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Speaker 1: Quest Love Supreme is a production of iHeartRadio, Good People,

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Speaker 1: part of People in the Place. But this is Quest

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Speaker 1: Love Supreme, great episode today. I call it the Summit

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Speaker 1: Meeting episode our two guests. Is definitely what the doctor ordered.

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Speaker 1: And you always hear of titans meaning to collaborate, but

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Speaker 1: they never do or sometimes titans get together, and in

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Speaker 1: my opinion, the results is uh, you know, quasi diminish returns.

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Speaker 1: I won't name any names, but I will say that's

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Speaker 1: not the case for the project known as the Auditorium

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Speaker 1: Volume one, which I believe I guess off the top,

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Speaker 1: I can say that the Auditorium Volume one is it's

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Speaker 1: a fifteen song journey that fits like a hand in glove,

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Speaker 1: as if these two were collaborating all their lives, you know,

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Speaker 1: the we're all soul beats, the witty lyricism. But it's

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Speaker 1: also shows you how much they've matured in their three

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Speaker 1: decades in the game, because this is probably, in my opinion,

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Speaker 1: one of the most soulful offerings that Pete has offered.

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Speaker 1: And you know, as far as Commons lyricism is concerned,

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Speaker 1: you know, I love the fact that, in addition to

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Speaker 1: his couples, you know he's adding in dashes of metaphysical

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Speaker 1: talking there, which is of course, you know, it's the

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Speaker 1: result of growing up, you know what I mean of adulting.

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Speaker 1: That's what I say. I believe that this particular album

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Speaker 1: will spark a renaissance because you know, there's also the

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Speaker 1: Primo Nas album to come out soon everyone's waiting for.

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Speaker 1: I hear all this talk about the Snoop and Dre

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Speaker 1: album and how incredible it is, and of course Daylight

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Speaker 1: is also collaborating with Primo and Pete and not to

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Speaker 1: be outdone. You know, my band has been sitting on

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Speaker 1: the sidelines watching all this zactn't happening, and you know.

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Speaker 2: It's made us so yeah, let's go.

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Speaker 1: Oh, I will say it is made to reek Into

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Speaker 1: wrote seven songs in one day. We have not done

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Speaker 1: that since our second album. This is not about us.

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Speaker 1: This is about our guest today, welcome Common p Rock

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Speaker 1: two Supreme Beats.

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Speaker 3: Can I just say, I know it's not about that today,

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Speaker 3: but it sounds like the fiftieth has birthed a lot, right,

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Speaker 3: because I know A birthed y'all two.

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Speaker 4: But those other projects that a Mire mentioned nose sound

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Speaker 4: like that all happened.

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Speaker 3: At the same time.

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Speaker 2: Yeah, yeah, Well the fiftieth I can't say it birthed

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Speaker 2: me and Pete, but it was like I heard Kareem

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Speaker 2: Riggins that played me some peak beats like during the pandemic,

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Speaker 2: and I was like, man, I gotta get out with Pete.

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Speaker 2: So I reached out to him and he was We

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Speaker 2: was connected. But I will say that the fiftieth just

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Speaker 2: made me realize how much people love this culture and

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Speaker 2: it is really alive. It's for people like what I

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Speaker 2: Miya said, it's people that come out with stuff and

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Speaker 2: we don't say all that ain't that ain't what we

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Speaker 2: like or whatever Peter say it in on Life. For sure,

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Speaker 2: Pete don't play, but cats, you know, didn't come out

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Speaker 2: and say, man, we really really looking for the hip

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Speaker 2: hop that we loved. But the fifty did that. It

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Speaker 2: kind of just reinvigorated and like recharged and just kind

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Speaker 2: of made me remember how much I loved this music.

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Speaker 2: So it was like Pete was, it was divine timing.

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Speaker 2: As far as I'm concerned, Pete, can you.

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Speaker 3: Talk about I feel like I want to hear more

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Speaker 3: from you when it comes to the fiftieth two and

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Speaker 3: what that meant for you in that journey of last year.

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Speaker 5: I mean for me, it was great because I have

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Speaker 5: so much experience and before I even started doing music

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Speaker 5: and being successful with that, I had so much early experience,

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Speaker 5: you know, in hip hop. So for the fiftieth to come,

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Speaker 5: the celebration was so like deeply loved. And I'm the

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Speaker 5: type of person that that's so dedicated to what I

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Speaker 5: do because I love it passionately, you know what I mean.

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Speaker 5: And so everything that came with the fiftieth celebration, you know, afterwards,

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Speaker 5: being calm and hooked up and here we are today

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Speaker 5: and we made this album and it's a great, great album,

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Speaker 5: and I think it will inspire people for sure.

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Speaker 1: Before hip hop, the idea of a young person having

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Speaker 1: an opinion or a point of view, you know, as

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Speaker 1: kids were often taught to speak when spoken to minds

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Speaker 1: your business, not have an opinion. And you know a

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Speaker 1: lot of that is not just like you know parents

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Speaker 1: who in the finger thing. You know, a lot of

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Speaker 1: that is just post emit till trauma, like not draw

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Speaker 1: attention to yourself so that you don't get killed or hurt.

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Speaker 1: And then hip hop comes along. Suddenly the opinions of

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Speaker 1: a teenager, the opinions of a young person matters, and suddenly,

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Speaker 1: you know, we saw this ass like a young man's game,

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Speaker 1: like kids, you know what I mean, like if you're

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Speaker 1: between seventeen and thirty six when you say matters. Even

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Speaker 1: though I put hip hop in the five year timeline

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Speaker 1: in my book, I feel like we're the first generation

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Speaker 1: in hip hop that will be able to define adulting

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Speaker 1: in a way that won't seem like an eye roll

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Speaker 1: or an eye sore, you know, because there's nothing more

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Speaker 1: than watching like your longtime favorites try to get back

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Speaker 1: in the game, and no, this is like all types

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Speaker 1: of music, all genres of music, you know. You know,

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Speaker 1: I've been very vocal about my princes opinions on the internet,

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Speaker 1: So that's an example of like, okay, well he rides

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Speaker 1: to the level where you know those first ten years

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Speaker 1: where everything was unbeatable. You know, I've had opinions on that,

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Speaker 1: but I will say that I think this album is

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Speaker 1: a great example of how to be yourself and still

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Speaker 1: sound like fresh. You know, I commend to both of you.

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Speaker 3: It was an answer back to what Andre said about

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Speaker 3: there's nothing else to talk about. I was like, rash

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Speaker 3: found all this stuff. I mean, what are you saying?

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Speaker 2: Like, well, you know I love Dre three Thoullars. Yeah,

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Speaker 2: but everybody is you know where they are. It's times

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Speaker 2: in raphell. I was like, man, what am I going

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Speaker 2: to say? But then I just got spark man. I mean,

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Speaker 2: it's like to be honest. Tarik is one of the

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Speaker 2: people that like consistently reminds me that, man, this is infinite.

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Speaker 2: Like he said something to me at the Ruth's Picnic

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Speaker 2: ten years ago. I was like, man, I've been stuck.

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Speaker 2: He was like, Nigga just rap man. He was like,

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Speaker 2: you didn't put all these years in just rap. That

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Speaker 2: always stuck with me. But I mean, I think what

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Speaker 2: you said is super important. Like you know, for years

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Speaker 2: we have been like just for survival reasons from you know,

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Speaker 2: the slave trauma just taught to be like okay, not

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Speaker 2: say too much. And but hip hop gave us that

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Speaker 2: that thing to say, like like hip hop for me,

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Speaker 2: I mean, I guess for all of us gave us

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Speaker 2: a way to find and express ourselves in ways Like

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Speaker 2: I was, I'm saying things in rap that I even

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Speaker 2: don't even know. I felt. It's almost like my own therapy.

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Speaker 2: Sometimes when I hear my songs, I'm like, man, I

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Speaker 2: said that, I feel that. And it also gave me

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Speaker 2: my Muhammad Ali, my way to be Muhammad Ali. Muhammad

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Speaker 2: Ali was always one of my heroes because man, he

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Speaker 2: was just speaking like I'm bold, I'm beautiful, I'm black.

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Speaker 2: It was like speaking things into existence, and he had

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Speaker 2: a higher purpose. And I was like, man, that's what

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Speaker 2: rap started to do for me as I started to

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Speaker 2: find myself. But I want to say that what you're

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Speaker 2: saying about growing older, it was it was a scary thought.

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Speaker 2: It first to be like, man, what am I gonna

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Speaker 2: do in my thirties and forties, Like that's what I

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Speaker 2: used to think. And we just didn't know because we

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Speaker 2: didn't We are that generation and thank god, some of

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Speaker 2: the things that I was just looking at all of us,

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Speaker 2: I was like, man, we great. I'm grateful that we

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Speaker 2: had some of the things that our parents taught us.

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Speaker 2: But we discovered new things, whether it's eating healthy, whether

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Speaker 2: it's therapy, whether it's you know, just meditation, just all

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Speaker 2: these new.

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Speaker 3: Things rediscovered and acted like it was new because all

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Speaker 3: that stuff you just mentioned, there you go.

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Speaker 2: There, you go that is very true, Like you could

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Speaker 2: probably go to ancient comedic things and we knew these things.

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Speaker 2: So so that being said, rediscovering it, but the fact

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Speaker 2: that we applying that allows us to like stay like

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Speaker 2: not just young, because it's like, now, hey, I'm fifty

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Speaker 2: two years old, but I still like spirit is young.

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Speaker 2: I'm taking care of myself and I'm also seeking to

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Speaker 2: grow as an artist. That's one thing I kind of

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Speaker 2: want to ask p and you I'm here, Like when

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Speaker 2: I heard peats beats, I'm here, you listen. We both

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Speaker 2: know that it could be producers that have come from

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Speaker 2: different eras a sound is in that era, right, I

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Speaker 2: heard piece beats. I was like this, dude, is this

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Speaker 2: is new?

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Speaker 5: This is like I don't like new pell reinvention, Pete.

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Speaker 2: How did you get to that point and not stay

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Speaker 2: in that era of like, Okay, I'm from that era

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Speaker 2: and I know what good is to me, but to

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Speaker 2: create like the sound and still feels fresh and new,

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Speaker 2: you know.

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Speaker 1: Part of me kind of wanted to hear one just

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Speaker 1: rhyming with biz reminder, like I was waiting for it,

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Speaker 1: like does that sound like gonna happen? Is it gonna happen?

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Speaker 5: I just kind of listened to all the new artists

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Speaker 5: and what they're doing and kind of like said, okay,

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Speaker 5: you know, let me step my game, hug. You know,

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Speaker 5: I'm like a band member, conductor, slash, you know, funk

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Speaker 5: dude in hip hop. Right, So I just kind of

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Speaker 5: added that with what they like, and then came with

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Speaker 5: some of the aura of the nineties and some of

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Speaker 5: what I do and something a little different from mixed in.

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Speaker 2: You know what I'm saying.

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Speaker 1: Well, one, okay, let me ask the questions so I

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Speaker 1: don't wake up the sleeping bear in the cave. From

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Speaker 1: a legal standpoint, from one to ten, how much of

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Speaker 1: a nightmare was it to bring this album to the public.

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Speaker 1: From a musical standpoint, that means so much cool? Okay,

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Speaker 1: So here's it all right, all right, let me bring

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Speaker 1: it down for year without so the thing that makes

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Speaker 1: this album special there's a period starting in ninety six

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Speaker 1: ninety seven in which like, first, I mean the idea

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Speaker 1: of chopping when you hear like, uh, producers like chopping

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Speaker 1: and flipping stuff. Mostly, I would say that flipping and

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Speaker 1: check and was kind of a way to really be creative.

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Speaker 1: In other words, like okay, hey, remember that old James

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Speaker 1: Brown sample that you've heard time and time again from

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Speaker 1: this rapper and that rapper, and this rapper and that

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Speaker 1: rapp and this rapper. Well, I'm going to present it

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Speaker 1: and jumble it up and reinvent it. And as at

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Speaker 1: first it was like for sport, but then I realized

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Speaker 1: after ninety seven, it's almost for survival. Because sometimes think

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Speaker 1: thing of like what gospel music was to our ancestors,

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Speaker 1: like to them, it is gospel music, but to us

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Speaker 1: it was GPS instructions on how to get freedom. So

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Speaker 1: a lot of our producer titans who made their name

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Speaker 1: in what we call a four bar loop, you know,

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Speaker 1: in other words, I'm going to take these six seconds

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Speaker 1: of a song and build the song on top of that,

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Speaker 1: suddenly they were forced to find other means to make

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Speaker 1: music because the clearance nightmare of it all just became

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Speaker 1: too much to deal with. So a lot of our

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Speaker 1: beloved producers of the Pete Rock Ilk, of the Large

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Speaker 1: Professor ilk, of the Tippin' aali ilk, you know, who

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Speaker 1: rely on loops, were sort of put in a position

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Speaker 1: where they had Some people made the adjustment, like Primo

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Speaker 1: has made the art of what we call stabbing. Stabbing

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Speaker 1: is if you take a part of a song and

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Speaker 1: it's that song is like an exclamation point or a

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Speaker 1: musical atomnopia, you know what I mean, Like taking a

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Speaker 1: noise where you don't know where it came from. Very

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Speaker 1: few producers can do that all day. But for a

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Speaker 1: lot of producers who made their name in loops, the

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Speaker 1: first thing I noticed in this album was like, holy shit,

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Speaker 1: Like some of these songs have two or three loops

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Speaker 1: on top, which can be quasi costly or whatever. So like,

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Speaker 1: how did it feel for you, Pete, to actually just

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Speaker 1: make a collection of music that was created in a

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Speaker 1: non defensive way, Like what was it like just to

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Speaker 1: be in that mind state of bringing the loop back?

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Speaker 5: Well, I exercised my air a whole lot just playing records,

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Speaker 5: you know what I'm saying, Just playing them over and

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Speaker 5: over and over again, and then just having that passion

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Speaker 5: to wanting to make music right because I was a

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Speaker 5: fan of Marley Maul and Nowie T and Teddy and

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Speaker 5: I wanted to always know who was the man behind

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Speaker 5: the music, you know what I'm saying, who was the

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Speaker 5: guy making it happen. And so with that passion and

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Speaker 5: ambition you know, I think that drove me to kind

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Speaker 5: of like, you know, make the loop and the drums

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Speaker 5: match the way I would want it, you know what

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Speaker 5: I'm saying. And it worked out, you know what I'm saying.

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Speaker 5: It worked out for me, and I just kept practicing that,

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Speaker 5: kept practicing that, and then boom, all of a sudden,

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Speaker 5: I got this, you know what I'm saying. And that's

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Speaker 5: how it happened for me. And then everything that came

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Speaker 5: to me was easy for me to do.

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Speaker 1: You know, so even in your spare time, like by

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Speaker 1: the time I got the game, not even by the

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Speaker 1: time I got the game, but by the time I

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Speaker 1: like got my first twelve hundred or whatever, you know,

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Speaker 1: it was already like I mean, by the time I

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Speaker 1: really felt like, okay, I'm making beats whatever, it was

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Speaker 1: like ninety eight ninety nine. So it's you know, you

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Speaker 1: Dilla pretty much like y'all were chopping shit. So my

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Speaker 1: entry was the chopping game and really relying on the

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Speaker 1: musicianship or the roots to fill in the blinks.

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Speaker 5: The chopping game came like mid hip hop, right because

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Speaker 5: now we was playing with it so much, we will

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Speaker 5: find in ways that sounded iller, you know, when you

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Speaker 5: did it either backwards or just did it like a

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Speaker 5: jigs or a puzzle and you just played around with this.

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Speaker 5: Oh oh oh, it just happened like that, you know.

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Speaker 5: And today with all equipment they got, now it's easier

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Speaker 5: and much faster. But like in the twelve hundred Days,

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Speaker 5: it was chops, right, it was chops. But we would

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Speaker 5: take the best parts that we knew would match and

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Speaker 5: just rock with those, you know what I'm saying.

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Speaker 1: So what is your preferred method of like building your

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Speaker 1: own instruments or the method of letting loops play out.

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Speaker 6: That's kind of what we was doing, you know, but

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Speaker 6: we was just doing it with the drum machine.

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Speaker 2: Man.

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Speaker 6: I know how to play bass with the drum machine

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Speaker 6: really good.

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Speaker 2: You know.

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Speaker 5: I know how to mock records really good. You know

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Speaker 5: that's come from my ear and exercising all the records

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Speaker 5: I heard in my life, and you know, learned how

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Speaker 5: to mock that, you know what I'm saying. With the

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Speaker 5: whether it was with the twelve or the NPC, you know,

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Speaker 5: I'm really good at that. But the guitar, I don't

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Speaker 5: know how to play the bass guitar. I don't know

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Speaker 5: how to play the guitar. But I definitely know it's

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Speaker 5: just like it comes like pluses for me, man, how

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Speaker 5: the bass go.

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Speaker 3: This is when I remind our audience to go back

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Speaker 3: in the QLs classics and listen to the Pete Rock episode.

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Speaker 1: Get to know it, get to know God. Don't remind

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Speaker 1: me of shut him down?

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Speaker 2: Man? All right?

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Speaker 1: So when Pete told the story of making public enemy

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Speaker 1: shut him down, which the shortest version was, he overslept,

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Speaker 1: he was late to the studio. He just looked on

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Speaker 1: the floor and you know the four records that made

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Speaker 1: that one remix, which that one remix?

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Speaker 6: I don't believe it.

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Speaker 1: Not only do I believe it, I've tested that theory,

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Speaker 1: and once I did the research on other songs, I

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Speaker 1: will say almost sixty percent of like the songs that

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Speaker 1: have have changed our lives or whatever, they were all afterthoughts.

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Speaker 1: Like seriously, when you when you said that, I thought

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Speaker 1: about you. You basically said, you late to the studio,

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Speaker 1: you saw four records on the floor, you picked it

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Speaker 1: up through this in and and hair what y'all think?

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Speaker 1: And it changed people's lives and what I realized. And

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Speaker 1: Quincy Jones also makes this part of his thing. He

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Speaker 1: has a thing called no paralysis through analysis. In other words,

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Speaker 1: the more you overthink some shit, the more you get paralyzed.

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Speaker 1: And you don't come up with results because you're overthinking it,

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Speaker 1: whereas you just do it. And that's when you're in

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Speaker 1: your natural state. And so suddenly, maybe like three weeks

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Speaker 1: after that interview, I got to wrap to Little Steven,

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Speaker 1: you know, guitarist of the East Street Band and you know,

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Speaker 1: on the Sopranos, and he was telling me like he's

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Speaker 1: obsessed with that theory. He's obsessed with songs that sold millions,

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Speaker 1: that were made in under five minutes. And literally he

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Speaker 1: he gave me a whole like glossary, Like he said,

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Speaker 1: Theisley Brothers had like ten minutes left in the studio,

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Speaker 1: they like spend the whole session on one song, and like,

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Speaker 1: well we got ten minutes left for hey, let's do

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Speaker 1: that church song. And then suddenly shall gets burn or

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Speaker 1: or I think they made tequila in like two minutes.

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Speaker 1: Some of the biggest songs of our lives were just

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Speaker 1: like do whatever one, two, three, four, and then like,

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Speaker 1: h So that theory works. I've been testing that all day.

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Speaker 5: You know, and that's I think I caught window of

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Speaker 5: it in my version. And then meeting James Brown when

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Speaker 5: I was seven years old, that probably did something.

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Speaker 1: To me, right that that night tell me about I

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Speaker 1: no tell us?

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Speaker 6: Oh, me and my younger brother.

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Speaker 5: My moms took us to a concert in New York

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Speaker 5: and mam vernon a place called the Left Bank, and

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Speaker 5: you know Lank Collins, I remember seeing her. I remember

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Speaker 5: seeing Bobby Bird and the JBS, and you know, during

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Speaker 5: the break of the show, you know, my mom said,

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Speaker 5: come with me, and she took us backstage to meet

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Speaker 5: James and he and he grabbed my hand and held

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Speaker 5: it and said, God bless you, and damn they pissed

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Speaker 5: on myself.

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Speaker 2: Bro.

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Speaker 6: My younger brother grab and you know, and and we

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Speaker 6: we were in disbelief.

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Speaker 2: You know.

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Speaker 1: I think that affected you for life. Yo. That was

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Speaker 1: like being annoyed. Look, wow, that's being annoyed, Yo.

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Speaker 2: That's annoyed. That was that was the golden touch. But

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Speaker 2: you know what that's the I mean when you were

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Speaker 2: just talking about that feeling, that natural stuff and the music,

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Speaker 2: I was just I can't help but think about James

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Speaker 2: Brown and that that that's in fay Line. All that

349
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Speaker 2: music is that and still to this day. Like one

350
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Speaker 2: of the lines that people say the most on the

351
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Speaker 2: song I did, I hadn't even written the line and

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Speaker 2: it's ticket tire tic a ticket to tie, And I'm like,

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Speaker 2: what what the hell is this? Like like people say

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Speaker 2: this to me like like I can wrap the whole

355
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Speaker 2: light and they might not know something. They know some

356
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Speaker 2: of the word talking about when I say that when

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Speaker 2: I put that, I put that mic out to the crowd,

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Speaker 2: they say that, it's like it just showed me that man,

359
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Speaker 2: that that was that not overthinking it and just allowing

360
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Speaker 2: it to come out is exactly what the music should be.

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Speaker 4: And Pete, I was just gonna say.

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Speaker 3: Sit there for a second on that James Brown and

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Speaker 3: that Failie tip too because of all these parallels, because

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Speaker 3: this album, when listening to the different messages and the

365
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Speaker 3: things that y'all are saying, it's.

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Speaker 2: A lot of parallels.

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Speaker 4: I was wondering if y'all realized, like how perfect it

368
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Speaker 4: is to day to hear.

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Speaker 3: That album, like to like y'all to day wow Wow,

370
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Speaker 3: like like Destiny, Hope, Faith Today.

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Speaker 5: I think we just didn't even think about nothing but

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Speaker 5: just doing what he liked. He picked beats, he liked,

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Speaker 5: and I was just like he had boom and he

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Speaker 5: came back with a full song and we just said

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Speaker 5: all right, we're gonna use this.

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Speaker 6: We're gonna use this, We're gonna use this, and came together.

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Speaker 1: Do you still have the basement?

378
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Speaker 6: Yes, oh, not in Mount Vernon, but it's up in

379
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Speaker 6: Rockland now.

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Speaker 1: Damn no more Mount Vernon basement.

381
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Speaker 2: But it's still but it's still got the vibe. It

382
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Speaker 2: got the vibe. Man. When I got out there, I

383
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Speaker 2: was like, so you physically had to go to his cribbing, Yeah,

384
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Speaker 2: physically into his crib and sat down and see first

385
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Speaker 2: thing I seen in there. I was like, you know

386
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Speaker 2: how certain things is just signs. I sat down, I

387
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Speaker 2: saw all his records and he had his dealer book

388
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Speaker 2: right there. It was like the deal of book was

389
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Speaker 2: right there, and his dog Joy was chilling, and I

390
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Speaker 2: was like, man, And people was playing beats and then

391
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Speaker 2: they would play some records and I was like, man,

392
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Speaker 2: this is what I always loved about making music, Like

393
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Speaker 2: being in the midst. I mean, you know, we being

394
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Speaker 2: in that studio and like so like to be around

395
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Speaker 2: Pete and just be sitting there like just vibing. We

396
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Speaker 2: started to talk about life. You know, that's how we

397
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Speaker 2: form brother That's why we're brothers now to this day.

398
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Speaker 2: Like I mean, because of what we formed in the

399
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Speaker 2: studio and outside of the studio. But then when we

400
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Speaker 2: in that space, it's like, man, that's when the music

401
00:22:11,240 --> 00:22:13,760
Speaker 2: starts to become just beautiful because it's just like we

402
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Speaker 2: going through the process.

403
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Speaker 4: How many records y'all go through in this moment you

404
00:22:17,840 --> 00:22:18,840
Speaker 4: went to the basement.

405
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Speaker 6: When you went to peace, I was just playing a

406
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Speaker 6: bunch of albums.

407
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Speaker 5: I was like, I knew I had some dope records,

408
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Speaker 5: and I was like pulling out the dopest ones I

409
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Speaker 5: could find, and it was like playing it for him.

410
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Speaker 6: Like, Yo, listen to this. He was like, Yo, you

411
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Speaker 6: gotta hook that one up. And I play him another one.

412
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Speaker 6: He was like, Yo, you gotta hook that one up.

413
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Speaker 6: Play them another one the same ship, you know what

414
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Speaker 6: I mean.

415
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Speaker 2: Like, and then sometimes you just send me videos and

416
00:22:41,960 --> 00:22:45,560
Speaker 2: you know, here be messing with a loop and it's

417
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Speaker 2: funny because I wish I could see it. It's like

418
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Speaker 2: you could see him bouncing to the beat on the problem.

419
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Speaker 2: You see some of those right, And it's like I

420
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Speaker 2: would hear it and be like, wow, this is this

421
00:22:58,040 --> 00:23:00,200
Speaker 2: is amazing. He just gave me the music is a

422
00:23:00,320 --> 00:23:02,800
Speaker 2: cool like ocean to do what I wanted to do.

423
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Speaker 2: Like all the experiences that we experienced in life, I

424
00:23:05,960 --> 00:23:08,720
Speaker 2: felt like, man, I'm free now. I ain't gotta like

425
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Speaker 2: I'm referencing Steve. I'm referencing the six million dollar man. Now.

426
00:23:12,680 --> 00:23:14,600
Speaker 2: I know, don't know young people know what the million

427
00:23:14,680 --> 00:23:19,200
Speaker 2: dollar man is, but who cares? Like I'm like, I'm

428
00:23:19,200 --> 00:23:21,600
Speaker 2: gonna be at MC and say the things and that's

429
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Speaker 2: I mean, coming up doing resurrection at Kennibar Dollar. I

430
00:23:25,080 --> 00:23:28,159
Speaker 2: wasn't thinking about like, man, does this person understand this?

431
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Speaker 3: And that.

432
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Speaker 2: I'm like, I'm referencing all this Chicago shit and just

433
00:23:31,320 --> 00:23:34,640
Speaker 2: saying stuff that my homies noses. So I was like, man,

434
00:23:34,720 --> 00:23:37,359
Speaker 2: let me be free and not try to try to

435
00:23:37,440 --> 00:23:40,960
Speaker 2: cater to to anybody like and just write and peak

436
00:23:41,040 --> 00:23:44,240
Speaker 2: the same way. Because at one point P said, yo, Ross,

437
00:23:44,320 --> 00:23:46,840
Speaker 2: you know I could do if you want something else,

438
00:23:46,880 --> 00:23:49,120
Speaker 2: I could give you something else, even a lot of music.

439
00:23:49,200 --> 00:23:53,080
Speaker 2: I said, no, no, no, I want loops. Looks a

440
00:23:53,160 --> 00:23:55,840
Speaker 2: big risk, bro, but we got through it. We do.

441
00:23:56,200 --> 00:24:00,159
Speaker 2: I want loops, chops whatever you know, like we're doing samples, bro, like,

442
00:24:00,280 --> 00:24:02,520
Speaker 2: let's do what we do and like being our home

443
00:24:02,680 --> 00:24:03,680
Speaker 2: life fell home.

444
00:24:03,600 --> 00:24:06,199
Speaker 1: To me by the way, Rosh. One of my favorite

445
00:24:06,200 --> 00:24:10,680
Speaker 1: apps on my iPhone is the inflation calculator. Today this

446
00:24:11,080 --> 00:24:13,840
Speaker 1: six million dollar Man would actually be the thirty million,

447
00:24:14,000 --> 00:24:16,840
Speaker 1: nine hundred and fifty eight thousand dollars man. So it's

448
00:24:16,880 --> 00:24:22,520
Speaker 1: good to know if we do the reboot forty million

449
00:24:22,520 --> 00:24:22,959
Speaker 1: dollar Man.

450
00:24:23,600 --> 00:24:29,000
Speaker 3: Yeah, basically calendar apples to start there an inflating calendar app.

451
00:24:29,240 --> 00:24:32,639
Speaker 1: Yeah, all the time I look at inflation calculators just

452
00:24:32,720 --> 00:24:35,720
Speaker 1: to see what what the price differences was. Wait, Pete,

453
00:24:35,760 --> 00:24:40,080
Speaker 1: so when we did the tonight show, you brought out

454
00:24:40,119 --> 00:24:46,680
Speaker 1: your inner DiAngelo by pulling out your scusy device, which

455
00:24:47,640 --> 00:24:51,720
Speaker 1: is something that I've not seen Stevens laugh.

456
00:24:51,880 --> 00:24:53,399
Speaker 6: Believe how many of them I have?

457
00:24:53,720 --> 00:24:53,800
Speaker 2: Bro?

458
00:24:54,119 --> 00:24:54,760
Speaker 4: What's the song?

459
00:24:55,240 --> 00:24:55,399
Speaker 2: Is that?

460
00:24:55,520 --> 00:25:00,320
Speaker 1: The like a zip drive? Yees discusy zip drive Like

461
00:25:01,280 --> 00:25:04,320
Speaker 1: so basically like I could make an album in this

462
00:25:04,480 --> 00:25:07,280
Speaker 1: iPhone of I want. That's how far like technology is

463
00:25:07,320 --> 00:25:10,080
Speaker 1: advanced where I can make beats on my phone now crazy,

464
00:25:10,320 --> 00:25:13,000
Speaker 1: But you know back in two thousand and two thousand

465
00:25:13,000 --> 00:25:15,560
Speaker 1: and one, you would have to buy zip drives, which

466
00:25:15,720 --> 00:25:18,359
Speaker 1: only holds a little bit of information and if you

467
00:25:18,480 --> 00:25:22,320
Speaker 1: brought a scuzzy I mean that can can hold maybe

468
00:25:23,920 --> 00:25:25,959
Speaker 1: maybe half a terra byte, you know what I mean.

469
00:25:26,080 --> 00:25:29,000
Speaker 1: I mean, of course, now on our mac Book pros,

470
00:25:29,520 --> 00:25:32,119
Speaker 1: you can rule the world on your computer. But I

471
00:25:32,200 --> 00:25:36,119
Speaker 1: wanted to know, like, what is your preferred method of

472
00:25:36,440 --> 00:25:39,399
Speaker 1: creating joints? Like what did you use primarily on this album?

473
00:25:40,880 --> 00:25:44,800
Speaker 1: The NPC two thousand XL So you graduated to the

474
00:25:44,840 --> 00:25:45,560
Speaker 1: two thousand XCEL.

475
00:25:45,720 --> 00:25:47,400
Speaker 6: Yeah, I'm on the X now.

476
00:25:47,760 --> 00:25:52,359
Speaker 5: I'm on the new X standard with the stems and everything,

477
00:25:52,840 --> 00:25:55,760
Speaker 5: and I'm still learning it. And I got some nice

478
00:25:55,800 --> 00:25:59,359
Speaker 5: beats on it now, but I'm still learning it. You know,

479
00:25:59,560 --> 00:26:02,960
Speaker 5: I want to get it mastered before I start doing so.

480
00:26:03,040 --> 00:26:06,879
Speaker 1: I was going to say, because now it's to me,

481
00:26:07,119 --> 00:26:08,680
Speaker 1: I think it's going to be a breathless race of

482
00:26:08,720 --> 00:26:11,399
Speaker 1: the finish now that we have technology that will allow

483
00:26:11,520 --> 00:26:15,720
Speaker 1: you to remove drums if you want to, or just

484
00:26:15,760 --> 00:26:18,240
Speaker 1: take the baseline if you want to, because I know

485
00:26:18,280 --> 00:26:22,320
Speaker 1: there's always like that one sample, like say your love

486
00:26:22,359 --> 00:26:25,600
Speaker 1: for the Ohio players, you know, if you can find

487
00:26:25,640 --> 00:26:30,480
Speaker 1: a way to sort of astract the Juni Marrison's ad

488
00:26:30,560 --> 00:26:34,639
Speaker 1: libs off of song and just have the bass alone.

489
00:26:34,720 --> 00:26:35,520
Speaker 1: And you know what I mean.

490
00:26:35,640 --> 00:26:38,119
Speaker 5: Like, I'm gonna give you a great example of this,

491
00:26:39,040 --> 00:26:44,480
Speaker 5: Fortunate the song on the Auditorium volume on song Fortunate

492
00:26:44,560 --> 00:26:49,560
Speaker 5: We Did. How I got to be was Brazilian record

493
00:26:50,000 --> 00:26:52,960
Speaker 5: played it. Listen to a part where I heard some

494
00:26:53,440 --> 00:26:56,880
Speaker 5: bass and some things going on. I said, imagine the vocals.

495
00:26:57,200 --> 00:26:59,080
Speaker 5: So I put it in my laptop. Put it in

496
00:26:59,160 --> 00:27:02,000
Speaker 5: my laptop, I got the stems on my on my

497
00:27:02,080 --> 00:27:05,639
Speaker 5: Serado thing and all I did was take the the

498
00:27:05,760 --> 00:27:07,000
Speaker 5: vocal out and I got to beat.

499
00:27:07,680 --> 00:27:09,760
Speaker 1: See, I don't feel alone now, see Steve, I'm not

500
00:27:09,880 --> 00:27:10,440
Speaker 1: the only one.

501
00:27:10,680 --> 00:27:12,680
Speaker 5: But but people wouldn't know where to loop it. So

502
00:27:12,760 --> 00:27:17,280
Speaker 5: I looked at it. Yeah, I looped it in the

503
00:27:17,359 --> 00:27:20,639
Speaker 5: right place and I was like, boom, wow, this is crazy.

504
00:27:20,880 --> 00:27:23,159
Speaker 5: I had the singing going on in there. Then I

505
00:27:23,240 --> 00:27:24,240
Speaker 5: took the singing out.

506
00:27:24,119 --> 00:27:28,199
Speaker 4: And I was like, so, I screaming, okay, do another one.

507
00:27:28,240 --> 00:27:31,600
Speaker 1: Look down. No, it's it's a game changer.

508
00:27:31,680 --> 00:27:31,800
Speaker 2: Yo.

509
00:27:32,160 --> 00:27:36,359
Speaker 5: I was thinking, oh, a lot of ship And I

510
00:27:36,560 --> 00:27:39,960
Speaker 5: sent it to him and I used the drums everything

511
00:27:40,119 --> 00:27:41,600
Speaker 5: in that loop, the drums.

512
00:27:41,640 --> 00:27:44,840
Speaker 6: I just brought the drums out. That's the that's the

513
00:27:45,000 --> 00:27:45,479
Speaker 6: racket bro.

514
00:27:46,160 --> 00:27:49,119
Speaker 1: That method is game changing where you know, I mean

515
00:27:49,160 --> 00:27:51,639
Speaker 1: there's other you know, there's Ableton and all that stuff,

516
00:27:52,200 --> 00:27:55,040
Speaker 1: but for me, like I just put the join in

517
00:27:55,119 --> 00:27:58,840
Speaker 1: my serado. It's so old school, but all right. So

518
00:27:59,160 --> 00:28:02,359
Speaker 1: I talked to the Beastie Boys once and I didn't

519
00:28:02,400 --> 00:28:05,800
Speaker 1: realize if you listen to that entire Paul's Boutique album,

520
00:28:06,920 --> 00:28:12,919
Speaker 1: they did zero programming. They literally, one by one they

521
00:28:12,960 --> 00:28:16,240
Speaker 1: would perfectly loop a drum track as their first track.

522
00:28:17,119 --> 00:28:20,439
Speaker 1: You know, each song on Paul's Boutique was easily somewhere

523
00:28:20,520 --> 00:28:25,080
Speaker 1: between eight to sometimes fifteen samples, you know, And I'm

524
00:28:25,080 --> 00:28:26,680
Speaker 1: thinking they did it the regular way where they just

525
00:28:26,720 --> 00:28:29,920
Speaker 1: put inside the drum machine and programmed it that way.

526
00:28:30,119 --> 00:28:34,000
Speaker 1: Allah the Bomb Squad Nah, they literally would just take

527
00:28:34,160 --> 00:28:37,760
Speaker 1: pieces all the records and loop them all together perfectly

528
00:28:38,880 --> 00:28:41,960
Speaker 1: and then just auto edit it, which is the wildest

529
00:28:41,960 --> 00:28:43,800
Speaker 1: way in my opinion, to make an album.

530
00:28:43,960 --> 00:28:47,800
Speaker 6: But you know, it can be done. It could be done.

531
00:28:48,240 --> 00:28:48,959
Speaker 6: I've seen it too.

532
00:28:49,400 --> 00:28:52,440
Speaker 1: It could be done. So Rash, I wanted to ask you,

533
00:28:52,640 --> 00:28:55,920
Speaker 1: so there's a point for the roots. In twenty ten,

534
00:28:56,640 --> 00:28:59,640
Speaker 1: Rich challenged us to make what he called the Midlife

535
00:28:59,640 --> 00:29:05,360
Speaker 1: Crisis record. Yeah, where you know, no rapper wants to

536
00:29:05,560 --> 00:29:09,600
Speaker 1: talk about like being at a crossroads in their life

537
00:29:09,760 --> 00:29:13,880
Speaker 1: or you know, the feeling of growing up or anything

538
00:29:13,960 --> 00:29:18,640
Speaker 1: that would even remotely remind your audience that I'm not

539
00:29:18,720 --> 00:29:20,080
Speaker 1: a twenty year old anymore.

540
00:29:20,880 --> 00:29:21,120
Speaker 2: Yeah.

541
00:29:21,560 --> 00:29:26,600
Speaker 1: Lyrically, how like, how did you wrestle with what exactly

542
00:29:27,080 --> 00:29:30,800
Speaker 1: you wanted to bring across on the album in terms

543
00:29:30,880 --> 00:29:36,400
Speaker 1: of your themes? And as Laia mentioned on so many people.

544
00:29:36,600 --> 00:29:38,360
Speaker 2: This was one of the albums I had the least

545
00:29:38,440 --> 00:29:42,400
Speaker 2: wrestling to do. And I think the freedom came about

546
00:29:42,520 --> 00:29:45,360
Speaker 2: because once again, like being at the four tour and

547
00:29:45,440 --> 00:29:48,840
Speaker 2: seeing like a stadium full of people, I'm like, man,

548
00:29:48,880 --> 00:29:52,240
Speaker 2: it's people out there that want this. And also I

549
00:29:52,400 --> 00:29:55,040
Speaker 2: was also like I did a couple I did a

550
00:29:55,120 --> 00:29:58,920
Speaker 2: freestyle on on the la Leakers, and I got more

551
00:29:59,080 --> 00:30:01,200
Speaker 2: calls about that any album I put out in the

552
00:30:01,280 --> 00:30:04,640
Speaker 2: past ten years. So I was like, my I mean,

553
00:30:04,680 --> 00:30:07,440
Speaker 2: you know, and I part of my gauge, my research

554
00:30:07,520 --> 00:30:08,600
Speaker 2: is when my homies called me.

555
00:30:09,920 --> 00:30:11,520
Speaker 1: It reaches them, then you know it's real.

556
00:30:12,760 --> 00:30:15,680
Speaker 2: That's when I know I'm doing something like they call

557
00:30:15,760 --> 00:30:18,360
Speaker 2: me like yo ros that's dope, or they like a man,

558
00:30:19,040 --> 00:30:20,880
Speaker 2: I might have to remind them I got something out,

559
00:30:20,920 --> 00:30:22,960
Speaker 2: but when they really like something, they.

560
00:30:22,720 --> 00:30:25,440
Speaker 1: Hitting me up like yo, So what do they say

561
00:30:25,440 --> 00:30:26,120
Speaker 1: about this album?

562
00:30:26,440 --> 00:30:29,240
Speaker 2: This is one of my best albums ever. Some said

563
00:30:29,280 --> 00:30:32,120
Speaker 2: that it is my best and some was like, man,

564
00:30:32,200 --> 00:30:35,880
Speaker 2: I can't believe you all made a classic in this era.

565
00:30:36,320 --> 00:30:39,720
Speaker 2: But I mean, let's be clear. First, I want to

566
00:30:39,760 --> 00:30:42,800
Speaker 2: give you yours, because man, you were the first person

567
00:30:42,880 --> 00:30:46,520
Speaker 2: I sent the album to outside of me Pete and

568
00:30:46,760 --> 00:30:49,920
Speaker 2: Jamie and people that was recording like basically.

569
00:30:50,160 --> 00:30:54,120
Speaker 1: And I mean how hard it was to keep that secret? Yea,

570
00:30:54,440 --> 00:30:56,840
Speaker 1: I remember literal least the first week he was like, hey, man,

571
00:30:56,920 --> 00:30:58,040
Speaker 1: don't leave the ship and.

572
00:30:59,600 --> 00:31:01,160
Speaker 2: What the we know?

573
00:31:01,240 --> 00:31:03,600
Speaker 4: A mire And it's okay, we know because.

574
00:31:05,600 --> 00:31:12,720
Speaker 2: I'm you Listen, I'm here is the best friend promo

575
00:31:12,920 --> 00:31:16,320
Speaker 2: person you could ever have, meaning he ain't gonna let

576
00:31:16,360 --> 00:31:18,120
Speaker 2: it lead to the public, but he go get into

577
00:31:18,120 --> 00:31:21,320
Speaker 2: the right people. I saw that FaceTime you had with Preemo,

578
00:31:25,880 --> 00:31:29,760
Speaker 2: like little snippets, but that got the buzz going. It

579
00:31:29,800 --> 00:31:32,760
Speaker 2: ain't nothing like letting if I'm here feeling it. Yeah,

580
00:31:32,880 --> 00:31:35,400
Speaker 2: but let me tell you the first thing, I'm here

581
00:31:35,480 --> 00:31:37,720
Speaker 2: text me when he heard the album. But this is

582
00:31:37,760 --> 00:31:39,959
Speaker 2: what first of all, I was sending it to him

583
00:31:40,000 --> 00:31:41,840
Speaker 2: to listen to it because I want him to sequence

584
00:31:42,200 --> 00:31:44,920
Speaker 2: the album. I want him to have that input. And

585
00:31:45,440 --> 00:31:48,360
Speaker 2: and the first thing he said to me was, damn,

586
00:31:48,720 --> 00:31:51,920
Speaker 2: I can't believe y'all did this ship like I was.

587
00:31:52,160 --> 00:31:55,080
Speaker 2: He was like, yo, y'all, he was like, I got

588
00:31:55,360 --> 00:31:58,080
Speaker 2: total confidence and people, right, I got total confidence in you.

589
00:31:58,480 --> 00:32:02,640
Speaker 2: But this is beyond what I thought it's because.

590
00:32:02,880 --> 00:32:04,640
Speaker 4: What's the part of me? Is it because of the label?

591
00:32:04,640 --> 00:32:06,600
Speaker 3: Because I was curious too, like the label part of it,

592
00:32:06,720 --> 00:32:08,680
Speaker 3: because I mean, I know as an artist, you know,

593
00:32:08,760 --> 00:32:11,200
Speaker 3: everybody got their opinions on your ship. But it seems

594
00:32:11,280 --> 00:32:13,800
Speaker 3: like this time y'all didn't have to worry about that

595
00:32:14,000 --> 00:32:14,440
Speaker 3: part of it.

596
00:32:15,200 --> 00:32:20,040
Speaker 1: Right, Yeah, I don't, man. See the last time I

597
00:32:20,240 --> 00:32:24,120
Speaker 1: offered my two cents about a hip hop opinion, that

598
00:32:24,160 --> 00:32:28,040
Speaker 1: shit started trending on Twitter. Okay, So wait, I will

599
00:32:28,120 --> 00:32:31,480
Speaker 1: say this because I think that they even agree with it.

600
00:32:31,840 --> 00:32:38,320
Speaker 1: All right, another no, no, no, listen Okay. In the

601
00:32:38,440 --> 00:32:42,880
Speaker 1: case of Steel Dre, that's a great example of jay

602
00:32:42,960 --> 00:32:46,640
Speaker 1: Z and Doctor Dre working together. However, jay Z and

603
00:32:46,760 --> 00:32:50,840
Speaker 1: Doctor Dre have worked three or four times together, and

604
00:32:51,800 --> 00:32:54,320
Speaker 1: I don't know if it's the pressure. It's almost like

605
00:32:54,360 --> 00:32:57,920
Speaker 1: an All Star game. It's it's it's like if you're

606
00:32:57,960 --> 00:33:03,000
Speaker 1: gonna have Kobe and Jordan ann Iverson and Magic Johnson

607
00:33:03,680 --> 00:33:07,440
Speaker 1: and Shack. I mean, I'm just randomly naming. I'm surprised

608
00:33:07,480 --> 00:33:09,960
Speaker 1: Steve's not starting pressed now. I'm impressed.

609
00:33:10,280 --> 00:33:10,560
Speaker 2: Thank you.

610
00:33:12,240 --> 00:33:14,760
Speaker 1: All day, keep going, thank you anyway. I love the

611
00:33:14,880 --> 00:33:21,160
Speaker 1: sports anyway. The point was that their collaborations on Kingdom

612
00:33:21,280 --> 00:33:25,720
Speaker 1: come and it didn't yield the magic that it should

613
00:33:25,760 --> 00:33:28,600
Speaker 1: have yielded. But I think that's almost with every artist,

614
00:33:28,760 --> 00:33:31,640
Speaker 1: Like when Stevie Wonder and Michael Jackson got together on

615
00:33:31,760 --> 00:33:33,720
Speaker 1: the Bad Album that wound up being the.

616
00:33:36,040 --> 00:33:37,880
Speaker 6: Exactly right right.

617
00:33:42,680 --> 00:33:44,960
Speaker 1: I feel like it's too much pressure when two gods

618
00:33:45,080 --> 00:33:48,240
Speaker 1: get together and you don't know because it's never gonna

619
00:33:48,240 --> 00:33:50,200
Speaker 1: be fifty to fifty. It's going to be either sixty

620
00:33:50,320 --> 00:33:52,400
Speaker 1: forty or seventy thirty, Like you don't know what it's

621
00:33:52,440 --> 00:33:55,600
Speaker 1: going to be. And for me, this album, like I

622
00:33:55,720 --> 00:33:58,960
Speaker 1: was just shocked that y'all probably got fifty to fifty

623
00:33:59,040 --> 00:34:03,440
Speaker 1: on it, like m to me, it it established and

624
00:34:03,720 --> 00:34:07,280
Speaker 1: and and reinvented Pete wait. I got to ask you,

625
00:34:07,480 --> 00:34:11,600
Speaker 1: ro did Electronica have any influence on your floor with that.

626
00:34:12,000 --> 00:34:15,120
Speaker 2: Let me say this, Jay Electronica has had some influence

627
00:34:15,160 --> 00:34:17,880
Speaker 2: on me because he's dope, so it is inspired. I

628
00:34:17,920 --> 00:34:19,799
Speaker 2: get inspired, but I hadn't. I wasn't listening to him.

629
00:34:19,800 --> 00:34:22,080
Speaker 2: It was strictly that beat, and I was just having fun.

630
00:34:22,080 --> 00:34:25,160
Speaker 2: I was actually riding from I was riding from Peace Kriby.

631
00:34:25,280 --> 00:34:27,879
Speaker 2: It just gave me the beat and then and then

632
00:34:28,560 --> 00:34:30,920
Speaker 2: you know, I was just riding home and them rhymes

633
00:34:31,000 --> 00:34:33,480
Speaker 2: came to me like she knew me from the city.

634
00:34:33,960 --> 00:34:37,800
Speaker 2: She knew I was fitty, she had power and maybe

635
00:34:37,880 --> 00:34:40,120
Speaker 2: some sense like Citty, let's go up.

636
00:34:40,960 --> 00:34:44,879
Speaker 1: But that's what I'm saying. Like any other MC would

637
00:34:44,920 --> 00:34:51,480
Speaker 1: have just smothered the track with as much wordplay, the flex.

638
00:34:51,640 --> 00:34:55,000
Speaker 1: But the fact that you did couplets and only asked

639
00:34:55,000 --> 00:34:58,320
Speaker 1: about Jay Electronica because a lot on his album that

640
00:34:58,360 --> 00:35:02,680
Speaker 1: he released in the Pandemic, he would allow himself to

641
00:35:02,840 --> 00:35:05,600
Speaker 1: do a couplet like couplets and spaces and all that stuff,

642
00:35:05,640 --> 00:35:11,200
Speaker 1: which usually mcs MCS, especially rock him, influence them. Seeds

643
00:35:11,280 --> 00:35:15,040
Speaker 1: got to like make sure they pack in every ounce

644
00:35:15,080 --> 00:35:18,879
Speaker 1: of space with words. And the fact that you were

645
00:35:18,960 --> 00:35:22,319
Speaker 1: just playful with it. That to means the magic place, man, So.

646
00:35:22,680 --> 00:35:26,920
Speaker 2: Listen, I gotta say all this experience like for me,

647
00:35:27,160 --> 00:35:31,040
Speaker 2: like doing the like water for Chopper's doing the electric circuits,

648
00:35:31,320 --> 00:35:34,920
Speaker 2: doing universal mind, like wrapping over different type of things.

649
00:35:35,360 --> 00:35:37,560
Speaker 2: I'm learning and I'm seeking. I want to be better,

650
00:35:37,680 --> 00:35:41,400
Speaker 2: so I don't like over wrapping stuff. I know at

651
00:35:41,480 --> 00:35:44,600
Speaker 2: times I can overwrap, like and U MC's getting caught

652
00:35:44,680 --> 00:35:46,919
Speaker 2: up in like I gotta be cool g on this shit.

653
00:35:47,080 --> 00:35:50,759
Speaker 2: So let me you know. But I'm I'd rather be

654
00:35:51,120 --> 00:35:53,759
Speaker 2: just an instrument. I'd rather be Maurice White or Q

655
00:35:53,960 --> 00:35:56,480
Speaker 2: Tip or you know, like I want to be an

656
00:35:56,600 --> 00:36:00,200
Speaker 2: instrument to it. Like like so I just now I

657
00:36:00,360 --> 00:36:03,200
Speaker 2: just try to just allow the music to inspire me

658
00:36:03,320 --> 00:36:05,480
Speaker 2: and get me going, you know. I mean I did

659
00:36:05,520 --> 00:36:07,759
Speaker 2: the music. The music always inspire me. But now I

660
00:36:07,840 --> 00:36:11,239
Speaker 2: think because of certain experienses, I know where the one is.

661
00:36:11,800 --> 00:36:12,640
Speaker 2: I know where the one is.

662
00:36:12,760 --> 00:36:22,920
Speaker 1: I mean, hey, I'm here, guess what four songs? You

663
00:36:23,000 --> 00:36:24,840
Speaker 1: don't know where the one is. But I'll let that go.

664
00:36:27,640 --> 00:36:30,920
Speaker 6: Where the one is at. That's the thing.

665
00:36:32,840 --> 00:36:33,279
Speaker 2: I'm saying.

666
00:36:33,320 --> 00:36:34,879
Speaker 6: Me and the men know where the one is at.

667
00:36:36,920 --> 00:36:38,799
Speaker 5: You don't know a big deal to teach somebody where

668
00:36:38,840 --> 00:36:40,920
Speaker 5: it's really at Like I just wanted to show him

669
00:36:40,920 --> 00:36:44,040
Speaker 5: where it was really at so he gets a past.

670
00:36:44,160 --> 00:36:47,399
Speaker 2: You know, I'm I'm there. We had like, we had

671
00:36:47,960 --> 00:36:49,880
Speaker 2: that song called there is a Guy That's on the

672
00:36:50,000 --> 00:36:54,440
Speaker 2: on the album I wrapped in a different space and

673
00:36:54,600 --> 00:36:58,160
Speaker 2: Pete after a while, I was like, bro, that ain't

674
00:36:58,200 --> 00:37:00,360
Speaker 2: where the rhyme should be. And I'm was like, bro,

675
00:37:00,520 --> 00:37:03,040
Speaker 2: this is where it's supposed to be. Me and PJ.

676
00:37:03,239 --> 00:37:06,080
Speaker 2: PJ wrote the hook. This girl PJ, who was incredible,

677
00:37:06,160 --> 00:37:09,440
Speaker 2: she this is what I said, this is where it is.

678
00:37:10,080 --> 00:37:12,719
Speaker 2: And he was like, bro, I made the beat. I'm

679
00:37:12,800 --> 00:37:17,000
Speaker 2: from the school of James Brown. I know where to wan. Yo.

680
00:37:17,320 --> 00:37:22,919
Speaker 2: We was going back and forth, Man, want this song?

681
00:37:23,080 --> 00:37:23,640
Speaker 1: Do you come in?

682
00:37:23,840 --> 00:37:24,799
Speaker 4: Does he come in on the one?

683
00:37:25,600 --> 00:37:27,640
Speaker 5: He didn't come in and on the one at first

684
00:37:27,960 --> 00:37:31,040
Speaker 5: at first, but you fixed it so that, yeah, I

685
00:37:31,120 --> 00:37:33,520
Speaker 5: can understand because he's not the only one that I've

686
00:37:33,600 --> 00:37:36,400
Speaker 5: dealt with that come in where they come in. And

687
00:37:37,480 --> 00:37:40,200
Speaker 5: sometimes that's cool when you just make anything type of

688
00:37:40,280 --> 00:37:42,480
Speaker 5: beat and you just like I just just just go

689
00:37:42,840 --> 00:37:43,360
Speaker 5: just eat it.

690
00:37:43,920 --> 00:37:47,359
Speaker 6: But at this this is our album. So I'm like, yo, hey,

691
00:37:47,440 --> 00:37:49,480
Speaker 6: go to one right here. It's right here. He's like, nah,

692
00:37:50,520 --> 00:37:52,680
Speaker 6: I wrote it like this. I'm like, but that's not

693
00:37:52,800 --> 00:37:53,600
Speaker 6: We're the one for.

694
00:37:55,239 --> 00:37:55,680
Speaker 2: Where it's that.

695
00:37:56,080 --> 00:37:58,239
Speaker 5: So then it went A couple of days went by,

696
00:37:58,800 --> 00:38:00,640
Speaker 5: A couple of days went by, say, yo, you know what,

697
00:38:00,680 --> 00:38:02,680
Speaker 5: I'm gonna try it chill away. I'm gonna try it

698
00:38:02,760 --> 00:38:05,440
Speaker 5: chill away. Then he sent it back the way it's

699
00:38:05,440 --> 00:38:07,120
Speaker 5: supposed to be, and I said, they go to the

700
00:38:07,200 --> 00:38:07,680
Speaker 5: song right.

701
00:38:07,600 --> 00:38:11,359
Speaker 4: There, And he said, and you said what I mean,

702
00:38:11,440 --> 00:38:12,359
Speaker 4: I guess that's good.

703
00:38:12,920 --> 00:38:14,719
Speaker 2: I was like, I said, you don't you know what?

704
00:38:14,920 --> 00:38:17,320
Speaker 2: You lived with it. You have to live right. I

705
00:38:17,360 --> 00:38:19,239
Speaker 2: did have to live with it. But there's been many

706
00:38:19,320 --> 00:38:23,040
Speaker 2: sessions where i'mre and James playing and they was like, rash,

707
00:38:23,400 --> 00:38:25,040
Speaker 2: the one is here, man, don't be.

708
00:38:27,000 --> 00:38:29,080
Speaker 4: You would have learned that on that Electric Circus is something.

709
00:38:29,320 --> 00:38:31,719
Speaker 1: No, don't give James them props. James on know where

710
00:38:31,760 --> 00:38:36,320
Speaker 1: the one is either, So yes, yo ps.

711
00:38:36,400 --> 00:38:38,160
Speaker 3: I just want to say I'm glad y'all said the

712
00:38:38,239 --> 00:38:40,440
Speaker 3: title of that song because shout out to a girl.

713
00:38:40,480 --> 00:38:42,200
Speaker 3: I didn't know what accent she was saying God in,

714
00:38:42,440 --> 00:38:44,319
Speaker 3: But y'all know that's an interesting way of saying there

715
00:38:44,400 --> 00:38:46,320
Speaker 3: is a there's a business.

716
00:38:46,600 --> 00:38:54,400
Speaker 2: Yeah, that's some real. That's some real Chicago slash Southern

717
00:38:54,760 --> 00:38:57,360
Speaker 2: slash church. God, there's a god. God.

718
00:38:57,760 --> 00:38:59,520
Speaker 4: I knew y'all did that purposely. I was like, y'all,

719
00:38:59,640 --> 00:39:01,680
Speaker 4: y'all made her say, y'all say it like you say

720
00:39:01,719 --> 00:39:02,120
Speaker 4: it at home.

721
00:39:02,280 --> 00:39:06,600
Speaker 2: Okay, it was the south side Chicago. Yeah, that's what I'm.

722
00:39:06,440 --> 00:39:07,719
Speaker 4: Saying, you say it at home.

723
00:39:09,760 --> 00:39:12,440
Speaker 1: So the album title, why did you give it the

724
00:39:12,520 --> 00:39:17,200
Speaker 1: title the auditorium? And also what was the significance behind

725
00:39:18,440 --> 00:39:22,120
Speaker 1: using King's Theater in BK as your album cover?

726
00:39:22,920 --> 00:39:27,000
Speaker 2: Well, auditorium listening, I was watching Smokey Robinson in an

727
00:39:27,040 --> 00:39:29,719
Speaker 2: interview and he was talking about how he first wrote

728
00:39:29,760 --> 00:39:33,680
Speaker 2: his first song and how it was no music. I mean,

729
00:39:33,719 --> 00:39:35,480
Speaker 2: it was just music, it was no lyrics, and they

730
00:39:35,560 --> 00:39:38,239
Speaker 2: was about to perform and they was in the auditorium

731
00:39:38,280 --> 00:39:40,160
Speaker 2: and he was like asked his teacher could he write

732
00:39:40,239 --> 00:39:42,880
Speaker 2: some words to it. That's how he began songwriting. And

733
00:39:43,000 --> 00:39:47,640
Speaker 2: I was thinking, like, man, auditorium, Like that's where I

734
00:39:47,719 --> 00:39:50,719
Speaker 2: started my first Like I got my first performance off too,

735
00:39:50,920 --> 00:39:53,600
Speaker 2: like I was. It was breakdancing, but it was in

736
00:39:53,680 --> 00:39:56,440
Speaker 2: my school auditorium and that's where I was part of

737
00:39:56,520 --> 00:39:59,080
Speaker 2: a play at and Then later that day I rode

738
00:39:59,160 --> 00:40:02,480
Speaker 2: past past the place this sit it was called auditorium,

739
00:40:02,520 --> 00:40:05,120
Speaker 2: and I was like something about that word. I just liked,

740
00:40:05,400 --> 00:40:07,719
Speaker 2: Like when I when I'm choosing titles, I like the

741
00:40:08,080 --> 00:40:11,200
Speaker 2: sonically first, Like I mean how they sound like like

742
00:40:11,320 --> 00:40:13,719
Speaker 2: water for chocolate or be like I wanted to. I

743
00:40:14,000 --> 00:40:16,920
Speaker 2: like titles to sound like books sometimes too, like, So

744
00:40:17,080 --> 00:40:20,480
Speaker 2: I was like, the auditorium, Ah, that could be dope.

745
00:40:21,000 --> 00:40:22,520
Speaker 2: I kind of felt like it would be a place

746
00:40:22,600 --> 00:40:26,160
Speaker 2: where we would invite people to our auditorium musically, like

747
00:40:26,320 --> 00:40:29,080
Speaker 2: just so they can enjoy our art. But listen, the

748
00:40:29,200 --> 00:40:33,480
Speaker 2: story goes, we get this title. Pete does his ad

749
00:40:33,560 --> 00:40:36,160
Speaker 2: libs on Dreaming, and I'm super geek, like, I'm like,

750
00:40:36,239 --> 00:40:38,759
Speaker 2: I got Pete rock ad libs. This is amazing, right

751
00:40:39,320 --> 00:40:43,080
Speaker 2: Like on a Dreaming he says the Auditorium twenty four

752
00:40:43,200 --> 00:40:45,840
Speaker 2: the auditorium, So this is like I'm gonna say he

753
00:40:45,840 --> 00:40:47,880
Speaker 2: love the title, but he knew that was the title

754
00:40:48,000 --> 00:40:52,480
Speaker 2: of the album. Fast forward four months later, Pete calling, hey, Man,

755
00:40:52,480 --> 00:40:59,160
Speaker 2: I don't like the title the Auditorium no more. He said, Man,

756
00:40:59,480 --> 00:41:04,120
Speaker 2: I don't think we can't call it the auditorial. I'm like, oh, no, man,

757
00:41:04,280 --> 00:41:07,880
Speaker 2: please brood you want to call it.

758
00:41:08,280 --> 00:41:11,520
Speaker 5: No, I can't say the titles because they're so dope

759
00:41:11,920 --> 00:41:15,880
Speaker 5: somebody might steal it. But I had had a different

760
00:41:15,960 --> 00:41:19,120
Speaker 5: title for it, and then, you know, we were going

761
00:41:19,160 --> 00:41:21,239
Speaker 5: back and forth about the title, and then, you know,

762
00:41:21,719 --> 00:41:23,600
Speaker 5: like the men we are, we just sat with it

763
00:41:23,680 --> 00:41:25,800
Speaker 5: for a little bit and I saw his way in it,

764
00:41:26,080 --> 00:41:27,839
Speaker 5: you know, and I said, you know what, as long

765
00:41:27,880 --> 00:41:30,600
Speaker 5: as we could put volume one on the end of

766
00:41:30,680 --> 00:41:32,799
Speaker 5: it so they'll know something more is coming.

767
00:41:33,280 --> 00:41:33,800
Speaker 6: Rights.

768
00:41:34,680 --> 00:41:37,000
Speaker 1: It worked out, though, You're not going to pull a

769
00:41:37,120 --> 00:41:40,240
Speaker 1: haul on oas though, and never put out a part two? Yeah, exactly.

770
00:41:42,320 --> 00:41:43,920
Speaker 4: How many records you already got on the part too?

771
00:41:43,960 --> 00:41:45,040
Speaker 4: How many records put the part to you?

772
00:41:45,080 --> 00:41:45,960
Speaker 3: I know y'all already got some.

773
00:41:46,440 --> 00:41:48,920
Speaker 5: I can't be sitting on his music no more. So

774
00:41:49,120 --> 00:41:50,879
Speaker 5: you know, I'm ready to give it to the world.

775
00:41:51,160 --> 00:41:55,320
Speaker 5: But we already started dibbling and dabbling right now. He

776
00:41:55,440 --> 00:41:58,920
Speaker 5: just sent me something today like ye to remind me Pete.

777
00:41:58,640 --> 00:42:00,840
Speaker 1: I got I got a question now wanted to ask you,

778
00:42:01,080 --> 00:42:06,600
Speaker 1: so premiere, actually let me hear it. I always wanted

779
00:42:06,640 --> 00:42:09,280
Speaker 1: to know what do you do with the fail beats?

780
00:42:09,880 --> 00:42:10,000
Speaker 2: Oh?

781
00:42:10,040 --> 00:42:13,800
Speaker 1: You know what I mean? And Premiere has, Like I

782
00:42:13,920 --> 00:42:17,719
Speaker 1: asked him, like, do you sometimes, like you know, when

783
00:42:17,719 --> 00:42:20,840
Speaker 1: you're driving, do you do you hear drill music or

784
00:42:21,239 --> 00:42:23,880
Speaker 1: a trap joint and be like, all right, let me

785
00:42:23,920 --> 00:42:26,880
Speaker 1: try to sit I'll see what I do. Yeah, so

786
00:42:27,280 --> 00:42:32,560
Speaker 1: Premiere gave me six. He gave me six very un

787
00:42:34,000 --> 00:42:39,160
Speaker 1: premiere sounding joints, like straight up like eight oweight, drum machines,

788
00:42:39,320 --> 00:42:44,800
Speaker 1: keyboards like whatever whatever elements that makes a primo. He

789
00:42:44,920 --> 00:42:50,000
Speaker 1: took away. And you know it's weird, like I would

790
00:42:50,000 --> 00:42:54,200
Speaker 1: say that at least for them. Joints sounded like, you know,

791
00:42:54,280 --> 00:42:58,279
Speaker 1: I'm a I'm a big, big, big Loosens fan, you

792
00:42:58,360 --> 00:43:03,520
Speaker 1: know what I mean. So it came off more like

793
00:43:03,600 --> 00:43:06,399
Speaker 1: his eight to eight joints sounded more like some loose

794
00:43:06,480 --> 00:43:11,200
Speaker 1: and shit and so like for you to challenge yourself,

795
00:43:11,280 --> 00:43:13,480
Speaker 1: do you ever like have a thing where it's like,

796
00:43:13,520 --> 00:43:18,000
Speaker 1: all right, well let me learn, Like have you ever said,

797
00:43:18,000 --> 00:43:19,560
Speaker 1: all right, let me see if I can make trap

798
00:43:19,760 --> 00:43:22,880
Speaker 1: ord that sort of thing you have eight o eight

799
00:43:22,960 --> 00:43:23,600
Speaker 1: beats and ship.

800
00:43:24,000 --> 00:43:24,200
Speaker 2: Yeah.

801
00:43:24,360 --> 00:43:25,960
Speaker 5: I used to play around in the crib all the

802
00:43:26,040 --> 00:43:29,319
Speaker 5: time just to see, you know, not to you know, pinch,

803
00:43:29,520 --> 00:43:31,840
Speaker 5: just to pinch myself to make sure like you know,

804
00:43:32,080 --> 00:43:33,680
Speaker 5: I can do what they're doing.

805
00:43:33,960 --> 00:43:35,919
Speaker 6: It's it's as simple as cake.

806
00:43:36,080 --> 00:43:38,800
Speaker 5: So I like to play around in the crib, and

807
00:43:38,960 --> 00:43:41,879
Speaker 5: sometimes I'll play around to the point where I really

808
00:43:42,000 --> 00:43:44,800
Speaker 5: make something, you know what I'm saying, Like, like I

809
00:43:44,960 --> 00:43:48,320
Speaker 5: really make some fly shit and I'm like, yo, you know,

810
00:43:49,000 --> 00:43:50,840
Speaker 5: trying to put it out or give it to somebody

811
00:43:50,920 --> 00:43:51,360
Speaker 5: to here.

812
00:43:51,400 --> 00:43:54,480
Speaker 1: Or so while I'm asking, do you think you'll ever

813
00:43:54,560 --> 00:43:59,640
Speaker 1: make an avant garde, unpeat rock sounding album like a project?

814
00:43:59,760 --> 00:44:00,400
Speaker 2: Well, I say a.

815
00:44:00,440 --> 00:44:02,800
Speaker 5: Little bit of that, as like all the peastrumentals you

816
00:44:02,880 --> 00:44:05,000
Speaker 5: ever heard, all the instrumental albums you ever heard, those

817
00:44:05,040 --> 00:44:07,040
Speaker 5: are kind of not I wouldn't say failed beats, but

818
00:44:07,200 --> 00:44:08,439
Speaker 5: just beats that weren't used.

819
00:44:09,680 --> 00:44:11,480
Speaker 1: Yeah, but there's still non factor beats.

820
00:44:12,120 --> 00:44:13,720
Speaker 6: Yeah, you can still call him non factor.

821
00:44:13,880 --> 00:44:17,800
Speaker 1: Yeah, but I'm talking about just like crazy shit, like

822
00:44:18,040 --> 00:44:21,720
Speaker 1: five to four meters shit, or you know, using drums

823
00:44:21,760 --> 00:44:23,880
Speaker 1: you would never ever use in this Like Okay, So

824
00:44:24,120 --> 00:44:29,680
Speaker 1: for this new roots album, Ashley's Roads clip to Me, yea,

825
00:44:30,360 --> 00:44:34,239
Speaker 1: if you take rock him out the factor, Yeah, Ashlete's

826
00:44:34,280 --> 00:44:38,839
Speaker 1: roachs clip to Me was never a desirable break beat,

827
00:44:39,239 --> 00:44:43,840
Speaker 1: even though it's a classic break beat Ashley's Roads clip

828
00:44:44,000 --> 00:44:46,680
Speaker 1: is the drum break that we know is Peyton full,

829
00:44:47,040 --> 00:44:53,120
Speaker 1: but it's also pm Dorn's breakbeat Emf's unbelievable like girl,

830
00:44:53,200 --> 00:44:53,879
Speaker 1: you know it's true.

831
00:44:54,440 --> 00:44:57,680
Speaker 5: One thing about I learned from mally mal is how

832
00:44:57,719 --> 00:45:01,920
Speaker 5: he his music to make it sound hella different. You know,

833
00:45:02,320 --> 00:45:06,200
Speaker 5: they take in piece the president drums and make it

834
00:45:06,320 --> 00:45:11,320
Speaker 5: sound totally different from the bridge. Right, Eric beats for President.

835
00:45:11,600 --> 00:45:14,439
Speaker 5: It sounds totally different from the bridge. They don't sound

836
00:45:14,520 --> 00:45:16,399
Speaker 5: the same. You ever listen to that, You ever really

837
00:45:16,480 --> 00:45:17,400
Speaker 5: listen to the difference?

838
00:45:17,680 --> 00:45:21,040
Speaker 1: Yeah, And he's he's presented and peached the President in

839
00:45:21,160 --> 00:45:23,360
Speaker 1: ways that just sound different.

840
00:45:23,719 --> 00:45:25,600
Speaker 5: And that's what I learned from him, which is hella

841
00:45:25,680 --> 00:45:29,120
Speaker 5: important for hip hop and for you know, producers to

842
00:45:29,280 --> 00:45:32,200
Speaker 5: know is to like how to disguise your music.

843
00:45:32,800 --> 00:45:36,640
Speaker 1: So what's what's the one drum break that you feel

844
00:45:36,880 --> 00:45:40,800
Speaker 1: is the the mountain that has not been fully climbed

845
00:45:40,880 --> 00:45:44,640
Speaker 1: yet in terms of like flipping or like for me,

846
00:45:44,760 --> 00:45:46,400
Speaker 1: for all the for all the allure.

847
00:45:47,000 --> 00:45:47,759
Speaker 6: I tell people that.

848
00:45:50,120 --> 00:45:52,440
Speaker 1: Okay, well I'll ask you for all the legend and

849
00:45:52,560 --> 00:45:57,680
Speaker 1: the allure that we credit funky drummer to me. Impeach

850
00:45:57,760 --> 00:46:01,959
Speaker 1: the President is the most used beat because a piece

851
00:46:01,960 --> 00:46:04,560
Speaker 1: of the President me is almost like meat and potatoes,

852
00:46:04,719 --> 00:46:09,000
Speaker 1: like the basic elements, whereas Funky Drummer to me is

853
00:46:09,040 --> 00:46:15,640
Speaker 1: almost like it's sushi. It's well depending on your palette. Yeah,

854
00:46:16,080 --> 00:46:21,200
Speaker 1: it's high art, delicious food that is not for everybody.

855
00:46:20,880 --> 00:46:24,279
Speaker 6: Right, right, you're right about You're right about that.

856
00:46:24,719 --> 00:46:28,279
Speaker 1: So like, have you have you ever figured out a

857
00:46:28,400 --> 00:46:32,160
Speaker 1: way Well, I'm about to ask you fake and Jax

858
00:46:32,800 --> 00:46:34,520
Speaker 1: not even fake no, no, no, not even with the

859
00:46:34,560 --> 00:46:36,520
Speaker 1: meats President. I was about to say with Funky Drummer,

860
00:46:36,560 --> 00:46:40,560
Speaker 1: but I totally forgot about your first ep. You successfully

861
00:46:40,640 --> 00:46:44,320
Speaker 1: flipped Funky Drummer. I forgot, like you're the one person.

862
00:46:44,160 --> 00:46:46,240
Speaker 6: That actually did it, yep, just a snap.

863
00:46:46,760 --> 00:46:50,719
Speaker 1: So yeah, like, for you, what's the one taboo break

864
00:46:50,800 --> 00:46:53,320
Speaker 1: beat that you have yet to flip and be like?

865
00:46:53,360 --> 00:46:54,839
Speaker 1: All right, I'm a damn.

866
00:46:55,120 --> 00:46:57,560
Speaker 6: It's just such a choice. It's hard to just pick one,

867
00:46:57,600 --> 00:46:58,240
Speaker 6: but I'm gonna.

868
00:46:58,040 --> 00:47:00,840
Speaker 4: Pick one real hard with nobody else could do it,

869
00:47:02,120 --> 00:47:02,480
Speaker 4: you see.

870
00:47:02,760 --> 00:47:04,400
Speaker 1: Yeah, but even if he does it, he does it,

871
00:47:04,560 --> 00:47:08,640
Speaker 1: like right, that's true, that's true break b I mean

872
00:47:08,760 --> 00:47:11,080
Speaker 1: some of you wouldn't tell, like Boogie Back or two

873
00:47:11,160 --> 00:47:12,319
Speaker 1: thousand and one, or.

874
00:47:13,160 --> 00:47:16,719
Speaker 5: I'll say boogie back, but then I also say substitution.

875
00:47:17,320 --> 00:47:22,080
Speaker 5: Really yeah, yeah, but I mean just from like that's

876
00:47:22,120 --> 00:47:23,080
Speaker 5: been used a lot too.

877
00:47:23,719 --> 00:47:26,239
Speaker 1: It's been used a lot. I would figure that there's

878
00:47:26,280 --> 00:47:31,719
Speaker 1: some other break that you know is your that you

879
00:47:31,840 --> 00:47:33,120
Speaker 1: haven't climbed that mountain.

880
00:47:32,920 --> 00:47:34,920
Speaker 4: Yet, But amir, is there one that you would like

881
00:47:34,960 --> 00:47:35,239
Speaker 4: to hear?

882
00:47:35,840 --> 00:47:39,520
Speaker 5: Maybe funkin delic all right, good old music? This is

883
00:47:39,640 --> 00:47:43,359
Speaker 5: Connections album I used. I've been chopping that. I've been

884
00:47:43,400 --> 00:47:44,359
Speaker 5: chopping good old music.

885
00:47:44,800 --> 00:47:46,840
Speaker 6: Really yeah. If you listen to see.

886
00:47:46,719 --> 00:47:49,440
Speaker 1: It's too much reverb on it for me to even consider.

887
00:47:49,680 --> 00:47:53,799
Speaker 1: Like usually if a session is dry, then I feel

888
00:47:53,840 --> 00:47:55,200
Speaker 1: like you can flip it on your own. But if

889
00:47:55,200 --> 00:47:57,520
Speaker 1: it's so much reverb on there, Okay, yes, I know

890
00:47:57,600 --> 00:47:59,320
Speaker 1: there's a lot of inside baseball.

891
00:47:58,960 --> 00:48:01,399
Speaker 6: Speak on here. Sorry, I've been chopping that up. There's

892
00:48:01,520 --> 00:48:03,040
Speaker 6: so many ways to do it, so.

893
00:48:03,680 --> 00:48:12,920
Speaker 1: Damn okay, Pete. Before we wrap up tour wise, how

894
00:48:12,960 --> 00:48:15,239
Speaker 1: are you guys doing the rest of this year? Like

895
00:48:15,360 --> 00:48:16,799
Speaker 1: you're working on the tour.

896
00:48:18,360 --> 00:48:21,720
Speaker 2: Yeah, we're going out on tour starting in late August.

897
00:48:22,040 --> 00:48:24,480
Speaker 2: You know, we're gonna hit the Bluenow Festival and then

898
00:48:24,520 --> 00:48:29,120
Speaker 2: we just touring the stage. We start with Robbing Allan

899
00:48:29,280 --> 00:48:33,200
Speaker 2: and Napa and what's so dope? We we had our

900
00:48:33,239 --> 00:48:38,440
Speaker 2: first show in Brooklyn, but like summer stage in Brooklyn

901
00:48:38,520 --> 00:48:41,880
Speaker 2: and Von King yeah right yeah, and it was it

902
00:48:42,000 --> 00:48:44,680
Speaker 2: was super dope because it's like we're get the rock

903
00:48:44,760 --> 00:48:46,800
Speaker 2: to the classic joints. We were rocking new joints. But

904
00:48:46,920 --> 00:48:49,719
Speaker 2: for me to be on stage and Pete rockets shut

905
00:48:49,800 --> 00:48:52,160
Speaker 2: them down, remix I love that Rode love you know,

906
00:48:52,320 --> 00:48:56,359
Speaker 2: jump around and created. We were going through joints man.

907
00:48:56,440 --> 00:48:59,520
Speaker 2: So the tour it's gonna be crazy. I'm Pete also

908
00:48:59,640 --> 00:49:01,560
Speaker 2: gonna be up on the on the stage with the

909
00:49:01,640 --> 00:49:05,359
Speaker 2: empty all doing doing some of it live. Yo, were

910
00:49:05,360 --> 00:49:08,440
Speaker 2: gonna yo, you know, DJ Dummy will be rocking, but

911
00:49:08,520 --> 00:49:10,680
Speaker 2: Pete go out the drummer. See. We wanted to feel

912
00:49:10,719 --> 00:49:13,040
Speaker 2: like the basement by the way, I mean you you

913
00:49:13,120 --> 00:49:15,200
Speaker 2: lit the idea up for the Jimmy Fallon. Bro. That

914
00:49:15,320 --> 00:49:18,040
Speaker 2: joint came off so crazy for the tonight's show that

915
00:49:18,719 --> 00:49:21,359
Speaker 2: I know how many calls about that performance for uh,

916
00:49:21,680 --> 00:49:23,840
Speaker 2: when the Sun Shines Again? Bro, that was like.

917
00:49:25,640 --> 00:49:27,759
Speaker 1: I felt like y'all made that in the basement, you

918
00:49:27,800 --> 00:49:28,319
Speaker 1: know what I'm saying.

919
00:49:29,920 --> 00:49:32,120
Speaker 6: Shout out to my guy Twammee too, who helped me

920
00:49:32,239 --> 00:49:32,520
Speaker 6: make that.

921
00:49:34,200 --> 00:49:34,680
Speaker 2: My question.

922
00:49:35,040 --> 00:49:36,400
Speaker 3: I don't know if this is dumpy, and I know

923
00:49:36,480 --> 00:49:38,239
Speaker 3: people probably ask you this all the time, but I'm

924
00:49:38,280 --> 00:49:41,239
Speaker 3: just going to add to it. So now you really

925
00:49:41,280 --> 00:49:43,319
Speaker 3: in your bag and stuff, do you think about doing

926
00:49:43,400 --> 00:49:45,200
Speaker 3: another Soul Survivor.

927
00:49:45,080 --> 00:49:48,200
Speaker 5: Or Oh wow, I mean I would love to im

928
00:49:49,640 --> 00:49:53,680
Speaker 5: that's in the works though. That's actually that's the beats

929
00:49:53,680 --> 00:49:56,480
Speaker 5: are you know what I'm saying. So when when we're ready,

930
00:49:56,520 --> 00:49:58,680
Speaker 5: I could present it to people and see what, you know,

931
00:50:00,080 --> 00:50:01,439
Speaker 5: throw another one of people are down.

932
00:50:01,840 --> 00:50:05,480
Speaker 2: I think it's the right time for just you, for

933
00:50:06,000 --> 00:50:08,640
Speaker 2: the artist that's at that this level of the roots,

934
00:50:09,160 --> 00:50:11,680
Speaker 2: I mean, playing me y'all stuff. I'm like, man, this

935
00:50:11,800 --> 00:50:13,040
Speaker 2: stuff is phenomenal.

936
00:50:13,640 --> 00:50:15,239
Speaker 4: There's a phenomenal roots stuff out there.

937
00:50:15,520 --> 00:50:18,040
Speaker 1: Let me take some rash, all right, I place shit

938
00:50:18,120 --> 00:50:21,799
Speaker 1: for rash. Let me tell you something so I think

939
00:50:21,920 --> 00:50:26,160
Speaker 1: between and yes, I do credit being your best promo guy,

940
00:50:26,239 --> 00:50:30,040
Speaker 1: because literally the first people that got the first draft

941
00:50:30,080 --> 00:50:33,320
Speaker 1: of YO, Like, I went into the room. It was

942
00:50:33,400 --> 00:50:36,360
Speaker 1: Pizza Friday at thirty Rock. I went that room and

943
00:50:36,400 --> 00:50:39,719
Speaker 1: I was like, Yo, we are in trouble if we

944
00:50:39,840 --> 00:50:42,320
Speaker 1: don't get on the ball, because the thing was, you know,

945
00:50:42,520 --> 00:50:48,560
Speaker 1: we started when Richard died into twenty fourteen.

946
00:50:48,760 --> 00:50:49,640
Speaker 2: I bless his soul.

947
00:50:50,000 --> 00:50:51,200
Speaker 6: I bless his soul for real.

948
00:50:51,480 --> 00:50:54,479
Speaker 1: Yeah, like that that froze me for like three years,

949
00:50:54,560 --> 00:50:57,759
Speaker 1: and then like I created distractions like oh, I'll make

950
00:50:57,800 --> 00:51:01,880
Speaker 1: a book, I'll do a movie the Pandemic. And then

951
00:51:01,920 --> 00:51:06,680
Speaker 1: it was like ten years later and between me walking

952
00:51:06,880 --> 00:51:09,439
Speaker 1: in the room, I was like, yo, dog, you ain't

953
00:51:09,480 --> 00:51:12,400
Speaker 1: gonna believe this, But I said, Ross and Pete like

954
00:51:12,560 --> 00:51:16,640
Speaker 1: made the perfect summit meeting record, like no person's out

955
00:51:16,680 --> 00:51:18,080
Speaker 1: signing the other person.

956
00:51:18,840 --> 00:51:20,840
Speaker 6: Like everything everything.

957
00:51:21,600 --> 00:51:24,439
Speaker 1: Yeah, and like y'all both brought out you know, it's

958
00:51:24,480 --> 00:51:26,239
Speaker 1: like y'all wrote each other. And I was just like

959
00:51:26,360 --> 00:51:28,840
Speaker 1: going off about it, and I could tell a planning

960
00:51:28,880 --> 00:51:33,879
Speaker 1: to seed. But then after the Hollywood Bowl, I think

961
00:51:33,960 --> 00:51:37,120
Speaker 1: after the Hollywood Bowl performance that we did the Picnic

962
00:51:37,239 --> 00:51:41,360
Speaker 1: goes to the Hollywood Bowl thing, Yeah, I think that

963
00:51:41,520 --> 00:51:44,640
Speaker 1: lit some under Tarik. And so now I mean I

964
00:51:44,680 --> 00:51:45,239
Speaker 1: can I can.

965
00:51:45,239 --> 00:51:51,960
Speaker 7: Say like in the last two weeks, you know, he's

966
00:51:52,360 --> 00:51:55,839
Speaker 7: knocked off at least at thirty rock two.

967
00:51:55,960 --> 00:51:56,520
Speaker 2: This is good.

968
00:51:56,600 --> 00:52:01,719
Speaker 1: I'm like, okay, okay, yeah, I mean back and do

969
00:52:01,840 --> 00:52:05,880
Speaker 1: you want more days like recon write like six or

970
00:52:05,920 --> 00:52:07,360
Speaker 1: seven songs in a setting.

971
00:52:08,120 --> 00:52:08,560
Speaker 6: Woh wow.

972
00:52:09,840 --> 00:52:13,000
Speaker 1: This album is definitely like it is not today's the

973
00:52:13,040 --> 00:52:16,560
Speaker 1: first day, the first time. I'm saying, like Steve's my witness.

974
00:52:16,640 --> 00:52:19,320
Speaker 1: It's probably what he's working on right now as I speak.

975
00:52:19,640 --> 00:52:21,800
Speaker 6: He's the lightning in the bottle like that.

976
00:52:22,000 --> 00:52:22,239
Speaker 1: Dude.

977
00:52:22,320 --> 00:52:25,799
Speaker 4: Man, Yeah, so he's And that's this year or mayor

978
00:52:25,880 --> 00:52:27,360
Speaker 4: you think you think twenty twenty.

979
00:52:27,160 --> 00:52:30,920
Speaker 1: Four years exact date I want to release it, and

980
00:52:31,000 --> 00:52:34,160
Speaker 1: it's not twenty twenty four, but it's it's a seminal

981
00:52:34,440 --> 00:52:37,000
Speaker 1: twenty twenty five date that will make sense once it

982
00:52:37,080 --> 00:52:37,480
Speaker 1: comes out.

983
00:52:42,480 --> 00:52:44,759
Speaker 2: Yo. And one other thing before we go, I got it.

984
00:52:45,040 --> 00:52:47,680
Speaker 2: Just once again say a mayor thank you brother for

985
00:52:48,239 --> 00:52:51,000
Speaker 2: you gave us like this sequence, man, and that meant

986
00:52:51,120 --> 00:52:52,440
Speaker 2: so much to this, to.

987
00:52:52,560 --> 00:52:55,440
Speaker 4: This talk about place in there.

988
00:52:56,880 --> 00:53:00,680
Speaker 2: Let me say that, like, like, first of all, let

989
00:53:00,719 --> 00:53:03,640
Speaker 2: me let me say I have to be the person

990
00:53:03,760 --> 00:53:06,640
Speaker 2: that's like, okay, I got Pete Rock producing this album.

991
00:53:06,680 --> 00:53:11,000
Speaker 2: He is a producer, a ranger, right, so I also

992
00:53:11,560 --> 00:53:14,120
Speaker 2: know I mirror. I know his mastery and what he

993
00:53:14,239 --> 00:53:18,120
Speaker 2: does and as a producer, but also just in sequencing

994
00:53:18,239 --> 00:53:21,040
Speaker 2: and all that like I remember seeing some or so like, man,

995
00:53:21,120 --> 00:53:24,839
Speaker 2: this is this dude is just brilliant and together. Man,

996
00:53:24,880 --> 00:53:27,279
Speaker 2: this dude, it ain't nobody like him. So I'm like

997
00:53:27,560 --> 00:53:29,920
Speaker 2: when I said on the album and he responded the

998
00:53:29,960 --> 00:53:32,560
Speaker 2: way he did, I was like, man, man, can you

999
00:53:32,640 --> 00:53:35,240
Speaker 2: see He's like He's like, man, listen, I remember another

1000
00:53:35,320 --> 00:53:37,040
Speaker 2: thing he said. He said, this is already one of

1001
00:53:37,120 --> 00:53:42,040
Speaker 2: your best albums without me sequencing. Once one sequenced, I

1002
00:53:42,200 --> 00:53:44,120
Speaker 2: was like, this is gonna be amazing.

1003
00:53:44,800 --> 00:53:47,880
Speaker 6: Thank you so much, Thank you bro, thank you, no,

1004
00:53:48,080 --> 00:53:51,240
Speaker 6: thank you you guys, this is all you I don't even.

1005
00:53:51,160 --> 00:53:52,799
Speaker 4: Want to talk about sequence, and this album is all

1006
00:53:52,800 --> 00:53:53,520
Speaker 4: you want to talk about it.

1007
00:53:53,680 --> 00:53:58,000
Speaker 5: You want to because you have to realize how important sequence,

1008
00:53:58,320 --> 00:54:01,600
Speaker 5: sequence is and you're putting the records in the audience

1009
00:54:01,600 --> 00:54:04,759
Speaker 5: it is. Make it make sense, make it a life thing,

1010
00:54:04,960 --> 00:54:07,200
Speaker 5: like you know, like you could project it. You know

1011
00:54:07,239 --> 00:54:09,840
Speaker 5: what I'm saying, as as as you listening to it,

1012
00:54:10,000 --> 00:54:12,160
Speaker 5: where if you got to drive seven hours somewhere, you

1013
00:54:12,400 --> 00:54:13,759
Speaker 5: right about things, you.

1014
00:54:13,800 --> 00:54:16,960
Speaker 1: Know exactly now For me, you know, and part of

1015
00:54:17,000 --> 00:54:19,040
Speaker 1: the doing the work on myself and especially in the

1016
00:54:20,520 --> 00:54:24,040
Speaker 1: last four years of just like where I am now

1017
00:54:24,080 --> 00:54:28,160
Speaker 1: in my life, I'm more in tune to what's in here.

1018
00:54:28,120 --> 00:54:28,640
Speaker 2: In my heart.

1019
00:54:28,920 --> 00:54:31,800
Speaker 1: And for me, I always felt like I had the

1020
00:54:31,840 --> 00:54:37,040
Speaker 1: gift of synesthesia, where if you hear a song or

1021
00:54:37,120 --> 00:54:41,160
Speaker 1: hear a melody, you instantly see colors and whatnot. And

1022
00:54:41,400 --> 00:54:44,840
Speaker 1: for me, when I sequence records, it's almost like a

1023
00:54:45,560 --> 00:54:48,000
Speaker 1: it's a color spectrum, like your brightest to your to

1024
00:54:48,160 --> 00:54:52,360
Speaker 1: your to your darkest to your brightest. And for me, like,

1025
00:54:53,160 --> 00:54:55,759
Speaker 1: I don't know that the album just spoke itself. It's

1026
00:54:55,800 --> 00:54:58,759
Speaker 1: weird though, because when you gave me the original I

1027
00:54:58,800 --> 00:55:01,040
Speaker 1: don't know if you just randomly handed me the songs

1028
00:55:01,080 --> 00:55:04,520
Speaker 1: in a particular order or if you just had them

1029
00:55:04,560 --> 00:55:06,880
Speaker 1: that way as a proposed secret. But it's so funny

1030
00:55:06,920 --> 00:55:11,160
Speaker 1: to me because day Dreaming was like almost to the

1031
00:55:11,320 --> 00:55:14,440
Speaker 1: end of the album, and it was almost like the

1032
00:55:14,440 --> 00:55:17,080
Speaker 1: six or seven song. When I heard it, suddenly I

1033
00:55:17,200 --> 00:55:21,360
Speaker 1: was like, oh, that's the first whoa like to me,

1034
00:55:21,560 --> 00:55:25,680
Speaker 1: the first three seconds of that shit just sounded like

1035
00:55:27,239 --> 00:55:32,240
Speaker 1: like a Sumburst, like that sort of thing, and instantly

1036
00:55:32,320 --> 00:55:33,759
Speaker 1: I was like, all right, I now see it. And

1037
00:55:33,880 --> 00:55:36,400
Speaker 1: so once you have that one Sumburst there, it's like,

1038
00:55:36,480 --> 00:55:37,440
Speaker 1: what do I want to hear after that?

1039
00:55:37,600 --> 00:55:40,640
Speaker 2: And after that, and so that is what makes classic

1040
00:55:40,719 --> 00:55:42,719
Speaker 2: albums because if you got songs and they not put

1041
00:55:42,800 --> 00:55:46,400
Speaker 2: in the right order, that shit could it can The

1042
00:55:46,480 --> 00:55:49,080
Speaker 2: story ain't told. It's like a movie. And if you

1043
00:55:49,360 --> 00:55:51,520
Speaker 2: if you don't do the right sequence and of them

1044
00:55:51,680 --> 00:55:54,200
Speaker 2: you know edits and stuff. And I gotta say, man,

1045
00:55:54,320 --> 00:55:57,160
Speaker 2: one last thing on that is just that, Like Pete,

1046
00:55:57,239 --> 00:56:00,520
Speaker 2: I was super grateful that you was like into it,

1047
00:56:00,680 --> 00:56:03,000
Speaker 2: like you know, because it's hard, Like you're a producer

1048
00:56:03,360 --> 00:56:05,239
Speaker 2: and this is this is your project and.

1049
00:56:05,400 --> 00:56:08,400
Speaker 6: Through every so why not you know, want that with

1050
00:56:08,560 --> 00:56:09,759
Speaker 6: someone who knows how to do that?

1051
00:56:09,960 --> 00:56:10,640
Speaker 4: Was that hard to ask?

1052
00:56:10,719 --> 00:56:10,959
Speaker 2: Pete?

1053
00:56:12,000 --> 00:56:14,720
Speaker 6: When he came to me, I was immediately with the idea.

1054
00:56:15,160 --> 00:56:16,800
Speaker 2: Yeah, he was with it. He was with it, and

1055
00:56:16,920 --> 00:56:19,080
Speaker 2: then we just sorted through like figuring out okay yo,

1056
00:56:19,440 --> 00:56:22,239
Speaker 2: and then we got them interludes. And by the way,

1057
00:56:22,360 --> 00:56:24,400
Speaker 2: man shout out on the out show, y'all did it too.

1058
00:56:24,760 --> 00:56:33,000
Speaker 6: I mean that man, people's like around that record, found

1059
00:56:33,080 --> 00:56:33,520
Speaker 6: that joint.

1060
00:56:33,680 --> 00:56:37,719
Speaker 5: I was like, oh, that's what they did. Yeah, man, Yeah,

1061
00:56:38,440 --> 00:56:40,759
Speaker 5: I felt I got the record.

1062
00:56:42,880 --> 00:56:45,560
Speaker 1: You know, everything from from shooting nuts. Man, this is

1063
00:56:45,840 --> 00:56:46,840
Speaker 1: an awesome records.

1064
00:56:46,880 --> 00:56:47,040
Speaker 2: Man.

1065
00:56:47,120 --> 00:56:48,960
Speaker 1: You two need to be commended.

1066
00:56:49,360 --> 00:56:50,799
Speaker 3: Me or can I just can I ask a question

1067
00:56:50,960 --> 00:56:53,800
Speaker 3: for Jake real quick on his note because I'm curious

1068
00:56:53,840 --> 00:56:56,080
Speaker 3: to know the answer about this because Jake feels like

1069
00:56:56,160 --> 00:56:58,440
Speaker 3: this is like the album that is going to if

1070
00:56:58,480 --> 00:57:01,680
Speaker 3: you care, like when all the awards, do y'all care

1071
00:57:01,800 --> 00:57:02,880
Speaker 3: and do y'all feel that?

1072
00:57:04,160 --> 00:57:07,239
Speaker 5: I mean, wow, I mean I'm still pinching myself that

1073
00:57:07,640 --> 00:57:10,200
Speaker 5: it's just since this album drop has just been go

1074
00:57:10,640 --> 00:57:11,160
Speaker 5: go go.

1075
00:57:12,280 --> 00:57:13,440
Speaker 6: Okay, I'm tired.

1076
00:57:14,200 --> 00:57:16,400
Speaker 4: Yes, so that means yes, that means yes, Pete.

1077
00:57:16,920 --> 00:57:21,400
Speaker 2: Yes, let me tell you do I care? Yes, yes,

1078
00:57:21,880 --> 00:57:25,400
Speaker 2: and like to be recognized for for this music would

1079
00:57:25,440 --> 00:57:27,720
Speaker 2: be amazing, like when you put your heart and soul

1080
00:57:27,760 --> 00:57:29,480
Speaker 2: into it. The one thing I man just said that

1081
00:57:29,560 --> 00:57:32,840
Speaker 2: you go operating hard. One thing I know is Pete

1082
00:57:32,920 --> 00:57:35,440
Speaker 2: Rock came from the heart and soul that I came

1083
00:57:35,480 --> 00:57:37,720
Speaker 2: from the heart and soul. Men came from the heart.

1084
00:57:38,040 --> 00:57:40,200
Speaker 2: Our engineer was hard and so we like this.

1085
00:57:41,360 --> 00:57:45,760
Speaker 6: You got Jamie to do it, showed us yesterday.

1086
00:57:45,840 --> 00:57:48,800
Speaker 2: Jamie stopped being at the shows. Now it's like he

1087
00:57:49,120 --> 00:57:51,760
Speaker 2: hard and soul. That being said, we would love to

1088
00:57:51,840 --> 00:57:54,640
Speaker 2: be recognized in that way. That would be amazing, Like

1089
00:57:54,840 --> 00:57:57,600
Speaker 2: I ain't gonna front it would probably I probably be

1090
00:57:57,720 --> 00:58:00,960
Speaker 2: volunteers if to see Pete Rock up on that stage.

1091
00:58:00,920 --> 00:58:03,000
Speaker 4: Yes, well then yes for Pete to just get the

1092
00:58:03,640 --> 00:58:04,280
Speaker 4: it can happen.

1093
00:58:04,920 --> 00:58:07,600
Speaker 1: Pete Rock got the first chair at the tonight show.

1094
00:58:08,160 --> 00:58:11,600
Speaker 2: Yes, I never thought that was.

1095
00:58:11,640 --> 00:58:14,160
Speaker 6: My first time and it's just unbelievable feeling.

1096
00:58:14,240 --> 00:58:14,880
Speaker 2: Man, Thank you.

1097
00:58:15,840 --> 00:58:19,160
Speaker 1: It's it's your time, man, it's your time. Y'all need

1098
00:58:19,200 --> 00:58:22,240
Speaker 1: to be applauded. Pete help. Thank you for helping com

1099
00:58:22,320 --> 00:58:23,000
Speaker 1: and find the one.

1100
00:58:23,640 --> 00:58:26,960
Speaker 6: Yes, now he knows where the one is.

1101
00:58:27,160 --> 00:58:28,280
Speaker 1: Now he knows where the one is.

1102
00:58:29,000 --> 00:58:29,120
Speaker 3: Ya.

1103
00:58:29,440 --> 00:58:33,000
Speaker 1: This is uh once again the incomparable Pete Rock and

1104
00:58:33,400 --> 00:58:36,560
Speaker 1: Common on a Quest Love Supreme on behalf of Laia

1105
00:58:37,080 --> 00:58:42,240
Speaker 1: on pay Bill and Sugar Steve Yo, this is quest Love.

1106
00:58:42,280 --> 00:58:44,840
Speaker 1: This is a great episode. Thank you guys so much.

1107
00:58:45,200 --> 00:58:47,840
Speaker 1: Buy that album. Support the record, Stream the record.

1108
00:58:48,520 --> 00:58:48,840
Speaker 2: Okay.

1109
00:58:49,440 --> 00:58:53,440
Speaker 1: We often complain that, you know, we ain't getting the

1110
00:58:54,160 --> 00:58:56,400
Speaker 1: quality we deserve, and then we get it and then

1111
00:58:56,480 --> 00:59:00,360
Speaker 1: we neglect it. So support this record is important, all right,

1112
00:59:00,840 --> 00:59:03,400
Speaker 1: Stream this record like stream like you vote with your Dallas.

1113
00:59:03,640 --> 00:59:06,760
Speaker 1: That's all all right, y'all. Tust Love Supreme, se y'all

1114
00:59:06,760 --> 00:59:09,680
Speaker 1: next week, Thank you man, Thanks y'all, that was fun.

1115
00:59:10,960 --> 00:59:13,720
Speaker 4: Hey, thank y'all for listening to cust Love Supreme.

1116
00:59:14,480 --> 00:59:17,480
Speaker 3: This podcast is hosted by an Afro, a mouth, a rapper,

1117
00:59:18,160 --> 00:59:20,520
Speaker 3: an engineer, and a man with too many jobs aka

1118
00:59:20,800 --> 00:59:23,360
Speaker 3: A mere Quest Love Thompson, Why You a Saint Clair, Fonte,

1119
00:59:23,520 --> 00:59:28,320
Speaker 3: Colemens Sugar, Steve Mandel and unpaid Bill Sherman. The executive

1120
00:59:28,360 --> 00:59:31,840
Speaker 3: producers who get paid the big bucks A mere Quest

1121
00:59:31,880 --> 00:59:35,640
Speaker 3: Love Thompson, Sean g and Brian Calhoun ask them for money.

1122
00:59:36,200 --> 00:59:38,680
Speaker 3: Produced by the people who do all the real work

1123
00:59:38,880 --> 00:59:42,600
Speaker 3: Britney Benjamin, Jake Payne and Yes, why You a Saint Clair?

1124
00:59:43,360 --> 00:59:45,520
Speaker 3: Edited by another person who does the real work, Alex

1125
00:59:45,600 --> 00:59:48,480
Speaker 3: Conroy and those who approved the real work.

1126
00:59:48,600 --> 00:59:51,200
Speaker 4: Produced for iHeart by Noel Brown.

1127
00:59:51,800 --> 00:59:58,960
Speaker 1: West Love Supreme is a production of iHeartRadio. For more

1128
00:59:59,040 --> 01:00:03,000
Speaker 1: podcasts from iHeart Radio, visit the iHeartRadio app, Apple Podcasts,

1129
01:00:03,480 --> 01:00:05,160
Speaker 1: or wherever you listen to your favorite shows.