WEBVTT - QLS Classic: Linda Perry

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<v Speaker 1>Of Course Love Supreme is a production of iHeartRadio. This

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<v Speaker 1>classic episode was produced by the team at Pandora.

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<v Speaker 2>Hey It's unpaid bill check out singer songwriter Linda Perry.

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<v Speaker 2>She talks about her musical beginnings with four non blonds

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<v Speaker 2>and how she creates chart topping hits for stars like

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<v Speaker 2>A Dell and Pink. Originally released November twenty eighth, twenty.

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<v Speaker 3>Eighteen, It is Supremo so So Supremo roll Call, Suprema

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<v Speaker 3>so Some Supremo roll call, Suprema Sun Son Supremo roll call,

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<v Speaker 3>Subprema Sun Sun Supremo.

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<v Speaker 1>Roll call, What's going on?

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<v Speaker 4>Yeah?

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<v Speaker 1>Yeah, what's going on?

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<v Speaker 4>Yeah, Supremo Sun So Supremo roll call ever Supremo so

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<v Speaker 4>So Supremo roll call.

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<v Speaker 5>Her name is Spante Yeah, and I must respond.

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<v Speaker 1>Yeah, and let y'all know. Yeah, I was the fifth

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<v Speaker 1>non blonde.

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<v Speaker 6>Son Supremo role called Suprema Sun Supremo role.

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<v Speaker 1>Called my sub Supreme. Yeah, we're reaching new heights. Yeah,

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<v Speaker 1>with four non blonde Yeah, and four non whites.

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<v Speaker 6>Supreme Suprema Son, Suprema roll quls.

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<v Speaker 7>Yeah.

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<v Speaker 1>I was giving you more. Yeah, she was about to start. Yeah,

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<v Speaker 1>what you waiting for?

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<v Speaker 6>Suppreva Sun Sign Supremo, role called Suprema Son Sign Supremo

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<v Speaker 6>roll called. Yeah.

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<v Speaker 7>Hey, I say, yeah, yeah, what's going.

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<v Speaker 1>On Suprema so Supremo roll.

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<v Speaker 8>My name is Linda. Yeah, I just talked over you. Yeah,

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<v Speaker 8>and I'm here, Yeah, and I am God Clue.

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<v Speaker 6>Supremo Supremo Supremo roll Supprema son Sun Supremo roll call

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<v Speaker 6>Suprema Supremo roll.

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<v Speaker 7>Can I just say it once? No?

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<v Speaker 1>No, no, do over? We haven't sound like, well I

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<v Speaker 1>already beat you to it.

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<v Speaker 8>Yeah, I told you not to do that.

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<v Speaker 7>I said yesterday, you can't.

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<v Speaker 1>Can't. You can't establish rules to roll call.

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<v Speaker 4>We do it all.

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<v Speaker 1>Yeah, we do it all like you're you. You should

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<v Speaker 1>know already. We've been at this for two years.

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<v Speaker 7>And then when I told you I asked you not

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<v Speaker 7>to do it, he was like, oh, that's easy anyway.

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<v Speaker 1>No, not at all. I'm just saying that you have

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<v Speaker 1>the hardest because you're in your last second to the

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<v Speaker 1>guest of the show, so you have to figure out Yeah. Yeah,

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<v Speaker 1>I always write like.

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<v Speaker 7>Three, Yeah, let's us learn. Sorry.

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<v Speaker 1>Yeah, Hey, it's cool.

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<v Speaker 8>I think I had the toughest position.

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<v Speaker 9>You guys heard, Yeah, I like, I walked, I talked

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<v Speaker 9>over you, I made my amends to it, and you're.

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<v Speaker 1>A what's the difference? I want again? So now you're

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<v Speaker 1>feeling yourself after a few weeks of being off anyway,

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<v Speaker 1>what's up? Welcome to another episode of Quest of Supreme

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<v Speaker 1>only on Pandora. We got a team Supreme with us.

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<v Speaker 1>Hello guys, Hello, Hello? What we are live at? Wait

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<v Speaker 1>now I forgot the the pun behind the here word.

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<v Speaker 1>We are here are h A R h A R

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<v Speaker 1>we are we are here at? We are here h

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<v Speaker 1>g A R studios, Uh, the the the lovely digs,

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<v Speaker 1>the home digs. A studio with windows. Yes, that's a

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<v Speaker 1>novel idea with good scenery.

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<v Speaker 9>Well, you know, we're always in the dark, so it's

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<v Speaker 9>nice to see the outside and know what time it is.

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<v Speaker 9>And it actually, honestly, I think makes my players play

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<v Speaker 9>better because they feel like inspired and energetic and no

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<v Speaker 9>one's falling asleep and doing the same thing over and over,

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<v Speaker 9>so it's great.

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<v Speaker 8>And then they can go jump in the pool if

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<v Speaker 8>they need to.

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<v Speaker 1>Okay, I want to move in already anyway. Our guest

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<v Speaker 1>today is a songwriting producing heavyweight, having pinned hits and

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<v Speaker 1>anthems for notables such as Gwen Stefani, Pink, Courtney Love,

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<v Speaker 1>Alicia keys Lee, Dion Etheridge, Lunch, James Blunt, cheap Trick, Faith, Hilled,

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<v Speaker 1>Britney Spears, Chalise, Ziggy Marley, everybody, my mother, my fifth

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<v Speaker 1>grade teacher, the name I haven't heard in a long time,

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<v Speaker 1>Janice Ian. Yeah, yeah, that's amazing. Yeah, I believe she

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<v Speaker 1>won a gram Me uh last year for a spoken word. Yeah,

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<v Speaker 1>she owns that category. So her new life as an author,

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<v Speaker 1>Dixie Chicks, Adam Lambert, Molly Cyrus and of course Christina

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<v Speaker 1>Aguilera and with an arsenal like that. Of course, obviously

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<v Speaker 1>she has to be in the songwriters uh Hall of Fame.

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<v Speaker 1>Please welcome singer, songwriter, producer, ranger, Award winner, engineer and

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<v Speaker 1>former non blonde, the one and only Linda Perry. Thank you,

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<v Speaker 1>so thank you, without without blowing up your spot too

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<v Speaker 1>much to our two thousand listeners.

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<v Speaker 8>Uh, this this is more than they told me.

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<v Speaker 1>No, but this, this is a very unique situation that

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<v Speaker 1>we're in. Usually like home studios, people in my opinion,

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<v Speaker 1>like the environment is always important and where I am,

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<v Speaker 1>what I'm looking at right now, and I can't describe

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<v Speaker 1>I mean, how we describe this.

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<v Speaker 5>I would describe this as a house on HG DV

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<v Speaker 5>Householters that the couple would pick.

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<v Speaker 7>The one of property brothers that they show you in

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<v Speaker 7>the beginning, and they say, well you can't afford that.

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<v Speaker 1>Exactly, there would be the house.

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<v Speaker 5>To like the humble house, the humbling house. It's like, oh,

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<v Speaker 5>I love this, this, open this, how much you think

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<v Speaker 5>this colls? This house is two point four million dollars,

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<v Speaker 5>Get the fuck out, return.

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<v Speaker 9>To the press, or love it or listed when they

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<v Speaker 9>show you that really nice house and they never picked

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<v Speaker 9>that one for some reason, they always go, let's let's

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<v Speaker 9>love it.

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<v Speaker 1>Well, I'm gonna love it. It's a cozy, comfy atmosphere.

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<v Speaker 1>And usually artists I know either overdo it, like you know,

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<v Speaker 1>some people take pilgrimage trips to Hawaii orwaim Wait why

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<v Speaker 1>were we both using Kanye examples? I mean, but you know,

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<v Speaker 1>then there's some artists that that don't want to jinx

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<v Speaker 1>it like you know, a lot of the classic Wu

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<v Speaker 1>Tang records were still recorded in the same projects long

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<v Speaker 1>after they had record budgets, until the flooding forced them

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<v Speaker 1>out into wasn't Teddy Riley still producing in the exactly

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<v Speaker 1>that Teddy Riley said that he did most of Michael

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<v Speaker 1>Jackson's Dangerous album still inside his lucky projects, Like that's

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<v Speaker 1>his lucky pair of draws. And the thing is always

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<v Speaker 1>like when you upgrade or when you go to comfort,

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<v Speaker 1>then usually artists are free to go there because it

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<v Speaker 1>might make the must edgy or whatever. But I love

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<v Speaker 1>the fact that this is. This is comfortable and somewhat

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<v Speaker 1>but it's it's the perfect middle. I mean, it's not

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<v Speaker 1>like the Wu Tang projects from it far from the

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<v Speaker 1>So for you, this is where we are, this is

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<v Speaker 1>where you're This is where the magic happens. Sounding MTV cribs, Yeah,

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<v Speaker 1>is this where the magic happens.

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<v Speaker 8>I want to go show you my cars now.

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<v Speaker 7>Beautiful.

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<v Speaker 9>Yeah, yeah, my son has a better car than I do.

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<v Speaker 9>It's like ga wagon out there. This is the well

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<v Speaker 9>one I I lived in San Francisco when I was

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<v Speaker 9>in four and on Blonde That's where it all happened

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<v Speaker 9>for me, and I lived there for a while and

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<v Speaker 9>then I lived in a big warehouse and it didn't

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<v Speaker 9>have any windows. So when I decided to come to

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<v Speaker 9>Los Angeles, which was like I had to argue with

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<v Speaker 9>myself coming down here. I was driving to visit a

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<v Speaker 9>friend and on my way, I was like, you know, oh,

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<v Speaker 9>you're going to move to l A. And I'm like, no,

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<v Speaker 9>I'm not, and yes you are, and I'm like, I'm

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<v Speaker 9>not moving to LA because I never listened to music

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<v Speaker 9>when I drive, and I just like to be in quiet.

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<v Speaker 1>Wait. Really, yeah, that's why I don't.

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<v Speaker 9>It's just I like the piece, but time slower in

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<v Speaker 9>my No, I'll drive all the way from San Francisco's

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<v Speaker 9>no music, do you like?

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<v Speaker 8>I love to drive, and but I find it really meditating.

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<v Speaker 1>You know, where do you check your mixes? Like when

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<v Speaker 1>you mix do records?

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<v Speaker 4>Like?

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<v Speaker 1>Do you give your your mixes like test runs in

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<v Speaker 1>the car? No?

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<v Speaker 9>I listened here and well at my other studio, which

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<v Speaker 9>I want to bring here is I I had a

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<v Speaker 9>little AM radio station, so I put it through the airways.

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<v Speaker 9>I had one I think it was like six hundred.

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<v Speaker 9>It went around the block sound a ratio.

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<v Speaker 8>I really liked it.

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<v Speaker 9>But so when I found this house, I liked that

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<v Speaker 9>it was had the walls. I was looking for another house,

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<v Speaker 9>but I bought the house wasn't my intention to live

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<v Speaker 9>over here. But I asked, where is the where does

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<v Speaker 9>no one want to go live? And everybody said in

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<v Speaker 9>the valley, and I said specifically where like Sherman Oaks

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<v Speaker 9>and seeing I'm like, that's where I'm going to go move.

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<v Speaker 8>So I found this house and I lived here for

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<v Speaker 8>a while.

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<v Speaker 9>But then I bought a studio on called Royal Tone

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<v Speaker 9>and I called it Kung Fu Gardens and that was

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<v Speaker 9>eleven thousand square feet. It was huge, it was beautiful,

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<v Speaker 9>but it was a big version of this. And then

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<v Speaker 9>when my wife and had me and my wife had

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<v Speaker 9>a son, I sold that studio to simplify and I

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<v Speaker 9>turned this house that was actually just sitting here. I

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<v Speaker 9>live in Hancock Park, but this had been sitting here

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<v Speaker 9>and I was renting it out to friends. I'm like,

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<v Speaker 9>you know what, I'm going to turn that house into

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<v Speaker 9>my studio. And so I just kept it pretty. I mean,

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<v Speaker 9>this is my esthetic. It sounds great in here. I

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<v Speaker 9>think it's important to feel good where you're making music

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<v Speaker 9>because to me, it's so intimate, especially as a songwriter.

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<v Speaker 9>You know, you want people to feel safe when they're

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<v Speaker 9>coming in. You want them to feel like, you know

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<v Speaker 9>this is an environment that they can be in. Like

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<v Speaker 9>I had Sea long time ago in my other studio

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<v Speaker 9>and she panicked. She never came back because it was

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<v Speaker 9>so big. It was overwhelming for her, and a lot

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<v Speaker 9>of people have that feeling, although it was a really

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<v Speaker 9>great environment.

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<v Speaker 8>But this one, you know, I did dally here.

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<v Speaker 9>I've done so many great fringing things here already, and

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<v Speaker 9>it just has a great vibe.

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<v Speaker 8>So I'm excited to be here and it it's very inspiring.

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<v Speaker 1>You know. Some Well, returning to our initial thing about

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<v Speaker 1>silence in the car, you couldn't let that go, right.

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<v Speaker 1>It just hit me that it makes sense because most

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<v Speaker 1>authors I know, and screenwriters and songwriters now they thrive

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<v Speaker 1>on silence, boredom, isolation so that the ideas can come

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<v Speaker 1>to them, because you know, again, we use music as

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<v Speaker 1>it means to pass time and to not go over

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<v Speaker 1>our minds on the road and to not deal with

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<v Speaker 1>vertigo or whatever you know, to keep us up. But

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<v Speaker 1>now that makes total sense.

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<v Speaker 9>Well also for me, honestly, it's it's not even that

0:11:59.520 --> 0:12:03.839
<v Speaker 9>poet it gets. It's more that I am constantly My

0:12:04.240 --> 0:12:08.880
<v Speaker 9>mind always has music in it, so for some reason,

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<v Speaker 9>when I can shut down like and just like when

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<v Speaker 9>I do dishes, my mind goes blank. When I'm driving,

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<v Speaker 9>my mind I just go into these meditative states, you know,

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<v Speaker 9>And it's the only time I can actually be free

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<v Speaker 9>in my head for other things.

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<v Speaker 8>If there is anything other than music for me.

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<v Speaker 9>At night time, it's hard for me to go to

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<v Speaker 9>sleep because it's just constant, you know. I just it's

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<v Speaker 9>constant music, like to a point where I have to

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<v Speaker 9>wake up at you know, four in the morning because

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<v Speaker 9>I had an idea that just popped up, and I,

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<v Speaker 9>you know, get up, I walk to the other side

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<v Speaker 9>of the house, you know, I grab my phone and

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<v Speaker 9>I go to the art room and where because I

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<v Speaker 9>have kids, like and.

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<v Speaker 8>I'm like, okay, the meme. And then in the morning

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<v Speaker 8>it sounds like nothing.

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<v Speaker 9>I get nothing from it, but sometimes it sticks. So anyways,

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<v Speaker 9>so I'm constantly trying to find so for some reason,

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<v Speaker 9>driving I can keep the windows up and sweat all

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<v Speaker 9>the way through with no music and be happy, happy

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<v Speaker 9>as in my happy place.

0:13:16.720 --> 0:13:19.360
<v Speaker 1>We kill each other riding.

0:13:21.120 --> 0:13:23.400
<v Speaker 9>But when I'm here, I love I put on the

0:13:23.480 --> 0:13:26.440
<v Speaker 9>Beach Boys, I love listening to Nina Simon. I mean,

0:13:26.520 --> 0:13:28.560
<v Speaker 9>I just put on anything and I come in here

0:13:28.640 --> 0:13:31.320
<v Speaker 9>and I get inspired because this is where it all

0:13:31.400 --> 0:13:34.120
<v Speaker 9>comes to life for me. When I leave this area,

0:13:34.200 --> 0:13:36.880
<v Speaker 9>for some reason, I shut everything else down.

0:13:37.640 --> 0:13:40.120
<v Speaker 8>I don't know why. It's just the way I've always been.

0:13:40.320 --> 0:13:41.839
<v Speaker 1>I would think that's kind of a blessing to be

0:13:41.880 --> 0:13:46.040
<v Speaker 1>able to do. Yep. So uh. We always start our

0:13:46.120 --> 0:13:48.800
<v Speaker 1>show with our guests with the question where were you born?

0:13:49.559 --> 0:13:53.960
<v Speaker 1>What city were you born in? I was born in Boston, Boston, Massachusetts.

0:13:54.080 --> 0:14:00.000
<v Speaker 9>Ye, Springfield, Massachusetts. Okay, but I say Boston because it's

0:14:00.240 --> 0:14:02.720
<v Speaker 9>it's like a little bit over there. It's like there's

0:14:02.760 --> 0:14:04.480
<v Speaker 9>Boston and then Springfield's right there.

0:14:04.520 --> 0:14:06.679
<v Speaker 1>I'm glad you're not wearing your Yankees hat, Steve.

0:14:07.240 --> 0:14:09.800
<v Speaker 9>I was there for one year. I was one years old,

0:14:10.040 --> 0:14:12.319
<v Speaker 9>and then we moved to San Diego. So I was

0:14:12.480 --> 0:14:13.720
<v Speaker 9>raised in San Diego.

0:14:14.040 --> 0:14:14.360
<v Speaker 1>Okay.

0:14:14.440 --> 0:14:16.600
<v Speaker 9>So I'm really a California girl. But for some reason,

0:14:16.640 --> 0:14:17.960
<v Speaker 9>everybody thinks I'm from New York.

0:14:18.840 --> 0:14:20.160
<v Speaker 1>Yeah, guilty, Sorry.

0:14:20.000 --> 0:14:24.640
<v Speaker 8>Yeah, I think it's my badass attitude.

0:14:24.760 --> 0:14:27.000
<v Speaker 1>It could be. Yeah, you would fit in very well.

0:14:28.120 --> 0:14:30.280
<v Speaker 1>Oh I did it all. You've never lived in New

0:14:30.360 --> 0:14:34.120
<v Speaker 1>York No, Okay, I'm guilty too. I thought New York

0:14:34.120 --> 0:14:36.960
<v Speaker 1>and had moved to La Okay. I see, what was

0:14:37.040 --> 0:14:39.960
<v Speaker 1>your home situation like with your parents and siblings.

0:14:41.680 --> 0:14:45.400
<v Speaker 9>My mother's Brazilian, my father's from Portugal. And when we

0:14:46.120 --> 0:14:51.080
<v Speaker 9>when my family came here, my mom, they got here

0:14:51.280 --> 0:14:51.920
<v Speaker 9>like I think.

0:14:51.840 --> 0:14:55.920
<v Speaker 8>It was sixty four, sixty three.

0:14:56.520 --> 0:14:59.560
<v Speaker 9>I was born in sixty five in Boston, but I

0:14:59.640 --> 0:15:02.760
<v Speaker 9>have brothers and one sister. Two of my brothers still

0:15:02.880 --> 0:15:07.360
<v Speaker 9>stayed in Brazil. They never came with us. And my

0:15:07.600 --> 0:15:11.800
<v Speaker 9>mom was basically my father told my mother that she

0:15:12.000 --> 0:15:13.960
<v Speaker 9>was not at My mom didn't speak any English.

0:15:14.320 --> 0:15:17.080
<v Speaker 8>My mom was gorgeous, beautiful, modeliss you.

0:15:17.080 --> 0:15:20.840
<v Speaker 9>Know, Brazilian woman and you know hot, you know, and

0:15:21.440 --> 0:15:24.800
<v Speaker 9>and my father basically coveted her and wanted her to

0:15:24.880 --> 0:15:30.320
<v Speaker 9>be a housewife. And he didn't want her speaking Portuguese

0:15:30.400 --> 0:15:33.480
<v Speaker 9>to us because it would be we would be admitting

0:15:33.560 --> 0:15:37.800
<v Speaker 9>we're immigrants. And his he was raised that, you know,

0:15:38.000 --> 0:15:40.520
<v Speaker 9>you can't be an immigrant in this world. They'll treat

0:15:40.520 --> 0:15:44.480
<v Speaker 9>you differently. And so we were raised basically. My father

0:15:44.680 --> 0:15:49.080
<v Speaker 9>changed my brother's names, you know, to be more American,

0:15:50.000 --> 0:15:53.520
<v Speaker 9>and I was Linda, so that was you know, it's

0:15:53.560 --> 0:15:58.200
<v Speaker 9>pretty seventies America that that's my birth name. But then

0:15:58.360 --> 0:16:03.600
<v Speaker 9>what happened was we basically were learning how to grow

0:16:03.760 --> 0:16:07.360
<v Speaker 9>up with my mom and teaching her how to speak English.

0:16:07.520 --> 0:16:10.040
<v Speaker 9>So we would come home, we would read our books

0:16:10.080 --> 0:16:12.840
<v Speaker 9>to her. She'd read, you know, try to read with us.

0:16:13.640 --> 0:16:17.680
<v Speaker 9>She learned all her English pretty much on TV and

0:16:19.440 --> 0:16:23.040
<v Speaker 9>she just watched National Geographic just Whatever I Love Lucy

0:16:24.040 --> 0:16:25.120
<v Speaker 9>were her main shows.

0:16:25.280 --> 0:16:26.920
<v Speaker 8>She loved news. My mother.

0:16:27.200 --> 0:16:31.240
<v Speaker 9>My father was an engineer that worked for very big

0:16:31.320 --> 0:16:35.880
<v Speaker 9>companies for the government. My mother ended up being way

0:16:36.000 --> 0:16:39.440
<v Speaker 9>more smarter than my father and it was pretty amazing

0:16:39.560 --> 0:16:43.440
<v Speaker 9>to watch. And so that's the household. I was brought up.

0:16:43.520 --> 0:16:46.320
<v Speaker 9>My father he's passed away now, but he was an alcoholic.

0:16:46.560 --> 0:16:51.480
<v Speaker 9>My mom was a very you know, outspoken woman with vengeance,

0:16:51.760 --> 0:16:57.080
<v Speaker 9>you know, and we were on welfare. We drank powdered milk,

0:16:57.280 --> 0:17:00.200
<v Speaker 9>you know, tuna, every single way that you pap we

0:17:00.240 --> 0:17:05.600
<v Speaker 9>could think of it, yes, spam, I mean everything. So

0:17:06.640 --> 0:17:06.960
<v Speaker 9>it was.

0:17:08.560 --> 0:17:12.200
<v Speaker 8>You know, it was a great I'm happy for my upbringing,

0:17:12.560 --> 0:17:13.640
<v Speaker 8>but it was tough.

0:17:14.280 --> 0:17:17.440
<v Speaker 9>And but I wouldn't change one thing because I love

0:17:17.600 --> 0:17:21.480
<v Speaker 9>how I grew up to be, and you know, so

0:17:21.600 --> 0:17:23.639
<v Speaker 9>that was kind of where I'm at. And then I

0:17:23.760 --> 0:17:26.480
<v Speaker 9>left home at fifteen was on DRU. I did the

0:17:26.560 --> 0:17:30.560
<v Speaker 9>typical punk rocker. I was a total punk rocker, mohawk everything,

0:17:31.200 --> 0:17:34.760
<v Speaker 9>piercing through my face and you know, slitting my wrists,

0:17:34.880 --> 0:17:37.800
<v Speaker 9>not to kill myself, but just to have the scars.

0:17:39.200 --> 0:17:41.639
<v Speaker 8>And that's what you did. In San Diego. I dropped

0:17:41.680 --> 0:17:42.480
<v Speaker 8>a lot of acid.

0:17:42.680 --> 0:17:46.800
<v Speaker 9>I done a lot of crystal coke, drinking, panhandling, sleeping

0:17:46.880 --> 0:17:49.359
<v Speaker 9>in parks. I did it all on it And not

0:17:49.600 --> 0:17:53.360
<v Speaker 9>until I was probably eighteen did I say I think

0:17:53.400 --> 0:17:54.800
<v Speaker 9>I'm supposed to be more than this.

0:17:55.200 --> 0:17:57.280
<v Speaker 8>And then I got my shit together.

0:17:58.520 --> 0:18:04.720
<v Speaker 1>WHOA, Yeah, that's our episode. How did music enter your life?

0:18:05.800 --> 0:18:08.959
<v Speaker 9>Well, it always was there. That That was the funny

0:18:09.000 --> 0:18:11.720
<v Speaker 9>thing about music and my relationship with it. I took

0:18:11.760 --> 0:18:15.520
<v Speaker 9>it for granted, you know, because music I was always

0:18:15.760 --> 0:18:18.000
<v Speaker 9>touching something and making.

0:18:17.880 --> 0:18:18.639
<v Speaker 8>Music out of it.

0:18:18.840 --> 0:18:22.280
<v Speaker 9>Like if I saw guitar, I could just play something

0:18:23.040 --> 0:18:26.120
<v Speaker 9>and make a melody out of it. If I saw piano,

0:18:26.640 --> 0:18:29.399
<v Speaker 9>you know, I would make a melody at it. My

0:18:29.840 --> 0:18:33.080
<v Speaker 9>father was a musician, but he never shared it with us,

0:18:34.440 --> 0:18:37.639
<v Speaker 9>so I knew it was there, but it wasn't something

0:18:37.720 --> 0:18:41.200
<v Speaker 9>that we were brought up with. My father listened to

0:18:41.600 --> 0:18:45.160
<v Speaker 9>Frank Sinatra is like his big Willie Nelson, Frank Sinatra,

0:18:47.280 --> 0:18:50.600
<v Speaker 9>George Strait, Johnny Cash in the country.

0:18:50.800 --> 0:18:53.800
<v Speaker 8>He loved country, but he loved jazz.

0:18:54.520 --> 0:18:56.359
<v Speaker 7>Someboy Day was in Boston. That was somewhere your.

0:18:58.440 --> 0:19:03.520
<v Speaker 9>My My mother loved Bostonova, all Brazilians. I don't even

0:19:03.560 --> 0:19:06.520
<v Speaker 9>know half this shit that she was playing. My sister

0:19:06.720 --> 0:19:09.240
<v Speaker 9>loved the Beach Boys and Elvis Presley. My brothers loved

0:19:09.320 --> 0:19:12.040
<v Speaker 9>the Beatles and you know, then the Zeppelins and all that.

0:19:12.200 --> 0:19:17.440
<v Speaker 9>And I left musicals. I just was fascinated with musicals,

0:19:17.560 --> 0:19:20.680
<v Speaker 9>the Jungle Book, sound of Music, Chitty Chitty Bang.

0:19:20.560 --> 0:19:21.639
<v Speaker 1>Bang, all of it.

0:19:21.840 --> 0:19:24.160
<v Speaker 9>I really was like, oh my god, this is amazing.

0:19:24.320 --> 0:19:27.640
<v Speaker 9>So that was my musical upbringing. But then my brother,

0:19:27.920 --> 0:19:30.560
<v Speaker 9>he's over there. He was in a band called Chaos

0:19:30.640 --> 0:19:32.960
<v Speaker 9>and San Diego and he had the long, curly hair

0:19:33.080 --> 0:19:36.240
<v Speaker 9>and chicks loved him. He always had girls around. And

0:19:36.320 --> 0:19:39.280
<v Speaker 9>this was when I was about like fifteen fourteen, and

0:19:39.480 --> 0:19:43.320
<v Speaker 9>he wore really cool leather pants and his band was

0:19:43.400 --> 0:19:45.240
<v Speaker 9>like you know, everybody, and I was like, I want

0:19:45.280 --> 0:19:47.600
<v Speaker 9>to be like him. And they would rehearse in our

0:19:47.680 --> 0:19:50.040
<v Speaker 9>garage and then they would leave, and I'd always be

0:19:50.160 --> 0:19:53.760
<v Speaker 9>listening and he'd come out, he's like, don't touch my guitar.

0:19:53.960 --> 0:19:55.680
<v Speaker 9>You know, did the brother thing of course, And of

0:19:55.840 --> 0:19:58.040
<v Speaker 9>course he'd leave and I'd go in there and I

0:19:58.040 --> 0:20:01.280
<v Speaker 9>would try to buy ear figure out what he had

0:20:01.359 --> 0:20:03.560
<v Speaker 9>just been playing. So that's kind of how I learned

0:20:03.560 --> 0:20:06.320
<v Speaker 9>how to play music. I just figured it out by ear.

0:20:11.320 --> 0:20:16.119
<v Speaker 1>I think that even though I encourage parents and everyone

0:20:16.280 --> 0:20:22.160
<v Speaker 1>to uh, you know, introduce their kids to music, now

0:20:22.240 --> 0:20:24.920
<v Speaker 1>that I know, the recurring theme is that the guests

0:20:25.040 --> 0:20:28.399
<v Speaker 1>that are on our show that thrive the most do

0:20:28.600 --> 0:20:31.840
<v Speaker 1>so because it's like those forbidden don't touch it. So

0:20:32.000 --> 0:20:34.800
<v Speaker 1>you got to make music almost Yeah, And now I'm

0:20:34.800 --> 0:20:38.000
<v Speaker 1>gonna discourage all parents out there, discourage your kids from

0:20:38.640 --> 0:20:39.280
<v Speaker 1>their stereo.

0:20:39.440 --> 0:20:42.520
<v Speaker 9>There's a total truth to that, because even like it's

0:20:42.600 --> 0:20:46.520
<v Speaker 9>funny with my son, I was telling quests that I

0:20:46.600 --> 0:20:47.840
<v Speaker 9>bought his quest Love.

0:20:48.520 --> 0:20:49.880
<v Speaker 8>I don't even we call that little set.

0:20:49.880 --> 0:20:52.000
<v Speaker 1>It's like a well, yeah, the breakbeat kit.

0:20:52.040 --> 0:20:54.000
<v Speaker 8>The breakbeat kite for my one year old.

0:20:54.119 --> 0:20:56.240
<v Speaker 1>I appreciate that I wouldn't gladly send it to you.

0:20:56.480 --> 0:20:59.199
<v Speaker 9>No. I loved it, and because I saw it somewhere

0:20:59.359 --> 0:21:01.359
<v Speaker 9>and I'm like, oh shit, I love this thing. And

0:21:01.440 --> 0:21:03.159
<v Speaker 9>I played it and I was like, this is amazing.

0:21:03.200 --> 0:21:04.760
<v Speaker 9>So I got it for my one year old son

0:21:04.840 --> 0:21:08.280
<v Speaker 9>that you know, he just started walking and I was,

0:21:08.600 --> 0:21:10.639
<v Speaker 9>you know, teaching him and he loved being on it.

0:21:10.680 --> 0:21:12.919
<v Speaker 9>But it was obvious it's just too soon to give

0:21:13.000 --> 0:21:17.200
<v Speaker 9>him a drum set. But he I never like, there's

0:21:17.400 --> 0:21:21.680
<v Speaker 9>there's drums around, there's pianos around, there's guitars, there's this.

0:21:22.280 --> 0:21:25.600
<v Speaker 9>I never encourage it, and he just goes to it himself.

0:21:25.960 --> 0:21:29.120
<v Speaker 9>He discovered the Beatles all on his own at one

0:21:29.160 --> 0:21:29.639
<v Speaker 9>and a half.

0:21:29.880 --> 0:21:32.360
<v Speaker 8>What Yeah, all on his own, swear to god.

0:21:32.840 --> 0:21:37.800
<v Speaker 9>He listens to Penny Lane, Hay Bulldog, Yellow Summery. He

0:21:37.960 --> 0:21:39.119
<v Speaker 9>watches Yellow Summary.

0:21:39.200 --> 0:21:39.280
<v Speaker 7>Now.

0:21:39.280 --> 0:21:42.719
<v Speaker 9>I don't know if anybody out there go watch Yellow Submarine.

0:21:42.840 --> 0:21:45.359
<v Speaker 9>It's a trip. I can't even get through Yellow Summer.

0:21:45.800 --> 0:21:48.639
<v Speaker 9>And he's obsessed with it. He knows it, and he

0:21:48.800 --> 0:21:51.200
<v Speaker 9>knows all the songs in Spanish as well, because we

0:21:51.280 --> 0:21:55.080
<v Speaker 9>teach him Spanish. And he loves to dress like Paul McCartney.

0:21:55.680 --> 0:21:58.280
<v Speaker 9>He wears a jacket and a tie. I just got

0:21:58.400 --> 0:22:00.960
<v Speaker 9>him out of the tie because it's nearly one hundred

0:22:00.960 --> 0:22:03.200
<v Speaker 9>and fifty degrees out there and he wants to be

0:22:03.280 --> 0:22:04.720
<v Speaker 9>in his jacket and Tye and I feel like a

0:22:04.800 --> 0:22:09.119
<v Speaker 9>bad parent, like he's like sweating. I can't get off

0:22:09.200 --> 0:22:12.359
<v Speaker 9>for him, you know. But anyways, on his own, he

0:22:12.640 --> 0:22:15.560
<v Speaker 9>is doing that. So I don't encourage it. I just

0:22:15.680 --> 0:22:17.760
<v Speaker 9>make it available if he's interested.

0:22:18.280 --> 0:22:20.959
<v Speaker 1>He's going to be the third member of Lemon Tweets

0:22:22.280 --> 0:22:25.960
<v Speaker 1>No Lemon tweegs. It's like these two kids, they're teenagers,

0:22:27.160 --> 0:22:33.359
<v Speaker 1>like maybe sixteen and eighteen, but it's like they're straight

0:22:33.480 --> 0:22:38.320
<v Speaker 1>nineteen seventies, like basity rollers showing cassidy like that nineteen seventies,

0:22:38.760 --> 0:22:42.920
<v Speaker 1>Like kids are people to era. That was a deep cut.

0:22:43.400 --> 0:22:47.359
<v Speaker 1>Only Bill get that? Uh and Steve, I'm sorry, Steve,

0:22:47.400 --> 0:22:50.359
<v Speaker 1>you're here, Bob callister son, Yeah, okay, now you have to.

0:22:50.440 --> 0:22:51.959
<v Speaker 1>I'll do me with the with the host thing.

0:22:52.240 --> 0:22:54.440
<v Speaker 8>Make sure people have no reason to live or in

0:22:54.520 --> 0:22:55.320
<v Speaker 8>a thing, right, got it?

0:22:55.640 --> 0:22:59.119
<v Speaker 1>No, they're just straight nineteen seventies. And but it's because

0:22:59.359 --> 0:23:02.120
<v Speaker 1>you know they're parent parents kind of raised them where

0:23:02.119 --> 0:23:04.520
<v Speaker 1>the timeline was cut off at nineteen seventy seven. So

0:23:05.520 --> 0:23:08.760
<v Speaker 1>that's all all they know is Boston. Yeah, they know Boston,

0:23:08.880 --> 0:23:11.840
<v Speaker 1>they know Kansas, they know like those types of elo

0:23:12.080 --> 0:23:12.719
<v Speaker 1>that sort of thing.

0:23:12.840 --> 0:23:18.359
<v Speaker 9>So well, there is this wonderful wave of this new

0:23:18.480 --> 0:23:22.040
<v Speaker 9>generation I guess what we call them, Generation why or whatever.

0:23:22.160 --> 0:23:23.040
<v Speaker 8>Yeah, but these.

0:23:23.000 --> 0:23:25.359
<v Speaker 9>Kids are going to impress a lot of people. Like

0:23:25.560 --> 0:23:28.720
<v Speaker 9>when when people like ask me, like, aren't you bummed

0:23:28.720 --> 0:23:30.719
<v Speaker 9>out about the music business, I'm like, no at all,

0:23:30.880 --> 0:23:33.119
<v Speaker 9>not even We're just going through the bumps that we

0:23:33.240 --> 0:23:37.000
<v Speaker 9>go through. But it's up to us to acknowledge and

0:23:38.240 --> 0:23:42.359
<v Speaker 9>and to see and hear what's coming. And there's a

0:23:42.520 --> 0:23:45.359
<v Speaker 9>bunch of kids right now that are thirteen and under

0:23:45.720 --> 0:23:51.760
<v Speaker 9>that listen to Carol King Hendrix Zeppelin, because what what's

0:23:51.840 --> 0:23:55.200
<v Speaker 9>going on is people are putting these Spotify playlists whatever.

0:23:55.280 --> 0:23:57.480
<v Speaker 8>They don't have to, but they But the thing is

0:23:57.520 --> 0:23:58.919
<v Speaker 8>they don't know who the new.

0:23:58.840 --> 0:24:01.080
<v Speaker 9>Ones are or they old ones. They don't they're just

0:24:01.240 --> 0:24:04.840
<v Speaker 9>listening and they're responding. So they hear Zeppelin come on,

0:24:04.960 --> 0:24:07.600
<v Speaker 9>and they're like, going right on. And then that takes

0:24:07.640 --> 0:24:09.639
<v Speaker 9>you to you know, Greta Van Fleet, which is a

0:24:09.760 --> 0:24:13.920
<v Speaker 9>new bands like Zeppelin. You know, those guys would not

0:24:14.040 --> 0:24:16.680
<v Speaker 9>have been signed today, you know if it wasn't for

0:24:16.760 --> 0:24:19.520
<v Speaker 9>a lot of these playlists that kids are being exposed

0:24:19.560 --> 0:24:23.960
<v Speaker 9>to that have amazing, amazing music on it, and it's

0:24:24.080 --> 0:24:27.720
<v Speaker 9>it's circulating. So you know, to the music business people

0:24:27.800 --> 0:24:30.640
<v Speaker 9>who are feeling fear, it's like there is no fear

0:24:30.880 --> 0:24:33.240
<v Speaker 9>like actually, and in fact, I think there's gonna be

0:24:33.280 --> 0:24:36.640
<v Speaker 9>a wonderful, beautiful surge of incredible music that's going.

0:24:36.600 --> 0:24:37.280
<v Speaker 8>To be coming out.

0:24:37.320 --> 0:24:40.720
<v Speaker 9>We just need to What our job is is to

0:24:41.840 --> 0:24:45.240
<v Speaker 9>kind of clean up the foundation you know that we're

0:24:45.400 --> 0:24:48.679
<v Speaker 9>sitting on right now, because the business is so messed

0:24:48.760 --> 0:24:51.680
<v Speaker 9>up and the intentions are so bad that we have

0:24:51.840 --> 0:24:54.440
<v Speaker 9>to really just kind of make it. We have to

0:24:54.520 --> 0:24:57.399
<v Speaker 9>clean house a little bit so there is something for

0:24:57.520 --> 0:24:59.840
<v Speaker 9>these kids to come into and not be afraid to

0:25:00.040 --> 0:25:03.000
<v Speaker 9>you sign a record deal or be exposed in some

0:25:03.160 --> 0:25:05.800
<v Speaker 9>way or whatever that want to just show up and

0:25:06.440 --> 0:25:07.400
<v Speaker 9>perform and play.

0:25:07.520 --> 0:25:10.520
<v Speaker 1>And I'm so glad you didn't say drain this one.

0:25:12.880 --> 0:25:15.000
<v Speaker 8>I would not train this well.

0:25:15.640 --> 0:25:21.159
<v Speaker 1>Do you think in your experiences and you've experienced the

0:25:21.240 --> 0:25:24.960
<v Speaker 1>business as an artist, you've experienced the business as a label,

0:25:25.200 --> 0:25:28.359
<v Speaker 1>you've experienced it as a songwriter. So I'm certain that

0:25:29.080 --> 0:25:31.440
<v Speaker 1>from the interns to the president of the label, you've

0:25:31.520 --> 0:25:35.879
<v Speaker 1>had interaction with everything, do you well, I know that

0:25:36.119 --> 0:25:44.560
<v Speaker 1>the old modus operandi will eventually erode and be done

0:25:44.600 --> 0:25:48.080
<v Speaker 1>away with. But do you feel that there could be

0:25:48.400 --> 0:25:55.600
<v Speaker 1>a new system in which artists can get their fair

0:25:55.760 --> 0:26:01.440
<v Speaker 1>share and make a living and still like where both

0:26:01.520 --> 0:26:05.280
<v Speaker 1>sides are happy, where you know, because I don't I

0:26:05.440 --> 0:26:07.280
<v Speaker 1>know that just to make great music, Like what's the

0:26:07.320 --> 0:26:10.480
<v Speaker 1>sense of making great music if you're in a forest

0:26:10.560 --> 0:26:13.040
<v Speaker 1>and no one hears the tree falling, you know, on

0:26:13.160 --> 0:26:15.719
<v Speaker 1>the other side of the world. So I don't want

0:26:15.760 --> 0:26:19.800
<v Speaker 1>to have to be a business person and an artist

0:26:19.840 --> 0:26:21.320
<v Speaker 1>at the same time. So do you think that there

0:26:21.320 --> 0:26:25.000
<v Speaker 1>will eventually be a system that will be fair enough

0:26:25.080 --> 0:26:27.719
<v Speaker 1>so that artists can make a living and make quality

0:26:27.840 --> 0:26:30.760
<v Speaker 1>music without having to shake their ass in a video

0:26:30.960 --> 0:26:34.920
<v Speaker 1>or do this hot collabo with this person? Do you

0:26:34.960 --> 0:26:36.280
<v Speaker 1>think you'll see that in your lifetime?

0:26:36.440 --> 0:26:39.959
<v Speaker 9>Well, I mean that's a tricky question to be honest

0:26:40.480 --> 0:26:44.720
<v Speaker 9>for someone like me, because I believe that quality and

0:26:44.880 --> 0:26:49.560
<v Speaker 9>money don't go hand in hand, you know, Like, I don't.

0:26:49.520 --> 0:26:52.560
<v Speaker 1>Know, you need money to make quality, like as beautiful

0:26:52.560 --> 0:26:56.639
<v Speaker 1>as this environment that right, red Aalinn didn't, Patsy Klein didn't.

0:26:56.880 --> 0:26:59.359
<v Speaker 9>I mean, Carol King said in her room, And I mean, like,

0:26:59.720 --> 0:27:02.640
<v Speaker 9>I mean, that's where music comes from. It people made

0:27:03.200 --> 0:27:07.000
<v Speaker 9>incredible music with no money. I mean, it's just who

0:27:07.119 --> 0:27:10.880
<v Speaker 9>we are. Like, if I don't make any money from

0:27:10.960 --> 0:27:13.200
<v Speaker 9>here on out, it's not going to stop me from

0:27:13.280 --> 0:27:17.440
<v Speaker 9>being a performer or a songwriter and doing everything I

0:27:17.600 --> 0:27:20.960
<v Speaker 9>am and put everything that I am into what I'm doing,

0:27:21.080 --> 0:27:22.679
<v Speaker 9>because that's just who I am.

0:27:22.920 --> 0:27:26.200
<v Speaker 8>That's the that's the bar I live with on a

0:27:26.320 --> 0:27:31.000
<v Speaker 8>daily basis. I you know, I have to write.

0:27:31.160 --> 0:27:34.119
<v Speaker 9>It's it's my therapy, it's my it's who I am.

0:27:34.240 --> 0:27:36.919
<v Speaker 9>It's like brushing my teeth. Like it's not a choice,

0:27:37.680 --> 0:27:40.920
<v Speaker 9>it's just when it happens. I have to be available

0:27:41.000 --> 0:27:45.400
<v Speaker 9>to respond to it. You know what you're saying. Will

0:27:45.680 --> 0:27:49.760
<v Speaker 9>As a business person now, I think there's many outlets

0:27:49.800 --> 0:27:53.439
<v Speaker 9>that are going to make themselves available. I feel, are

0:27:53.480 --> 0:27:55.400
<v Speaker 9>we going to make the same money that we did

0:27:55.440 --> 0:27:56.240
<v Speaker 9>in the nineties.

0:27:56.560 --> 0:27:57.159
<v Speaker 8>No, we're not.

0:27:57.560 --> 0:27:57.800
<v Speaker 1>We're not.

0:27:58.359 --> 0:28:01.720
<v Speaker 9>It's not going to happen. But we got to remember

0:28:01.880 --> 0:28:06.199
<v Speaker 9>other things that are going on. It's what's happening right

0:28:06.280 --> 0:28:07.280
<v Speaker 9>now is making.

0:28:08.119 --> 0:28:09.560
<v Speaker 8>Okay, let's just go ahead and just say it.

0:28:10.400 --> 0:28:14.800
<v Speaker 9>It's turning people who are not talented into celebrities, right

0:28:15.680 --> 0:28:17.920
<v Speaker 9>and they're being able to make a shitload of money

0:28:18.680 --> 0:28:23.080
<v Speaker 9>based on you know this none talent to chrisma, right,

0:28:23.600 --> 0:28:27.240
<v Speaker 9>but let's even take that for a second. There's a

0:28:27.359 --> 0:28:31.480
<v Speaker 9>talent in that. There's a talent in being charismatic. There's

0:28:31.520 --> 0:28:34.920
<v Speaker 9>a talent into selling yourself. There's a because you know

0:28:34.960 --> 0:28:38.400
<v Speaker 9>what those people do. They they're on it twenty four

0:28:38.440 --> 0:28:41.400
<v Speaker 9>to seven, they're banging shit out, they're on their Twitter,

0:28:41.560 --> 0:28:44.560
<v Speaker 9>their car, they're you know, they're doing it. They're doing

0:28:44.640 --> 0:28:46.920
<v Speaker 9>it when they wake up, when they go to sleep.

0:28:47.240 --> 0:28:48.760
<v Speaker 9>There's a different talent.

0:28:50.080 --> 0:28:52.880
<v Speaker 7>I actually like, no, you can like her, but that's

0:28:53.320 --> 0:28:54.000
<v Speaker 7>a clear example.

0:28:54.080 --> 0:28:55.000
<v Speaker 1>Yeah you can like her.

0:28:55.120 --> 0:28:56.600
<v Speaker 7>No, that's fine. I mean, but we all know that

0:28:56.720 --> 0:28:58.000
<v Speaker 7>she's built in a way.

0:28:58.080 --> 0:28:58.280
<v Speaker 1>Yeah.

0:28:58.600 --> 0:29:01.360
<v Speaker 9>But then there's like, you know these artists that are

0:29:01.680 --> 0:29:09.600
<v Speaker 9>like Adele. Everybody said records don't sell. Adele said hello

0:29:11.360 --> 0:29:16.040
<v Speaker 9>a month for a month, and she sold groundbreaking twenty

0:29:16.080 --> 0:29:19.560
<v Speaker 9>five million something like that for ridiculous amount of money,

0:29:19.680 --> 0:29:21.640
<v Speaker 9>right or I mean she made a shitload off of that.

0:29:22.240 --> 0:29:25.800
<v Speaker 9>Because I know that she is covered in that area.

0:29:26.200 --> 0:29:28.560
<v Speaker 9>I get a lot of artists that come in here go,

0:29:29.760 --> 0:29:32.440
<v Speaker 9>you know, I hate my album. I didn't want to

0:29:32.520 --> 0:29:35.120
<v Speaker 9>be like that. You know, the record company made me

0:29:35.240 --> 0:29:37.800
<v Speaker 9>do this. Blah blah, blah. I didn't want to make

0:29:37.880 --> 0:29:40.880
<v Speaker 9>that video. I didn't want to put the glitter on

0:29:40.960 --> 0:29:42.920
<v Speaker 9>my mouth to make it look like I was, you know,

0:29:43.160 --> 0:29:45.680
<v Speaker 9>got you know, shot calm on my face. I didn't

0:29:45.680 --> 0:29:52.960
<v Speaker 9>want to do any of that actual you know, you know,

0:29:53.160 --> 0:29:55.320
<v Speaker 9>and all I could look at them and go, I'm

0:29:55.400 --> 0:29:58.680
<v Speaker 9>so sorry. But you're not getting any sympathy here because

0:29:58.920 --> 0:30:02.800
<v Speaker 9>you allowed that to happen. You know, you were afraid

0:30:02.960 --> 0:30:06.960
<v Speaker 9>of losing your record deal, so you did all the

0:30:07.120 --> 0:30:09.120
<v Speaker 9>things that you're not supposed to do.

0:30:09.840 --> 0:30:13.880
<v Speaker 8>You you fell into that trap. So do I to

0:30:14.040 --> 0:30:15.240
<v Speaker 8>your questions?

0:30:15.360 --> 0:30:18.200
<v Speaker 9>That's why I said a difficult one, because I believe

0:30:18.400 --> 0:30:22.440
<v Speaker 9>when artists step into their power, money will come. I

0:30:22.640 --> 0:30:28.200
<v Speaker 9>believe anytime we step into our power, are everything that

0:30:28.360 --> 0:30:31.160
<v Speaker 9>is due to us will come to us. What is

0:30:31.280 --> 0:30:36.200
<v Speaker 9>rightfully ours will be ours when we step into our power.

0:30:37.000 --> 0:30:38.840
<v Speaker 9>So that is the answer to that question.

0:30:39.440 --> 0:30:39.920
<v Speaker 8>Right now.

0:30:40.480 --> 0:30:43.840
<v Speaker 9>It is my job, your job, all of our job

0:30:43.960 --> 0:30:46.480
<v Speaker 9>here to help people step into their power.

0:30:47.800 --> 0:31:00.200
<v Speaker 1>All right, how many songs do you reckon you? Okay,

0:31:00.240 --> 0:31:02.600
<v Speaker 1>I won't say like half completed songs are half demos,

0:31:02.640 --> 0:31:04.600
<v Speaker 1>because I'm certain that you know, even if you have

0:31:04.640 --> 0:31:07.360
<v Speaker 1>an idea right now, you'll just excuse yourself, and how

0:31:07.400 --> 0:31:12.400
<v Speaker 1>many your iPhone outside? Uh? On a weekly basis, how

0:31:12.480 --> 0:31:15.560
<v Speaker 1>many songs do you think you complete?

0:31:18.000 --> 0:31:22.440
<v Speaker 9>Right, Well, it depends on if I'm writing with somebody.

0:31:22.600 --> 0:31:26.080
<v Speaker 9>So basically, right now, I'm in the studio with Natasha Beddingfield.

0:31:27.360 --> 0:31:34.840
<v Speaker 9>In probably fourteen days, we wrote thirteen songs, and then

0:31:35.320 --> 0:31:38.800
<v Speaker 9>that was me concentrating on just the songs. Now sometimes

0:31:39.320 --> 0:31:42.200
<v Speaker 9>I'll just you know, with her, I did something different,

0:31:42.320 --> 0:31:45.000
<v Speaker 9>Like I really wanted to get the body of songs down,

0:31:45.760 --> 0:31:49.320
<v Speaker 9>and so I didn't focus on any production because I

0:31:49.400 --> 0:31:51.880
<v Speaker 9>wanted to do something different with her this time. And

0:31:52.080 --> 0:31:54.400
<v Speaker 9>a lot of people know Natasha Beddingfield for you know,

0:31:54.440 --> 0:31:57.520
<v Speaker 9>pocket full of Sunshine and unwritten, and there's a cleanness

0:31:57.640 --> 0:32:00.960
<v Speaker 9>there about her. But she I mean there's a little

0:32:01.040 --> 0:32:03.840
<v Speaker 9>Michael in her. I mean she hits these this tone

0:32:03.960 --> 0:32:06.520
<v Speaker 9>that sounds like friggin' Michael Jackson when he was younger.

0:32:07.120 --> 0:32:09.320
<v Speaker 9>And she's got a grit and a style, and she's

0:32:09.480 --> 0:32:12.680
<v Speaker 9>wild and she's political, and she's dark and she's.

0:32:12.560 --> 0:32:13.840
<v Speaker 8>Funny and she's light.

0:32:14.040 --> 0:32:14.200
<v Speaker 7>You know.

0:32:14.640 --> 0:32:16.760
<v Speaker 9>So anyway, so I just wanted to focus on the song.

0:32:16.920 --> 0:32:18.920
<v Speaker 9>So I just focused on the songs and didn't get

0:32:18.960 --> 0:32:23.920
<v Speaker 9>into production, so we were, you know, like the other yesterday,

0:32:23.960 --> 0:32:25.920
<v Speaker 9>I wasn't playing on writing a song, and we did.

0:32:26.520 --> 0:32:29.960
<v Speaker 9>So it depends on the energy that's moving through me

0:32:30.360 --> 0:32:33.080
<v Speaker 9>and the artist. Now, I've been with some artists that

0:32:33.120 --> 0:32:35.960
<v Speaker 9>I've been with them for three days and I keep

0:32:36.080 --> 0:32:38.479
<v Speaker 9>switching because I can't get one song written with them.

0:32:38.560 --> 0:32:41.320
<v Speaker 9>And then finally at the I always allow at least

0:32:41.320 --> 0:32:45.440
<v Speaker 9>two to three days. Sometimes that's long. But if I

0:32:45.520 --> 0:32:48.080
<v Speaker 9>don't write a song with somebody within the first three hours,

0:32:48.880 --> 0:32:52.520
<v Speaker 9>the chemistry's not there. I'll say, listen, I think you're amazing.

0:32:53.560 --> 0:32:55.400
<v Speaker 9>You know who would be really great with you? And

0:32:55.480 --> 0:32:58.160
<v Speaker 9>then I'll recommend somebody else and they look at me.

0:32:58.280 --> 0:32:59.320
<v Speaker 1>Like you curve them.

0:33:00.160 --> 0:33:02.560
<v Speaker 9>They're like, well, I want to work with you, and

0:33:02.640 --> 0:33:05.200
<v Speaker 9>I said, I do too, but it's I like you,

0:33:05.480 --> 0:33:07.840
<v Speaker 9>but that doesn't mean we're going to create, you know.

0:33:08.120 --> 0:33:12.280
<v Speaker 8>That's that's how I roll, you know, So do artists.

0:33:12.040 --> 0:33:17.360
<v Speaker 1>Prefer that immersive experience in creating with you? Because there

0:33:17.400 --> 0:33:21.320
<v Speaker 1>are some times where I feel as though like I'll

0:33:21.360 --> 0:33:25.160
<v Speaker 1>have a brilliant idea and I'll execute it and go

0:33:25.240 --> 0:33:26.800
<v Speaker 1>in the studio by myself in it, and then I'll

0:33:26.840 --> 0:33:30.720
<v Speaker 1>present it and then they'll be like, nah, I'm cool

0:33:30.800 --> 0:33:35.920
<v Speaker 1>on it, and it's almost like well yeah, like I

0:33:36.040 --> 0:33:38.920
<v Speaker 1>hate to say this on So that's how I fool.

0:33:40.640 --> 0:33:43.120
<v Speaker 1>That's how I fool Erica, Like Erica is the Queen

0:33:43.160 --> 0:33:47.480
<v Speaker 1>of no when it's like yo, we it's dope, right,

0:33:48.320 --> 0:33:52.800
<v Speaker 1>and then she'll want to be part of the creative process.

0:33:53.080 --> 0:33:55.239
<v Speaker 1>So then I got a Jedi my trigger. And then

0:33:55.240 --> 0:33:58.720
<v Speaker 1>I'll present the same idea like a month later, right,

0:33:59.280 --> 0:34:02.320
<v Speaker 1>and then it's like it's eighty two thousand, you know

0:34:02.360 --> 0:34:06.840
<v Speaker 1>what I mean? And then it's like yeah, I see

0:34:07.480 --> 0:34:12.879
<v Speaker 1>it's but it's almost like I feel like with your

0:34:12.960 --> 0:34:15.880
<v Speaker 1>your position is harder because there's much more than a songwriter,

0:34:16.040 --> 0:34:20.359
<v Speaker 1>like you bordline up to be the therapist sometimes the babysitter,

0:34:21.200 --> 0:34:23.040
<v Speaker 1>like if they have add you gotta give them the

0:34:23.160 --> 0:34:27.520
<v Speaker 1>focus and you have to be life coach. So it's

0:34:28.840 --> 0:34:32.320
<v Speaker 1>what what is the most comfortable environment that you're in

0:34:32.520 --> 0:34:35.040
<v Speaker 1>in songwriting? Like do you have to sit with that

0:34:35.160 --> 0:34:38.239
<v Speaker 1>person in real time? Is music even involved? Like do

0:34:38.280 --> 0:34:41.880
<v Speaker 1>you even just deal with words? And like Smokey Robinson

0:34:41.920 --> 0:34:45.239
<v Speaker 1>said that half the songs he wrote he starts out

0:34:45.280 --> 0:34:47.520
<v Speaker 1>with poetry, like not even thinking of a melody, it's

0:34:47.600 --> 0:34:50.160
<v Speaker 1>just like, do these words make sense? And once he

0:34:50.200 --> 0:34:53.120
<v Speaker 1>feels he has something, then it's like, what music can

0:34:53.160 --> 0:34:55.920
<v Speaker 1>I dress around this? So what is your actual, like

0:34:56.200 --> 0:34:59.840
<v Speaker 1>preferred process of songwriting. I don't have.

0:35:00.880 --> 0:35:04.239
<v Speaker 9>I I everything comes at the same time, first of all.

0:35:04.360 --> 0:35:08.279
<v Speaker 9>So for me, if I pick up a guitar, I'll

0:35:08.280 --> 0:35:11.279
<v Speaker 9>basically come up with the melody and some kind of

0:35:11.360 --> 0:35:16.040
<v Speaker 9>lyric right off the top. It all like for me,

0:35:16.200 --> 0:35:20.840
<v Speaker 9>I have to be open to the song presenting itself

0:35:21.320 --> 0:35:24.839
<v Speaker 9>and just catch it. You know how sometimes we ignore, oh,

0:35:25.800 --> 0:35:28.160
<v Speaker 9>an actual lyric or is it like, I don't know.

0:35:28.239 --> 0:35:31.960
<v Speaker 9>I'll just know it's just ice mumble and then it

0:35:32.080 --> 0:35:35.040
<v Speaker 9>turns into song. So all my songs come from that.

0:35:36.120 --> 0:35:39.560
<v Speaker 9>The melody, the music, the lyrics all kind of start

0:35:39.640 --> 0:35:41.959
<v Speaker 9>showing up at the same time, and I'll just jam

0:35:42.040 --> 0:35:45.480
<v Speaker 9>it but with So for me, when I'm here, that's

0:35:45.520 --> 0:35:48.400
<v Speaker 9>how I roll when I'm with an artist.

0:35:48.520 --> 0:35:50.000
<v Speaker 8>I love working with people.

0:35:50.080 --> 0:35:51.680
<v Speaker 9>I could write a song with you guys right now,

0:35:51.880 --> 0:35:55.959
<v Speaker 9>just as comfortable as I could with myself. I love

0:35:56.520 --> 0:36:00.640
<v Speaker 9>being inspired. I I am one of the people that

0:36:01.000 --> 0:36:05.120
<v Speaker 9>if we all sat here and we were like, okay, let's.

0:36:04.960 --> 0:36:05.520
<v Speaker 8>Write a song.

0:36:06.160 --> 0:36:09.400
<v Speaker 9>You were on your phone, you're drinking coffee, you fell asleep,

0:36:09.920 --> 0:36:13.560
<v Speaker 9>you're daydreaming, and you're just looking at gear. And I

0:36:13.800 --> 0:36:16.520
<v Speaker 9>sat here and did it. You know, I did all

0:36:16.680 --> 0:36:19.960
<v Speaker 9>the music and wrote it. I would still make that

0:36:20.320 --> 0:36:24.480
<v Speaker 9>a collaboration because it's the energy and the inspiration of everybody.

0:36:24.880 --> 0:36:26.960
<v Speaker 9>You know, it's not sweet, it's just the way it

0:36:27.120 --> 0:36:30.360
<v Speaker 9>is because to me, it's a it's a series of

0:36:30.520 --> 0:36:34.120
<v Speaker 9>events and energies and things that just bring us to

0:36:34.160 --> 0:36:36.879
<v Speaker 9>where we are right now. And that's how I look

0:36:36.960 --> 0:36:40.759
<v Speaker 9>at life in general and songwriting. So it's to me,

0:36:40.880 --> 0:36:44.120
<v Speaker 9>it's I can write anywhere. You can put me in

0:36:44.239 --> 0:36:46.000
<v Speaker 9>any place, and I will write a song.

0:36:46.200 --> 0:36:51.080
<v Speaker 1>What's the largest number of people collaboration situation that you've

0:36:51.160 --> 0:36:52.680
<v Speaker 1>been in to write a song.

0:36:53.520 --> 0:36:58.000
<v Speaker 9>The only time I've ever done something to that at

0:36:58.040 --> 0:37:03.000
<v Speaker 9>that level is you know, with a band. You know

0:37:03.040 --> 0:37:05.480
<v Speaker 9>where I've had my band here and it's like one, two,

0:37:05.600 --> 0:37:09.480
<v Speaker 9>three for five, six seven people maybe if that, and

0:37:09.760 --> 0:37:11.840
<v Speaker 9>we're just sitting in there jam and I just sometimes

0:37:11.840 --> 0:37:13.720
<v Speaker 9>I just got to break out. It's just like guys,

0:37:14.320 --> 0:37:16.680
<v Speaker 9>you know, I feel the guys are just like they're

0:37:16.760 --> 0:37:19.799
<v Speaker 9>lost in the song. They can't get there. So I'll

0:37:19.840 --> 0:37:22.080
<v Speaker 9>come in and I'll go, okay, let's just jam out,

0:37:22.239 --> 0:37:23.680
<v Speaker 9>you know, and then I'll pick up the guitar and

0:37:23.719 --> 0:37:25.920
<v Speaker 9>I'll start doing something. We'll start doing things, and then

0:37:26.040 --> 0:37:27.000
<v Speaker 9>we'll write a song.

0:37:27.680 --> 0:37:30.319
<v Speaker 1>Now, you know, you're always in the alpha situation, like.

0:37:30.520 --> 0:37:31.480
<v Speaker 8>I'm always the alpha.

0:37:31.600 --> 0:37:34.319
<v Speaker 1>Yeah, okay, that's what I wanted to know, Like who

0:37:34.440 --> 0:37:36.480
<v Speaker 1>decides who's going to be quote the bad guy or

0:37:36.560 --> 0:37:37.000
<v Speaker 1>the coaches?

0:37:37.200 --> 0:37:38.800
<v Speaker 8>Yeah, no, I'm I'm always that.

0:37:39.000 --> 0:37:41.040
<v Speaker 9>I don't it's to me, it's I'm just in the

0:37:41.120 --> 0:37:43.759
<v Speaker 9>more powerful position because I'm very confident.

0:37:44.360 --> 0:37:47.840
<v Speaker 8>I'm not choosing that. It's just who I am and people.

0:37:48.040 --> 0:37:50.920
<v Speaker 9>You're only as powerful as the people around you, So

0:37:51.120 --> 0:37:54.520
<v Speaker 9>if people are letting you take power, then I'm the alpha.

0:37:55.000 --> 0:37:55.160
<v Speaker 1>You know.

0:37:55.320 --> 0:37:58.839
<v Speaker 9>That's just the way the works works in the wolf Pack.

0:37:58.960 --> 0:38:01.400
<v Speaker 9>You know, it's like they they want people want to

0:38:01.440 --> 0:38:05.080
<v Speaker 9>be led. They want to feel like somebody's got control

0:38:05.160 --> 0:38:07.480
<v Speaker 9>of something. That's why we get in an airplane and

0:38:07.880 --> 0:38:10.040
<v Speaker 9>we feel that guy is the guy that's gonna take

0:38:10.160 --> 0:38:11.960
<v Speaker 9>us to safety. And I don't fucking know who that

0:38:12.080 --> 0:38:15.400
<v Speaker 9>guy is that's gonna who the fuck, but we automatically

0:38:15.520 --> 0:38:19.120
<v Speaker 9>just go into this trusting situation. He's got it, you know.

0:38:19.320 --> 0:38:23.120
<v Speaker 9>So I try to make that available because that's just

0:38:23.160 --> 0:38:25.440
<v Speaker 9>who I am. But I want people to feel safe

0:38:25.560 --> 0:38:30.200
<v Speaker 9>and secure in their environment. And I only whip out

0:38:30.440 --> 0:38:32.120
<v Speaker 9>bulldog for business.

0:38:32.280 --> 0:38:32.440
<v Speaker 1>You know.

0:38:32.640 --> 0:38:35.640
<v Speaker 9>I am a total I will. I am an assassin

0:38:36.120 --> 0:38:39.160
<v Speaker 9>when it comes from my artist. I manage artists, and

0:38:39.320 --> 0:38:41.360
<v Speaker 9>I am a killer. I would go in there because

0:38:41.400 --> 0:38:43.839
<v Speaker 9>my artist is my number one priority. I don't give

0:38:43.840 --> 0:38:46.640
<v Speaker 9>a fuck about any of you, my artists. I need

0:38:46.719 --> 0:38:48.600
<v Speaker 9>to make sure that they're taken care of. And I

0:38:48.719 --> 0:38:52.640
<v Speaker 9>become an assassin. I'm a gunslinger. I go left field.

0:38:52.880 --> 0:38:55.200
<v Speaker 8>I funck shit up. I got people scared of me,

0:38:56.040 --> 0:38:57.200
<v Speaker 8>but I'm also really sweet.

0:39:08.120 --> 0:39:10.440
<v Speaker 7>Is your writing process different for those people who you've

0:39:10.440 --> 0:39:12.560
<v Speaker 7>been working with for so long, Like it's the product,

0:39:12.560 --> 0:39:14.960
<v Speaker 7>you know, since you know them, and on a whole

0:39:15.000 --> 0:39:17.520
<v Speaker 7>different level for like the Pinks and the Christina and.

0:39:18.200 --> 0:39:20.479
<v Speaker 9>Well you know, I mean we all know, like there's

0:39:20.719 --> 0:39:25.600
<v Speaker 9>people who think their writers and they think their producers,

0:39:25.840 --> 0:39:30.360
<v Speaker 9>you know, So you have to you know, like what

0:39:30.480 --> 0:39:32.960
<v Speaker 9>you said, you have to Jedi mind trick them, you know.

0:39:33.640 --> 0:39:36.000
<v Speaker 1>And so I have How long does it take for

0:39:36.160 --> 0:39:39.759
<v Speaker 1>you to know who you're dealing with? If it's a

0:39:39.840 --> 0:39:43.440
<v Speaker 1>blind situation, like do you start with dinner first, do

0:39:43.520 --> 0:39:46.920
<v Speaker 1>you meet off campus first to see who you're dealing with,

0:39:47.160 --> 0:39:49.279
<v Speaker 1>or is it just like Clyde Davis is like, look,

0:39:49.320 --> 0:39:52.719
<v Speaker 1>I got this new artist and come to New York

0:39:52.719 --> 0:39:53.160
<v Speaker 1>and meet them.

0:39:53.320 --> 0:39:55.560
<v Speaker 9>Yeah, No, I don't do that. I'll meet people, but

0:39:56.600 --> 0:40:00.440
<v Speaker 9>I don't. I rarely, it's a rare occasion. I'll just

0:40:00.920 --> 0:40:04.000
<v Speaker 9>say okay to somebody. I don't care if it's Beyonce

0:40:04.880 --> 0:40:07.440
<v Speaker 9>or some new person. I need to sit with you first,

0:40:08.080 --> 0:40:11.320
<v Speaker 9>just chat and see if we're a match, because it

0:40:11.680 --> 0:40:16.160
<v Speaker 9>is important to me. I'm not again, I have to

0:40:16.280 --> 0:40:20.320
<v Speaker 9>feel creative in the situation. Otherwise, if I'm not and

0:40:20.440 --> 0:40:25.360
<v Speaker 9>I'm only doing it for the namesake or whatever, it

0:40:25.880 --> 0:40:28.840
<v Speaker 9>just doesn't It doesn't fit in my soul properly.

0:40:29.000 --> 0:40:37.880
<v Speaker 1>Okay, So I gotta ask at the height of misunderstood mania,

0:40:39.200 --> 0:40:41.239
<v Speaker 1>we came first striped? Uh?

0:40:43.239 --> 0:40:44.839
<v Speaker 8>Misunderstood that was first?

0:40:44.960 --> 0:40:47.520
<v Speaker 1>Yeah? Okay, So let's just say in the in the

0:40:48.080 --> 0:40:52.279
<v Speaker 1>sort of the cyclone of where you know, get this

0:40:52.400 --> 0:40:55.480
<v Speaker 1>party start, it's like playing now, playing in stadiums and whatnot.

0:40:58.280 --> 0:41:02.879
<v Speaker 1>What can you tell us a name that like came

0:41:02.960 --> 0:41:05.120
<v Speaker 1>to you like Okay, I want something. You had to

0:41:05.200 --> 0:41:09.680
<v Speaker 1>curve them and be like, we're not a match. It's

0:41:09.760 --> 0:41:14.200
<v Speaker 1>not going to work like a a failed collabo that

0:41:14.400 --> 0:41:17.520
<v Speaker 1>didn't happen, or that you passed on.

0:41:18.160 --> 0:41:24.680
<v Speaker 8>Yeah, there's many. Listen.

0:41:25.120 --> 0:41:28.840
<v Speaker 9>My one of my pride things that I love about

0:41:28.880 --> 0:41:32.560
<v Speaker 9>myself is that I'm not a kiss and teller.

0:41:34.520 --> 0:41:36.120
<v Speaker 8>But mind you, I'll tell you this.

0:41:36.560 --> 0:41:39.319
<v Speaker 9>I have I record everything, so when you walk into

0:41:39.400 --> 0:41:41.720
<v Speaker 9>my studio, it's rolling.

0:41:42.760 --> 0:41:43.600
<v Speaker 8>Let me just tell you this.

0:41:43.960 --> 0:41:48.000
<v Speaker 9>I have ship on people beyond my fucking am I

0:41:48.719 --> 0:41:53.440
<v Speaker 9>that would shock this, you know, fucking industry. I mean

0:41:53.560 --> 0:41:57.280
<v Speaker 9>the confessions, the things I mean, I have a maybe

0:41:57.880 --> 0:42:03.680
<v Speaker 9>when I'm like lying on my road the studio, maybe

0:42:04.280 --> 0:42:09.760
<v Speaker 9>I might go okay and unleash these you know, who knows? Maybe,

0:42:10.000 --> 0:42:14.080
<v Speaker 9>but I But what I love about who I've become

0:42:14.880 --> 0:42:18.600
<v Speaker 9>is that you know, my experiences are my experiences, and

0:42:18.680 --> 0:42:22.000
<v Speaker 9>nobody's gonna ever experience anything the way I do, or

0:42:22.120 --> 0:42:24.960
<v Speaker 9>you do or we do. Right, But I just know,

0:42:25.640 --> 0:42:28.320
<v Speaker 9>right off the top, I can know in five minutes.

0:42:28.840 --> 0:42:33.720
<v Speaker 9>I'm extremely I'm sensitive. I'm all in heart. I'm rarely

0:42:33.800 --> 0:42:35.960
<v Speaker 9>in my head unless I need to be, but I'm

0:42:36.000 --> 0:42:38.360
<v Speaker 9>all in my heart. To a point where it's a

0:42:38.480 --> 0:42:41.839
<v Speaker 9>fault for me, like it becomes a weakness because I'm

0:42:42.000 --> 0:42:44.600
<v Speaker 9>so writing in my heart all the time that I'm

0:42:44.840 --> 0:42:49.160
<v Speaker 9>over the top honest. I've hurt people, not meaning but

0:42:49.440 --> 0:42:51.680
<v Speaker 9>just because my honesty has hurt people.

0:42:51.840 --> 0:42:54.360
<v Speaker 1>You know, how do you if you care for someone,

0:42:54.600 --> 0:42:58.319
<v Speaker 1>will you be severely blunt with them?

0:42:59.640 --> 0:43:01.360
<v Speaker 9>Even if if I don't care about them, I'll be

0:43:01.480 --> 0:43:04.240
<v Speaker 9>severely blunt, Like it's it to me, it's our duty

0:43:04.320 --> 0:43:08.719
<v Speaker 9>as human beings to be. Like, for instance, yesterday, so

0:43:08.880 --> 0:43:13.839
<v Speaker 9>there's this girl on Twitter name Scarlet B. Her name

0:43:13.840 --> 0:43:17.640
<v Speaker 9>is Savannah. Anyway, she email, she kept twitting me songs

0:43:17.719 --> 0:43:19.800
<v Speaker 9>like Linda Perry, I want your attention, I want your attention,

0:43:19.880 --> 0:43:22.560
<v Speaker 9>and I follow on my watch and I listen, you know,

0:43:22.840 --> 0:43:26.520
<v Speaker 9>and I do. And so this girl sent me a

0:43:26.640 --> 0:43:29.160
<v Speaker 9>version of What's Up, and she changed all the words

0:43:29.520 --> 0:43:33.279
<v Speaker 9>to basically say something to the extent, please notice me.

0:43:33.920 --> 0:43:36.600
<v Speaker 9>I'm I'm a Vietnam vett, not Vietnam, no vet, I'm

0:43:36.600 --> 0:43:39.799
<v Speaker 9>a vet and you know all her she put all

0:43:39.840 --> 0:43:40.719
<v Speaker 9>her struggles in it.

0:43:41.800 --> 0:43:44.360
<v Speaker 8>I just want you to hear me. I'm coming for you.

0:43:45.080 --> 0:43:46.600
<v Speaker 8>Where are you? You know whatever?

0:43:46.840 --> 0:43:51.160
<v Speaker 9>So it was pretty endearing. I tweeted back and said, okay, kid,

0:43:51.280 --> 0:43:53.480
<v Speaker 9>I'm gonna give you a shot. So I had my

0:43:53.640 --> 0:43:54.880
<v Speaker 9>people reach out to her.

0:43:55.040 --> 0:43:56.359
<v Speaker 8>We flew her here.

0:43:57.480 --> 0:43:59.839
<v Speaker 9>She lives in Virginia. We flew her and her mom

0:44:00.040 --> 0:44:01.640
<v Speaker 9>out here, and I said, Okay, I'm gonna give you

0:44:01.640 --> 0:44:04.240
<v Speaker 9>a shot. You're going to do a showcase for my label.

0:44:04.880 --> 0:44:08.200
<v Speaker 9>And so yesterday she did a showcase last night in

0:44:08.280 --> 0:44:11.319
<v Speaker 9>front of the label, and and there was a couple

0:44:11.360 --> 0:44:12.960
<v Speaker 9>of songs that are good couple songs on then.

0:44:13.200 --> 0:44:16.440
<v Speaker 8>But it was my what would I be if I

0:44:16.520 --> 0:44:18.319
<v Speaker 8>brought this girl all the way here?

0:44:19.320 --> 0:44:23.600
<v Speaker 9>And I didn't say, these are the issues that I'm

0:44:23.719 --> 0:44:27.400
<v Speaker 9>hearing in your material, because you can get that on

0:44:27.560 --> 0:44:31.759
<v Speaker 9>the fucking Voice American Idol and all that crap. You know,

0:44:32.000 --> 0:44:35.680
<v Speaker 9>those people, those kids, those kids walk away with no

0:44:35.920 --> 0:44:39.680
<v Speaker 9>information at all. They walk away with nothing. Even the

0:44:39.760 --> 0:44:42.760
<v Speaker 9>winners walk away with nothing. You know, maybe the earlier

0:44:42.880 --> 0:44:45.920
<v Speaker 9>days American Idol, there were there were people, but that

0:44:46.160 --> 0:44:46.879
<v Speaker 9>period is gone.

0:44:47.040 --> 0:44:49.320
<v Speaker 8>But now name me one Voice winner.

0:44:49.600 --> 0:44:53.600
<v Speaker 9>I know Adam Levine and Christina and Gwen's records.

0:44:57.480 --> 0:44:57.880
<v Speaker 1>I know that.

0:44:59.080 --> 0:45:03.520
<v Speaker 9>No I'm saying I know the judges where yeah, they

0:45:03.640 --> 0:45:06.360
<v Speaker 9>benefit you know that that's what's going on American and

0:45:06.360 --> 0:45:07.320
<v Speaker 9>I don't right now it's all that.

0:45:07.800 --> 0:45:09.440
<v Speaker 8>But when did they stop?

0:45:09.520 --> 0:45:12.719
<v Speaker 9>And when did Simon cow or whatever say, you know what,

0:45:13.600 --> 0:45:16.800
<v Speaker 9>there's something here, but this is what I would do.

0:45:17.000 --> 0:45:18.120
<v Speaker 8>Blah blah blah blah blah.

0:45:18.239 --> 0:45:20.640
<v Speaker 9>So it was it's my duty as a as a

0:45:20.800 --> 0:45:23.960
<v Speaker 9>person in the music business, you know, like people do

0:45:24.400 --> 0:45:28.120
<v Speaker 9>think that I do know something. Whether it's the if

0:45:28.160 --> 0:45:30.440
<v Speaker 9>it's right or not, I don't know. I just have

0:45:30.680 --> 0:45:34.960
<v Speaker 9>my own opinions. And again they're my opinions. But so

0:45:35.560 --> 0:45:38.040
<v Speaker 9>I don't know this girl. But I had to tell

0:45:38.160 --> 0:45:42.319
<v Speaker 9>her sidebarred her without everybody else around in that room,

0:45:42.360 --> 0:45:45.640
<v Speaker 9>and I said, listen, this song, I really like it

0:45:45.760 --> 0:45:49.120
<v Speaker 9>needs a chorus. But here I think I don't know

0:45:49.200 --> 0:45:51.399
<v Speaker 9>who you're being in this song. And she's like, well,

0:45:51.400 --> 0:45:53.360
<v Speaker 9>I really wanted to be like Halsey. And I'm like,

0:45:53.880 --> 0:45:56.360
<v Speaker 9>why don't you just be you? You know, why are

0:45:56.360 --> 0:45:57.080
<v Speaker 9>you being Halsey?

0:45:57.320 --> 0:45:57.560
<v Speaker 1>Be you?

0:45:58.520 --> 0:45:59.719
<v Speaker 8>And I don't like this.

0:46:00.440 --> 0:46:04.360
<v Speaker 9>So anyway, so she's going home today with some valuable information.

0:46:04.840 --> 0:46:08.120
<v Speaker 9>I you know, this experience is going to change her life,

0:46:08.160 --> 0:46:11.520
<v Speaker 9>and more so, I wanted it to change everybody else's.

0:46:11.840 --> 0:46:15.640
<v Speaker 9>That was experiencing this good gesture, because that's what we

0:46:15.719 --> 0:46:18.280
<v Speaker 9>need to do. We need to reach out and extend

0:46:18.360 --> 0:46:21.160
<v Speaker 9>a good gesture. We need to help people. We need

0:46:21.280 --> 0:46:26.000
<v Speaker 9>to give them the right information because nobody, nobody is

0:46:26.120 --> 0:46:29.759
<v Speaker 9>giving these kids the right information. Where's our fucking political

0:46:29.880 --> 0:46:32.160
<v Speaker 9>revolution that was supposed to happen with punk rock?

0:46:32.480 --> 0:46:33.360
<v Speaker 8>Where are the Ramones?

0:46:33.360 --> 0:46:35.560
<v Speaker 9>They were supposed to show up, Patty Smith was supposed

0:46:35.600 --> 0:46:37.640
<v Speaker 9>to show up shuring this whole thing.

0:46:37.760 --> 0:46:38.680
<v Speaker 8>Where the fuck did it go?

0:46:39.400 --> 0:46:46.760
<v Speaker 1>Natalie Dixie Chicks, everybody shut.

0:46:46.680 --> 0:46:49.000
<v Speaker 8>Up exactly exactly.

0:46:50.480 --> 0:46:55.440
<v Speaker 1>Stuff to lose, lose, anything to lose because he was

0:46:55.520 --> 0:46:56.120
<v Speaker 1>you know every day.

0:46:56.480 --> 0:47:00.200
<v Speaker 9>That is exactly my point. It's like, you know, what

0:47:00.440 --> 0:47:04.040
<v Speaker 9>are we then if we're not standing for what we

0:47:04.320 --> 0:47:06.640
<v Speaker 9>came in here for. Like so when you go back

0:47:06.680 --> 0:47:09.480
<v Speaker 9>to your question about are we gonna make money, it's like,

0:47:09.800 --> 0:47:10.840
<v Speaker 9>who fucking cares?

0:47:11.480 --> 0:47:14.160
<v Speaker 8>I'm in it, man, I'm in it to be a

0:47:14.360 --> 0:47:18.160
<v Speaker 8>soldier and a pawn.

0:47:18.400 --> 0:47:21.280
<v Speaker 9>I'll be a fucking pond in this music business because

0:47:21.320 --> 0:47:24.880
<v Speaker 9>if I have to sacrifice myself for the for the

0:47:24.920 --> 0:47:27.680
<v Speaker 9>business to win, That's what I'm in it for. So

0:47:28.120 --> 0:47:30.120
<v Speaker 9>I don't care about the money. Is the money great?

0:47:30.440 --> 0:47:34.319
<v Speaker 1>Yes, absolutely, I still think that one should be able

0:47:34.360 --> 0:47:36.640
<v Speaker 1>to make a living. I think I would make I live.

0:47:36.719 --> 0:47:38.920
<v Speaker 8>We are I think we are, man, I think we are.

0:47:39.040 --> 0:47:39.800
<v Speaker 8>I think we're gonna be.

0:47:39.840 --> 0:47:42.600
<v Speaker 1>Okay, maybe Hype Williams videos have gassed me up too

0:47:42.640 --> 0:47:46.719
<v Speaker 1>much to yeah.

0:47:45.239 --> 0:47:47.360
<v Speaker 8>But you know what, let me tell you this.

0:47:47.719 --> 0:47:50.720
<v Speaker 9>We should have never been making three hundred, five hundred

0:47:50.719 --> 0:47:51.760
<v Speaker 9>thousand dollars videos.

0:47:51.800 --> 0:47:55.840
<v Speaker 8>Okay. The nineties is what screwed everything up. The nineties

0:47:56.080 --> 0:47:56.800
<v Speaker 8>got greedy.

0:47:57.280 --> 0:47:59.799
<v Speaker 9>Oh my god, all this money, and everybody wanted more,

0:48:00.160 --> 0:48:02.080
<v Speaker 9>more and more, and the labels wanted more because they

0:48:03.520 --> 0:48:05.480
<v Speaker 9>you know what I mean, fucking seventeen ninety nine. First,

0:48:05.480 --> 0:48:07.080
<v Speaker 9>see the kids were being ripped off. You know what

0:48:07.200 --> 0:48:09.520
<v Speaker 9>they did, they said fuck you. They started their own

0:48:09.560 --> 0:48:12.640
<v Speaker 9>revolution and start fucking putting out all those songs and

0:48:13.040 --> 0:48:16.719
<v Speaker 9>records out online, saying here you go, it's here for free,

0:48:17.200 --> 0:48:20.800
<v Speaker 9>you know, because we can afford nineteen ninety nine for

0:48:20.880 --> 0:48:24.920
<v Speaker 9>a crappy album. So remember that, not only were they

0:48:25.440 --> 0:48:28.160
<v Speaker 9>spending nineteen ninety and twenty bucks for record, they're spending

0:48:28.239 --> 0:48:31.320
<v Speaker 9>twenty bucks for craph You know, there's maybe one or

0:48:31.360 --> 0:48:33.359
<v Speaker 9>two good songs on there, but the rest was fucking

0:48:33.400 --> 0:48:34.240
<v Speaker 9>filler and shit.

0:48:34.200 --> 0:48:36.719
<v Speaker 1>Stop selling singles. So you couldn't get this the one

0:48:36.800 --> 0:48:38.239
<v Speaker 1>song you want. You had to buy the whole album

0:48:38.280 --> 0:48:41.759
<v Speaker 1>and suffer through, you know, seventy eight minutes of the

0:48:41.840 --> 0:48:43.440
<v Speaker 1>crap just to get to the two minutes you want to.

0:48:43.640 --> 0:48:45.239
<v Speaker 8>Yeah, so I think it's gonna be okay.

0:48:45.280 --> 0:48:49.400
<v Speaker 9>I think we just have to readdress our intentions, you know,

0:48:49.640 --> 0:48:51.640
<v Speaker 9>And I think we can make a living, and I

0:48:51.680 --> 0:48:53.080
<v Speaker 9>think we can make a really good living.

0:48:53.160 --> 0:48:54.000
<v Speaker 8>And I think.

0:48:55.280 --> 0:48:58.400
<v Speaker 9>There's gonna be other resources that are gonna start happening.

0:48:58.960 --> 0:49:01.120
<v Speaker 9>There's a lot of people, do you probably know a

0:49:01.160 --> 0:49:03.799
<v Speaker 9>lot of different things are coming up. There's just gonna

0:49:03.800 --> 0:49:08.160
<v Speaker 9>be a lot of different ways for distribution and reaching

0:49:08.239 --> 0:49:11.959
<v Speaker 9>out to your fans and and and honestly, there's gonna

0:49:12.000 --> 0:49:15.279
<v Speaker 9>be a lot of we have to get rid of

0:49:15.360 --> 0:49:18.759
<v Speaker 9>a lot. Do you understand there's a lot of Yeah,

0:49:19.200 --> 0:49:22.520
<v Speaker 9>there's a lot of unnecessary music out there.

0:49:22.560 --> 0:49:24.920
<v Speaker 5>You're not through they like, I don't even think you're

0:49:24.920 --> 0:49:27.600
<v Speaker 5>fighting as an artist. You're not really even fighting for money.

0:49:27.640 --> 0:49:30.280
<v Speaker 5>You're fighting for attention. Yeah, yeah, it's not even about

0:49:30.440 --> 0:49:33.160
<v Speaker 5>the Attention is kind of the great currency, now, you know.

0:49:33.520 --> 0:49:36.200
<v Speaker 5>And that's why what you were saying earlier with artists

0:49:36.239 --> 0:49:38.680
<v Speaker 5>who have that charisma and know how to sell it.

0:49:39.239 --> 0:49:42.120
<v Speaker 5>I mean, I've had straight up labels like my homies

0:49:42.120 --> 0:49:44.680
<v Speaker 5>that work at labels straight up tell me before even

0:49:44.960 --> 0:49:46.799
<v Speaker 5>looking to sign an artist, they go and look at

0:49:46.800 --> 0:49:49.080
<v Speaker 5>their Instagram for yes first, like they look.

0:49:49.000 --> 0:49:51.680
<v Speaker 1>At you got on install? How many what's your Twitter?

0:49:51.719 --> 0:49:56.280
<v Speaker 9>Because they're lazy. Labels are fucking lazy. They want everybody

0:49:56.360 --> 0:49:58.879
<v Speaker 9>to do that. They don't want them down. They don't

0:49:58.880 --> 0:50:01.399
<v Speaker 9>break because they don't know how to. They don't break

0:50:01.440 --> 0:50:03.960
<v Speaker 9>them because they don't. Nobody in the music business is

0:50:04.040 --> 0:50:05.480
<v Speaker 9>actually running the music business.

0:50:05.560 --> 0:50:07.240
<v Speaker 1>Like nobody's developing artists anymore.

0:50:07.320 --> 0:50:10.000
<v Speaker 9>You have a you know this guy that's the bazillionaire

0:50:10.120 --> 0:50:12.120
<v Speaker 9>that bought Atlantic because he wanted to be on a

0:50:12.239 --> 0:50:15.240
<v Speaker 9>yacht with all these you know people and go to parties.

0:50:15.360 --> 0:50:17.839
<v Speaker 9>It's like he knows nothing about the business. And then

0:50:17.880 --> 0:50:20.320
<v Speaker 9>you leave it to these guys that are just holding on.

0:50:20.640 --> 0:50:24.839
<v Speaker 9>Their job is just to not say yes right now.

0:50:24.920 --> 0:50:25.520
<v Speaker 8>Their job.

0:50:25.640 --> 0:50:26.400
<v Speaker 7>They're safe.

0:50:26.440 --> 0:50:30.319
<v Speaker 8>They're keeping their jobs by not saying yes, yes, you.

0:50:30.360 --> 0:50:32.239
<v Speaker 7>Know, but not for nothing. That's why it seems like

0:50:32.280 --> 0:50:34.840
<v Speaker 7>when you look at your catalog, whether it was conscious

0:50:35.000 --> 0:50:38.880
<v Speaker 7>or unconscious, you definitely have a somewhat of eligibility requirement

0:50:38.960 --> 0:50:42.279
<v Speaker 7>for I want to say the ladies at very least

0:50:42.320 --> 0:50:42.800
<v Speaker 7>that you work with.

0:50:43.120 --> 0:50:46.120
<v Speaker 8>The ladies are most fucked up and emotional. They need me,

0:50:46.480 --> 0:50:48.520
<v Speaker 8>you know, the one and the ones that you work with, those.

0:50:50.280 --> 0:50:52.840
<v Speaker 7>They got a certain foundation of strength to them, you

0:50:52.920 --> 0:50:54.759
<v Speaker 7>know what I mean, like all of them when you

0:50:54.840 --> 0:50:55.200
<v Speaker 7>look at it.

0:50:55.840 --> 0:50:59.960
<v Speaker 9>Well, you know, I think that with women, we're just emotion.

0:51:01.120 --> 0:51:04.440
<v Speaker 9>We're emotional and we get sensitive, and I think that,

0:51:05.080 --> 0:51:07.319
<v Speaker 9>you know, I'm always asked like why aren't there more

0:51:07.480 --> 0:51:11.520
<v Speaker 9>women producers or engineers? And I think one, it's a

0:51:11.600 --> 0:51:15.319
<v Speaker 9>bitch man to you know, to to be turned down

0:51:15.440 --> 0:51:19.080
<v Speaker 9>because you're a woman, you know, and or not. No,

0:51:19.480 --> 0:51:22.080
<v Speaker 9>like I've turned down women, you know, engineers, I've I

0:51:22.160 --> 0:51:25.280
<v Speaker 9>don't want to engineer. I love engineering, I love producing,

0:51:25.400 --> 0:51:27.320
<v Speaker 9>but I don't want to do it anymore, you know,

0:51:27.760 --> 0:51:30.640
<v Speaker 9>because engineering I start geeking out, you know, I start

0:51:30.719 --> 0:51:35.319
<v Speaker 9>fucking moving. I can spend like a whole fucking day.

0:51:35.440 --> 0:51:38.200
<v Speaker 9>I have hundreds of snares and I will go through

0:51:38.360 --> 0:51:41.920
<v Speaker 9>all of them to get the right sound because I

0:51:42.239 --> 0:51:44.359
<v Speaker 9>don't well, why don't you just tune that one down?

0:51:44.680 --> 0:51:47.799
<v Speaker 8>Are you kidding me? It sounds great like this. I'm

0:51:47.840 --> 0:51:49.400
<v Speaker 8>not tuning down my I have.

0:51:49.440 --> 0:51:52.520
<v Speaker 1>A do you know, John Brian. Yeah, motherfucker, spend like

0:51:52.560 --> 0:51:55.080
<v Speaker 1>three hours on like one snare.

0:51:55.280 --> 0:51:57.000
<v Speaker 8>But you know what, it's because you don't want to

0:51:57.080 --> 0:51:58.319
<v Speaker 8>touch the character of the one.

0:51:58.360 --> 0:52:00.560
<v Speaker 9>So anyway, So anyways, as you can see, I can

0:52:00.600 --> 0:52:01.920
<v Speaker 9>go on this conversation for hours.

0:52:02.400 --> 0:52:04.920
<v Speaker 8>So but I think that sometimes what's going on with

0:52:05.040 --> 0:52:06.120
<v Speaker 8>women is.

0:52:07.160 --> 0:52:11.560
<v Speaker 9>Maybe they don't want to deal with it. Maybe they

0:52:11.640 --> 0:52:15.040
<v Speaker 9>don't they see it as a losing battle already. Maybe

0:52:15.120 --> 0:52:17.759
<v Speaker 9>they're happy being on their computers at home and not

0:52:18.080 --> 0:52:21.920
<v Speaker 9>dealing with a room full of you know, guys. Maybe

0:52:22.080 --> 0:52:24.600
<v Speaker 9>the guys won't even hire them, you know.

0:52:25.800 --> 0:52:28.239
<v Speaker 8>You know, I like to be up. I am, I

0:52:28.320 --> 0:52:28.520
<v Speaker 8>am an.

0:52:28.719 --> 0:52:31.880
<v Speaker 9>I'm a lifer. I'm a lifer in this position. I

0:52:32.239 --> 0:52:34.760
<v Speaker 9>don't clock in nine to five. I am a fucking lifer.

0:52:34.800 --> 0:52:37.480
<v Speaker 9>And I don't believe there's many women that are lifers,

0:52:37.920 --> 0:52:40.080
<v Speaker 9>you know, because there's a lot other things that they

0:52:40.480 --> 0:52:43.040
<v Speaker 9>women want to do, they want to have they I

0:52:43.200 --> 0:52:46.560
<v Speaker 9>have a son, but I'm figuring it out, you know.

0:52:47.000 --> 0:52:49.440
<v Speaker 9>But I'm kind of more macho, you know, I have

0:52:49.560 --> 0:52:51.760
<v Speaker 9>a more man perspective.

0:52:51.880 --> 0:52:53.960
<v Speaker 7>Less you have resources I do have.

0:52:54.040 --> 0:52:56.759
<v Speaker 9>Resources but the girls. But you know, I had to

0:52:56.800 --> 0:52:58.960
<v Speaker 9>fight for my resourceers. I was when I was in

0:52:59.040 --> 0:53:01.160
<v Speaker 9>four Nam Bloms. I'll give you great example, when I

0:53:01.280 --> 0:53:04.000
<v Speaker 9>was in four Non Blonde and we're recording that album,

0:53:04.160 --> 0:53:07.640
<v Speaker 9>which I fucking hate, you know, because sonically I don't

0:53:07.760 --> 0:53:09.880
<v Speaker 9>know what it is. I know what it is now,

0:53:10.000 --> 0:53:12.279
<v Speaker 9>but I didn't know what it was then. You know,

0:53:12.360 --> 0:53:14.640
<v Speaker 9>I had no experience of it being in a studio,

0:53:15.200 --> 0:53:17.719
<v Speaker 9>and so I got you know, I'm listening to my

0:53:18.400 --> 0:53:20.880
<v Speaker 9>you know this. He gives me this fifty three vox

0:53:21.120 --> 0:53:24.439
<v Speaker 9>fifty three, les Paul to go through the sixty three

0:53:24.880 --> 0:53:27.120
<v Speaker 9>vox amp, and I'm in the room and I'm hearing it.

0:53:27.200 --> 0:53:29.800
<v Speaker 9>I'm like, oh man, that is fat. And then I

0:53:29.920 --> 0:53:32.920
<v Speaker 9>go into the control room and it sounds like this.

0:53:33.160 --> 0:53:35.799
<v Speaker 9>And I didn't know he was compressing it, queuing out

0:53:35.880 --> 0:53:38.120
<v Speaker 9>everything and putting reverb on it. I didn't know that,

0:53:38.440 --> 0:53:41.640
<v Speaker 9>you know, So every time I'd question him, like, why

0:53:41.760 --> 0:53:43.920
<v Speaker 9>does it sound so great out here? But when I

0:53:43.960 --> 0:53:47.840
<v Speaker 9>come in here it sounds so teeny and so far away, Linda,

0:53:48.080 --> 0:53:50.160
<v Speaker 9>you know, with his accent, you know who produced it,

0:53:50.400 --> 0:53:54.440
<v Speaker 9>David Tickle. Can't you just you know, just just be

0:53:54.600 --> 0:53:58.000
<v Speaker 9>a singer, you know, and go in there and just

0:53:58.120 --> 0:54:01.080
<v Speaker 9>do whatever. And so I heard that fucking just go

0:54:01.200 --> 0:54:03.799
<v Speaker 9>be a singer bullshit way too many times. And then

0:54:03.880 --> 0:54:06.960
<v Speaker 9>when he got to What's Up the song that I wrote,

0:54:07.800 --> 0:54:09.799
<v Speaker 9>when it got to in His Little Hands, it had

0:54:10.560 --> 0:54:13.840
<v Speaker 9>a marching drum. You want me to change all the

0:54:13.960 --> 0:54:15.840
<v Speaker 9>lyrics because it didn't make sense to him for me

0:54:15.960 --> 0:54:20.520
<v Speaker 9>to repeat certain lines. There's a guitar solo. It sounded

0:54:20.719 --> 0:54:23.879
<v Speaker 9>fucking bad. He changed my strum. I went to Tom

0:54:23.920 --> 0:54:27.520
<v Speaker 9>Walley Interscope Records. I said, I am not fucking releasing

0:54:27.640 --> 0:54:30.480
<v Speaker 9>this song. And he's like, well, we're all happy with it.

0:54:30.640 --> 0:54:33.080
<v Speaker 9>I'm like, I'm not happy with it. So we had

0:54:33.160 --> 0:54:36.160
<v Speaker 9>one real tape. We had tape back then, so we

0:54:36.239 --> 0:54:39.520
<v Speaker 9>had one reala tape. I called up the Plant Studios

0:54:39.560 --> 0:54:41.560
<v Speaker 9>in San Francisco and I said, hey, man, can you

0:54:41.640 --> 0:54:43.560
<v Speaker 9>do me a solid? We have no money, We had

0:54:43.640 --> 0:54:46.799
<v Speaker 9>no money, we couldn't afford anything. And I said, will

0:54:46.840 --> 0:54:48.600
<v Speaker 9>you do me sol then let us come in and

0:54:48.680 --> 0:54:52.520
<v Speaker 9>I need to reproduce this this song. He's like, of course, dude,

0:54:52.560 --> 0:54:54.400
<v Speaker 9>for you, I'll do that, you know, just put us

0:54:54.480 --> 0:54:55.440
<v Speaker 9>a thanks on the record.

0:54:55.440 --> 0:54:58.400
<v Speaker 8>I'm like done. So we go in there. I've never

0:54:58.520 --> 0:54:59.280
<v Speaker 8>produced anything.

0:54:59.719 --> 0:55:03.240
<v Speaker 9>Dial with the engineer, dialed up the sounds, got everything,

0:55:03.480 --> 0:55:06.400
<v Speaker 9>got everything, put it back to the arrangement, put on

0:55:06.520 --> 0:55:08.960
<v Speaker 9>our tape. We had to choose because you only have

0:55:09.120 --> 0:55:11.239
<v Speaker 9>room for three, so we had to kind of make

0:55:11.280 --> 0:55:13.520
<v Speaker 9>commitments and go, okay, let's just keep this, let's go

0:55:13.520 --> 0:55:16.120
<v Speaker 9>over that one. So we are on our last take.

0:55:16.360 --> 0:55:19.080
<v Speaker 9>David Tickle comes walking in at like two o'clock in

0:55:19.160 --> 0:55:21.680
<v Speaker 9>the morning. We're laying it down.

0:55:22.040 --> 0:55:24.560
<v Speaker 8>That's it. It was live, and then we added some

0:55:24.760 --> 0:55:25.720
<v Speaker 8>background vocals.

0:55:25.840 --> 0:55:28.879
<v Speaker 9>That was it, and then we mixed it that night

0:55:29.080 --> 0:55:31.600
<v Speaker 9>and then it made it, mastered it the next day,

0:55:32.080 --> 0:55:33.160
<v Speaker 9>and it was on the record.

0:55:33.920 --> 0:55:37.800
<v Speaker 8>That is the version that sold seven million records.

0:55:38.200 --> 0:55:42.360
<v Speaker 9>That's got over you know, two billion fucking streams or

0:55:42.440 --> 0:55:46.920
<v Speaker 9>whatever on YouTube, and that motherfucker. When I said I

0:55:47.080 --> 0:55:50.600
<v Speaker 9>want producer credit on that, they all said no to me.

0:55:50.960 --> 0:55:55.759
<v Speaker 9>Can't you fucking be a singer? And I from that

0:55:56.040 --> 0:55:58.600
<v Speaker 9>day on, I said, fuck you, I'm going to be

0:55:58.680 --> 0:56:01.279
<v Speaker 9>more than a singer, bitch. I'm going to fucking learn

0:56:01.360 --> 0:56:02.200
<v Speaker 9>how to do this shit.

0:56:02.680 --> 0:56:03.520
<v Speaker 8>And that's what I did.

0:56:03.640 --> 0:56:06.520
<v Speaker 9>I started buying equipment and I taught myself. That was

0:56:06.640 --> 0:56:08.960
<v Speaker 9>my motivation, you know, And then I did.

0:56:09.280 --> 0:56:10.160
<v Speaker 8>I just went for it.

0:56:10.239 --> 0:56:13.640
<v Speaker 9>I didn't it was no, was not an exception, and

0:56:13.760 --> 0:56:15.920
<v Speaker 9>I got fired from misunderstood.

0:56:16.040 --> 0:56:18.120
<v Speaker 8>Just to let you know this little story. Nobody knows this.

0:56:18.160 --> 0:56:21.759
<v Speaker 9>I'm gonna get a doozy, so I get to I

0:56:21.880 --> 0:56:24.399
<v Speaker 9>wrote Get the Party Started in like fifteen minutes. Because

0:56:24.400 --> 0:56:26.560
<v Speaker 9>I was such an analog girl. I wanted to know

0:56:26.680 --> 0:56:28.840
<v Speaker 9>what that sound was on the radio that I was

0:56:28.920 --> 0:56:31.480
<v Speaker 9>hearing on MTV. So I called up a friend. I'm like,

0:56:31.560 --> 0:56:33.680
<v Speaker 9>what is that thing on MTV right now? Or all

0:56:33.760 --> 0:56:34.160
<v Speaker 9>the sounds?

0:56:34.200 --> 0:56:34.320
<v Speaker 1>You know?

0:56:34.600 --> 0:56:35.480
<v Speaker 8>Oh, it's an MPC.

0:56:36.400 --> 0:56:39.360
<v Speaker 9>It's a Triton and it's a role in Expansion cards,

0:56:39.480 --> 0:56:41.719
<v Speaker 9>you know. And I'm like, okay. So I went and

0:56:41.800 --> 0:56:43.600
<v Speaker 9>bought all that. I set it all up. I had

0:56:43.719 --> 0:56:47.719
<v Speaker 9>eight DAA D A D eighty eight and then I

0:56:47.840 --> 0:56:50.320
<v Speaker 9>set it up and then I started just playing.

0:56:50.560 --> 0:56:52.160
<v Speaker 8>And then that's what I wrote.

0:56:52.440 --> 0:56:55.279
<v Speaker 9>Out of just testing all this gear, I wrote, get

0:56:55.320 --> 0:56:58.160
<v Speaker 9>the Party started, put some then put some live woah

0:56:58.200 --> 0:57:01.520
<v Speaker 9>wah bass, you know whatever. And then this girl calls

0:57:01.600 --> 0:57:04.560
<v Speaker 9>me up. Liza's message says, I want to you know,

0:57:04.640 --> 0:57:06.160
<v Speaker 9>are you Linda Perry? I want to blah blah blah,

0:57:06.200 --> 0:57:08.239
<v Speaker 9>write a song with you. So I go and meet her,

0:57:08.400 --> 0:57:10.600
<v Speaker 9>and then I had written get Get the party started.

0:57:10.640 --> 0:57:13.400
<v Speaker 9>I play it for her. She's like, that's my first single.

0:57:13.560 --> 0:57:17.320
<v Speaker 9>Plays at La read right anyways, So cut to we

0:57:17.480 --> 0:57:19.240
<v Speaker 9>were doing it here when I'm still living here. I

0:57:19.320 --> 0:57:22.400
<v Speaker 9>had a little studio in that room, and so I

0:57:22.560 --> 0:57:26.160
<v Speaker 9>just start demoing I'm really good, right and just whatever,

0:57:26.320 --> 0:57:28.040
<v Speaker 9>and then she it was very different.

0:57:28.640 --> 0:57:31.480
<v Speaker 8>So La Reid came in and he was like, you know,

0:57:32.960 --> 0:57:35.160
<v Speaker 8>this is very different. We're gonna lose.

0:57:37.200 --> 0:57:40.600
<v Speaker 9>Lisha's a Pink's audience because I just feel like this

0:57:40.800 --> 0:57:43.360
<v Speaker 9>is just too left field. And I said, you know what,

0:57:44.000 --> 0:57:46.280
<v Speaker 9>how many what did she sell? He's like, well, she's

0:57:46.360 --> 0:57:49.360
<v Speaker 9>got like, you know, almost two million. You know, she

0:57:49.520 --> 0:57:52.400
<v Speaker 9>sold two million records. I'm like, you're gonna lose those

0:57:52.480 --> 0:57:54.840
<v Speaker 9>ten and you're gonna gain ten. I mean, you're gonna

0:57:54.840 --> 0:57:57.320
<v Speaker 9>lose those two and you're gonna gain ten. And then

0:57:57.360 --> 0:58:00.320
<v Speaker 9>I got fired because I was too left field. Yes,

0:58:00.480 --> 0:58:02.440
<v Speaker 9>this is the beautiful part. You're gonna fucking love me

0:58:02.480 --> 0:58:05.960
<v Speaker 9>for this time. I remember I got fired. Okay, so

0:58:06.080 --> 0:58:09.400
<v Speaker 9>they fired me, and I'm like, I'm ten songs in

0:58:09.680 --> 0:58:11.720
<v Speaker 9>I'm the I'm the bulk of the album, right and

0:58:11.800 --> 0:58:12.360
<v Speaker 9>they fired me.

0:58:13.560 --> 0:58:18.160
<v Speaker 8>So I I say, no, you know what, you guys

0:58:18.280 --> 0:58:21.240
<v Speaker 8>never hired me. You can't fire me because you never

0:58:21.400 --> 0:58:21.800
<v Speaker 8>hired me.

0:58:21.920 --> 0:58:24.920
<v Speaker 9>So I went back into the studio with Dave Pinsato,

0:58:25.040 --> 0:58:28.840
<v Speaker 9>I finished the productions, had him mix it, and then

0:58:28.960 --> 0:58:31.880
<v Speaker 9>I invoiced them, gave them the fucking record and then

0:58:31.920 --> 0:58:32.360
<v Speaker 9>they took it.

0:58:33.600 --> 0:58:36.720
<v Speaker 8>So they never hired me. They fired me, and then

0:58:36.760 --> 0:58:42.920
<v Speaker 8>they never rehired me. Remember that, l They.

0:58:42.880 --> 0:58:44.720
<v Speaker 7>Were like no pieces when Pink was on her there

0:58:44.760 --> 0:58:46.320
<v Speaker 7>you go and she was doing BT Awards.

0:58:54.640 --> 0:58:55.920
<v Speaker 8>But isn't that a great story.

0:58:56.040 --> 0:58:59.320
<v Speaker 9>He did not like me at all because I was

0:58:59.440 --> 0:59:01.240
<v Speaker 9>in his face and just you know how I was

0:59:01.360 --> 0:59:04.120
<v Speaker 9>just you know what I mean, It was really funny.

0:59:04.200 --> 0:59:06.880
<v Speaker 9>But he wanted to fire my ass. But Dallas Austin

0:59:07.000 --> 0:59:10.560
<v Speaker 9>wasn't losing his job, you know. But they quickly were

0:59:10.600 --> 0:59:14.440
<v Speaker 9>ready to fire me because I was too aggressive, you know,

0:59:14.520 --> 0:59:16.440
<v Speaker 9>and I call them out like she's.

0:59:16.280 --> 0:59:19.280
<v Speaker 8>Gonna and you know what she did? She sold twelve

0:59:19.280 --> 0:59:20.240
<v Speaker 8>million records.

0:59:21.600 --> 0:59:24.080
<v Speaker 7>In that moment. Did you see the more misogyny in

0:59:24.160 --> 0:59:26.720
<v Speaker 7>the R and B area than what you're used to.

0:59:26.840 --> 0:59:29.480
<v Speaker 7>I'm just curious, No, because you.

0:59:29.520 --> 0:59:32.440
<v Speaker 8>Know what, I don't look for those things.

0:59:32.680 --> 0:59:35.120
<v Speaker 9>Uh you know, I'm this is where I'm naive, and

0:59:35.600 --> 0:59:39.560
<v Speaker 9>you know, like I don't look for problems and I

0:59:40.120 --> 0:59:41.160
<v Speaker 9>just find solutions.

0:59:41.960 --> 0:59:43.520
<v Speaker 8>You know, That's it.

0:59:43.680 --> 0:59:46.720
<v Speaker 9>I find solutions. I don't dwell in things. I just

0:59:47.040 --> 0:59:49.120
<v Speaker 9>find my way around it. At this is my journey.

0:59:49.200 --> 0:59:50.320
<v Speaker 7>Man. Sometimes I don't know.

0:59:52.360 --> 0:59:55.600
<v Speaker 8>I mean there was you know what, more so not.

0:59:55.720 --> 0:59:59.280
<v Speaker 9>Really in that because you know, I actually got very

0:59:59.360 --> 1:00:05.880
<v Speaker 9>embraced in that you know whole you know, everybody at Enterprise,

1:00:05.920 --> 1:00:09.360
<v Speaker 9>you know, Enterprise Studios, So everybody embraced me there. I

1:00:09.400 --> 1:00:11.840
<v Speaker 9>mean there is all walks going on in there, and

1:00:12.280 --> 1:00:15.840
<v Speaker 9>they loved me, embraced me. I and then had you know,

1:00:15.920 --> 1:00:18.000
<v Speaker 9>people like Ron Fair was coming in. Okay, I want

1:00:18.040 --> 1:00:21.080
<v Speaker 9>you to come listen to this, uh you know Maya

1:00:21.720 --> 1:00:24.600
<v Speaker 9>you know song where we just redid free Fall and

1:00:24.720 --> 1:00:27.400
<v Speaker 9>it took like three weeks to do it, and I

1:00:27.480 --> 1:00:31.000
<v Speaker 9>had this big orchestra and all this stuff, and you know,

1:00:31.200 --> 1:00:34.000
<v Speaker 9>and I spent like a hundred million dollars.

1:00:35.880 --> 1:00:36.560
<v Speaker 7>Fucking budget.

1:00:36.680 --> 1:00:38.640
<v Speaker 9>Dude, he fucking plays it to me and I'm all,

1:00:39.600 --> 1:00:44.280
<v Speaker 9>you took three weeks to do this and you spent probably.

1:00:44.400 --> 1:00:46.160
<v Speaker 9>I said, Ron, you should be ashamed of yourself. You

1:00:46.160 --> 1:00:48.840
<v Speaker 9>know how much she's paying for that? And I looked

1:00:48.840 --> 1:00:51.640
<v Speaker 9>at Maya, I go, you're paying for that. So the

1:00:51.760 --> 1:00:55.040
<v Speaker 9>three weeks that he just spent the big strings that

1:00:55.280 --> 1:00:59.280
<v Speaker 9>suck you're pain for the mean, Oh my god. I

1:00:59.720 --> 1:01:02.200
<v Speaker 9>didn't know how to filter myself and it just came

1:01:02.280 --> 1:01:03.480
<v Speaker 9>out because I was so angry.

1:01:05.760 --> 1:01:07.040
<v Speaker 7>What did her face say when you did that?

1:01:07.200 --> 1:01:09.600
<v Speaker 8>She was, I think embarrassed and she knew and it

1:01:09.680 --> 1:01:12.360
<v Speaker 8>did nothing. It was the most I mean. And I'm

1:01:12.400 --> 1:01:15.120
<v Speaker 8>a petty fan, you know, And it's like.

1:01:15.480 --> 1:01:19.640
<v Speaker 9>Don't do a cover and fucking do a bad version.

1:01:19.440 --> 1:01:22.240
<v Speaker 8>Of it, you know, just don't do it. If you're

1:01:22.240 --> 1:01:23.640
<v Speaker 8>gonna do a bad version of cover.

1:01:24.320 --> 1:01:27.040
<v Speaker 9>Here to all you little kiddie winkies out there, if

1:01:27.040 --> 1:01:29.040
<v Speaker 9>you're going to do a cover, do your.

1:01:29.040 --> 1:01:29.560
<v Speaker 8>Cover of it.

1:01:29.840 --> 1:01:31.840
<v Speaker 1>Don't do Ron Fairris cover.

1:01:32.040 --> 1:01:34.360
<v Speaker 9>Don't do Ron Fairs cover. Just don't do the artist cover.

1:01:34.600 --> 1:01:37.160
<v Speaker 9>Just do a different version of it. Make it you

1:01:37.680 --> 1:01:40.560
<v Speaker 9>don't make it a version of them and then on

1:01:40.720 --> 1:01:42.120
<v Speaker 9>top of it, a bad version of it.

1:01:42.280 --> 1:01:44.800
<v Speaker 7>They used to teach that on American Idol, Yeah, used to.

1:01:50.920 --> 1:01:52.720
<v Speaker 1>So I'm glad you said what you said about the

1:01:52.800 --> 1:01:56.600
<v Speaker 1>reality shows, because the thing is is that when you're

1:01:56.640 --> 1:01:59.840
<v Speaker 1>saying that you know you're here today and going before

1:01:59.880 --> 1:02:05.080
<v Speaker 1>you got there. For me, it's like this whole idea

1:02:05.360 --> 1:02:08.800
<v Speaker 1>of we're going to create gods in fifteen weeks in

1:02:08.880 --> 1:02:14.880
<v Speaker 1>fifteen week episode increments is so one it's unproven. But

1:02:15.040 --> 1:02:20.400
<v Speaker 1>it's almost like the people that we idolize put decades

1:02:20.720 --> 1:02:24.880
<v Speaker 1>into their craft, Like you know, Retha Franklin started at six,

1:02:26.160 --> 1:02:28.240
<v Speaker 1>singing in church, singing in church, singing in church until

1:02:28.280 --> 1:02:31.120
<v Speaker 1>she was nineteen before she even got in front of

1:02:31.200 --> 1:02:33.960
<v Speaker 1>a microphone. And it's almost like, do you even think

1:02:34.080 --> 1:02:38.360
<v Speaker 1>that we have the patients? I mean, as long as

1:02:38.440 --> 1:02:42.920
<v Speaker 1>we have the suits at these labels and you know

1:02:43.560 --> 1:02:47.680
<v Speaker 1>the you know, it's like more power to Simon Caroll

1:02:47.960 --> 1:02:52.640
<v Speaker 1>Cowell for creating these platforms, but I don't know if

1:02:52.720 --> 1:02:57.840
<v Speaker 1>it's doing us more harm than it is helping the situation.

1:02:58.600 --> 1:03:02.280
<v Speaker 1>And so it's like, for you, do you think that

1:03:02.400 --> 1:03:05.960
<v Speaker 1>we can even find and cultivate talent that at least

1:03:06.040 --> 1:03:13.280
<v Speaker 1>had fifteen years of experience and work before they even

1:03:13.440 --> 1:03:14.640
<v Speaker 1>see a microphone.

1:03:16.400 --> 1:03:21.480
<v Speaker 8>I don't think that. I think there's just a different way,

1:03:21.680 --> 1:03:23.520
<v Speaker 8>like are we going to get the fifteen years.

1:03:23.600 --> 1:03:25.840
<v Speaker 1>Now, do you think it's necessary?

1:03:26.720 --> 1:03:26.880
<v Speaker 9>I do.

1:03:27.440 --> 1:03:28.360
<v Speaker 8>I do feel that.

1:03:29.760 --> 1:03:33.680
<v Speaker 9>You know, right now, you have kids sitting on YouTube.

1:03:34.080 --> 1:03:37.520
<v Speaker 9>They do covers, right, or they write a song, they

1:03:37.640 --> 1:03:39.760
<v Speaker 9>go on their YouTube, they record it, they put it

1:03:39.800 --> 1:03:42.160
<v Speaker 9>out there in the world with Twitter or socials whatever.

1:03:42.720 --> 1:03:45.920
<v Speaker 9>They get instant reaction, right, they get instant feedback. They

1:03:46.240 --> 1:03:49.960
<v Speaker 9>think that is the real world right there. Okay, so

1:03:50.160 --> 1:03:55.720
<v Speaker 9>then they get plucked out of the system and then

1:03:55.880 --> 1:04:00.640
<v Speaker 9>they're put into these, you know, a studio. Good example

1:04:00.760 --> 1:04:04.480
<v Speaker 9>is that little Grace Vanderval. Right, so Grace Vanderval, she

1:04:04.640 --> 1:04:07.280
<v Speaker 9>was the girl that was thirteen and played ukulele on

1:04:07.560 --> 1:04:08.479
<v Speaker 9>America's Got Talent.

1:04:08.640 --> 1:04:11.440
<v Speaker 8>Yeah yeah, okay, so so this was funny.

1:04:11.600 --> 1:04:16.200
<v Speaker 9>So you know she's thirteen, all right, she doesn't get

1:04:16.400 --> 1:04:18.960
<v Speaker 9>you know, people go crazier because she's got a really beautiful,

1:04:19.000 --> 1:04:19.640
<v Speaker 9>soulful voice.

1:04:19.640 --> 1:04:21.800
<v Speaker 8>She writes this really great song. So I get a

1:04:21.880 --> 1:04:23.800
<v Speaker 8>call like a year later and.

1:04:25.280 --> 1:04:28.640
<v Speaker 9>It's her management or the label and they're like, hey,

1:04:29.680 --> 1:04:34.200
<v Speaker 9>wondering if you would have any interest to meet Grace Vanderral.

1:04:34.280 --> 1:04:37.040
<v Speaker 9>You know, we're in the studio and we're having some problems,

1:04:37.120 --> 1:04:40.000
<v Speaker 9>and you know, she's been in there with Pharrell and

1:04:40.160 --> 1:04:43.520
<v Speaker 9>blah blah blah and naming all these big names and yeah,

1:04:43.640 --> 1:04:45.919
<v Speaker 9>we're just we're I guess we're just not getting where

1:04:45.960 --> 1:04:48.200
<v Speaker 9>we want to go. And I said, well, I can

1:04:48.320 --> 1:04:51.040
<v Speaker 9>go ahead and guess what your problem is is. She's

1:04:51.200 --> 1:04:54.120
<v Speaker 9>fourteen and you stuck her in a studio Pharrell Williams.

1:04:55.760 --> 1:04:56.400
<v Speaker 8>Who does that?

1:04:56.680 --> 1:04:56.800
<v Speaker 1>Right?

1:04:57.320 --> 1:04:59.800
<v Speaker 8>Who does that? I mean, the girl has no life.

1:05:00.000 --> 1:05:04.040
<v Speaker 9>She's like, she doesn't she went on American America's got talent.

1:05:03.840 --> 1:05:06.640
<v Speaker 8>Too, in a studio with the Froh. She's had no

1:05:06.760 --> 1:05:10.080
<v Speaker 8>time to understand who she is, who she's going to be.

1:05:10.680 --> 1:05:13.880
<v Speaker 9>So when that happened, I had met a twelve year

1:05:13.920 --> 1:05:18.120
<v Speaker 9>old and from my wife is Sarah Gilbert, and she

1:05:18.320 --> 1:05:21.440
<v Speaker 9>has this really great friend, Sleigh Moonfry that was punking.

1:05:23.000 --> 1:05:25.240
<v Speaker 8>She's amazing. So Slay calls me up.

1:05:25.320 --> 1:05:27.760
<v Speaker 9>She's like, I have this friend and she's the sweetest person.

1:05:28.320 --> 1:05:30.800
<v Speaker 9>I have this friend and she's got a daughter and

1:05:31.280 --> 1:05:34.840
<v Speaker 9>she thinks the daughter's got talent but doesn't know and

1:05:35.320 --> 1:05:37.800
<v Speaker 9>is wondering if you could check her out and just see,

1:05:38.000 --> 1:05:40.480
<v Speaker 9>you know, they're just curious. So I'm like, for you,

1:05:40.720 --> 1:05:43.600
<v Speaker 9>Slay anything, So I you know, a week later, I

1:05:43.720 --> 1:05:46.720
<v Speaker 9>go to her house and there's the kid and big

1:05:47.120 --> 1:05:50.840
<v Speaker 9>bottle cap glasses and braces. I mean, I mean it

1:05:51.000 --> 1:05:54.600
<v Speaker 9>was like there was four railroad tracks in there, you know,

1:05:54.920 --> 1:05:58.000
<v Speaker 9>and a total dork. You could tell she has a

1:05:58.040 --> 1:06:02.280
<v Speaker 9>total brain. Talked a mile and minute, and I'm like going, okay,

1:06:02.680 --> 1:06:05.120
<v Speaker 9>I'm gonna be open to this. And she sits down

1:06:05.880 --> 1:06:08.240
<v Speaker 9>and I don't even know if it was a beginning,

1:06:08.640 --> 1:06:11.000
<v Speaker 9>there was no end, but it sounds like there was

1:06:11.040 --> 1:06:13.280
<v Speaker 9>a middle, all right. So she plays this middle of

1:06:13.360 --> 1:06:16.160
<v Speaker 9>a song and then just stops, like, you know, after

1:06:16.280 --> 1:06:19.320
<v Speaker 9>a minute and a half. And but she had this

1:06:20.120 --> 1:06:23.000
<v Speaker 9>soulful voice. So they're like, well, what do you think.

1:06:23.120 --> 1:06:25.320
<v Speaker 9>I said, I can't tell right now, but I'll tell

1:06:25.320 --> 1:06:28.560
<v Speaker 9>you what. Write five songs and call me in two months.

1:06:29.880 --> 1:06:31.800
<v Speaker 8>So I gave my number.

1:06:32.800 --> 1:06:36.760
<v Speaker 9>She wrote six songs and called me exactly two months

1:06:36.920 --> 1:06:39.640
<v Speaker 9>to the day, and then she came here played me

1:06:39.760 --> 1:06:42.880
<v Speaker 9>the six songs that she wrote. I put a little

1:06:42.920 --> 1:06:45.480
<v Speaker 9>microphone up at the piano and just to record them,

1:06:46.040 --> 1:06:49.000
<v Speaker 9>and I was in there crying. And I came in crying,

1:06:49.280 --> 1:06:51.320
<v Speaker 9>you know, and I said, I was never this deep

1:06:51.480 --> 1:06:53.760
<v Speaker 9>at fucking twelve, you know.

1:06:53.960 --> 1:06:55.840
<v Speaker 1>Oh yeah, twelve yeah. Okay.

1:06:55.920 --> 1:07:00.200
<v Speaker 9>So then I said, okay, what I'm gonna do is

1:07:00.240 --> 1:07:02.800
<v Speaker 9>I'm gonna record this for real, for you, like just piano,

1:07:03.040 --> 1:07:05.120
<v Speaker 9>just you sitting at your piano and singing the songs.

1:07:05.360 --> 1:07:07.640
<v Speaker 9>But let's do a better version. So come back in

1:07:07.760 --> 1:07:11.360
<v Speaker 9>three weeks, and I have like three days available for you, right.

1:07:12.520 --> 1:07:15.760
<v Speaker 9>She comes back in three weeks with twelve songs. Wow,

1:07:16.080 --> 1:07:20.040
<v Speaker 9>whoa yeah, And so then I'm like, holy fuck, and

1:07:20.640 --> 1:07:23.160
<v Speaker 9>I'm not kidding you good songs. I'm telling you I

1:07:23.240 --> 1:07:26.480
<v Speaker 9>have little fucking Carol King right now. So she's like,

1:07:26.560 --> 1:07:29.560
<v Speaker 9>what are we gonna do? So I recorded videoed everything.

1:07:29.760 --> 1:07:32.800
<v Speaker 9>We did thirteen songs in thirteen days, just her at

1:07:32.840 --> 1:07:35.960
<v Speaker 9>the piano, recording her vocal nuts it. If I wanted

1:07:36.000 --> 1:07:38.200
<v Speaker 9>a kick drum, I made her play it. I made

1:07:38.240 --> 1:07:41.280
<v Speaker 9>her go If I wanted bass, I gave her a bass,

1:07:41.440 --> 1:07:44.120
<v Speaker 9>gave her the song, said go home, you learn how

1:07:44.160 --> 1:07:47.280
<v Speaker 9>to play the bass, and come back. And because no one,

1:07:47.760 --> 1:07:50.479
<v Speaker 9>not me, I never touched her songs except for raise

1:07:50.560 --> 1:07:52.919
<v Speaker 9>the Key maybe and sped it up or slowed it down.

1:07:53.480 --> 1:07:55.680
<v Speaker 9>But if something needed to be played, I made her

1:07:55.760 --> 1:07:58.040
<v Speaker 9>play it. You know, acoustic guitar, and she's never play bass,

1:07:58.080 --> 1:08:01.720
<v Speaker 9>never played acoustic guitar anyway. So the moral of this

1:08:01.920 --> 1:08:07.480
<v Speaker 9>story is she's fourteen now and I'm still mentoring her

1:08:08.040 --> 1:08:12.400
<v Speaker 9>and this kid is incredible. And then she got we

1:08:12.760 --> 1:08:16.200
<v Speaker 9>let her play at this We went, we took the

1:08:16.240 --> 1:08:19.040
<v Speaker 9>company and all the artists to Shia Day, which is

1:08:19.080 --> 1:08:22.960
<v Speaker 9>an advertisement company, and we were doing this you know

1:08:23.439 --> 1:08:25.040
<v Speaker 9>you don't We're we're not gonna wait for you to

1:08:25.080 --> 1:08:26.479
<v Speaker 9>come to us, We're going to go to you kind

1:08:26.520 --> 1:08:28.519
<v Speaker 9>of things. So we did a showcase with all our artists.

1:08:29.080 --> 1:08:33.720
<v Speaker 9>Guess who they picked Willa Her name is Willa am I.

1:08:33.920 --> 1:08:37.200
<v Speaker 9>They picked her for this big campaign for quick books

1:08:37.560 --> 1:08:42.439
<v Speaker 9>and we had to do this version of a harder, faster, big, better.

1:08:42.360 --> 1:08:43.840
<v Speaker 8>Stronger, harder faster.

1:08:44.080 --> 1:08:46.000
<v Speaker 9>But I mean it was the weirdest song they wanted

1:08:46.240 --> 1:08:50.679
<v Speaker 9>organic and so we did it, number one Shazam song.

1:08:51.320 --> 1:08:54.320
<v Speaker 9>They paid for a radio tour for her, you know,

1:08:54.439 --> 1:08:56.880
<v Speaker 9>And but I'm still holding back. I'm still not leting her,

1:08:57.040 --> 1:08:59.000
<v Speaker 9>you know, doing them, still like she's got to learn,

1:08:59.520 --> 1:09:04.600
<v Speaker 9>you know you label since yes, but after that it

1:09:04.760 --> 1:09:06.800
<v Speaker 9>was like she wanted it and and I was like,

1:09:06.880 --> 1:09:09.439
<v Speaker 9>I gotta see, I gotta understand what I'm dealing with

1:09:10.040 --> 1:09:11.920
<v Speaker 9>I can't put you out there, kid, and she's like,

1:09:12.360 --> 1:09:13.280
<v Speaker 9>I want it, I want it.

1:09:13.520 --> 1:09:15.200
<v Speaker 8>But she looks like she's like.

1:09:15.479 --> 1:09:18.960
<v Speaker 9>Maybe eighteen or nineteen. Her voice and the way she

1:09:19.080 --> 1:09:22.800
<v Speaker 9>writes songs. So I played Jimmy iving this song that

1:09:22.920 --> 1:09:27.000
<v Speaker 9>she wrote before Jimmy, you know, took off. I play

1:09:27.080 --> 1:09:30.120
<v Speaker 9>him the song Scars that she wrote, and he I,

1:09:30.400 --> 1:09:32.160
<v Speaker 9>you know, I've known Jimmy a very long time and

1:09:32.160 --> 1:09:34.360
<v Speaker 9>I've never had this experience with him.

1:09:34.920 --> 1:09:36.360
<v Speaker 8>He was just like lit up.

1:09:36.439 --> 1:09:38.519
<v Speaker 9>And he turns around and he looks at me and

1:09:38.560 --> 1:09:41.599
<v Speaker 9>he's like, you know what you got? And I'm all

1:09:41.760 --> 1:09:47.679
<v Speaker 9>what He's like, you got the cool Taylor Swift. He's like, congratulations, finally,

1:09:47.880 --> 1:09:51.479
<v Speaker 9>you know. But it's like, but the thing is, she's

1:09:51.560 --> 1:09:54.040
<v Speaker 9>been in playing with bands. She knows what a rehearsal

1:09:54.160 --> 1:09:56.280
<v Speaker 9>room is, she knows how to play in front of

1:09:56.439 --> 1:10:00.320
<v Speaker 9>five people. Now she's going to do this radio show

1:10:00.400 --> 1:10:03.640
<v Speaker 9>in Vegas, you know, you know, with Jewel, And I

1:10:03.720 --> 1:10:06.880
<v Speaker 9>mean it's like I've been baby stepping her all the

1:10:06.960 --> 1:10:09.680
<v Speaker 9>way and not letting it get too far. So it's

1:10:09.800 --> 1:10:13.599
<v Speaker 9>out of her hands. It's only moving this fast because

1:10:13.720 --> 1:10:17.200
<v Speaker 9>she wants it. But she's capable of handling, but I'm

1:10:17.200 --> 1:10:20.880
<v Speaker 9>still holding it back. She's still fourteen. But anyways, that's

1:10:20.960 --> 1:10:22.840
<v Speaker 9>my point. So you know what I did with her.

1:10:23.280 --> 1:10:25.960
<v Speaker 9>I nurtured her. I got her to a point so

1:10:26.160 --> 1:10:30.080
<v Speaker 9>she understood what it was like to write songs and

1:10:30.200 --> 1:10:34.000
<v Speaker 9>be in a rehearsal room. You know, did interviews, did

1:10:34.200 --> 1:10:38.559
<v Speaker 9>fake interviews, been you know, photoing her, you know, getting

1:10:39.000 --> 1:10:42.439
<v Speaker 9>following her and helping her, you know, understand who she is.

1:10:42.600 --> 1:10:43.960
<v Speaker 8>And this girl knows who she is.

1:10:44.280 --> 1:10:51.240
<v Speaker 9>So the answer you're fucking long winded, I'm so, is yes,

1:10:51.600 --> 1:10:55.200
<v Speaker 9>we need to bring back development.

1:10:55.400 --> 1:10:57.080
<v Speaker 8>Yes it's called development.

1:10:57.439 --> 1:11:01.000
<v Speaker 1>Where do you have the patience for that? Because now

1:11:01.000 --> 1:11:04.720
<v Speaker 1>I almost feel like, of all the episodes we've done,

1:11:05.760 --> 1:11:08.439
<v Speaker 1>this is the episode I've been waiting for it because

1:11:09.800 --> 1:11:13.160
<v Speaker 1>I have no patience whatsoever to put in the work

1:11:13.920 --> 1:11:18.960
<v Speaker 1>to develop people, to listen to people, to like all

1:11:19.000 --> 1:11:21.800
<v Speaker 1>the nineteen jobs. Well no, no, no, but part of

1:11:21.920 --> 1:11:27.520
<v Speaker 1>me like not really want to. I just to babysit

1:11:27.680 --> 1:11:29.840
<v Speaker 1>and you know, the motherfuckers I got a babysit y.

1:11:30.080 --> 1:11:34.920
<v Speaker 1>Yeah right, And that's the thing. It's just like it

1:11:35.120 --> 1:11:39.800
<v Speaker 1>takes you really have to care as a person. And

1:11:39.920 --> 1:11:41.680
<v Speaker 1>I know you're like, I'm blunt, I'm honest with you

1:11:41.800 --> 1:11:47.679
<v Speaker 1>and whatever, but it's like you obviously you care. Where

1:11:47.880 --> 1:11:52.559
<v Speaker 1>is it? How did you not even even after uh

1:11:53.560 --> 1:11:57.920
<v Speaker 1>the rise of the Fast Rise of Four Non Blondes

1:11:57.960 --> 1:12:02.479
<v Speaker 1>and you guys selling seven seven million units of that album? Like,

1:12:02.640 --> 1:12:09.080
<v Speaker 1>how did you not between ninety five and when Pink

1:12:09.160 --> 1:12:13.160
<v Speaker 1>called you ninety nine? Would you say, like, how are

1:12:13.160 --> 1:12:18.600
<v Speaker 1>you not bitter or angry about the situation of of

1:12:18.800 --> 1:12:22.240
<v Speaker 1>what happened in between that time that led you to

1:12:22.320 --> 1:12:25.360
<v Speaker 1>where you are now where you're giving back in your

1:12:25.479 --> 1:12:32.040
<v Speaker 1>your patient and you know how to coach people, teach

1:12:32.160 --> 1:12:37.920
<v Speaker 1>us how to care about people. Well, I keep hearing

1:12:37.920 --> 1:12:39.880
<v Speaker 1>about this whole empathy thing and I just don't.

1:12:40.720 --> 1:12:41.960
<v Speaker 8>Well, let me tell you this.

1:12:42.240 --> 1:12:47.040
<v Speaker 9>So when you say, I believe when you are honest,

1:12:47.680 --> 1:12:51.040
<v Speaker 9>you do care, Like you care enough. You know, most

1:12:51.160 --> 1:12:54.880
<v Speaker 9>people don't care, so they won't be honest because caring,

1:12:55.080 --> 1:12:56.639
<v Speaker 9>being honest takes energy.

1:12:57.360 --> 1:13:00.840
<v Speaker 8>So just remember it that way. We do care when

1:13:00.880 --> 1:13:02.799
<v Speaker 8>we're talking and we're being honest.

1:13:02.840 --> 1:13:05.360
<v Speaker 1>Wait, can I add something in our part of the

1:13:06.080 --> 1:13:09.360
<v Speaker 1>on our side of the tracks? Okay, honestly gets you shot,

1:13:10.680 --> 1:13:14.880
<v Speaker 1>not necessarily Okay, this dog if okay, take take the

1:13:14.920 --> 1:13:20.080
<v Speaker 1>mister Magic Carris one situation of eighty six. Now let's

1:13:20.160 --> 1:13:23.840
<v Speaker 1>just take it to let's let's go to nineteen ninety nine.

1:13:24.960 --> 1:13:28.160
<v Speaker 1>Like you know, you say something can't feel a certain way.

1:13:28.479 --> 1:13:31.479
<v Speaker 1>It's almost like I feel when people come to me

1:13:32.080 --> 1:13:35.000
<v Speaker 1>like yo, yo, guess before you real quick. It's almost

1:13:35.040 --> 1:13:38.640
<v Speaker 1>like I don't think you want my honest opinion. I

1:13:38.760 --> 1:13:42.559
<v Speaker 1>think you want a sign. Yeah, like you want me to.

1:13:43.920 --> 1:13:47.320
<v Speaker 8>Champion you, right, But that that's honesty right there. But

1:13:47.520 --> 1:13:50.160
<v Speaker 8>I think that what I would hope that we.

1:13:50.400 --> 1:13:53.360
<v Speaker 1>Learn, let's turn me off. Like I can say that

1:13:54.800 --> 1:13:59.439
<v Speaker 1>maybe six people in my entire twenty five years, six

1:13:59.520 --> 1:14:02.519
<v Speaker 1>people have I've actually just said, Okay, I feel something here,

1:14:04.120 --> 1:14:06.760
<v Speaker 1>I'll listen to it, and it's changed my life, like

1:14:06.880 --> 1:14:11.400
<v Speaker 1>his band and five other people. And but now I'm

1:14:11.439 --> 1:14:15.360
<v Speaker 1>thinking about, wow, those those thousand other like John Legend

1:14:16.120 --> 1:14:18.200
<v Speaker 1>is one of those people. Is like, I gave you

1:14:18.240 --> 1:14:21.160
<v Speaker 1>all a chance, and y'all didn't hear me. But I digress.

1:14:21.640 --> 1:14:24.040
<v Speaker 1>I think he didn't come up to me. He might

1:14:24.120 --> 1:14:28.639
<v Speaker 1>have went to Tarik. But I'm saying, like you're willing

1:14:28.680 --> 1:14:32.760
<v Speaker 1>to jump in the pool and you're willing to to

1:14:32.880 --> 1:14:33.760
<v Speaker 1>get dirty with them?

1:14:34.200 --> 1:14:36.519
<v Speaker 8>Well, I have a mission. I'm on a mission.

1:14:36.680 --> 1:14:38.000
<v Speaker 1>Like to me, what is your mission?

1:14:38.160 --> 1:14:39.839
<v Speaker 8>My mission is I love.

1:14:39.920 --> 1:14:43.920
<v Speaker 9>Music and everything that falls under it, Like it is

1:14:44.320 --> 1:14:47.880
<v Speaker 9>my job and duty as one of these people in

1:14:48.000 --> 1:14:52.120
<v Speaker 9>this business to protect it, you know. So honesty to

1:14:52.280 --> 1:14:58.000
<v Speaker 9>me is protecting the it's you know, the integrity of

1:14:58.160 --> 1:15:02.479
<v Speaker 9>music and helping out more in people and raising the bar.

1:15:02.600 --> 1:15:04.920
<v Speaker 9>I mean, come on, guys, I mean, let's just all

1:15:05.000 --> 1:15:08.320
<v Speaker 9>face it. The bar is so fucking low a fucking

1:15:08.520 --> 1:15:10.280
<v Speaker 9>amp can't crawl under it right now.

1:15:10.800 --> 1:15:10.960
<v Speaker 7>You know.

1:15:11.280 --> 1:15:13.680
<v Speaker 9>It's like, but there's great stuff, but you know, I'm

1:15:13.720 --> 1:15:15.680
<v Speaker 9>just talking about in general, there's a low bar.

1:15:15.800 --> 1:15:18.639
<v Speaker 1>There's no entry level, Like there ain't no classes.

1:15:18.760 --> 1:15:21.439
<v Speaker 5>Yeah, well, like with the music industry, like it accepts

1:15:21.479 --> 1:15:24.640
<v Speaker 5>all kinds and so there's no kind of regimen or

1:15:24.680 --> 1:15:26.760
<v Speaker 5>anything that you have to follow. Like with you, like

1:15:26.920 --> 1:15:29.200
<v Speaker 5>just that stir you're telling about how you developed your

1:15:29.320 --> 1:15:31.439
<v Speaker 5>artists and was like, Yo, go write five songs, Go

1:15:31.520 --> 1:15:34.679
<v Speaker 5>write six songs. That is something that is totally foreign

1:15:34.960 --> 1:15:37.160
<v Speaker 5>in on our side of the world with hip hop,

1:15:37.240 --> 1:15:40.160
<v Speaker 5>because hip hop is automatically just seen as something that

1:15:40.680 --> 1:15:41.600
<v Speaker 5>you can just jump in.

1:15:42.880 --> 1:15:47.519
<v Speaker 9>Well, I think though, if we so for me, the patients.

1:15:47.920 --> 1:15:50.240
<v Speaker 9>I didn't have a lot of patients in for non blowns.

1:15:51.080 --> 1:15:53.439
<v Speaker 9>I learned patients. I learned a lot, you know, as

1:15:53.560 --> 1:15:57.040
<v Speaker 9>much as I could say that, you know, that experience,

1:15:57.080 --> 1:15:57.479
<v Speaker 9>I wasn't.

1:15:57.479 --> 1:16:01.160
<v Speaker 1>I didn't like the album, you know, persn't like that.

1:16:01.320 --> 1:16:01.920
<v Speaker 8>I didn't like No.

1:16:02.120 --> 1:16:04.679
<v Speaker 9>I probably listened to the album maybe three or four times.

1:16:05.760 --> 1:16:08.320
<v Speaker 9>It was a hard album to listen to because it's

1:16:08.439 --> 1:16:13.120
<v Speaker 9>not it didn't reflect who I was and writing, production,

1:16:13.360 --> 1:16:17.719
<v Speaker 9>the production and just yeah, the sound was just again

1:16:17.760 --> 1:16:19.559
<v Speaker 9>I didn't know, but I was just drawn to sound.

1:16:19.640 --> 1:16:21.840
<v Speaker 9>It didn't sound like Zeppelin and it didn't sound like

1:16:21.880 --> 1:16:24.760
<v Speaker 9>the Beatles. It sounded like this washed down kind of

1:16:25.000 --> 1:16:26.559
<v Speaker 9>thin kind of weirdness, you know.

1:16:26.960 --> 1:16:30.800
<v Speaker 1>Going in in your mind. What did you want that

1:16:30.960 --> 1:16:35.200
<v Speaker 1>album to be before you hit note number one? You know,

1:16:35.640 --> 1:16:36.800
<v Speaker 1>was this going to be your house? Is it the

1:16:36.880 --> 1:16:37.439
<v Speaker 1>Holy Like?

1:16:37.720 --> 1:16:38.599
<v Speaker 8>No, No, I didn't.

1:16:38.680 --> 1:16:40.880
<v Speaker 9>I wasn't experienced something like this was the first band

1:16:40.920 --> 1:16:42.519
<v Speaker 9>I was I have ever been in. Like when I

1:16:42.600 --> 1:16:45.040
<v Speaker 9>was in San Francisco, I played acoustic.

1:16:45.280 --> 1:16:47.679
<v Speaker 8>It was solo. It was Linda Perry solo act.

1:16:47.760 --> 1:16:50.800
<v Speaker 9>And I was kind of developing a name around San

1:16:50.840 --> 1:16:53.439
<v Speaker 9>Francisco as this girl you call that could get up

1:16:53.479 --> 1:16:54.960
<v Speaker 9>on stage, and I was powerful, you know.

1:16:55.000 --> 1:16:56.600
<v Speaker 8>I was like small and got up on it.

1:16:56.640 --> 1:16:59.920
<v Speaker 9>And people liked having just a you know, acoustic act

1:17:00.120 --> 1:17:01.880
<v Speaker 9>jump up on stage because you didn't have to do

1:17:01.960 --> 1:17:04.840
<v Speaker 9>all the changeovers, you know. So I would jump up

1:17:04.880 --> 1:17:06.720
<v Speaker 9>and I started getting a really big name. And that's

1:17:06.800 --> 1:17:09.479
<v Speaker 9>how this band found me. They were already a band

1:17:10.000 --> 1:17:10.759
<v Speaker 9>and they asked.

1:17:10.560 --> 1:17:11.120
<v Speaker 1>Me to join.

1:17:11.280 --> 1:17:13.360
<v Speaker 9>So when I joined the band, you know, I was

1:17:13.479 --> 1:17:17.360
<v Speaker 9>just it seemed fun and I didn't really have any

1:17:17.439 --> 1:17:21.080
<v Speaker 9>intention except for I just knew earlier on in my

1:17:21.200 --> 1:17:23.400
<v Speaker 9>life I was going to be somebody, whether that's a

1:17:23.439 --> 1:17:27.120
<v Speaker 9>tennis player, police officer, or whatever. I was going to

1:17:27.240 --> 1:17:29.640
<v Speaker 9>be somebody that people were going to know. And so

1:17:30.240 --> 1:17:33.240
<v Speaker 9>that's all I geared my my life. My journey was

1:17:33.280 --> 1:17:36.599
<v Speaker 9>always on that I'm going to be somebody. So when

1:17:36.840 --> 1:17:39.960
<v Speaker 9>four non blocs happened, I just quickly figured out, like, oh,

1:17:40.040 --> 1:17:42.640
<v Speaker 9>these are the things I don't like. These are you know,

1:17:42.760 --> 1:17:45.120
<v Speaker 9>Like I didn't like the band constantly being upset at

1:17:45.160 --> 1:17:47.320
<v Speaker 9>me because I was getting more attention than they were.

1:17:47.800 --> 1:17:49.880
<v Speaker 9>And I would say, well, why don't you guys fucking

1:17:50.120 --> 1:17:52.320
<v Speaker 9>you know, write a song At three o'clock in the morning,

1:17:52.439 --> 1:17:55.320
<v Speaker 9>like I'm doing, and then you can have songwriting. Because

1:17:55.320 --> 1:17:57.400
<v Speaker 9>they were mad that I wouldn't give them songwriting credit

1:17:57.680 --> 1:17:58.960
<v Speaker 9>on songs that I was writing.

1:17:59.040 --> 1:18:00.720
<v Speaker 8>I'm like, I'm not.

1:18:03.640 --> 1:18:06.120
<v Speaker 9>Not, you know. So I was kind of a dick,

1:18:06.320 --> 1:18:08.479
<v Speaker 9>you know. In for non Blunde, I was angry all

1:18:08.520 --> 1:18:10.680
<v Speaker 9>the time. I didn't like being told what to do.

1:18:11.400 --> 1:18:14.280
<v Speaker 9>I wanted to perform when I wanted. I was very rebellious,

1:18:14.320 --> 1:18:17.760
<v Speaker 9>you know, and you know, I've walked out many situations

1:18:18.280 --> 1:18:19.559
<v Speaker 9>that I should not have, you.

1:18:19.600 --> 1:18:20.040
<v Speaker 8>Know, done.

1:18:20.640 --> 1:18:23.360
<v Speaker 9>And finally I got to a point on the second

1:18:23.439 --> 1:18:25.799
<v Speaker 9>record and said I can't do it. I had written

1:18:25.800 --> 1:18:28.040
<v Speaker 9>all these great songs that were more like The Wall,

1:18:28.640 --> 1:18:32.960
<v Speaker 9>you know and Pink Floyd the Wall, and and it

1:18:33.080 --> 1:18:35.720
<v Speaker 9>was very you know, it was deep, it was it

1:18:35.960 --> 1:18:38.400
<v Speaker 9>just filled my soul, you know, in my and my

1:18:38.520 --> 1:18:41.680
<v Speaker 9>voice was lower. I was like just brooding and unhappy

1:18:41.840 --> 1:18:44.800
<v Speaker 9>and depressed, and but it was beautiful to me, you know.

1:18:45.360 --> 1:18:49.640
<v Speaker 8>And they were like, uh, where can you guys? Can

1:18:49.720 --> 1:18:50.400
<v Speaker 8>you write.

1:18:50.240 --> 1:18:53.840
<v Speaker 9>Something a little more like our old album, our last record,

1:18:54.040 --> 1:18:57.000
<v Speaker 9>And I said, fuck you, no, I can't, you know.

1:18:57.240 --> 1:18:59.599
<v Speaker 9>And then I went to the label and said please

1:18:59.680 --> 1:19:05.840
<v Speaker 9>let me out. So eventually out of being a little

1:19:05.880 --> 1:19:08.479
<v Speaker 9>crazy to Tom Wally. Tom Wally let me out of

1:19:08.520 --> 1:19:11.240
<v Speaker 9>the deal, Sokerton.

1:19:14.800 --> 1:19:20.400
<v Speaker 8>What do you call that? Yeah, I pulled a good

1:19:20.439 --> 1:19:22.920
<v Speaker 8>one on him, and you know it was pretty funny.

1:19:23.479 --> 1:19:29.240
<v Speaker 9>But so the patients came through that those years. You know,

1:19:29.479 --> 1:19:32.519
<v Speaker 9>I learned what I didn't like about being in for

1:19:32.680 --> 1:19:36.639
<v Speaker 9>no Blons, I learned what I did like. I learned

1:19:36.680 --> 1:19:41.720
<v Speaker 9>that I was way more powerful as a collaborator and

1:19:42.720 --> 1:19:45.840
<v Speaker 9>someone who could be patient with people, and and that

1:19:46.160 --> 1:19:48.800
<v Speaker 9>the the girl that was not collaborating, that had the

1:19:48.960 --> 1:19:52.640
<v Speaker 9>ego that was just you know, throwing everything down and

1:19:52.760 --> 1:19:56.280
<v Speaker 9>not being patient, was the weaker me. So I just

1:19:56.920 --> 1:20:00.320
<v Speaker 9>I just jumped into my power. So that space in

1:20:00.439 --> 1:20:04.599
<v Speaker 9>time allowed me to learn a little bit about who

1:20:04.720 --> 1:20:07.519
<v Speaker 9>I was and what I was capable of doing. So

1:20:08.000 --> 1:20:12.320
<v Speaker 9>the universe then sent me Pink and everything that followed.

1:20:17.360 --> 1:20:20.280
<v Speaker 1>So were you thrown off when she called you? You said,

1:20:20.320 --> 1:20:21.240
<v Speaker 1>she calls you out the blue?

1:20:21.439 --> 1:20:22.879
<v Speaker 8>Yeah, she left me a message.

1:20:22.920 --> 1:20:25.120
<v Speaker 9>I got this message because my girlfriend at the time

1:20:25.400 --> 1:20:30.160
<v Speaker 9>was her makeup artist, or her friend was her makeup

1:20:30.240 --> 1:20:32.559
<v Speaker 9>artist or anyways, So she just left me a message.

1:20:32.600 --> 1:20:34.000
<v Speaker 8>You know, is this Lenna Perry.

1:20:34.600 --> 1:20:36.080
<v Speaker 9>This is my name's Pink, and I want to write

1:20:36.080 --> 1:20:37.800
<v Speaker 9>a song with you or you sing on my album,

1:20:37.840 --> 1:20:39.240
<v Speaker 9>and if you don't call me back, I'm gonna come

1:20:39.320 --> 1:20:39.680
<v Speaker 9>stock you.

1:20:39.720 --> 1:20:41.639
<v Speaker 8>If I got your number, I can find your address.

1:20:41.720 --> 1:20:44.720
<v Speaker 1>You know something crazy life.

1:20:44.880 --> 1:20:47.120
<v Speaker 9>Yeah, you're just like and it changed mine, you know,

1:20:47.200 --> 1:20:50.800
<v Speaker 9>and it really it made me a collaborator. And then

1:20:51.400 --> 1:20:54.360
<v Speaker 9>you know, from then is that was the downfall because

1:20:54.600 --> 1:20:58.400
<v Speaker 9>immediately after that, I ran into Christina Aguileraa in a

1:20:58.640 --> 1:21:01.920
<v Speaker 9>in a club and Dallas Austin just played like he

1:21:02.080 --> 1:21:04.840
<v Speaker 9>was trying to impress her with what he did on

1:21:05.040 --> 1:21:08.599
<v Speaker 9>Pink's record, but instead it every time she picked a song,

1:21:08.640 --> 1:21:09.280
<v Speaker 9>who did that one?

1:21:09.360 --> 1:21:11.360
<v Speaker 8>He was like, that's Linda Perry. Who did that one?

1:21:11.479 --> 1:21:14.439
<v Speaker 9>Linda Perry. So it was pretty funny that. So I,

1:21:15.320 --> 1:21:17.080
<v Speaker 9>you know, I saw her sitting alone.

1:21:17.200 --> 1:21:19.439
<v Speaker 8>First of all. That was kind of strange. She was alone.

1:21:19.840 --> 1:21:23.360
<v Speaker 8>Friends were in a bodyguard right in front, and she waved.

1:21:23.600 --> 1:21:23.760
<v Speaker 1>You know.

1:21:24.000 --> 1:21:25.800
<v Speaker 9>I came as hey, you know I met her once

1:21:26.400 --> 1:21:28.640
<v Speaker 9>and she's like, you know, let her in, and so

1:21:28.800 --> 1:21:30.800
<v Speaker 9>I said, how you doing. She'sa liked blah blah blah,

1:21:30.880 --> 1:21:32.760
<v Speaker 9>and she's like, I love the stuff that you did

1:21:32.800 --> 1:21:34.599
<v Speaker 9>with Pink. I'm like, oh great, I go I heard

1:21:34.640 --> 1:21:36.760
<v Speaker 9>your working on an album and she's like, yeah, I go. Hey,

1:21:36.920 --> 1:21:40.040
<v Speaker 9>if I were you, I would really use that darkness,

1:21:40.160 --> 1:21:43.759
<v Speaker 9>that depression that you got going on, because it probably listen,

1:21:43.840 --> 1:21:45.960
<v Speaker 9>everybody knows that you can sing, but no one knows

1:21:46.000 --> 1:21:48.240
<v Speaker 9>that you actually can feel what you're singing, and it

1:21:48.400 --> 1:21:52.040
<v Speaker 9>really will come in to benefit your your your sadness.

1:21:52.120 --> 1:21:54.880
<v Speaker 9>And she just like, I mean, And then I was like, oh,

1:21:54.920 --> 1:21:57.080
<v Speaker 9>I see you later, and then I started leaving and

1:21:57.160 --> 1:21:59.880
<v Speaker 9>then my friend he's like, what did you just say

1:22:00.080 --> 1:22:02.920
<v Speaker 9>to Christina Aguilar. I'm like why, and he's like, because

1:22:03.040 --> 1:22:05.759
<v Speaker 9>she's watching you and her mouth is on the ground,

1:22:06.320 --> 1:22:08.160
<v Speaker 9>and I'm like, well, I just told her that people

1:22:08.240 --> 1:22:10.320
<v Speaker 9>want to, you know. And then she called me a

1:22:10.360 --> 1:22:13.760
<v Speaker 9>week later, you know, and that obviously it was not

1:22:13.840 --> 1:22:15.600
<v Speaker 9>my intention. I was just being honest, but you know,

1:22:15.760 --> 1:22:19.040
<v Speaker 9>so theirs were for me. And then I love Christina.

1:22:19.120 --> 1:22:22.640
<v Speaker 9>We collaborated and done some incredible things together, but I

1:22:22.800 --> 1:22:24.360
<v Speaker 9>call her on her stuff all the time.

1:22:25.120 --> 1:22:32.479
<v Speaker 1>How did you manage to get that performance of beautiful

1:22:32.880 --> 1:22:38.200
<v Speaker 1>out of her? Because I know that what you managed

1:22:38.240 --> 1:22:41.360
<v Speaker 1>to do for that song, like I know that you

1:22:41.479 --> 1:22:44.720
<v Speaker 1>know from what I know of Christina, Oh, you were

1:22:44.760 --> 1:22:46.800
<v Speaker 1>on that album too. I forgot. Yeah, yeah, I forgot

1:22:46.840 --> 1:22:47.799
<v Speaker 1>I was on that album.

1:22:49.320 --> 1:22:49.680
<v Speaker 9>All right.

1:22:49.920 --> 1:22:55.680
<v Speaker 1>Yeah, here's my thing. My thing is that the thing

1:22:55.720 --> 1:22:57.760
<v Speaker 1>that I'm most impressed about that song is the fact

1:22:58.040 --> 1:23:03.240
<v Speaker 1>that you took her defensing, her shield away, because I

1:23:03.320 --> 1:23:06.920
<v Speaker 1>feel like her flexing her going from zero to sixty

1:23:06.960 --> 1:23:13.320
<v Speaker 1>on the audiobar like instantly. The fact that you took

1:23:13.400 --> 1:23:20.240
<v Speaker 1>all that away and just left her vulnerable at least,

1:23:20.280 --> 1:23:23.920
<v Speaker 1>that was my impression in hearing Beautiful. How were you

1:23:24.160 --> 1:23:29.960
<v Speaker 1>able to keep the record people at Bay, and keep

1:23:30.120 --> 1:23:33.720
<v Speaker 1>Christina's management at Bay and Christina herself at Bay and

1:23:33.880 --> 1:23:36.920
<v Speaker 1>pull that performance out of her? Because I would have

1:23:37.000 --> 1:23:41.559
<v Speaker 1>instantly thought hearing the song, okay, it's Grammy time. That's

1:23:41.600 --> 1:23:45.280
<v Speaker 1>her diva moment, you know, gown, She's gonna open the

1:23:45.280 --> 1:23:48.960
<v Speaker 1>Grammy Sparkles, sing the shit out, Mariah, the shit out

1:23:49.040 --> 1:23:54.479
<v Speaker 1>that song. And you didn't. How did you pull the

1:23:54.600 --> 1:23:57.840
<v Speaker 1>layers away and get that particular performance out of her?

1:24:00.000 --> 1:24:01.719
<v Speaker 8>It is completely organic.

1:24:01.920 --> 1:24:04.599
<v Speaker 9>I wish I could, you know, say that I did

1:24:04.680 --> 1:24:10.800
<v Speaker 9>something amazing, But the truth is I said that, you know,

1:24:10.960 --> 1:24:11.840
<v Speaker 9>she wanted the song.

1:24:11.880 --> 1:24:13.800
<v Speaker 8>I had already written the song, and.

1:24:15.479 --> 1:24:18.360
<v Speaker 9>I said, well, in order to get this, I need

1:24:18.439 --> 1:24:20.760
<v Speaker 9>to hear you sing it, because you know, when I

1:24:20.840 --> 1:24:24.800
<v Speaker 9>wrote the song, it was me, you know, and my

1:24:25.000 --> 1:24:28.120
<v Speaker 9>insecurities of not feeling like a beautiful person, you know,

1:24:29.160 --> 1:24:32.640
<v Speaker 9>and the using those words to try to find some

1:24:32.880 --> 1:24:37.160
<v Speaker 9>kind of strength, you know, using those words Linda, you're beautiful.

1:24:37.240 --> 1:24:40.120
<v Speaker 9>Come on, don't worry, don't listen to what other people say,

1:24:40.240 --> 1:24:43.320
<v Speaker 9>like the real moment for me. So I'm looking at

1:24:43.360 --> 1:24:46.439
<v Speaker 9>this girl that has it all, that's you know, pretty

1:24:46.600 --> 1:24:49.800
<v Speaker 9>and popular. It's like, there's no fucking way this girl

1:24:49.920 --> 1:24:53.719
<v Speaker 9>is gonna understand and relate to this song. So I said, Okay,

1:24:54.880 --> 1:24:57.960
<v Speaker 9>I need to hear you sing it. So again recorded

1:24:58.120 --> 1:25:01.040
<v Speaker 9>her vocal right in that other room over there and

1:25:02.800 --> 1:25:05.360
<v Speaker 9>sat with the piano. I put the piano down, and

1:25:05.400 --> 1:25:07.600
<v Speaker 9>then she brought a friend, you know, So I was like.

1:25:07.920 --> 1:25:09.760
<v Speaker 9>She came back a week later and said, okay, and

1:25:09.800 --> 1:25:11.639
<v Speaker 9>I need to hear you sing it. So what gave

1:25:11.680 --> 1:25:15.240
<v Speaker 9>her the lyrics? And she sat there and this is truth.

1:25:17.400 --> 1:25:21.040
<v Speaker 9>I just pushed play and I go, you're good, and

1:25:21.120 --> 1:25:24.080
<v Speaker 9>she's like yeah, And she had the demo to work

1:25:24.120 --> 1:25:27.160
<v Speaker 9>with at home, you know, and she's all nervous, and

1:25:27.360 --> 1:25:30.600
<v Speaker 9>I push and record, and then she literally says to

1:25:30.760 --> 1:25:35.439
<v Speaker 9>her friend, don't look at me. You know something about

1:25:35.560 --> 1:25:40.720
<v Speaker 9>that It showed me, Oh, she's just like me. You know,

1:25:40.960 --> 1:25:43.920
<v Speaker 9>she might look different than I do, but she is

1:25:44.040 --> 1:25:48.720
<v Speaker 9>exactly she feels the same. And then she sang that

1:25:48.880 --> 1:25:54.080
<v Speaker 9>song from start to finished, and then I got chills

1:25:55.040 --> 1:25:59.600
<v Speaker 9>and I said, that's my vocal. And she's like, she's like,

1:26:00.040 --> 1:26:01.680
<v Speaker 9>she's like, what do you mean that's the vocal. I'm like,

1:26:02.320 --> 1:26:04.920
<v Speaker 9>that's my fucking vocal. I knew it, and she was

1:26:05.080 --> 1:26:08.600
<v Speaker 9>like no, you know, I'm like whatever, and so I just,

1:26:09.240 --> 1:26:11.920
<v Speaker 9>you know, just whatever. So I built then I built

1:26:11.960 --> 1:26:14.280
<v Speaker 9>the track around that. So I got the strings, I

1:26:14.320 --> 1:26:16.960
<v Speaker 9>played live, had a live band. We've sat there and

1:26:17.080 --> 1:26:19.519
<v Speaker 9>to the click and just played to her vocal and

1:26:19.920 --> 1:26:22.160
<v Speaker 9>because all she was singing to was a piano, and

1:26:22.320 --> 1:26:23.760
<v Speaker 9>so I just knew that was my vocal.

1:26:23.800 --> 1:26:25.080
<v Speaker 8>There's no way she was going to be able to

1:26:25.320 --> 1:26:25.960
<v Speaker 8>do that again.

1:26:26.680 --> 1:26:29.320
<v Speaker 9>And you can hear you know the paper, you know,

1:26:29.920 --> 1:26:32.759
<v Speaker 9>And and so there was two things in the bridge

1:26:33.120 --> 1:26:35.080
<v Speaker 9>we needed to hit. There was two high notes that

1:26:35.240 --> 1:26:37.639
<v Speaker 9>she's like, please, can I at least get those? I'm

1:26:37.640 --> 1:26:39.240
<v Speaker 9>like yeah, And then she wanted to re sing the

1:26:39.280 --> 1:26:42.960
<v Speaker 9>whole song seven months, you know, bugging me and I'm

1:26:43.000 --> 1:26:45.720
<v Speaker 9>like no, no, no. And then finally, so we go

1:26:45.880 --> 1:26:48.240
<v Speaker 9>to it on Conway or whatever. I'm like, okay, let's

1:26:48.280 --> 1:26:51.120
<v Speaker 9>go get these two notes. And she was like, no,

1:26:52.160 --> 1:26:54.040
<v Speaker 9>can I just sing it? I know I can sing

1:26:54.120 --> 1:26:56.160
<v Speaker 9>it better. I go, I know you can sing it better,

1:26:56.320 --> 1:26:58.880
<v Speaker 9>but that's not what's needed. So I was like, she's like,

1:26:59.000 --> 1:27:00.800
<v Speaker 9>just give me a chance. So I'm like okay, so

1:27:01.280 --> 1:27:02.280
<v Speaker 9>I push, you know, and.

1:27:02.320 --> 1:27:09.000
<v Speaker 8>She's like, every dam last stopped. I just stopped. And

1:27:09.120 --> 1:27:10.080
<v Speaker 8>she's like, what are you doing.

1:27:10.160 --> 1:27:13.760
<v Speaker 9>I'm like, you're fucking it up already, you know, And

1:27:13.840 --> 1:27:16.320
<v Speaker 9>she's like, you're right. And then she she finally just

1:27:16.400 --> 1:27:19.760
<v Speaker 9>got she just you know, she's you're right, I'm gonna

1:27:19.800 --> 1:27:20.000
<v Speaker 9>ruin it.

1:27:20.240 --> 1:27:23.120
<v Speaker 1>Yeah, it was too. It was too. I love singers

1:27:23.600 --> 1:27:29.599
<v Speaker 1>when they don't reach yep and no one. People rarely

1:27:29.680 --> 1:27:33.120
<v Speaker 1>trust that process. Like I can't wait for the day

1:27:33.680 --> 1:27:38.599
<v Speaker 1>when Mariah realizes that. I mean, just everyone who sangs,

1:27:40.160 --> 1:27:42.479
<v Speaker 1>I can't wait for them to realize that because I

1:27:42.600 --> 1:27:46.479
<v Speaker 1>feel like that's a defense shield, Like you're handing me

1:27:46.560 --> 1:27:48.519
<v Speaker 1>your resume, and this is what I can do. All

1:27:48.560 --> 1:27:50.840
<v Speaker 1>these acrobatic things I can do in thirteen sets sing

1:27:50.920 --> 1:27:54.680
<v Speaker 1>the damn Medaldy, Yeah, and people don't trust it. Like

1:27:54.880 --> 1:27:58.720
<v Speaker 1>if you listen to Aretha Franklin's version of a song

1:27:58.800 --> 1:28:04.559
<v Speaker 1>for You, the way that she mangles the words bad rhyme,

1:28:05.120 --> 1:28:09.760
<v Speaker 1>she literally she sings it flat and off key as

1:28:09.840 --> 1:28:11.439
<v Speaker 1>the character of the song. I know she was just

1:28:11.520 --> 1:28:15.200
<v Speaker 1>saying I say something bad round or whatever. But to me,

1:28:15.479 --> 1:28:19.200
<v Speaker 1>it's like I love when singers go dry, but it's

1:28:19.280 --> 1:28:23.439
<v Speaker 1>so hard to convince them not to do otherwise. And

1:28:23.760 --> 1:28:26.800
<v Speaker 1>I know that for her, her go to thing is

1:28:26.920 --> 1:28:32.400
<v Speaker 1>instantly and I was like, how did you manage that miracle?

1:28:32.760 --> 1:28:34.640
<v Speaker 1>So she just thought she was doing a drive run

1:28:34.720 --> 1:28:37.000
<v Speaker 1>through and that was it.

1:28:39.240 --> 1:28:40.160
<v Speaker 8>Yeah, And it did.

1:28:40.240 --> 1:28:43.320
<v Speaker 9>And it was interesting because you know, I think she

1:28:43.479 --> 1:28:46.160
<v Speaker 9>came out with that dirty song first and they pull

1:28:46.280 --> 1:28:48.800
<v Speaker 9>that shit so fast and it was like beautiful just

1:28:48.880 --> 1:28:52.000
<v Speaker 9>went right in and you know, in a sense, saved

1:28:52.080 --> 1:28:57.120
<v Speaker 9>the day. But the wonderful thing about that it really

1:28:57.400 --> 1:29:02.040
<v Speaker 9>did get people to experience her in a different way

1:29:02.760 --> 1:29:06.400
<v Speaker 9>and I and I feel really proud, more proud in

1:29:06.479 --> 1:29:09.800
<v Speaker 9>that moment because no matter what anybody wants to say

1:29:09.840 --> 1:29:12.040
<v Speaker 9>about Christina, and believe.

1:29:11.760 --> 1:29:14.479
<v Speaker 8>Me, you know, I get on her. But she knows that.

1:29:15.160 --> 1:29:18.240
<v Speaker 8>But she is a very very talented girl.

1:29:18.360 --> 1:29:22.280
<v Speaker 9>Like there's it's crazy her ears like you could have

1:29:22.560 --> 1:29:30.320
<v Speaker 9>a sixty piece orchestra, eight piece band, whatever going on, singers, gospel,

1:29:30.560 --> 1:29:33.559
<v Speaker 9>all of it. And she will hear the one violin

1:29:33.840 --> 1:29:36.840
<v Speaker 9>that went out of tune at this spot and she,

1:29:37.160 --> 1:29:39.640
<v Speaker 9>you know, will go, what's that? And I'll go, what

1:29:39.720 --> 1:29:41.200
<v Speaker 9>do you mean? And I hear it, but she's but

1:29:41.320 --> 1:29:43.400
<v Speaker 9>I'm thinking, there's no fucking way she can hear that.

1:29:44.080 --> 1:29:46.720
<v Speaker 9>And she's like right there, and I'm like, we're right here,

1:29:46.720 --> 1:29:48.439
<v Speaker 9>and I'll test her again, and I'll go and see

1:29:48.439 --> 1:29:50.599
<v Speaker 9>if she's just saying things, and I'll test it again

1:29:50.720 --> 1:29:53.680
<v Speaker 9>and she sas like, no, not there. I'm like right there,

1:29:54.200 --> 1:29:56.680
<v Speaker 9>and it'll be I'll solo everything, and there's like a

1:29:56.800 --> 1:30:00.400
<v Speaker 9>violin that's just out Like her, she's very very talented,

1:30:00.439 --> 1:30:03.240
<v Speaker 9>and but she doesn't trust her talent enough. And that's

1:30:03.320 --> 1:30:06.519
<v Speaker 9>what happens with a lot of these you know artists,

1:30:06.600 --> 1:30:09.760
<v Speaker 9>you know, these singers, they don't trust themselves. Like when

1:30:09.800 --> 1:30:15.200
<v Speaker 9>Aretha goes on stage, Aretha sings from her heart. When

1:30:15.360 --> 1:30:19.080
<v Speaker 9>Janis Joplin got on stage, she reached out, closed her

1:30:19.160 --> 1:30:22.360
<v Speaker 9>eyes and she was channeling god knows what, but it

1:30:22.640 --> 1:30:26.160
<v Speaker 9>wasn't singing. She was feeling, you know. And I think

1:30:26.280 --> 1:30:29.719
<v Speaker 9>that's the part that everybody keeps forgetting. They keep forgetting

1:30:29.840 --> 1:30:33.080
<v Speaker 9>there's an emotion attached to these lyrics. But here's here's

1:30:33.120 --> 1:30:35.719
<v Speaker 9>the thing that's gonna really blow up everything for you guys.

1:30:37.200 --> 1:30:43.000
<v Speaker 9>Janis Joplin, you know, Aretha is gonna be a different story.

1:30:43.040 --> 1:30:44.840
<v Speaker 9>But right now you have to understand a lot of

1:30:44.920 --> 1:30:48.479
<v Speaker 9>these girls aren't writing these songs and these lyrics, so

1:30:48.560 --> 1:30:52.719
<v Speaker 9>they don't have any emotional connection. Now, why my songs

1:30:52.760 --> 1:30:56.280
<v Speaker 9>with artists sound so good is because I always demo them,

1:30:57.280 --> 1:31:01.280
<v Speaker 9>even with the Alicia Alicia Keith is love the way

1:31:01.360 --> 1:31:03.320
<v Speaker 9>I sang, She's like, can you demo that you know

1:31:03.400 --> 1:31:06.720
<v Speaker 9>for me? And just love my my where I drop things,

1:31:06.800 --> 1:31:09.760
<v Speaker 9>my phrasing, my emotion, because I could. I'm a you know,

1:31:09.880 --> 1:31:12.439
<v Speaker 9>I feel you know, I'm in it. I don't care.

1:31:12.600 --> 1:31:15.759
<v Speaker 9>I don't care if there's one person here or a million.

1:31:16.240 --> 1:31:18.839
<v Speaker 9>I will give you the greatest show you've ever experienced

1:31:18.840 --> 1:31:20.040
<v Speaker 9>because it's just what I do.

1:31:20.200 --> 1:31:24.080
<v Speaker 8>It's who I am. But these girls don't know that experience.

1:31:24.120 --> 1:31:26.880
<v Speaker 9>They don't understand because First of all, they don't have

1:31:27.040 --> 1:31:30.400
<v Speaker 9>the experience of playing to people and getting that feedback,

1:31:31.080 --> 1:31:33.200
<v Speaker 9>you know, and they don't they're not writing these songs,

1:31:33.240 --> 1:31:36.519
<v Speaker 9>so they don't know how to give and deliver. They

1:31:36.560 --> 1:31:39.840
<v Speaker 9>don't know how to deliver these songs because they don't.

1:31:39.920 --> 1:31:42.280
<v Speaker 9>And then the people who are writing it, they're just

1:31:42.520 --> 1:31:45.960
<v Speaker 9>getting session singers to sing it straight.

1:31:46.160 --> 1:31:48.720
<v Speaker 8>And that kink dank dunk thank ding ding thing, you know,

1:31:48.840 --> 1:31:50.400
<v Speaker 8>like this the you know, like.

1:31:50.479 --> 1:31:54.639
<v Speaker 9>Fucking what's his fight? You know, fucking ass the doctor

1:31:54.760 --> 1:31:58.599
<v Speaker 9>Luke and is the same fucking lyric over and over

1:31:58.680 --> 1:32:01.839
<v Speaker 9>the same and you know, the same fucking format, their arrangement,

1:32:02.120 --> 1:32:05.560
<v Speaker 9>the same content, the same tone, the same everything. That

1:32:05.720 --> 1:32:09.120
<v Speaker 9>motherfucker gives the same song over and over and over,

1:32:09.200 --> 1:32:12.320
<v Speaker 9>and that's what these girls are hearing. But it's going

1:32:12.439 --> 1:32:16.120
<v Speaker 9>number one. It's going fucking number one. It's all over

1:32:16.200 --> 1:32:19.679
<v Speaker 9>the place. So they're just they're used to being robots.

1:32:20.000 --> 1:32:22.680
<v Speaker 9>They're not used to singing like Aretha God Forbid. And

1:32:22.960 --> 1:32:25.280
<v Speaker 9>did you guys ever see the Divas.

1:32:25.160 --> 1:32:39.120
<v Speaker 8>With Theretha Clean Carrey and Glory Sevon.

1:32:41.000 --> 1:32:43.519
<v Speaker 9>It was the did you see that moment where it

1:32:43.680 --> 1:32:46.080
<v Speaker 9>was so I mean I laughed, it was so awesome,

1:32:46.479 --> 1:32:48.920
<v Speaker 9>and they're all singing the song, and then they're all

1:32:49.080 --> 1:32:53.880
<v Speaker 9>stepping in taking there, and then Aretha just.

1:32:56.120 --> 1:32:58.240
<v Speaker 8>Gets right in from them, and it's almost like it's

1:32:58.280 --> 1:32:59.000
<v Speaker 8>a sing off.

1:32:59.160 --> 1:33:01.640
<v Speaker 9>And then I think Lean was the last one, and

1:33:01.720 --> 1:33:04.880
<v Speaker 9>then they all just trickle off because you can't compete

1:33:05.560 --> 1:33:09.040
<v Speaker 9>with Aretha Franklin because she's coming from a different place,

1:33:09.160 --> 1:33:10.880
<v Speaker 9>Like that voice is coming from a.

1:33:11.120 --> 1:33:17.240
<v Speaker 8>It's not she's not singing, she's she's she's having an experience.

1:33:17.320 --> 1:33:21.360
<v Speaker 8>She's excusing your emotions, you know, And that's what we're

1:33:21.400 --> 1:33:22.080
<v Speaker 8>missing right now.

1:33:22.200 --> 1:33:24.360
<v Speaker 7>Well, what about the singer songwriter girls that are like

1:33:24.479 --> 1:33:27.080
<v Speaker 7>really popular now, what about like the I'm scared to

1:33:27.080 --> 1:33:30.640
<v Speaker 7>say these names. We'll see the scissors, the hers and

1:33:30.760 --> 1:33:34.080
<v Speaker 7>I love and then before them. I still there's there's

1:33:34.120 --> 1:33:37.240
<v Speaker 7>still some singer songwriters out there, like Jill, there's the Erica's,

1:33:37.280 --> 1:33:40.000
<v Speaker 7>there's the Marsha Ambrose's. They don't get to shine, but

1:33:40.200 --> 1:33:41.720
<v Speaker 7>there are some. I just wanted to at least say

1:33:41.760 --> 1:33:42.000
<v Speaker 7>that name.

1:33:43.400 --> 1:33:49.720
<v Speaker 1>The thing is also and the common the common uh

1:33:50.680 --> 1:33:54.759
<v Speaker 1>denominator with we can go to we can go to Phyllis,

1:33:55.640 --> 1:33:59.559
<v Speaker 1>we can go to Whitney, we can go to UH

1:34:00.439 --> 1:34:03.280
<v Speaker 1>like a lot of these women are also you know,

1:34:03.320 --> 1:34:06.200
<v Speaker 1>when they're first presented, it's kind of like, you know,

1:34:06.320 --> 1:34:08.760
<v Speaker 1>they're the first lady, they're the princess of a particular

1:34:09.520 --> 1:34:12.320
<v Speaker 1>label head. Yeah, a label head that takes them, and

1:34:12.400 --> 1:34:14.920
<v Speaker 1>then you know, it's like, eh, fifteen years later, you're

1:34:15.000 --> 1:34:18.519
<v Speaker 1>kind of disposable. And I feel as though oftentimes they're

1:34:18.640 --> 1:34:22.320
<v Speaker 1>like a racetrack and they're either looking in their rearview

1:34:22.360 --> 1:34:24.640
<v Speaker 1>mirror or they know that someone's behind them.

1:34:24.680 --> 1:34:26.720
<v Speaker 7>It usually happens they Clydes Grammy party every year, right,

1:34:26.880 --> 1:34:28.599
<v Speaker 7>whenever he presents whoever the next right.

1:34:29.120 --> 1:34:35.080
<v Speaker 1>And So what I'm asking is, and I know you

1:34:35.240 --> 1:34:37.960
<v Speaker 1>have relationships with a lot of these label heads, so

1:34:38.280 --> 1:34:44.640
<v Speaker 1>without necessarily totally throwing them under the bus, but I

1:34:44.800 --> 1:34:47.240
<v Speaker 1>feel like I won't even ask you, do you feel

1:34:47.280 --> 1:34:51.920
<v Speaker 1>like I feel like we need a complete overhaul. And

1:34:52.000 --> 1:34:54.400
<v Speaker 1>I asked this question of Jimmy jam and also of Usher.

1:34:55.800 --> 1:35:01.479
<v Speaker 1>Are you willing to eventually one day stop being the

1:35:01.600 --> 1:35:07.599
<v Speaker 1>creative and be the new run Fair and be Jimmy Ivan?

1:35:08.160 --> 1:35:08.320
<v Speaker 7>Right?

1:35:08.479 --> 1:35:12.160
<v Speaker 1>But I mean to the place, But I still feel

1:35:12.240 --> 1:35:16.120
<v Speaker 1>like their level of hierarchy, It's like, right now, it's

1:35:16.200 --> 1:35:19.160
<v Speaker 1>either you're either dealing with Jimmy Ivan or you're dealing

1:35:19.240 --> 1:35:23.680
<v Speaker 1>with who's head of Sony. No, I don't have right

1:35:24.479 --> 1:35:27.040
<v Speaker 1>or r C eight like it's like whoever the main

1:35:27.160 --> 1:35:31.560
<v Speaker 1>three are. And almost feel as though we have to

1:35:31.680 --> 1:35:38.479
<v Speaker 1>completely once we overhaul that system and replace them with

1:35:38.640 --> 1:35:43.760
<v Speaker 1>people who are actual that get their hands dirty, you

1:35:43.840 --> 1:35:45.880
<v Speaker 1>know what I mean. No more lawyers running the companies.

1:35:46.080 --> 1:35:49.519
<v Speaker 9>Yeah, Well, to let you know what I'm doing right

1:35:49.520 --> 1:35:52.400
<v Speaker 9>now at a company called we are Here, and we're

1:35:52.720 --> 1:35:56.200
<v Speaker 9>a record label. We're a publishing company, and we manage

1:35:57.200 --> 1:36:02.040
<v Speaker 9>I manage an artist named Dorothy, that's rock Nation. I

1:36:02.200 --> 1:36:04.800
<v Speaker 9>manage a girl named Angel Hayes.

1:36:05.320 --> 1:36:05.960
<v Speaker 1>You guys might know.

1:36:06.120 --> 1:36:11.280
<v Speaker 9>Okay, we have Willa, this fourteen year old, and she's

1:36:11.320 --> 1:36:14.719
<v Speaker 9>also on the label. I have on the label artist

1:36:14.800 --> 1:36:17.960
<v Speaker 9>from UK named Lyon, a guy named Pete Mullinari from

1:36:18.080 --> 1:36:22.479
<v Speaker 9>UK as well, and Natasha Beddingfield and I'm working on

1:36:22.560 --> 1:36:25.719
<v Speaker 9>her album. So the whole point of this record company

1:36:25.960 --> 1:36:30.879
<v Speaker 9>was to develop artists. Dorothy Willa, you know, we're developed.

1:36:31.080 --> 1:36:33.240
<v Speaker 9>Even though she's on Rock Nation, she might as well,

1:36:33.840 --> 1:36:36.720
<v Speaker 9>you know, not be on a label because you know,

1:36:37.160 --> 1:36:40.719
<v Speaker 9>we're doing more work than they are. And I love Benny.

1:36:40.840 --> 1:36:43.720
<v Speaker 9>I think he's great. But you know right now that

1:36:43.840 --> 1:36:45.880
<v Speaker 9>man's afraid of me right now, you know, because I

1:36:45.920 --> 1:36:48.400
<v Speaker 9>have to get on them so much about I don't

1:36:48.439 --> 1:36:49.400
<v Speaker 9>know what you guys are doing.

1:36:49.479 --> 1:36:50.760
<v Speaker 8>But this is a rock and roll act.

1:36:50.800 --> 1:36:53.040
<v Speaker 9>And you don't put a single out every day, you know,

1:36:53.320 --> 1:36:55.840
<v Speaker 9>it's like you build and work an album. Right, So

1:36:55.920 --> 1:36:58.920
<v Speaker 9>they're getting it and now they're stepping up to the table.

1:36:59.280 --> 1:37:03.240
<v Speaker 9>But so the purpose of the label is so our

1:37:03.320 --> 1:37:09.040
<v Speaker 9>management agreements are basically handshakes. If you don't, if you're

1:37:09.080 --> 1:37:11.360
<v Speaker 9>not with, if you don't, if you're not happy, we're

1:37:11.400 --> 1:37:14.840
<v Speaker 9>doing something wrong. I don't want to hold myself to you.

1:37:16.040 --> 1:37:21.439
<v Speaker 9>Our record deals are like my son can read the contract.

1:37:21.600 --> 1:37:24.439
<v Speaker 9>They're like, you know, paper thin, just like you know,

1:37:24.600 --> 1:37:29.720
<v Speaker 9>really just like four five pages in that we're developing them,

1:37:29.920 --> 1:37:33.840
<v Speaker 9>we're with them. The publishing deal I just signed a

1:37:33.920 --> 1:37:36.920
<v Speaker 9>deal with I have a partner, Carrie Brown is my partner,

1:37:37.320 --> 1:37:40.479
<v Speaker 9>and we just did a deal with Peer Music JV

1:37:40.880 --> 1:37:43.080
<v Speaker 9>for all our songwriters.

1:37:44.240 --> 1:37:45.080
<v Speaker 8>I have a deal.

1:37:45.120 --> 1:37:50.519
<v Speaker 9>Distributing with Universal in Germany. It's a JV. And so

1:37:50.640 --> 1:37:53.160
<v Speaker 9>a lot is going on and the whole purpose. We

1:37:53.400 --> 1:37:57.559
<v Speaker 9>just bought a record pressing plant so I can press records,

1:37:57.640 --> 1:38:00.760
<v Speaker 9>and we're going to have shows there and if you're

1:38:00.840 --> 1:38:04.240
<v Speaker 9>not capable of playing a show on your own, and

1:38:04.360 --> 1:38:06.320
<v Speaker 9>because it's going to go right to record, it goes

1:38:06.439 --> 1:38:08.519
<v Speaker 9>right to vinyl, we can record right to the lay.

1:38:09.520 --> 1:38:12.439
<v Speaker 9>And then we just bought a store front right on

1:38:13.640 --> 1:38:17.080
<v Speaker 9>Ventura Boulevard in Studio O City, and it's going to

1:38:17.120 --> 1:38:19.800
<v Speaker 9>be our offices up on top and downstairs will be

1:38:20.000 --> 1:38:22.600
<v Speaker 9>our record store. We're gonna have merch, we're gonna have

1:38:22.640 --> 1:38:26.679
<v Speaker 9>a We're going to have a stage and a recording

1:38:26.760 --> 1:38:29.519
<v Speaker 9>studio there that is going to be for kids to

1:38:29.640 --> 1:38:32.560
<v Speaker 9>come there and meet other kids that want to be

1:38:32.640 --> 1:38:37.080
<v Speaker 9>in bands. You can showcase your material there. Our doors

1:38:37.120 --> 1:38:40.120
<v Speaker 9>will always be open for anybody to come in and

1:38:40.360 --> 1:38:43.559
<v Speaker 9>to express themselves, listen to records, and all the records

1:38:43.600 --> 1:38:46.679
<v Speaker 9>that we make from our vinyl, the live records will

1:38:46.680 --> 1:38:49.920
<v Speaker 9>be available that we are here. We're building a community.

1:38:50.520 --> 1:38:55.120
<v Speaker 9>So I want to get done with the Natasha record.

1:38:55.200 --> 1:38:56.960
<v Speaker 9>I have one other thing i gotta do and then

1:38:57.000 --> 1:38:58.400
<v Speaker 9>I'm done in here.

1:38:59.000 --> 1:39:01.519
<v Speaker 1>And then I'm what does that mean? I'm done in here?

1:39:01.720 --> 1:39:05.240
<v Speaker 9>That means I'm getting myself out of the songwriter. I'll

1:39:05.240 --> 1:39:07.559
<v Speaker 9>always be a songwriter. But producer out of the studio

1:39:08.120 --> 1:39:11.400
<v Speaker 9>and then I will run my label. Right now, I'm I'm, I'm,

1:39:11.640 --> 1:39:14.320
<v Speaker 9>you know, David's here to help me make sure that

1:39:14.439 --> 1:39:15.400
<v Speaker 9>I'm not missing anything.

1:39:15.520 --> 1:39:17.559
<v Speaker 8>I'm on the phone. I call radio station.

1:39:17.920 --> 1:39:21.559
<v Speaker 9>Like our our artist Dorothy, I called radio station because

1:39:21.560 --> 1:39:23.800
<v Speaker 9>she's a rock act. Breaking a rock act is hard,

1:39:24.000 --> 1:39:26.760
<v Speaker 9>you know, and so there's a different way. So I

1:39:26.920 --> 1:39:30.200
<v Speaker 9>called radio stations myself. Hey, you know, this is Linda,

1:39:30.439 --> 1:39:34.960
<v Speaker 9>what right I manage an artist named Dorothy? And I

1:39:35.040 --> 1:39:37.000
<v Speaker 9>want to give you know, I want you to hear

1:39:37.080 --> 1:39:38.720
<v Speaker 9>it and see what you think. And I would love

1:39:38.760 --> 1:39:41.080
<v Speaker 9>to do something with you guys, and would love your support.

1:39:41.840 --> 1:39:44.360
<v Speaker 9>I can't believe you're calling us. And I'm like, well,

1:39:44.760 --> 1:39:47.720
<v Speaker 9>radio was really good to my band, and I want

1:39:47.760 --> 1:39:50.719
<v Speaker 9>to make sure that my artists understand how valuable radio

1:39:50.880 --> 1:39:54.080
<v Speaker 9>is still today, you know, and they love it. We

1:39:54.200 --> 1:39:56.840
<v Speaker 9>bring our artists in, I mean, so I've developed all

1:39:56.920 --> 1:40:00.680
<v Speaker 9>these you know, we got Dorothy all way up to

1:40:01.400 --> 1:40:03.760
<v Speaker 9>number eight on the rock charts, and then it was

1:40:04.080 --> 1:40:08.200
<v Speaker 9>only rock Nation that fucked that all up by not

1:40:08.560 --> 1:40:12.599
<v Speaker 9>paying for the next round of installment for a radio promotion,

1:40:13.880 --> 1:40:14.680
<v Speaker 9>and we lost it.

1:40:14.760 --> 1:40:16.679
<v Speaker 8>And they were going into number five.

1:40:16.880 --> 1:40:20.080
<v Speaker 9>We were going in top five, and those motherfuckers pulled

1:40:20.120 --> 1:40:24.639
<v Speaker 9>it without telling us, and my god, that man got

1:40:24.760 --> 1:40:27.160
<v Speaker 9>such a reaming, you know, and that he came into

1:40:27.240 --> 1:40:29.599
<v Speaker 9>my studio with his tail between his legs. And they

1:40:29.720 --> 1:40:33.400
<v Speaker 9>understand what they did wrong. They didn't understand at the time,

1:40:33.840 --> 1:40:36.240
<v Speaker 9>but they didn't believe us. They didn't believe that we'd

1:40:36.280 --> 1:40:38.320
<v Speaker 9>get her to top twenty, you know. And then we

1:40:38.360 --> 1:40:40.000
<v Speaker 9>got to top twenty, we got to top ten, and

1:40:40.080 --> 1:40:43.559
<v Speaker 9>we're going to number five. We're going to number five anyways.

1:40:43.880 --> 1:40:46.639
<v Speaker 9>But so that's what I'm talking about. I'm a manager,

1:40:47.240 --> 1:40:50.720
<v Speaker 9>I'm a label executive, and I'm a songwriter. But all

1:40:50.760 --> 1:40:53.160
<v Speaker 9>of it goes together because my bigger fight is not

1:40:53.320 --> 1:40:56.240
<v Speaker 9>in here. My bigger fight is out there. And so

1:40:56.560 --> 1:40:59.920
<v Speaker 9>yes am I that right now? I can call anybody

1:41:00.120 --> 1:41:02.160
<v Speaker 9>I want and probably get them on the telephone.

1:41:02.200 --> 1:41:04.560
<v Speaker 8>But am I Jimmy Ivy No? But will I be

1:41:04.640 --> 1:41:06.599
<v Speaker 8>at the level Jimmy Ivy? Yes I will.

1:41:07.000 --> 1:41:12.400
<v Speaker 9>And I'm my label, But my label is doing something

1:41:12.560 --> 1:41:16.000
<v Speaker 9>very different right now. We're doing some really great things

1:41:16.040 --> 1:41:19.519
<v Speaker 9>and it's about community. It's about you know, these kids,

1:41:19.600 --> 1:41:22.840
<v Speaker 9>it's about showing that you do care and with a

1:41:22.960 --> 1:41:25.360
<v Speaker 9>little bit of patience. You can go a long way

1:41:25.400 --> 1:41:27.559
<v Speaker 9>with an artist because it takes just a little bit

1:41:28.200 --> 1:41:30.200
<v Speaker 9>for them to last a long time.

1:41:31.360 --> 1:41:31.519
<v Speaker 7>You know.

1:41:33.120 --> 1:41:37.040
<v Speaker 1>I feel happy. It's beautiful what you're doing. I love it.

1:41:37.160 --> 1:41:40.760
<v Speaker 1>It sounds amazing. Thank you. Wow, I'm super light. Well,

1:41:40.800 --> 1:41:44.960
<v Speaker 1>thank you very much for talking to us today, Honor.

1:41:45.320 --> 1:41:48.960
<v Speaker 1>Thank you well, ladies and gentlemen. On behalf of Team

1:41:49.040 --> 1:41:53.960
<v Speaker 1>Supreme Boston on Paid Bill Sugar Steve fan Diagolo and

1:41:54.200 --> 1:41:57.759
<v Speaker 1>it's a yah. I'm sorry. I didn't mean to mangle

1:41:57.800 --> 1:42:01.360
<v Speaker 1>your name like that. All right, thank you very much

1:42:01.680 --> 1:42:04.600
<v Speaker 1>once again you for having me. I'm actually going to

1:42:04.640 --> 1:42:07.560
<v Speaker 1>listen to this episode and yeah, sympathy.

1:42:11.320 --> 1:42:12.840
<v Speaker 7>Everything. You can start with that, and.

1:42:14.160 --> 1:42:18.360
<v Speaker 1>Thank you anyway. This Quest Loves signing off Quest of

1:42:18.520 --> 1:42:31.000
<v Speaker 1>Supreme only on Pandora. Thank you. Courest Love Supreme is

1:42:31.040 --> 1:42:34.880
<v Speaker 1>a production of iHeartRadio. This classic episode was produced by

1:42:35.040 --> 1:42:42.080
<v Speaker 1>the team at Pandora. For more podcasts from iHeart Radio,

1:42:42.240 --> 1:42:45.960
<v Speaker 1>visit the iHeartRadio app, Apple Podcasts, or wherever you listen

1:42:46.000 --> 1:42:46.920
<v Speaker 1>to your favorite shows.