The Lost Episodes: MIA

2026-08-05 20:59:00 • 1:01:28

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Welcome back to the Out of Free Lunch Show.

1:11

This is the second week of our last episode series on the 26th of August season three premieres.

1:17

Folks, this week's episode is with MIA.

1:21

I went to London for a soccer game from my bachelor party and I'm disgusting.

1:28

I'm sick.

1:29

I'm seeing you guys to this angel.

1:32

But it's a really good episode.

1:33

I just watched it this morning.

1:34

It's really good.

1:35

You'll enjoy it.

1:37

So that's probably why we didn't release it.

1:39

I don't know.

1:40

But also, New York Comedy Festival, November 27th, Town Hall.

1:44

Get your tickets at AdamFreeLend.Show.

1:46

Thanks a lot, guys.

1:47

Enjoy the episode.

1:48

It's good.

1:50

That's why you said that was sarcastic.

1:58

Ladies and gentlemen, it is my distinct honor, privilege to welcome MIA.

2:04

Give it up for her.

2:05

You really brought an entourage today.

2:09

Hi.

2:10

Hi, MIA.

2:11

Thanks for coming on.

2:12

Hi, Adam.

2:13

I'm a big fan.

2:14

I was telling you on the phone yesterday.

2:18

You strike me as a person that everything you try you're good at.

2:22

Is that right?

2:24

Oh.

2:25

You just couldn't do it.

2:27

You did want to be a musician.

2:28

You just did it.

2:29

Is that right?

2:30

You want to be a filmmaker?

2:32

Yes.

2:33

Yeah.

2:34

It takes a lot of money to make a film.

2:37

Yeah.

2:38

And I was like, how am I going to do that?

2:42

And then...

2:43

I talked to a filmmaker because I thought he might have met you today.

2:45

But he said that I think you just are a fan.

2:48

But I wanted to know if you guys are a bit...

2:50

I think there's a harmony today.

2:51

How many Corinne?

2:52

Yeah, yeah.

2:53

Oh my God, I haven't seen one of them.

2:55

And he said, say what up?

2:56

Yeah.

2:57

And you're like dog with 95, too.

2:58

Those are your best year five.

2:59

Love it.

3:00

Yes.

3:01

Hearing that, you went to Central State Martins, which is like the art school in the UK.

3:08

Were you like...

3:09

You were a cool growing up.

3:11

Or were you weird?

3:13

I was both...

3:15

I was weird and cool.

3:17

But how many Corinne made Weird Cool as well?

3:21

Sure.

3:22

So it was perfect.

3:23

Yeah.

3:24

It was like perfect time.

3:25

I was like 18 when he made...

3:27

Well, maybe 17, 18 when he made kids.

3:29

Yeah.

3:30

So it just...

3:32

That made me afraid of having sex.

3:33

You got...

3:34

You know, that there was a tiny little thing where weird cool people belonged and it was

3:39

nice.

3:40

Yeah.

3:41

So you were really film projects from school, so that you still have access to?

3:48

I just...

3:50

I don't know.

3:51

Some were my mom's attic, maybe.

3:52

Yeah.

3:53

Do you remember what they were?

3:55

Oh, God, yeah.

3:57

I made this weird film, obviously.

4:03

And it was about...

4:05

It's funny.

4:06

It was about numbers, OK.

4:07

So I was trying to work something out.

4:09

OK, so if you did film at Samaritans, you kind of had to be a lesbian, you know.

4:18

And I would go in with still letos and shit like that.

4:21

And they were like, she needs to be kicked out of college.

4:23

So they would always have a group meeting saying, Maya's coming in with like tight leggings

4:30

and still letos on and many stuff.

4:33

She was like, the prejudice you experienced.

4:35

Yeah, so they were like, she's not serious about movies.

4:38

She needs to get kicked out.

4:39

She's cargo shorts.

4:41

Yes.

4:42

And a plaid shirt like everybody was sort of like that.

4:46

And like, you know, at that time it was really fashionable to shave all your hair.

4:49

So everyone had like skinheads and trying to look like aliens and things.

4:53

And then...

4:54

And then there was me that was kind of like listening to hip-hop and, you know, and R&B

5:00

and would be wearing still letos.

5:04

But also like I did go through a mallet phase and stuff like that.

5:08

But then...

5:09

But, you know, I was experimenting.

5:11

You're fine with your theory of philosophy.

5:12

I was finding my thing.

5:13

Yeah.

5:14

And so I realized that the best films to make were materialist films where you affect

5:25

the film, which means that your creativity became more about not, you know, writing shots

5:34

down and making narrative movies.

5:36

Or I didn't want to do like highly conceptual movies either.

5:40

So it was more about like how to invent a style in the way you affect...

5:50

You were fucking around.

5:51

Yeah, it's like the physical form of the film, you know.

5:54

Like it was an art degree as well.

5:56

Yeah.

5:57

So the first one I made was about numbers and it was about this setting up, this funny

6:05

enough, it's like setting up a narrative.

6:08

But the narrative was just about this guy, say like playing the lottery or something.

6:14

Yeah.

6:15

But each scene, the way he chooses the numbers is just a weird way, right?

6:24

The narrative of the film sets you up that he's one thing.

6:28

But then at the end it's something else totally.

6:31

So it was, it's kind of like a...

6:34

And did you earn the respect of a lesbian community?

6:36

Or...

6:37

I didn't.

6:38

Oh.

6:39

They're tough, they're tough ones.

6:40

No, this is what happened.

6:42

The act that I cast it to do it, I swear to God.

6:48

I filmed the stuff.

6:50

He was really like cool and everything.

6:52

And then like my friend, or then year after my friend who was in the same cast, she ended

6:59

up becoming like the first porn director for Chanowax.

7:03

Who?

7:04

She was quite an actor.

7:06

And...

7:07

She was doing porn while we were at Samaritan's.

7:11

Of course.

7:12

And I'd cast this actor to be in this numbers film that I was making and then a year later

7:17

she's like cat, you know, my cameraman dropped a cat and you come and help me do camera

7:22

today.

7:23

You shot a portal?

7:24

So I went to do camera, but I was very highly opinionated about like the lighting and this

7:30

and that, you know, because...

7:31

I'd been obsessed about material filmmaking.

7:36

And so I was like not interested in the narrative.

7:40

But then there's a knock at the door, the actor arrives and I open the door and it's the

7:43

same actor.

7:44

Right?

7:45

And then you go to see him having sex?

7:47

Yeah.

7:48

Oh, right.

7:49

And basically he couldn't have sex in front of me because he already knew me kind of

7:54

thing.

7:56

So then she fired me on the set and she was like you need to leave together.

8:00

You're right.

8:01

You can't get a heart.

8:02

Yes, exactly.

8:03

So then that was my like very short live.

8:07

So I've tried different things, yeah.

8:09

But you started doing visual arts.

8:12

You were making like an album or a concept of like graphic arts and stuff.

8:16

Is that correct?

8:17

You just smashed that and then what?

8:19

You just became a music.

8:21

I mean, it doesn't seem...

8:22

Yes, I...

8:23

There's something very charming about it.

8:25

It's like the kind of girl that you like fall in love with and she ruins you because she's

8:30

just so amazing.

8:32

But then she goes like, oh, I have to go to Europe with a married man.

8:36

And you're like, okay, I find.

8:37

What was wrong with me?

8:39

You were the journalist that took you around to different genocides?

8:45

I wasn't with him.

8:46

There's a song about it, right?

8:48

I was pining.

8:49

But what I was saying is like you had this like...

8:52

That was not a cast, okay.

8:53

I'm just saying, you...

8:55

It's what's clear is like there's this...

8:57

I have this image in my mind of like you just like going through life and just like being

9:02

purely creative and like trying out different things and they kind of...

9:06

Because it is a very rare thing to like for someone to just have a knack for any creative

9:13

arts that they apply themselves to.

9:15

Although that number is gonna be, I don't remember that.

9:17

But that...

9:18

Yeah, no, it wasn't good.

9:19

But like...

9:20

But I was trying something that...

9:23

You know, I was trying to figure out how...

9:27

You know, it actually became a Hollywood formula of the next, whatever, you know, like to

9:34

set up a narrative and there's a twist at the end.

9:36

Like...

9:37

Yeah, sure.

9:38

That became a thing.

9:39

Shabba Lady.

9:40

Exactly.

9:41

He's a pro at that.

9:42

That's...

9:43

It's a thing, but you know, that time my first year I was trying to do that.

9:48

But then anyway, because obviously my dad's not...

9:53

From the art world, you know.

9:55

He's a politician and he's a writer and things like that.

9:58

Yeah, how did immigrant parents handle you being an art?

10:01

Yeah, exactly.

10:02

So it was the first time someone had done that.

10:05

So it was kind of lonely, even though you say, oh, you're just rolling around being creative

10:09

and expressive.

10:10

But you must have been thrilling to be around to those days.

10:14

I don't know.

10:15

I'm sorry.

10:16

Also weird, you know, because you go home and you're family and like...

10:18

No, you're...

10:19

That's the best.

10:20

You know.

10:21

Your mother was a seamstress for the Royal family.

10:24

Yeah.

10:25

Yeah, because you made medals.

10:27

Is that correct?

10:28

Yeah, because during the time I was living in the council flat, my mom looked in the paper

10:34

and the only job that didn't require English was the sewing thing.

10:37

And my mom's always been a seamstress, even in Sri Lanka.

10:40

So her and my cousin applied for the job and they both got in.

10:44

It was around the corner for my school.

10:47

And they chilled with the queen of English?

10:49

And they would just sit in a room and sew these medals and it's like so bizarre, you know,

10:54

I didn't really...

10:55

Well, you got...

10:56

What is it called?

10:57

M-B-E.

10:58

Yeah, so the full cycle of that is that my mom stitched my medal, which is weird.

11:06

What does it mean?

11:07

Yeah, it's a meme, but it's pretty...

11:09

Yeah, it's a meme, but it's pretty...

11:10

British Empire.

11:11

Empire.

11:12

How'd that feel?

11:14

And you got it from the queen at her birthday party?

11:18

I got it from a...

11:20

Prince Willie.

11:22

Prince Willie of the Baldwin.

11:24

Yeah.

11:25

Charles wasn't there.

11:27

And then I went to Prince William and as I got my medal, I was like, hey, can you release

11:33

Julian Assange?

11:34

Oh, you said that?

11:36

Yeah, I did.

11:37

So if you hear me talking, that's what I was saying.

11:41

I was like, can you please release him out of, you know, H.A.M.A.C.

11:45

Belmarsh, which is the worst prison ever.

11:49

And he said, I'm sorry, it's out of my hands.

11:53

And I was like, but you're okay.

11:55

Yeah, he's just the prince.

11:57

The prince.

11:58

Yeah, yeah.

11:59

I was like, surely you can talk to your dad or your grandma.

12:02

No, those guys can't do anything.

12:04

Like, no, it's out of my hands.

12:05

I don't have that power.

12:06

They just leave it at a house.

12:07

No, it's like, and then I walk off.

12:09

Wait, so did you get...

12:11

Did they do it with a sword or no?

12:13

That's not...

12:14

No, he just like pins it on you, I think.

12:16

What do you get?

12:17

Like, do you get like a discount?

12:18

Like a test goes or something?

12:20

Okay, I didn't get anything.

12:22

What are the betties for a...

12:25

Nothing, but you know what?

12:27

It's kind of useful right now today in this moment.

12:31

Because, you know, you're like canceled for words,

12:35

but I got that medal for my words.

12:37

One thing I've always fixated on is like,

12:40

there's this cultural exchange, like, especially in rock and roll.

12:43

Like, make jagger sings in an American accent or a del sings in an American accent.

12:48

Like, something about you and the clash is like,

12:52

you're using your own voice.

12:55

Was that a deliberate thing or...

12:57

No, I'm just me, you know?

13:00

Yeah.

13:01

It's hard to be something, you're not.

13:03

Like, Mike Skitter, I was like,

13:05

it was really cool that he sounds that way.

13:07

So, I had...

13:08

I wanted to be as honest as possible.

13:11

And also, truth is important to me.

13:13

So, like...

13:14

Yeah.

13:15

You always had to be like that,

13:17

so that it was just airtight.

13:19

No one could knock you, you know?

13:21

And I thought to me,

13:23

that was important to be truthful.

13:25

Did you go to sound clashes and stuff?

13:27

I actually came from a different zone.

13:29

You were listening to hip-hop?

13:30

I was listening to hip-hop.

13:31

And then I was listening to, you know,

13:34

dance, rave music quite a lot, like, one-time...

13:37

The 90s.

13:38

Yeah.

13:39

So, I did a bit of that.

13:40

And that was always part of my thing.

13:42

But then I discovered,

13:43

well, I came to America for the first time in the late 90s or middle 90s.

13:49

Yeah, something like that.

13:51

And then I got really into West Coast rap

13:56

for any rap from everywhere.

13:59

And then I was a bit of a hardhead about that

14:04

until I went to St. Martin's.

14:06

And then when I started mixing with people

14:09

and they would take me to, like, London parties,

14:13

because I didn't really go to those kind of parties, you know,

14:16

like, cool parties, jungle raves,

14:18

which kind of samples dance for a lot.

14:21

And it had...

14:22

It's much more like street stuff.

14:24

When I started going to fashion parties,

14:26

is when I was getting into, like, indie music.

14:28

I guess, Oasis came out.

14:30

When did Oasis put their first record out?

14:32

94.

14:33

So I started St. Martin's around 96.

14:37

So that's what was popping, you know?

14:39

Oasis, the verb, like, yet all this indie music.

14:43

Yes.

14:44

And despite Jones started making music videos,

14:47

and it was all just, like, the best, kind of art, you know,

14:52

Radiohead was, like, the biggest band.

14:54

Yeah, best, that part.

14:58

So I, you know, you couldn't avoid it.

15:01

It was just, like, in your face.

15:03

It was just, like, the best time in London.

15:05

So it was basically the cool Britannica era.

15:08

Yeah.

15:09

And so you couldn't avoid it.

15:10

I was at St. Martin's.

15:12

And that's when I got into the clash.

15:15

So what was the segway to music?

15:17

I didn't want to be a musician at that time.

15:20

I was just impressed by music videos, you know?

15:24

So my ambitions after leaving St. Martin's

15:27

was to be a music video director.

15:29

Yeah.

15:30

And nobody would give me a job because you really had to, like,

15:33

network to do that, you know?

15:36

And people were like, was she gonna know?

15:39

She's not a lesbian.

15:41

She's not a lesbian.

15:42

And it's so dominated by, like, these, like, dudes, you know?

15:46

And so my favorite video at the time was, I would say

15:51

every radio had video.

15:53

Every radio had, yeah, but that there were the pinnacle.

15:56

I'm pure cat amazing videos.

15:58

So we were just like, wow, you know, it was like the best time for art.

16:02

Do you remember the first song you made?

16:06

The first one I wrote was MIA, which is the hit.

16:09

And you just dropped your first song that you ever tried.

16:11

Yeah.

16:12

Fucking hell.

16:13

That was crazy.

16:14

You know, that's kind of like in standup, like, no one's good

16:18

when they saw it.

16:20

Like, apparently, Dave Chimell was, you know, like,

16:23

but it is a very rare thing to be able to just like,

16:27

you're probably going to be in a show.

16:29

But I just dropped my sketchbooks.

16:30

You're going to be in the show in Sarsheff tonight, if I had to guess.

16:34

I can't.

16:35

I can't.

16:36

Yeah.

16:37

She can't.

16:38

I've been doing since I've been fired, like, cooking every day

16:41

and it's just like, wow.

16:42

You know, like, who do you think is that meant?

16:45

Who do you think is that meant?

16:46

The Monopoly man?

16:48

Yes.

16:49

Yeah.

16:50

The powers that, anyway.

16:51

Tell me about the film CB4.

16:55

Why, you really, do you know people that went to some art?

16:59

And it's with me or something?

17:00

No, I just love it.

17:02

I just, no, I don't.

17:03

Okay, CB4 came in, obviously.

17:05

I love comedy as well.

17:07

It's a Chris, Chris, it's like a Chris Rock film.

17:11

Yeah, and it's a spoof that Chris Rock did, yeah, of West Coast Rap.

17:18

And it was so hilarious, but obviously it's borderline not good.

17:24

It's highly controversial.

17:25

It wouldn't even get shot nowadays, you know.

17:29

Uh-huh.

17:30

But at that time, it was so extreme and it was so funny and it was dealing with really important subjects.

17:39

And I took it into college and I was like, I want it, you know, because everybody kept don't like any suggestions for like films we need to discuss and, you know, film theory or whatever.

17:51

Everyone would be like, Selene Goddard.

17:54

Goddard.

17:55

And I was like, yeah.

17:56

Dryer.

17:57

Yes, and I presented CB4 and then I was like, absolutely kick her out now, kick her out.

18:02

You were the first person to ever met.

18:04

Was Jarvis Cocker at your school?

18:06

So he graduated by the time I'd gone there.

18:09

P.J. Harvey went there.

18:10

Whoa.

18:11

Yeah.

18:12

Jarvis.

18:13

And I heard Shadei went there, but she did fashion.

18:17

And then there was rumors that David Bowie went there, but I'm not sure.

18:22

In terms of the way that music is distributed, in terms of like the real kind of self-produced marketing, like you were kind of like, maybe like, I don't know, soldier boy.

18:32

Do you consider yourself my space generation?

18:35

I mean, that is really just like it's a precursor to soundcloud and like everything that's come since then, right?

18:41

Yeah, I guess so.

18:43

I guess so.

18:44

It just all happened so fast, didn't it?

18:46

Like, because really I started off the DIY person in spray painting and pressing vinyl.

18:51

And actually the first demo that MIA song, Anglaang, were recorded on a dat tape.

18:59

So I had to go and borrow like studio time and they gave me MIA and Anglaang on a dat.

19:04

So you could put it on my space?

19:06

Yeah, then I had to buy it in that machine and you know, and convert it.

19:10

And so then, you know, when I did vinyl, that was like, okay, now we're talking like common people language, that pressing vinyl.

19:20

So people can play in the DJ sets.

19:25

And when I met Diplo, there was vinyl, you know, my space hadn't happened, you know, that came like a couple years after.

19:32

And you guys were dating, you were like collaborators as well?

19:36

What's wrong?

19:38

I can't say that?

19:39

No.

19:40

You had a boyfriend, sorry.

19:42

Yeah.

19:43

I mean like, you got, you made a paper play together.

19:45

I found him.

19:46

He discovered Diplo.

19:47

I discovered him.

19:48

Really?

19:49

Yeah.

19:50

Yeah.

19:51

Yeah.

19:52

Yeah.

19:53

I turned up at his thing.

19:54

He didn't turn up at mine.

19:55

Well, it sounds like you wasn't here, sure.

19:58

I heard his demo.

19:59

So he made his first song.

20:00

It was called News Flash.

20:02

And it was on a friend's mixtape.

20:04

And I was like, that sounds like the sounds.

20:07

Yeah.

20:08

Or this person, they need, there's something that I feel like is a thing that they get the same.

20:18

Well, they've had the same upbringing musically.

20:22

Yeah.

20:23

And I could tell that by one demo.

20:25

And then I just rang around and found out like where he was or who he was.

20:31

Uh-huh.

20:32

And this is before the internet.

20:33

Right.

20:34

And somebody had, he was signed to a British record label called NinjaTunes.

20:38

Okay.

20:39

And, or Big Data or something.

20:41

And they booked him for a club night in London.

20:44

Yeah.

20:45

And I got the flyer and then I went and I took Galang, which was a white label.

20:51

Uh.

20:52

And I was like, can you play the song?

20:56

We had some, you know, beats in common.

21:00

And he knew some odd references that only I knew.

21:06

And I was like, wow, that's pretty cool.

21:10

But we didn't really get together.

21:12

It's only after I went to Philly to make the mix tape.

21:18

And you heard, you were telling me the story behind the hearing the track for Paper Plays.

21:24

We had a friend in common who was the editor of Fader Magazine at the time called Nox Robinson.

21:32

Uh-huh.

21:33

And Nox had a record label and he went to Jamaica and he was doing a remix album of the serious times rhythm.

21:41

Okay.

21:42

But this is how everything is connected because of all rhythms.

21:48

Yeah.

21:49

He was doing serious times with him.

21:51

I feel like I'm majoring in talking about serious times.

21:55

Uh-huh.

21:56

And so he brought the record to my apartment and me and Wes were living together at the time.

22:02

And he was like, here's the gyption record.

22:05

Right.

22:06

So gyption had a record.

22:07

All-ja?

22:08

No.

22:09

I mean, I was like, this is a serious time.

22:11

It's before that, serious times.

22:12

These are some serious times.

22:13

Uh-huh.

22:14

Girl, you can either tight this or me over be me or my life.

22:18

Yeah, that was his big crossover.

22:20

Oh, wow.

22:21

But before that, he did a serious song called The Serious Times.

22:25

What?

22:26

A serious time.

22:27

How's it going?

22:28

The best song.

22:29

I want to listen to it.

22:30

The best song.

22:31

You're going to love this song.

22:32

It's one of my favorite songs ever.

22:33

Yeah, you can either tight this or me over.

22:35

He doesn't say the tightest hole.

22:37

It's like different lyrics.

22:38

It is the tightest hole.

22:40

I thought it was the tightest.

22:42

No.

22:43

I thought it was nasty song.

22:44

This is gypsum.

22:45

Sorry, sorry guys.

22:46

I apologize, guys.

22:47

He's a conscious guy.

22:49

He's a very conscious guy.

22:50

I thought he was talking about his song.

22:51

He is so beautiful.

22:52

And I was obsessed with the song.

22:54

What's it called?

22:55

Gyption.

22:56

Serious times.

22:57

So where's the remixing that?

22:58

Okay.

22:59

And he got the paper pain speed.

23:01

Oh, the go.

23:02

It's like 9.30 in the morning.

23:06

And he's got the cash sample going.

23:09

And he's going to.

23:11

And he's kind of fix it to these.

23:14

Serious times.

23:16

And I was like, this is my favorite song.

23:18

Why would you even ruin it?

23:19

Yeah.

23:20

And then at the same time,

23:22

I was like, I can write a song on that.

23:25

So I was like, I have some lyrics.

23:27

And I kind of got our bed, got on the mic.

23:30

Yeah.

23:31

We tried paper pains.

23:34

Did you get in trouble for the gun?

23:37

No.

23:38

Oh, yeah, there was a bit.

23:39

Yeah.

23:40

Who cares?

23:41

It is going to kept taking it out.

23:43

And then we just kept fighting.

23:44

They put out Kim by Eminem.

23:47

They put on a song about him putting his wife in a trunk.

23:51

Yeah.

23:52

But you know, like people.

23:53

And you can't go boom, boom, boom, boom, boom, boom,

23:54

and take your money.

23:55

It's different when it comes from a brown woman.

23:58

A baddie.

23:59

It's very baddie stuff to me.

24:02

I mean, that's.

24:03

Yeah.

24:04

White blonde guy is different.

24:06

But when it comes from a brown woman, yeah.

24:09

With a pass.

24:10

With a pass.

24:11

With a pass.

24:12

With a pass.

24:13

Oh my god.

24:14

Yeah.

24:15

Was that the first time you got in trouble?

24:16

You were saying that, eh?

24:17

Was that the first time you got in trouble?

24:20

No.

24:21

The first time was when I said, like, Pierre-la,

24:23

I don't surrender.

24:24

Or my first.

24:25

Like, Andrea.

24:26

So I came out of the gate in trouble, really.

24:29

What's the lyric?

24:31

In Sun Showers, which was my first single.

24:34

Yeah.

24:35

It said, like, Pierre-la, I don't surrender.

24:38

Andrea, Pierre-la, the soccer player for you.

24:41

No, like, Pierre-la.

24:42

Oh, like the Pierre-la.

24:43

Yeah, like, Palestinian Liberation, or an organization.

24:45

You were early on the Palestine tip.

24:47

It was my first sentence.

24:48

So you guys, you got canceled for that?

24:50

Yes, in 2004.

24:51

God.

24:52

So they took it off the radio, they canceled my song,

24:55

and then people started writing into the American government,

24:59

saying this person cannot come to America and perform.

25:03

Because of that?

25:04

Yes.

25:05

So when I came to do my first show in New York,

25:08

and I did the knitting factory,

25:11

they told me at that point that people were writing in,

25:17

saying, you can't have this artist perform in New York.

25:21

Yeah.

25:22

And so that's when America pulled up my past history.

25:26

Because I started getting immigration problems because of that.

25:30

So before that, before 2004,

25:33

I'd been coming and going in America all the time.

25:36

I never had problems.

25:37

I could come on an Esther stay for three months.

25:41

You know, like, I worked with Diplo.

25:43

I was on tour with Elastica.

25:45

I'd been here visiting my family, like, on the west coast,

25:50

like, hanging out with my cousins and stuff.

25:53

And never had problems.

25:56

But the day I put out sun showers,

25:59

the FBI, when they're like, dug out all the stuff.

26:04

Because they wanted to find something on me.

26:08

And then they found this, like, record I had from, you know,

26:12

when I was like 18.

26:14

And then they were like, we're going to stamp her.

26:18

You said P.L.O.?

26:19

Yes.

26:20

And that's really when my stamp on my passport appeared.

26:24

And since then, you know, I get called into immigration all the time

26:28

and interrogated all the time.

26:30

And it takes me like hours to get out of there.

26:33

And that happened because of the sun showers.

26:36

The stuff you get in trouble for is kind of bullshit.

26:40

It's such bullshit.

26:42

Having a gun?

26:43

But you know what?

26:44

You know what?

26:45

Look at how forgiving I am.

26:48

Superb.

26:49

What about the Superbaw?

26:51

A middle finger.

26:52

She did this.

26:53

Like, what kind of conversation is it?

26:54

How bad I was with Madonna.

26:56

Yeah.

26:57

And also like, my lyric was, I don't give a shit.

26:59

So it's not even, oh, the biggest, you know,

27:02

it's not the same as like a suicide bombing.

27:06

Oprah called you a terrorist.

27:08

Everybody did it at the time because tigers were like,

27:11

they were kind of going off at the time.

27:14

But the New York Times was calling me that, you know.

27:17

So like, everyone reads the New York Times.

27:22

So before social media, before social media cancellation

27:27

world, the media had the power, you know,

27:30

and that's kind of how they did the thing.

27:33

And you know what?

27:34

It's really interesting because now I'm swept into this

27:40

left wing, right wing conversation in the US.

27:46

But when I first arrived and they were writing in saying this person

27:50

can't perform, you know, in these venues, that like was,

27:57

I don't know, I just generally took it as American.

28:00

Like it wasn't left or right, you know.

28:02

It's just like, I don't know.

28:06

But as the stuff was happening, you were still your profile was growing.

28:09

Luckily, every time they ban you on this thing,

28:13

a new thing would pop up and you'd just be on that thing.

28:16

Yeah.

28:17

Like those kids, so like, they, they, when I first put my record up,

28:21

they were like, we're not going to stock it in record shops

28:23

because your music is weird and it's strange.

28:26

Like we don't know where Brown woman fits because you don't fit

28:30

with the white thing and you don't fit with the black thing.

28:33

And we don't know where to put you and you ain't desi either.

28:36

Like you're not making Indian music.

28:38

Right.

28:39

So we're not going to put you anywhere and we're just not going to

28:42

sell your records and they would come to Excel and say that.

28:45

Like, tar records and Virgin, mega store and shit.

28:48

And I, and Excel will call me in and say,

28:52

they don't know where to put your record and I'd be like,

28:54

just put in X of the tail.

28:56

Like it doesn't go into a rack under genres.

29:00

Put in X of the tail and they would like, no.

29:03

And luckily for me, lime wire popped off, you know.

29:07

Yeah.

29:09

And people started downloading it and partly that's because of Diplo

29:14

because he was already on tech.

29:16

Yeah.

29:17

He was already on blogs and having chat rooms and I didn't even have a computer

29:23

like that.

29:24

But Americans were like 10 years ahead of us, you know,

29:28

and on that kind of front.

29:31

England hadn't caught up yet.

29:33

I was introducing England to the chat room world for the first time because.

29:39

It sounded new.

29:41

Yes.

29:42

The first time I heard you.

29:43

Yeah. So it was kind of like popping off because of the internet and thank God for the

29:47

internet.

29:48

So, so piracy helped you.

29:51

Piracy helped me because it got me on chat rooms.

29:54

Yeah.

29:55

And then when a ruler came out like six months later,

30:01

it got downloaded a million times for free.

30:06

So the record label didn't sell records.

30:11

And my record label told me that Jack White from White Stripes was using all the

30:18

vinyl as shooting targets.

30:21

He didn't like it.

30:23

He didn't like it.

30:25

So I don't know, maybe he liked it.

30:27

But he was just that there had so many vinyls left over that he he they gave it to him and he was

30:34

using it as a shooting ranch, you know, as a target.

30:38

And I was like, and then obviously I blew up on the internet because every time it's like,

30:45

it's like, I love that my life is like this.

30:48

That this is why I believe in God so much because, you know, every time somebody does that,

30:55

something else pops off.

30:57

Like you just you just can't be cancelled because the entire thing moves.

31:04

Yeah, all press is good press.

31:08

I don't know.

31:09

I don't think that's what's happening to me.

31:12

I genuinely, I'm not tied to anything.

31:17

Like it's not that nothing is precious, but you're not tied to the world, you know, like I am of the world

31:24

bad at the same time.

31:26

I don't know.

31:27

It's like you, yeah, it's not like that, you know.

31:32

But obviously you started collaborating with like a million legendary artists.

31:38

Who is the most inspiring?

31:42

Ah, that's a nice question.

31:46

The most inspiring, I mean loads of people.

31:50

To most kind of going through controversial thing with the AI thing right now.

31:55

Oh really?

31:56

But of course, like it before I worked with them, he was like the legend, you know.

32:03

And...

32:05

What about Missy?

32:07

Madonna, obviously.

32:09

I never thought in my life I would meet Madonna, you know.

32:12

Were there other female rappers that showed like Missy Elliott?

32:16

Yes, and Lauren Hill.

32:19

I got to do some dates with her.

32:21

I can't say the rate was my favorite song.

32:23

Fifth grade.

32:24

Amazing.

32:25

She was cool because she was like a big girl.

32:27

And then all the guys in the videos would be like six pack like, like hunks, right?

32:32

It was kind of a reversal of like the hip hop like...

32:36

The gaze.

32:37

Well like the video...

32:38

The female gay.

32:39

Yeah, the female gay.

32:40

Yeah, exactly.

32:41

You worked with Ye?

32:42

Yes.

32:44

So when I met him, he was the most open-minded out of all the rappers.

32:49

He kind of was like hungry.

32:51

I think he was just hungry to know everything and learn everything.

32:55

And he's like, what's going on, you know.

32:59

Yeah.

33:00

And...

33:01

Because he also went to art school.

33:02

Diddy.

33:03

I don't know that.

33:04

Call a sharp out.

33:05

I didn't realize that was an art school.

33:07

I know his mom was a teacher.

33:09

Yeah.

33:11

Is it a Diddy stuff real?

33:13

Is all this stuff real?

33:14

I have no idea.

33:15

Yeah.

33:16

Jay-Z caught two.

33:18

He caught Epstein and Diddy, right?

33:20

Oh.

33:21

That's a...

33:23

Every time you mention Agnes, I would just smoke like grand Omni.

33:28

Oh, you have smoke.

33:30

Is there a thing?

33:31

What?

33:32

Did I touch on a thing with Jay-Z?

33:34

No.

33:35

You got smoke with him?

33:37

Don't try to like...

33:38

Do you bang with a thing?

33:40

I'm not.

33:41

That kind of hurt.

33:42

Every time you try to get the thread, I talk about my threads.

33:46

Finest copper thread.

33:48

Oh, so you, you, you, you, hey Jay-Z, you're going to kill him.

33:51

Don't cut that.

33:52

Okay.

33:53

I didn't say that these words did not come from...

33:56

Wait, but is it like...

33:57

No, I don't have beef with anyone.

33:59

Me neither.

34:00

I forgive everyone.

34:02

And my relationship with God.

34:05

And in Dubai.

34:07

That's the only person I'd be with.

34:09

How dare you.

34:10

How dare you.

34:11

I have questions.

34:13

But, you know, I think everything is a necessity.

34:17

What are your favorite artists working right now?

34:19

It's really hard because we're in an AI time, yeah.

34:24

So...

34:25

With music.

34:26

Yeah, and I don't know.

34:27

The definition of an artist.

34:29

It sucks, though.

34:31

It kind of sucks, because I don't know.

34:33

You know, is the genius somebody who uses AI?

34:37

Or is the genius somebody who absolutely resists it?

34:41

And really brings some conversation about that.

34:45

Like, I can't tell what I love right now.

34:49

Like, I listen to different sounds, for example, like...

34:54

Like...

34:55

Sorry.

34:57

What was that?

35:00

That is so New York.

35:03

Yeah, for it is huge in New York.

35:06

That's slapstick.

35:09

Okay, what sounds.

35:12

Hulk, hulk.

35:15

Boy, yo, yo, yo, yeah.

35:17

There's a whole movement in India, right?

35:19

There's many different things popping off.

35:22

So, they have, like, since lockdown and all of that.

35:29

India, if you go to like villages, they have these sound systems that really belongs to the

35:36

people, you know, and it's really hard to find. They're not advertised on the internet.

35:42

They're like hidden, it's like private secret raves and things, you know, and that, that

35:47

what do they play? That kind of movement to me is more thrilling. So it's not sound.

35:53

It is sound, it's sound, but they use sound waves to compete. So they set up like speaker

36:00

systems and they put... Oh, it's sound class. It's not really like that, but it's literally

36:04

about the sound waves. So they put like, say, a bottle of water in the middle of the two

36:11

sound systems and someone has to knock it over with the sound. So it's the sound clash,

36:16

but it's like noise clash as well. I don't know. So you go then, your particles literally

36:23

get rearranged. Like, when you go, you have to lie... Have you been? Yeah, and I've never felt

36:30

anything like it. Like I had to lie down for two days and assess like what had happened

36:36

to my body and if that was the same person ever again. But people go deaf like for like

36:41

three, four days after they go to one of these. And it's just basically... That was horrible.

36:47

It's actually not a good feeling. It's not terrible. And there's like, you know, issues

36:53

like I spoke to the people in the village and everything and people say, this is not,

36:58

you know, this is not real music. You know, this is something else, but this is using sound

37:03

in a different way. But they use like, say they take EDM and electronic music from the

37:09

West or trans music or dance music and they like just do stuff to it. So hard, yeah.

37:19

It's the most intense thing. And then they try to affect the environment, like blow

37:26

chairs out of the room and shit, you know? And it's like, that's the dance. That's the

37:33

party. That sounds terrible. But it sounds like it's cool. Yeah, so, you know, artistically,

37:42

I mean, it depends what you think of as art, really, you know, like we discussed that

37:48

yesterday on that. This is how Bob Dylan came up because if art is only judged through

37:53

what's popping on TikTok and it's just about a dance routine that kids can copy, then

37:59

yes, Bob Dylan would not make it in neither would Kurt Gavrain and neither would, you know,

38:04

anybody, even me, you know, even if someone put a gun to my head to do a dance routine,

38:11

I don't think I could. How do you take your body? Yeah. I would take the gun.

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39:03

So you met your other phone. You're like, I every time I do a podcast, I can't see it.

39:06

I'm like, I didn't even know that. But it's like in researching you and learning more

39:10

about you, the things that keep popping up seem so nothing. And nobody apologizes for

39:20

their nothingness. Well, it's just like for you having boom, boom, boom in the greatest

39:24

song ever, for you using the middle finger at the super butt like these are like such

39:31

quaint like controversies, right? Yeah.

39:35

I heard an interview with Sharon Stone, right? And like her last major performance, I'm

39:40

pretty sure a major movie was Casino. You know? And I think like kind of if I'm piecing

39:45

things together, it's like, is if you're a woman that's like a little bit to, they can't

39:50

be controlled. Like does it serve as a disadvantage of certain points?

39:56

This is a really great question. You said they'd be good. That is, that is people putting,

40:06

trying to cancel you and put you in a bar. But they're not doing it with Taylor Swift.

40:10

They're not because this is what I was saying on the podcast yesterday. Even they did it

40:17

to me a few times, even like supporting Julian Assange and now he's a free man. And people

40:22

love him now. You know, you're not the problem, but you are the target. Like you said, you're

40:27

the target. And why are you a target? It boils down to spirituality, you know, because I do

40:33

think it is a spiritual warfare. I think it is because you don't think it's just something

40:38

like going to boardroom. It's just like, I'm going to get her, get her. You cannot be on that list

40:44

every year for random things. You just cannot. If you're consistently on there, and then I had

40:50

to go back to be like, was I on these lists from when I got famous? Or was I on like experiencing

41:00

stuff like this in my life throughout my life? And the truth is yes. You know, like there was

41:05

always problems. You're cancelled for being a Tamil, you're cancelled for being this, you're

41:10

and you know, my school life was not easy. It's not like I was like this, you know, my mother,

41:15

my mother would have adopted it. But why would you be cancelled for being from a country?

41:19

Like for your ethnicities? Yeah, the thing is, I think that some of these things are an

41:25

necessity when you get cancelled. I do, so it's not like I have strong feelings towards this.

41:34

To be a female pops are, right? There's a degree of, it's a company, right? It's like Taylor

41:44

Swift LLC or something, right? You are somewhat of a free spirit, and do you think that puts you

41:53

out of disadvantage? Be on your race. That you're just a person that's not like a CEO of MIA.

42:01

When I heard that interview with Sharon, so going back to that, like,

42:05

like her assessment was, yeah, that like, they're admitted to decision kind of that, like, you know,

42:11

she can't, she's like a 155 IQ and they're like, yeah, we can't, like kind of like.

42:17

So what are you saying about Madonna then? Does she get in trouble? She didn't get in trouble.

42:22

The music video for like a prayer?

42:27

I've been asked the only time she's been in trouble, isn't it?

42:31

That's all, what do you think that song's about?

42:34

No, but that is the only time she's been in trouble.

42:37

No, I think she made the sex book when she was doing erotic,

42:42

like a virgin, people didn't like that. I'm down on my knees, I'm gonna take you there.

42:47

I know people are saying, I know people are saying that.

42:53

And she's giving black Jesus a blowjob, it's her heretical.

42:56

She's saying, Jesus was black and that's kind of what Kanye said.

43:01

But he got majorly cancelled and she got more famous.

43:07

I mean, like, does that, does that float around in your mind or you're just kind of out-of-effective?

43:12

You also seem very well adjusted in speaking to you.

43:16

Yes, they kept saying, are you traumatized?

43:18

Are you traumatized?

43:19

You don't want to be in the translations and you're like, no.

43:22

For fucking what though?

43:24

For what?

43:24

Yeah.

43:25

That's their ignorance, not mine.

43:27

What are you really who's doing it?

43:29

Who's saying, casual?

43:31

Yeah, so then when I said they, they were like, who's they?

43:34

And I thought that that was like a funny thing.

43:39

But with me, honestly, I cannot define the they.

43:43

The they in my case is many different types of people.

43:46

Yeah.

43:47

I'm very varied in the palette of they.

43:50

It's not the, you know, quotation marks.

43:55

It's not in America.

43:58

The, like you said, even if it's the robots or the AI and the algorithms doing that,

44:04

they're programming the machines to think like that because they're thinking like that.

44:08

I think it's just guys that are really rich.

44:10

They can just make decisions that are in the industry if they want to probably.

44:13

No, but it's cross the board, not just industries.

44:16

For us, the board division, division everywhere and hate everywhere.

44:20

People only communicate now with negative comments like you said.

44:24

Where life is not like that and at.

44:26

Oh, it's just like you get a, you've got to do it or you see your dad.

44:29

You go fly home and see your dad.

44:31

So that you go to vacation with your girl.

44:35

You're on a beach.

44:36

It's kind of nice.

44:37

Yeah, nobody comes up to you again.

44:41

Also, those are the things you kind of are at the end of the day that you kind of matter.

44:45

So I was like, yeah, like you, what, you flicked off the camera at the Super Bowl next to Madonna.

44:51

That's so sick.

44:53

Yeah, even Madonna was like that.

44:55

Nobody said, oh, the.

44:56

Yeah.

44:58

Does it affect you?

44:59

Like do you want to make tracks?

45:02

Like does it affect my music?

45:03

Does it affect your desire to create art?

45:05

I mean, it's not even music.

45:07

No, like no, because that's that's my gift.

45:11

You know, like God gave me that.

45:12

No one has the right to take that away and no one can.

45:16

They don't have the power to do that.

45:18

What are you working on right now?

45:19

One of these Indian sounds?

45:21

No.

45:23

At the moment, I'm out of work.

45:26

Well, see you there you go.

45:27

Like, don't you, don't you, does I mean, you seem like.

45:30

No, no, no.

45:31

It incredibly like creative individual like.

45:35

Yeah.

45:35

So when I say that last for about 48 hours, you know,

45:39

like at the moment, I have just been making tracks.

45:47

Focusing on my clothing line.

45:49

So tell us about that.

45:50

This is Omni.

45:52

And I suddenly do a J.C.

45:54

No, no, no, it's got nothing to do with that.

45:55

But this is a clothing line basically that came out two years ago

46:01

and it's made of metal, you know, to this.

46:04

Is it a metal pears?

46:06

Yeah, this is copper and this is copper.

46:08

And it just like, it's like, it's like Wi-Fi.

46:11

Yeah, I mean, this is mesh.

46:13

Oh, that's mesh, but what about the pears?

46:15

Yeah, I've got kind of sloppy.

46:16

Well, this is mixed fabrics.

46:19

So it's patch with different ones and some are breathable.

46:22

And then it's got a zip.

46:24

Make it as breathed.

46:25

Wow.

46:26

But there's different things and.

46:29

And what is the purpose of the metal clothing?

46:31

Okay, so you know you live in New York City.

46:33

It's actually perfect for New York City.

46:35

So you have all these skyscrapers.

46:37

And if you look through the window, like every single window on every single skyscraper

46:42

is got an internet router, you know?

46:45

Yeah, everywhere it is.

46:46

Everywhere it is.

46:47

Every rooftop has got 5G towers, which is now 6G towers.

46:50

And eventually you do it.

46:51

6G, came out with 6G?

46:52

Yes, and eventually you go to 10 because China's already on 10.

46:55

Good, bro.

46:56

So if America is killing us, yeah.

46:58

They're just killing us.

47:00

Do they like flying cars?

47:01

Yeah.

47:02

I wish I could talk about that because I had to go there to make the stuff.

47:07

You were there to get metal clothes?

47:09

Yeah, because only they produce the fabric.

47:14

But they're already on 10G.

47:16

But they also give you that.

47:17

So you're saying that the radiation is bad for people's bodies and stuff?

47:21

Yes, so you know, like in the last 20 years,

47:23

the sperm count in men is gone down 60%.

47:28

I didn't know that.

47:29

You didn't know that.

47:30

No way.

47:30

Oh, yeah.

47:32

So it's really like protecting your...

47:34

But is that in the cell phones?

47:36

Yes, because people put cell phones in their pocket.

47:38

That sounds like some RF, RF judiors type of.

47:43

Well, you know, you used the smart man, isn't it?

47:45

Like he's on the wall.

47:46

Oh, you see what kind of a like a wacker do you do to me?

47:51

Also, you see that video of him trying to do push-ups?

47:54

He could do like two.

47:55

Even though it's got big wealth,

47:56

he's definitely on rollings.

47:59

He's in his 70s.

48:01

So what?

48:01

Whatever my 70s, I'll do three push-ups for sure.

48:03

It's just a BMW.

48:05

No, I mean...

48:05

You don't judge it on that.

48:06

But it's obviously like...

48:08

Like, you know, he...

48:11

I don't know.

48:11

I don't know the ins and outs of that.

48:15

But is that he's not the only one who knows about this stuff.

48:18

There's actually...

48:19

Five Gs and so...

48:20

Wait, so when did you discover that like the negative health impacts of that?

48:25

Because there are people that go to that town in West Virginia that has like no service, right?

48:31

I tell you what, it's like...

48:33

I've heard of like people...

48:34

I am a Tamil and these people are very old in nature.

48:39

And I, in my lifetime,

48:42

not pass down information and things I've read,

48:44

but my entire life is, you know, it's really...

48:50

I've come from living in a village with nothing.

48:53

No television and no cell phone, no phone even.

48:57

And no car...

48:58

Like, I come from...

49:00

You know...

49:00

Yeah.

49:01

80's Sri Lanka had nothing and it was a war zone.

49:05

Like, it's as well...

49:05

And you're a part of it, of course, minority too.

49:07

No, but it's also...

49:08

It's not...

49:09

Outside of the war,

49:11

I remember a time with my own brain,

49:14

where you did not have anything electronic, you know?

49:18

I lived the most organic life in the world.

49:21

Like, you pick your fruit off the tree

49:23

and you get your vegetable in the garden

49:25

and you cook it and you eat it and you live...

49:27

Simply alive.

49:28

And yeah, and your entertainment was organic.

49:30

Like, your travel was organic.

49:32

You used the bicycle.

49:33

You went to, you know, you wrote on slates.

49:36

Is this just because your music is very digital?

49:39

I know.

49:40

So, in my lifetime, I did 10 years of that.

49:43

So, I'm not talking about my grandparents life.

49:46

I'm talking about my own life.

49:48

Sure.

49:48

I remember that.

49:49

I remember what it feels like to eat off a banana leaf

49:52

and not off a plate, you know?

49:54

I remember what it feels like to wear cotton

49:57

and see the people that weave that cotton, you know?

50:00

And then, obviously, I'm part of the digital revolution

50:05

of everything that happened

50:06

and all of these things

50:07

and wrote a song called Connected to the Google Connects,

50:10

the government named my child, I kid.

50:13

Like, an iPhone, the same year.

50:15

It came out.

50:15

That's the first name?

50:17

Yes.

50:18

And?

50:18

Did they go by eye-cade?

50:20

Really?

50:21

Yeah.

50:21

So, like, I embrace technology too.

50:24

Like, I'm not a nonce.

50:26

No, a nonce is a pedophile, I'm pretty sure.

50:28

What do you mean?

50:29

Nonce doesn't.

50:30

I'm pretty sure.

50:31

You know, like, I'm aware of music.

50:33

You know what I think right now?

50:35

I live in New York.

50:35

I know what it feels like.

50:36

You know what I'm thinking?

50:37

No, I don't know anything about radiation

50:39

or anything that could be real, could it be not.

50:42

I know that it's labeled like conspiracy, right?

50:44

But like, on the other hand, you're an artist, right?

50:47

You should be wearing metal clothes, right?

50:49

You used to be...

50:50

You know why?

50:51

Do not permit...

50:52

We used to permit metal clothes.

50:53

Well, no.

50:53

We used to permit for our artists to be...

50:56

To be a different...

50:57

That's right.

50:58

I watched the interview with Marlon Brando,

51:00

recently.

51:01

And, to be leaders of, like, new thought

51:03

and new philosophies and new ideas.

51:05

You're right.

51:05

Like, you say, are David Bowie?

51:07

He premeditated content creators.

51:11

And when I was...

51:13

When I first came out as an artist,

51:15

I was a content creator,

51:16

which is why I shot the documentary.

51:19

A lot of that footage is self-shot with my own camera.

51:22

It's not...

51:23

You know, I'm talking about the Miami Tanguia documentary,

51:27

where you didn't have an artist

51:30

that had footage like that,

51:33

because I was the self-econtent creating film

51:37

a person before the Arab Digital Social Media.

51:42

Like, I shot it on...

51:43

I had a camera.

51:45

Yeah.

51:45

And was addressing the camera all the time.

51:49

I used to do jackass videos all those.

51:51

Yeah, and this is like...

51:53

15 years before that, or whatever.

51:54

So when I had that footage

51:57

and you were making that footage on my space,

51:59

that then became a thing,

52:01

content-creating and self-documenting and taking selfies.

52:04

And, you know, the cover of Calla is just a selfie photo on photo.

52:08

So you've edited it and it was copy?

52:10

It's not the point.

52:11

What I'm saying is...

52:13

No, but what I'm saying is,

52:15

just like David Barry, 20 years before said,

52:17

there's going to be content creators.

52:19

Yeah.

52:20

And yes, you just got...

52:21

You're doing the thing he said and we're like,

52:23

wow, he foresaw the thing.

52:26

Yeah.

52:26

Some artists have the ability to be the zeitgeist.

52:30

I like it when you're wearing metal clothes,

52:32

because you're dope.

52:33

You're a genius.

52:34

Well, the metal...

52:35

No, what I'm saying is...

52:36

Why would you not wear clothes made out of silver and gold

52:39

and copper and these things?

52:41

These two luxuries.

52:42

Because I'm carefully going with it.

52:44

You know, I like a breathable material.

52:45

I like a cotton.

52:47

Yes, but you know, copper, in the ancient times,

52:50

the yogis used copper is an antibacterial method.

52:55

So they stored water in copper parts.

52:57

You know, they ate from copper plates

52:59

and they did wear copper bracelets and things.

53:02

Yeah, because...

53:03

They didn't have toilet paper, also.

53:05

It doesn't matter.

53:06

The point is the beneficial...

53:09

I'm not trolling, actually.

53:10

No, it's not trolling,

53:11

but it is beneficial to the human body.

53:14

Natural material.

53:15

We are made of dust.

53:17

If you believe in...

53:18

You know, that we are made of material

53:22

or come from the stars or whatever people believe,

53:25

like made from the dust in the material world.

53:29

Yeah, well, we're made of God's image.

53:31

Yes, and when we die, our body goes back to the ground,

53:36

back to the minerals.

53:37

So sad.

53:38

And our soul and spirit goes to God.

53:40

Yeah.

53:40

You know, but our vessel is made of the material from earth.

53:45

So obviously anything made from the material of earth is good for you.

53:50

Yeah.

53:50

You know, why wouldn't it be?

53:52

Yeah.

53:53

I mean, I don't know.

53:54

It sounds like you're from California to me.

53:57

But, you know, I mean it.

53:58

But like, but you could be right.

54:01

But like, I don't want to like...

54:02

I think you're a genius.

54:04

And I think it's like...

54:05

I think it's dope they're wearing metal clothes.

54:08

Honestly.

54:09

And I think that it's like...

54:10

I think that everyone wants to hate on everything.

54:13

And like that, you know, I can see how that...

54:16

Like, people's reaction would be like,

54:18

oh, that's conspiracy,

54:20

sees whatever.

54:21

But like, whatever, dude.

54:22

Like, you know, Robert De Niroca wear metal clothes.

54:26

I would have said, 10th, 25 years ago, you said,

54:29

someone's going to make a thing that goes into your brain,

54:32

with your own length.

54:34

I would have been like conspiracy theory.

54:35

You know that guy.

54:37

I don't.

54:38

But, but why, why would you...

54:39

You boys with muscles.

54:41

I'm not actually...

54:42

That's something they didn't have made up.

54:44

That's conspiracy theory.

54:46

Going back to what I was saying about you just being an

54:48

enigmatic individual,

54:50

I can see how people like,

54:51

want to like,

54:52

weaponize that.

54:53

And it's just to me, after talking to you about art,

54:56

and about how you feel about art,

54:57

it pisses me off.

54:59

Because like, truly like...

55:01

What matters is like,

55:04

is like that you're like,

55:06

creativity,

55:07

you know,

55:09

what matters is that you make art

55:11

and it affects people,

55:14

and you put it out.

55:16

And I think you do.

55:18

And I think you are a genius.

55:19

Well, you're thinking...

55:20

Dom is fucked.

55:21

I don't know if you do this.

55:22

It's no, no, no.

55:23

I didn't say I'm a genius either,

55:25

because...

55:26

You can't say it about yourself.

55:27

Oli Kanye does.

55:29

Only Kanye does.

55:30

And Kanye did say that I was one.

55:33

Once, yeah.

55:33

Then he said, no.

55:35

He changes his mind.

55:37

He changes his liver.

55:39

He changes his liver.

55:42

You down to get a little bit of 5G,

55:44

so I can talk to Kanye.

55:46

I use technology.

55:48

That's why I'm wearing this.

55:49

Like, this is constant.

55:50

Okay, so get in her food.

55:51

Let's call Kanye right now.

55:53

I just want to say what up.

55:54

Kanye's not talking to me right now.

55:57

Why?

55:58

Because...

55:59

Because you put...

55:59

Why?

56:00

Because I don't know, actually.

56:02

He was like, no.

56:03

You've been making art in the public eye for like 20 years, right?

56:07

Yes.

56:08

Does it feel like things have changed significantly?

56:11

Like, does it feel like the way you're treated as an artist

56:14

and like the way people interact with your art is different?

56:18

Does it make it more difficult or is it more...

56:21

This is why Americans want to know,

56:23

like, have they done a successful job at deleting my, you know, history

56:29

and my abilities or my gift or my talent and...

56:32

I don't know how they want to do it.

56:33

They ask me this question a lot.

56:36

They're like, has it, you know, what...

56:38

Can you delete it in your art, Kelly?

56:39

And I don't know if it's like the...

56:43

You're not art, Kelly.

56:45

No, of course not.

56:46

And honestly, we should...

56:48

Why would it matter?

56:49

Like, what you ate a french fry?

56:51

I eat french fries still.

56:53

I love potato.

56:54

Like, like I said, I want my husband to be like a potato

56:57

that is versatile.

56:58

You can fry it, mash it, really.

57:00

Mr. Potato has it.

57:01

Everything.

57:02

And I'm like...

57:03

I'm never going to give up eating potatoes

57:06

because the New York Times didn't like it.

57:08

Do you know what I mean?

57:10

Yeah, it's so much to be...

57:11

Is it going to change your life?

57:13

Does it change your life?

57:14

And it's like,

57:15

No, you have to look at the machine and be like,

57:17

that's the machine.

57:18

But the machine suffers too.

57:20

Like, they do that to you,

57:23

but they suffer too, you know.

57:25

And you have to look at that and be like,

57:28

they, in 10 years' time,

57:30

they will be living in the environment that they create.

57:33

And every time we can...

57:34

Oh, they get fucked off, dude.

57:35

My girlfriend's still going to be mad about

57:37

that we need a new bed frame or shit.

57:39

The machines are going to ever stop that from happening.

57:42

And we got a bed frame when you're a half ago.

57:44

She says, she says it's too squeaky.

57:48

No, but...

57:49

That's insane.

57:51

Yeah, but you have to think that...

57:54

You have a nice house?

57:56

Do I have a nice house?

57:57

Yeah, it's probably amazing.

57:58

I live in the rented house in America.

58:02

I didn't ask you if you would.

58:03

There's probably just awesome stuff inside of it.

58:06

No, no at all.

58:07

I live in an empty house.

58:08

Oh, you're like Steve Jobs, so...

58:10

Oh, what's his style?

58:12

I think like one chair in the middle of a white warehouse.

58:16

Yeah, I did that for a bit.

58:18

That cognated cognated, I was just like that.

58:20

Let's just call him squash the beef.

58:23

And I'll make it right for him.

58:26

I love him so much.

58:30

That's good. He needs love.

58:31

I know.

58:32

And he needs the love for me.

58:34

But so does a lot of people.

58:35

A lot of people need love.

58:37

Yeah, do you feel like you need love?

58:40

I think God found unlimited amount in God.

58:45

Oh, but that's not like how you could chill with watching a movie.

58:48

Wow, it's a different one.

58:49

You feel like if you're watching a movie, God's watching it with you?

58:53

Actually, funny enough, yes.

58:55

But he's not making jokes about the movie.

58:57

No, chilling with your friends,

58:59

I'm making jokes about a bad movie.

59:01

God can't do that.

59:03

No, that's a different kind of love, though.

59:05

Friendship love.

59:06

There's like seven types of love.

59:08

But the infinite,

59:12

abundant,

59:14

you know, forgiving love is from God, you know.

59:18

And so you can say it's in yourself and you find it,

59:21

but that's loving yourself and allowing God to,

59:25

you know, exist in that space and whatever.

59:28

And, you know, and it creates the universe to interact with you in a certain way

59:37

that you love is everywhere.

59:39

Yeah, but we should just watch a bad movie with my...

59:43

Like what?

59:43

What's the making jokes about it?

59:45

What did you see the heat?

59:47

What do you want to watch?

59:47

What should we watch?

59:49

The room?

59:49

Have you seen the room before?

59:52

I wanted to see that.

59:53

Yeah, we got to show for the room.

59:55

I haven't seen it so, uh, manager.

59:57

Can we watch the room, please?

1:00:00

What?

1:00:05

So direct to my timer, so...

1:00:07

Written by timer, so sorry, timer, so...

1:00:09

Okay, yeah.

1:00:10

This reminds me of like the bad porn, maybe,

1:00:13

is my friend needs to make it.

1:00:14

It's the acting level of porn.

1:00:16

I cannot tape it.

1:00:18

Why are you doing this?

1:00:19

This is like...

1:00:20

Justine, this is outside of our...

1:00:22

No, this is somebody who didn't make it to their therapy session.

1:00:25

So basically, I'm on the Adam Friedman TV show,

1:00:30

and he's put on a whole bunch of...

1:00:33

You just need it.

1:00:33

No, he's not porn.

1:00:36

Honestly, this is our YouTube, you see, or nipple.

1:00:39

Pretty cool.

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