Anderson .Paak

Hello, beautiful people. This is Anderson Pak. And I'm just chilling with the legendary, I call him Big Sean. He's the real big, big Sean. You know what I'm saying? Big, big Sean. Bigsby. We're in beautiful California, Camarillo, California, Big Zach 805, Pack House. I'm hopeful to be here. It's going to be a great one. Yes, Lord. Welcome everybody to another episode of On That Note. This is the place where we speak a language we all understand and that is music. And if you don't know by now, you will know by the end of this interview, we're on location this time. We took On That Note on the road. All right. Well, not too far anyway. We're pretty much in Oxnard, right? We're in Camarillo. Camarillo. Camarillo. Exactly. Yes, we're in 805 today. Okay, cool. We're in 805. And with a Oxnard native, ladies and gentlemen, who has etched himself as one of the most unique forward thinking and eclectic artists of our time, this is all my opinion. And please let me know if any of these stats that I'm pushing out are wrong, please, you can correct me. I have no problem with that. These are official stats, people. One more time, though. That was nice. All right, here we go. Here we go. All right. My guest today is an Oxnard California native who has etched himself as one of the most unique forward thinking and eclectic artists of our time. His amazing blend of jazz, funk, rock, hip hop, R&B and old school soul has etched him in his own lane. Ever since he stepped on the scene, his vocal tone can be recognized on any track he performs himself or is featured on. He's worked with the likes of Dr. Dre, Halle Steinfeld, Kendrick Lamar, Eminem, Bruno Mars, Andre 3000, Mac Miller, Smokey Robinson, I can go on and on and on. His albums are just amazing soundscapes of vocals, multiple instruments, synths and lyrics that you can vibe to, party to or just drive with the top down too. I personally like doing that to your music, actually. Cruisin'. Yes, it has that energy. One of the most talented musicians we've all ever seen or been blessed to witness, he's a father, an amazing performer. I love your live show. We're going to get into that. A nine-time Grammy Award winner. Wow. Right? That's about nine, right? Give a take. Current stats. Yeah, current stats. Multi-platinum singer, rapper, producer, songwriter. Ladies and gentlemen, please give it up for Brandon Pack Anderson, aka Breezy Lovejoy. Yes, Lord. Breezy Lovejoy. You have to put the button on it. AKAAP, AKA Anderson. Pack. How you doing, man? Thank you. What's happening, man? Thank you. Truly humbled to be sitting here with you. No, listen, man. Thank you for your hospitality. I just want to shout out everybody in your staff, everybody that's just Crystal and Jamila and everybody that's been really, really gracious and accommodative to my staff. I really appreciate you. Have a great crew. Thank you so much. They make me look good. They take great care of me. I got an army of women. Yeah, yeah. That's beautiful. That's how you got to do it. That's it. Yeah. They say, I believe, honestly, I'd always said that if I had an office, eventually I will, but a label or something like that, that would be predominantly women because women just have more of a focus. They have a better understanding of what needs to be done once you apply the assignment or whatever. They not only get it done, but they get it done with such meticulous precision. Yeah, they'll crush you out. They'll crush you out too. And I like that. You know what I'm saying? Straighten you up. I like that. Yeah. Someone needs to keep you grounded. That's it. That's it. And there's nothing like a, especially a black woman, get on your ass and make sure that... She don't light a fire up bunch. Yeah, that's it. That's it. Now, let's go. Before we start this conversation... My mom's here today. So she said, shout out to mama. Shout out to mama. She came to the pack houses the first month. Shout out to mama. Yes, yes, yes. Mom, thank you for creating such an amazing human being. Yeah. You know what I'm saying? But first, let's get into a Debrezey Love Joy name. Where did that come from? That came from a nickname when I was very young. I was very heavy set and ate a lot of nachos and blaming hot Cheetos and was passing gas since the first day I could remember. And my brother-in-law was like, you fart so much, I'm going to call you breezy. And I didn't tell many people that's where the nickname came from once I started going to school and meeting girls. Might not be... I told them it was because I'm an Aquarius and I'm air-sign. I like how you flipped it. I like it. When's your birthday? February 8th. Okay, cool. My daughter's February 10th. Okay. Yeah, Aquarius. Yes, yes. She may not as far as far as much as she is. Give her some time. Okay, all right. Okay. Let them cook. Yeah, let them cook. Yes, that's Aquarius. Because I have a farter back behind us too. Oh, yeah. We get to cook now. Yeah, I'll see you. That's not too early. Yeah, that was a good one. Yeah. Olive Garden. No, Olive Garden's the best. That's it. Yeah, that's not a hint. A hint of oregano was in the room. It's a very distinct scent. But yeah, I was going around. I've been breezy since grade school. My first name's Brandon. People call me breezy. And when I started writing music, I was like, I need something more. I wanted to add something that was more player. And I felt in my mind, it was romantic and cool. And so I was like breezy, lovejoy. That could be, that can complete it. Yes, yes. And so when I started writing music, by the time I was in 12th grade, I was doing my own demos. I was mixing and I had mixed tapes and was selling my tapes and making beats and doing stuff for my sister's friends, whoever. But I started writing my own stuff and my own mix tape. And it was time for me to come up with a name. And I was like, okay, I'm already breezy. I'm going to add lovejoy. And that was where it came from. I didn't really think much of it. We're going to get into that mix tape. Violets are blue, right? But first, I always like to start this segment off from the very beginning. I call it, we're going to go back, way back, back in a time. We're going to go back to the year 1996, you were 10, I think about 10 years. I like to always, 10 is that formative year where we start to, I guess, emerge or rather evolve from being a child, going into young adulthood, getting a job or you know. Yeah. Get up and get your ass job. What my mother told me. Yeah. Yes. Time to take care of your ass. Get a part time job and buy your own potatoes. Support your own neck. You can support these bills. Exactly. So around that time in 96, you being an Oxnard native 805, what was going on musically in your household, in your neighborhoods? What created the person that we know as Anderson? 96 was like a whirlwind of stuff and I'm 39 now, but the year 96 sticks out for me so many reasons. 10 years old coming into a young male dealing with hormones. The main thing that sticks out is that Tupac had just passed. So I just remember people on the radio being distraught and like, because he got shot and then he was, I think it was about a week after he passed or something like that. Back then, I just remember being a kid and back in, in Soco, we listened to 92.3 to be every day. No color lines in Power One or Six, the Baker Boys and Theo. That's right. That's right. These were dish shoggies that were on the air all the time and we would make our own mix tapes when the Mickey Ficky mix was on or when, you know what I'm saying? Whenever it was, they would go into the mix. That was your time. They're going to play all new stuff, new R&B, new hip hop and you better have your cassette recorded straight from the radio, stop it when they start talking. So we can do our own mix tapes. All they're going to play the new two pocket bone thugs are playing biggie, all this stuff. And there was so much going on. My older sisters were listening to Tribe Called Quest and my older sister was big on GZ, Nas, and my sister younger than her was into Whitney Houston, Boys to Men. You know, Mariah Carey. And so I was just the little hip hop artist. I was taking all of this. And then at the same time, my mom was a big music snob and she was all about earth, when the fire, Al Green, Gladys Knight, Chaka Khan, that was what we came up with. Did your mother sing? She sings a little bit. Yeah. She definitely can sing. She's a little shy, but she can sing. And she can definitely tell you when you're not singing right. Okay. She's really good with that. She has the ear. Thanks, mom. I haven't slept. So mom's a funny one. Come here, some slack. It's out of my range. Never. Yeah. What about your siblings? Any of them? My siblings sing. Yeah. My older sister has a beautiful voice. She sings. She was like a singer growing up. She was like singing at all the events and everything. So when I was coming up, I'm the only boy. So I had all girls in house and I knew around 10 years old, I was going to do something I wanted to entertain. I wanted to be a musician. I wanted to be like doing some of the things that I seen on TV. I was a TV kid. Again, it was radio. It was MTV. It was BET. It was Nickelodeon. It was just a whirlwind of entertainment and fun and music. All these different, like I felt like in hip hop, there was the older generation that was still making stuff. And then there was new, then R&B. There was kind of a shift going around. It's a great time. Great time. Big time, but just so much. And I was very impressionable and I wanted to be all of that. And so I was having all of these different inspirations coming from different places. But I knew I wanted to be like a musician or I wanted to be able to do something to add to this. Yeah. Because I also wanted to be in the group, Criss Cross. I need to be the third member. And then like, they were- What would you have been if you got Criss Cross? I could have been. Would you be applesauce? That was a good one. That was a good one. Maybe? Does that work? Jacks. It was cinnamon toast. You know what I mean? That's insane. Yeah. Applesauce could have been good. Yeah. I think that would have been- That actually would have been cool. Kind of had the cool with the ring too. Kind of a ring to it. Criss Cross applesauce. It's not too late, Jermaine. Yeah. All right. JD, what's up? JD, let's make it right. You heard it. You heard it first. Let's talk to the lawyers, bro. Now, okay. Now, considering that we're just a few miles from where it all started for you, what's it feel like to be back home? But in this moment, in your life, in your career, and seeing the places that you used to frequent in stores and houses and schools and maybe some ex-girlfriends or whatever, like how's it feel now? What's the energy like? How do people treat you? I rolled in with my mom today and I live in LA. It's not too far. Right. When you make that drive and you go over the grade and you start seeing the landscape change, you realize how different it is than being on the bray or quang or something. And I didn't grow up on those streets. I grew up in fields, strawberry fields, and looking at mountains and beaches, and chilling with Latinos and going to church with black people. And then my school was all white. And that perspective, I think, is so valuable now. As I get older, I think it was what molded me and gave me a different perspective. When I came to LA, I felt like I had so much to learn. I was so like, I felt like, oh man, I thought it was something in my town, I'm a big fish. I hear it's like everybody's killing. Right. I had to do a lot of observing and learning, but it feels so great to come back in town. I came to my mom and to do it, to come back and have it up with Pack House. We've been doing this for years now. Part of Brandon Anderson Foundation, I started years ago, and we just want to give back to the community. We want to shout out the families that are underserved and that are forgotten. And we want to give them an experience like no other. We want to give them a Coachella-like experience for the people that usually get overlooked. We do stuff for Back to School, free haircuts, manicures. You're talking about top of the line food, so many vendors, so many other organizations that we collab with. And the main thing is we throw a party, we throw a big concert, and now it's turned into the Emner Festival. We used to do it literally at McCart the Park. I call up on my phone, anybody who would be down to donate their time to perform. Everyone from Rafael Siddique to the game to Smino to, I mean, literally, Caliucci. So many people have done it. And this year, we're here at the college. It's our first time at the university in China Islands. And doing it in the hometown is amazing. And the lineup is incredible this year. Who's on the lineup? We got Sierra. We got Snoop Dogg. We got yourself doing the beautiful podcast, and hopefully we get the jam out. You know, I gotta go study that. Again, thank you. Thank you. Thank you very much for just making, allowing me to be a part of this, allowing us to be a part of this whole event. No, the honor's mine, man. Seriously. We got Ray J. Ray J. We got Scott Storch. We have Jane Hancock. Shout out to Scott. Yes, an eclectic bunch. We have Blast. Okay. We got some locals, Meta4, Wild Child. Wow. Oh, man. You got a nice mix, man. I know I'm missing a few, but we have a great show. I saw a few of them rehearsing, getting themselves together. So they're better. Yeah. Because I'm performing too. Yeah. And I want to follow that. Absolutely not. I make it hard for people sometimes. No, we're going to talk about your lives. Yeah. Because I've seen enough of them. I haven't seen them in person, but again, I want to just establish that I am a fan. I was a fan before I met you. And I think I met you the first time at Flogna. I think you were hanging with Battlecat. Right. I mean, Thundercat, excuse me. Yeah, yeah. And yeah, it was, it was, yeah. I was gacking up about how different they look. Yeah, yeah, yeah, right. Yeah, not DJ Battlecat. Shout out to Battlecat though. He's my guy too. But Thundercat, you're with Thundercat. And yeah, it was a cool energy. So again, it's nice when you meet someone and they leave an impression, even if it's just for a few minutes and you left a good impression, you had a good energy and understand how important that is being in a business, you know, to have a good attitude as well as good music is so integral in how long you stay around. You know what I mean? Right. Yeah. So, and you have that like in spades. So again, it's an honor for me to be here celebrating with you, doing great things for the 805. I really appreciate that. Now, you mentioned earlier, you talked about church. You played drums in church, right? Where did the love of drums come from for you? Wow. I mean, drums. It was the first thing I was good at that I was finally like, get attention from girls. And I was like, let's do this. That'll do it. I was like, I was over years old and I was like, I thought I was going to be an NBA. I thought I was going to not increase cross. Like things were, time was ticking. Right. Right. Yeah. And I'm like, I need to add value to something. I need to be of service. My mom's looking at me like, nigga, gotta get a job. And my sisters, you know, everyone's killing this. I'm like, oh, I got to do something. And I grew up like wanted to entertain in a house. You know, I was always the kid like, wake up, dance, do the flip, do the thing, do the joke, do the impression. And so when I got older, I was like, I want to play like, I want to be a musician. I saw the movie Juice. And theaters, I was a little kid. I saw Tupac and all them, he was DJing and stuff. And I was like, damn, I want to do something. You know, I want to get into music. And I joined the orchestra band in sixth grade. And I wanted to play saxophone. They ran out of saxophones. And then there was, I didn't have a plan B. I was like, whoa, I'm definitely not playing flute. So I'm about to literally just walk out and get another elective. And they're like, you can play this drum. And I was like, I've never thought about that. And it was a big old like bass drum look like that light. And like, I was like, all right, I could bang on something. So I got in there, I went to quit like after two days. I was like, this is not it. I don't want to read this music. And I just want to jam on and just play some beat. So I hear on the radio or something, you know? So I was doing it, but I wasn't too happy about it. When I got home one day, my step-pops had a drum kit in the house. I could hear him playing. I was coming home from the bus and I could hear it from outside. He was playing Prince, playing along to Prince. And I was like, whoa, I didn't even know he played. And he must have been playing on that for weeks before he let me on there. But one day he wasn't on it. And I hopped on and grabbed the sticks and I just started messing around. And it was the first time I was just good at something, like naturally. And I was started working it out. And before I knew it, I was playing a beat. Then my mom came out, she was like dancing. And I was like, wait, she was like, you sound good, you better keep that up. And she's like, you need to learn how to play this. And then she brought on a book list. I was about to say, so now that you're in it, because we all had, I guess, people we would emulate. So who did you listen to to sharpen up your drum skills? The first record I learned how to play to is Archie Bell and the Drell's Tighten Up. Yeah, that beat. And that beat is pretty like a similar beat to what people usually, their first beat is. But this was to a guitar. And then he had a solo, the structure of the song was really fun to practice to. Because now we're going to tighten up on a drum. So in the tempo and that style of funk, soulful drumming, I think that really spoke to me early on. Because that was very the first thing. And then I was playing along to like a very white record. It's all those break beats. And then my mom love Donald Bird and the Blackbirds. So all of those records, I think it was Harvey Mason, Jr. or all those kind of drummers. And then once I was playing for a couple of weeks, my god sister came over, she was like, are you playing drums? You need to go to church. And she was going to the big black church in our town in St. Paul. I'm sorry, she was going to evangelistic at the time. And that was right by the base. So we got a lot of people from military that come here and they join the church and the musicians from all over. And so she took me to church. And that was when I seen some of the best musicians I ever seen in my life. Best music ever. Church is one of the breeding grounds for black music. Yeah. It's one of the greatest places you can learn whatever it is you're into and learn from some of the greatest musicians no one has ever heard of. Yeah. And a place you can practice constantly for hours throughout the week. And if you know about being a church baby, you're going to church eight days out of the week. Eight days out of the week. You know what I'm saying? Eight days. Yeah. Yeah. Mine was nine. Yeah, yeah. You go in nine days of the week and you're playing every time. And then that becomes your place where your friends are at. So I grew up, it was my community. And that's where I grew up playing. I grew up playing behind the baddest musicians from the organists, Jareese Mitchell, who really taught me a lot. He was the organist that I played with for years. It was me and him a lot of times. We just would just be and we would travel. And I was as a church drummer and I grew up listening to, you know, Fred Hammond and Kirk Franklin and Hesaka Walker and all of those records, learning those church songs and what's just some of the hardest stuff to learn. You know, and sometimes you learn in them right before service. And it taught me about learning structure and ensembles and following leadership. And it taught me about pocket pocket. Yeah. That was really the the core of everything. And as a drummer, it's the relationship you have, you know, that you never quite master. You always fight and try to get the perfect pocket and sit patient. So you're dealing with it as long as you're living. Yeah, that's true. Like pocket is the drummer's job. Yeah. The drummer and second, second behind that is the bass. If the bass and the drums are not locked, everything falls apart. And that's really just like you said, it's such a, I mean, I've never played drums that intense. Like I've never, you know, I've fooled around, but just to know what it takes to stay in a lock and to make sure that everybody stays in that same lock. It's a skill. My thoughts are so random and like, I feel like everybody, every drummer plays how their personality is. And like, I'm sometimes just fighting like so much thoughts and intrusive thoughts when I'm playing drums, you know, and I just want to go like, it's like a little staz. So, you know, watching you play, like, I mean, I don't know if you've listened to, I'm sure you've listened to them, but I don't know if you've actually picked up. Like you remind me a lot, especially what your feels like the way you tone your your toms, you tune them. Like it feels a lot like Chris Dave's. Yeah, that's one of my. Like he's awesome. Like, and he just has such a weird, like offbeat type of like pocket. If anybody knows anything about Chris Dave's, if you don't know, please look him up. He's played for Maxwell. He's played with Pino Paladino and Angelo and all those guys. Like he's so incredible. You know, and a lot of your music specifically Malibu is my favorite album. We're going to get into your records, but Malibu is my favorite out of all your albums. And the one thing I used to play a hundred times was Waterfalls. The Interlude. Yes, Chris Dave. Yes. Like I just, the way you put those time fills is so sick to me. Like, you know what I mean? That was me on drums, I think. Me or Chris Dave, but I'm going to go with me. That was me. That was him. You heard those times. Yeah, you heard. Yeah. That's my style. But that made me think like, damn, that's Chris Dave's. He wish he could do that. You know, you gotta, you gotta kiss the, you gotta, see like that's my OG. You gotta consider the source. But you gotta kind of, you know, know this time is time. Yes, you know, but respectfully. But yeah, respectfully. Chris, shout out to Chris Dave's man. He's, he's, he's actually one of the flyest guys ever. Now your, your music getting more into it to me is more kind of like, even though it was 2025, it still captures to me an analog type of energy. Like it doesn't sound like anything, like anything else on the radio or, or anywhere, period. Like when you hear it, it's, it still has a thick, a thickness to it. Like very 70s era, long wheelbase, Cadillac, Coupe de Ville type of shit. Right. But you know what I'm saying? Like, like it does. Like, you know, it has that type of energy. And, and what is it about that style though? Because you've mentioned a lot of artists and music that you listen to, but it seems like you magnated more to that style when it came to recording. What was it about that style that you felt personally connected to? It's just how I came up. I came up under a lot of OGs that were very big on A to D. Like how, what, how you start and how, how you're finishing, right? Like the signal, how it's coming, where does it coming through? How are we getting it the most clean so that when we mix, we need to get this great sound. Right. So I grew, came up with people like Omos and Shafiq and Saara who were all analog guys. They go through boards when they, when they, you know, a lot of stuff is in the box now. There's no boards. Is everything is going through computer. Then it gets compressed. Right. You put the fucking, everyone's house there is these plugins that are just more data on top of this. And it compresses it more. Yeah. And then by then, then you're going to go to streaming and then it's going to turn to this. Compressed it more. And you're like, you feel it? You in the club just tears, strolling down your eyes. Damn, we paid Manny how much to mix that? I can't hear the damn. Listen, I'm going to go home. He said Manny though. That's a shout out to Manny. Can we update the mix? Something just, I think it's a missing stem. Right. Yeah. So I came up with them and then they were always going through boards and then I'm working with people like Q-Tip and he was big on like, how you recording everything. He's working with Sliceboard and then I get to Dre. He's all SSL. Right. And he just switched over to digital thing. He, you know, this is coming from a dude that would mix it and if you recall it, it ain't going back. Right. They're over there. You have to write it down. Yeah, that's right. And so, you know, when I'm making my music and I've done stuff in the box, I've done all this stuff, but I'm just, and then Bruno, same thing. Right. You know, all these guys are, I mean, Bruno takes to the next level with the mic and the drum. What are, okay, what are the drum, the mallets that we're using? What are the heads? What are the, everything is, maybe we don't need too many mics, maybe all this stuff. So the recording process and the engineering and chasing that, trying to chase the sound that we're trying to get to where we're not crying in the club is important still to me. And I think it's big and it can make and break a good song. You know, if you're, the sonics aren't right, it's just unfortunate, you know, because these songs deserve a fighting chance and it becomes very important to me to use real instruments, use the right amps, right mic placements. And, you know, whether we're going through a board or whatever, it's important to me because I want, I want the sound clash to be big. You know, I want these records sound like y'all's records. No, it's still hold up. Well, it adds to, I was about to say it adds to the integrity of the music. It just, I don't care how much the world changes. There is a frequency that will always be eternal. Yeah. Like it'll always have a certain type of energy that no matter what era you're in, it'll always sound good. I don't know how they did this, but thriller, and not thriller, but off the wall, for example, and thriller, but specifically off the wall is one of those anomalies where it still sounds good in 2025, the original record. Like it still sounds somehow futuristic. Absolutely. It's amazing what Quincy did. Yep. Again, it's a testament of how they recorded and the care that they took with each and every, like nuance of the sound, the drums, just like you said, the guitars, the mics, the primates. How much of this do you think is the live instruments? Back then they weren't using digital instruments. They were, you need drums, someone's playing the drums. I personally think it has a lot to do with that. A lot of the human part of it is what makes it groove, because it may not be necessarily on time as far as like metronome standards. Like there's a couple of earth, one of fire records that they did for the emotions, for example, it starts off at a certain tempo and then somehow it speeds up. The Isley Brothers, the same thing, but you never really pay it any mind because it just felt human. It's human. It's human. Yeah. And it's like, hey, each thing is different. Each piece is different. How you going to stuff? Sometimes you want it, you think you want horns, but you get a horn section and it ain't hitting right. And then you get someone that does on a patch and it's like, yeah, I kind of want that. Jimmy Jam. I want that Teddy Riley kind of horn thing. I don't know if it's the same when I got the baritone in this or maybe it's not the right grouping or maybe I need a baritone sack, not a trumpet at all. I just need that and it's something and I'm trying to get a weird thing. I'm just trying to find something. And so having these musicians or having really the Rangers or producers that have the mind, they could do that. It's like, I'm all for that. I love working with musicians. Love working with producers that these producers now they could do everything. They can play every shit. They could do it all in the box, whip you up. The drums sound like straight out of a... Yeah. Yeah. You know, and that's fun too. Yeah, no, no, that is. Yeah. That is. But there's still a level of musicianship. It's the person, you know, it's the people. Like you can have all the instruments in the world, all the boards and all you'll be making the most dog shit music ever. Yeah, exactly. And I've got no imagination, no creativity. You know, so many people like that. Yeah. And nothing's coming out. And then somebody with like a pencil and a rock is making the whoop go ass. Yeah, exactly. Yeah. So it's really... That is true. Yeah. That is true. Now your voice, just your voice, is really unique. Like... Thank you. I caught your, you know, just your energy in first time listening to Dr. Dre's Compton. Like that's where I kind of really understood who you were. And it may be like, who the hell is this guy? Because not just what you were saying and how you were rapping or whatever, but it was your vocal tone. Like it kind of gives me George Clinton, Mayfield, Sugarfoot. But it gives me these old school tones and vocals that I used to listen to as a kid. So your cadence, how you... Right. Like it's such a refreshing energy. And again, so different from what you hear where everybody's trying to sound the same. You sound like you. Right. Like was this something that came natural? Was this something that you had to develop? Was this your vocal tone? Where did it come from? I might have been a pimp in another lifetime. I think you were. A Kentucky pimp. I think you were. Turned pastor. Okay. That's where it goes. It might have been in another lifetime. Pimp to pastor. Yeah, pimp to pastor. I like that. Yeah. You know, someone described it, someone said once on Twitter, if Newport's could sing, that would be the tone. And I flagged them. And yeah, their count is no longer up. You're fucking hot in here. Yeah, they're done. But I thought about that. Yeah. And you know, Dr. Dre said it was the pain when he was working with me. He said, you got that pain in your voice. This is after 1500 takes of just the word. You were in pain. Bitch. Yeah, it hurts. You were literally in pain. And I got some tea. Yeah, right. Yeah. And I mean, it takes some time to develop, man. You can hear stuff from Breezy Love, Joy Aira. You can hear my tone is I'm working it out. Totally different. Like, yeah, I was about to say it. I'm figuring out my voice. I was not, I wasn't, I didn't think I was going to be a vocalist. You know, I wanted to rap when I was a kid, you know, like, and I still have that in me. I really loved hip hop. I wanted to rap and it wasn't till I started playing keys and writing music. I started messing around with melody and writing songs. And I stepped away from music for a while and came back and I was like, I want to sing more. I want to, you know, I don't really know what I want to do if it's singing or rap or hybrid and stuff. But I was listening to people like Curtis Mayfield and people like Beck as well. I was listening to, you know, I grew up listening to people like Sugar Free and. That's the pimp side. He was a real pimp. That's the pimp side of you. But just also very, just funny, clever writing too in different flows of how, really what it was was after being in LA for that long, I wanted to develop a style that was undeniable me. That's all I really wanted. I didn't give a shit about anything else. I was like, I just want to, when people hear Anderson Pack, they know that's Anderson Pack. Yes. Yes. And that's what it was in LA. It's like everybody was doing this and that and this is for like everything was, you know, now they call it alternative R&B and all this stuff. But like then it was like, if you ain't Chris Brown or if you ain't, if you can't sing like Boyce Meern or if you can't do this, like R&B was, they didn't understand, you know, if it's not that straight up, if you ain't got the selling, the sex appeal, are you dancing, are you in the group? You know, it's like, what are you? Right. You know, you do them this one day and then you're playing drums and you're doing this and the funk is that. So I wanted a vocal style that was reminiscent of like, you know, that era. You know, I never forget when I heard Curtis Mayfield for the first time, I was like, mom, what is this? He's saying nigga. And like talking about, I'm a fan, like all this stuff. He's doing rapper's dude talking about the environment, but it's overfunk. And some of the music was scary almost. Yes, it was. So full. It was. If there's hell below, we're all going to go. Yes. You know, cracker and like crazy stuff, you know, this, it just ended in the, and then super fly the movie and all that. So I was like, man, there's nothing. Who's doing that now? You know, like who's doing soul with an edge and who, how can I, you know, develop this tone? And I, I remember just being in my boy Dumbfound It studio for hours. And he used to let me use the studio. He was on the road and I would just make a bunch of stuff. And it wasn't till I worked with knowledge. I got a bunch of beats from knowledge. And he provided this production that just took me there. Yeah. You know, and I was with all these other projects, I was playing around with different tones. And I was trying to experiment with everything. And when I got with knowledge, it put me over arrangements that really worked well with what I was trying to do with my writing. And I got to develop my tone over his beats. And that's how songs like suede came about where I was like, I feel like, like a pimping love or a pimp that just came to LA. Like, and I was thinking about me coming from small town into LA and like, you know, having to try to stay above this concrete jungle and make ends meet and take care of my family and still be the man on stage and carry this, this vibrato. Like, like, like we still want to carry this vibrato like James Brown and take no shit out here and in a world where everyone's going in P three crazy and doing all this stuff. I mean, there's all kinds of different trends and stuff going on, but we wanted to make something so full. At EDF, we don't just encourage you to use less electricity. We actually reward you for it. That's why when you use less during peak times on weekdays, we give you free electricity on Sundays. How you use it is up to you. EDF, change is in our power. It's immortal. Like the, the, the sonics that you provide, you can do this till you're 93. It'll never sound dated. That's the genius that, that makes you who you are because you've captured a, a time capsule that, that will always be invoke. Like, period. Like just you, you fit, you would have fit well in the seventies. You would have fit well in the eighties. You see what I'm saying? Like who would have fit well in the nineties? Cause the nineties was a resurgence of the seventies funk. So it was like, they could keep the night. I don't know if I would have did this to me. Which era would you want to be in? If you could pick an era outside of the current one. I would have did this one. This one. You would have did this one. Cause the wifi situation in the seventies, air conditioning, all that stuff. I think about that. The rest is. That's true. That's true. And then the eighties. I talk about musically though. Musically what era would you want to be in? Musically. Oh, okay. He's not about real life. My left foot was going with this. He's at racism. I think it was perfect. Right, right, right. Musically, I love man. I don't know if I could pick one, but I love the eighties in it. Yeah. I think the more I DJ, I'm realizing, wow, I just want to stay in the eighties when I spend, you know, from the R&B to the pop to the rock to like everything is just like, again, the older groups are transitioning, but some of them are, you know, Marvin had joints, you know, still, you know, like it's cool to see like all these big acts like Chaka and even like a smokey, like go from how they transitioned to like, they just get into nineties to IZ's. You know, everybody. Yeah, that's right. And so, and the music's so fun because it's stepping into the digital and people are experimenting and having these big sounds, there's all these different sub genres and stuff. And I really love the eighties. Yeah. And then the campy outfits and stuff. It's insane. Yes, the neon and the synths and all of that. I'd like your approach lyrically too when you write, you kind of touched on it. Like it's very tongue in cheek. Yeah. Yet still has a, you express love and surprisingly romance. Romance in a woman. Yeah. Like it doesn't sound cheap or overtly sexual, but we all understand where you're coming from. And I think that again, that's a frequency that I think women get into because a lot of women don't want to feel slutted. Yet they want to be approached. Right. And I grew up. But don't stutter. Yeah, but don't stutter. Say what you mean. Say what you mean. Say it with your whole chest. Say it with your whole chest and you'll get somewhere. Maybe. But I love the word play because it does sound like we were playing around, but it sounds like a BIMP to some degree. Like how you deliver some of the lines. Like you hit them so heavy with visuals and optics and things that nature that next to you know, she's right here. Before you know it. Now let me ask you a question. Do you think that making a woman laugh helps with gaining the affections of a young lady? Sense of humor. Very important because again, your tongue and cheek style, I can see a woman laughing. Right. And then relaxing when you make a woman laugh. Most of the time she feels more relaxed around you. You gotta make love to the brain first. I think I love when people laugh. I love making people laugh. I love when a lyric makes me laugh. And I think I love clever lyrics. They just, and I love lyrics that are devastatingly sad too. And I love music that makes you take you there. Like you want to stare at the window and just shed a tear or you're on the airplane and you hear in these Deon Warwick songs or, and you're just like, wow, are Aretha singing about it? Talking about, knock on your window. Who was ignoring Aretha to where she was showing up stalking this person? Wrapping on his door. Can I know him? Like what in the world are you doing to Aretha? Have you heard of straw? Aretha getting the house? Yeah. Like you didn't hear the door knock? She got her ass knocked on the window. Get on the window. Stevie, did you write this? Yeah, I love it. And I love that kind of thing. What was me thinking the problem is romantic thing. I, when I write, I want to go somewhere. Like just want to watch a movie. I want to escape and I want to create the scene. I want to be, I want to be sharp and I've made so many songs and I'm trying to impress myself too at this point. I want to push it, you know, and I want to have it. I can't fool myself. And I know what I've said. I know what melodies I've done and I want to, I want to do something. When people laugh, you tapped into something. Once people cry, you tapped in, you know, you can make people experience these emotions. You're striking an accord. And with me, I love it when it can be witty, but there's a truth in, in all of it, you know, when people laugh sometimes in order not to cry, they laugh because it's like they can relate. And now you can laugh at it, but that's a deep, that's a deep cut right there. I know what that guy's talking about. And it makes, it puts a smile on my face. And when it with women, yeah, because it as women, you know how dangerous it is out here. And they can't talk to nobody down here. And, you know, just walking down the street is insane for them. And when, you know, I meet a lady and you can make them laugh and get them to open up and feel like it's a safe place. And they want to listen more and get comfortable. And they can be free to be as goofy as they want to. I love that. And I love putting that into my music. And I think it's just, there's a fine line, you know, with it being a jokey song or not taking serious too. It just has to be so smart and so, so good. And I learned a lot doing that with Bruno as well, because he was one of the first artists that I met that shared a love in that too. Right. Yes. With making these women's lines. Yes, you guys are a kindred spirit in that sense. Just, you know, it's in, so we had a great time with silk sonic and doing going back and forth with that. And, you know, I think I really established that with, again, with working with knowledge, with no worries and songs like suede. If I call you a bitch, cause you're my bitch. Right. It's like, it's like jarring, but then it's like, okay, where you going with this? But guess what? As long as no one else is going to be with you. Right, you're a bitch, right. Right, right. If you call me a trick. If I call you a trick. Right, right, right. And it's like a Sunday man or woman child, anybody could say. Yes. Do anything, you know, it's like, and coincidentally, it's my mom's favorite song. Again, you know, I'm playing stuff for my sisters, my mom and stuff, and they let me know. Like, I don't like that. But you know, a grown-ups is almost like that song in particular is almost like, if you know, you know, like, you know, where you coming from. Yeah. Like a grown woman knows where you coming from when it comes to that. When we were working on her album, she's another one. The queen with that, these witty. What was it? What's it like working with your friend? Why he got this big cool age? What's it like working with Moran? We talking about Queen Exotica? Yes. Oh, yeah. Queen Exotica, is that her name? Hello, Queen Exotica. Okay. Herself. Okay. Queen Exotica, her damn self. Actually. Okay. Yeah, that's Queen Exotica, her damn self. What was it like working on her project? I mean, a dream. It was a dream. It was, again, so much fun, so many jokes, so much laughter. And very, very refreshing to work with someone that has done everything. So many number one hits. I mean, there's so many heights that she's seen, but she gets in there and she wants to do it again. She's coming in writing. She's coming in with ideas, concepts, and I love that. And it makes me want to get on my A-game, and it gives me hope. And I'm like, yeah, this is how I want to be too. And I still got work to do. And she was down to put in that work. And I had a dream team with me working on her project with Roje, Bongo, Alicia, Ray Khalil, her MD, Daniel Moore, Pounds, and J-Mo. It was just like creative bliss. And I'm bringing in such a great team and to work with her. And it wasn't like, I mean, we worked for about a year. And she came in strong with two, a collection of songs that she had already been working on, too. Or a lot of the fan favorites right now, that not let the albums come out. And it was cool to see that how she was putting it together herself. She knew how she wanted to, we're making a bunch of songs. She knew which one she wanted to do. And a lot of stuff we recorded just like this. And now Booth were just writing on the spot with the mics. I was about to ask you, how did the creative process, what was the workflow like? Yeah, we had mics, some cord mics, and we'd be in the control room just writing. Me, her, Ray, and she's shooting ideas, we're like, okay, we got the verse. Then I do the verse, and then she'll go and record her vocals separate. And then she come back, I hear the mix is crazy. And I'm like, okay, I want to record my vocals. You know, that was a surprise. She's like, nah, it's coming out tomorrow. I'm like, now Queen of Zodica? Like, yeah, so, yeah. Yeah, break it down. You gotta be 100% on all the time. So I learned that when we was in there. I'm like, okay, anything vocally I'm doing, I gotta remember that it might stay. So these takes is it. Let me do that over. Right, right. But it was amazing. How did you end up being a part of the process? How did you get intermingled? She just called you one day? Yeah, her team made me up and they said that Mariah's a big fan. She wants to work and I was like, let's do it. Wow, that's awesome. Yeah, and I started, you know, I was looking at her interviews and stuff and just seeing how funny and down the earth. Yeah. She's just so many clips, so many memes. Hilarious and I knew we were going to get along and we did our first sessions at Electric Lady. That's beautiful. And it was this boom right away. We wrote In Your Feelings first night and people won't allow it, like, bunch of records. Did you record most of it on the East Coast or did you go back and forth? We did East Coast and then we did, we went back in from like Type Dangerous and the duet that we played a song, we did that at Conway. Okay. Yeah, I really liked that one too. Yeah. Yeah. Okay. Yeah, when, you know, my studio is being worked on now, so, you know, and I still like to do live instruments and I start like to work in the live room and stuff. So trying to find a live room is like that you like. Yeah. It's tough, you know, and when you don't have your studio, your own studio working and you're trying to do, book these other sessions at these studios that are kind of going out. Now there's only a few really good ones left and so once you find a good live room, you kind of want to stick with it. It's almost a lost start, but it's still very necessary. I mean, because again, music hasn't been completely turned over to the digital age, like there's still a need for live strings and orchestration and all of those things. Shout out to engineers and recording engineers that know how to still properly do all that stuff. Yeah, that's true. Do you think that the industry will circle, you know, everything's a trend and it kind of goes away and then it comes back? Do you think live instruments will come back and we'll see more of that, more drums, more keys and everything live? I have kids, I have an eight year old and a 14 year old and I mean, you know, they're my kids, but my son's into, he's playing the bass guitar, making beats, he's playing drums, he loves that. And I feel like if there's ever, there's always going to be the balance, I feel like. If there's, if everyone's doing this, there's got to be a void somewhere that needs, you know, people need to be filled. And I think that, yeah, as things go more digital, as things go more AI and things go more less human, I think people are smart enough to see that and they're going to want to do anything to get a real human moment. And I see that even now, even with the media that people watch or the type of, you know, with the younger artists coming up, you know, like people just want a real moment. And when you are in the presence of someone playing an acoustic guitar and singing at the same time, if you grew up on AI and you grew up on McDonald's and all that stuff forever, when you really get a real piece of home cooked meal, it'll change you. It's going to do something to you. Sean, do you both, this is kind of a question for both of you guys. Obviously, the AI thing is becoming really prevalent, right? I've seen Tupac perform in the last 48 hours. So, you know, Martin Luther King, yeah, Martin Luther King, DJ. He was on it. He was on the ones and twos. I saw Mr. Rogers do hit him up. Yeah, right. There's nothing sacred. Yeah. So does this scare you guys as musicians or is this a fad? Is it going to come and go? I think for the creative ones, it's a tool. Just use that as a tool. Like it's never going to surpass the human touch, the human just sensibility. These things are AI, artificial. Let's just keep that in mind. It's artificial. It's not real. And the only thing that makes it real is when a human puts their hands on it. So at first I was kind of scared, oh my God, you know, the music. But I don't think it's going to do anything, but just make the real creative people have another tool in their tool belt to say, OK, cool. If y'all can do this with certain people or with average skill, imagine taking somebody like Anderson using AI, he's going to create an opus. What it does, it just cuts the time. Like, OK, I got an idea. I could just feed into this. It'll bring up which will inspire me to make sure I do what I need to do quicker and better. And then instead of two months, it'll be two weeks. Just as an example. So I don't think AI is going to, it's not going to be like Terminator, where it's going to take over the world and we're fighting machines and shit. Yeah. But it's a tool. Yeah, I think it's about the user and how he uses it. I don't know. I go back and forth with it because it terrifies me too. But I remember being like that when everything was going to streaming or when I, because I feel like my age group has kind of been a guinea pig of all these transitional things. I still remember tapes and things going over to CD. And then you can just skip to the next. You just skip back. You got to do no rewind. Jack. And then everybody was like, I would know people always want to buy hard copies. And then things going, me being in high school now, and now I'm downloading on Kazaal, making tourines and stuff, line wire stuff. And with the internet, which was just coming about, and then that move into streaming and people not being serious about that. And people, there's always an uproar of people trying to fight and go against it and people working with it. And I think I'm more on the side of how am I going to adapt and work and how am I going to lead and do something creative that's going to feed my artistry and how am I going to feed the people without taking the human element and without taking the uniting element out of it. It's not funding me to feed a computer and everything and it does it. Well, that's for those who are... You know, they're always going to have that. Yeah. It's always the guys that's going to do that, that's going to try and skip a few steps. But that only takes them but so far. And like I said, putting it in the hands of a creative like yourself, always used the analogy of Tony Stark. He had Jarvis. Yeah. Yeah. But it was still Tony. Yeah. That was coming up with the ideas and the concepts and all those things. Even like Stevie, the intervisions, when you imagine like when he had all these like access to all these synthesizers and all this stuff and he's making these records, just him, he's playing everything. You know, like I imagine like some people are probably like, what the hell? If it ain't a grand piano. And then he's just like, he's going to be claps and everything. It's going to be a crazy thing. Like he probably couldn't wait for that to happen. And so I think it's going to create a breed of different artists that just naturally. You're just going to bring back a lot more like here today, gone tomorrow, one hit type wonder stuff. I think that's always going to be. Because when you talk about thriller and bad earlier, right, they still sound great 40 years later because the live element that you guys talked about, this digital moment of just putting everything in the machine and spitting it out quick. Yeah. It's so much, so much goes into the artistry though, too. You know, with Michael Jackson, his attention to detail with everything. When you're hearing thriller and off the wall, yes, these are records, but you're hearing Michael and you're human, your brain is going back to the glove. It's going to the moonwalk. It's going to the monkey. It's going to everything. Right. Right. As an artist was able to do what he was on this earth, you know, and it's like, then he got the records, you know, because he knew like I'm going to work with Clint. I'm going to work with these guys and it's not going to come out to this, this, that, and I'm not, you know, I'm going to do this. I'm going to take no shorts and that's that. And so he is, that's the kind of artist that become timeless. Yeah. Regardless of if you think it's good or bad music, whatever, that's what everybody's taste is different. And but I think, yeah, the here to date gone tomorrow, there always going to be little offshoots of that that just you come to because they're not, they don't got that much time put into the artistry. Right. And the fans are not stupid. Like you're going to make a hit and then you're going to come out and you're going to have to form that. And you're going to have to sell this something more. You're going to have to do something. What are you about? What do you stand on? AI can do that. Yeah. And as soon as people get that, they, that is corny. Like so when they, what's corny is like, okay, you're going to sign AI artists now, create these fictional things like, give me a break bro, just pay the artists. Yeah. It's way the real artists. No, we seem to try to find a way to skip the artists. Yeah, I'm going to tell you. The streaming and skip the artists. Yeah. Like it's not going to work. The fans are not going to buy that, you know, like they're, I mean, like I think it can't, I don't know, like, I just, No, it's not. And that's what this way, anybody that's seen the matrix, yeah, you'll understand exactly how that turned out. Because the bottom line is, is that machines are limited to the time and they can only develop as much as we let them. Like they are a synthesized version of what humans have already done. They're just collecting the knowledge and it just sounds more profound because they can spit it out quicker or they can do things a little bit faster. But at the same time, we are like the matrix, we are the food, like the battery. Yeah. To all of those progressive technological advances, like they need us just like we need them. Yeah. You know what I'm saying? Yeah, it's just, what I see it is that I think it kind of makes the line in the sand of what are we going to do as artists? You know, like, are we going to, like I see in the movie industry, like they see this stuff coming and they make attempts to change the rules a bit, right? So that we don't take out the actual art, the human element. Let's get in front of this, let's band together, no movies are going to come out. Whatever. I just think about how far we are as in the music industry where it's like, would that ever happen? Where if it, because the AI shit is going to go and it's going to continue, it's going to get better. You see Mr. Rogers with Tupac right now, but 10 years from now, it's going to be something. Yeah. You know? And it's like, are artists going to be ever going to get together and be like, hey, we're not putting out nothing. We are artists, we control it. We're going to not put out nothing, we're going to put out nothing streaming. We're going to talk, we got to talk about this. That will only happen. That will only happen once we realize that we are in control. Once artists realize the effect that we have on AI, on these DSPs, on all of these standards that have been created for music to be consumed, that's when the change will happen. But right now, I think everybody's still trying to wrap their heads around it. And from what I see, all I hear, I rather see is just complaints. Oh, we're not getting paid this, we're not getting paid that. When once they realize that, wait, maybe I can just change it. Like I hear people talking about, oh, the music ain't the same. So change it. Change it. That's right. Like once they realize that, oh, I could change. Yes. Yep. Yep. You can change it. But right now, everybody is just, because the coin is so shiny, and the carrot is so yummy looking that people tend to want to just feast on the carrot when there's a whole bushel of vegetables behind that tree, if you just look to the right. Right. And that's really what it is. Once people in this industry established the fact that, yo, we are, we are the music. Once we realize that, that's when things will change. But until then, it's going to be what it is. Did you ever have a moment like that? Like, I don't know, like when you guys were recording, and you guys come up with like doing five part harmonies like acapella, like, and essentially like that was like with soul. And like really you had to have those chops. So was there a time where you saw things moving in a completely different direction of that? And you guys were like, shit, what do we do? We absolutely did. It's funny. I was just talking to a gentleman that worked on our album. He was at my daughter's school, you know, football game, whatever. And he said, yeah, I worked on this album with you guys. And it was really, really great. And I love this song and I love that song. I was like, I love that album too. I said, but when people are just tired of you, they're tired of you. It's nothing you can do. Like there's a moment where you can become so big that people just want to just be done. Like, okay, I'm done with you. Like, okay. There's always to make a fatigue. Yes, yes. And that comes from, that was around 97, 98. It started to kind of dwindle. No, but seriously, like people just tend to, and dare I say that the industry gets tired of you. Right. The industry itself. It's not really the fans, it's the industry. Yeah, it starts with the industry first because they start to shift. Yep. They start to go, you know what? Going to different, putting that energy and time, money into other acts. We're done with that. Like, we're moving on to something else because not only from a creative standpoint, which labels have never been creative. Like, let's put it out there. Like, labels are not creative people. Like, that's not their job. Yeah. But they see certain things go from one thing and another, but the most important thing is, they see the budgets. Once an artist gets to a certain level, they ask for more. Labels don't like that. So they say, okay, let's move on to something else. Right. Because there's always some new upstart that wants to sing and wants to be a star in a whole nine yards that costs 50 bucks. Right. Yeah. So they're like, okay, let's put money in that. Because it saves us money. It's cheaper. And then we can get rid of this headache that's charging $2 million for a music video. So it's a lot of things. It just has a lot to do with some of the creative stuff. And they have a lot of influence as far as like what people listen to. So yeah, it makes the people then in turn go, you know what? Yeah, I'm tired of this. You know what I mean? I like the old shit. Right. And then when you give them the old shit, how they doing the old shit? He's stuck in a rut. It's like, you know what I mean? Like I'm telling you, like, yeah, right. And you've been in the same. Shut up, Eric. Right, right, right. It's the same thing. Like so when people are tired of you, it's nothing you could do. So it's one of those things where you just got to be yourself. You know what I'm saying? But hey, I had a lot more questions. But you know, we're going to make. Speed round. Yeah, we're going to speed round it. All right. What type of what type of guy was Mac Miller? Oh man, the most charming, witty, charismatic, real musician, real music nerd. Love to have a good time. And the most generous. He loved to put people on. He loved to help people in industry and he loved. You know, championing people, taking them on the road. There's so many stories of people that are other artists that he helped, even with mine. I got one of my biggest records with with with Mac and it was a record that I was going to hold. I didn't know what I was going to do. I was going to give it to the producer for his project. But I didn't really see it. I thought it was a little somber and he saw a hit out of that song. And it's exactly what it was in a great producer. And I really miss hanging with him. And it was a great hang. One of those dudes that again, like Bruno, like Mariah, just you. The foundation is because you guys love the joke. You know, you love to laugh and you love your real music nerds. And you guys are talking about this record and you guys were, you know, he was a gearhead. So that was awesome. And I didn't even get to hang with them that long. I mean, you know, between the few years that I really got to work with them, we got to get close because we were on tour. We did a few tours together. We got to go to South America and do Lollapalooza. So he was just just like a great friend. That's awesome. Shout out to Mac and his dear mom, Karen. Yeah, man. Love to Karen and the rest in peace, Mac Miller. Your top five. I wanted to do something different because again, you're such an eclectic soul. And just saying your top five rapper or whatever, I think is a little different for you. So your top five favorite bands. Doesn't matter what the genre is. Nice. Just give me, give me a. The wider the scope, the better. Okay. Irfan and fire. Okay. The Beatles. Mm hmm. Not strong. Right. The Nerf when fire did cover a Beatles song too. What should we? Gotta get you into my life. Wow. You're right. Yeah. They just, they just lacked it. Exactly. See, I didn't, they took that because I down there thought that was their joint. Yeah. Wow. Mm hmm. Bands. Yep. Three more. Three more bands. I'm just trying to be real smart with these. Yeah, yeah, yeah. Elkast. Yes. Yes, sir. Elkast. Huge. Yes. Huge, huge. Two more. See, I knew it was this, this. I catch some black from this one. No, go ahead. Let it rip. Okay. I gotta make it right. You know, they do it for me a lot sometimes. Steely Dan. Steely Dan. Asia's a great record. It's a great record. King Charlemagne. Yeah, man. Yeah, man. That's great, great shit. Okay. One more. What's the last one? Don't rush the man. Let him, let him breathe. Yes, let him breathe. Let him breathe. Woosa. Yes. Do the Clark sisters? They count as me? Hell yeah. Yeah. I would say the Clark sisters. Yes. That's... Wow. Wow, that is a wide range. Fool's with me now. Try to stop that. Who'd I say? I don't think no one can. You said Earth, Wind and Fire to Beatles, The Clark sisters, Steely Dan and Elkast. That's sick. And the Fat Boys. And the Fat Boys? Okay. Honorable mention. What's the honorable mention? Hey, it's okay. It's okay. I'll take honorable mention. I got one more question for you. A song that's out, came out, no matter when it came out, that you wish you would have done. I don't want a life for Christmas. Hey. There's this thing I have to say. Okay, for everybody. By the way. I don't want the roughening underneath the paper thing. And I... And I... Yeah, I like that song too. Yeah. Great song. It should have been me. Yeah. That's fine. It's okay. Maybe the person of that saying... Life's long. ...that's saying every... Life is long. Maybe the person who's singing for you... Do a remix. Do a remix. Interpolation? Yeah. Okay. Last question now. Last question. Last question. What was two part? What's your favorite restaurant? Favorite restaurant? Give me one. I have a few. Okay, give me one. Please, when you're in LA, stop by Thai show, stop by Casita, Boulevard steak, whether it's Calabasas or the valley. Come to Andes, my supper club. Just opened my supper club. And we hope... Congratulations. Right next to the historic Dantanas in Trubidor. We'll be right with you. Yeah, yeah. We're a year old, and Andes is one of my favorite restaurants. I'm a bit biased, you know, he's my restaurant, but yeah. Outside of that, I love Fat Burger. Okay. All right, cool. So you're sitting in Fat Burger, right? Have yourself a double cheeseburger or something. Yeah, doesn't matter. Usually the ones that are open 24 hours. There's one on Vermont, I think that usually... Yeah, I think I've been to that. Okay, bet. So you're sitting, you're having yourself a Fat Burger. You're looking to the entrance. The younger version of you is there. He's been looking for you. He's been trying to find the answers to the future. He wants to know what to expect. So he sits down next to you. He orders himself a double burger. He takes some of your fries, and he sits and waits for you to give him some jewels of wisdom. What would the older Brandon say to the younger Brandon? Invest in Bitcoin. That's the best answer we've ever gotten. You need to do... Now listen to me a little. Shit. And what the hell you got? What is this? These reds? What's your deal? Cut that shit off. And Bitcoin now. Bitcoin. Figure it out. That's good advice. There you go. On that note, ladies and gentlemen, please give it up for Andrew's kid back. Hey, y'all. And that was on that note. Hope you guys enjoyed it. And if you did, here's a couple more videos for you to check out. Do not forget to like, comment, and subscribe.