- 2 months ago
Tinashe and Amaarae meet up for Rolling Stone's seventh annual Musicians on Musicians series. The two global stars talk about stage presence, side hustles, strip clubs, and the Severance-like disconnect between life and art.
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00:00There's this quote, it says, no one can stop me, only I can stop myself.
00:05You know where that's from?
00:06No, I don't.
00:07You said that.
00:08I did?
00:09Yeah, 2013.
00:11You don't even know.
00:13Yeah.
00:13I was like, that's a good quote.
00:21We actually met at Coachella, like, really briefly.
00:23Oh my god, yeah, yes.
00:25Oh my god, that's so true.
00:26I actually forgot that.
00:27That's okay.
00:27Wait, I was...
00:28I'm sure there was a lot going on.
00:29Was it after my performance and I was walking?
00:30I think it was right before.
00:31Because I was like, I'm going to go see your set.
00:34Yes, you said that.
00:35There's a lot.
00:36I have bad memory, I just want to say.
00:38I need to start playing memories.
00:39But this is my first official...
00:41Yes, yeah, like conversation.
00:42Not a million people, not at Coachella.
00:44Yeah, I have a lot of questions, so I'm excited.
00:46I'm going to start with Nasty, just, I guess, for...
00:49I'm going to go way back, but let's start there, right?
00:51Yeah, okay.
00:51I've been a nasty girl, nasty.
00:53I've been a nasty girl, nasty.
00:56I've been a nasty girl, nasty.
00:58I've been a nasty girl, nasty.
00:58For two months straight,
01:00Is Somebody Gonna Match My Freak was my mantra.
01:03And it actually led me to the love of my life.
01:05Really?
01:06I swear to God, I found somebody that matched my freak.
01:08Right?
01:09That's perfect.
01:09So, I wanted to know, how personal is your songwriting for you?
01:15Yeah.
01:15Do you, is it cathartic release?
01:18Or do you use it kind of like as a means and a method to either get yourself into a headspace,
01:23to get yourself into a new phase, or to shed an old phase?
01:26Like, what is that for you?
01:27I feel like it's both.
01:29I think that's the amazing thing about art and about songwriting,
01:32is it allows me to both process things that I have been through and kind of let that information be spoken.
01:40Or a lot of times, I won't say I'm like naturally the most outspoken when it comes to like confrontation.
01:45I can be very non-confrontational.
01:47I feel like music and art is like the easiest way for me to really kind of get my emotions across and like get things out.
01:54So, in a lot of ways, it is that kind of cathartic release.
01:58But then, on the other hand, I also sometimes use music as manifestation
02:04and use music as a way to kind of project maybe an energy that I want to embody
02:09or something that I kind of want to put out into the universe.
02:12So, did somebody match your freak?
02:14I'm still looking.
02:15I'm still waiting.
02:16Wow, nobody match your freak?
02:18Wow, that's crazy.
02:20As long as I can bring freaks together, then the song is doing what it needs to do.
02:25Fuck that.
02:26I was introduced to your music when I was like 17, 18.
02:31So, my introduction to Tinashe is Reverie, Blackwater, In Case We Die.
02:38Out of the three, Blackwater is my favorite.
02:42What was your approach from a production standpoint?
02:47Because for me, as like an 18-year-old girl in Ghana, listening to that,
02:52I think that you set the tone and the pace and the template for what became Trap Soul.
02:58I made all these music, all these songs in my bedroom.
03:01Were you producing?
03:01Did you produce all that?
03:03I was collaborating with artists that I was.
03:05I was producing some of the tracks and then I was collaborating with people that I met on Twitter.
03:09So, I started in this home studio environment just like kind of sourcing these or creating my own or putting my own spin on my own because it was very DIY.
03:17Hey everybody, I'm Tinashe.
03:19So, this right here is my home studio, aka my bedroom.
03:22It was very, I'm just going to get this studio equipment.
03:24I'm going to make it for myself.
03:26I'm not going to wait for anybody to do this for me.
03:29I have a vision.
03:30I want to get my art out.
03:31So, it was just extremely natural.
03:33It was extremely instinctual.
03:37It felt very like from the soul and from the spirit and yeah, those products were really special in that way.
03:44And yeah, they just kind of poured out of me in a very, yeah, in a way that I always kind of tried to reach back to.
03:54But you can never get that back.
03:55When you say in a way that you tried to reach back to, what are some things that you apply in your process now that you did then that kind of help you marry who you are now and who you are then and the things that you want to pull from both versions of yourself?
04:09I think it's about reclaiming that sense of spontaneousness, of being able to just make stuff from your soul and from your heart and not really be so confined to what's going to pop or trying to be too strategic or too formulaic about it.
04:26I think it's really easy to get caught up in that.
04:28And especially when you're trying to chase success, there's a lot of expectations that get put on your art and I'm sure you've probably experienced that as well.
04:36What was that experience like for you to be able to take your audience in a different direction and kind of challenge them in that way?
04:43Me personally, I just don't give a damn.
04:45Like truly, you know, so I feel like whenever I sit down to make music, I don't care about anybody's opinion but my own.
04:55But when I say that, I mean from a foundational standpoint of like it has to feel right within me.
05:01So I think that, but I also think that over the last decade that I've been making music, I've learned how to feel the right opinion and the wrong opinion.
05:09How do you make that decision?
05:10Is it just like a feeling that you get?
05:12Yeah, because I know like I've been doing it for 10 years.
05:14So it's not that none of you niggas is about to tell me that I already don't know, already don't want to achieve for myself.
05:20And also it's intuitive when feedback feels right versus when it doesn't.
05:27Like it'll be down to like, I'll go back and forth with Q or, you know, my A&R mat and he'll be like, oh, I think we need to turn the shakers down 2 dB.
05:35And I'm like, no, when you do that, it's, that's, we don't feel it.
05:39Shakers give you the feeling.
05:39And then the people stop dancing and I'm like, you know, sometimes people aren't coming from so many different worlds.
05:45I'm an African girl.
05:46So dancing is important to me.
05:56The way that my messaging is set up, but every song has a specific purpose and you have to understand what audience are you serving?
06:03I feel like if there's anyone in the music industry that knows what it's like to have independent thought and independent process and then have a bunch of people come in and start to tweak and tell you what to do.
06:16I feel like it's you.
06:18I'm curious about that process specifically for you, because at that time you're what, 23, 24.
06:25Yeah.
06:25And you're probably with like your goats, right?
06:28How do you, were you even able to express your opinion and your thoughts?
06:32I think it's, it's been a learning process for me to kind of get to that place because kind of like you, when I was initially creating music, it was, it was so like, I don't care.
06:44It's whatever I want to do.
06:45And I felt like it was a very insidious kind of process of how it kind of got chipped away at very slowly because honestly, everyone wants everything to be successful.
06:56A lot of times I, I, just as much as the next person wanted my art to be successful, wanted people to see what I was making, wanted my art to be heard and felt that, you know, it wasn't able to be placed in the places and spaces to give it that opportunity.
07:13So a lot of times I was really pushing back on the, I felt the pigeonholing in terms of genre.
07:20I felt that that really held me back, that there was a lot of people trying to narrow down what I wanted to create and didn't leave room for nuance, didn't leave room for thinking outside of these like very rigid boxes.
07:38I was independent for five years, um, before I ever signed a record deal and throughout my years of independence and ideally I'm my own boss, you know what I mean?
07:50And so I dictate the pace of the music.
07:53I have always, I love so many different types of music that every time in my process, I just want to take all of the things that made me feel something as a child and like re, re imagine them.
08:06Right. So no one was telling me what to do because I have, I started off, you know, funding my own music and then having a distribution deal.
08:16Um, and the distributors that I worked with were super chill. They're like, girl, do whatever.
08:20But that was also at a time where African music, um, Alte specifically was on the rise.
08:27So genre bending in African music was becoming a thing and they were looking like at a lot of the youth that were doing it.
08:33So there was a freedom there. I also feel like you, you fit a very specific female archetype.
08:38So I can see why they would hear what they heard and be like, uh, well, how about if you did this?
08:44You know, just thinking from a pop standpoint of what's sellable.
08:48When it comes to like success and it comes to like what, what the, the umbrella term of pop means for me, I always kind of considered pop to be just stuff that was hot and felt really good and felt just relatable, catchy, cool, pushing the genre.
09:06I think pop could be so many different things.
09:08What, what is a pop platform? Cause I feel like right now, everything is so,
09:13everything is so fragmented, but then also makes me at the same time that we don't even know what the, what is a pop platform?
09:21You know, for me, I feel like, I think there's recognizability, which there are artists that have far more recognizability than me.
09:29And that's totally fine. I think that that's just an eventual process that I believe that I will get to with more sharpening.
09:35Um, but when I think about pop, like I think, I think sad girls love money was not a pop record by any means.
09:43But if you think about the success of it, that then puts it in the category of pop, but it's so many different things.
09:50It's Afro, it's house, it's R and B.
09:53There was kind of a push to be a lot more simple and to simplify and to edit.
09:58And I think that it's exciting to see that, you know, that there doesn't seem to be as much pressure to simplify and to edit because there are so many different, you know,
10:08whether it be playlists or lanes or places and spaces that people are able to hear and enjoy music.
10:15So it's, it's really exciting to see, I guess, that shift.
10:19You have a concept first and then you build it out.
10:22I will either start with a concept or I'll start with the melody.
10:26Like I have a song on Blackstar called B2B.
10:36And, um, yeah, it'll be cute.
10:38Um, and I went to my co-writer because he's really witty and he's fun.
10:42And I was like, yo, so you know how the DJs be going B2B, right?
10:46So there's, there's the meme on Twitter where the girl is masturbating, but she's DJing.
10:50And I was like, it would be so fire to make a song about two, two, you know, two girls going B2B and the B2B is the sex.
10:58But can we write it as if it's like DJing, but it's sex, you know what I mean?
11:02And I, you know, I brought that concept up to him and we wrote the whole track around being clever about the way that we were presented.
11:10Then how do you get to that initial idea?
11:12Do you like just sit in your room and think about it?
11:15Are you like walking around thinking about it?
11:16Does it just come to you like the day before?
11:19You're like, I have to, do you sit down and you're like, I have to prep this?
11:22Like, what's your process in terms of like how you get to those concepts?
11:26The strip club.
11:27Hell yeah.
11:27So many songs for Black Star.
11:31If you're in a strip club, you're like, I got it.
11:33No, I, I'm not even joking.
11:35So many songs for Black Star were born in the strip club or in the midst of baddies.
11:42Where's your favorite strip clubs?
11:44Oh.
11:44This is like, let's get into the good stuff.
11:46Oh my God.
11:47Which city?
11:48Which country?
11:49Let me tell you.
11:50I feel like not LA.
11:50The two best strip clubs in life that I've gone to, hole in the walls.
11:55One is McCombos in DC.
11:58Okay.
11:59Lovely.
12:00Shout out, shout out, shout out to Pink.
12:01She got the pineapple tattoo.
12:03But literally, you know, like they will, this is a hole in the wall.
12:07Wait, where's the second one?
12:08Oh, second one, Austin, Austin, Texas.
12:11I went, I went for Austin City Limits.
12:14I don't even remember the name of this joint, but let me tell you something.
12:17Do you know why I like those two?
12:18Yeah, why I made it special.
12:19Hosting was crazy.
12:21So McCombos, they're done, right?
12:23They all line up and come and shake the hand of every single patron and say thank you.
12:29So kind.
12:30Talk about it.
12:31So thoughtful, polite.
12:31So that was my McCombos.
12:33Customer service.
12:35So, and then.
12:36Five stars on Yelp.
12:38And shout out to Lil T in Austin, Texas.
12:40I don't remember.
12:41I don't remember.
12:42Lil T is about.
12:44Yeah.
12:44Just maybe slightly shorter than you.
12:46Okay.
12:47Tatted up, white girl.
12:48No ass.
12:49But she shook that motherfucker.
12:51Oh man, she shook that motherfucker to my kingdom come.
12:53Because she had a son to go take care of.
12:55She showed us pictures of her son and everything.
12:57Shout out to Lil T.
12:58But yeah, no, literally.
12:59I feel like every time I'm at the strip club, I always like bond with them on like a personal level.
13:04Going to the strip club is like going to church.
13:06Like that's my tithe for the year.
13:08Like I go to the strip club to tithe.
13:10Wow.
13:10Yes, ma'am.
13:11And as you can see, the ideas are free flowing by the grace of God.
13:16Yes, exactly.
13:18But no, seriously.
13:19So the strip club, I think is like, it's a very big influence for me.
13:22But also just honestly being in the midst of like beautiful women.
13:25Yeah.
13:26For me, like when we went to Brazil, it was always pretty gross coming to the crib talking
13:31about like, oh, can we DJ?
13:32Can we get on the song?
13:33I'm like, yeah, girl, let's do it.
13:35How do you think your queerness like plays a part in your art?
13:38Do you think that that's something that you make like a focus because it feels like it's
13:44just so much a part of you?
13:45Or is that something that you're thinking about when you're making the records?
13:48When I think about being African specifically, and I think about queer spaces or the queer
13:53space, my mission and my goal is to make people feel seen and protected.
13:58And I've been doing that in my music and in my music videos, you know, since the beginning.
14:03You know, the first video that I shot was banned from TV in Ghana because it represented
14:07the trans community.
14:09That's pretty sad.
14:09Crazy.
14:10But I think that that's like a conversation, a story that I've continued through my music
14:16and will continue too, I think.
14:18You know, it's important to tell the stories of people who need that representation, especially
14:23being African.
14:24I'm also curious about your evolution and development and your visual identity too.
14:30I think the visual component has always been something that's very important to me in terms
14:35of like how I think the storytelling should come across.
14:38That goes for the music videos, that goes for the live performances, that goes for the cover
14:43art itself, that goes for every aspect that adds a visual element.
14:47To the music.
14:49But back in the early days of my music, I literally had, I was so broke, had no money,
14:56had no budget.
14:56But you bought your own cameras and stuff, right?
14:58I bought my own cameras with the money that I made because I was like a child actor.
15:01Yes, I know.
15:02Yeah.
15:02So I had this all in the Cougan account.
15:05So when I turned 18, I was able to like buy the initial equipment.
15:08But it was DIY for a really long time.
15:12Who shot the In Case We Die cover?
15:15All the mixtape covers were shot by my mom.
15:18Stop.
15:18Yeah, for sure.
15:19They were shot by my mom.
15:20In Case We Die was tea, I just want to say.
15:23So In Case We Die, we went to, my mom was a teacher at a university.
15:27We went to the university.
15:27She had a projector and like a screen.
15:30And like we projected like a spine on my back.
15:32Whose idea was that?
15:33With the spine?
15:34That was my idea.
15:35Tea, clonk it.
15:36So they were all like, black water was shot in my kitchen.
15:40Like we put up a black backdrop.
15:43And I was like, okay, hit the profile.
15:45Put the makeup on.
15:46In the kitchen.
15:47Amethyst in the kitchen.
15:49So it was like everything that I used to do was extremely DIY.
15:53And some of those visuals are really funny looking back.
15:55Because it was like my brother was doing the lights.
15:58Like my dad was doing, it was like a family affair.
16:00I love that.
16:00I was like, you're light boy.
16:01You're on sound.
16:02You're on playback.
16:04Let's get it.
16:04Oh, they were so supportive.
16:05I love that.
16:06So supportive, honestly.
16:07Just from day one.
16:09So with Fountain Baby, I started off and I was like, I want every visual to look like a fashion campaign.
16:16So as I was building the music, I had that in mind.
16:20So and then towards the end, that's when I started to kind of like mood board.
16:24And I was like, okay, cool.
16:25Tom Ford is going to be my inspo for this.
16:27And then I built that out.
16:27With Black Star, I was, I actually took it physical.
16:32So we had huge boards all over the house.
16:35And I was just like cutting out, like cut out pictures, tack, tack, tack.
16:39Because I wanted even the boys, like as we were working to be able to see the world as they're making the music and building it.
16:45It was not me.
16:46Everyone on the same page.
16:47Absolutely.
16:48So it's like if we read the manifesto and what we doing don't match the manifesto, cut it.
16:52Cut it.
16:52Done.
16:53Yep.
16:53Move on to the next idea.
16:54You're independent now, right?
16:56How do you navigate, like having a vision and going on tour and from a financial standpoint, I think as an artist, like, because you have like a bunch of dancers, you have wardrobe.
17:07There's a lot.
17:07It's really elaborate.
17:09Can you talk me through, I think, just the business of that and how you make that?
17:12I mean, I think it's something that a lot of artists don't talk about enough is the financial burden that touring takes.
17:19A lot of people think that, okay, you go on tour, you make all this money, win, win.
17:25But in my experience, a lot of the tours that I've gone on, I've ended up losing money because I have the vision of the creative and the things that I want to achieve.
17:33And a lot of times the rooms, the tickets, whatever, it doesn't, you don't end up getting to that place where you end up net positive.
17:40There's some level of sacrifice if you want to kind of create the vision to the degree that you want to create it.
17:46And a lot of times you could get creative, you could get crafty.
17:50And over the years, obviously, I've been blessed to be able to play bigger rooms and make more money and to be able to actually be able to not lose as much money on tour or to not kind of end up in those positions.
18:01But I understand as especially new artists, like, it's super tough to be able to tour and to go to these places and fans in all these different cities that want you to come.
18:13And you're like, you don't understand.
18:15Yes, I was really like, I can't get there.
18:18Do you like touring?
18:20I really love touring.
18:21Touring is fun.
18:22But it's like you have to also, I think, find the balance between touring and the other things.
18:27Right.
18:27Because like for me, I have a really hard time doing both at once.
18:31Right, right, right, right.
18:32Some people can make a project and be on tour at the same time.
18:36I feel like I have to give all my energy to the project.
18:39Right.
18:39And then all my energy to promoting it and then all my energy to the tour.
18:43And so there's like a cycle, kind of like a seasonal thing that happens when it comes to music for me.
18:49For you, how does, do you like performing?
18:51Do you like touring?
18:52Do you, like, what's been your experience with that?
18:54I love to perform.
18:56I hate to tour.
18:58Just being on like the long haul kind of aspect of it or, I mean, I understand.
19:04There's a lot of places that you go that are not, it's not glamorous.
19:08Girl.
19:08It is not comfortable.
19:10I'm, I like, I'm a real homebody.
19:13Yeah.
19:13I don't really go out.
19:14Yeah.
19:15You know, even, I just.
19:16I mean, your music sounds like you go out.
19:19It's so interesting because I think I have like a shell personality and that's who Amore is.
19:26I mean, I understand that too.
19:27Yeah.
19:27I'm not, I'm at the crib.
19:29All the music that you guys hear is just my imagination of a personality.
19:33Really?
19:34Like fully?
19:35A thousand.
19:36I don't want to say.
19:37Okay, fine.
19:3920%.
19:40Okay.
19:40Is, is the, that means the persona is within.
19:44Like, it's not something that I just made up, but it's something that's within.
19:47Yeah.
19:47But the 80% of who I am, like, I'm very quiet.
19:51I like to just be at home.
19:52I like to spend a lot of time with my family.
19:54I have like my four or five friends that I've had for the majority of my life.
19:59You know what I mean?
20:00So touring for me, it, like, it actually completely discombobulates me.
20:06Like, I just started getting my touring vibe under control.
20:08And it's like, I land, I have to go to the sauna.
20:11Yeah.
20:11Take the ice bath.
20:12I have to sleep.
20:13There you go.
20:13Oh my God.
20:14You have to sleep.
20:14I have a song and it goes like ketamine, coke and molly.
20:17And, you know, that's one of my mom's favorite songs.
20:19Period, mom.
20:20My mom is one of my managers.
20:22And I wonder if she listens to the song and she, she goes, hmm.
20:26Yeah.
20:26I wonder if I'ma does ketamine, coke and molly.
20:28You know what I mean?
20:29So I think that that's like a really good example of like the separation where it's like,
20:33there's a character that you build sometimes even from album to album.
20:37Yeah, totally.
20:37Like if you think about like Tyler, the creator.
20:39Sometimes song to song.
20:40Yeah, exactly.
20:41So I think that that is, those are things that exist within me.
20:45But I think that they're also things that exist within the places that I've been.
20:51Other people I've experienced, things that I've seen.
20:53And that's just kind of my expression of it.
20:56So definitely, I feel like, I feel like, I feel like, you know, severance.
21:01That's, that's my artist self.
21:03Like when I cut, when I get into that, split.
21:05Yeah.
21:05And then when I'm done, I actually don't even remember.
21:08Yeah.
21:08500% of what happened.
21:10Yeah.
21:10Because when I come back to myself, I really have to be just ama.
21:15Because being ama-ray, being an artist and you deal with so many people and there's so
21:22much going on.
21:23I actually don't, as ama actually have the temperament.
21:26Yeah.
21:26Or the power to sustain having to deal with that.
21:30So I really have to split.
21:31I feel like the trilogy marks a very important part of your career.
21:36How do you feel about the music that you've put out so far, especially in the last two
21:41years?
21:42I think, and I say this, I think in the most polite way, I think a lot of people counted
21:48you out.
21:48Oh yeah, always.
21:50Right.
21:50And I think that to me, at least, time and time and time again, you've proven how resilient
21:56you are.
21:56Yeah.
21:57Even in the midst of doing things that didn't feel completely natural to you, you still persevered.
22:04I think it's been a very interesting experience because, yeah, there were 10 years between
22:10like my first quote unquote hit and like my second quote unquote hit.
22:14And I definitely throughout that entire time have always felt like, okay, well, I'm going
22:22to do this regardless.
22:23Like music is what I've, I'm meant to do.
22:26This is my path.
22:27This is what I'm going to make regardless of how it's kind of received, regardless of
22:32how it all plays out.
22:33And I think that there has been so much pressure and pushback from whether it be the public
22:40or whatever to achieve a certain, you know, accolade or to reach some certain status, whether
22:48it be on the chart, sales, Grammy awards, things like that.
22:51And I think over the years it got to a point where you really start to value the important
23:00things, which is being able to connect with fans, is being able to create the art itself,
23:05is being able to express yourself and the, you know, to the fullest.
23:11I've created so many records over the course of my career and have made so much art that
23:15I've really genuinely loved and genuinely felt like deserved more.
23:21And so a lot of times it's like, okay, well, I'm not going to put any of that on, on my music.
23:25That's kind of irrelevant to me.
23:26That's not why I make the art.
23:27That's not the, the core, you know, purpose of it.
23:31And so I think when you do achieve a level of like success on paper or mainstream accolades
23:39or, you know, chart positions, it's definitely a good feeling.
23:43It, it feels like it validates the, the work that I've done and put in and that, you know,
23:49it, it's a testament to if you just kind of keep staying the course, eventually things
23:55will all work out for you.
23:56But at the same time, I try not to put too much on it because I think, again, it's,
24:01it's a very intoxicating thing to get caught up in.
24:04I think that when I came into this interview, I was thinking about the future and like 20 years
24:08from now, if a girl is looking, you know, for any type of inspiration or just wanting
24:13to know or understand how, what direction to go.
24:16Like I really wanted to come into this interview, giving information to the future.
24:21You've been through so many different eras of music, not just personally, but even like
24:29you start, you were, your start point was like with the Travis Scott's.
24:33Yeah.
24:33Jenaiko was coming out.
24:34Childish Gambino.
24:35Mixed tape days.
24:36We were uploading it just like.
24:37Yeah.
24:37You guys were on SoundCloud, Spendrilla, DatPiff.
24:40Totally.
24:40Yeah.
24:41And you've been through so many different cycles.
24:44What is your opinion on the state of music now?
24:47Tam, the music industry changes so fast and so often and not just a little bit, like it
24:53changes a lot.
24:54And like you said, I've seen just so many different variations and ways that the music
24:59industry has adapted, whether it be through the rise of social media or specific social
25:04medias or the radio used to be like the number one, you know, indicator of if a song was a
25:10hit or if it was successful.
25:12Now it's completely streaming wasn't even a thing.
25:14Now streaming is this huge thing.
25:15And I think for me, the biggest takeaway is that you have to always be adaptable.
25:21You have to remain adaptable because the entire world is speeding up constantly.
25:25There's so much that's changing.
25:26There's so much that's happening in our day to day lives.
25:29I think we're all experiencing just like so, so much.
25:34What do you think is down the line for you a decade, two decades from now?
25:38Like, do you feel like you want to be continuing in music?
25:41Do you feel like you want to be discovering and mentoring?
25:43Are you going to pivot completely into something new?
25:46I just love creating things.
25:47So whether that be directing, creative directing, designing, fashion, you know, art, painting, cooking, creating things, making things.
25:57I love plants.
25:58I love design.
26:00I think having all those be interests are things that I can potentially follow and kind of curate.
26:08But at the same time, I don't have like a very rigid plan for like a 10-year plan.
26:11Do you have, are you like a 10-year plan kind of person?
26:13Like, do you know exactly what you want to do?
26:15No, I have zero plans.
26:16But I have zero plans.
26:17But I know, what I do know is that like my body can't tour forever.
26:21So we're going to have to call it quits at some point, you know, just physically.
26:25But I really, honestly, I want to get into like executive production for other artists.
26:31Like, yeah, for other artists or for like film.
26:33That's really, I love, I love having a vision and putting that vision together and like deconstructing it just to put it back together.
26:41And I would love to do that for other artists and be like, to not be the artist.
26:46Yeah.
26:46Well, it seems you have so many ideas, which is something that I love as a creative.
26:49It's just like my favorite part of the job is just having ideas.
26:52Yeah.
26:52Like coming up with ideas.
26:53Yeah.
26:53Do you have a 401k?
26:55Oh, yeah.
26:55Oh, tea.
26:56Yeah.
26:56Oh, yeah.
26:57You got to be prepared, you know, all that.
26:59Get a 401k.
27:00Are any parts of your body insured?
27:02Like, are your vocal cords insured?
27:03No.
27:04Oh, my God.
27:04Wait, what?
27:05I don't, are you, are you, are you insured?
27:07Oh, yeah.
27:07But you know what?
27:08My family works in, my, my mom owns an insurance company with my brother.
27:11So that's the business that they do together.
27:13Okay, maybe.
27:13Yeah, you got it.
27:14Damn.
27:14Do you have life insurance?
27:16Yeah.
27:16Okay.
27:16Okay, maybe you should have life insurance.
27:17Yeah, like the whole me is injured, but not like specific.
27:20Yeah, you should have like, cause like your, your legs, cause you're a dancer.
27:25You're, wow.
27:26Yeah, you gotta, you gotta get on that.
27:28You're not wrong.
27:28Call, call, you can call us, G, G, G, and B insurance artists call us for your insurance
27:33needs.
27:33We got you.
27:35Car, house, artists, anything.
27:39That's awesome.
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