:33,080
Speaker 1: they're trying to be seen waits.

1278
01:00:33,120 --> 01:00:35,640
Speaker 10: The other thing, when you have radio singles, you think

1279
01:00:35,680 --> 01:00:37,880
Speaker 10: people are just there to be cool, and they're just

1280
01:00:37,920 --> 01:00:39,600
Speaker 10: there because your thing is the cool.

1281
01:00:39,440 --> 01:00:40,240
Speaker 11: Thing to do that night.

1282
01:00:40,800 --> 01:00:43,080
Speaker 10: It's very different than when you have an album that's

1283
01:00:43,160 --> 01:00:45,600
Speaker 10: less successful and you know everybody who's there they actually

1284
01:00:45,600 --> 01:00:49,280
Speaker 10: want to be there, not because the radio had commercial.

1285
01:00:49,840 --> 01:00:52,680
Speaker 10: Your friend invited you. You like my outfit in the video.

1286
01:00:53,360 --> 01:00:55,600
Speaker 10: You know what I'm saying, because it's real stuff. It's

1287
01:00:55,640 --> 01:00:56,840
Speaker 10: real stuff you think about.

1288
01:00:57,360 --> 01:00:59,720
Speaker 3: So okay, so how do you have you think?

1289
01:00:59,760 --> 01:01:01,480
Speaker 8: I'm don't what is she?

1290
01:01:02,240 --> 01:01:03,680
Speaker 9: Because I'm on I was on the other side of

1291
01:01:03,760 --> 01:01:05,960
Speaker 9: radio for the last years, so I'm just really thinking

1292
01:01:06,000 --> 01:01:06,840
Speaker 9: about it in an artist way.

1293
01:01:06,840 --> 01:01:07,840
Speaker 8: I never thought about that, like.

1294
01:01:07,800 --> 01:01:11,160
Speaker 10: It's true everything it makes perfect okay, cool, Okay.

1295
01:01:10,920 --> 01:01:13,960
Speaker 3: I think you're crazy.

1296
01:01:12,760 --> 01:01:19,680
Speaker 12: If you try to workshop, that would be good.

1297
01:01:19,960 --> 01:01:22,600
Speaker 3: You would fit writing at the songwriting workshop. I want

1298
01:01:22,600 --> 01:01:31,160
Speaker 3: to see one of these Montana Root shows. What anyway? No,

1299
01:01:31,400 --> 01:01:33,560
Speaker 3: so with with uh?

1300
01:01:35,520 --> 01:01:38,000
Speaker 10: But that's so self defeating. It's a horrible attitude to

1301
01:01:38,040 --> 01:01:41,200
Speaker 10: be like they're only here because because they're they're following

1302
01:01:41,240 --> 01:01:41,720
Speaker 10: a wave.

1303
01:01:42,800 --> 01:01:44,880
Speaker 9: That't mean I don't think that happens though you don't

1304
01:01:44,880 --> 01:01:46,640
Speaker 9: come out the house just because your outfit was keeping

1305
01:01:46,640 --> 01:01:48,080
Speaker 9: it in the video you come out the house at

1306
01:01:48,120 --> 01:01:48,640
Speaker 9: least out like.

1307
01:01:48,560 --> 01:01:51,400
Speaker 3: One to two songs like it totally happens. It does,

1308
01:01:51,600 --> 01:01:54,200
Speaker 3: it does, and the thing is Okay.

1309
01:01:54,200 --> 01:01:55,600
Speaker 11: An obscure way to look at it.

1310
01:01:55,640 --> 01:01:58,960
Speaker 1: But if your breakout, if your true breakout arena album

1311
01:01:59,080 --> 01:02:01,400
Speaker 1: is your third record, and you know you had some

1312
01:02:01,440 --> 01:02:03,960
Speaker 1: heat on the first, like how do you if you

1313
01:02:04,000 --> 01:02:05,680
Speaker 1: have a lot of broth and.

1314
01:02:05,800 --> 01:02:07,040
Speaker 3: Very little chicken?

1315
01:02:07,400 --> 01:02:13,680
Speaker 1: Yeah meat, did you ever have moments where you're like, okay,

1316
01:02:13,720 --> 01:02:20,919
Speaker 1: well yeah, a lot of strange uh now yeah right,

1317
01:02:22,080 --> 01:02:23,960
Speaker 1: so good on the radio broth.

1318
01:02:24,440 --> 01:02:26,040
Speaker 3: Yeah. But I'm just saying that.

1319
01:02:27,760 --> 01:02:31,280
Speaker 1: If you're there because you know, a particular fan is

1320
01:02:31,360 --> 01:02:33,120
Speaker 1: really there for permit, like oh, they're going to come

1321
01:02:33,160 --> 01:02:38,000
Speaker 1: in line when I start whatever, then it's like how

1322
01:02:38,000 --> 01:02:38,880
Speaker 1: do you pace your show?

1323
01:02:38,960 --> 01:02:39,120
Speaker 4: Then?

1324
01:02:39,280 --> 01:02:41,400
Speaker 3: Like okay, well you want to get the die hards

1325
01:02:41,440 --> 01:02:42,160
Speaker 3: and the news.

1326
01:02:42,280 --> 01:02:43,840
Speaker 10: It's hard. You know what I used to do on

1327
01:02:43,880 --> 01:02:46,600
Speaker 10: the Looster, I'd play parties just begun this track from

1328
01:02:46,600 --> 01:02:48,720
Speaker 10: my first album, it's like that he's just big gun

1329
01:02:48,760 --> 01:02:50,800
Speaker 10: and I do this whole like you know, yeah, like

1330
01:02:50,800 --> 01:02:53,360
Speaker 10: this like Dodgy, did I do this whole? Like vocal

1331
01:02:53,440 --> 01:02:56,120
Speaker 10: percussion thing, and that kind of got my jolly's off

1332
01:02:56,120 --> 01:02:58,080
Speaker 10: in that song. Like I was like, Okay, I'm being

1333
01:02:58,520 --> 01:03:01,120
Speaker 10: artistic in this song, and any of my old fans

1334
01:03:01,200 --> 01:03:01,959
Speaker 10: might know this one.

1335
01:03:02,280 --> 01:03:03,200
Speaker 11: And I enjoyed all that.

1336
01:03:03,360 --> 01:03:05,280
Speaker 10: I love playing that role. I love putting on the

1337
01:03:05,320 --> 01:03:08,600
Speaker 10: fancy ball gown and singing show time like it was fun,

1338
01:03:08,640 --> 01:03:12,320
Speaker 10: but it was fun times. I enjoy it all. It's

1339
01:03:12,360 --> 01:03:14,720
Speaker 10: fun learning a new skill. It's fun learning how to

1340
01:03:14,760 --> 01:03:16,760
Speaker 10: act on stage and do choreography.

1341
01:03:16,880 --> 01:03:17,800
Speaker 11: And that was cool.

1342
01:03:17,880 --> 01:03:18,400
Speaker 8: I liked it.

1343
01:03:23,200 --> 01:03:25,880
Speaker 1: Wait a minute, Oh, wait a minute, Wait a minute. Okay,

1344
01:03:26,040 --> 01:03:29,520
Speaker 1: I'm sorry. I just had a moment. I just had

1345
01:03:29,520 --> 01:03:33,240
Speaker 1: a moment that I totally forgot about. Okay, damn, I

1346
01:03:33,240 --> 01:03:36,480
Speaker 1: feel like I'm about to have a Liya moment. Okay.

1347
01:03:39,600 --> 01:03:41,360
Speaker 1: And I'm also going to mirror it up because I

1348
01:03:41,400 --> 01:03:44,240
Speaker 1: gotta be sort of ambiguous with the question.

1349
01:03:45,000 --> 01:03:47,200
Speaker 3: I love these because I don't want to be.

1350
01:03:47,240 --> 01:03:50,240
Speaker 8: He's still disclaiming, yeah, there's a lot of yeah.

1351
01:03:50,400 --> 01:03:52,840
Speaker 3: I can be more preface than it is. Yea question,

1352
01:03:53,600 --> 01:03:54,680
Speaker 3: we understand. This is the safe.

1353
01:03:57,920 --> 01:04:00,160
Speaker 1: Okay, did you really hit TLC? No, I'm playing, I'm

1354
01:04:00,200 --> 01:04:07,600
Speaker 1: playing playing. That was as your question whoa, Okay, I

1355
01:04:07,640 --> 01:04:10,880
Speaker 1: have a question about give it to me?

1356
01:04:11,600 --> 01:04:16,160
Speaker 10: Okay, yeah, yeah, Now we know.

1357
01:04:16,280 --> 01:04:21,480
Speaker 1: Who Timberland was busting shots at the purple guy that

1358
01:04:22,160 --> 01:04:24,920
Speaker 1: was that was Justin. That was oh Justin Oh and

1359
01:04:25,000 --> 01:04:27,200
Speaker 1: tim Old Timberland particularly yea, that was a.

1360
01:04:28,960 --> 01:04:31,320
Speaker 3: Scott st and we know that Justin was.

1361
01:04:31,880 --> 01:04:34,960
Speaker 1: Okay, you're just laying all the team because because people listen,

1362
01:04:35,040 --> 01:04:37,480
Speaker 1: they don't know all the Give it to Me was

1363
01:04:37,640 --> 01:04:38,520
Speaker 1: just just don't.

1364
01:04:38,600 --> 01:04:42,760
Speaker 3: Established this show as a common denominator.

1365
01:04:42,400 --> 01:04:47,320
Speaker 6: All right, But everybody asked listener context. So Justin was

1366
01:04:47,320 --> 01:04:49,680
Speaker 6: talking about Prince Timberland, was this Scott Storage.

1367
01:04:51,240 --> 01:04:53,800
Speaker 1: Can I ask you a questions? Can I ask you

1368
01:04:53,800 --> 01:04:56,280
Speaker 1: a question? And we don't have to mention the name.

1369
01:04:58,080 --> 01:05:03,200
Speaker 11: A disclaimer, no, my disclaimers. Let me just say it

1370
01:05:03,280 --> 01:05:03,880
Speaker 11: was like at the.

1371
01:05:03,920 --> 01:05:07,240
Speaker 10: End of the movie, it's like the thoughts and feelings

1372
01:05:07,280 --> 01:05:10,800
Speaker 10: of the artists not reflect the artists because like I,

1373
01:05:11,000 --> 01:05:14,960
Speaker 10: nobody we recorded the verses separately. I was there to

1374
01:05:15,040 --> 01:05:18,680
Speaker 10: help write the hook, right, and I wrote my verse,

1375
01:05:18,920 --> 01:05:21,280
Speaker 10: but I was not present when Justin recorded his verse,

1376
01:05:21,280 --> 01:05:22,960
Speaker 10: and I was not present when Timberland recorded his.

1377
01:05:23,600 --> 01:05:29,680
Speaker 1: Wait, that's not that first question. My question is just yes,

1378
01:05:29,800 --> 01:05:35,480
Speaker 1: or no, yeah, were you bucking a shot at someone.

1379
01:05:35,280 --> 01:05:39,560
Speaker 3: In your verse? I was okay, no, I'm not even

1380
01:05:39,560 --> 01:05:42,200
Speaker 3: gonna go. I'm also here's the thing, though.

1381
01:05:42,640 --> 01:05:44,920
Speaker 10: Though I was egged on in the studio and I

1382
01:05:45,000 --> 01:05:47,760
Speaker 10: want the name names, it wasn't necessarily timbling.

1383
01:05:48,160 --> 01:05:50,560
Speaker 11: Secondly, yeah, yeah.

1384
01:05:51,600 --> 01:05:54,280
Speaker 8: Secondly, I told you here's.

1385
01:05:54,040 --> 01:05:55,480
Speaker 10: The bad story because we made up.

1386
01:05:55,480 --> 01:05:59,320
Speaker 11: We've made up because there's but I was honest with

1387
01:05:59,320 --> 01:06:00,760
Speaker 11: her about it when she I was hired.

1388
01:06:01,640 --> 01:06:04,120
Speaker 1: I was hired by that person to do their birthday party.

1389
01:06:04,240 --> 01:06:06,920
Speaker 1: Oh and I didn't know nothing about this.

1390
01:06:07,320 --> 01:06:08,040
Speaker 8: Played the record?

1391
01:06:08,160 --> 01:06:08,640
Speaker 10: Who is it?

1392
01:06:09,480 --> 01:06:11,520
Speaker 3: Dude? Did I play the record? I don't know who

1393
01:06:11,560 --> 01:06:12,080
Speaker 3: it is? Who?

1394
01:06:12,600 --> 01:06:12,880
Speaker 7: Twice?

1395
01:06:13,120 --> 01:06:16,000
Speaker 8: No, he's given us context clues.

1396
01:06:17,120 --> 01:06:19,240
Speaker 3: This is like how many years ago was it? Like?

1397
01:06:19,280 --> 01:06:23,120
Speaker 1: No, no, no status of limitations. I'm establishing a precedence

1398
01:06:23,160 --> 01:06:26,800
Speaker 1: of the show that I'm not. I'm not throwing people

1399
01:06:26,880 --> 01:06:29,920
Speaker 1: under the bus.

1400
01:06:30,160 --> 01:06:30,720
Speaker 3: The history.

1401
01:06:30,800 --> 01:06:32,800
Speaker 1: I will tell you off air, I will tell you.

1402
01:06:34,760 --> 01:06:36,280
Speaker 1: I'm sorry. This is where I got a quest of

1403
01:06:36,320 --> 01:06:40,000
Speaker 1: supreme moment. I got set the press. Anyway, I was

1404
01:06:40,080 --> 01:06:43,440
Speaker 1: hired by this particular person to do their birthday party,

1405
01:06:43,760 --> 01:06:45,840
Speaker 1: not knowing the history of the song.

1406
01:06:46,760 --> 01:06:48,800
Speaker 3: And this is just when the ship came out.

1407
01:06:49,960 --> 01:06:54,360
Speaker 1: So this was like usually my first five records, two

1408
01:06:54,400 --> 01:06:56,280
Speaker 1: thirds records is going to be the song of the moment.

1409
01:06:57,200 --> 01:07:00,200
Speaker 1: And I played this ship and god damn, the whole

1410
01:07:00,600 --> 01:07:03,840
Speaker 1: party just looked at me and ran up to me

1411
01:07:04,960 --> 01:07:08,800
Speaker 1: like are you crazy? And I was like huh. And

1412
01:07:08,840 --> 01:07:15,000
Speaker 1: then finally the person came to me and someone explains.

1413
01:07:15,840 --> 01:07:18,240
Speaker 1: Someone explained to me, and then I was.

1414
01:07:18,480 --> 01:07:21,920
Speaker 3: I just just silently took the record off and put

1415
01:07:21,960 --> 01:07:22,680
Speaker 3: Billy Gene on.

1416
01:07:22,960 --> 01:07:23,640
Speaker 8: We made up.

1417
01:07:23,640 --> 01:07:27,360
Speaker 10: We made up at Princess Diana's memorial show at Wembley

1418
01:07:27,360 --> 01:07:29,760
Speaker 10: Arena in London, England.

1419
01:07:30,080 --> 01:07:32,040
Speaker 11: That it was a beautiful moment.

1420
01:07:32,760 --> 01:07:38,160
Speaker 3: I'm glad right now, I'm thinking about the man.

1421
01:07:38,080 --> 01:07:38,919
Speaker 11: Making a this song.

1422
01:07:39,000 --> 01:07:46,000
Speaker 10: Ever, it's bad karma, Bad Karma came back. Yeah, it's

1423
01:07:46,040 --> 01:07:47,600
Speaker 10: bad karma, bad karma.

1424
01:07:47,760 --> 01:07:49,160
Speaker 3: Wait, what do you mean it came back?

1425
01:07:49,440 --> 01:07:51,360
Speaker 10: Well, it was a number one song, so at first

1426
01:07:51,360 --> 01:07:54,960
Speaker 10: you're like kid, you know, and it was fine, you know,

1427
01:07:55,120 --> 01:07:57,040
Speaker 10: like the hook, you know this that's just like the

1428
01:07:57,080 --> 01:07:58,600
Speaker 10: little things we said in our verses.

1429
01:07:58,640 --> 01:08:00,320
Speaker 11: But like we didn't need to do that.

1430
01:08:00,480 --> 01:08:02,480
Speaker 10: We could have probably done it without it being like that,

1431
01:08:02,600 --> 01:08:04,480
Speaker 10: Like that was just a subplot and you didn't even

1432
01:08:04,520 --> 01:08:07,320
Speaker 10: know about it when you played it at the show, and.

1433
01:08:07,320 --> 01:08:12,320
Speaker 3: I regret it. I don't think i've touched nextivity fading out.

1434
01:08:13,200 --> 01:08:17,040
Speaker 10: It's never a good thing, but you know, it was

1435
01:08:17,080 --> 01:08:19,680
Speaker 10: a good experience. It was a good experience, and I

1436
01:08:20,200 --> 01:08:22,880
Speaker 10: was I was, I guess, as honorable as one could

1437
01:08:22,880 --> 01:08:24,840
Speaker 10: be doing that type of thing. Like she asked me

1438
01:08:24,840 --> 01:08:27,400
Speaker 10: about it to my face at an event, and I

1439
01:08:27,479 --> 01:08:29,439
Speaker 10: actually said, yes, it is, and.

1440
01:08:29,360 --> 01:08:32,160
Speaker 1: This is why you're so polite though I wouldn't know.

1441
01:08:37,240 --> 01:08:41,439
Speaker 1: I say, that's awfully considered of you.

1442
01:08:41,520 --> 01:08:44,000
Speaker 10: And she didn't agree, and she didn't agree with what

1443
01:08:44,000 --> 01:08:44,639
Speaker 10: I said.

1444
01:08:45,240 --> 01:08:49,280
Speaker 3: With the lyrics if you don't know, but it was fine.

1445
01:08:49,280 --> 01:08:52,720
Speaker 11: We kind of worked it out, like.

1446
01:08:53,360 --> 01:08:53,920
Speaker 3: I think we can talk.

1447
01:08:58,680 --> 01:09:04,880
Speaker 10: Have you ever publicly talked about this, not really detailed? No, Actually,

1448
01:09:04,880 --> 01:09:21,479
Speaker 10: oh my god.

1449
01:09:13,960 --> 01:09:16,000
Speaker 3: I'm not going to be on my own show.

1450
01:09:17,960 --> 01:09:20,000
Speaker 8: We're not. We're talking about history.

1451
01:09:20,200 --> 01:09:22,880
Speaker 1: If I bring up the Holocaust and it's only.

1452
01:09:29,439 --> 01:09:31,840
Speaker 9: The womanly thing that was interested that you admitted that

1453
01:09:32,000 --> 01:09:32,920
Speaker 9: it was your fault.

1454
01:09:34,120 --> 01:09:36,360
Speaker 11: No, well, I think so there was no real reason

1455
01:09:36,400 --> 01:09:38,000
Speaker 11: for me to just go for the writer.

1456
01:09:37,880 --> 01:09:38,160
Speaker 10: And do that.

1457
01:09:39,000 --> 01:09:42,000
Speaker 3: It's like it would she was continuing.

1458
01:09:41,680 --> 01:09:43,439
Speaker 11: My creativity is all it was.

1459
01:09:43,479 --> 01:09:45,520
Speaker 10: But it was like as if I need my creativity

1460
01:09:45,600 --> 01:09:47,800
Speaker 10: or that's how I saw it, and I might have

1461
01:09:47,840 --> 01:09:50,240
Speaker 10: been wrong about the things I was kind of thought

1462
01:09:50,760 --> 01:09:54,000
Speaker 10: the things that motivated it, and she kind of also

1463
01:09:54,200 --> 01:09:56,120
Speaker 10: like explained that, and and it was still kind of

1464
01:09:56,120 --> 01:09:58,200
Speaker 10: heated at that moment, but we made up, which was

1465
01:09:58,240 --> 01:09:59,240
Speaker 10: so beautiful.

1466
01:09:59,640 --> 01:10:00,280
Speaker 11: Yeah, we made up.

1467
01:10:00,360 --> 01:10:03,439
Speaker 3: Let's move on a listeners.

1468
01:10:03,040 --> 01:10:05,320
Speaker 1: Know if we can, if we can talk the listeners Google,

1469
01:10:05,520 --> 01:10:07,679
Speaker 1: if we are listeners, we can talk to Prodigy about

1470
01:10:07,720 --> 01:10:11,120
Speaker 1: the jay z Beef, how about all of it, because

1471
01:10:11,120 --> 01:10:13,120
Speaker 1: the world knows there was a prodigy Jayson.

1472
01:10:13,160 --> 01:10:15,160
Speaker 9: I'm gonna tell you I googled Nelly for childle Beef

1473
01:10:15,200 --> 01:10:17,120
Speaker 9: and her name was came up immediately.

1474
01:10:18,280 --> 01:10:19,160
Speaker 3: Listeners, do that.

1475
01:10:19,640 --> 01:10:21,679
Speaker 11: I just don't want to say I went down beef

1476
01:10:21,760 --> 01:10:26,120
Speaker 11: lane again. You know, I learned my lesson.

1477
01:10:26,600 --> 01:10:29,320
Speaker 3: You've been down beef lane. I just want to talk

1478
01:10:29,320 --> 01:10:32,000
Speaker 3: about the Holocaust.

1479
01:10:32,560 --> 01:10:39,120
Speaker 6: The Holocaust question why that was a man unnamed dictator.

1480
01:10:42,320 --> 01:10:44,840
Speaker 3: A little mustache. Yeah, we don't want to say his

1481
01:10:45,040 --> 01:10:47,000
Speaker 3: name because you know, we don't want to ruffle Lady

1482
01:10:47,040 --> 01:10:49,040
Speaker 3: feathers or bring up you know.

1483
01:10:49,960 --> 01:10:54,000
Speaker 8: Google it, but Google, just compare that.

1484
01:10:54,280 --> 01:10:57,240
Speaker 3: I'm taking my show back, dammit, Nell?

1485
01:10:57,400 --> 01:11:00,439
Speaker 10: Did this originate from you watching some old Wild Orchid videos? Wow?

1486
01:11:00,720 --> 01:11:02,639
Speaker 8: No, okay, I liked it.

1487
01:11:02,680 --> 01:11:03,679
Speaker 10: I liked Wild Orches.

1488
01:11:03,960 --> 01:11:06,080
Speaker 8: Okay, can we stop pretty?

1489
01:11:06,120 --> 01:11:10,080
Speaker 3: Oh my god, I really regret. Move on, Move on, please, Hitler,

1490
01:11:13,120 --> 01:11:16,320
Speaker 3: this is so funny. Can we please?

1491
01:11:16,479 --> 01:11:17,799
Speaker 10: Yes?

1492
01:11:18,200 --> 01:11:20,799
Speaker 3: I feel like you're the most proudest of this record.

1493
01:11:21,520 --> 01:11:25,519
Speaker 10: I love that record well because it's hard to like

1494
01:11:25,720 --> 01:11:28,680
Speaker 10: sing like properly in another language. I mean, when I

1495
01:11:28,720 --> 01:11:33,280
Speaker 10: was little, I learned Portuguese. First Spanish came easily by

1496
01:11:33,320 --> 01:11:35,200
Speaker 10: like grade nine. I guess I was fourteen when I

1497
01:11:35,200 --> 01:11:37,639
Speaker 10: started to learn Spanish. When I came out with Wonelly,

1498
01:11:37,680 --> 01:11:40,160
Speaker 10: this amazing artist from Columbia named Juans invited me to

1499
01:11:40,200 --> 01:11:43,240
Speaker 10: sing on this song that became an international hit called Photographia.

1500
01:11:43,840 --> 01:11:46,720
Speaker 10: So it was a big song, big duet, and uh.

1501
01:11:46,800 --> 01:11:48,519
Speaker 10: After that, I just kind of got embraced by like

1502
01:11:48,560 --> 01:11:51,400
Speaker 10: the Latin community, and so I decided to do a

1503
01:11:51,439 --> 01:11:52,519
Speaker 10: full album in Spanish.

1504
01:11:52,520 --> 01:11:53,400
Speaker 11: But I did it, did it.

1505
01:11:53,320 --> 01:11:55,760
Speaker 10: It wasn't translations. It was like I had had the

1506
01:11:55,760 --> 01:11:58,400
Speaker 10: opportunity to do like a translations album of loose, but

1507
01:11:58,560 --> 01:11:59,479
Speaker 10: I wasn't feeling it.

1508
01:11:59,720 --> 01:12:00,760
Speaker 11: So I waited till I.

1509
01:12:00,720 --> 01:12:02,400
Speaker 10: Could do it right. I hooked up with a great

1510
01:12:02,479 --> 01:12:05,720
Speaker 10: co writer named Alex Cuba who's based in Toronto, and

1511
01:12:05,760 --> 01:12:08,320
Speaker 10: we started a Spanish album in the snow in Toronto,

1512
01:12:08,920 --> 01:12:11,679
Speaker 10: and it ended up way bigger than I ever thought

1513
01:12:11,800 --> 01:12:15,439
Speaker 10: because all these artists really just joined on to the

1514
01:12:15,640 --> 01:12:18,280
Speaker 10: you know, onto the project and it featured seven or

1515
01:12:18,320 --> 01:12:21,040
Speaker 10: eight really great collaborations and.

1516
01:12:21,800 --> 01:12:25,559
Speaker 3: My favorite Salon Salam I love Salon.

1517
01:12:26,600 --> 01:12:27,719
Speaker 10: Do you guys ever get together?

1518
01:12:27,760 --> 01:12:27,960
Speaker 8: Here?

1519
01:12:28,800 --> 01:12:33,519
Speaker 1: He is currently working on the never Ending Roots album

1520
01:12:33,640 --> 01:12:34,240
Speaker 1: that you know.

1521
01:12:34,520 --> 01:12:37,200
Speaker 11: I didn't know that he's on the project with you.

1522
01:12:37,439 --> 01:12:40,320
Speaker 3: That's where Yeah, I love that guy.

1523
01:12:40,680 --> 01:12:43,080
Speaker 10: I loved them so much, even like he embraced the

1524
01:12:43,080 --> 01:12:45,559
Speaker 10: opportunity to do Spanish records, you know, so we worked

1525
01:12:45,600 --> 01:12:45,840
Speaker 10: on that.

1526
01:12:46,240 --> 01:12:48,920
Speaker 8: Why not Portuguese? Just curious because that's your first.

1527
01:12:48,640 --> 01:12:53,759
Speaker 10: I know, see, there's me again doing idiosynocratic right. Everybody

1528
01:12:53,840 --> 01:12:54,320
Speaker 10: asks me.

1529
01:12:54,280 --> 01:12:56,360
Speaker 11: That, They're like, why why not Portuguese?

1530
01:12:56,360 --> 01:12:58,120
Speaker 10: And I'm just like, I don't know. I started. I

1531
01:12:58,160 --> 01:13:01,920
Speaker 10: like Latin pop market and if I did Portuguese would

1532
01:13:01,920 --> 01:13:05,520
Speaker 10: probably be more BOUTIQUI like foto.

1533
01:13:05,240 --> 01:13:08,080
Speaker 9: Music or something, because they don't get nominated for Latin Grammys.

1534
01:13:08,120 --> 01:13:09,040
Speaker 8: And does that anything they do.

1535
01:13:09,160 --> 01:13:12,839
Speaker 10: Actually to make matters more confusing. So like Laudapusy needs Italian.

1536
01:13:12,920 --> 01:13:15,680
Speaker 10: She's won a Latin Grammy. Catanavoso is Brazilia and he's

1537
01:13:15,680 --> 01:13:18,519
Speaker 10: won a Latin Grammy. It's kind of broad the whole genre.

1538
01:13:18,640 --> 01:13:19,080
Speaker 1: But like.

1539
01:13:21,360 --> 01:13:24,960
Speaker 10: Portuguese is Hispanic on the US census form, very confusing,

1540
01:13:25,960 --> 01:13:31,160
Speaker 10: very confusing, very confusing. And so I decided to sing

1541
01:13:31,200 --> 01:13:34,479
Speaker 10: a Latin pop album kind of like a very inspired

1542
01:13:34,479 --> 01:13:36,360
Speaker 10: by like rock and Espanol stuff like that.

1543
01:13:36,400 --> 01:13:36,519
Speaker 7: You know.

1544
01:13:36,600 --> 01:13:39,000
Speaker 10: Juliet To Venegas, she co wrote a couple of tracks.

1545
01:13:39,040 --> 01:13:42,360
Speaker 10: She's a Mexican artist. Had a rapper named Mala la

1546
01:13:42,360 --> 01:13:43,080
Speaker 10: Malaro Diriga.

1547
01:13:43,160 --> 01:13:43,759
Speaker 11: She's from Spain.

1548
01:13:44,240 --> 01:13:46,240
Speaker 10: I had like a proper Mexican run cheryld singer ale

1549
01:13:46,320 --> 01:13:52,040
Speaker 10: Jhandro Fernandez Flamenco. I really went there with it. I

1550
01:13:52,080 --> 01:13:54,719
Speaker 10: had fun with it, and I collaborated a lot, and honestly,

1551
01:13:54,800 --> 01:13:57,080
Speaker 10: the Latin world, the Latin world of music is far

1552
01:13:57,240 --> 01:14:00,920
Speaker 10: larger than I ever imagined, and it was welcoming. I

1553
01:14:00,960 --> 01:14:03,360
Speaker 10: felt a sense of community that I really really, really.

1554
01:14:03,240 --> 01:14:04,479
Speaker 1: Really I was about to say, did you go to

1555
01:14:04,520 --> 01:14:07,800
Speaker 1: the Latin Grammys, and like, how did you feel in

1556
01:14:07,880 --> 01:14:08,760
Speaker 1: that community?

1557
01:14:09,400 --> 01:14:11,639
Speaker 10: Amazing really yeah I did.

1558
01:14:11,920 --> 01:14:13,040
Speaker 11: Yeah, I felt.

1559
01:14:14,439 --> 01:14:17,040
Speaker 10: I don't know, it was I all felt humbled by

1560
01:14:17,040 --> 01:14:19,320
Speaker 10: it too, right, because yeah, here I am this English

1561
01:14:19,400 --> 01:14:21,799
Speaker 10: singer and then I decided to make a Spanish album

1562
01:14:21,800 --> 01:14:24,360
Speaker 10: and it gets embraced. So it was like, wow, I

1563
01:14:24,400 --> 01:14:27,439
Speaker 10: feel very lucky. But I also feel indebted to the

1564
01:14:27,520 --> 01:14:30,639
Speaker 10: artists have collaborated with, like oness Right, it takes people

1565
01:14:30,640 --> 01:14:33,599
Speaker 10: to kind of bring you in, right, like with any genre, right, yeah,

1566
01:14:33,680 --> 01:14:34,080
Speaker 10: you need.

1567
01:14:33,960 --> 01:14:41,840
Speaker 3: Somebody to vouch for you spante. He's like, right, not

1568
01:14:41,840 --> 01:14:49,120
Speaker 3: not right now, mother, I arrive with a squad in

1569
01:14:49,200 --> 01:14:50,519
Speaker 3: good times in bad time.

1570
01:14:54,880 --> 01:14:55,759
Speaker 7: Sing this song.

1571
01:14:57,040 --> 01:15:00,360
Speaker 10: Josh Grobin's on my Spanish album, so he like, I

1572
01:15:00,400 --> 01:15:02,759
Speaker 10: want to sing in Spanish and I was like great,

1573
01:15:02,840 --> 01:15:06,080
Speaker 10: I sent him the song and well no, I invited

1574
01:15:06,160 --> 01:15:07,439
Speaker 10: him and he said, oh, that would be a good

1575
01:15:07,439 --> 01:15:10,840
Speaker 10: opportunity and he's sang. So it was both of us

1576
01:15:10,880 --> 01:15:12,719
Speaker 10: like singing the Spanish song together.

1577
01:15:12,880 --> 01:15:15,040
Speaker 9: But YO, forgive me for asking this question because I'm

1578
01:15:15,120 --> 01:15:16,880
Speaker 9: about to go listen to that album but I haven't

1579
01:15:17,200 --> 01:15:20,080
Speaker 9: are there Yeah, is there are there any like samba

1580
01:15:20,320 --> 01:15:22,480
Speaker 9: s Boston Nova type influence?

1581
01:15:22,720 --> 01:15:25,560
Speaker 11: I really going the samba?

1582
01:15:25,640 --> 01:15:34,839
Speaker 9: Sorry, yeah, not really.

1583
01:15:35,000 --> 01:15:37,320
Speaker 10: The closest thing. There's a Flamenco song there's like a

1584
01:15:37,360 --> 01:15:41,040
Speaker 10: real like like a Salam did that track. That's my favorite.

1585
01:15:41,080 --> 01:15:45,479
Speaker 10: I think that's by the best track. It's called Strong

1586
01:15:47,160 --> 01:15:51,120
Speaker 10: and Concha is this amazing Flamenco singer with this really throaty,

1587
01:15:51,240 --> 01:15:55,240
Speaker 10: powerful voice. She's uh, she's amazing.

1588
01:15:55,960 --> 01:16:00,120
Speaker 3: Wait. Salam also worked on the next Joe to a Spirit.

1589
01:15:59,840 --> 01:16:03,160
Speaker 10: In Salam and I did a song called Something which

1590
01:16:03,560 --> 01:16:08,240
Speaker 10: features nos and Uh. Another track that Salam did on

1591
01:16:08,320 --> 01:16:12,120
Speaker 10: Spirit was Oh, he did more than one that ended

1592
01:16:12,160 --> 01:16:15,920
Speaker 10: up on the record. He did some B sides too,

1593
01:16:18,280 --> 01:16:21,799
Speaker 10: and did a lot together Rodney Jerkins.

1594
01:16:22,280 --> 01:16:25,519
Speaker 8: Yeah, dark Child, let me.

1595
01:16:25,479 --> 01:16:29,280
Speaker 10: Tell you what was dark amazing. I'll tell you what

1596
01:16:29,320 --> 01:16:30,040
Speaker 10: he does. You want to know?

1597
01:16:30,160 --> 01:16:32,200
Speaker 3: And how many Michael Jackson stories did you get to hear?

1598
01:16:33,720 --> 01:16:35,200
Speaker 11: This is what he's like when you write with him.

1599
01:16:35,240 --> 01:16:37,880
Speaker 10: So he'll sit behind the keyboard and he looks at

1600
01:16:37,920 --> 01:16:39,200
Speaker 10: you when he's writing, so he'll be like.

1601
01:16:41,600 --> 01:16:44,560
Speaker 3: It'll be really he's like a doctor.

1602
01:16:46,160 --> 01:16:47,920
Speaker 10: And he's like he's moving and he's looking in your

1603
01:16:47,920 --> 01:16:51,439
Speaker 10: eyes while he's writing. And I loved working with Rodney. Actually,

1604
01:16:51,520 --> 01:16:53,160
Speaker 10: Rodney is a very good vocal arranger.

1605
01:16:53,920 --> 01:16:54,559
Speaker 11: As we all know.

1606
01:16:54,680 --> 01:16:58,000
Speaker 10: He produced say my Name. He produced the Boy is

1607
01:16:58,040 --> 01:17:01,120
Speaker 10: Mine like Hello, and it wasn't until I was in

1608
01:17:01,120 --> 01:17:03,280
Speaker 10: a studio. I walked around and I had this crazy

1609
01:17:03,280 --> 01:17:05,360
Speaker 10: moment where I realized he had produced all my favorite

1610
01:17:05,439 --> 01:17:08,439
Speaker 10: nineties R and B records, and that's why we did

1611
01:17:08,439 --> 01:17:10,400
Speaker 10: the song big Hoops and we referenced all my favorite

1612
01:17:10,479 --> 01:17:14,000
Speaker 10: nineties artists on that song. Because I don't know, I

1613
01:17:14,000 --> 01:17:16,479
Speaker 10: guess I was in that energy. It was the last

1614
01:17:16,479 --> 01:17:19,600
Speaker 10: record I made with Innerscope, and I actually I don't know.

1615
01:17:19,680 --> 01:17:21,800
Speaker 10: There was a bit of pressure to make something big

1616
01:17:21,840 --> 01:17:24,639
Speaker 10: and bouncy again because it was my next English project

1617
01:17:24,640 --> 01:17:27,439
Speaker 10: after Loose, But I was just having fun. Like Rodney

1618
01:17:27,439 --> 01:17:30,040
Speaker 10: and I had a genuine connection. We had genuine connection

1619
01:17:30,280 --> 01:17:35,200
Speaker 10: and vibe together. I did enjoy making that album.

1620
01:17:35,479 --> 01:17:39,240
Speaker 1: As well, which leads us to the right now. The

1621
01:17:39,280 --> 01:17:44,160
Speaker 1: thing is when I saw the cover. When I saw

1622
01:17:44,200 --> 01:17:47,479
Speaker 1: the cover to the Ride, I was like, why did

1623
01:17:47,479 --> 01:17:51,519
Speaker 1: you drop your logo? Who designed your logo? I'm a

1624
01:17:51,560 --> 01:17:52,879
Speaker 1: font nerd by the way.

1625
01:17:52,800 --> 01:17:53,479
Speaker 11: So I know.

1626
01:17:53,720 --> 01:17:53,960
Speaker 9: Do you know?

1627
01:17:54,040 --> 01:17:57,040
Speaker 10: It's like a sacred geometry logo and my friend from

1628
01:17:57,120 --> 01:18:00,000
Speaker 10: It's called Create. It's like a media company and I'm trying,

1629
01:18:00,040 --> 01:18:02,599
Speaker 10: I know, and they did. Yeah, they did a new

1630
01:18:02,640 --> 01:18:04,720
Speaker 10: logo for me, and it's basically based on all this

1631
01:18:04,880 --> 01:18:10,240
Speaker 10: like mathematical equations of like space and angles and stuff

1632
01:18:10,240 --> 01:18:11,800
Speaker 10: like that, and I just really liked. I know, I

1633
01:18:11,800 --> 01:18:13,800
Speaker 10: get so bored to.

1634
01:18:15,880 --> 01:18:19,520
Speaker 3: Drop your your classic psychedelic logo.

1635
01:18:20,160 --> 01:18:20,479
Speaker 8: I think.

1636
01:18:20,479 --> 01:18:20,559
Speaker 3: So.

1637
01:18:20,600 --> 01:18:22,280
Speaker 10: I just got so sick of seeing that big old

1638
01:18:22,280 --> 01:18:25,120
Speaker 10: thing on every cover, Like I was like, not a game.

1639
01:18:25,400 --> 01:18:28,240
Speaker 10: But it's like I just looked like I had all

1640
01:18:28,280 --> 01:18:29,719
Speaker 10: the same album cover every time.

1641
01:18:29,840 --> 01:18:32,920
Speaker 11: Like I was just like, oh, here's this.

1642
01:18:33,680 --> 01:18:35,639
Speaker 10: I know, but I'm independent now, so I don't care,

1643
01:18:35,880 --> 01:18:38,200
Speaker 10: and I'm just like, whatever do that.

1644
01:18:39,880 --> 01:18:40,760
Speaker 3: I know. It's just.

1645
01:18:43,080 --> 01:18:47,080
Speaker 1: It's just so rare as as a lover of record collecting,

1646
01:18:47,760 --> 01:18:51,599
Speaker 1: it's so rare to find product with good consistent logo

1647
01:18:52,120 --> 01:18:57,040
Speaker 1: with history Like Earth has their consistent logo, Chicago.

1648
01:18:56,800 --> 01:18:58,080
Speaker 3: Chicago has Theirs.

1649
01:18:58,400 --> 01:19:01,880
Speaker 1: Uh well who team has more of a local than

1650
01:19:02,479 --> 01:19:05,800
Speaker 1: like fonts associated I mean you know, I mean the

1651
01:19:05,840 --> 01:19:11,000
Speaker 1: Roots have kept are are are boring? Uh blue Helvitica

1652
01:19:11,360 --> 01:19:15,760
Speaker 1: Helvitica American typewriter. Yeah, but when you when you when

1653
01:19:15,800 --> 01:19:18,840
Speaker 1: you be thrown off if you saw a roots album

1654
01:19:19,040 --> 01:19:22,120
Speaker 1: in any font other than what you're used.

1655
01:19:21,920 --> 01:19:24,439
Speaker 8: To seeing I didn't even realize so you said that,

1656
01:19:24,520 --> 01:19:25,120
Speaker 8: but I guess.

1657
01:19:25,240 --> 01:19:26,880
Speaker 3: Because you don't like the roots Nelly.

1658
01:19:30,479 --> 01:19:31,080
Speaker 8: I love them.

1659
01:19:31,240 --> 01:19:33,400
Speaker 9: But Nelly's album looks like it reminds me of like

1660
01:19:33,400 --> 01:19:35,640
Speaker 9: those eighties albums. Everybody goes to that stage of like

1661
01:19:35,680 --> 01:19:37,519
Speaker 9: the Secret Life of Plants when you put the picture

1662
01:19:37,800 --> 01:19:41,160
Speaker 9: inside the block of color and I lost everybody.

1663
01:19:41,520 --> 01:19:45,439
Speaker 11: Yeah, that I appreciate.

1664
01:19:45,720 --> 01:19:47,280
Speaker 8: Thank you.

1665
01:19:47,760 --> 01:19:59,120
Speaker 12: Everybody did a blood anything yeah.

1666
01:20:00,120 --> 01:20:03,400
Speaker 10: With my friend on it. Honestly, just wanted to capture

1667
01:20:03,400 --> 01:20:05,920
Speaker 10: the energy space of mine that I was in when

1668
01:20:05,920 --> 01:20:09,679
Speaker 10: I recorded and and I did that photoshoot for Internet

1669
01:20:09,720 --> 01:20:11,360
Speaker 10: stuff and I ended up using it for the album

1670
01:20:11,400 --> 01:20:15,000
Speaker 10: cover because it was like snapshot of kind of the week.

1671
01:20:15,040 --> 01:20:18,200
Speaker 10: I finished the album in Dallas, Texas, and the artwork

1672
01:20:18,240 --> 01:20:22,439
Speaker 10: features local Dallas artists and visual artists. The artwork on

1673
01:20:22,479 --> 01:20:24,559
Speaker 10: the front by Samantha Macurity. You can't see the whole

1674
01:20:24,560 --> 01:20:25,240
Speaker 10: thing when you buy the vine.

1675
01:20:25,240 --> 01:20:25,680
Speaker 8: I should have.

1676
01:20:25,640 --> 01:20:28,360
Speaker 10: Brought you a vinyl Yeah, why the hell.

1677
01:20:28,160 --> 01:20:29,680
Speaker 11: Did I not bring this final to you?

1678
01:20:29,720 --> 01:20:32,519
Speaker 10: It's so cool, but you open it up and it's

1679
01:20:32,600 --> 01:20:35,280
Speaker 10: just has a sense of community. Just I met a

1680
01:20:35,280 --> 01:20:37,280
Speaker 10: lot of cool people in Dallas, and I ended up

1681
01:20:37,320 --> 01:20:39,839
Speaker 10: working on all these projects with them, the video directors

1682
01:20:39,840 --> 01:20:40,559
Speaker 10: from Dallas.

1683
01:20:40,720 --> 01:20:42,639
Speaker 3: There's a good musical community down there.

1684
01:20:43,320 --> 01:20:44,920
Speaker 8: Did you stop Starks Junior?

1685
01:20:45,000 --> 01:20:45,599
Speaker 11: You ever met him?

1686
01:20:46,200 --> 01:20:47,200
Speaker 3: I've not met him.

1687
01:20:47,240 --> 01:20:51,559
Speaker 10: Really talented keyboardists okay, moo clavinet. He plays it all

1688
01:20:51,600 --> 01:20:52,200
Speaker 10: on my album.

1689
01:20:52,320 --> 01:20:53,960
Speaker 3: There's a really cool I don't know if you go

1690
01:20:54,040 --> 01:20:55,960
Speaker 3: to record stores a lot, but I.

1691
01:20:55,960 --> 01:20:58,120
Speaker 10: Used to work at my friend's store in Toronto, Okay,

1692
01:20:58,240 --> 01:20:58,799
Speaker 10: a couple.

1693
01:20:58,560 --> 01:21:01,479
Speaker 8: Of years ago. One of the after selling millions of records,

1694
01:21:01,520 --> 01:21:02,920
Speaker 8: you did I did for.

1695
01:21:02,880 --> 01:21:07,360
Speaker 1: Fun the key the key to uh I forget this?

1696
01:21:07,479 --> 01:21:15,040
Speaker 1: And the leader Ivy, the leader of Polyrhythmic Spree ownth

1697
01:21:15,200 --> 01:21:19,240
Speaker 1: Polyphonic Spree owns like one of the coolest record stores,

1698
01:21:19,760 --> 01:21:23,320
Speaker 1: mom and pop spots in Dallas right now. It's escaping,

1699
01:21:23,520 --> 01:21:28,200
Speaker 1: is it? No, Cliff, don't give me the quote it,

1700
01:21:28,240 --> 01:21:30,360
Speaker 1: but it's it's a really.

1701
01:21:30,360 --> 01:21:34,080
Speaker 10: John Congleton produced all the records Polysponic Spree, like I

1702
01:21:34,080 --> 01:21:34,920
Speaker 10: who did my record?

1703
01:21:35,000 --> 01:21:38,240
Speaker 3: Yeah, that's what I'm saying. In that area of Dallas.

1704
01:21:38,439 --> 01:21:41,320
Speaker 11: Yeah, it's a vibe. It's like you know what it is,

1705
01:21:41,680 --> 01:21:42,160
Speaker 11: It's like.

1706
01:21:42,080 --> 01:21:46,160
Speaker 15: That whole like like artists and then like the patrons

1707
01:21:46,200 --> 01:21:48,320
Speaker 15: of the arts, you know, and then there's this great divide,

1708
01:21:48,640 --> 01:21:51,760
Speaker 15: and I think it creates this wildness to like the

1709
01:21:51,840 --> 01:21:53,360
Speaker 15: left side, you know what I mean, Like it just

1710
01:21:53,360 --> 01:21:54,040
Speaker 15: creates this.

1711
01:21:53,960 --> 01:21:57,599
Speaker 11: More you have to kind of you gotta be even.

1712
01:21:57,400 --> 01:21:59,880
Speaker 10: Weirder in Dallas to be weird, you know what I mean?

1713
01:22:00,160 --> 01:22:01,599
Speaker 8: They gotta, I gotta.

1714
01:22:01,640 --> 01:22:04,920
Speaker 1: Really, how do you how do you feel to be

1715
01:22:05,160 --> 01:22:06,600
Speaker 1: how does it feel to be on your own and

1716
01:22:06,640 --> 01:22:11,520
Speaker 1: truly independent without without labels.

1717
01:22:11,880 --> 01:22:13,519
Speaker 11: Well, I really followed my heart.

1718
01:22:13,760 --> 01:22:16,320
Speaker 10: I really wanted to work with John Congleton, and Annie

1719
01:22:16,320 --> 01:22:19,920
Speaker 10: from Saint Vincent introduced me to him. We clicked, and

1720
01:22:19,960 --> 01:22:21,960
Speaker 10: I just in my heart thought, I want to know

1721
01:22:22,000 --> 01:22:24,080
Speaker 10: what it's like to work with like an alternative producer,

1722
01:22:24,200 --> 01:22:26,960
Speaker 10: Like I want to see what that's like. I want

1723
01:22:26,960 --> 01:22:30,000
Speaker 10: to see if I could do it. And when I

1724
01:22:30,040 --> 01:22:33,120
Speaker 10: met him, we started working and interscope. I was still

1725
01:22:33,160 --> 01:22:35,280
Speaker 10: with them, but I always kind of go off and

1726
01:22:35,360 --> 01:22:36,920
Speaker 10: do my own thing and don't really tell them what

1727
01:22:36,960 --> 01:22:40,360
Speaker 10: I'm doing. But eventually I did, and it felt like

1728
01:22:40,800 --> 01:22:42,920
Speaker 10: they were kind of like, yeah, well maybe we could

1729
01:22:42,960 --> 01:22:45,240
Speaker 10: do this or that or this, and I was like, no,

1730
01:22:45,479 --> 01:22:47,639
Speaker 10: I really want to finish this album with John Congleton.

1731
01:22:48,040 --> 01:22:51,639
Speaker 10: So I was able to get my album back from them, Wow,

1732
01:22:52,240 --> 01:22:54,240
Speaker 10: I own this album masters.

1733
01:22:54,640 --> 01:22:55,400
Speaker 3: Wait, wait.

1734
01:22:57,880 --> 01:23:02,280
Speaker 1: Time out, Wait a minute. You had a conversation with them.

1735
01:23:02,479 --> 01:23:04,800
Speaker 10: No, my manager helped me, like, I haven't.

1736
01:23:04,560 --> 01:23:09,320
Speaker 1: Well you yeah literally, but I'm just saying that they

1737
01:23:09,360 --> 01:23:14,960
Speaker 1: were willing to amicably part with you.

1738
01:23:16,200 --> 01:23:16,599
Speaker 3: Yeah.

1739
01:23:16,960 --> 01:23:19,000
Speaker 10: Yeah, they gave me my master, They gave me the

1740
01:23:19,200 --> 01:23:21,839
Speaker 10: like I got to keep the masters of this new record.

1741
01:23:22,160 --> 01:23:25,439
Speaker 10: And it was a blessing because I was able to

1742
01:23:25,479 --> 01:23:29,360
Speaker 10: make this beautifully produced album essentially independently, you know, which

1743
01:23:29,400 --> 01:23:31,280
Speaker 10: is you're not usually able to do that, you know,

1744
01:23:31,640 --> 01:23:35,559
Speaker 10: because John's a really in demand producer. So it took

1745
01:23:35,640 --> 01:23:37,200
Speaker 10: we took her time with it because we were both

1746
01:23:37,200 --> 01:23:40,920
Speaker 10: really busy. But yeah, man, you know, sometimes it's just

1747
01:23:40,960 --> 01:23:41,680
Speaker 10: time to move on.

1748
01:23:43,160 --> 01:23:50,640
Speaker 1: Really confused me, I need that's the sound of my

1749
01:23:50,680 --> 01:23:53,080
Speaker 1: brain right now. Which the only thing.

1750
01:23:53,000 --> 01:23:56,000
Speaker 10: He has to do more with relationships, Like there's there's

1751
01:23:56,040 --> 01:23:58,280
Speaker 10: a lot of old relationships in the music business, like

1752
01:23:58,320 --> 01:24:00,840
Speaker 10: the people you don't see on TV. I I guess

1753
01:24:00,920 --> 01:24:04,000
Speaker 10: if you ask, And it's like, you know, like between

1754
01:24:04,040 --> 01:24:06,560
Speaker 10: business relationships, like sometimes like there's certain people who know

1755
01:24:06,600 --> 01:24:08,920
Speaker 10: how to get stuff done quickly. I'm just lucky enough

1756
01:24:08,960 --> 01:24:10,320
Speaker 10: to be working with some of them at the time.

1757
01:24:10,880 --> 01:24:14,800
Speaker 1: The only reason why mind blown is because now that

1758
01:24:14,800 --> 01:24:16,840
Speaker 1: I think of it, I think I did the same thing.

1759
01:24:17,400 --> 01:24:19,800
Speaker 8: Good it happened, Oh yeah.

1760
01:24:19,400 --> 01:24:22,599
Speaker 3: With the yeah well no Jay.

1761
01:24:23,800 --> 01:24:25,400
Speaker 1: I asked Jay, like, yo, take us with you to

1762
01:24:25,439 --> 01:24:28,639
Speaker 1: death Cham and he's like this, I want to get

1763
01:24:28,920 --> 01:24:30,799
Speaker 1: involved in Jimmy's business.

1764
01:24:31,680 --> 01:24:33,720
Speaker 3: And I simply just asked him.

1765
01:24:33,800 --> 01:24:36,360
Speaker 1: But my my selling point was I was like, dude,

1766
01:24:37,120 --> 01:24:42,360
Speaker 1: you have seventeen mega platinum artists on interscope. I said,

1767
01:24:42,360 --> 01:24:45,559
Speaker 1: all we're doing is wasting your money. You won't miss us,

1768
01:24:46,479 --> 01:24:50,280
Speaker 1: and he sat and thought about it. I was like, okay, thanks,

1769
01:24:50,640 --> 01:24:51,360
Speaker 1: and that was it.

1770
01:24:51,439 --> 01:24:51,720
Speaker 3: And I.

1771
01:24:53,800 --> 01:24:56,479
Speaker 10: Because you were respectful, you know what I mean. And

1772
01:24:56,560 --> 01:24:58,719
Speaker 10: I think even when I presented what I was working

1773
01:24:58,760 --> 01:24:59,479
Speaker 10: on with John, I.

1774
01:24:59,479 --> 01:25:01,280
Speaker 8: Was, SA, did you get what I'm saying?

1775
01:25:01,320 --> 01:25:03,599
Speaker 3: If you sell, if you I wrote.

1776
01:25:03,400 --> 01:25:05,200
Speaker 10: A handwritten note, you know what I mean.

1777
01:25:05,080 --> 01:25:10,639
Speaker 1: If you sell twelve million units, I'd be I kind

1778
01:25:10,640 --> 01:25:16,360
Speaker 1: of want to make sure you're good to the last drop. Okay, Okay,

1779
01:25:16,400 --> 01:25:17,240
Speaker 1: that's yeah.

1780
01:25:17,360 --> 01:25:19,960
Speaker 10: Like it's always risk involved, I guess, but like they

1781
01:25:20,000 --> 01:25:20,639
Speaker 10: still get the.

1782
01:25:20,720 --> 01:25:22,519
Speaker 8: You're at least Jordan five.

1783
01:25:22,720 --> 01:25:25,600
Speaker 1: You got some Jordan forty five time left in you,

1784
01:25:25,760 --> 01:25:28,640
Speaker 1: so it's like that to me, that to me is

1785
01:25:28,680 --> 01:25:30,839
Speaker 1: an amazing like I can't believe that happened.

1786
01:25:31,200 --> 01:25:33,360
Speaker 10: Yeah, it's like a kind of like a little mini miracle.

1787
01:25:33,400 --> 01:25:35,400
Speaker 10: I guess I felt it grateful. But then when I

1788
01:25:35,439 --> 01:25:37,880
Speaker 10: signed those documents, I said, wow, I signed this record

1789
01:25:37,880 --> 01:25:41,680
Speaker 10: contract in nineteen ninety eight. Nineteen ninety eight's a long

1790
01:25:41,720 --> 01:25:44,919
Speaker 10: time ago because I take too much time in between albums.

1791
01:25:44,920 --> 01:25:47,880
Speaker 10: So for me signing a six album deal, like at

1792
01:25:47,880 --> 01:25:48,880
Speaker 10: that age, I never knew.

1793
01:25:49,040 --> 01:25:51,720
Speaker 11: You don't think right when you signed it first record Catchry.

1794
01:25:51,439 --> 01:25:54,240
Speaker 10: You're like, like, it's back an album, right, you read it.

1795
01:25:54,280 --> 01:25:56,519
Speaker 10: I was always smart about reading my paperwork. But at

1796
01:25:56,520 --> 01:26:00,000
Speaker 10: the same time, you're not really processing, like how much time?

1797
01:26:00,160 --> 01:26:01,680
Speaker 10: You don't know that it's going to take that long

1798
01:26:01,720 --> 01:26:02,960
Speaker 10: to record sex records?

1799
01:26:03,520 --> 01:26:05,080
Speaker 3: You know? So what do you?

1800
01:26:05,120 --> 01:26:08,519
Speaker 10: What do you hope happens something I wanted?

1801
01:26:09,240 --> 01:26:11,240
Speaker 1: I mean you've you've taken I mean you're kind of

1802
01:26:11,360 --> 01:26:14,599
Speaker 1: taken the dream as far as an evolution is concerned.

1803
01:26:15,640 --> 01:26:17,800
Speaker 1: You made all types of records, done, all types of

1804
01:26:18,320 --> 01:26:24,759
Speaker 1: collaborations and musical experiments, like what what I'm never believe

1805
01:26:24,760 --> 01:26:28,639
Speaker 1: in happy, I believe in satisfied. So what Yeah, when

1806
01:26:28,920 --> 01:26:31,920
Speaker 1: at what point, are you satisfied? Like can if you

1807
01:26:31,960 --> 01:26:35,040
Speaker 1: were to stop now you're are you like, okay, you

1808
01:26:35,040 --> 01:26:37,719
Speaker 1: have a beautiful daughter, You've pretty much lived in the dream,

1809
01:26:37,800 --> 01:26:39,880
Speaker 1: Like what is.

1810
01:26:41,479 --> 01:26:45,160
Speaker 3: What is the satisfaction destination for you? For me?

1811
01:26:46,280 --> 01:26:48,599
Speaker 10: Okay, if I had to stop today and I was like, okay,

1812
01:26:48,600 --> 01:26:50,920
Speaker 10: I'm gonna quit now, I'm never gonna make music again,

1813
01:26:52,479 --> 01:26:56,360
Speaker 10: I might regret like never doing like a Portuguese language album. Actually,

1814
01:26:57,680 --> 01:26:59,000
Speaker 10: I didn't mean to put that on you.

1815
01:26:59,479 --> 01:27:01,280
Speaker 11: Nobody's true, No, it's not you.

1816
01:27:02,400 --> 01:27:05,040
Speaker 10: Yeah, So so that that could be cool at some point,

1817
01:27:05,120 --> 01:27:08,240
Speaker 10: but again I won't know until I cross that bridge.

1818
01:27:08,960 --> 01:27:12,920
Speaker 10: But yeah, generally speaking, I just wanted this time. This

1819
01:27:13,000 --> 01:27:16,080
Speaker 10: timeout's been really cool. Like a week after I got

1820
01:27:16,080 --> 01:27:17,600
Speaker 10: out of my record contract, like like I think a

1821
01:27:17,640 --> 01:27:20,720
Speaker 10: month later, I was rehearsing with Dev Hines because we

1822
01:27:20,720 --> 01:27:25,519
Speaker 10: were gonna sing together at his charity show he did.

1823
01:27:25,680 --> 01:27:27,200
Speaker 11: Did you go to that at the Harlem Apollo?

1824
01:27:27,240 --> 01:27:29,440
Speaker 10: It was really cool, it was for it was a fundraiser,

1825
01:27:30,760 --> 01:27:32,160
Speaker 10: and so I said to him, hey, Dev, you know

1826
01:27:32,240 --> 01:27:34,160
Speaker 10: I'm not with my label anymore, so we could put

1827
01:27:34,160 --> 01:27:37,200
Speaker 10: out our new song on cassette like and sell it

1828
01:27:37,240 --> 01:27:39,200
Speaker 10: at the merch table for charity. So that's the type

1829
01:27:39,200 --> 01:27:40,519
Speaker 10: of stuff you could never do if you're on a

1830
01:27:40,560 --> 01:27:41,120
Speaker 10: major label.

1831
01:27:42,000 --> 01:27:43,519
Speaker 8: Who is who has a cassette player.

1832
01:27:43,360 --> 01:27:44,840
Speaker 9: Don't know it?

1833
01:27:47,240 --> 01:27:48,840
Speaker 3: Go to urban outfitters right now and get a boom.

1834
01:27:50,479 --> 01:27:52,800
Speaker 10: And also I did it installation at Art Basil this

1835
01:27:52,880 --> 01:27:55,160
Speaker 10: year with my friend who's a photographer. So normally, like

1836
01:27:55,920 --> 01:27:58,559
Speaker 10: you can't just do that stuff when you're signed to

1837
01:27:58,680 --> 01:28:03,680
Speaker 10: a contract. Sound art installations, songwriting, and you know what

1838
01:28:03,680 --> 01:28:06,719
Speaker 10: I'm saying, it's just a different flow in your brain

1839
01:28:07,120 --> 01:28:09,240
Speaker 10: and it's really nice. I've been experiencementing with that.

1840
01:28:09,479 --> 01:28:12,120
Speaker 11: I'm gonta see where that takes me. You know, I

1841
01:28:12,120 --> 01:28:12,720
Speaker 11: don't really know.

1842
01:28:13,120 --> 01:28:14,839
Speaker 10: I just want us to keep asking questions.

1843
01:28:14,880 --> 01:28:15,840
Speaker 11: You know, I took a.

1844
01:28:15,840 --> 01:28:18,439
Speaker 10: Playwriting class last year at university. That was fun.

1845
01:28:18,840 --> 01:28:22,439
Speaker 11: So maybe writing arrangements or something for like a different

1846
01:28:22,479 --> 01:28:25,200
Speaker 11: type of like paradigm may be theatrical.

1847
01:28:25,240 --> 01:28:25,880
Speaker 10: I'm not sure.

1848
01:28:26,720 --> 01:28:30,440
Speaker 1: See, I get the feeling that, you know, the the ongoing,

1849
01:28:31,720 --> 01:28:32,879
Speaker 1: the ongoing evolution.

1850
01:28:33,400 --> 01:28:36,280
Speaker 3: Well, you know, she'll probably prime minister.

1851
01:28:37,080 --> 01:28:39,599
Speaker 9: Well, I was gonna ask you to ronto lot like musically,

1852
01:28:39,640 --> 01:28:41,960
Speaker 9: Toronto has been put on the map since you first

1853
01:28:41,960 --> 01:28:42,519
Speaker 9: stepped Onto.

1854
01:28:44,000 --> 01:28:46,960
Speaker 3: To say, I feel like a forty Drake collaborations.

1855
01:28:46,320 --> 01:28:52,120
Speaker 10: Coming up mel so nice.

1856
01:28:52,720 --> 01:28:52,960
Speaker 8: Yeah.

1857
01:28:53,000 --> 01:28:57,759
Speaker 10: You know I feel cool because I watched the scene

1858
01:28:57,960 --> 01:29:01,080
Speaker 10: grow and I stayed in that city. I've stayed in

1859
01:29:01,080 --> 01:29:04,840
Speaker 10: Toronto my whole life and career, well from age eighteen out,

1860
01:29:04,920 --> 01:29:09,200
Speaker 10: but like I've watched it grow urban scenes finally on

1861
01:29:09,240 --> 01:29:12,519
Speaker 10: the international map. I mean, we were just doing our thing.

1862
01:29:13,200 --> 01:29:16,840
Speaker 11: Oh thanks to Fronte, But I mean I need to know.

1863
01:29:16,920 --> 01:29:19,719
Speaker 11: Did my sto Maestro Fresh West let your backbone slide?

1864
01:29:19,800 --> 01:29:20,679
Speaker 10: Was that a hit over here?

1865
01:29:21,120 --> 01:29:24,640
Speaker 3: No afraid it wasn't. That's your back slide?

1866
01:29:24,760 --> 01:29:26,880
Speaker 10: Okay because I wouldn't know because we played thirty percent

1867
01:29:27,000 --> 01:29:29,120
Speaker 10: can Con and Canada growing up, So you thirty percent

1868
01:29:29,120 --> 01:29:30,879
Speaker 10: of everything you see and listened to is Canadian.

1869
01:29:30,960 --> 01:29:34,080
Speaker 11: It's it's called kankon. Yeah, it's a government rule.

1870
01:29:34,439 --> 01:29:38,439
Speaker 3: Yeah. This was before a Clear Channel took us over

1871
01:29:38,520 --> 01:29:39,360
Speaker 3: in ninety seven.

1872
01:29:39,560 --> 01:29:39,840
Speaker 4: Yeah.

1873
01:29:40,160 --> 01:29:42,519
Speaker 10: So so basically speaking, yeah, it's so nice to meet

1874
01:29:42,560 --> 01:29:44,880
Speaker 10: these new artists that are coming out and they have

1875
01:29:44,880 --> 01:29:46,760
Speaker 10: an appreciation for what happened in the past, but then

1876
01:29:46,760 --> 01:29:49,639
Speaker 10: they're moving things forward. So like my favorite from Toronto

1877
01:29:49,680 --> 01:29:54,240
Speaker 10: is his name is River Tiber and the record Yeah, man,

1878
01:29:54,280 --> 01:29:57,200
Speaker 10: he's based in Toronto. New new artists. You got to

1879
01:29:57,200 --> 01:30:00,320
Speaker 10: look out for Mustafa Ahmed. I've known im s he

1880
01:30:00,360 --> 01:30:04,760
Speaker 10: was fifteen. He sings, he's a spoken word poet. Really

1881
01:30:04,800 --> 01:30:07,920
Speaker 10: got to look out for him. He's making his he's

1882
01:30:07,960 --> 01:30:10,519
Speaker 10: managed by Doc actually and he's he's making his for

1883
01:30:10,680 --> 01:30:11,679
Speaker 10: his debut right now.

1884
01:30:12,520 --> 01:30:14,040
Speaker 8: Thanks Nady. I was literally going to ask you to

1885
01:30:14,080 --> 01:30:15,599
Speaker 8: put us on does some new media acts.

1886
01:30:15,600 --> 01:30:17,599
Speaker 11: Also, I really like Charlotte da Wilson's EP.

1887
01:30:17,880 --> 01:30:18,519
Speaker 10: Have you heard it?

1888
01:30:19,320 --> 01:30:19,479
Speaker 13: Yeah?

1889
01:30:20,360 --> 01:30:23,320
Speaker 10: Manager as she's on She's on bad Bat Not Goods

1890
01:30:23,400 --> 01:30:24,240
Speaker 10: new album as well.

1891
01:30:26,800 --> 01:30:28,479
Speaker 3: Spante's are.

1892
01:30:30,720 --> 01:30:34,200
Speaker 1: Voulture Voucher and I feel irrelevant.

1893
01:30:34,840 --> 01:30:36,559
Speaker 3: His i Q is way way.

1894
01:30:38,840 --> 01:30:39,240
Speaker 11: Coming out.

1895
01:30:39,520 --> 01:30:43,400
Speaker 1: Spante's Drake's Spirit Animal. Really, Drake is going on record

1896
01:30:43,400 --> 01:30:44,200
Speaker 1: to say that this.

1897
01:30:44,120 --> 01:30:45,720
Speaker 3: Man always.

1898
01:30:47,720 --> 01:30:48,080
Speaker 8: Animal.

1899
01:30:48,479 --> 01:30:52,360
Speaker 3: Yeah, yeah, yeah, he said that in Yeah on On.

1900
01:30:53,280 --> 01:30:57,360
Speaker 6: He dedicated his he dedicated his he wanted to be

1901
01:30:57,520 --> 01:31:00,840
Speaker 6: m I would, I think, and he dedicated it to me. Really,

1902
01:31:01,000 --> 01:31:03,759
Speaker 6: he dedicated it to me. He dedicated to me Andre

1903
01:31:04,280 --> 01:31:09,120
Speaker 6: and Kanye Wow. And they asked me what I thought

1904
01:31:09,160 --> 01:31:11,280
Speaker 6: about it, and I was like, I think it's great,

1905
01:31:11,320 --> 01:31:13,280
Speaker 6: but I wish you would have dedicated time to do

1906
01:31:13,320 --> 01:31:14,480
Speaker 6: a verse on my album.

1907
01:31:16,360 --> 01:31:19,720
Speaker 3: And we haven't spoke. Let me, you don't love the brother.

1908
01:31:19,800 --> 01:31:21,719
Speaker 3: It's all good, you know. I get that gun sound effect.

1909
01:31:24,080 --> 01:31:30,200
Speaker 1: I have a soft shots fire, I've Nintendo. Yeah, we've done.

1910
01:31:30,240 --> 01:31:33,000
Speaker 6: We worked early, early on in his career, and I

1911
01:31:33,000 --> 01:31:36,200
Speaker 6: mean he's always I don't know, oh yeah.

1912
01:31:36,120 --> 01:31:38,559
Speaker 10: Yeah, out till later that he was on the Loose

1913
01:31:38,600 --> 01:31:40,840
Speaker 10: tour because he's saying backgrounds for Socrates on a couple

1914
01:31:40,840 --> 01:31:41,200
Speaker 10: of shows.

1915
01:31:41,600 --> 01:31:45,799
Speaker 11: Yeah, wow, the Canadian tour sang background.

1916
01:31:46,200 --> 01:31:47,200
Speaker 8: Start somewhere he did.

1917
01:31:47,280 --> 01:31:48,519
Speaker 3: That's all started on the bottom.

1918
01:31:48,720 --> 01:31:52,760
Speaker 11: He did doubles and no, he did doubles for Socrates. Yeah,

1919
01:31:53,160 --> 01:31:54,800
Speaker 11: on like I think three or four shows on our

1920
01:31:54,840 --> 01:31:55,960
Speaker 11: Canadian tour of Loose.

1921
01:31:56,080 --> 01:31:56,680
Speaker 10: Yeah.

1922
01:31:56,720 --> 01:31:58,160
Speaker 11: But I didn't know at the time, Like I just

1923
01:31:58,200 --> 01:32:02,080
Speaker 11: found this out recently. But everybody loves Drake. Everybody's so

1924
01:32:02,080 --> 01:32:04,599
Speaker 11: proud of him, right right.

1925
01:32:04,680 --> 01:32:06,879
Speaker 10: Y'all, she said, She said, everybody loves.

1926
01:32:10,880 --> 01:32:12,479
Speaker 3: No No No For.

1927
01:32:12,479 --> 01:32:14,040
Speaker 10: The c and Tower to be on the cover of

1928
01:32:14,080 --> 01:32:15,519
Speaker 10: an album, it's a beautiful building.

1929
01:32:16,880 --> 01:32:20,200
Speaker 1: Well, Nellie, thank you very much for joining us today

1930
01:32:20,400 --> 01:32:23,360
Speaker 1: at the q LS Peanut Gallery.

1931
01:32:23,439 --> 01:32:24,000
Speaker 3: Give it up for.

1932
01:32:26,080 --> 01:32:28,320
Speaker 11: Everybody needs the Peanut Gallery album.

1933
01:32:29,880 --> 01:32:34,240
Speaker 1: Please get the new album Ride the Right, The Right

1934
01:32:34,400 --> 01:32:34,880
Speaker 1: I'm sorry.

1935
01:32:34,960 --> 01:32:36,640
Speaker 8: You got to enjoy it or get off of it.

1936
01:32:37,360 --> 01:32:42,599
Speaker 1: Yes, you've been thinking that all day, haven't you just.

1937
01:32:45,160 --> 01:32:49,000
Speaker 3: Enjoyed? Get off anyway? Getting off the ride.

1938
01:32:50,320 --> 01:32:54,400
Speaker 1: On behalf of fran Ticelo and Sugar Steve and wash

1939
01:32:54,479 --> 01:32:56,400
Speaker 1: Bill and Unpaid Bill and.

1940
01:32:56,560 --> 01:33:00,920
Speaker 3: Laya and Aka off a ride.

1941
01:33:01,640 --> 01:33:04,840
Speaker 1: This is Quest Love, Quest Love Supreme. Thank you very much, Nelly,

1942
01:33:04,960 --> 01:33:11,880
Speaker 1: I appreciate it. Quest Love Supreme is a production of iHeartRadio.

1943
01:33:12,320 --> 01:33:15,599
Speaker 1: This classic episode was produced by the team App and Door.

1944
01:33:19,920 --> 01:33:24,400
Speaker 1: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1945
01:33:24,800 --> 01:33:26,479
Speaker 1: or wherever you listen to your favorite shows.