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Speaker 1: Flaky Biscuit is a production of Shondaland Audio in partnership

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Speaker 1: with iHeartRadio. Hi, fam, Welcome to the Flaky Biscuit. You

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Speaker 1: already know what it is. Each episode we are cooking

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Speaker 1: up delicious morsels of nostalgia, meals and recipes that have

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Speaker 1: comforted and guided our guests to success. I can't stress

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Speaker 1: this enough. Food plays such an important role in people's lives.

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Speaker 1: I guarantee you, as a listener, you have a meal

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Speaker 1: that just means a lot to you, whether it was

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Speaker 1: your mama's gravy or a vending machine pop tart or

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Speaker 1: whatever it is. I'm Brian Ford to tune it in, cookbook, author,

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Speaker 1: TV show hosts, but most importantly, I love to cook

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Speaker 1: and bake for people. And today I got someone so special.

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Speaker 1: He's borderline elusive. My guest today is a visual artist

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Speaker 1: and activist that sees beauty and neglected spaces. If you've

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Speaker 1: ever visited New Orleans, you probably definitely want past his work.

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Speaker 1: You've got a mural of, for example, Paul Pogba near

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Speaker 1: laf Lafitte Greenway, and that's that's one of my favorite

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Speaker 1: soccer players. So that was really cool to see I'm

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Speaker 1: pretty sure I saw you when we were living in

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Speaker 1: New Orleans last summer. Saw you on some kind of

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Speaker 1: big machine pain in something, and I was like, I

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Speaker 1: think that's the that's Brandon's being my Perhaps you've bought

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Speaker 1: Will Smith's book and admire that beautiful artwork, or maybe

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Speaker 1: you visited his studio studio Bee name one of the

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Speaker 1: fifty best things to do in the world. This dude's

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Speaker 1: so humble.

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Speaker 2: Dude chillin.

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Speaker 1: I am so thrilled to have today with me, legend inspiration,

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Speaker 1: Brandon Odoms, Thank you so much for being here today.

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Speaker 2: Thank you for having me. I'm excited to be here.

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Speaker 1: Yeah, I mean I bet you were excited when we

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Speaker 1: change locations from the west Bank to three blocks from

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Speaker 1: your studio.

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Speaker 2: Yeah, definitely, I mean west Bank is home. But yeah,

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Speaker 2: literally walk here.

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Speaker 1: Yeah, we are in the bywater right now. Talk to

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Speaker 1: me a little bit about your studio. I mean about

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Speaker 1: this neighbor. I mean notes, it's changed a lot. You know,

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Speaker 1: you got Alma Restaurant here on the corner.

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Speaker 2: Me. I really enjoy that spo.

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Speaker 1: Yeah. Yeah, it's good to see hundred and food elevator.

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Speaker 1: But what does it mean to you to see kind

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Speaker 1: of the progression or the direction that this block, this

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Speaker 1: neighborhood's going.

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Speaker 2: And my experience with this space goes way back. I

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Speaker 2: went to high school at NOKA, which is the beginning

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Speaker 2: of the Bywater NOCA, New Orleans Center of Creative Arts.

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Speaker 2: So and then serendipitously, eight plus years later, I ended

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Speaker 2: up with this studio space in this warehouse, and it's

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Speaker 2: just been a blessing to be in this more artistic

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Speaker 2: you know, New Orleans in general is just a very

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Speaker 2: culturally rich, artistic city, but the Bywater has it has

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Speaker 2: its own version of that, I guess you will. It's

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Speaker 2: a blend of local and traveler in a way that's

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Speaker 2: really beautiful. So here, it's been dope to be there.

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Speaker 2: The studio is this huge warehouse, thirty five thousand square feet.

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Speaker 2: We're grateful to open up our doors for people to

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Speaker 2: experience not only my work, but other artists from the

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Speaker 2: city and around that have work displayed there. So yeah,

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Speaker 2: I'm grateful to be here.

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Speaker 1: That's amazing. I'm very thrilled to be here with you

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Speaker 1: so that I can kind of continue my education. I mean,

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Speaker 1: you know, I'm from New Orleans, but being with someone

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Speaker 1: like yourself that is so ingrained in the community through

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Speaker 1: the ups and downs, right, I mean, the city seems

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Speaker 1: to be going through a lot of ups and downs,

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Speaker 1: and I don't know, how does that impact your work?

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Speaker 1: I mean, how does that impact your day to day?

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Speaker 2: You know, I live here. I love this space. I

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Speaker 2: love the people in this city, and with love comes

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Speaker 2: a lot of things. It comes critique, it comes with hope,

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Speaker 2: you know what I mean. And so I think I

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Speaker 2: have all of those things for the city. You know,

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Speaker 2: I can be critical of certain aspects of it, critical

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Speaker 2: of certain decisions made, but ultimately I have a lot

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Speaker 2: of hope for what this city represents and the people

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Speaker 2: who make it what it is. You know, this is

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Speaker 2: a one of the oldest cities in this country. It's

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Speaker 2: actually older than the country itself. So it's like when

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Speaker 2: you think about how much time and how much people,

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Speaker 2: how much energy, how many stories are part of this space,

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Speaker 2: you can see that we've been through it all and

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Speaker 2: we're still here. We're still resilient, We're still like this

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Speaker 2: beak of what's possible when you have this interesting blend

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Speaker 2: of past president future. It's here in a very very

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Speaker 2: visibly beautiful way. Those are the things that make me

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Speaker 2: love this space. When I travel to other cities, that's

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Speaker 2: what I'm looking for. I'm looking for, like, what is

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Speaker 2: the oldest part of this city. I want to see that.

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Speaker 2: I want to experience that, because in New Orleans, if

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Speaker 2: you're in the city of New Orleans, if you're in

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Speaker 2: the French quart if you're anywhere in the surrounding areas,

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Speaker 2: you're in old ground, you know, sacred ground, and there's

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Speaker 2: a lot of stories there. So I love this space.

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Speaker 2: I could talk on and on about New Orleans.

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Speaker 1: Some might say hunted ground. Yeah.

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Speaker 2: I think with time and history comes a lot of things.

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Speaker 2: There's a lot of things we love, a lot of

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Speaker 2: things we might be collectively ashamed of. You know. I

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Speaker 2: think it's always interesting when I travel the world and

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Speaker 2: I tell people from New Orleans. I know you probably

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Speaker 2: get this too. You say New Orleans, and there's always

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Speaker 2: a response, Yeah, something they heard or something they've seen,

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Speaker 2: and it ranges. It's not just one thing. It might

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Speaker 2: be oh the maighti ground, old food, Yeah, yeah, some

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Speaker 2: people might be voodoo, it might be you know, it's

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Speaker 2: like all these things that get this direct response from

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Speaker 2: people people, And I think what's beautiful about what happens

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Speaker 2: when you say New Orleans that typically what pops up

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Speaker 2: in their head is the imagination or creativity of the

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Speaker 2: everyday person. You know what I mean myself, We can

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Speaker 2: be flowers of this soil, but the best of this

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Speaker 2: land is the soil, you know what I mean. It's

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Speaker 2: not depending upon the flowers to make it beautiful. People

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Speaker 2: come here before the soil, you know what I mean.

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Speaker 2: They come here because they know that what makes it

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Speaker 2: beautiful is the every day. It's the mundane, you know.

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Speaker 2: It's the fact that you can get probably the best

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Speaker 2: male at the corner store here, then the top of

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Speaker 2: the line restaurant, or you can hear the best music

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Speaker 2: from someone playing on the corner, then you will if

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Speaker 2: you were to go to Lincoln Center. And you know so,

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Speaker 2: I think that level of proximity here is is so beautiful.

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Speaker 2: I said, I could talk about New Orleans. No, No,

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Speaker 2: and we will.

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Speaker 1: And that kind of brings me back to why we're

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Speaker 1: here on this podcast. You mentioned to our team, you

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Speaker 1: mentioned to me that you spend some time in Japan. Yeah,

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Speaker 1: and why don't you tell it a listeners what it

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Speaker 1: is that you had me prepare for you, like literally,

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Speaker 1: what is it? How did you encounter this for the

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Speaker 1: first time, and what was your experience with it?

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Speaker 2: You know, you asked that question. I was. I went

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Speaker 2: a few directions, but I landed here because it was

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Speaker 2: such a bookmark of my life, this meal and this space.

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Speaker 2: I lived in Okinawa, Japan. My father was in the Marines,

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Speaker 2: so I was in military brad up until seventh grade.

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Speaker 2: I believe we traveled a lot as a result. My

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Speaker 2: mom and all her families from New Orleans, so this

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Speaker 2: was always home. But I was born in California, Ocean side, California.

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Speaker 2: I lived there up to like six months we moved

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Speaker 2: back to New Orleans, and then from that point, like

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Speaker 2: every two every three years, we would move to a

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Speaker 2: different city, different state, different countries, sometimes on military basis.

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Speaker 2: But when you go to these spaces, when you live

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Speaker 2: in the military base, the assumption is you're not from there.

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Speaker 2: So everyone always asked where you're from, and our answer

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Speaker 2: was always New Orleans, even though we had not spent

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Speaker 2: a lot of time. We would come here for summers.

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Speaker 2: Every other year we would come and go to schoo here.

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Speaker 2: So there's like dotted throughout my elementary school. Around the

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Speaker 2: time of middle school, we were living in Okinawa, Japan,

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Speaker 2: and the experience that was exciting. It was interesting. This

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Speaker 2: is before internet, so being able to see the world

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Speaker 2: outside of what I thought the world was in terms

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Speaker 2: of what I saw every day on TV, etc. So

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Speaker 2: it was just an amazing experience. I wish in hindsight,

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Speaker 2: we did more to fully immerse ourselves in the culture.

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Speaker 2: But living in a military basis like being in an

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Speaker 2: American town. But what happened is from my understanding of

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Speaker 2: this dish, it's called taco rice. The history of it,

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Speaker 2: from what I understand, is that a lot of Japanese

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Speaker 2: chefs were trying to cater to the American soldiers and

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Speaker 2: trying to figure out this fusion of sorts. How it

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Speaker 2: came to be tacos, I don't know, but I do

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Speaker 2: know that they were like, Okay, what is something we

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Speaker 2: can create that these soldiers would like. Okinawa is like

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Speaker 2: a sixty mile long island, and any restaurant you go

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Speaker 2: to when we were there, it was a dish on

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Speaker 2: the menu like taco rice. And so there was a

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Speaker 2: spot we would go to after church every Sunday. It

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Speaker 2: was called the tea house. I believe we probably ordered

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Speaker 2: that every single time we went there, and it remind us,

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Speaker 2: I guess, I'm back home. Whatever that meant for each

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Speaker 2: of us. But it also had all these like Japanese

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Speaker 2: sensibilities to it because it was it was a rice dish.

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Speaker 1: Yeah, they don't play with their rice exactly. They don't

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Speaker 1: play with their.

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Speaker 2: Rice exactly, And so it ended up happening. After our

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Speaker 2: years there were there for like two and a half

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Speaker 2: three years, my mother started to cook this as a

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Speaker 2: dish that she would have as a part of her rotation.

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Speaker 1: So your mom had it in her rotation, Yeah.

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Speaker 2: Too, because it's an easy dish to make it quick

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Speaker 2: and it fills you up. And so I'm one of three.

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Speaker 2: My mom has three sons, and so for us in

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Speaker 2: the home, you know, she knew she could feed all

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Speaker 2: of us quickly with that meal. And so yeah, it's

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Speaker 2: real nostalgic. Yeah, for the.

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Speaker 1: Listeners, what exactly is taco rice?

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Speaker 2: So it's basically it's like layers, right, So the first

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Speaker 2: layer would typically be rice, white white rice. Definitely. I

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Speaker 2: still memories of like the rice cooker, the steam rice

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Speaker 2: cooker just filled with rice and just scoop that in

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Speaker 2: the second layer would be lettuce or some sort of meat,

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Speaker 2: so it would be like ground beef. And then on

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Speaker 2: top of that was dependent upon the person, like in

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Speaker 2: a lot of ways, if you imagine Chipotle, but not

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Speaker 2: as many options. You had lettuce, tomatoes, cheese, salsa, and

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Speaker 2: maybe if you were in a fancy spot, some like

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Speaker 2: sour cream and soy sauce and things like that.

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Speaker 1: So like blending kind of a more Japanese flavor with

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Speaker 1: the text mechs.

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Speaker 2: America, that tacos became like the representation of what the

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Speaker 2: American soldiers wanted. So it was like like a text

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Speaker 2: Mex style. And depending on the person, you'll see some

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Speaker 2: people the bowl will be as large as as power,

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Speaker 2: and some folk it will be just like a lot

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Speaker 2: of rice, a little bit of meat, a lot of lettuce,

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Speaker 2: a little you know. So it was a cool meal

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Speaker 2: that everybody was able to create the her own right version.

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Speaker 1: Of it with fresh ingredients, with fresh ingredients.

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Speaker 2: Yeah, yeah, definitely. And I just remember at a young

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Speaker 2: age it was something that we did collectively as a family,

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Speaker 2: Like I remember I would chop the tomatoes, my brother

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Speaker 2: would chop up the lettuce, and it was just like

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Speaker 2: this quick thing that we can do straight home from school.

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Speaker 2: We're helping prepare. Those are some of the memories I have,

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Speaker 2: and I do have memories coming back to the States

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Speaker 2: and trying to introduce it to friends, Like my mom

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Speaker 2: would cook it. We would try to and you know,

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Speaker 2: people have their thoughts about what they want their taco

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Speaker 2: to be, so they're like, all right, put Rice in there, man. Rice.

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Speaker 1: Look, I'm Hispanic and I'm from New Orleans, so Rice

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Speaker 1: goes with everything. We play with Rice. But yeah, it's interesting.

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Speaker 1: The idea of what Mexican food has become in this

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Speaker 1: country almost like a representation of what American food is.

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Speaker 1: And I think if you drive drive through the South,

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Speaker 1: you know, you can stop in Virginia at the most

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Speaker 1: like crazy looking sketchy town with Confederate flags and all

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Speaker 1: this thing. But all m dudes is in the taco joint.

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Speaker 2: That's such an interesting thing. That's true.

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Speaker 1: They got they're rocking the Confederate flag and they're looking

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Speaker 1: at you a certain way. But then they meeting at

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Speaker 1: the taco joint. So you better believe that this kind

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Speaker 1: of text mex you know, taco bell and all this

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Speaker 1: sudden thing. It's kind of permeates what the perception of

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Speaker 1: an American would want, like nachos, yeah, or something like that.

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Speaker 2: Right, And that's what's interesting about the taco rice dishes.

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Speaker 2: The things that aren't there that friends of mine who

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Speaker 2: as I think about like preparing it, like the things

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Speaker 2: that they would include when I make versions of it,

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Speaker 2: I would include like quacamola or like avocados. I would

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Speaker 2: include like fatilla chips, these types of things, but these

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Speaker 2: were never part of the table spread. So that's the

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Speaker 2: part that's interesting too. It's like how ultimately that decision

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Speaker 2: was made to make the traditional taco rice dish what

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Speaker 2: it is. And I wish I knew more about it.

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Speaker 2: I was too young to ask questions. I was just

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Speaker 2: happy to be eating something that I really enjoyed.

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Speaker 1: So yeah, I mean I never knew about it. I

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Speaker 1: had nothing. I had no knowledge of taco rice. I

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Speaker 1: thought that was super dope. I mean, my brother's in

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Speaker 1: the Navy, so I do have knowledge of the culture

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Speaker 1: of being on a base. Yeah, he doesn't have kids

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Speaker 1: or anything like that, but you know he's been in Bahrain,

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Speaker 1: Kuwait and all this kind of thing, and he's like, yeah,

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Speaker 1: like they'll have burgers and yeah, pull pork, you know,

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Speaker 1: you know, they don't eat pork there. But because of

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Speaker 1: the military, I don't know, I don't want to call

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Speaker 1: it occupation, but because of the military presence, the certain

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Speaker 1: countries cater to the American needs, even with alcohol, Like

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Speaker 1: there's countries that they don't drink alcohol, but the soldiers

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Speaker 1: get it.

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Speaker 2: Yeah. Yeah. It was interesting as a child. I was eleven, twelve,

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Speaker 2: thirteen and not really understanding that aspect of our presence there.

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Speaker 2: And I remember there were times where we had that

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Speaker 2: it was like one channel on the news that was

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Speaker 2: it was like one channel on TV that they would

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Speaker 2: try to get as much American stuff on as possible.

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Speaker 2: So in the mornings it'll be cartoons and it'll be

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Speaker 2: the stories, soap operas, then it'll be the news. It

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Speaker 2: was like the one channel for everybody because you know,

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Speaker 2: there's no streaming anything. Yeah, but I remember there'll be

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Speaker 2: times that it'll be like, oh, don't go out in

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Speaker 2: town today because they're protesting.

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Speaker 1: Oh snap, know what it meant.

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Speaker 2: I'm like, oh they you yes. And as an adult,

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Speaker 2: and I've explored that in my art too, in terms

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Speaker 2: of those moments as well, but I think the beautiful

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Speaker 2: thing about this dish is that I've seen moments where

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Speaker 2: they were Japanese folks American folks sitting together like eating

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Speaker 2: this meal. So if it started that way, if it

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Speaker 2: was like this beautiful blend of cultures intentionally, then I

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Speaker 2: think that's an amazing thing that food allows us to

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Speaker 2: do that, to kind of break bread and sit together.

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Speaker 1: I mean, that's why me and you are here, right. So,

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Speaker 1: speaking of eating, so I've got as usually on the

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Speaker 1: flaky bit. Maybe it's called flaky biscuit because something flaky

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Speaker 1: always happens. So, you know, we do our ricon. We

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Speaker 1: exchange emails, you know, Brandon's on board shows up. I've

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Speaker 1: got this, I've got this really beautiful okay, so let

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Speaker 1: me tell you what I did before we talk about

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Speaker 1: on the fly maneuvers here. I got some ground beef

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Speaker 1: eighty twenty chuck, you know, try to keep it a

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Speaker 1: little fatty. And I got some dried chittaki mushrooms. Actually

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Speaker 1: soak those to kind of rehydrate them, slice them up,

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Speaker 1: incorporate them with the beef and the taco seasoning, some schalllette,

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Speaker 1: some garlic. He said, yeah, yeah, yeah, yeah, yeah, I

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Speaker 1: threw it down a little bit of sesame oil, like

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Speaker 1: you know, I got down with that me and I

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Speaker 1: was like, let me, I don't know much about taco rice,

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Speaker 1: but I know that a Japanese chef will probably maybe

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Speaker 1: be using some ingredients like sesame oil. So I do

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Speaker 1: all that boom had a little bit of a little

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Speaker 1: bit of like salsa in it, just to give it

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Speaker 1: creaminess and that kind of salsa type. Damn it. So

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Speaker 1: Brandon walks in and he's like, oh, shoot, I don't

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Speaker 1: eat beef, and I was like, oh, by the way,

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Speaker 1: I forgot to tell you. I don't know but that

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Speaker 1: this is what makes this so fun because there's no script, like,

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Speaker 1: there's no things happen across. So I had to pivot.

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Speaker 1: I was gonna actually do like a four minute egg

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Speaker 1: on top of that and let the yolk run on it.

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Speaker 1: What I didn't said is I hard boil them a

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Speaker 1: little bit more. And I quickly whipped up a new

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Speaker 1: taco seasoning here with the seasonings they had in the cabinet.

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Speaker 1: So I'm gonna present to you your taco rice. Yeah,

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Speaker 1: basically it's just eggs, rice, tomato, but some soy sauce.

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Speaker 1: But but we'll see where it brings you. So I'm

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Speaker 1: gonna just step up and grab for you real quick.

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Speaker 2: That's amazing what you did with the beef too, and

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Speaker 2: you got me second guessing.

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Speaker 1: What I'm gonna eat it for you.

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Speaker 2: Thank you, sir, thank you, thank you. All right, this

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Speaker 2: looks beautiful.

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Speaker 1: Though, man, I appreciate that. Let me get a little

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Speaker 1: soy sauce on mine. Don't go anywhere.

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Speaker 2: We'll be right back after this.

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Speaker 1: Hey, Brian again, let's get back into it. So I

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Speaker 1: didn't have any cheese. Current approach of getting those like

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Speaker 1: chittaki mushrooms in there and kind of creating that umami

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Speaker 1: that way. I was like, well, we don't really need

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Speaker 1: you know what, adding cheese like a shredded chaddar it's

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Speaker 1: like to add oumammy right at richness. So I thought

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Speaker 1: I had fulfilled that. But anyway, let me know your thoughts. Okay,

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Speaker 1: give it a taste.

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Speaker 2: It is really good. I'm also really hungry, so to

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Speaker 2: be good, I can imagine all that description.

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Speaker 1: When did you stop eating beef and pork if that's

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Speaker 1: something you're comfortable with talking about.

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Speaker 2: Yeah, no, it's been about seven eight years now I

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Speaker 2: was in a relationship with someone who was vegan. It

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Speaker 2: was the first time I thought about what I ate,

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Speaker 2: and I was more impressed by the discipline of it.

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Speaker 2: It wasn't like the what are you putting body? It

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Speaker 2: wasn't that. It was just when I was like, man,

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Speaker 2: everywhere we go, we have to like make this announcement

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Speaker 2: and how to be Like I never thought about discipline

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Speaker 2: as it relates to food, So I was like, let

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Speaker 2: me see if I can not do I think it

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Speaker 2: was pork at first, right, and then time passed and

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Speaker 2: it was like, okay, I feel different. I don't know

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Speaker 2: if I feel better, but I feel different.

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Speaker 1: You could feel the pork leaving your body.

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Speaker 2: And I think the main thing that kind of made

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Speaker 2: me stick to it and continue to think about what

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Speaker 2: else to add was one time I made a mistake

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Speaker 2: in eight Port and I didn't feel well, and so

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Speaker 2: from that point I was like, okay, this is just

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Speaker 2: out my system now now I can't go back. So

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Speaker 2: I do a lot of like Turkey based things, So

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Speaker 2: like I would have did this this way like Turkey

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Speaker 2: ground me. I'm not like the type of person is

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Speaker 2: think I'm better off because I don't it's just I

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Speaker 2: think my stomach or whatever has adjusted to not having

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Speaker 2: these things. So when my doctor told me I was tripping,

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Speaker 2: he was like, you eat steak tomorrow. N it's gonna happen.

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Speaker 2: And I was like, who knows, a year from now,

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Speaker 2: I might be like, yeah, that was then and now.

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Speaker 1: Just like, so you're eight years strong in beef and pork, eat.

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Speaker 2: Chicken, definitely, chicken, turkey, all seafood. You know, I can

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Speaker 2: do that easily. Here. Traveling is where I guess the hardest.

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Speaker 2: And actually, the last time I ate beef, I was

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Speaker 2: in Korea. It was like a career barbecue spot that

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Speaker 2: was super authentic. I couldn't read them menu. I was

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Speaker 2: with some friends. They interpreted things for me and it

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Speaker 2: was like, if you don't eat the beef here, something

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Speaker 2: is wrong with you. And I did it and it

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Speaker 2: was amazing.

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Speaker 1: Felt fine.

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Speaker 2: I felt fine, Yeah, but this was early into it. It

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Speaker 2: was like a year in so if I'm in the

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Speaker 2: space and they're like, yo, this is the best version

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Speaker 2: of this that you will ever have, and I'm like, Okay,

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Speaker 2: I'm gonna do it, you know what I mean? Yeah?

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Speaker 1: No, I mean, what are you gonna do? Say?

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Speaker 2: No, right exactly. I do feel like as for my

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Speaker 2: own personal self, there's more discipline I want to impose

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Speaker 2: upon myself in terms of what I consume. I tried

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Speaker 2: to stop doing dairy for a while, but I.

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Speaker 1: Just yea cheese and yo cheese bro jesus esus so good.

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Speaker 1: But if Darry be messing my sinuses up, like, I.

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Speaker 2: Found alternatives and milk that I really love. I love

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Speaker 2: oak milk, I love all my milk. Yeah. I found

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Speaker 2: alternatives of ice cream, all these things, but cheese. I

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Speaker 2: could just not find an alternative.

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Speaker 1: There is nothing.

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Speaker 2: There is nothing.

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Speaker 1: It's just an alternative to cheese.

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Speaker 2: And I know my non dairy folk and vegan folks like, yo,

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00:18:57,000 --> 00:18:58,840
Speaker 2: you need to try this version. This version. I've tried

403
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Speaker 2: it all, and none of it compares to like real cheese.

404
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Speaker 2: One of those things where I'm like, yo, this is amazing.

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Speaker 1: Yeah for sure. So to the listeners out there, the

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Speaker 1: recipe for Brandon's taco rice will be on shandaland dot com.

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Speaker 1: This is really good, but I bet we're all curious.

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Speaker 1: I do appreciate you saying that it's really good. How

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Speaker 1: are we feeling about the nostalgia of the taco rice

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Speaker 1: I presented to you today. Where does this rank? Did

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Speaker 1: I bring you back? Are you having a moment, are

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Speaker 1: you having a flashback? Or are you just eating eggs

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Speaker 1: and rice?

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Speaker 2: This is really different from the way for me, at

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Speaker 2: least the way I would have prepared it when I

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Speaker 2: was making my own servant. There's always a lot of dairy,

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Speaker 2: a lot of cheese.

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Speaker 1: So the answer is no, no, no, But I think I

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Speaker 1: don't eat on a white rice.

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Speaker 2: So just eating his rice alone is bringing me back.

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Speaker 2: The texture of the rice, lettuce and a tomato, bringing

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Speaker 2: me back to like sitting at that table with my family.

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Speaker 2: And this is something because I remember, I'm starting to

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Speaker 2: have memories of like negotiating with myself because I always

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Speaker 2: wanted more negotiating with myself about how much my portions

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Speaker 2: was going to be. And I don't know how many

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Speaker 2: siblings you have or don't have, how large the household

428
00:20:09,680 --> 00:20:11,480
Speaker 2: you grew up in, yeah, but for me, it was

429
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Speaker 2: always like looking at my brothers seeing how much they

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Speaker 2: ate and how much is left, and trying to hurry

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Speaker 2: up before they finished to get more. So these are

432
00:20:18,359 --> 00:20:21,399
Speaker 2: just typing memories that's coming back to me, that competitive

433
00:20:21,400 --> 00:20:24,439
Speaker 2: spirit of life. Yo, they only have so much left,

434
00:20:24,520 --> 00:20:25,959
Speaker 2: and I'm trying to have him finished so I can

435
00:20:26,000 --> 00:20:27,240
Speaker 2: go get the rest of it before you do.

436
00:20:27,880 --> 00:20:29,760
Speaker 1: Well, we got a whole pot of rice here. I

437
00:20:29,760 --> 00:20:32,360
Speaker 1: ain't got no more eggs though, So you could take

438
00:20:32,359 --> 00:20:32,880
Speaker 1: your time.

439
00:20:32,720 --> 00:20:34,520
Speaker 2: With my brothers and probably here this and be like

440
00:20:34,840 --> 00:20:35,280
Speaker 2: I knew it.

441
00:20:36,960 --> 00:20:39,520
Speaker 1: I used to have a race with my brother on Thanksgiving.

442
00:20:39,920 --> 00:20:42,399
Speaker 1: We'd each take a turkey leg and we'd each pile

443
00:20:42,520 --> 00:20:45,000
Speaker 1: or plate high, and this dude would clean me out

444
00:20:45,080 --> 00:20:48,159
Speaker 1: every year. He would be relaxed, he would just be

445
00:20:48,359 --> 00:20:50,040
Speaker 1: kind of, how you're eating right now, chilling, and I

446
00:20:50,080 --> 00:20:53,200
Speaker 1: would be like taking bites. Then I look over he'd done.

447
00:20:53,840 --> 00:20:55,920
Speaker 1: You ain't never gonna beat me. That's what my brother saying.

448
00:20:56,080 --> 00:20:58,159
Speaker 2: We should do everything like my mother would get like

449
00:20:58,480 --> 00:21:01,600
Speaker 2: pastries or whatever. We would count them out and see

450
00:21:01,600 --> 00:21:03,879
Speaker 2: how many people. Okay, there's six in here total. That

451
00:21:03,920 --> 00:21:05,560
Speaker 2: means you get to you get to, you get too.

452
00:21:06,160 --> 00:21:08,680
Speaker 2: Everything is so competitive about like you can't eat three

453
00:21:08,680 --> 00:21:10,960
Speaker 2: if I can only eat one, Like if you eat two,

454
00:21:11,000 --> 00:21:13,520
Speaker 2: I have to eat two, et cetera. Yeah, all right,

455
00:21:13,560 --> 00:21:14,679
Speaker 2: that's what this is bringing me back to.

456
00:21:15,000 --> 00:21:20,080
Speaker 1: I'll take that you've been brought back somewhere relevant, somewhere special.

457
00:21:20,160 --> 00:21:22,560
Speaker 1: I'm glad I can give you those moments once again.

458
00:21:22,680 --> 00:21:25,119
Speaker 1: You're continuing to eat, you know, I gotta keepad myself

459
00:21:25,160 --> 00:21:27,520
Speaker 1: on the bat. I'm waiting on the episode where someone

460
00:21:27,800 --> 00:21:29,760
Speaker 1: takes one bite and just doesn't touch it again, and

461
00:21:29,800 --> 00:21:33,560
Speaker 1: I'm be like, oh shit, But I appreciate your honesty

462
00:21:33,560 --> 00:21:34,639
Speaker 1: and transparency here. Man.

463
00:21:34,680 --> 00:21:36,439
Speaker 2: You know, I have a question of when that happens.

464
00:21:36,480 --> 00:21:38,520
Speaker 2: Do you take that personal? If you prepare something for

465
00:21:38,600 --> 00:21:40,879
Speaker 2: someone and they don't like it, don't enjoy it, or

466
00:21:40,920 --> 00:21:41,720
Speaker 2: don't finish it.

467
00:21:41,920 --> 00:21:44,719
Speaker 1: No, I don't take it personal as long as they

468
00:21:44,720 --> 00:21:47,520
Speaker 1: don't make it personal. Like, you know, if someone comes

469
00:21:47,520 --> 00:21:50,199
Speaker 1: to me and insults me or something or whatever, then

470
00:21:50,240 --> 00:21:52,159
Speaker 1: I'd be like, yeah, what's up. But if someone just

471
00:21:52,160 --> 00:21:54,280
Speaker 1: doesn't like something I made, then that's life. I mean,

472
00:21:54,520 --> 00:21:56,960
Speaker 1: not everyone's gonna like everything I do. There's stuff I

473
00:21:56,960 --> 00:22:00,360
Speaker 1: don't like to eat. Yeah, I've gone to Michelin rests

474
00:22:00,400 --> 00:22:03,119
Speaker 1: and then completely like disappointed. I'll be at the table

475
00:22:03,200 --> 00:22:05,439
Speaker 1: to be like, man, this ain't good, this ain't right.

476
00:22:05,520 --> 00:22:07,639
Speaker 2: I mean, that's interesting because that's an art form. There

477
00:22:07,680 --> 00:22:09,919
Speaker 2: are many art forms that people will tolerate if they

478
00:22:09,960 --> 00:22:11,800
Speaker 2: don't enjoy it, Like you just sit through a bad

479
00:22:11,840 --> 00:22:15,439
Speaker 2: performance or sit through a bad film, someone can watch it,

480
00:22:15,520 --> 00:22:17,080
Speaker 2: look at a painting and be like, yeah, I don't

481
00:22:17,119 --> 00:22:19,200
Speaker 2: like this, but I'll give it some time. It's hard

482
00:22:19,240 --> 00:22:22,560
Speaker 2: to food is like it's not passing the test for you, Like, nah,

483
00:22:22,560 --> 00:22:23,000
Speaker 2: I gotta go.

484
00:22:23,119 --> 00:22:25,639
Speaker 1: That's an interesting point. And I love how you mentioned

485
00:22:25,640 --> 00:22:28,560
Speaker 1: food as an art form. If you don't like food,

486
00:22:29,520 --> 00:22:31,440
Speaker 1: you're not going to put it into your body. You know,

487
00:22:31,960 --> 00:22:33,600
Speaker 1: if you go over to like you know, you got

488
00:22:33,600 --> 00:22:35,840
Speaker 1: a new wife or something and her mama took something,

489
00:22:36,080 --> 00:22:39,359
Speaker 1: you better clean that plate. You better clean that plate quick,

490
00:22:39,760 --> 00:22:43,439
Speaker 1: all the tricks. Yeah, she's gonna be talking about my

491
00:22:43,480 --> 00:22:45,280
Speaker 1: mom makes the best and this and now you take

492
00:22:45,320 --> 00:22:49,480
Speaker 1: one by snap. But for me, it's very hard to

493
00:22:49,480 --> 00:22:52,000
Speaker 1: find a meal that I don't want it at all

494
00:22:52,160 --> 00:22:55,360
Speaker 1: that I'm just like this is gross, like it's I'll

495
00:22:55,440 --> 00:22:57,560
Speaker 1: usually play ball a little bit, But you are right.

496
00:22:57,640 --> 00:22:59,399
Speaker 1: I mean I've been to a music show or like,

497
00:22:59,440 --> 00:23:01,040
Speaker 1: looked at a pain and and be like I don't

498
00:23:01,080 --> 00:23:02,800
Speaker 1: really lie with that, and then I just turn around.

499
00:23:03,080 --> 00:23:04,960
Speaker 1: I mean like I don't have to engage with it anything.

500
00:23:05,000 --> 00:23:07,480
Speaker 2: Yeah. Yeah, And that's interesting. I always wondered that because

501
00:23:07,600 --> 00:23:10,040
Speaker 2: comedians talk about what happens if no one laughs, and

502
00:23:10,200 --> 00:23:11,960
Speaker 2: I always wondered for chefs.

503
00:23:11,880 --> 00:23:15,800
Speaker 1: Yeah, comedians, if no one laughs, it's glaringly obvious if

504
00:23:15,800 --> 00:23:19,560
Speaker 1: someone looks at your murals, if you were on the corner,

505
00:23:20,080 --> 00:23:22,639
Speaker 1: then you saw someone like they didn't know you were around,

506
00:23:22,720 --> 00:23:25,080
Speaker 1: and they were like standing in front of your mural

507
00:23:25,160 --> 00:23:27,160
Speaker 1: and they just stood there and then they walked away.

508
00:23:27,240 --> 00:23:28,280
Speaker 1: What would go through your mind?

509
00:23:28,680 --> 00:23:33,760
Speaker 2: I think I bacon the idea, but I bacon the

510
00:23:33,800 --> 00:23:37,480
Speaker 2: idea when I create that. It's not for everyone, and

511
00:23:37,560 --> 00:23:39,160
Speaker 2: people are only going to give you so much time,

512
00:23:39,240 --> 00:23:42,320
Speaker 2: Like with murals and etcetera. There's an eight second billboard

513
00:23:42,359 --> 00:23:46,560
Speaker 2: rule where like people would give you eight seconds, you

514
00:23:46,600 --> 00:23:48,320
Speaker 2: have that much time to try to communicate with them

515
00:23:48,320 --> 00:23:51,639
Speaker 2: before they keep moving. They're processing so much information in

516
00:23:51,680 --> 00:23:55,840
Speaker 2: their day, especially with phones and just a general stimulation

517
00:23:55,880 --> 00:23:59,360
Speaker 2: of what's around them. So I always challenge myself to say, Okay,

518
00:23:59,359 --> 00:24:01,520
Speaker 2: what can I commune within eight seconds? How can I

519
00:24:01,560 --> 00:24:05,040
Speaker 2: not make this so complicated and so nuanced and so

520
00:24:05,280 --> 00:24:08,760
Speaker 2: visually complicated that it requires them thirty minutes just to

521
00:24:08,800 --> 00:24:09,439
Speaker 2: get something?

522
00:24:10,640 --> 00:24:13,200
Speaker 1: Do you feel like within that eight seconds if someone

523
00:24:13,320 --> 00:24:16,080
Speaker 1: takes their phone out and takes a picture of your art?

524
00:24:16,280 --> 00:24:20,160
Speaker 1: Is that is that something that makes you feel good?

525
00:24:20,440 --> 00:24:22,320
Speaker 1: Do you not care? Is it something you look for,

526
00:24:22,400 --> 00:24:24,879
Speaker 1: like if you know people are in the studio, I

527
00:24:24,880 --> 00:24:26,560
Speaker 1: don't even know if you allow photos in there? No,

528
00:24:26,640 --> 00:24:29,760
Speaker 1: definitely do Is that like what you would be looking for? Yeah?

529
00:24:29,760 --> 00:24:32,600
Speaker 2: I mean to me, I've been playing with this juxtaposition

530
00:24:32,640 --> 00:24:35,119
Speaker 2: of the ephemeral with the eternal as a relations to

531
00:24:35,119 --> 00:24:37,000
Speaker 2: the work I create. And this is also an interesting

532
00:24:37,000 --> 00:24:38,520
Speaker 2: point for you as an artist as a chef in

533
00:24:38,600 --> 00:24:41,840
Speaker 2: terms of like how long does something last? Like are

534
00:24:41,880 --> 00:24:44,439
Speaker 2: you upset when someone eats the food in like five seconds?

535
00:24:44,440 --> 00:24:46,560
Speaker 2: It's like I've worked on that this long and you

536
00:24:46,680 --> 00:24:50,280
Speaker 2: just But with the mural, it's like the idea that

537
00:24:51,560 --> 00:24:53,199
Speaker 2: I know it has a short time frame. It's not

538
00:24:53,200 --> 00:24:55,639
Speaker 2: going to last forever, whether it's the conditions of the

539
00:24:55,840 --> 00:24:58,320
Speaker 2: elements of the environment that's going to beat up on it,

540
00:24:58,440 --> 00:25:01,200
Speaker 2: or the building itself might crumble.

541
00:25:00,920 --> 00:25:03,320
Speaker 1: Like at the hurricane. Yeah, exactly, I got a story

542
00:25:03,320 --> 00:25:06,600
Speaker 1: about that. I watched it happen. Wow, and continue on it.

543
00:25:06,640 --> 00:25:08,000
Speaker 1: I do want to. I do want to jump back

544
00:25:08,000 --> 00:25:09,879
Speaker 1: to that, but continue on to what No, it's.

545
00:25:09,760 --> 00:25:12,119
Speaker 2: Just the idea that I know that this is not

546
00:25:12,200 --> 00:25:14,720
Speaker 2: up for everything. So when someone takes as a photo,

547
00:25:14,760 --> 00:25:18,600
Speaker 2: it does sort of impose an extended lifespan because now

548
00:25:18,600 --> 00:25:20,760
Speaker 2: they can look back at it on their photo or

549
00:25:20,840 --> 00:25:22,400
Speaker 2: if we sell it as a print, they can put

550
00:25:22,400 --> 00:25:25,480
Speaker 2: it up on their wall. But I think ultimately, for

551
00:25:25,640 --> 00:25:29,480
Speaker 2: me personally, like my experience is the production is the process.

552
00:25:30,040 --> 00:25:32,040
Speaker 2: Once that performance is done, then I'm kind of.

553
00:25:32,000 --> 00:25:35,960
Speaker 1: Like, Okay, interesting, what else can you do? You've presented yourself,

554
00:25:36,080 --> 00:25:38,360
Speaker 1: You've created right, you step back, and.

555
00:25:39,000 --> 00:25:40,920
Speaker 2: To me, that part of it feels like a performance,

556
00:25:40,960 --> 00:25:43,160
Speaker 2: like a choreographed dance in a way I remember hearing

557
00:25:43,160 --> 00:25:46,120
Speaker 2: friends talk about like the beauty of stage plays. Once

558
00:25:46,160 --> 00:25:49,040
Speaker 2: it's over, it's over. You can't record it because it's

559
00:25:49,080 --> 00:25:51,640
Speaker 2: not the same, Like what you get from a recorded

560
00:25:51,720 --> 00:25:53,960
Speaker 2: version of it isn't the same thing you got from

561
00:25:54,000 --> 00:25:56,359
Speaker 2: being there. And so for me, as a person who's

562
00:25:56,400 --> 00:25:59,600
Speaker 2: in the process of creating it, when it's done, it's over,

563
00:25:59,640 --> 00:26:02,000
Speaker 2: Like I can't recreate what I fell in love about it.

564
00:26:02,080 --> 00:26:03,399
Speaker 2: You know, I can look at it and fall in

565
00:26:03,440 --> 00:26:05,280
Speaker 2: love with the impact it has on other people, But

566
00:26:05,400 --> 00:26:08,560
Speaker 2: for me, the process is done, Like the story is done.

567
00:26:08,840 --> 00:26:12,960
Speaker 1: There's a struggle involved with creation, right. Everything you're saying

568
00:26:13,119 --> 00:26:15,440
Speaker 1: is pointing to the fact that there's a slight struggle

569
00:26:15,480 --> 00:26:17,520
Speaker 1: involved when you're in the weeds of it, trying to

570
00:26:17,520 --> 00:26:20,080
Speaker 1: figure out what it is you're putting out. And I

571
00:26:20,119 --> 00:26:23,439
Speaker 1: read somewhere that you wrestle with concepts like black power,

572
00:26:24,040 --> 00:26:27,439
Speaker 1: the definition of blackness, and what is the responsibility that

573
00:26:27,480 --> 00:26:30,880
Speaker 1: you have to your community to portray these things. I mean,

574
00:26:30,880 --> 00:26:33,600
Speaker 1: when I look at your artwork, I see black excellence.

575
00:26:34,400 --> 00:26:37,239
Speaker 1: So no, I do, I mean, I truly do so.

576
00:26:37,359 --> 00:26:40,360
Speaker 1: I mean, like, how has that molded your path forward?

577
00:26:40,680 --> 00:26:43,600
Speaker 2: I mean, on one extent, I benefited from this collective

578
00:26:44,480 --> 00:26:47,720
Speaker 2: moment that we've been in around investigating the value of

579
00:26:47,760 --> 00:26:50,920
Speaker 2: black lives. Just this new sort of black arts movement

580
00:26:50,960 --> 00:26:52,600
Speaker 2: where you see a lot of creatives, whether it be

581
00:26:52,680 --> 00:26:56,120
Speaker 2: in music and cinema and literature or all these things,

582
00:26:56,160 --> 00:26:59,199
Speaker 2: where they're like investigating their responsibility. In the moment we're in,

583
00:26:59,320 --> 00:27:02,840
Speaker 2: you see the general disregard of black life, and it's like, well,

584
00:27:02,880 --> 00:27:06,560
Speaker 2: I'm a black person that's creating communication to the public.

585
00:27:06,560 --> 00:27:09,320
Speaker 2: How can I communicate the way I love myself, the

586
00:27:09,359 --> 00:27:12,000
Speaker 2: way I love my community? And how does that translate

587
00:27:12,040 --> 00:27:14,000
Speaker 2: in the moment, So I understand that I've benefited. My

588
00:27:14,040 --> 00:27:18,200
Speaker 2: work has benefited from this current that has pushed it forward.

589
00:27:18,320 --> 00:27:19,919
Speaker 2: Other people who said, you know what your work, like

590
00:27:19,960 --> 00:27:22,240
Speaker 2: you just said in Black excellence, like seeing your work

591
00:27:22,280 --> 00:27:26,919
Speaker 2: makes me love myself, makes me understand why I'm powerful,

592
00:27:26,920 --> 00:27:29,680
Speaker 2: why I'm beautiful, And I've benefited from that. But also

593
00:27:29,720 --> 00:27:32,320
Speaker 2: I think there's another conversation that a lot of black

594
00:27:32,400 --> 00:27:35,280
Speaker 2: artists are having around Is it just that you know,

595
00:27:35,320 --> 00:27:38,720
Speaker 2: I have friends who struggle with calling themselves a black artist.

596
00:27:38,760 --> 00:27:41,000
Speaker 2: They say, no, I'm just an artist. I listen to that.

597
00:27:41,200 --> 00:27:43,640
Speaker 2: I'm so tricky that, yeah, because I can understand, even

598
00:27:43,880 --> 00:27:46,240
Speaker 2: as a chef and thinking about when people label you

599
00:27:46,320 --> 00:27:48,600
Speaker 2: at that, you know, it opens up a door of

600
00:27:49,520 --> 00:27:52,239
Speaker 2: opportunity as well as the type of exceptionality. But you

601
00:27:52,280 --> 00:27:53,800
Speaker 2: also know what the door is limiting to.

602
00:27:54,080 --> 00:27:57,359
Speaker 1: Right pretty much, anyone that's black or brown that I

603
00:27:57,440 --> 00:28:00,760
Speaker 1: talk to that is creating something. It's just something that

604
00:28:00,800 --> 00:28:03,240
Speaker 1: we have to deal with because at least, you know,

605
00:28:03,280 --> 00:28:06,640
Speaker 1: I can speak for myself growing up in Louisiana going

606
00:28:06,640 --> 00:28:08,760
Speaker 1: to high school and slide, Oh, you already know what

607
00:28:08,760 --> 00:28:10,879
Speaker 1: it was calling me. I don't have to get into it.

608
00:28:10,880 --> 00:28:14,119
Speaker 1: So I'm always having to validate my existence to myself,

609
00:28:14,160 --> 00:28:16,159
Speaker 1: like I am good enough, I'm not those things they

610
00:28:16,200 --> 00:28:19,720
Speaker 1: call me. So then when you become successful, like I'm

611
00:28:19,760 --> 00:28:23,040
Speaker 1: an afrohunderan or a black baker who's wrote a baking

612
00:28:23,119 --> 00:28:27,880
Speaker 1: cookbook like you said, I've benefited from this realization of like, oh,

613
00:28:28,040 --> 00:28:32,000
Speaker 1: the media wants to now accept us as worthy. So

614
00:28:32,040 --> 00:28:34,400
Speaker 1: we're obviously going to take the opportunities that we can

615
00:28:34,440 --> 00:28:36,080
Speaker 1: get because you know, we're trying to get it in.

616
00:28:36,440 --> 00:28:38,600
Speaker 1: But then it does make you step back and say, like, oh, man,

617
00:28:38,640 --> 00:28:41,840
Speaker 1: like am I am I a good baker? Or am

618
00:28:41,840 --> 00:28:44,480
Speaker 1: I a good baker because I'm black? I don't know

619
00:28:44,520 --> 00:28:45,040
Speaker 1: the answer.

620
00:28:45,240 --> 00:28:47,840
Speaker 2: No. I think it's definitely a question that a lot

621
00:28:47,840 --> 00:28:50,360
Speaker 2: of us explore, and I think for me, the exploration

622
00:28:51,040 --> 00:28:55,400
Speaker 2: led me to just focusing on what's most important. When

623
00:28:55,440 --> 00:28:57,280
Speaker 2: I did that, I realized what's most important to me

624
00:28:57,400 --> 00:29:00,240
Speaker 2: is the fact that I can inspire in life to

625
00:29:00,280 --> 00:29:02,280
Speaker 2: fire in folks. Because when I was younger, when I

626
00:29:02,280 --> 00:29:04,240
Speaker 2: was in high school, I didn't see examples of what

627
00:29:04,280 --> 00:29:06,959
Speaker 2: a black artist look like. Right, there were many examples,

628
00:29:07,640 --> 00:29:10,280
Speaker 2: but I didn't have social media. I couldn't look it up.

629
00:29:10,280 --> 00:29:13,000
Speaker 2: I couldn't go follow people on Instagram that I felt

630
00:29:14,240 --> 00:29:17,719
Speaker 2: model a certain creativity that I had. So I'm excited

631
00:29:17,760 --> 00:29:19,400
Speaker 2: by the fact that I can be one of those

632
00:29:19,400 --> 00:29:22,320
Speaker 2: examples for these artists that we encounter all the time,

633
00:29:22,360 --> 00:29:24,600
Speaker 2: these younger artists that say, Okay, I want to do

634
00:29:24,640 --> 00:29:26,520
Speaker 2: it like you. I want to do it better than you.

635
00:29:26,520 --> 00:29:28,280
Speaker 2: You've showed me how this way looks, so I want

636
00:29:28,320 --> 00:29:30,160
Speaker 2: to do it that way. And I think those things

637
00:29:30,160 --> 00:29:33,560
Speaker 2: are exciting to me. How people define you. You would

638
00:29:33,640 --> 00:29:36,360
Speaker 2: never like fully satisfy yourself with that answer, because they're

639
00:29:36,360 --> 00:29:38,720
Speaker 2: gonna people gonna do it regardless. They're they're gonna dice

640
00:29:38,760 --> 00:29:41,040
Speaker 2: you up in some category that makes them feel comfortable. Right.

641
00:29:41,520 --> 00:29:44,360
Speaker 2: And you know, there's a quote by Audrey Lord who said,

642
00:29:44,400 --> 00:29:46,760
Speaker 2: if I didn't define myself for myself, I would be

643
00:29:46,760 --> 00:29:50,640
Speaker 2: shrunk into other people's imaginations and eating alive. You can

644
00:29:51,000 --> 00:29:53,480
Speaker 2: vicariously live to other people's imagination, or you could be

645
00:29:53,480 --> 00:29:55,480
Speaker 2: like noth but define myself for myself. And I think

646
00:29:55,520 --> 00:29:57,280
Speaker 2: for a lot of us, oh, for a lot of

647
00:29:57,400 --> 00:29:59,680
Speaker 2: us as creatives, that's why we spent a lot of

648
00:29:59,680 --> 00:30:02,480
Speaker 2: our time I'm doing trying to define ourselves for us,

649
00:30:03,000 --> 00:30:05,719
Speaker 2: and then you know, some of us but up against

650
00:30:05,720 --> 00:30:08,360
Speaker 2: those definitions and say no that I'm absolutely not that,

651
00:30:08,400 --> 00:30:10,040
Speaker 2: And I'm gonna show you why some of us embrace

652
00:30:10,080 --> 00:30:12,160
Speaker 2: it and say okay that plus more right, and I

653
00:30:12,160 --> 00:30:13,400
Speaker 2: think I'm into that plus more cat.

654
00:30:14,680 --> 00:30:16,600
Speaker 1: I mean, you're you're obviously very self aware of where

655
00:30:16,600 --> 00:30:21,520
Speaker 1: you're at right now as an artist having a good time.

656
00:30:21,840 --> 00:30:40,400
Speaker 1: Stay flaky, We'll be right back. Enough of that, Enough

657
00:30:40,440 --> 00:30:48,280
Speaker 1: of that, back to the interview. Tell me quickly, how

658
00:30:48,320 --> 00:30:51,560
Speaker 1: did you get from eating taco rice, moving around the

659
00:30:51,880 --> 00:30:56,440
Speaker 1: globe to having this world renowned studio. I mean, like,

660
00:30:57,000 --> 00:30:59,800
Speaker 1: you know what, when was the moment you were like,

661
00:31:00,240 --> 00:31:02,360
Speaker 1: oh shoot, I'm really good at this.

662
00:31:02,800 --> 00:31:04,720
Speaker 2: I mean, the short end of the story is that

663
00:31:05,080 --> 00:31:08,160
Speaker 2: I went to Nooka for visual arts. I didn't see

664
00:31:08,160 --> 00:31:11,680
Speaker 2: myself reflected in the space, not the physical Nooka space,

665
00:31:11,720 --> 00:31:14,400
Speaker 2: but just like the general space of fine arts. And

666
00:31:14,440 --> 00:31:16,080
Speaker 2: so I went to school for filmmaking because I was

667
00:31:16,080 --> 00:31:18,360
Speaker 2: also in love with filmmaking as well. So I went

668
00:31:18,400 --> 00:31:21,120
Speaker 2: to Uno for filmmaking because I did see myself reflected

669
00:31:21,120 --> 00:31:23,720
Speaker 2: in those spaces. I saw Spike Lee, John Singleton, and

670
00:31:23,720 --> 00:31:27,160
Speaker 2: I'm like, okay, I'm gonna be a movie director. So

671
00:31:27,240 --> 00:31:30,720
Speaker 2: I did that, and somewhere in that process of exploring filmmaking,

672
00:31:31,280 --> 00:31:34,080
Speaker 2: I got stuck in the purgatory space of music videos,

673
00:31:34,160 --> 00:31:37,280
Speaker 2: which any filmmaker student would laugh at that, because there

674
00:31:37,360 --> 00:31:38,880
Speaker 2: is a space where you can get stuck in, where

675
00:31:38,920 --> 00:31:41,720
Speaker 2: all you do is music videos. I was doing that

676
00:31:41,760 --> 00:31:44,360
Speaker 2: in New Orleans, post Katrina, New Orleans, and it was

677
00:31:44,400 --> 00:31:47,880
Speaker 2: a beautiful creative space because I'm a super fan of music, right,

678
00:31:48,240 --> 00:31:51,760
Speaker 2: Musicians are my favorite people, just seeing their processes so beautiful.

679
00:31:52,080 --> 00:31:53,800
Speaker 2: So I was privileged to be able to create music

680
00:31:53,880 --> 00:31:55,920
Speaker 2: videos for so many amazing artists and be able to

681
00:31:55,960 --> 00:31:59,720
Speaker 2: interpret their music into visuals. But what that afforded me

682
00:31:59,760 --> 00:32:02,840
Speaker 2: as well well was this opportunity to explore New Orleans

683
00:32:02,880 --> 00:32:05,400
Speaker 2: in a different way post Katrina, New Orleans, where space

684
00:32:05,560 --> 00:32:08,880
Speaker 2: was political, where you would see neighborhoods completely still destroyed,

685
00:32:09,600 --> 00:32:11,000
Speaker 2: and like on pause, you.

686
00:32:10,960 --> 00:32:13,120
Speaker 1: See the water line exactly, you could still see a

687
00:32:13,160 --> 00:32:13,720
Speaker 1: water line.

688
00:32:13,760 --> 00:32:16,640
Speaker 2: And for years, exactly, I'm deep in these spaces looking

689
00:32:16,640 --> 00:32:19,320
Speaker 2: for locations for music videos because the rappers they wanted

690
00:32:19,320 --> 00:32:23,120
Speaker 2: that look at edge, and so I'm back there location scouting,

691
00:32:23,160 --> 00:32:26,000
Speaker 2: and I would see all this amazing graffiti and street art.

692
00:32:26,320 --> 00:32:28,360
Speaker 2: Remember my roommate at the time, as well as other friends,

693
00:32:28,400 --> 00:32:30,760
Speaker 2: we would just go urban exploring all the time, looking

694
00:32:30,760 --> 00:32:32,640
Speaker 2: for locations. But also I fell in love with this,

695
00:32:32,680 --> 00:32:35,840
Speaker 2: this process of finding graffiti and just like, all, look

696
00:32:35,880 --> 00:32:37,440
Speaker 2: at this beautiful thing, and look at this, So who

697
00:32:37,440 --> 00:32:40,440
Speaker 2: did this? Why? And so you know, imitation is the

698
00:32:40,480 --> 00:32:42,600
Speaker 2: highest form of flattery. So I'm like going back there

699
00:32:42,600 --> 00:32:44,200
Speaker 2: with spray paint now because I'm like, well, I know

700
00:32:44,200 --> 00:32:45,680
Speaker 2: how to paint a little bit, so let me try.

701
00:32:45,760 --> 00:32:48,880
Speaker 2: So I'm deep into these spaces, trying my own hand

702
00:32:49,600 --> 00:32:52,920
Speaker 2: at graffiti, and I fell in love graffiti, or I

703
00:32:52,920 --> 00:32:57,120
Speaker 2: should say spray paint, reigniting my love for visual art.

704
00:32:57,240 --> 00:32:58,880
Speaker 2: And so I start going back there all the time.

705
00:32:59,440 --> 00:33:01,000
Speaker 2: Because at first, so I was just trying to duplicate

706
00:33:01,000 --> 00:33:02,960
Speaker 2: what I saw people doing. I was doing a lettering,

707
00:33:03,760 --> 00:33:05,400
Speaker 2: and I was like, well, I'm not really that interested

708
00:33:05,400 --> 00:33:07,040
Speaker 2: in that. So I started to find my own voice

709
00:33:07,080 --> 00:33:10,800
Speaker 2: creating portraits of specifically people in black history. I was

710
00:33:10,840 --> 00:33:13,040
Speaker 2: just a super fan of history, so I'm like painting

711
00:33:13,080 --> 00:33:16,440
Speaker 2: these portraits of people. And then the media got into

712
00:33:16,480 --> 00:33:19,040
Speaker 2: it because the images started to circulate. It was like

713
00:33:19,080 --> 00:33:21,360
Speaker 2: this idea that if I'm painting Doctor King in an

714
00:33:21,360 --> 00:33:25,520
Speaker 2: abandoned housing project, then there must be a political message.

715
00:33:26,040 --> 00:33:28,640
Speaker 2: So it started the Snowball as this political thing. It's

716
00:33:28,760 --> 00:33:30,760
Speaker 2: like art. And this is around the time that Banksy

717
00:33:30,840 --> 00:33:34,640
Speaker 2: is blowing up. Shepherd Ferry did the Obama poster. So

718
00:33:34,680 --> 00:33:37,600
Speaker 2: there's this idea that street artists are political. Yeah, so

719
00:33:37,600 --> 00:33:41,240
Speaker 2: it's all just started the Snowball. This first base became

720
00:33:41,440 --> 00:33:44,600
Speaker 2: Project B. It got shut down, and then we started

721
00:33:44,600 --> 00:33:47,360
Speaker 2: to Exhibit B on the West Bank. Once that ended,

722
00:33:47,960 --> 00:33:51,560
Speaker 2: then it was blessed to be able to walk into

723
00:33:52,080 --> 00:33:56,320
Speaker 2: what's now Studio B and through that almost ten year journey.

724
00:33:56,920 --> 00:34:00,000
Speaker 2: Yeah ten years now, Wow, it's crazy it twenty thirteen

725
00:34:00,080 --> 00:34:02,479
Speaker 2: is when it all started. But through that tenure journey,

726
00:34:02,640 --> 00:34:05,480
Speaker 2: so much growth, so much understanding of the medium, of

727
00:34:05,520 --> 00:34:08,120
Speaker 2: the responsibility. It's been a blessing.

728
00:34:08,520 --> 00:34:10,960
Speaker 1: You're a master man, Like don't even don't even play

729
00:34:11,000 --> 00:34:13,560
Speaker 1: no games man. Before we wrap up, we like to

730
00:34:13,640 --> 00:34:16,400
Speaker 1: usually play a little flaky game. Got a game for you.

731
00:34:16,440 --> 00:34:18,160
Speaker 1: But before we get into the game, I wanted to

732
00:34:18,160 --> 00:34:21,640
Speaker 1: circle back to what we talked about during IDA. I'll

733
00:34:21,640 --> 00:34:24,160
Speaker 1: give you my experience. You know we're sitting you know,

734
00:34:24,239 --> 00:34:26,080
Speaker 1: I've been through Katrina. I've been through I've been through

735
00:34:26,160 --> 00:34:28,000
Speaker 1: them all. I'm sure you have been through quite a

736
00:34:28,040 --> 00:34:30,919
Speaker 1: few of them as well. And I was in this

737
00:34:31,000 --> 00:34:34,440
Speaker 1: apartment and it seemed pretty safe. And I was actually

738
00:34:34,480 --> 00:34:37,920
Speaker 1: moving to New York three days after the landfall was expected,

739
00:34:37,920 --> 00:34:39,960
Speaker 1: so I was like, I'm not going to evacuate then

740
00:34:40,000 --> 00:34:42,080
Speaker 1: be stuck somewhere and can't get my stuff and move

741
00:34:42,080 --> 00:34:42,840
Speaker 1: blah blah blah.

742
00:34:42,880 --> 00:34:43,480
Speaker 2: So I stayed.

743
00:34:44,160 --> 00:34:47,920
Speaker 1: And it wasn't supposed to be that bad. Yeah, it

744
00:34:48,040 --> 00:34:50,200
Speaker 1: just was not supposed to be bad. And I was like,

745
00:34:50,280 --> 00:34:54,640
Speaker 1: it'll be fine. And as the storm progressed, started noticing

746
00:34:55,120 --> 00:34:57,399
Speaker 1: it turned into like a wind tunnel or like turn

747
00:34:57,440 --> 00:34:59,960
Speaker 1: into like a tornado type vibe, and it just started.

748
00:35:00,320 --> 00:35:02,600
Speaker 1: The wind was spinding. Then the power went out, and

749
00:35:02,640 --> 00:35:05,319
Speaker 1: the rain was battering, and the wind kept intensifying, and

750
00:35:05,320 --> 00:35:08,640
Speaker 1: all of a sudden, right before our eyes, it was

751
00:35:08,640 --> 00:35:12,400
Speaker 1: my sister Bridgett and myself. This building just cold, I

752
00:35:12,400 --> 00:35:16,040
Speaker 1: mean it just cold. It just fell. And I didn't

753
00:35:16,080 --> 00:35:19,120
Speaker 1: realize it was the building that you had that was it,

754
00:35:19,160 --> 00:35:23,480
Speaker 1: the buddy Bowlder. Yeah, I didn't realize that until the

755
00:35:23,520 --> 00:35:25,239
Speaker 1: next day and the storm came down. You know, we

756
00:35:25,280 --> 00:35:27,440
Speaker 1: did a little walk, you know, the walk around the

757
00:35:27,480 --> 00:35:29,680
Speaker 1: post storm. And we walked around. I was like, oh shit,

758
00:35:29,960 --> 00:35:33,120
Speaker 1: you know, the news was everywhere and the bricks were everywhere,

759
00:35:33,400 --> 00:35:34,719
Speaker 1: and I was like, those bricks have something.

760
00:35:34,760 --> 00:35:37,640
Speaker 2: And I was like, oh no, so you.

761
00:35:37,600 --> 00:35:40,239
Speaker 1: Know, enough of me talking about my experience with this.

762
00:35:40,480 --> 00:35:43,480
Speaker 1: I'd love to know what happened, you know.

763
00:35:43,640 --> 00:35:46,240
Speaker 2: No, I was that was wild. That was an interesting

764
00:35:46,440 --> 00:35:49,080
Speaker 2: take because I wasn't there, like last minute we decided

765
00:35:49,080 --> 00:35:51,600
Speaker 2: to leave because I lived not too far from that that.

766
00:35:51,680 --> 00:35:53,759
Speaker 2: I was living at the Pithyan at the time, right there,

767
00:35:53,840 --> 00:35:56,279
Speaker 2: a couple of blocks away. But I do remember when

768
00:35:56,320 --> 00:35:58,680
Speaker 2: we came back, I was like, Okay, this mural is done.

769
00:35:59,239 --> 00:36:03,160
Speaker 2: Cool part of it. It's unfortunate, but I remember I

770
00:36:03,239 --> 00:36:05,080
Speaker 2: tried to go get some of the bricks to like

771
00:36:05,280 --> 00:36:07,520
Speaker 2: preserve them. I'm like, okay, this is an interesting moment.

772
00:36:08,120 --> 00:36:10,200
Speaker 2: They shut that down. They started to call the police

773
00:36:10,200 --> 00:36:12,399
Speaker 2: on me. It was like a big old at that point.

774
00:36:12,440 --> 00:36:15,040
Speaker 2: They had the whole space like fenced up. Yeah, and

775
00:36:15,120 --> 00:36:16,439
Speaker 2: I was just like, yo, I'm about to go try

776
00:36:16,440 --> 00:36:19,520
Speaker 2: to get some bricks. So we walked in. I was

777
00:36:19,520 --> 00:36:20,960
Speaker 2: documenting the whole thing, so we tried to have a

778
00:36:20,960 --> 00:36:22,840
Speaker 2: conversation with the crew. It was like, yo, we just

779
00:36:22,840 --> 00:36:26,640
Speaker 2: wanted to talk and and then one of my homies

780
00:36:26,640 --> 00:36:28,920
Speaker 2: took a brick, so we're leaving. They didn't want to

781
00:36:28,960 --> 00:36:30,440
Speaker 2: let me film inside. I think that's what I was

782
00:36:30,440 --> 00:36:32,640
Speaker 2: trying to do. So we're leaving, I don't know where.

783
00:36:32,719 --> 00:36:34,839
Speaker 2: Somebody pops up, like one of my workers just said,

784
00:36:34,840 --> 00:36:36,600
Speaker 2: you took a brick? Where is it? And we're like, yo,

785
00:36:36,640 --> 00:36:40,000
Speaker 2: what's going on? Like yeah, it got tense. We filmed

786
00:36:40,000 --> 00:36:42,759
Speaker 2: the whole thing. But then a couple months later, the

787
00:36:42,800 --> 00:36:46,160
Speaker 2: company that owns the space reached out and we're like, yo,

788
00:36:46,680 --> 00:36:49,959
Speaker 2: how can we make this work right? And so ended

789
00:36:50,040 --> 00:36:53,279
Speaker 2: up getting recommissioned to paint the spat over. So it's

790
00:36:53,320 --> 00:36:55,480
Speaker 2: back up, new and improved.

791
00:36:55,760 --> 00:36:59,360
Speaker 1: Amazing. Well, congrats on the new and improved. You know,

792
00:36:59,640 --> 00:37:01,799
Speaker 1: I can't imagine what it must have felt like to

793
00:37:01,840 --> 00:37:05,040
Speaker 1: know that that crumbled down. But you know, in life,

794
00:37:05,080 --> 00:37:07,200
Speaker 1: sometimes you just got to move forward, maybe do something again.

795
00:37:07,320 --> 00:37:11,080
Speaker 2: Yeah, no, definitely, I learned those lessons many times with

796
00:37:11,200 --> 00:37:14,040
Speaker 2: painting in public space. Yeah, so it's part of it.

797
00:37:14,120 --> 00:37:15,600
Speaker 1: So I want to pivot into what we call our

798
00:37:15,680 --> 00:37:19,400
Speaker 1: flaky game. I got something kind of fun lined up

799
00:37:19,440 --> 00:37:26,719
Speaker 1: over for your particular game. First of all, I have

800
00:37:26,760 --> 00:37:29,120
Speaker 1: a question. Have you ever made paint with fruits or vegetables?

801
00:37:29,520 --> 00:37:32,000
Speaker 2: No, I haven't. My niece. I have your niece. He's

802
00:37:32,120 --> 00:37:36,600
Speaker 2: two almost three, and I did purchase some vegetable based

803
00:37:36,640 --> 00:37:39,280
Speaker 2: paint for her and we did like a little finger

804
00:37:39,360 --> 00:37:42,120
Speaker 2: paint project. That cool. Well.

805
00:37:42,160 --> 00:37:43,960
Speaker 1: In order to win my game, okay, you need to

806
00:37:43,960 --> 00:37:46,680
Speaker 1: get twenty points, okay, and to get a point, you

807
00:37:46,760 --> 00:37:50,279
Speaker 1: just have to name an ingredient that can create the

808
00:37:50,280 --> 00:37:52,200
Speaker 1: color of paint that I'm going to ask you for.

809
00:37:52,280 --> 00:37:54,920
Speaker 1: So yeah, we're gonna have three rounds of this. Okay,

810
00:37:55,120 --> 00:37:58,040
Speaker 1: Each rounds ten seconds, So you've got ten seconds and

811
00:37:58,120 --> 00:37:59,800
Speaker 1: we will start right now. So you've got to be ready.

812
00:38:00,239 --> 00:38:02,600
Speaker 1: You had ten seconds. Tell me as many food ingredients

813
00:38:02,640 --> 00:38:07,200
Speaker 1: as you can that can make green paint. Starting out green?

814
00:38:08,360 --> 00:38:15,440
Speaker 2: Uh uh, ginger, avocado, avocado. I don't know why I'm

815
00:38:15,440 --> 00:38:17,520
Speaker 2: blanking out celery.

816
00:38:18,120 --> 00:38:21,040
Speaker 1: And that's time. You got two points, alright, So you

817
00:38:21,040 --> 00:38:24,800
Speaker 1: getting a little warm, get a little the little spinach

818
00:38:24,880 --> 00:38:26,520
Speaker 1: juice or some care or something like that.

819
00:38:26,560 --> 00:38:29,959
Speaker 2: Okay, all the green, yeah exactly, And I'm drinking something

820
00:38:29,960 --> 00:38:32,560
Speaker 2: green right now. Just a macha.

821
00:38:32,920 --> 00:38:34,759
Speaker 1: Hey, you can do this.

822
00:38:34,920 --> 00:38:35,640
Speaker 2: Okay, I got it.

823
00:38:35,880 --> 00:38:37,640
Speaker 1: So you got two points. We got to get to twenty.

824
00:38:38,080 --> 00:38:41,920
Speaker 1: You got two rounds left, you know, alright ready.

825
00:38:42,400 --> 00:38:53,240
Speaker 2: Red red beets, strawberry berries like regular berries. That's five

826
00:38:54,040 --> 00:38:59,600
Speaker 2: A bunch of berries, six, seven meat. I don't know,

827
00:39:00,400 --> 00:39:01,319
Speaker 2: like the blood from me.

828
00:39:01,600 --> 00:39:02,040
Speaker 1: I'll tell you.

829
00:39:03,120 --> 00:39:03,680
Speaker 2: We're ten.

830
00:39:03,800 --> 00:39:06,520
Speaker 1: Okay, at ten points, Okay, there we go. Okay, all right,

831
00:39:06,600 --> 00:39:09,080
Speaker 1: round three, round, last round. See if you can get

832
00:39:09,120 --> 00:39:13,480
Speaker 1: ten points. Let's see orange.

833
00:39:13,800 --> 00:39:19,440
Speaker 2: Okay, we can do oranges. You could do Uh no,

834
00:39:19,480 --> 00:39:20,360
Speaker 2: that's not orange.

835
00:39:21,360 --> 00:39:23,719
Speaker 1: You mean pumpkin? Is that?

836
00:39:24,400 --> 00:39:24,600
Speaker 2: Yeah?

837
00:39:24,719 --> 00:39:26,520
Speaker 1: Did you mean six different types of squads?

838
00:39:26,640 --> 00:39:33,400
Speaker 2: Yes, chloral fum, squash, squashes, squash, squash, orange. And if

839
00:39:33,400 --> 00:39:36,319
Speaker 2: I would have read those ingredients on my niece's coloring thing,

840
00:39:36,320 --> 00:39:38,160
Speaker 2: I probably would have got all those. It was like

841
00:39:38,160 --> 00:39:39,680
Speaker 2: a vegan some organic.

842
00:39:39,960 --> 00:39:42,200
Speaker 1: When you walk in drinking the green smoothie. I was like, Oh,

843
00:39:42,239 --> 00:39:43,239
Speaker 1: he's definitely gonna get this.

844
00:39:43,360 --> 00:39:46,200
Speaker 2: No, this is people to think I'm man.

845
00:39:46,440 --> 00:39:48,320
Speaker 1: And you know, the last thing we definitely want to

846
00:39:48,360 --> 00:39:52,680
Speaker 1: talk about is eternal seeds. You're doing so many things

847
00:39:52,719 --> 00:39:55,600
Speaker 1: for so many parts of the community, but you mentioned

848
00:39:55,600 --> 00:39:57,600
Speaker 1: to us you wanted to talk about eternal seeds. So

849
00:39:57,880 --> 00:40:01,000
Speaker 1: let our listeners know what what is eternal seeds and

850
00:40:01,040 --> 00:40:02,040
Speaker 1: why is it so important to you?

851
00:40:02,239 --> 00:40:05,279
Speaker 2: Yeah, internal seeds is like where we've been focusing all

852
00:40:05,320 --> 00:40:09,000
Speaker 2: our efforts into investing in the creative community of New Orleans,

853
00:40:09,120 --> 00:40:12,680
Speaker 2: especially young and emerging artists of color. This idea that

854
00:40:13,239 --> 00:40:15,279
Speaker 2: for so many people in New Orleans is is that

855
00:40:15,320 --> 00:40:18,680
Speaker 2: thing like that creative space, that imagination incubator, whatever you

856
00:40:18,680 --> 00:40:21,840
Speaker 2: want to call it. But there are people who extract

857
00:40:21,840 --> 00:40:24,160
Speaker 2: that and say, Okay, I like these things, I like

858
00:40:24,239 --> 00:40:26,400
Speaker 2: these elements, I'm going to extract it. But we realize

859
00:40:26,440 --> 00:40:29,680
Speaker 2: we have a responsibility to toil in the ground to

860
00:40:29,760 --> 00:40:32,120
Speaker 2: make sure the ground is fertile for flowers to grow.

861
00:40:32,680 --> 00:40:34,600
Speaker 2: Like I use that analogy earlier, but as a rapper

862
00:40:34,600 --> 00:40:37,440
Speaker 2: who said, what's more important the flower or the soil

863
00:40:37,520 --> 00:40:39,719
Speaker 2: that grew it? And what are we doing? What is

864
00:40:39,760 --> 00:40:41,200
Speaker 2: the work that we're doing to make sure that the

865
00:40:41,360 --> 00:40:44,320
Speaker 2: soil there's fertile grounds from new talent, new creativity to

866
00:40:44,400 --> 00:40:48,160
Speaker 2: grow and thrive, be sustainable, to be successful. So what

867
00:40:48,200 --> 00:40:51,200
Speaker 2: does that look like practically? That's workshops at summer camps,

868
00:40:51,239 --> 00:40:55,200
Speaker 2: that's creating opportunities, grants for artists, for creatives and just

869
00:40:55,239 --> 00:40:57,400
Speaker 2: making it so that a story like myself, which was

870
00:40:57,480 --> 00:41:01,040
Speaker 2: wild and meandering and confusing and organic, how do we

871
00:41:01,080 --> 00:41:03,560
Speaker 2: make sure that it doesn't have to be that way

872
00:41:03,600 --> 00:41:05,359
Speaker 2: for the next person? Right? How do we make sure

873
00:41:05,360 --> 00:41:07,600
Speaker 2: that we pave that ground that the mud that we

874
00:41:07,640 --> 00:41:09,080
Speaker 2: got it out of, and we say, oh, I got

875
00:41:09,080 --> 00:41:10,759
Speaker 2: it out the mud. How do we make sure it

876
00:41:10,760 --> 00:41:12,600
Speaker 2: doesn't have to be that way for the next person? Yeah,

877
00:41:12,640 --> 00:41:14,960
Speaker 2: And that's what Eternal Seas is about. Look us up

878
00:41:14,960 --> 00:41:18,839
Speaker 2: eternal seeds dot com. If you love anything about New Orleans' creativity,

879
00:41:19,080 --> 00:41:20,920
Speaker 2: invest in the future, you know, I.

880
00:41:20,880 --> 00:41:24,719
Speaker 1: Mean, donate, contribute, volunteer, definitely volunteer all the things. All Right, Well,

881
00:41:24,840 --> 00:41:26,680
Speaker 1: y'all are ever in New Orleans, I know a lot

882
00:41:26,719 --> 00:41:29,319
Speaker 1: of y'all. Wherever y'all live in this country, y'all gonna

883
00:41:29,320 --> 00:41:31,360
Speaker 1: be visiting and partying and doing all that. Yeah, But

884
00:41:31,360 --> 00:41:33,719
Speaker 1: if you're gonna come and party and stuff, go to

885
00:41:33,760 --> 00:41:36,800
Speaker 1: Eternal Seeds dot com and spend a couple hours somewhere

886
00:41:36,840 --> 00:41:39,560
Speaker 1: to do something nice for the community here. We really

887
00:41:39,800 --> 00:41:42,040
Speaker 1: always need that kind of support, especially the youth that

888
00:41:42,040 --> 00:41:42,719
Speaker 1: are growing up here.

889
00:41:42,760 --> 00:41:43,880
Speaker 2: So appreciate that.

890
00:41:43,880 --> 00:41:46,799
Speaker 1: This has been an absolute honor. I cannot stress enough

891
00:41:46,840 --> 00:41:49,520
Speaker 1: how excited this I got goosebumps. I mean we even

892
00:41:49,560 --> 00:41:52,000
Speaker 1: waiting for this for a while. Thank you for taking

893
00:41:52,000 --> 00:41:53,839
Speaker 1: time to be on Flaky biscuits.

894
00:41:53,480 --> 00:41:55,279
Speaker 2: Now, thank you for inviting me. This is fun. I

895
00:41:55,280 --> 00:41:57,279
Speaker 2: appreciate you making this meal bringing me back.

896
00:41:57,280 --> 00:42:00,400
Speaker 1: I appreciate that, all right, all right, the appreciate thank you,

897
00:42:00,600 --> 00:42:11,120
Speaker 1: thank you, Thank y'all so so so much for listening

898
00:42:11,239 --> 00:42:14,640
Speaker 1: once again. Man, I love y'all support. If you want

899
00:42:14,640 --> 00:42:17,880
Speaker 1: the recipe for my version of taco rice, find that

900
00:42:18,000 --> 00:42:21,719
Speaker 1: recipe on shondaland dot com. This recipe was new to me.

901
00:42:21,880 --> 00:42:24,000
Speaker 1: It's in fact, this dish was new to me. I

902
00:42:24,040 --> 00:42:26,719
Speaker 1: never knew about it. So I'm really curious as to

903
00:42:26,840 --> 00:42:29,880
Speaker 1: how y'all are gonna do. Tag me at artists and Brian,

904
00:42:29,960 --> 00:42:33,480
Speaker 1: tag B Mike at B Mike two C and of course,

905
00:42:33,680 --> 00:42:37,560
Speaker 1: please don't forget to tag shondaland post those photos videos

906
00:42:38,040 --> 00:42:41,239
Speaker 1: you already know, send us messages, leave some comments, get

907
00:42:41,239 --> 00:42:43,600
Speaker 1: into that discord and chat with everyone else, Chat with

908
00:42:43,600 --> 00:42:47,480
Speaker 1: our other listeners about how y'all are doing with this recipe.

909
00:42:47,840 --> 00:42:50,560
Speaker 1: And I think the best advice I can give make

910
00:42:50,600 --> 00:42:53,040
Speaker 1: that protein nice in season whatever it is that you

911
00:42:53,120 --> 00:42:55,440
Speaker 1: choose get a nice I'm not always a fan of

912
00:42:55,440 --> 00:42:58,239
Speaker 1: this package taco seasoning, but you can make your own

913
00:42:58,320 --> 00:43:02,600
Speaker 1: by using like cayam pepper, pepper, white pepper, black pepper, salt.

914
00:43:02,640 --> 00:43:04,680
Speaker 1: And you know what I'm saying. So just get creative,

915
00:43:04,760 --> 00:43:06,880
Speaker 1: make sure you season it up nice and make a

916
00:43:06,960 --> 00:43:11,200
Speaker 1: nice comfaning bowl. Don't forget to look up Eternal Seeds

917
00:43:11,360 --> 00:43:14,880
Speaker 1: at eternalseeds dot com. You can find their website and

918
00:43:15,040 --> 00:43:17,200
Speaker 1: all the handles I've mentioned in the show notes for

919
00:43:17,239 --> 00:43:22,160
Speaker 1: this episode. If you like Flaky Biscuit all right, if

920
00:43:22,160 --> 00:43:26,600
Speaker 1: you like flaky layers and delicious morsels of nostalgia, then

921
00:43:26,640 --> 00:43:31,959
Speaker 1: you know what to do. Leave us a beautiful rating, review, Share, subscribe,

922
00:43:32,120 --> 00:43:35,000
Speaker 1: tell the whole world, scream it from the rooftops. If

923
00:43:35,040 --> 00:43:38,080
Speaker 1: you're driving to work and you want to hear something delicious,

924
00:43:38,360 --> 00:43:41,600
Speaker 1: put on Flaky Biscuit. Thank you so much for joining guys.

925
00:43:42,360 --> 00:43:46,280
Speaker 1: Flaky Biscuit is executive produced by Sandy Bailey, alex Alja,

926
00:43:46,680 --> 00:43:51,640
Speaker 1: Lauren Homan, Tyler Klang, and Gabrielle Collins. Our creative producer

927
00:43:51,719 --> 00:43:54,600
Speaker 1: is Bridget Kenna, and our editor and producer is Nicholas

928
00:43:54,600 --> 00:43:58,160
Speaker 1: Harder with music by Crucial. Recipes from Flaky Biscuit can

929
00:43:58,200 --> 00:44:02,279
Speaker 1: be found each week on Shondaland. Subscribe to the Shondaland

930
00:44:02,280 --> 00:44:09,560
Speaker 1: YouTube channel for more Flaky Biscuit content. Flaky Biscuit is

931
00:44:09,560 --> 00:44:13,239
Speaker 1: a production of Shondaland Audio in partnership with iHeartRadio. For

932
00:44:13,320 --> 00:44:18,480
Speaker 1: more podcasts from Shondaland Audio, visit the iHeartRadio app, Apple Podcasts,

933
00:44:18,760 --> 00:44:20,400
Speaker 1: or wherever you listen to your favorite shows.