Latest / The Grounded Show / The Grounded Show #107 - Music Artist Naomi August

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The Grounded Show #107 - Music Artist Naomi August · The Grounded Show

• 0:02
  Speaker 1: What is going on? Y'all?
• 0:03
  Speaker 2: Be back again another episode of the Groundest Show. This
• 0:07
  Speaker 2: time we have a very special guests, one of the
• 0:10
  Speaker 2: actually one of the first guests that I thought about
• 0:13
  Speaker 2: when I wanted to start getting guests for the show.
• 0:16
  Speaker 1: And we'll get into why during the show.
• 0:19
  Speaker 3: No idea.
• 0:20
  Speaker 2: Yeah, yeah, And we have here the music artist Naomi August.
• 0:25
  Speaker 1: How you doing good?
• 0:26
  Speaker 3: How are you, mister Lester doing good?
• 0:29
  Speaker 2: Before we got on, we were talking a little bit
• 0:31
  Speaker 2: about like just the comedy scene out in Dallas and Austin,
• 0:35
  Speaker 2: and yeah, like a lot of these things are like
• 0:38
  Speaker 2: brewing in different places now because you don't have to
• 0:41
  Speaker 2: go to LA, you know, or New York specifically for
• 0:44
  Speaker 2: these things anymore, you know what I mean. Like you
• 0:46
  Speaker 2: can kind of get a buzz going and kind of
• 0:49
  Speaker 2: build your own thing online or whatever, and you're seeing
• 0:52
  Speaker 2: more talent kind of spread out, you know what I mean.
• 0:55
  Speaker 2: Like even you being in Dallas now, you know, you
• 0:58
  Speaker 2: were in LA for a long time because the music,
• 1:00
  Speaker 2: and it's like that's where you had to be, you
• 1:02
  Speaker 2: know what I mean, you had to be in Cali.
• 1:04
  Speaker 1: And now you can kind of.
• 1:05
  Speaker 2: Like go different places and still keep it going and
• 1:08
  Speaker 2: keep doing your thing.
• 1:10
  Speaker 3: Okay, especially now too with the housing market and just
• 1:13
  Speaker 3: other opportunities. Still going back and forth to LA, but yeah,
• 1:16
  Speaker 3: it's a little overrated now as far as like, you know,
• 1:19
  Speaker 3: you don't have like you said, you don't have to
• 1:20
  Speaker 3: go to LA anymore to know, but anybody you can
• 1:23
  Speaker 3: do everything online nowadays. You can live in freaking Tumbuktu
• 1:26
  Speaker 3: and still make a connection with the Internet and stuff
• 1:29
  Speaker 3: like that.
• 1:29
  Speaker 1: Yeah, were you there before COVID like out west? Yeah?
• 1:34
  Speaker 3: It was actually yeah.
• 1:35
  Speaker 2: So so kind of elaborate on that because I went
• 1:39
  Speaker 2: like right before it hit and then I went after,
• 1:43
  Speaker 2: so I kind of saw.
• 1:44
  Speaker 1: Like a little difference.
• 1:44
  Speaker 2: But you know, I've only been there a few times,
• 1:47
  Speaker 2: but you that you were actually out there, Like, do
• 1:50
  Speaker 2: you feel like the COVID thing was kind of that
• 1:52
  Speaker 2: thing that kind of made LA kind of overrated in
• 1:56
  Speaker 2: people's eyes and made everybody leave.
• 1:58
  Speaker 3: No, for sure, it did. Everything closed down, because I
• 2:01
  Speaker 3: feel like what La all there is is just restaurants
• 2:03
  Speaker 3: and just clubs, and there's a lot of pockets too
• 2:05
  Speaker 3: that I wasn't really a part of. But yeah, I
• 2:08
  Speaker 3: think that's what it was. I think the scene kind
• 2:10
  Speaker 3: of left and then a lot of Hollywood started filming
• 2:13
  Speaker 3: outside of LA and so that kind of just started
• 2:16
  Speaker 3: transitioning too. But definitely Sunset, Melrose, all those places them
• 2:20
  Speaker 3: SIT's just closed down and then there was a lot
• 2:22
  Speaker 3: of riots and protesting, and then the homeless they just
• 2:25
  Speaker 3: kind of started migrating away from the beach and more
• 2:28
  Speaker 3: and more into the inner city. And yeah, so for
• 2:30
  Speaker 3: sure COVID pre COVID LA was popping. During COVID shit
• 2:35
  Speaker 3: went and hit the van.
• 2:37
  Speaker 2: Yeah, yeah, it's kind of crazy because I don't know
• 2:41
  Speaker 2: if that was like kind of like the beginning of
• 2:44
  Speaker 2: that snowball kind of turning. But you know, all this
• 2:49
  Speaker 2: uh you know, p Diddy stuff and just all like
• 2:52
  Speaker 2: the Hollywood scandal type of stuff and all these like
• 2:56
  Speaker 2: stories that are coming out.
• 2:58
  Speaker 1: It's kind of like even just switching.
• 2:59
  Speaker 2: How like music and entertainment is just from the point
• 3:02
  Speaker 2: of view of like the hierarchy, and like you've seen
• 3:06
  Speaker 2: a lot of people stepping down from like these positions
• 3:09
  Speaker 2: and music companies that are like highly coveted positions, and
• 3:12
  Speaker 2: usually like the people like with the most.
• 3:15
  Speaker 1: Power and stuff.
• 3:17
  Speaker 2: You're seeing artists like I don't know if you saw,
• 3:19
  Speaker 2: but recently the baby was on the Breakfast Club and
• 3:21
  Speaker 2: he just openly said, like the label was botting, like,
• 3:25
  Speaker 2: you know, his music and putting his stuff on playlist
• 3:28
  Speaker 2: that was just guaranteed plays to keep him hot and
• 3:31
  Speaker 2: to get him hot and stuff. And he's like, yeah,
• 3:33
  Speaker 2: now he's not doing that. Now he's just doing like
• 3:35
  Speaker 2: the organic vibes and stuff like that. So as an artist,
• 3:41
  Speaker 2: I'm curious with your opinion because for me, it's always
• 3:44
  Speaker 2: been kind of funny because if you talk about that
• 3:47
  Speaker 2: side of music to like somebody that's just a listener,
• 3:50
  Speaker 2: they kind of look at you like maybe you're just
• 3:52
  Speaker 2: hating or maybe you're just mad because you're not in
• 3:54
  Speaker 2: that position.
• 3:55
  Speaker 1: But it's like, it's really what's going on, you know
• 3:58
  Speaker 1: what I mean.
• 3:58
  Speaker 2: It's not like a thing where you're like trying to
• 4:01
  Speaker 2: discredit what somebody got going on.
• 4:03
  Speaker 1: It's just the reality of the situation, you know what
• 4:06
  Speaker 1: I mean.
• 4:06
  Speaker 2: So, how how do you feel like, because you've been
• 4:11
  Speaker 2: consistent with the music throughout the whole era, you know
• 4:14
  Speaker 2: what I mean, Like before the COVID, after the COVID,
• 4:17
  Speaker 2: the bodying. You know, now that it's slowing down, you've
• 4:20
  Speaker 2: still been doing your thing. So you looking at those
• 4:25
  Speaker 2: kind of situations and doing your thing in music kind
• 4:29
  Speaker 2: of how like what's your opinion and how do you
• 4:31
  Speaker 2: kind of navigate that in terms.
• 4:33
  Speaker 3: Of like what I feel about bodying first, or just like.
• 4:38
  Speaker 1: How do I say it?
• 4:39
  Speaker 2: Like that kind of like technique of people where it's
• 4:44
  Speaker 2: just like, let's create a facade to create the interest
• 4:47
  Speaker 2: and then let's see what happens. You know, you got
• 4:50
  Speaker 2: labels that are kind of pushing this as far as
• 4:53
  Speaker 2: like the type of artists that they want to sign
• 4:57
  Speaker 2: and the type of things they want to see. So
• 4:59
  Speaker 2: you being an artist, that's like really more like you know,
• 5:03
  Speaker 2: you're a songwriter, you're more tapped into like really just
• 5:06
  Speaker 2: making good music, and you're seeing like this kind of
• 5:09
  Speaker 2: microwave mentality and music, Like how do you feel about it?
• 5:13
  Speaker 3: I mean that's that's a pretty open question.
• 5:15
  Speaker 1: But yeah, just however you want to take it.
• 5:18
  Speaker 3: I mean, I know, at the end of the day,
• 5:19
  Speaker 3: I read this book by Billboard and it kind of
• 5:22
  Speaker 3: just broke it down to like, you know, understanding that
• 5:24
  Speaker 3: there's passion music and then there's commercial music. And as
• 5:28
  Speaker 3: with anything commercial, it's an industry, right, it's a business,
• 5:32
  Speaker 3: and it's marketing. At the end of the day, if
• 5:34
  Speaker 3: you think about the radio industry back in the days,
• 5:37
  Speaker 3: the whole rat industry was created first not because of music,
• 5:40
  Speaker 3: but it was created to sell commercials, right. It was
• 5:43
  Speaker 3: That's why I was called soap operas because it was
• 5:45
  Speaker 3: in a soapbox. It was inside your radio you heard
• 5:49
  Speaker 3: or you heard TV shows that way, and then boom
• 5:51
  Speaker 3: commercials and then soacay music. Right. But as far as
• 5:55
  Speaker 3: like how it works now with the body and things
• 5:59
  Speaker 3: like that, I would say it's it's almost a necessary evil,
• 6:03
  Speaker 3: so to speak, because you're you got to realize too,
• 6:05
  Speaker 3: you're competing in such a big field of people. There's
• 6:11
  Speaker 3: what eight billion people in the world. You got to
• 6:12
  Speaker 3: make noise somehow, and as cliche as it sounds, the
• 6:16
  Speaker 3: whole fake it to make it. I think now though
• 6:19
  Speaker 3: it's changing, is that everybody's kind of on the same
• 6:21
  Speaker 3: playing field and has the same opportunities. Whereas before we
• 6:24
  Speaker 3: had gatekeepers and we didn't have outlets to get things
• 6:27
  Speaker 3: out before like something like this, for example, you know,
• 6:29
  Speaker 3: you wouldn't have been able to have done this twenty
• 6:31
  Speaker 3: years ago because a you wouldn't have had the resources,
• 6:35
  Speaker 3: the technology, wouldn't be there, and if it was, it
• 6:37
  Speaker 3: wouldn't be available on a consumer level. And I'm trying
• 6:41
  Speaker 3: to get sidetracked from the question. But as far as
• 6:42
  Speaker 3: how I feel about it, I mean, I don't shade
• 6:45
  Speaker 3: nobody for getting bots. I do shade if there's nothing
• 6:48
  Speaker 3: behind it. And so like, if you're gonna fake it
• 6:51
  Speaker 3: to make it, at least have something to ride alongside
• 6:54
  Speaker 3: of it that's organic. As far as marketing is concerned,
• 6:57
  Speaker 3: and what I've learned from marketing to overall it's is
• 7:00
  Speaker 3: going to be fifty to fifty at least you're always
• 7:02
  Speaker 3: gonna have some type of automation going on, and then
• 7:05
  Speaker 3: you're gonna have your organic and then you know, so
• 7:09
  Speaker 3: that's passive marketing, aggressive marketing and things like that. But
• 7:12
  Speaker 3: did I see it too far from your question?
• 7:13
  Speaker 1: No? No, No, that's perfect.
• 7:14
  Speaker 2: And it kind of made me think too, because like
• 7:16
  Speaker 2: a lot of people like to take the approach of like, oh,
• 7:20
  Speaker 2: anybody could do it when you're doing the FIKERETI your
• 7:22
  Speaker 2: make it thing, But it's like if anybody could do it,
• 7:24
  Speaker 2: everybody would be doing it. You know, there's obviously some
• 7:27
  Speaker 2: skill to it, there's obviously some you know what I mean, Like,
• 7:30
  Speaker 2: like you said, you can't knock what somebody's doing because
• 7:32
  Speaker 2: they're doing it and they're making it happen, and they
• 7:34
  Speaker 2: can turn something that was nothing into a you know,
• 7:39
  Speaker 2: million dollar business, you know, a touring brand.
• 7:42
  Speaker 1: You know, whatever they can do with it. Hats off
• 7:45
  Speaker 1: to them, you know what I mean.
• 7:46
  Speaker 2: But it's it's definitely something that you see shifting right
• 7:50
  Speaker 2: now as far as like a lot of opening week
• 7:54
  Speaker 2: numbers for a lot of artists lately, they've been like
• 7:56
  Speaker 2: very low and you can kind of see like that
• 7:59
  Speaker 2: the labels aren't putting too much stock into Hey, let's
• 8:03
  Speaker 2: make sure these opening week numbers are looking really good,
• 8:05
  Speaker 2: you know what I mean.
• 8:07
  Speaker 1: What do you think about that?
• 8:08
  Speaker 2: You think that's kind of like something where they're kind
• 8:10
  Speaker 2: of going to give the music a little more time
• 8:13
  Speaker 2: for people to digest it. Or do you think they're
• 8:15
  Speaker 2: kind of just taking them more like let's see what
• 8:18
  Speaker 2: it does and if it doesn't do good, let's cut
• 8:20
  Speaker 2: our losses type of thing with it.
• 8:22
  Speaker 3: Personally, I think the market is changing in terms of
• 8:25
  Speaker 3: like it's going back to touring, it's going back to
• 8:28
  Speaker 3: the hole merchant you know, merchandising and owning your audience.
• 8:32
  Speaker 3: There's just too many stages out there. There's too many
• 8:35
  Speaker 3: versions of Instagram, there's too many versions of soundclouds, there's
• 8:38
  Speaker 3: just too many versions of everything. So I just think
• 8:41
  Speaker 3: that they're probably going to go back and I'm hoping
• 8:44
  Speaker 3: they're going to go back to artists development. I think
• 8:46
  Speaker 3: they're going to go back to, you know again, old
• 8:49
  Speaker 3: school touring where they're getting people out there organically just
• 8:53
  Speaker 3: to get those numbers. Because yeah, like before you could
• 8:56
  Speaker 3: beef up the numbers. I had a friend in the
• 8:58
  Speaker 3: industry who still is who told me, like, yo, the
• 9:01
  Speaker 3: whole industry is a lie. They beef it up and
• 9:03
  Speaker 3: then when they go to their concerts they make sure
• 9:05
  Speaker 3: their camera guy kind of just keeps the right angle
• 9:07
  Speaker 3: so it looks like people are filling in the seats.
• 9:09
  Speaker 3: But then if you feel like at the box numbers,
• 9:11
  Speaker 3: they're just not there. So yeah, as far as how
• 9:13
  Speaker 3: I feel about it, I don't really care. I'm not
• 9:15
  Speaker 3: like a performing artist per se, and again, to each
• 9:19
  Speaker 3: his own, but I do see that the industry is
• 9:21
  Speaker 3: shifting in terms of you know, there's everybody has an
• 9:24
  Speaker 3: even playing field now, So I think it's really going
• 9:26
  Speaker 3: to come down to wits two smarts. I think it's
• 9:29
  Speaker 3: going to kind of come down to who's in your pocket.
• 9:32
  Speaker 3: Money will always make something move forward, I think. And
• 9:35
  Speaker 3: then at the end of the day, really psychology learning,
• 9:38
  Speaker 3: learning how to read your numbers, analytics. I think that's
• 9:42
  Speaker 3: what it's coming back down to. I think it's coming
• 9:44
  Speaker 3: back down to just really truly old school marketing, so
• 9:48
  Speaker 3: to speak, and not any more of this like inflation
• 9:50
  Speaker 3: and tricking people into thinking you're a vibe you know, yeah,
• 9:54
  Speaker 3: something like that.
• 9:55
  Speaker 2: Yeah, So shifting kind of more into your music. You
• 10:01
  Speaker 2: got a lot of music synced with a lot of
• 10:04
  Speaker 2: big TV networks, and you've been in a lot of
• 10:07
  Speaker 2: different TV shows with your music and your music has
• 10:12
  Speaker 2: you're very good at, like with your songwriting and the
• 10:16
  Speaker 2: way you put together the songs, Like there's an instant
• 10:18
  Speaker 2: mood that you can feel like with each song, you
• 10:20
  Speaker 2: know what I mean, Like you get like a.
• 10:22
  Speaker 1: Certain vibe going.
• 10:24
  Speaker 2: It's all like your sound, but each one has its
• 10:27
  Speaker 2: own like vibe, you know what I'm saying. And my
• 10:30
  Speaker 2: question is with you growing that you know library of
• 10:34
  Speaker 2: music that's been super successful getting SYNCD is it something
• 10:39
  Speaker 2: where you kind of found that your sound catered to
• 10:42
  Speaker 2: that or did you kind of cater your sound to that?
• 10:45
  Speaker 1: Does it affect how you write and create?
• 10:48
  Speaker 2: Like, do you know, just kind of like take me
• 10:51
  Speaker 2: through that.
• 10:55
  Speaker 3: I mean, yeah, I guess it depends. I mean for
• 10:57
  Speaker 3: me personally as far as making music doing it since
• 11:00
  Speaker 3: I was officially like nine years old. I'm thirty seven now,
• 11:03
  Speaker 3: so but as far as like my process really is
• 11:07
  Speaker 3: just I don't see colors when I think of music.
• 11:10
  Speaker 3: I don't have synthasia know that bullshit, But I do
• 11:13
  Speaker 3: see scenes in my head. I do see movies, and
• 11:16
  Speaker 3: I'm a big believer that music is a soundtrack more
• 11:19
  Speaker 3: than it is a showcase of who I am. Yeah,
• 11:21
  Speaker 3: it's cool to be branded. Yeah, it's cool to be
• 11:23
  Speaker 3: the artist that people are like goshing over. But I'm
• 11:25
  Speaker 3: not really looking to make fan music per se as
• 11:27
  Speaker 3: I am looking to make soundtrack music. So That's kind
• 11:31
  Speaker 3: of always been my approach since I was young, Before
• 11:34
  Speaker 3: even I started singing and writing, my thing has always
• 11:37
  Speaker 3: been producing. I've always been a beat maker first, or
• 11:40
  Speaker 3: a composer, however you want to call it, and that's
• 11:42
  Speaker 3: really where I started. And then from there was freestyling
• 11:45
  Speaker 3: in school and rapping and doing stupid shit like that.
• 11:48
  Speaker 3: As far as like catering to sync, I don't necessarily
• 11:51
  Speaker 3: cater to sync. I think it just kind of coincides
• 11:54
  Speaker 3: with it pretty well naturally, because again, my process for
• 11:57
  Speaker 3: me is music for myself mental. When I go into
• 12:02
  Speaker 3: the studio and I start making a beat, the first
• 12:04
  Speaker 3: thing I'm doing is just trying to fill the vibe,
• 12:06
  Speaker 3: and then as soon as I get it, then I
• 12:08
  Speaker 3: just mumble my way through it. I don't really write
• 12:10
  Speaker 3: lyrics per se. I kind of freestyle the whole thing,
• 12:13
  Speaker 3: and then if it starts to make sense cool, I
• 12:15
  Speaker 3: start piecing it together, and then I think, in hindsight
• 12:19
  Speaker 3: it sounds crazy, like oh wow, it's a deep story.
• 12:22
  Speaker 3: Put my lyrics into chat GBT, and that bitch will
• 12:25
  Speaker 3: tell you it's an amazing thought provocative thing, and you're like,
• 12:28
  Speaker 3: not really, but you know. But as far as like
• 12:30
  Speaker 3: my process for sink as concerned, no, I don't necessarily
• 12:34
  Speaker 3: cater to sync. I have been in it now for
• 12:37
  Speaker 3: ten years, so I do have a natural ear for
• 12:39
  Speaker 3: it though, So like when I hear other artists, for example,
• 12:43
  Speaker 3: I kind of know what will work and won't work,
• 12:45
  Speaker 3: and even now in my own process, I wouldn't say
• 12:48
  Speaker 3: I had a template, but I do have somewhat of
• 12:51
  Speaker 3: an idea of a structuring of what needs to be there.
• 12:54
  Speaker 3: Element Wise, I kind of know, you know, based on editors,
• 12:57
  Speaker 3: what they're going to do when they cut the scene.
• 13:00
  Speaker 3: And then I think it also helps too that besides music,
• 13:03
  Speaker 3: I also do graphic design and video and cinematography, and
• 13:06
  Speaker 3: that's kind of been my background as well. I went
• 13:08
  Speaker 3: to full Sale and things like that, so I kind
• 13:10
  Speaker 3: of get beats as far as not music beats, but
• 13:13
  Speaker 3: like cutting to a beat when it makes if you're
• 13:15
  Speaker 3: editing a video and things like that. So I think
• 13:18
  Speaker 3: that's important too, is always keeping in mind, you know,
• 13:21
  Speaker 3: if an editor were to have this track and they
• 13:24
  Speaker 3: need to cut the scene or they need to chop
• 13:26
  Speaker 3: your song up, you know, is it going to sound
• 13:28
  Speaker 3: like a complete chop or does it flow? And can
• 13:31
  Speaker 3: they make it sound like another song? And something I
• 13:34
  Speaker 3: like to do as well in my music is just
• 13:36
  Speaker 3: kind of give you a piece of different genres. So
• 13:39
  Speaker 3: my songs can be a little short less than three minutes,
• 13:42
  Speaker 3: maybe three and a half, but in that time I'm
• 13:45
  Speaker 3: trying to take you from the beginning to the end,
• 13:47
  Speaker 3: but I don't want the ending to be the beginning,
• 13:49
  Speaker 3: if that makes sense. So, like the process really is
• 13:52
  Speaker 3: just kind of giving you a piece of eat section.
• 13:54
  Speaker 3: So knowing that an editor might only use thirty seconds
• 13:57
  Speaker 3: at most, and if he does use the thirty seconds,
• 14:00
  Speaker 3: they tend to repeat those thirty seconds and they chop
• 14:03
  Speaker 3: it up. So yeah, let's just keep it simple. Kind
• 14:06
  Speaker 3: of keep in mind that editors are cutting to beats,
• 14:09
  Speaker 3: So think of snares, think of bass, think of soushas
• 14:12
  Speaker 3: in your songs, layering the rises because that lends to
• 14:16
  Speaker 3: dramatics and things like that. But as far as again
• 14:20
  Speaker 3: like having anything set in stone, though I don't have
• 14:22
  Speaker 3: anything set in stone when I'm working like that.
• 14:25
  Speaker 1: That's dope.
• 14:26
  Speaker 2: That's that's super interesting to hear because it is, like
• 14:30
  Speaker 2: you said, it's like a different kind of something interesting.
• 14:34
  Speaker 1: You said there was you don't necessarily make.
• 14:37
  Speaker 2: Fan music, And when you said that, it's like I
• 14:40
  Speaker 2: understood what you said, but it's like kind of like
• 14:43
  Speaker 2: different at the same time, because it's at first, as
• 14:46
  Speaker 2: an artist you're kind of like, wait, what do you
• 14:48
  Speaker 2: mean you don't make fan music? But when you break
• 14:50
  Speaker 2: it down, it makes a lot of sense, especially when
• 14:53
  Speaker 2: I mean you think about it, like it it's inciting
• 14:56
  Speaker 2: that emotion in people, you know what I mean. So
• 14:59
  Speaker 2: it's it's pretty crazy. So just as far as like
• 15:02
  Speaker 2: creatively with like whatever you got going on right now,
• 15:05
  Speaker 2: I know you're working on a project, like where you're
• 15:08
  Speaker 2: at right now with that.
• 15:11
  Speaker 3: So I'm working on two albums at once. One of
• 15:14
  Speaker 3: them is pretty much done called Daylight Moon. The next
• 15:17
  Speaker 3: one I'm calling Finding Sun, and that one's kind of
• 15:21
  Speaker 3: still in the process. But as far as Daylight Moon,
• 15:23
  Speaker 3: that's already been turned into my publisher, so it's just
• 15:26
  Speaker 3: a matter of time before that's available for supervisors and
• 15:29
  Speaker 3: editors to use. But we're in the process now just
• 15:33
  Speaker 3: really trying to truly create like a whole visual presence.
• 15:37
  Speaker 3: I think it's really big as far as any type
• 15:39
  Speaker 3: of music project, you have to you know, implement some
• 15:43
  Speaker 3: type of subliminal narrative. And so what I mean by
• 15:46
  Speaker 3: that is, like you know, like on the surface, it
• 15:47
  Speaker 3: can have a concept, but always have a lingering concept
• 15:50
  Speaker 3: underneath that you can carry over to all your projects,
• 15:54
  Speaker 3: and so that kind of can tighten. So let's say
• 15:56
  Speaker 3: if album one has a sound and album two has
• 15:58
  Speaker 3: a different sound. If your narrative is the same subliminally,
• 16:02
  Speaker 3: then it doesn't matter because you could still kind of
• 16:04
  Speaker 3: tie it in. So as far as where I'm at
• 16:07
  Speaker 3: with it, yeah, I'm just right now. We're just trying
• 16:08
  Speaker 3: to get everything super visual. We're trying to use the
• 16:11
  Speaker 3: whole waterfall marketing effect, which is just like really, single
• 16:15
  Speaker 3: by single, let it build. I think I'm in a
• 16:18
  Speaker 3: place right now where I've gained enough placements and there's
• 16:21
  Speaker 3: enough shazams, but I didn't have anything else. Like if
• 16:25
  Speaker 3: you search my name, there was cool. We found a
• 16:27
  Speaker 3: song you liked that you saw on TV, but there
• 16:29
  Speaker 3: wasn't any other presence available online. So that's kind of
• 16:32
  Speaker 3: what we're working on now, is just like like now
• 16:34
  Speaker 3: we're steering towards fan music, so to speak. But yeah,
• 16:38
  Speaker 3: that's where I'm at right now. At Daylight Moon, which
• 16:40
  Speaker 3: is about twelve tracks, I don't know if that's an
• 16:42
  Speaker 3: EP or an LP. I don't know what's consider those things.
• 16:46
  Speaker 4: But yeah, So something just talking to you that I'm
• 16:53
  Speaker 4: thinking is like you have a very complete vision when
• 16:55
  Speaker 4: it comes to like what you're working on.
• 16:58
  Speaker 2: Is that something that you learned, Is that something that
• 17:00
  Speaker 2: kind of you've always had where like you kind of
• 17:03
  Speaker 2: saw the whole picture, Like is that part of your
• 17:06
  Speaker 2: like your creative process kind of putting it all together,
• 17:08
  Speaker 2: like break that down.
• 17:10
  Speaker 3: Yeah, definitely. I'm a writer first before all else. Like
• 17:14
  Speaker 3: as far as music I produce, I compose mentally. I'm
• 17:18
  Speaker 3: always picturing movies in my head. Eventually, that's where I
• 17:22
  Speaker 3: want to end up, is making movies composing for them.
• 17:25
  Speaker 3: But yeah, I do see a bigger picture. I like
• 17:27
  Speaker 3: to connect the dots. Easter eggs are really cool. I
• 17:30
  Speaker 3: might not necessarily know verbatim exactly what the whole story
• 17:34
  Speaker 3: is going to be, but I do know that I
• 17:35
  Speaker 3: have a subliminal narrative, so I've kind of created an
• 17:38
  Speaker 3: underlying structure, which for this project really is just a
• 17:42
  Speaker 3: multiverse kind of vibe and it's just leading into what's
• 17:46
  Speaker 3: going to be the reveal of the simulation kind of
• 17:49
  Speaker 3: thing and just tying everything into that. But yeah, I
• 17:52
  Speaker 3: do see a bigger picture, and I do believe in
• 17:55
  Speaker 3: tying it all together, or you can kind of become aimless.
• 17:57
  Speaker 3: I think a lot of artist are looking to make hits,
• 18:02
  Speaker 3: and when you do that, you're gonna kind of just
• 18:04
  Speaker 3: get caught up in the moment and you're gonna sound
• 18:06
  Speaker 3: very generic. You're gonna sound very in the moment, and
• 18:08
  Speaker 3: it's not really going to be timeless or classic, right.
• 18:11
  Speaker 3: But if you just kind of make music that tells
• 18:13
  Speaker 3: a story, I think in my opinion, it lasts longer
• 18:16
  Speaker 3: and it might not hit now, but it could hit later,
• 18:19
  Speaker 3: you know, good example, and artists like that are like
• 18:21
  Speaker 3: Kid Cutty for example, Day and Night, you know, tells
• 18:24
  Speaker 3: a whole entire story. And I feel like at that
• 18:25
  Speaker 3: album is there's a whole concept behind it and that
• 18:28
  Speaker 3: song along alone, I think took like what three years
• 18:31
  Speaker 3: for it to pop and shit like that and m
• 18:33
  Speaker 3: I paper planes and just all these things. So and
• 18:36
  Speaker 3: I bring that up to say too. You know, at
• 18:37
  Speaker 3: the end of the day, you're always planting seeds. So
• 18:41
  Speaker 3: as far as you know, having a complete vision, it's
• 18:43
  Speaker 3: it is important because you need to know where you're
• 18:46
  Speaker 3: steering your ship. At the end of the day. You
• 18:48
  Speaker 3: might not know what the end result is going to
• 18:50
  Speaker 3: look like. You might not know what's going to be
• 18:51
  Speaker 3: there when you land on that island. Hopefully you're not
• 18:54
  Speaker 3: there to murder indigenous people, but you know, you know,
• 18:57
  Speaker 3: at the end of the day, you are on a
• 18:59
  Speaker 3: journey and you don't want to be angless at the end,
• 19:01
  Speaker 3: you know, is what I'm trying to say.
• 19:02
  Speaker 1: So, yeah, no, that makes a lot of sense.
• 19:05
  Speaker 2: And so as an artist that I found on SoundCloud,
• 19:13
  Speaker 2: what do you feel about SoundCloud?
• 19:15
  Speaker 1: Like that whole like that whole era, and and even now,
• 19:19
  Speaker 1: like do you still utilize it?
• 19:21
  Speaker 2: Because, like I said, I did find you on SoundCloud,
• 19:24
  Speaker 2: and I feel like at that time it was like
• 19:28
  Speaker 2: you could find a lot of like super dope artists
• 19:31
  Speaker 2: on SoundCloud, just because I don't know, maybe just the
• 19:34
  Speaker 2: freeness of it, the idea that you can just throw
• 19:37
  Speaker 2: something on there regardless of if it's cleared or whatever
• 19:40
  Speaker 2: the case is, and people could listen to it and
• 19:43
  Speaker 2: and vibe to it. Like, what would you say that
• 19:47
  Speaker 2: SoundCloud did anything for you as an artist?
• 19:50
  Speaker 3: First? Well, I didn't know that, and then you found
• 19:52
  Speaker 3: me on SoundCloud. I was gonna ask you, like, how
• 19:53
  Speaker 3: the hell did we meet online? Whatever? I thought I
• 19:56
  Speaker 3: was just like mutual friends. But that's dope. I love SoundCloud.
• 20:00
  Speaker 3: I still use it to this day. It's not anything
• 20:03
  Speaker 3: I like overly market. I like it that it's Niche.
• 20:05
  Speaker 3: I feel like the people that follow me there are
• 20:08
  Speaker 3: like true fans, if I have to use the word fans,
• 20:11
  Speaker 3: I like. I love SoundCloud. It allows me to put
• 20:13
  Speaker 3: on my rough drafts. You know how it easy it
• 20:16
  Speaker 3: is to go in there and replace your files. It's
• 20:18
  Speaker 3: kind of like a pre stage. Whereas like once you
• 20:22
  Speaker 3: put some shit on Spotify, you're kind of like fuck,
• 20:24
  Speaker 3: now you're in the algorithm. But once you put it
• 20:26
  Speaker 3: on SoundCloud, I think it's for you and yours. You know.
• 20:30
  Speaker 3: The playlisting I think is dope. Again, like I said earlier,
• 20:33
  Speaker 3: the replacing files, you can have different versions, and as
• 20:37
  Speaker 3: far as like discovering, I think, yeah, I think it's
• 20:39
  Speaker 3: a good platform still, and I think it's a little
• 20:41
  Speaker 3: underutilized by a lot of people because you know, it's
• 20:45
  Speaker 3: not there's no big, major playlisting on it, and there's
• 20:49
  Speaker 3: nobody that they know of that has been found outside
• 20:51
  Speaker 3: of like SoundCloud rappers and things like that. But now
• 20:54
  Speaker 3: I think SoundCloud's a really dope platform and I'm still
• 20:57
  Speaker 3: a big fan and I still use it.
• 20:59
  Speaker 1: Yeah.
• 21:00
  Speaker 2: Always felt like SoundCloud didn't get his do and so
• 21:04
  Speaker 2: many people still use it but don't really like you
• 21:08
  Speaker 2: like you even just said, like, don't really put it
• 21:10
  Speaker 2: out there like that or promote it that much. I
• 21:14
  Speaker 2: wonder why that is, because it's, like I said, there's
• 21:16
  Speaker 2: so many people that use it and utilize it the
• 21:18
  Speaker 2: same way that you're saying. And people that I know
• 21:21
  Speaker 2: that don't even really like they're not even in music,
• 21:25
  Speaker 2: use SoundCloud, you know what I mean, Like there's something
• 21:27
  Speaker 2: about it that just anybody that likes music, you know,
• 21:32
  Speaker 2: it's just something there that like other other sites have
• 21:36
  Speaker 2: tried to kind of emulate, or even before them, they
• 21:39
  Speaker 2: try to do it, like even with like soundclick.
• 21:41
  Speaker 1: Remember soundclick back in the day.
• 21:43
  Speaker 3: I remember Soundclick.
• 21:44
  Speaker 2: Yeah, Like Soundclick had like a little like niche thing
• 21:47
  Speaker 2: and like you know, people looking for beats and stuff
• 21:50
  Speaker 2: like that, some songs here and there, but mostly it
• 21:52
  Speaker 2: was like, you know, nobody knew what soundclick was. But
• 21:56
  Speaker 2: SoundCloud really was like, you know, that that thing where
• 21:59
  Speaker 2: even sometimes you could even find songs that you couldn't
• 22:02
  Speaker 2: find somewhere else because of like the licensing thing we
• 22:04
  Speaker 2: talked about.
• 22:05
  Speaker 3: You know, I think that, sorry, but I put out
• 22:08
  Speaker 3: so many remixes too on SoundCloud, and like you said,
• 22:10
  Speaker 3: the clearance thing, Yeah.
• 22:14
  Speaker 1: I want to no no Yo.
• 22:16
  Speaker 2: I was gonna say, it's funny like certain songs and
• 22:20
  Speaker 2: like the reasoning why they don't get cleared, and like
• 22:23
  Speaker 2: songs that you remember that you can never find them
• 22:25
  Speaker 2: on Spotify or Apple Music or whatever. One one that's
• 22:29
  Speaker 2: so weird to me that always stands out is DMX Slipping.
• 22:35
  Speaker 1: The original unedited version.
• 22:38
  Speaker 2: Is not on any streaming service like they have like
• 22:43
  Speaker 2: the edited version, so the clean version, they got other
• 22:47
  Speaker 2: versions of the song, but for some reason, the dirty
• 22:51
  Speaker 2: version of Slipping is not on any streaming service.
• 22:55
  Speaker 3: No idea. I don't even know what song that is.
• 22:56
  Speaker 3: And that's a nothing too. I make music, but do
• 22:58
  Speaker 3: not tell me to reference anything because it's dang, well.
• 23:04
  Speaker 2: That's a classes that's that's like one of the best
• 23:05
  Speaker 2: DMX songs.
• 23:06
  Speaker 3: That's like you're gonna have to drop it in here.
• 23:08
  Speaker 2: Yeah, yeah, I'm definitely gonna throw it in the background,
• 23:11
  Speaker 2: you know. And yeah, but that that song always, it
• 23:14
  Speaker 2: always blew my mind that that that version is not online,
• 23:17
  Speaker 2: Like it's so weird, like these little things that stop music,
• 23:21
  Speaker 2: you know what I mean, like from different angles, whether
• 23:23
  Speaker 2: it be you know, the sounds that you use on it,
• 23:26
  Speaker 2: the people that were involved, not agreeing that they wanted
• 23:29
  Speaker 2: to stream. Like, there's just so many little things that
• 23:32
  Speaker 2: stop music.
• 23:33
  Speaker 1: Yeah, the politics, and you.
• 23:36
  Speaker 2: Know a lot of people are always be like, oh,
• 23:38
  Speaker 2: you know, when are you going to drop some new music?
• 23:40
  Speaker 1: And sometimes it's not that simple, you know.
• 23:42
  Speaker 2: And that's kind of where like the SoundCloud thing comes
• 23:45
  Speaker 2: into play, because regardless of what anybody's saying, you could
• 23:48
  Speaker 2: still drop some music there to get it to people
• 23:50
  Speaker 2: and see what they feel about it.
• 23:52
  Speaker 5: You know.
• 23:52
  Speaker 2: Yeah.
• 23:53
  Speaker 3: One of one of my strategies too, is I kind
• 23:55
  Speaker 3: of release first on SoundCloud, and I do it super
• 23:58
  Speaker 3: low key. I don't market it. I don't tell people
• 24:01
  Speaker 3: like you know, hear my song whatever. Every now and
• 24:03
  Speaker 3: then I'm like, hey, if you're into SoundCloud, check this
• 24:05
  Speaker 3: out type of thing, because I do feel like SoundCloud's
• 24:08
  Speaker 3: a lot like you know, audio heads or audio files
• 24:11
  Speaker 3: that are like it's a type of person that would
• 24:13
  Speaker 3: go to a record store and they would cycle through
• 24:16
  Speaker 3: records and find something that they like and remember back
• 24:18
  Speaker 3: then too, like you can go to Walmart and have
• 24:20
  Speaker 3: your neck break listening to music, you know, click out
• 24:23
  Speaker 3: on CDs. So I feel like that's what SoundCloud is
• 24:26
  Speaker 3: for me. It's just like it's a cool create, it's
• 24:28
  Speaker 3: a cool place to dig through. I don't want to
• 24:31
  Speaker 3: speak too truthfully or a matter of fact, but I
• 24:33
  Speaker 3: feel like the algorithm is different too. It's not really
• 24:35
  Speaker 3: like force feeding you anything, you know what I'm saying,
• 24:37
  Speaker 3: Like like you go on to anything else in particular
• 24:40
  Speaker 3: like Spotify, the algorithm is just so bought and it's
• 24:44
  Speaker 3: just so consumed by the shareholders that like, it is
• 24:48
  Speaker 3: very hard to stand out unless you already have a
• 24:50
  Speaker 3: fan base, per se, or you've made it on a
• 24:52
  Speaker 3: major playlist. Yeah so, but yeah, but I think SoundCloud,
• 24:55
  Speaker 3: I think is where it's at. It's underutilized and as
• 24:59
  Speaker 3: far as like you bring it up to, it's making
• 25:01
  Speaker 3: my brain turn right now because I'm like, yeah, no, no,
• 25:03
  Speaker 3: that's a whole like on tapped market, so to speak,
• 25:06
  Speaker 3: because there is still something there for it for sure.
• 25:09
  Speaker 1: Yeah.
• 25:10
  Speaker 2: So, the there was two songs that I heard from
• 25:15
  Speaker 2: your SoundCloud.
• 25:15
  Speaker 1: That was super dope.
• 25:16
  Speaker 2: The other one I don't remember the name, but I
• 25:19
  Speaker 2: do remember the name of one of them. It was
• 25:20
  Speaker 2: called either the in Between or in Between? Do you
• 25:24
  Speaker 2: know which song I'm talking about? That was one of
• 25:27
  Speaker 2: the songs that I heard that, and then I saw
• 25:30
  Speaker 2: that you were local at the time. You know, you
• 25:33
  Speaker 2: were in Orlando at the time, and you knew you
• 25:36
  Speaker 2: did know a few people that I knew, and that's
• 25:38
  Speaker 2: how I tapped in with you.
• 25:39
  Speaker 3: Okay, and I remember, okay, okay.
• 25:42
  Speaker 1: Well yeah, So for the people that haven't like.
• 25:50
  Speaker 2: Left Orlando, just you know, this is a very specific
• 25:53
  Speaker 2: group of people. But that feeling of coming back from
• 25:59
  Speaker 2: California and feeling the humidity in Florida, how terrible is that.
• 26:07
  Speaker 3: Last time I went to Florida was last year. All
• 26:12
  Speaker 3: I do is visit the airport at the new one
• 26:14
  Speaker 3: that's like ten miles from the other one, to drop
• 26:16
  Speaker 3: off my daughter because her dad still lives out there
• 26:18
  Speaker 3: and stuff. So yeah, and then you freaking get off.
• 26:21
  Speaker 3: I think it's the sea terminal. Simpullshit got off that terminal.
• 26:25
  Speaker 3: Then I had to connect freaking Spirit, which I'll never
• 26:29
  Speaker 3: do again, or Southwest, I don't remember. But I had
• 26:32
  Speaker 3: to go to the old terminal. And you would have
• 26:34
  Speaker 3: thought they would have made it simple. No, they said,
• 26:37
  Speaker 3: we want you to sweat this whole entire time, and
• 26:39
  Speaker 3: we want you to walk with your luggage, and we
• 26:41
  Speaker 3: want you to hurt and that's what happened, so that
• 26:45
  Speaker 3: don't miss it. That was your question. And the way
• 26:48
  Speaker 3: it makes you feel is it's just yucky. And no
• 26:51
  Speaker 3: shame to Florida because I know plenty of people that
• 26:53
  Speaker 3: love it. I got my immediate family still out there,
• 26:58
  Speaker 3: so and they don't complain about Florida. And I do
• 27:00
  Speaker 3: miss the beaches and fishing and things like that. Do
• 27:03
  Speaker 3: I see myself back there Maybe in the future. I
• 27:06
  Speaker 3: don't know, but but it's just Florida. It's just Florida.
• 27:11
  Speaker 3: I think you've been. You've been one place, You've been everywhere.
• 27:15
  Speaker 2: Do you do you remember the first song that you
• 27:19
  Speaker 2: that you got placed that you like actually saw it, like,
• 27:22
  Speaker 2: I mean heard it in the placement?
• 27:28
  Speaker 3: No, but I do you remember? Yeah? I remember my
• 27:32
  Speaker 3: first check I had signed in twenty fourteen. It's through Sony,
• 27:38
  Speaker 3: and then two years went by and nothing happened, you know.
• 27:42
  Speaker 3: I think I turned in like three songs whatever, and
• 27:46
  Speaker 3: then I would say I went to Cali a couple
• 27:49
  Speaker 3: of times. My publishers are out there. They kind of mentioned, like, hey,
• 27:51
  Speaker 3: the company's picking up because they had just started to
• 27:54
  Speaker 3: when I had signed with them, and then not Sony,
• 27:57
  Speaker 3: but the branching of the label and stuff, and so
• 28:01
  Speaker 3: I was like, yeah, I think I could see myself
• 28:02
  Speaker 3: out there or whatever. So I moved to Cali and
• 28:04
  Speaker 3: then I would say I moved to Cali August twenty sixteen,
• 28:08
  Speaker 3: and within February twenty fourteen, sorry, twenty seventeen, I receeve
• 28:13
  Speaker 3: the check from BMI. It was like four hundred sixty
• 28:16
  Speaker 3: eight dollars and it was for some random placement, for
• 28:19
  Speaker 3: an Aliya place placement. It was like a documentary on
• 28:23
  Speaker 3: VH one. So for me, yeah, and for me that
• 28:25
  Speaker 3: was a big deal because that's an artist that I
• 28:27
  Speaker 3: grew up. That was one of my favorite artists still is.
• 28:30
  Speaker 3: If you hear my vocals, I kind of emulate a
• 28:31
  Speaker 3: lot of her airiness and things like that. And Timberland's
• 28:35
  Speaker 3: been one of my favorite producers ever and Missy Elliott.
• 28:38
  Speaker 3: So for me, that was like, that was like that,
• 28:41
  Speaker 3: oh shit, I like, I did it moment kind of thing,
• 28:44
  Speaker 3: especially for being a person that doesn't want to perform
• 28:47
  Speaker 3: or you know, doesn't want to go on stage. Yeah,
• 28:51
  Speaker 3: that was so that was my first place.
• 28:52
  Speaker 1: That was the first one.
• 28:54
  Speaker 3: Yeah, Yeah, that was that was the first thing that I paid.
• 28:56
  Speaker 1: For that must have felt super rewarding.
• 28:59
  Speaker 3: Yeah, to get paid because like Iveran, now, you know,
• 29:00
  Speaker 3: when you pushed it out on tune core or whatever,
• 29:02
  Speaker 3: you didn't get anything, cause that was like the way before. Yeah,
• 29:06
  Speaker 3: so yeah, and then after that it was just SoundCloud
• 29:08
  Speaker 3: and that was pretty much it. Yeah, to get that
• 29:10
  Speaker 3: first check was pretty dope. And then it kind of
• 29:13
  Speaker 3: makes you mad too, because you're like, fuck, I wasted
• 29:15
  Speaker 3: two three years and I could have been feeding the
• 29:16
  Speaker 3: machine and I didn't, but you know, it worked out
• 29:19
  Speaker 3: and it just made me more hungry and then I
• 29:21
  Speaker 3: just continue to just start recording more music after that.
• 29:25
  Speaker 2: Yeah. Yeah, man, that's that's dope, And that's just crazy
• 29:30
  Speaker 2: that it would be you know, somebody that that you
• 29:33
  Speaker 2: you know, you just said that it's like a sound
• 29:35
  Speaker 2: that you kind of emulate, and then for it to
• 29:37
  Speaker 2: be in that kind of project, it's like wow, Like
• 29:39
  Speaker 2: it's definitely got to be like reassuring, you know what
• 29:42
  Speaker 2: I mean, Like, yeah, I'm where I need to be.
• 29:45
  Speaker 3: Yeah, it was validating for sure. I was like, is
• 29:47
  Speaker 3: it destiny. I don't know what I feel about destiny
• 29:49
  Speaker 3: per se, but it was definitely validating.
• 29:52
  Speaker 2: Yeah, So as we kind of just wrap up. I
• 29:56
  Speaker 2: know you said that you're working on two projects right now.
• 30:00
  Speaker 2: One of them is pretty much done. The other one,
• 30:01
  Speaker 2: I mean it is done, the other one is still
• 30:03
  Speaker 2: like kind of in the process.
• 30:06
  Speaker 1: What has kind of been your your movie vision per
• 30:10
  Speaker 1: se for these projects, Like do you have certain scenes.
• 30:14
  Speaker 2: In your head when when when you're you know, when
• 30:17
  Speaker 2: you were putting it together, Like what can you give
• 30:19
  Speaker 2: us like a glimpse into that vibe.
• 30:23
  Speaker 3: Yeah, so Daylight Moon really is inspired by my dialis
• 30:27
  Speaker 3: situation being in the suburbs. I wouldn't say I'm stuck
• 30:30
  Speaker 3: in the suburbs, but it kind of feels that way.
• 30:33
  Speaker 3: So really it's just a liminal space of being in
• 30:36
  Speaker 3: this place that everything is mundane, everything is kind of repetitive.
• 30:42
  Speaker 3: The idea of Daylight Moon is just like a never
• 30:45
  Speaker 3: ending day, so like, you know, you'll think the sun's
• 30:47
  Speaker 3: gonna set visually, but then all of a sudden, it's
• 30:49
  Speaker 3: day time again. We've been working through different iterations of
• 30:53
  Speaker 3: short films. My last project, enter Alia, kind of will
• 30:57
  Speaker 3: tie into this as well, and that's kind of like
• 30:59
  Speaker 3: the prequel, I guess you can say, or universe one.
• 31:04
  Speaker 3: And if you were to dive into that project. It's
• 31:06
  Speaker 3: a little short film and at the end there's a
• 31:08
  Speaker 3: phone that rings, and you still don't know who the
• 31:09
  Speaker 3: voice is behind that, And we're kind of just playing
• 31:12
  Speaker 3: with that whole like dermonic device thing where it's just
• 31:15
  Speaker 3: little things that tie in every universe together in some form,
• 31:18
  Speaker 3: kind of like the Matrix has the payphone, so that's
• 31:21
  Speaker 3: kind of what we're playing with. Two. So in in reality,
• 31:23
  Speaker 3: it was a black phone, and Daylight Moon will have
• 31:26
  Speaker 3: some Easter eggs, and then Finding Sun we'll have other
• 31:28
  Speaker 3: Easter eggs, and in the end you'll see the full picture.
• 31:32
  Speaker 3: But in between, you know, you're gonna kind of just
• 31:34
  Speaker 3: one thing might not feel like it has to do
• 31:36
  Speaker 3: with the other per se, but it'll eventually start to
• 31:38
  Speaker 3: like pull in together. But as far as like the
• 31:41
  Speaker 3: vibe of Daylight Moon, I would say it's it's got
• 31:44
  Speaker 3: a classic field. It's very retro. It's mixture of indie rock,
• 31:48
  Speaker 3: some hip hop, R and B vocals and just shit
• 31:51
  Speaker 3: like that. And as far as visuals, definitely tapping into AI,
• 31:54
  Speaker 3: definitely tapping into playing with just a lot of cinematography
• 32:00
  Speaker 3: and just lighting and just cool stuff like that. But
• 32:04
  Speaker 3: I don't know if I have a good answer. No, No,
• 32:07
  Speaker 3: I feel the f cat.
• 32:09
  Speaker 2: No, that's perfect. But yeah, do you have do you
• 32:14
  Speaker 2: have any anything you want to leave them with besides
• 32:17
  Speaker 2: your website, which we'll throw on here as well, nail
• 32:20
  Speaker 2: Meaugust dot com.
• 32:21
  Speaker 1: Do you have anywhere else that you want to direct
• 32:23
  Speaker 1: people to?
• 32:25
  Speaker 3: When we've been working on this thing called the Hat Dealers,
• 32:27
  Speaker 3: which is one of our hats here, so that's coming
• 32:30
  Speaker 3: out soon Hat Dealers dot Com and and supply Market.
• 32:34
  Speaker 3: Really that's just gonna be an overall collaboration hub for
• 32:37
  Speaker 3: other artists. So like you yourself, let's say, you know,
• 32:39
  Speaker 3: you want to sell some merch you might want to collapse,
• 32:42
  Speaker 3: so Supply Market might have like an exclusive drop that's
• 32:45
  Speaker 3: between you know, your brand and our brand, and you know,
• 32:48
  Speaker 3: we just kind of like one hand washes the other
• 32:50
  Speaker 3: kind of thing. But really, the goal right now for
• 32:53
  Speaker 3: me for the rest of this year and next year
• 32:56
  Speaker 3: is just to collaborate and just really get get in
• 32:58
  Speaker 3: with other artists and start touring. But my version of
• 33:02
  Speaker 3: touring is going to be different. It's going to be
• 33:03
  Speaker 3: more pop up shops and just you know, collaborations and
• 33:07
  Speaker 3: just things like that. But as far as leading with
• 33:10
  Speaker 3: people with anything, it's just the Hi. Hello, I'm Naomi August.
• 33:14
  Speaker 3: I make beats. You might have heard some of my
• 33:16
  Speaker 3: songs if you watch Indian Matchmaking or Love Island. Definitely,
• 33:22
  Speaker 3: And I do not judge you if you watch those shows.
• 33:25
  Speaker 3: That's pretty much it. Man.
• 33:27
  Speaker 1: Yeah.
• 33:29
  Speaker 2: One one of my guys, Joe, that I do the
• 33:31
  Speaker 2: show with, he watches a lot of lot I'm pretty
• 33:34
  Speaker 2: sure he's heard your music plenty of times, you know
• 33:38
  Speaker 2: what I mean, and just doesn't even know it yet.
• 33:40
  Speaker 1: You know.
• 33:40
  Speaker 2: I know you have a little piece of that on
• 33:42
  Speaker 2: your website, which I thought was pretty cool. It's like
• 33:44
  Speaker 2: you're like an artist that a lot of people know
• 33:46
  Speaker 2: about what they don't really know about, you know what
• 33:48
  Speaker 2: I mean, Like they don't they don't put the face
• 33:51
  Speaker 2: to the music because of the way that you get
• 33:53
  Speaker 2: your music in front of people, but they've definitely heard.
• 33:56
  Speaker 1: It, you know.
• 33:57
  Speaker 3: Yeah, if you put your subtitles, sometimes you'll see Naomi
• 33:59
  Speaker 3: August playing in the background. You'd be like, I don't
• 34:01
  Speaker 3: get a ship and keep it moving. I had this
• 34:03
  Speaker 3: one girl make fun of me. It was hilarious. You
• 34:05
  Speaker 3: like roasted a song of mine. But I feel like
• 34:08
  Speaker 3: you've made it when you.
• 34:09
  Speaker 1: Get for real, for real. Yeah, but that's the dope. Yeah,
• 34:14
  Speaker 1: for sure.
• 34:15
  Speaker 2: We're gonna definitely tap in whenever you drop your your
• 34:18
  Speaker 2: next couple of projects, and we'll check it out and
• 34:20
  Speaker 2: mention it on the show. Whenever you want to come back,
• 34:23
  Speaker 2: if you got anything else to promote, or you want
• 34:25
  Speaker 2: to chop it up. Definitely, the door is always open.
• 34:29
  Speaker 2: It was dope to finally get you on.
• 34:32
  Speaker 3: Yep, you have a song to I want to collab
• 34:34
  Speaker 3: with you on. I'll hit chip after this. It was
• 34:36
  Speaker 3: like your second or third on the new link that
• 34:39
  Speaker 3: you sent me.
• 34:40
  Speaker 1: Okay, bet bet yeah, let me know for sure, for sure,
• 34:43
  Speaker 1: definitely appreciate it.
• 34:46
  Speaker 2: I appreciate you, thank you for pulling up to the
• 34:49
  Speaker 2: grounded show. And I'm gonna leave them with well we
• 34:51
  Speaker 2: always leave them with, and that's stay Butter.
• 34:55
  Speaker 6: Stay butter, after act after.
• 35:24
  Speaker 5: Act, not.
• 35:46
  Speaker 7: Not buy.
• 36:28
  Speaker 6: Not not.
• 36:40
  Speaker 5: Not not not not not not a thing