00:00I always talk about my music as like, light at the end of the tunnel music.
00:03Helen Beck is like the epitome of that.
00:12I always would shy away from this song.
00:13In my head, I was like, I don't want to be defined by one song.
00:16Fast forward a couple years from that, I had this moment.
00:20I would just see the look in people's eyes with this song.
00:22I was just like, I almost felt guilty about how I was looking at the song.
00:26So I ended up writing this letter to Helen Beck, basically being like, I apologize.
00:30I apologize for how I've treated you, how I've looked at you, and almost how I've disregarded
00:35you.
00:36And I do love you.
00:46The Mountain Dew thing, I've actually seen people that really write deep dissertation
00:50level kind of explanations on what I mean about that.
00:53I didn't mean much about it.
00:55Honestly, I got to America, I saw Mountain Dew everywhere else, I hadn't seen it before.
00:59It looked like lava.
01:00You know what I mean?
01:01Like green lava.
01:13Before I even made the song Helen Beck, I knew that I was going to make a project called
01:17Will You Be My Yellow.
01:18I had done this painting with a friend of mine that was called Will You Be My Yellow.
01:21I just took a yellow paintbrush, and I just painted the whole thing yellow, and then with
01:24my finger I wrote, Will You Be My Yellow.
01:26And so when I made Helen Beck, I was like, this is the single to Will You Be My Yellow.
01:41My friend that I was saying I did that painting with, he passed away not that long before
01:47I made this song.
01:48And then there was also the fact of whatever scenario I was in with the female that I like.
01:53So those two emotions gave me this oomph to just like, you know, maybe I wouldn't even
01:58have said something with that much weight.
02:00Like, save my life.
02:01That's quite dramatic.
02:02It's almost like I realized, damn, whoa bro, you went too far, who'd have known you'd fly
02:06my kite.
02:07It's like, wait, wait, wait, chill, chill, chill, chill.
02:10Let's get back to the beat.
02:24I write songs from a hip hop place.
02:33I'm not a rapper per se, but I write songs from that place.
02:37It's a four bar hook.
02:39And when I tell you that I write things from a hip hop place, and you look at that four
02:42bar hook, it makes complete sense.
02:54So the blessed part, in London, me and my friends, or just in general, it's a greeting
02:59or a goodbye.
03:00But also we're like, are you blessed?
03:01It's like something we'd say to check up on someone.
03:12Again, painting this picture of like, I'm in the park, we're looking up at the sky and
03:15like, how reaffirming, how comforting would it be for the person next to your loved one
03:20to just be like, the world is ours.
03:22Can you imagine that?
03:33It gets like that.
03:34That might even be like the more important part of that line, is that it gets like that.
03:38And then like, yeah, wrong side of the moon.
03:40We're just on the wrong side of this equation.
03:42But then also, yeah, play on the Pink Floyd album, Dark Side of the Moon.
03:52It becomes way more effective when I rhyme actor and BAFTA.
03:55The impact is felt more.
03:56I don't know what it stands for, but isn't it like the British Academy of Film and Television
04:00or something like that?
04:01I'm getting specific about stuff where I'm from, and this song transcended all of that.
04:05Yeah, I think that's a really important take and a really important message, is just like,
04:08you can get specific about where you're from, and it can become way, like worldly, you know
04:13what I mean?
04:14And way bigger than the town.
04:16Bro, I can make anything rhyme.
04:19I think things rhyme when you match context and feeling.
04:25It's not just about the syllable.
04:27It's about like the delivery, how I'm presenting it to you, and how I say it to you.
04:32I truly believe that I can rhyme most things, or at least make you feel like I'm rhyming
04:37most things.
04:38We're not rhyming words, bro.
04:39We're rhyming syllables.
04:41I need to stop.
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