1 00:00:07,080 --> 00:00:10,800 Guys welcome to another episode of Metal Mastermind. 2 00:00:10,800 --> 00:00:13,160 I do believe this is episode #56. 3 00:00:13,560 --> 00:00:16,200 Here I am your Coast and Co founder, Metal mastermind Jason 4 00:00:16,200 --> 00:00:18,840 Stallworth and also the Co founder and Co host the great. 5 00:00:19,440 --> 00:00:22,840 Yanka Dallas What's up man? I love last week when we said 6 00:00:22,840 --> 00:00:24,920 the great Glenn Frickers. Like what? 7 00:00:25,200 --> 00:00:30,600 What makes you guys so great? Yeah, Glenn is a cool guy, man. 8 00:00:30,960 --> 00:00:34,120 Much thanks to Glenn Fricker for coming on the show last week. 9 00:00:34,120 --> 00:00:37,600 That was a blast. We had a lot of fun and we're 10 00:00:37,600 --> 00:00:40,000 not going to talk about this. We got a completely different 11 00:00:40,000 --> 00:00:43,520 topic, but I just thought about that when I said the great Ken, 12 00:00:43,640 --> 00:00:44,920 Ken Candelas, It was so hilarious. 13 00:00:44,920 --> 00:00:46,200 She was like, so wait a minute, what? 14 00:00:46,200 --> 00:00:48,600 What makes you guys so great? What is it you know? 15 00:00:49,800 --> 00:00:51,040 This. Comes right out. 16 00:00:51,680 --> 00:00:56,000 What a, what a show that was. But Ken, this is this is one of 17 00:00:56,000 --> 00:00:57,920 those heartfelt conversations, man. 18 00:00:59,240 --> 00:01:03,680 And it's for musicians, yes, but I know a lot of you listening, 19 00:01:03,680 --> 00:01:06,200 or some of you listening. You may not play music for a 20 00:01:06,200 --> 00:01:07,680 living. You may not even play music for 21 00:01:07,680 --> 00:01:09,040 money. It might just be a really cool 22 00:01:09,040 --> 00:01:11,880 hobby, this conversation we're getting into. 23 00:01:11,880 --> 00:01:15,360 Like like most of everything we talked about the the concepts 24 00:01:15,560 --> 00:01:19,680 are carried over into pretty much every aspect of life and 25 00:01:19,680 --> 00:01:22,320 we're really talking about balancing life and mainly the 26 00:01:22,320 --> 00:01:24,960 highs and the lows of a musicians life. 27 00:01:25,400 --> 00:01:28,440 You know and Ken, I'll have you talk about some of your some of 28 00:01:28,440 --> 00:01:32,120 your recent highs that you have and then what kind of happens 29 00:01:32,160 --> 00:01:36,040 after that. So I like there's this UPS and 30 00:01:36,040 --> 00:01:39,000 the downs maybe not it's maybe it's not like down right. 31 00:01:39,000 --> 00:01:41,640 It's not like something bad happens, but you've got this 32 00:01:41,640 --> 00:01:45,280 high of of finishing a project like Ken, you're just finishing 33 00:01:45,280 --> 00:01:47,840 up, right? Or or being at a big show, 34 00:01:47,840 --> 00:01:49,400 playing a big show or something like that. 35 00:01:49,400 --> 00:01:51,720 And then or maybe you have several shows in a row, then all 36 00:01:51,720 --> 00:01:55,760 of a sudden it's like, OK, that's kind of done what what am 37 00:01:55,760 --> 00:01:58,200 I doing now? So Ken, talk about something 38 00:01:58,200 --> 00:02:00,040 recent that you've gone through, man, because I know you've been 39 00:02:00,040 --> 00:02:01,840 working on this huge project, dude. 40 00:02:03,360 --> 00:02:05,320 Well, Homeric, yeah, I mean, sure. 41 00:02:05,320 --> 00:02:10,160 Homeric's been kind of in the works for about 10 years now and 42 00:02:10,840 --> 00:02:14,560 the album's done. So yeah, that's a that's a huge 43 00:02:14,560 --> 00:02:17,480 milestone for me. It feels more like a a life 44 00:02:17,480 --> 00:02:22,960 stoned than than other things for me in this regard, mainly 45 00:02:22,960 --> 00:02:25,560 because of so many things that happened during that time of 46 00:02:25,560 --> 00:02:30,040 making this album. But yeah, I mean after after 47 00:02:30,280 --> 00:02:34,120 having finished the album. Actually, funny enough, my quote 48 00:02:34,120 --> 00:02:36,440 UN quote high was totally ruined. 49 00:02:37,080 --> 00:02:39,800 Oh dude. Because once I once I actually 50 00:02:39,800 --> 00:02:44,920 finished the album, I was told that one of my songs was 51 00:02:45,120 --> 00:02:48,280 actually going to get banned. Oh. 52 00:02:48,680 --> 00:02:53,400 That's right. I was like, oh, yeah, because, 53 00:02:53,400 --> 00:02:55,760 you know, just to be very transparent, you know, like my 54 00:02:55,760 --> 00:02:59,640 music is about World War 2, and it has, as a protagonist, 55 00:02:59,640 --> 00:03:04,560 actually a Nazi soldier. So I actually had some audio 56 00:03:04,560 --> 00:03:09,000 that came from Nazi Germany and that was very, very 57 00:03:09,480 --> 00:03:13,360 controversial. So to put it bluntly, yeah, I 58 00:03:13,360 --> 00:03:16,160 had to axe it because otherwise I would have been banned in like 59 00:03:16,160 --> 00:03:19,040 50 plus countries. Not only that, but the 60 00:03:19,040 --> 00:03:21,520 distributors who have put my music out would have been banned 61 00:03:21,520 --> 00:03:26,120 there too. So I had to be very, very, you 62 00:03:26,120 --> 00:03:30,560 know, diligent and say to myself, you know, can I tell the 63 00:03:30,560 --> 00:03:35,320 same story without necessarily going to the lengths of 64 00:03:35,320 --> 00:03:38,000 offending people so much, 'cause obviously, you know, 65 00:03:38,000 --> 00:03:42,920 historically, you know, Adolf Hitler was a, was a notorious, 66 00:03:42,920 --> 00:03:46,640 you know, madman, horrible human being. 67 00:03:46,800 --> 00:03:51,640 So having anything related to him in any kind of art can be 68 00:03:51,640 --> 00:03:54,800 very, very tricky to to navigate. 69 00:03:55,680 --> 00:04:00,920 And I also didn't know that his stuff was also copyrighted. 70 00:04:02,440 --> 00:04:04,960 Yes. Yeah, yeah, yeah. 71 00:04:05,160 --> 00:04:07,160 So doing a little bit of background research, I actually 72 00:04:07,160 --> 00:04:10,480 had to discover that too. So I was I was really in the red 73 00:04:10,480 --> 00:04:12,680 on doing anything regarding that song. 74 00:04:12,680 --> 00:04:17,279 So I had to actually redo certain parts of that after 75 00:04:17,279 --> 00:04:18,600 everything was mastered, by the way. 76 00:04:19,240 --> 00:04:23,320 So I had to go back to the drawing board on certain parts 77 00:04:23,320 --> 00:04:28,920 and redo some of that content. And it came out actually in my 78 00:04:28,920 --> 00:04:32,880 opinion, different, better in some ways. 79 00:04:32,880 --> 00:04:36,440 But this song, it's called Sacred Order. 80 00:04:37,040 --> 00:04:39,600 So whenever, when you, when you listen to it, when Homeric comes 81 00:04:39,600 --> 00:04:44,600 out, you'll you'll know. But that it's kind of now become 82 00:04:44,600 --> 00:04:49,920 like a yin Yang type of song for me where you have instead of you 83 00:04:49,920 --> 00:04:53,120 know what's on the other side of the pond, you have what's here 84 00:04:53,120 --> 00:04:56,200 at home, which is Franklin D Roosevelt, which was actually 85 00:04:56,200 --> 00:04:59,560 public domain stuff to use. So I use a presidential speech 86 00:05:00,400 --> 00:05:03,520 in order to convey hopefully the same message that I was trying 87 00:05:03,520 --> 00:05:07,320 to Bay, which is the horrors of this war. 88 00:05:07,760 --> 00:05:10,880 So yeah, that was that was a very, very interesting moment. 89 00:05:11,720 --> 00:05:13,440 What's a good example of high and low? 90 00:05:13,440 --> 00:05:15,960 Man, you're you're done, right? So you've got this natural high. 91 00:05:15,960 --> 00:05:20,160 It's like, OK, that part is done, but then you're hit with 92 00:05:20,160 --> 00:05:22,280 this thing. It's like crap and and you've 93 00:05:22,280 --> 00:05:25,600 done so much work and we all know how tedious having to go 94 00:05:25,600 --> 00:05:27,880 back and redo something like that as and go back to the 95 00:05:27,880 --> 00:05:30,880 entire process and make sure you don't miss anything along the 96 00:05:30,880 --> 00:05:33,480 way as well. Sometimes when you when I used 97 00:05:33,480 --> 00:05:36,680 to work in my corporate job, there would be like a change in 98 00:05:36,680 --> 00:05:39,920 a system and I'm like, OK, if you guys make that one change, 99 00:05:39,920 --> 00:05:43,320 we've got to test everything else because that one change 100 00:05:43,320 --> 00:05:45,760 could have impacted something else and we would never know. 101 00:05:46,640 --> 00:05:48,400 Probably not as much as the case here. 102 00:05:48,400 --> 00:05:50,200 But again, you're going back to the process. 103 00:05:50,200 --> 00:05:54,560 So I mean I can see where that can be like, oh crap, OK, I 104 00:05:54,560 --> 00:05:57,920 really don't want to do this. If you're like me, once I finish 105 00:05:57,920 --> 00:06:00,200 a project, once I get to a certain point, I don't want to 106 00:06:00,200 --> 00:06:01,640 look at it again. I don't want to look back. 107 00:06:02,400 --> 00:06:04,040 Yeah, You know, that's very true. 108 00:06:04,080 --> 00:06:09,480 And I felt I had a lot of resistance to this, but I had 109 00:06:09,480 --> 00:06:15,040 to, I had to kind of cave in because was it worth, you know, 110 00:06:15,120 --> 00:06:20,680 like my pride to have my original intention for this 111 00:06:20,680 --> 00:06:24,400 piece, you know, prevail or, you know, did? 112 00:06:24,640 --> 00:06:28,120 Was it, was it worth killing the project, you know, over it? 113 00:06:28,120 --> 00:06:34,960 And I I said to myself, no. Sometimes art can be dangerous, 114 00:06:36,160 --> 00:06:39,920 and you have to be. You have to be willing to 115 00:06:39,920 --> 00:06:44,440 understand that although you may view something a certain way, 116 00:06:44,440 --> 00:06:46,960 you know there are tons of people who won't view it the 117 00:06:46,960 --> 00:06:49,720 same way at all. And that's why it's actually 118 00:06:49,720 --> 00:06:53,480 really important to have people that you trust critique 119 00:06:53,480 --> 00:06:57,000 yourself. Because if you don't, you could 120 00:06:57,000 --> 00:07:00,760 be doing something that completely backfires on you for 121 00:07:00,760 --> 00:07:03,720 a completely different reason that you didn't anticipate 122 00:07:03,720 --> 00:07:05,200 because you weren't thinking about that you. 123 00:07:05,200 --> 00:07:08,120 Were trying to think about, you know, rightfully so, the art, 124 00:07:08,760 --> 00:07:11,640 right? You know, I I could think of so 125 00:07:11,640 --> 00:07:15,160 many different consequences, you know, after the fact. 126 00:07:15,160 --> 00:07:19,440 But you know, doing that was very, very revealing to me that 127 00:07:20,200 --> 00:07:24,160 it also showed how adaptable I could be too, because. 128 00:07:24,840 --> 00:07:26,760 It. Starts to bring out the 129 00:07:26,760 --> 00:07:29,880 creativities from your limitations, right? 130 00:07:31,160 --> 00:07:34,720 You know, you can only go so far with, you know, that kind of 131 00:07:34,720 --> 00:07:36,480 content. So you have to be very, very 132 00:07:36,480 --> 00:07:41,920 creative as to how you use it and making the message clear 133 00:07:42,600 --> 00:07:44,440 about what it is you're trying to say. 134 00:07:45,040 --> 00:07:49,960 So just be careful when you do any sort of historical stuff. 135 00:07:50,720 --> 00:07:54,040 I'm, I'm an avid fan of history and that's why I was using it, 136 00:07:54,080 --> 00:07:56,600 you know. But yeah, I'm not, I'm not a 137 00:07:56,600 --> 00:07:59,480 Steelberg in the sense where I have his same clout. 138 00:07:59,480 --> 00:08:04,080 You know, I can't make like a Schindler's List, you know, kind 139 00:08:04,080 --> 00:08:08,840 of movie and get away with using that kind of stuff because I 140 00:08:08,840 --> 00:08:11,000 don't have that kind of that cloud. 141 00:08:12,080 --> 00:08:15,560 So you have to be very careful. And and that's not to say that, 142 00:08:15,560 --> 00:08:17,680 you know, we're not doing something that's not important. 143 00:08:18,160 --> 00:08:21,360 It's just means that, you know, we're at a different position 144 00:08:22,560 --> 00:08:25,000 with where we are in regards to being realistic. 145 00:08:25,080 --> 00:08:28,720 You know, let's just play to the reality of the situation. 146 00:08:28,720 --> 00:08:31,640 And you know, if that's something that you're really 147 00:08:31,800 --> 00:08:35,679 adamant about, then you know, know what the consequences are 148 00:08:35,679 --> 00:08:41,080 and weigh your options. And you know, my my desire is 149 00:08:41,080 --> 00:08:44,000 really to create this cinematic opera. 150 00:08:45,040 --> 00:08:47,600 That is, you know, based around metal. 151 00:08:47,920 --> 00:08:52,760 So that's more important to me to tell that story of an 152 00:08:52,760 --> 00:08:57,520 adaptation of The Inferno rather than, you know, getting this one 153 00:08:57,520 --> 00:09:00,200 speech that was very controversial. 154 00:09:00,200 --> 00:09:02,480 So I'm not going to, I'm not going to shoot myself in the 155 00:09:02,480 --> 00:09:05,320 foot over because of that, even if it wasn't what I originally 156 00:09:05,320 --> 00:09:08,720 intended. So that's a hard truth. 157 00:09:09,080 --> 00:09:15,240 And some musicians and artists and and composers, you know, 158 00:09:15,240 --> 00:09:17,160 we're we're very tied to our work. 159 00:09:17,800 --> 00:09:20,600 You know, we can be very, very, you know, guarded about it. 160 00:09:22,120 --> 00:09:26,960 But you know, the truth is you have to think about if you're 161 00:09:26,960 --> 00:09:29,520 going to put your music to the world. 162 00:09:29,560 --> 00:09:31,280 I mean it what? It's one thing to just keep it 163 00:09:31,280 --> 00:09:35,760 in your home studio and never release it, you know, but which 164 00:09:35,760 --> 00:09:37,800 we don't advocate for. We want you to put your stuff 165 00:09:37,800 --> 00:09:39,320 out to the world. The world should hear your 166 00:09:39,320 --> 00:09:41,320 music, right? You should add value to the 167 00:09:41,320 --> 00:09:43,120 world. But if you're going to add value 168 00:09:43,120 --> 00:09:46,840 to the world, you know, it's kind of like thinking about 169 00:09:47,080 --> 00:09:51,360 actually, I was watching Oppenheimer last night and, you 170 00:09:51,360 --> 00:09:55,320 know, you got this nuclear physicist who's figured out how 171 00:09:55,320 --> 00:10:03,280 to split the atom and he makes a bomb, you know, the atomic bomb. 172 00:10:03,840 --> 00:10:07,680 So that is, you know, the two sides of the coin, right. 173 00:10:07,680 --> 00:10:11,400 Where where's an advancement in science is also, you know, to 174 00:10:11,400 --> 00:10:13,040 the detriment of humanity. Right. 175 00:10:13,040 --> 00:10:15,560 So very interesting. No. 176 00:10:15,560 --> 00:10:18,240 And I like the way you handled that, man. 177 00:10:18,240 --> 00:10:20,640 I mean, and you could have handled it a different way too. 178 00:10:21,720 --> 00:10:24,640 You know, there there might even be some people that might just 179 00:10:24,640 --> 00:10:26,680 throw in the towel on the entire thing, right. 180 00:10:26,840 --> 00:10:30,000 That's true. Which that I don't ever want to 181 00:10:30,000 --> 00:10:35,200 see any of you allow the lower points to take control like 182 00:10:35,200 --> 00:10:37,280 that. So you hit kind of a low here 183 00:10:37,280 --> 00:10:38,680 because we're talking about highs and lows. 184 00:10:38,960 --> 00:10:41,560 You know you had this height you if you completed this big thing, 185 00:10:41,560 --> 00:10:43,440 it's like a big load off your shoulders. 186 00:10:43,440 --> 00:10:46,280 But now you hit the slow point, this challenge, it's like OK, 187 00:10:46,280 --> 00:10:50,000 well, I think I think it's all about how we react to situations 188 00:10:50,480 --> 00:10:53,600 we are in. So I'll say this, we're not in 189 00:10:53,600 --> 00:10:57,080 control of a lot of things yet at the same time we are in 190 00:10:57,080 --> 00:11:00,240 control of everything. That makes no sense. 191 00:11:00,440 --> 00:11:03,800 But what I mean is there are some things in life that you 192 00:11:03,800 --> 00:11:08,040 can't help that are happening to you and around you and that are 193 00:11:08,040 --> 00:11:11,440 going to impact you. But we always have full and 194 00:11:11,440 --> 00:11:15,600 complete control over how we react to things and how we, like 195 00:11:15,600 --> 00:11:19,600 you said, you were challenged in the sense that you grew because 196 00:11:19,600 --> 00:11:22,800 you found out how much you can adapt creatively. 197 00:11:23,480 --> 00:11:25,720 And that's a beautiful thing. And that's a really cool skill 198 00:11:25,720 --> 00:11:29,040 to have because I believe at that point, if you can, if you 199 00:11:29,040 --> 00:11:33,080 can adapt to situations and still maintain your creativity 200 00:11:33,080 --> 00:11:35,120 and like, you know, I'm not going to be upset about it. 201 00:11:35,120 --> 00:11:37,200 I'm just going to find a different way. 202 00:11:37,200 --> 00:11:38,920 I'm going to create a different way. 203 00:11:39,080 --> 00:11:40,560 Like we say, create your own sound. 204 00:11:41,000 --> 00:11:43,080 I think that's one of the most important skills you have. 205 00:11:43,080 --> 00:11:46,520 And I I think you become unstoppable at that point 206 00:11:47,120 --> 00:11:48,760 because now you've experienced this. 207 00:11:48,760 --> 00:11:50,800 And you know, we've all experienced things in life where 208 00:11:51,160 --> 00:11:53,320 where sometimes we fell down and we stayed down. 209 00:11:53,320 --> 00:11:55,280 I've been there before, you know, more than once. 210 00:11:55,520 --> 00:11:58,760 But other times we've learned to just, you know, I'll just do 211 00:11:58,760 --> 00:12:01,400 this instead. I'll find, you know, find a way 212 00:12:01,760 --> 00:12:04,440 either around it over or sometimes through it right, or 213 00:12:04,440 --> 00:12:06,760 just make up a completely different way altogether. 214 00:12:06,760 --> 00:12:10,280 So I think that's a really important skill to to develop. 215 00:12:10,840 --> 00:12:12,920 I think, you know, yeah, you're totally right, man. 216 00:12:12,960 --> 00:12:19,520 And the idea of not being able to be adaptable to a situation 217 00:12:19,520 --> 00:12:23,880 is very difficult as a musician to like, be successful in. 218 00:12:26,200 --> 00:12:32,680 I would say that as we create, it's easier to actually 219 00:12:32,680 --> 00:12:36,400 disassociate your personal self from your music. 220 00:12:36,960 --> 00:12:41,040 Because when you sever that tie of like, oh, this is me, this is 221 00:12:41,040 --> 00:12:44,720 my music and this is who I am now, you've now what you've 222 00:12:44,720 --> 00:12:49,640 attached to your music is the IT, the ego, you know? 223 00:12:49,960 --> 00:12:55,320 So that ego, if there's a critique on your music, it's a 224 00:12:55,320 --> 00:12:59,560 critique on your ego too. And that becomes very difficult 225 00:12:59,560 --> 00:13:02,680 for a lot of people to, you know, take that criticism, you 226 00:13:02,680 --> 00:13:05,600 know, it's like, oh, you know, you're attacking me. 227 00:13:05,600 --> 00:13:09,800 This is, you know, it's not, it's not that it's it's it's 228 00:13:09,800 --> 00:13:12,360 looking at something objectively because you know, you've been 229 00:13:12,360 --> 00:13:16,560 very close to this project, but you're, you know, your audience 230 00:13:16,560 --> 00:13:20,360 has never seen this before. You know, you don't know the 231 00:13:20,640 --> 00:13:24,280 first impression unless you hear it from somebody. 232 00:13:25,080 --> 00:13:27,440 And that first impression is very important. 233 00:13:29,040 --> 00:13:31,400 The last thing you need is for somebody to get the wrong 234 00:13:31,400 --> 00:13:34,800 impression and then completely just you know what could have 235 00:13:34,800 --> 00:13:39,080 been a potential fan is now completely removed from from 236 00:13:39,080 --> 00:13:43,000 that potential because you were too stubborn, right? 237 00:13:43,080 --> 00:13:47,080 And what is that? You know, like what 7 sins is? 238 00:13:47,080 --> 00:13:50,960 One of them is pride, right? So pride can get in your way. 239 00:13:51,920 --> 00:13:54,480 It can. Homeric, you know, I've been 240 00:13:55,000 --> 00:13:58,920 blessed to be able to, you know, create something that I feel is 241 00:13:58,920 --> 00:14:02,960 like my greatest work. But in the, in the, in the grand 242 00:14:02,960 --> 00:14:07,000 scheme of things, all of my experience with Homeric has 243 00:14:07,000 --> 00:14:13,600 always been it's it's not my project in my in my mind, 244 00:14:14,000 --> 00:14:16,440 because it's my project, you know, it's it's in my copyright, 245 00:14:16,440 --> 00:14:19,520 it's all that. But in my mind, it's always 246 00:14:19,520 --> 00:14:24,000 been, you know, for lack of a better term, it belongs to God. 247 00:14:24,200 --> 00:14:28,000 It it belongs to the the ether, the the universe. 248 00:14:28,600 --> 00:14:30,800 I'm just, it's a messenger. Kind of. 249 00:14:30,800 --> 00:14:32,760 I like that man. You and I, you and I started 250 00:14:32,760 --> 00:14:36,080 middle Mastermind because we, you know, yeah you could have 251 00:14:36,080 --> 00:14:37,680 kept doing home. Eric and I could have kept just 252 00:14:37,680 --> 00:14:40,960 doing Jason Stallworth things and and we could have did 253 00:14:40,960 --> 00:14:43,200 whatever. I don't, who knows, I don't know 254 00:14:43,200 --> 00:14:46,320 what we would have done. But we we came together and 255 00:14:46,560 --> 00:14:49,080 created this course platform because we both said we, you 256 00:14:49,080 --> 00:14:51,000 know we wanted to create something that was bigger than 257 00:14:51,000 --> 00:14:53,240 just us. For sure I can, I can do some 258 00:14:53,240 --> 00:14:54,880 cool stuff. You can do some cool stuff. 259 00:14:54,880 --> 00:14:57,040 And it's not to say that you can't do things on your own. 260 00:14:57,040 --> 00:14:59,880 We all can. But I don't want to do 261 00:14:59,880 --> 00:15:01,960 everything on my own. And metal mastermind was 262 00:15:01,960 --> 00:15:05,160 something that we came together. It's like we both like, hey, 263 00:15:05,160 --> 00:15:08,160 let's let's put our heads together and put our passions 264 00:15:08,160 --> 00:15:10,640 together on this and create something that's not only 265 00:15:10,640 --> 00:15:13,040 greater than us as an individual, but but even greater 266 00:15:13,040 --> 00:15:14,760 than that. You know, with both of us 267 00:15:14,760 --> 00:15:18,720 together and now everybody listening to our podcast and you 268 00:15:18,720 --> 00:15:21,920 guys who who leave us the comments and and you know and 269 00:15:22,080 --> 00:15:24,120 who we connect with and everything, we appreciate you. 270 00:15:24,120 --> 00:15:27,360 So in that sense we've created something much greater. 271 00:15:27,520 --> 00:15:29,800 So I I like the way you, I like the way you portrayed this 272 00:15:30,560 --> 00:15:33,920 because Homeric is not just, it's not just a band, you know? 273 00:15:33,920 --> 00:15:35,800 No. Yes, it's a living entity. 274 00:15:36,000 --> 00:15:37,760 Right. It's a living entity and you 275 00:15:37,760 --> 00:15:40,760 have to nurture it. You have to take care of it and 276 00:15:40,760 --> 00:15:46,120 you look after it because that's probably, you know, your art is 277 00:15:46,120 --> 00:15:48,040 the most purest thing in the world. 278 00:15:49,600 --> 00:15:53,040 It's so innocent in its own right, right? 279 00:15:53,040 --> 00:15:56,920 It's only here for one purpose, and one purpose only is it's to 280 00:15:56,920 --> 00:16:00,840 serve humans. And how do you serve humans? 281 00:16:00,840 --> 00:16:06,080 The best way, like we tap into something that's very different 282 00:16:06,080 --> 00:16:09,080 from, you know, like the service industry when it comes to art, 283 00:16:09,480 --> 00:16:11,560 right? We we tap into the the nurturing 284 00:16:11,560 --> 00:16:14,560 of the soul. And you know, all the great 285 00:16:14,560 --> 00:16:18,120 artists of the world, a lot of them weren't appreciated until, 286 00:16:18,120 --> 00:16:22,120 you know, long after they were dead because people had to, you 287 00:16:22,120 --> 00:16:25,920 know, in the in the times that they were in, they were thinking 288 00:16:25,920 --> 00:16:28,160 far beyond what everybody else was thinking about. 289 00:16:28,280 --> 00:16:31,280 Everybody was thinking about what's currently happening now. 290 00:16:32,440 --> 00:16:39,320 And you know, you have guys like, you know, Dante or even Da 291 00:16:39,320 --> 00:16:42,320 Vinci or Homer and all these people. 292 00:16:43,360 --> 00:16:47,280 I mean, take for example, Homer. Homer is a really interesting 293 00:16:47,280 --> 00:16:49,240 cat. He's. 294 00:16:50,640 --> 00:16:54,240 If you didn't know, I mean, just some basic stuff here is that, 295 00:16:54,240 --> 00:16:55,880 you know, Homer, this is a Greek poet. 296 00:16:56,560 --> 00:16:59,800 He wrote the Odyssey, the Iliad, all that kind of stuff. 297 00:17:00,560 --> 00:17:04,400 And Homer, you know, is notoriously known for being 298 00:17:04,720 --> 00:17:07,040 blind. Now, we actually don't know 299 00:17:07,040 --> 00:17:09,599 whether or not for sure that was actually true. 300 00:17:10,119 --> 00:17:11,440 We have some. Metaphor or something, right? 301 00:17:11,680 --> 00:17:14,599 We have some hints that he was, but yes, it could have been a 302 00:17:14,599 --> 00:17:15,760 metaphor. It could have been a bunch of 303 00:17:15,760 --> 00:17:17,760 stuff. But one thing that's very true 304 00:17:17,760 --> 00:17:21,160 about Homer, that people didn't really know about it is that 305 00:17:21,160 --> 00:17:25,400 Homer didn't necessarily write down his poems. 306 00:17:25,800 --> 00:17:30,080 He actually sang his poems. He sang his poems. 307 00:17:30,120 --> 00:17:34,440 And the great philosopher Plato was the one who wrote them down 308 00:17:35,600 --> 00:17:38,040 South. And if you know Plato, right, 309 00:17:38,040 --> 00:17:40,720 Plato's, you know, one of the the biggest philosophers. 310 00:17:40,720 --> 00:17:43,320 You know, he's during all the time of like Socrates, he was 311 00:17:43,320 --> 00:17:44,680 his pupil and all that kind of stuff. 312 00:17:46,520 --> 00:17:51,360 But Homer, he would actually sing all of his poems. 313 00:17:51,480 --> 00:17:54,880 That was somewhat something known as a a rhapsode. 314 00:17:55,840 --> 00:17:59,240 So if you ever hear like, you know, Bohemian Rhapsody, right. 315 00:17:59,880 --> 00:18:06,480 It's kind of like a poem, but it's a sung poem and it tells a 316 00:18:06,480 --> 00:18:09,440 story. And you know, that's how, in my 317 00:18:09,440 --> 00:18:13,880 eyes, I know if you've ever listened to a lot of any of, 318 00:18:13,880 --> 00:18:17,440 like, these progressive rock epics that are like super long, 319 00:18:17,800 --> 00:18:20,360 right? But if you, if you like, for 320 00:18:20,360 --> 00:18:23,520 example, yeah, Injustice for all or something ever, even. 321 00:18:23,520 --> 00:18:28,400 Like, even bigger than that. You know, I'm talking like 6° of 322 00:18:28,400 --> 00:18:31,000 Inner Turbulence by Dream Theater, which is like 45 323 00:18:31,000 --> 00:18:33,960 minutes, right? It's like an album long, 324 00:18:34,480 --> 00:18:37,640 basically. So you listen to something like 325 00:18:37,640 --> 00:18:41,240 that. And I've been listening to 6° of 326 00:18:41,240 --> 00:18:43,160 Inner Turbulence since I was like a teenager. 327 00:18:43,320 --> 00:18:45,440 So I love that. I know if I'm like the back of 328 00:18:45,440 --> 00:18:49,080 my hand, but why do I know about by the back of my hand? 329 00:18:49,080 --> 00:18:54,080 It's because I attach certain elements and lyrics to melodic 330 00:18:54,080 --> 00:18:58,040 structures that happen within that album and that piece. 331 00:18:58,920 --> 00:19:04,440 And so part of what I think Homer's secret was was that he 332 00:19:04,440 --> 00:19:10,400 associated music to his poems. And so he was able to remember 333 00:19:10,400 --> 00:19:17,200 these super long poems by attributing another factor that 334 00:19:17,200 --> 00:19:22,400 helped him to remember key elements of the story, which I 335 00:19:22,400 --> 00:19:24,800 think we're musical. Cues the melodies and musical, 336 00:19:24,840 --> 00:19:25,600 you know. Right. 337 00:19:25,720 --> 00:19:31,440 So I always thought that was fascinating and that's that's 338 00:19:31,560 --> 00:19:37,520 one of the reasons why I use the term Homeric, which is to be, 339 00:19:37,520 --> 00:19:40,680 you know, super epic, super grand, like in the style of 340 00:19:40,680 --> 00:19:44,840 Homer. But we have music, modern music 341 00:19:44,880 --> 00:19:48,280 to be able to do a modern Homer piece now. 342 00:19:48,440 --> 00:19:52,400 And that's, you know, I'm using not one of Homer's stories, but 343 00:19:53,720 --> 00:19:58,520 Dante Eligieri's story, who's another poet, right, Someone 344 00:19:58,520 --> 00:20:01,320 during the medieval ages, not during ancient Greece. 345 00:20:01,680 --> 00:20:06,920 And with Dante Eligieri, you know, Dante was he, he he 346 00:20:06,920 --> 00:20:13,200 struggled a lot in his life and he used the Inferno as an outlet 347 00:20:13,280 --> 00:20:19,480 against the people he he hated. You know, and that poetry was, 348 00:20:19,480 --> 00:20:22,880 was beautiful. Everything is in like threes and 349 00:20:23,200 --> 00:20:25,040 all this kind of stuff. There's like sort of hidden 350 00:20:25,280 --> 00:20:30,160 messages and allegories, right? Like allegory, right, allegory, 351 00:20:30,440 --> 00:20:33,520 you know, which are just messages that represent a hidden 352 00:20:33,520 --> 00:20:37,320 meaning, right? You know, like, for example, the 353 00:20:37,320 --> 00:20:41,640 winds of lust, right? Lust blows around like a 354 00:20:41,640 --> 00:20:46,640 hurricane because you have a lack of control in your life. 355 00:20:47,080 --> 00:20:49,040 To be able to do a windows picture one. 356 00:20:51,520 --> 00:20:54,440 To commit to to one person. So that yeah, that's a that's an 357 00:20:54,440 --> 00:20:58,280 example of an allegory. So yeah, I I found it 358 00:20:58,280 --> 00:21:02,680 fascinating. All these historical figures and 359 00:21:02,680 --> 00:21:04,240 and how they they really relate to this. 360 00:21:04,240 --> 00:21:09,240 But All in all they they serve something that lasted longer 361 00:21:09,240 --> 00:21:10,400 than they did. Right. 362 00:21:10,440 --> 00:21:18,520 Which is a legacy, a story told that is immortalized. 363 00:21:18,640 --> 00:21:21,600 And I actually made a YouTube video about this one time. 364 00:21:21,600 --> 00:21:26,360 So how to become immortalized? And you have a Channel 4 home, 365 00:21:26,360 --> 00:21:28,360 Eric, by the way. Dude, I do everybody. 366 00:21:28,400 --> 00:21:29,680 Listening. I talk about all this kind of 367 00:21:29,680 --> 00:21:32,400 stuff. Yeah, all this I I kind of like 368 00:21:32,400 --> 00:21:35,360 to call it dark mythology because it's pretty. 369 00:21:35,360 --> 00:21:38,080 Much what it is, yeah. It's yeah, it's the dark side of 370 00:21:38,080 --> 00:21:41,440 any of this myth for for most of the stuff I talk about, 371 00:21:41,440 --> 00:21:45,200 demonology and all that kind of stuff too, and I find it very 372 00:21:45,200 --> 00:21:48,000 fascinating. It's a lot of my inspiration for 373 00:21:48,000 --> 00:21:50,200 this kind of stuff, especially because I'm doing the Inferno. 374 00:21:50,520 --> 00:21:53,360 Yeah I've always liked to say I'm I'm I'm fascinated overly 375 00:21:53,360 --> 00:21:55,200 fascinated probably by the supernatural. 376 00:21:55,200 --> 00:21:57,360 The things you can't see and the things that go bump in the 377 00:21:57,360 --> 00:22:00,160 night. You know, like one of my 378 00:22:00,160 --> 00:22:04,160 favorite movies is yes, I love the tune as well great maiden 379 00:22:04,160 --> 00:22:08,440 tune and you know when it and I know Homerica's not you know 380 00:22:08,440 --> 00:22:14,240 related or not anything related to this particular series or or 381 00:22:14,240 --> 00:22:16,440 movie in in the case that I'm talking about it in. 382 00:22:16,880 --> 00:22:22,440 But I love. I love what is it now I just 383 00:22:22,440 --> 00:22:25,440 lost my train of thought completely It's Hellboy. 384 00:22:25,440 --> 00:22:27,120 Hellboy is what I'm thinking of. Oh yeah. 385 00:22:27,120 --> 00:22:29,400 I'm thinking of Hellboy with Ron Perlman. 386 00:22:29,400 --> 00:22:31,480 The Hellboy one and two. I thought they're going to make 387 00:22:31,480 --> 00:22:35,760 a three for some reason. I am like deeply fascinated by 388 00:22:35,760 --> 00:22:37,920 those movies. I love them to death man. 389 00:22:37,920 --> 00:22:41,160 So of course that's during the the same era and such that 390 00:22:41,160 --> 00:22:42,360 you're talking about with Omeric. 391 00:22:42,360 --> 00:22:44,280 So anyway, I'm just throwing it out there. 392 00:22:44,280 --> 00:22:48,120 But are you talking about making something that's that has the 393 00:22:48,120 --> 00:22:52,840 longevity which not a lot of things I think today have that 394 00:22:52,840 --> 00:22:54,840 and that's that's a conversation for another day. 395 00:22:54,840 --> 00:22:57,120 But I'm. I'm going back to like the movie 396 00:22:57,120 --> 00:23:00,480 Back to the Future when Marty's on stage playing guitar with the 397 00:23:00,480 --> 00:23:03,320 band, you know, and then all of a sudden he breaks out with a 398 00:23:03,320 --> 00:23:08,800 Van Halen style solo on guitar. And then everybody's like and 399 00:23:08,800 --> 00:23:11,560 he's like, oh, I guess you guys weren't ready for that yet. 400 00:23:11,760 --> 00:23:14,280 Put a great correlation to what you're talking about, these 401 00:23:14,280 --> 00:23:16,240 these famous poets. They didn't. 402 00:23:16,600 --> 00:23:20,800 Their work wasn't wasn't recognized until until way 403 00:23:20,800 --> 00:23:24,560 later. And I I believe and I know you 404 00:23:24,560 --> 00:23:26,720 believe this too, Ken, or you wouldn't be making what you're 405 00:23:26,720 --> 00:23:29,360 making, what you've made. But I believe if we go into 406 00:23:29,360 --> 00:23:33,800 things creating, just creating what's what's coming from us and 407 00:23:34,040 --> 00:23:35,960 not really trying to satisfy anywhere else. 408 00:23:36,160 --> 00:23:38,640 Sometimes you do have to pivot, like in your case you had to 409 00:23:38,640 --> 00:23:42,520 make a pivot which you were able to be even more creative on top 410 00:23:42,520 --> 00:23:46,800 of that, right. So you're able to discern what 411 00:23:46,840 --> 00:23:51,520 you can change and the really intent behind the change because 412 00:23:51,520 --> 00:23:54,840 you want people to get the big picture of this and having that 413 00:23:54,840 --> 00:23:58,440 in there wasn't worth destroying the big picture, right, Because 414 00:23:58,440 --> 00:24:00,360 you would lessen the amount of people that were going to get 415 00:24:00,360 --> 00:24:03,720 this big picture and get the full impact of of your of your 416 00:24:03,720 --> 00:24:07,480 storyline here. So I I think we should we should 417 00:24:07,480 --> 00:24:11,240 focus on those things though instead of worrying about well I 418 00:24:11,240 --> 00:24:13,600 need to write a hit song. I need to write something that's 419 00:24:13,600 --> 00:24:17,680 you know that's going to satisfy the now I think just dig deeper 420 00:24:17,680 --> 00:24:22,200 inside of yourself, you know and it might be crazy like even this 421 00:24:22,200 --> 00:24:24,680 home air project there's probably some things that sound 422 00:24:25,080 --> 00:24:27,800 like crazy in this whole storyline in the way you the way 423 00:24:27,800 --> 00:24:30,680 you've done it right. But this is what you were drawn 424 00:24:30,680 --> 00:24:32,520 to do. So I want to encourage everybody 425 00:24:32,520 --> 00:24:36,520 listening to man go, you know, go with your gut if you've got, 426 00:24:36,520 --> 00:24:39,960 I believe, if you've got pure intentions, I believe that's 427 00:24:40,840 --> 00:24:43,040 pretty much going to tell you. It's pretty much going to lead 428 00:24:43,040 --> 00:24:45,160 you into the right territory most of the time anyway. 429 00:24:45,880 --> 00:24:51,240 Yeah, I I really think people should make the craziest thing 430 00:24:51,240 --> 00:24:56,800 that they could ever think of. And then you can do a reduction 431 00:24:56,800 --> 00:24:58,200 of that later. Sure. 432 00:24:58,440 --> 00:25:01,760 But start, but start from like your your initial intention. 433 00:25:02,480 --> 00:25:06,840 Because obviously, like if I didn't make sacred order the way 434 00:25:06,840 --> 00:25:08,920 I initially did it in the beginning, it would have been a 435 00:25:08,920 --> 00:25:10,360 totally different song. Yeah. 436 00:25:10,880 --> 00:25:14,400 You know the timings and and all these different punctuations 437 00:25:14,400 --> 00:25:16,880 that happen in the song that they would have been completely 438 00:25:16,880 --> 00:25:22,080 different, you know, had I not had done my first version. 439 00:25:22,320 --> 00:25:25,880 So go and do that because it's actually really important 440 00:25:25,920 --> 00:25:32,360 because when you do that, you might hit the mark on what it is 441 00:25:32,360 --> 00:25:35,600 that you're actually trying to emotionally say with your piece. 442 00:25:36,880 --> 00:25:42,720 That could then be the the guiding force how you you know 443 00:25:42,920 --> 00:25:44,440 either. If you want to call it, censor 444 00:25:44,440 --> 00:25:47,840 it, but you know if you want to make a reduction of what it was 445 00:25:47,840 --> 00:25:50,080 originally. You can still use that emotional 446 00:25:50,080 --> 00:25:53,920 trail to to guide you into making something that. 447 00:25:53,920 --> 00:26:02,320 Works it It really is a matter of how much you know. 448 00:26:02,320 --> 00:26:08,640 Do you care about saying what it is that's there like could you 449 00:26:08,640 --> 00:26:13,360 say it a different way and still get the same effect right that 450 00:26:13,360 --> 00:26:15,920 that that's a that's a lyrical thing too. 451 00:26:17,760 --> 00:26:22,080 Sometimes we we we really like bash ourselves on you know 452 00:26:22,080 --> 00:26:26,000 trying to make these lyrics unique and stuff like that. 453 00:26:26,000 --> 00:26:32,200 But your lyrics, they need to be relatable and if you're if 454 00:26:32,200 --> 00:26:35,560 you're going to be using let's say like too much wording that 455 00:26:35,560 --> 00:26:39,960 is maybe that goes over people's heads, you know or whatever. 456 00:26:40,080 --> 00:26:42,360 And it's not like necessarily your audience, but you're trying 457 00:26:42,360 --> 00:26:44,960 to do it because you want to use different words. 458 00:26:44,960 --> 00:26:48,200 You want to use a thesaurus and so which is great, I I, I use a 459 00:26:48,240 --> 00:26:51,960 thesaurus too. But does it does it serve the 460 00:26:51,960 --> 00:26:55,280 the song right. Because if you're going to be 461 00:26:55,280 --> 00:26:57,680 using big words and all of a sudden you have to like now 462 00:26:57,680 --> 00:27:00,640 rework like rhythms and all this kind of stuff to make it fit 463 00:27:00,640 --> 00:27:03,320 that word just because you want to use that word, you know, you 464 00:27:03,320 --> 00:27:04,760 might not even be using that word, correct? 465 00:27:05,880 --> 00:27:08,960 I'll focus out there too, Ken. I mean, I think the intent, you 466 00:27:08,960 --> 00:27:11,680 always talk about intent, right? And I think the intent behind 467 00:27:12,120 --> 00:27:14,720 you have to ask skills. When you ask why do I want to 468 00:27:14,720 --> 00:27:18,240 use these larger words, more complex words? 469 00:27:18,600 --> 00:27:22,680 Is it truly serving the song or am I just kind of feeding my ego 470 00:27:22,680 --> 00:27:25,160 here because I want people to think that right at this high 471 00:27:25,160 --> 00:27:26,600 level? Yeah, you got to check yourself. 472 00:27:27,240 --> 00:27:28,880 You do. You do have to check yourself. 473 00:27:28,880 --> 00:27:31,800 And I I'm OK. I I've seen people talk about 474 00:27:31,800 --> 00:27:33,600 lyrics. Well, don't use the word fire or 475 00:27:33,600 --> 00:27:37,520 desire because they're overused. Well, So what? 476 00:27:37,880 --> 00:27:40,120 It doesn't mean the song is going to sound the same if you 477 00:27:40,120 --> 00:27:42,160 use those words in your song, right. 478 00:27:42,240 --> 00:27:44,560 Because you have your own melody, you have your own, you 479 00:27:44,560 --> 00:27:48,480 know your melodic nature, your rhythms, and you have your own 480 00:27:48,480 --> 00:27:51,040 message. And like you said, Ken, if these 481 00:27:51,040 --> 00:27:54,440 words, they may be simple, but if if they truly serve the song, 482 00:27:55,400 --> 00:27:57,880 then go with it. Don't let someone tell you. 483 00:27:57,880 --> 00:28:00,520 Well, that's that doesn't sound unique. 484 00:28:01,240 --> 00:28:04,160 So what? It's going to be yours, right? 485 00:28:04,160 --> 00:28:05,640 It's going to be your song at the end of the day. 486 00:28:06,160 --> 00:28:09,600 Absolutely. And I encourage you to think 487 00:28:09,600 --> 00:28:15,080 about some other historical people, like for example, Martin 488 00:28:15,080 --> 00:28:22,600 Luther, OK, He started the what are the what are the Pentecostal 489 00:28:22,600 --> 00:28:27,240 church or Right, what's it called? 490 00:28:28,240 --> 00:28:31,640 It's not the Catholic Church, it's I think it's the 491 00:28:32,280 --> 00:28:35,200 Pentecostal Church or? Something yeah, I I honestly 492 00:28:35,200 --> 00:28:37,560 don't know to be honest with you, but I I know he has had 493 00:28:37,600 --> 00:28:39,400 some time. For I'm totally blanking on 494 00:28:39,400 --> 00:28:43,080 exactly what it is, but I'm But I know people who are telling me 495 00:28:43,080 --> 00:28:44,720 they're yelling me right now and they're telling me the right 496 00:28:44,720 --> 00:28:46,440 answer, but they know what I'm talking about. 497 00:28:46,440 --> 00:28:48,600 It wasn't the Church of Satan. We know that, right? 498 00:28:49,520 --> 00:28:52,040 No, it definitely wasn't. But it was it. 499 00:28:52,200 --> 00:28:55,880 It was essentially the Church of the Lutherian Church where 500 00:28:55,880 --> 00:29:01,000 people they they were not using Catholicism and you know, 501 00:29:01,000 --> 00:29:03,880 necessarily saying that the Pope is the the most important 502 00:29:03,880 --> 00:29:05,120 person, etcetera. Right. 503 00:29:05,440 --> 00:29:08,080 But one of the things that's really important about it, I'm 504 00:29:08,080 --> 00:29:12,720 bringing this up is because Martin Luther took Latin, which 505 00:29:12,720 --> 00:29:16,760 was written in all the Bibles and he made it in the common 506 00:29:16,760 --> 00:29:19,040 language so people could understand it. 507 00:29:21,080 --> 00:29:25,600 By doing that, he unlocked people to be able to think 508 00:29:25,600 --> 00:29:31,240 critically for themselves, right, And decide what their 509 00:29:31,240 --> 00:29:33,760 version of worshipping God look like. 510 00:29:34,800 --> 00:29:37,680 And that's super important, because I, you know, when you're 511 00:29:37,680 --> 00:29:40,080 writing, listen from some, like, lyrics, right? 512 00:29:40,080 --> 00:29:45,760 You don't have to, let's say, write in this Latin that is so 513 00:29:45,760 --> 00:29:48,560 hard for people to decipher, right? 514 00:29:48,920 --> 00:29:51,120 You know, you don't need to write something too cryptic. 515 00:29:51,560 --> 00:29:56,520 You can write something that's plain that is very relatable but 516 00:29:56,520 --> 00:29:59,880 and it hits home. It could be the same, you know 517 00:29:59,880 --> 00:30:06,160 message but written differently. And if you hone in on that and 518 00:30:06,360 --> 00:30:09,840 if it makes the impact like listen to how the words impact, 519 00:30:10,760 --> 00:30:14,880 that's it's really, that's where it shines. 520 00:30:14,880 --> 00:30:17,840 It's that emotional impact of saying certain words. 521 00:30:18,640 --> 00:30:23,080 And so if it's fire and desire, right, fire and desire, OK, sure 522 00:30:23,080 --> 00:30:28,000 is maybe a, a, a, an overused like, you know, lyric or poem, 523 00:30:28,800 --> 00:30:33,800 you know, phrase. But if it were to say it in a in 524 00:30:33,800 --> 00:30:39,120 a certain way that evoked the words out of, you know, the 525 00:30:39,200 --> 00:30:41,840 emotions out of those words, then I mean, you know, then it 526 00:30:41,840 --> 00:30:46,280 was effective. So try to try to. 527 00:30:46,520 --> 00:30:51,880 Not let too much of the stigma. Even like if it's like just your 528 00:30:51,880 --> 00:30:54,880 early work, like you know you're just jotting down lyrics can you 529 00:30:54,880 --> 00:30:59,040 just need to find something to to put in there now and you can 530 00:30:59,040 --> 00:31:03,800 replace it later, you should just write the cheesy stuff, 531 00:31:04,040 --> 00:31:08,840 write it down and then go and revise or reduce, right. 532 00:31:09,240 --> 00:31:11,800 Like I was saying before, write what you think you should be 533 00:31:11,800 --> 00:31:13,920 writing. Like eliminate the roadblocks 534 00:31:13,920 --> 00:31:16,760 right there and then that you can't do certain something 535 00:31:16,800 --> 00:31:19,520 because somebody else did this or somebody else did that, and 536 00:31:19,520 --> 00:31:21,280 then you're not going to be looking original. 537 00:31:21,600 --> 00:31:24,000 Just write it anyway. Write it anyway. 538 00:31:24,040 --> 00:31:26,680 And. Yes, we do. 539 00:31:26,800 --> 00:31:30,080 We talk about that, it's a whiteboard session and and we 540 00:31:30,080 --> 00:31:33,560 tell you guys to just even write down words that don't make 541 00:31:33,560 --> 00:31:36,520 sense, just have a placeholder there because what it is that 542 00:31:36,640 --> 00:31:39,000 triggers your brain to start acting. 543 00:31:39,400 --> 00:31:42,520 There's a there's a lot to be said for execution. 544 00:31:42,520 --> 00:31:44,920 And I don't mean like executing people and stuff, but like 545 00:31:45,080 --> 00:31:48,840 executing the, you know, the task, the process rather than 546 00:31:48,840 --> 00:31:51,600 just sitting around not doing anything and over thinking it's 547 00:31:51,600 --> 00:31:53,280 like, well, I just can't do anything. 548 00:31:53,520 --> 00:31:57,320 Put the pen to the paper or the fingers to the keyboard and just 549 00:31:57,320 --> 00:32:00,880 write something. And as you as you get into 550 00:32:00,880 --> 00:32:03,600 motion and and start taking that action, I believe things will 551 00:32:03,880 --> 00:32:05,520 will develop and come to you a lot faster. 552 00:32:06,080 --> 00:32:09,120 Yeah, for sure. I get a lot of my lyrical 553 00:32:09,120 --> 00:32:12,840 inspiration from rhythm. So just even saying certain 554 00:32:12,840 --> 00:32:16,840 words a certain way in time, Yeah yeah, starts to trigger 555 00:32:17,360 --> 00:32:22,800 some other options for that. I'm also a big fan and actually 556 00:32:22,800 --> 00:32:25,000 I say this in metal songwriters forge. 557 00:32:25,000 --> 00:32:28,240 If you are a part of that, you'll have heard this which is 558 00:32:28,240 --> 00:32:31,840 that try writing in a sometimes in a different language see what 559 00:32:31,840 --> 00:32:39,040 it sounds like and it might open more avenues on how you you, 560 00:32:39,040 --> 00:32:41,960 you, you approach you know your your, your lyric writing. 561 00:32:42,720 --> 00:32:45,680 One of the greatest things that was really helpful for me in the 562 00:32:45,680 --> 00:32:49,840 first Homeric album, the debut album, self-titled by the way, 563 00:32:51,560 --> 00:32:58,720 it was that I wrote the music and the lyrics from the origin 564 00:32:58,800 --> 00:33:03,120 of let's say the either the country or the region that I 565 00:33:03,120 --> 00:33:08,800 wanted to emphasize. So, you know, for example, if I 566 00:33:08,800 --> 00:33:11,680 was writing, you know, I wrote a flamenco piece and I I use 567 00:33:11,680 --> 00:33:16,520 Spanish, you know, as as a big part of that, I had a a real 568 00:33:17,280 --> 00:33:23,080 flamenco guitarist come and play vocalist, real flamenco 569 00:33:23,080 --> 00:33:24,520 vocalist. And they, they did all the 570 00:33:24,520 --> 00:33:27,600 things like the palomas, which is, you know, the claps and all 571 00:33:27,600 --> 00:33:29,520 that kind of stuff. They did everything. 572 00:33:29,880 --> 00:33:32,840 And I wrote the metal to that, right. 573 00:33:32,840 --> 00:33:35,680 It was a way for me to experiment for a different 574 00:33:35,680 --> 00:33:37,480 sound. But you know, I had the metal in 575 00:33:37,480 --> 00:33:42,840 mind, but I wrote the metal with the ethnicity. 576 00:33:44,000 --> 00:33:48,000 It was very cool experiment. And, you know, I just encourage 577 00:33:48,000 --> 00:33:50,840 people to try that. Because if you're stuck with 578 00:33:50,840 --> 00:33:53,160 like doing the same thing kind of over and over, you're like, 579 00:33:53,280 --> 00:34:00,400 oh man, same chugs here, you know, like, OK, then, you know, 580 00:34:00,400 --> 00:34:04,360 try, try a different ethnicity of music and or listen, you 581 00:34:04,360 --> 00:34:06,320 don't even have to like, write that kind of music. 582 00:34:06,320 --> 00:34:09,280 You can just like immerse yourself in listening to that 583 00:34:09,280 --> 00:34:11,199 kind of music. Or playing a different key we 584 00:34:11,199 --> 00:34:13,400 have we have plenty of videos on that we we talk about that in 585 00:34:13,400 --> 00:34:15,400 songwriters forged or songwriting course. 586 00:34:15,400 --> 00:34:18,080 Yeah, I mean just that's that's great too, right. 587 00:34:18,080 --> 00:34:22,040 You could, you could play a different mode, you know, and 588 00:34:22,040 --> 00:34:25,639 try a different key structure so that it's not just, you know, 589 00:34:25,639 --> 00:34:29,679 minor or harmonic minor like there's other flavors. 590 00:34:29,679 --> 00:34:33,520 There's like Byzantine and like, you know, like all this kind of 591 00:34:33,520 --> 00:34:37,000 other dark stuff, the Japanese scale, like I love those. 592 00:34:37,719 --> 00:34:44,639 Those kinds of things help to unlock different styles within, 593 00:34:44,760 --> 00:34:47,719 you know, you're playing that you already might have. 594 00:34:47,719 --> 00:34:52,400 You might already know how to do certain types of styles of music 595 00:34:52,400 --> 00:34:56,320 just by instinct, because you might have heard it in many 596 00:34:56,320 --> 00:34:58,880 different capacities. Like maybe it was a video game 597 00:34:58,880 --> 00:35:00,960 that you you love. Maybe it was like you played a, 598 00:35:00,960 --> 00:35:04,240 I don't know, like Assassin's Creed, which is like this game 599 00:35:04,240 --> 00:35:08,120 where you're, you're an assassin and you, you travel through time 600 00:35:08,600 --> 00:35:13,640 to, to, to different parts of this like entire legacy of what 601 00:35:13,640 --> 00:35:16,160 it means to be a, you know, a human and all this kind of 602 00:35:16,160 --> 00:35:17,840 stuff. But you go through the medieval 603 00:35:17,840 --> 00:35:20,920 ages, the Egyptian age, the Viking age, all these kinds of 604 00:35:20,920 --> 00:35:23,000 stuff. And, you know, in those games, 605 00:35:23,120 --> 00:35:27,160 right, you can hear like the sounds and the music that comes 606 00:35:27,160 --> 00:35:29,040 from those regions, right. So as you're playing, you know, 607 00:35:29,080 --> 00:35:32,320 as a as just as a gamer, I'm sure you're hearing this kind of 608 00:35:32,320 --> 00:35:34,720 stuff and you're getting familiar like, oh, OK, this kind 609 00:35:34,720 --> 00:35:40,000 of sound associates to this time period or this culture. 610 00:35:40,320 --> 00:35:42,360 And those kinds of things are what I'm talking about that, you 611 00:35:42,360 --> 00:35:47,040 know, you can tap into. Film scoring is such a great 612 00:35:47,040 --> 00:35:51,720 thing that I was learning to do during my collegial years 613 00:35:51,720 --> 00:35:55,920 because film scoring allowed me to really dive deep into all 614 00:35:55,920 --> 00:35:58,920 these different kinds of styles. Because you have to, right? 615 00:35:58,920 --> 00:36:02,840 If you're hired to do a mystery movie, you know, you got to 616 00:36:02,840 --> 00:36:06,160 learn a little bit about Blues and jazz, You know James Bond, 617 00:36:06,160 --> 00:36:08,440 that kind of stuff. But then you want you're going 618 00:36:08,440 --> 00:36:11,760 to do. You know, I don't know, Tarzan. 619 00:36:11,760 --> 00:36:15,600 Now you got to know how to do Congolese drums and, you know, 620 00:36:15,600 --> 00:36:20,440 big boomy bass with all these kinds of percussion and chakras, 621 00:36:20,440 --> 00:36:23,640 which are like this African shaking sort of type of 622 00:36:23,760 --> 00:36:25,920 instrument. It's all these different types 623 00:36:25,920 --> 00:36:31,200 of things kind of come into the foray of what are your tools and 624 00:36:31,200 --> 00:36:34,000 you learn more about how to do this kind of stuff. 625 00:36:35,240 --> 00:36:39,240 I tell people all the time that the way I started to learn how 626 00:36:39,240 --> 00:36:41,960 to do this kind of stuff mostly was because of The Legend of 627 00:36:41,960 --> 00:36:46,360 Zelda. I was a teenager learning to 628 00:36:46,360 --> 00:36:52,280 transcribe Zelda music. I I had a finale 2006 at the 629 00:36:52,280 --> 00:36:57,520 time, very old, and I was just, you know, plugging away at 630 00:36:57,520 --> 00:37:01,880 learning notes, and I was hearing pitch, and I would try 631 00:37:01,880 --> 00:37:05,440 to match pitch and time with the music, right? 632 00:37:05,440 --> 00:37:09,360 I was transcribing it and I would train my ear to hear 633 00:37:09,360 --> 00:37:12,400 different types of instruments and then to write those 634 00:37:12,400 --> 00:37:15,080 instruments accordingly. That was very, very tough, 635 00:37:15,080 --> 00:37:22,280 especially with like lower quality sample music like N64 or 636 00:37:22,440 --> 00:37:26,280 even before then Super Nintendo and it was like 6, it was like 8 637 00:37:26,280 --> 00:37:29,080 bit 16 bit type. Regular Nintendo before that, by 638 00:37:29,120 --> 00:37:31,440 the way. Yes and all. 639 00:37:31,440 --> 00:37:33,480 I mean, that's even worse because it's just literally like 640 00:37:33,480 --> 00:37:37,880 a synthesizer at that point. But it was very difficult to 641 00:37:37,880 --> 00:37:41,320 kind of like, you know, hear the different types of of 642 00:37:41,320 --> 00:37:43,440 instruments. So you know, you'd have to 643 00:37:43,440 --> 00:37:46,800 really use your ear and your best judgement as to what was 644 00:37:46,800 --> 00:37:50,040 the sound that was used in order to write that part. 645 00:37:50,880 --> 00:37:53,800 That was really helpful for me as a as a composer. 646 00:37:54,760 --> 00:38:00,360 It it unlocked a part of myself that I didn't I wouldn't have 647 00:38:00,360 --> 00:38:02,200 had otherwise into doing what I'm doing. 648 00:38:02,200 --> 00:38:06,960 It's the reason why I sort of got into music you know So I 649 00:38:06,960 --> 00:38:10,000 mean like transcribing and learning music theory and all 650 00:38:10,000 --> 00:38:11,320 that kind of stuff is really important. 651 00:38:11,680 --> 00:38:15,040 I I, I did a blog post about music theory and its 652 00:38:15,040 --> 00:38:18,080 complexities, and you should read it if you guys haven't. 653 00:38:18,080 --> 00:38:24,920 But it's it really addresses why, in my opinion, music theory 654 00:38:24,920 --> 00:38:27,680 is one of the most powerful tools that you can have when 655 00:38:27,680 --> 00:38:30,200 you're actively writing music. You're not necessarily using 656 00:38:30,200 --> 00:38:36,040 theory to write music, it just allows you to understand exactly 657 00:38:36,040 --> 00:38:38,400 what you're doing and then you might have a strategy on what to 658 00:38:38,400 --> 00:38:41,960 do next. It gives you a way to overcome 659 00:38:41,960 --> 00:38:46,000 things like writer's block and stop doing the same usual things 660 00:38:46,000 --> 00:38:49,880 that you are comfortable doing. Because we have those, right? 661 00:38:50,120 --> 00:38:52,520 You don't need music theory to write music, but you might be 662 00:38:52,520 --> 00:38:55,400 writing some of the same stuff a little bit too often. 663 00:38:56,280 --> 00:38:59,240 Especially the metal guitars. So the metal guitars in general 664 00:38:59,240 --> 00:39:02,600 tend to go for the lowest note possible and that's all they. 665 00:39:02,800 --> 00:39:06,840 You can probably name several albums and even great albums at 666 00:39:06,840 --> 00:39:10,720 that, that every song starts with the same note, the same 667 00:39:10,720 --> 00:39:13,360 power cord. It's in the exact same key. 668 00:39:13,360 --> 00:39:16,400 They don't deviate. And I'm not saying you should or 669 00:39:16,400 --> 00:39:19,440 shouldn't do that. Look, I'm not, you know, But it 670 00:39:19,600 --> 00:39:22,240 it might serve you to just explore outside of that. 671 00:39:22,240 --> 00:39:25,720 That's why I'm I'm, I'm always telling you one way, you know, 672 00:39:25,720 --> 00:39:29,480 all of you guys telling you one way to to get out of that is to 673 00:39:29,520 --> 00:39:32,000 play the same thing. Start playing that in a 674 00:39:32,000 --> 00:39:33,080 different place in the front board. 675 00:39:33,080 --> 00:39:36,640 Play in the key that maybe is not a guitar friendly key. 676 00:39:36,760 --> 00:39:38,840 You know, I grew up playing guitar in church. 677 00:39:38,840 --> 00:39:41,880 I'm playing Guns and Roses and Metallica and Hair Bands on on 678 00:39:42,120 --> 00:39:45,360 you know the other times and I had to go play gospel hymns 679 00:39:45,680 --> 00:39:49,880 where I'm following the piano and I'm playing along with my 680 00:39:49,880 --> 00:39:53,640 mentor who he's he passed many years ago Ronnie Goodman, he was 681 00:39:53,640 --> 00:39:58,120 an amazing like Blues, jazz, guitars neither are which are my 682 00:39:58,120 --> 00:40:00,360 preferences of music along with the hymns. 683 00:40:00,480 --> 00:40:04,760 But I wanted to play music so I did and he taught me to play in 684 00:40:04,760 --> 00:40:06,680 different keys. So you know I was like well just 685 00:40:06,680 --> 00:40:09,040 play bar chords and the E flat and the B flat. 686 00:40:09,520 --> 00:40:11,920 Again not guitar friendly keys to playing. 687 00:40:12,280 --> 00:40:16,520 So I just learned to make up lead patterns to those keys. 688 00:40:16,680 --> 00:40:20,000 I had something in my head and I'm like, OK, well I think it 689 00:40:20,000 --> 00:40:21,720 goes here. So I played it sounded good. 690 00:40:21,720 --> 00:40:24,120 If it didn't sound good, well. Well, don't play that. 691 00:40:24,120 --> 00:40:26,040 Play something else. That's kind of was kind of my 692 00:40:26,040 --> 00:40:30,080 simplistic approach to that. But just stretching yourself a 693 00:40:30,080 --> 00:40:34,200 little bit, you know, not going for that low note every single 694 00:40:34,200 --> 00:40:37,480 time you pick up the guitar. Just play somewhere else. 695 00:40:37,480 --> 00:40:40,080 Doesn't matter where it is, just pick another part of the fret 696 00:40:40,080 --> 00:40:43,480 board. Yeah, and you got you got tons 697 00:40:43,480 --> 00:40:47,800 of inspiration all around the world to to be able to to write 698 00:40:47,800 --> 00:40:51,400 something new and different. You know, I've seen some really 699 00:40:51,400 --> 00:40:57,120 cool metal artists who derives most of the inspiration from 700 00:40:57,120 --> 00:41:00,200 Indian music. I love the rhythms of Indian 701 00:41:00,200 --> 00:41:01,440 music. They've got some cool stuff, 702 00:41:01,560 --> 00:41:03,680 man, Yeah. Yeah, I mean like who, who would 703 00:41:03,680 --> 00:41:05,720 have thought and you know, like just just take that kind of 704 00:41:05,720 --> 00:41:10,200 stuff, that kind of rhythmic structure and and adapt it into 705 00:41:10,200 --> 00:41:11,800 metal. It makes perfect sense. 706 00:41:12,560 --> 00:41:15,720 You know, anything that's very rhythmic makes perfect sense in 707 00:41:15,720 --> 00:41:19,920 metal, to be honest. And like we say, there are no 708 00:41:19,920 --> 00:41:22,400 rules in music guys. They're like, there's there's no 709 00:41:22,400 --> 00:41:25,160 rule saying you have to write a metal song just like this or you 710 00:41:25,160 --> 00:41:28,200 have to sing it like this or you have to have this vocal style. 711 00:41:28,840 --> 00:41:32,480 I would say for all that out the window, what is, what is in your 712 00:41:32,480 --> 00:41:34,320 heart? What is it that you want to get 713 00:41:34,320 --> 00:41:37,600 out that's going to be the best and most original version of 714 00:41:37,600 --> 00:41:40,040 yourself? And if it ends up sounding like 715 00:41:40,040 --> 00:41:43,880 something else, but that wasn't your intent, OK, So what? 716 00:41:43,880 --> 00:41:45,920 So be it. That's just who you are right 717 00:41:45,920 --> 00:41:49,840 now as a musician. But I I kind of, I kind of go 718 00:41:49,840 --> 00:41:53,720 against trying to sound like this or trying to fit your music 719 00:41:53,720 --> 00:41:57,320 in a certain category. I love what Clint Fricker said 720 00:41:57,320 --> 00:42:01,040 about death metal vocals. He's he's like, yeah, OK, we, we 721 00:42:01,040 --> 00:42:03,360 know you like Cannibal Corpse and and I love death metal too. 722 00:42:03,360 --> 00:42:04,760 I love a lot of death metal bands. 723 00:42:04,760 --> 00:42:08,640 But he's like people, you know, people are attracted to a 724 00:42:08,760 --> 00:42:10,920 melody. So that's why in some of my 725 00:42:10,920 --> 00:42:13,520 music I'll mix both. I'll I'll I do mostly clean 726 00:42:13,520 --> 00:42:16,560 vocals, but I'll throw some death metal stuff in there from 727 00:42:16,560 --> 00:42:18,560 time to time, you know. Yeah. 728 00:42:18,800 --> 00:42:21,240 So just a little bit, right. Yeah. 729 00:42:21,280 --> 00:42:22,920 Yeah. Variety's good man. 730 00:42:23,160 --> 00:42:25,480 It too much of the same stuff can get stale. 731 00:42:26,920 --> 00:42:31,800 I'm very much more on the side of you know use melodies. 732 00:42:33,160 --> 00:42:37,840 I've had I had a good friend of mine who is who's interested in 733 00:42:37,880 --> 00:42:41,600 in in in my music and said you know you should have versions of 734 00:42:41,600 --> 00:42:44,760 your stuff that is instrumental as well you know. 735 00:42:45,000 --> 00:42:51,160 But at the core everything really comes together with 736 00:42:51,160 --> 00:42:54,480 vocals like that's what people pay attention to right. 737 00:42:54,480 --> 00:42:57,760 I mean coming back to Homer right. 738 00:42:57,760 --> 00:43:02,120 It's like it was the Odyssey that they paid attention to. 739 00:43:02,600 --> 00:43:07,240 He he may have sang the The Odyssey, but he it was the 740 00:43:07,240 --> 00:43:12,400 Odyssey that had people really gripping their seats for the 741 00:43:12,400 --> 00:43:15,280 next chapter, you know? It's a message too, man. 742 00:43:15,280 --> 00:43:17,840 It's a message behind it. It's just that that feel that 743 00:43:17,840 --> 00:43:20,040 you're, you know, you're relating with someone with that 744 00:43:20,040 --> 00:43:23,040 powerful message too, man. Yeah, lyrics are super 745 00:43:23,040 --> 00:43:25,440 important. Vocal is the most important 746 00:43:25,440 --> 00:43:27,000 part. I mean in any any like 747 00:43:27,000 --> 00:43:30,800 production, like you talk to any mix engineer and they say what's 748 00:43:30,800 --> 00:43:33,640 the most important part of the of of the mix and it's the 749 00:43:33,640 --> 00:43:35,320 vocals. You know it's going to be the 750 00:43:35,320 --> 00:43:36,800 thing that that stays in the front. 751 00:43:37,320 --> 00:43:39,400 Why? Because that's what we relate to 752 00:43:39,400 --> 00:43:43,040 because we we hear stories come out of that all the other stuff 753 00:43:43,120 --> 00:43:48,280 which is beautiful, you know you know like think about anything 754 00:43:48,280 --> 00:43:57,040 that's here's a here's another thought we remember you know and 755 00:43:57,040 --> 00:43:59,240 this made this I'm. I'm just speaking as because I 756 00:43:59,240 --> 00:44:03,480 grew up as a Catholic. I remember a lot of the songs. 757 00:44:04,040 --> 00:44:06,480 I remember a lot of the songs in church. 758 00:44:07,120 --> 00:44:09,440 Right. I don't necessarily remember a 759 00:44:09,440 --> 00:44:11,680 lot of the instrumentals that happened during that time 760 00:44:11,680 --> 00:44:16,480 though. You know, like how many times 761 00:44:16,480 --> 00:44:23,760 were were the organist playing during mass and then you know, 762 00:44:23,760 --> 00:44:26,680 you, you, you, you know, associate all that music 763 00:44:26,680 --> 00:44:28,560 towards, you know whatever was happening, they would 764 00:44:28,880 --> 00:44:32,640 choreograph when to do certain pieces so that you know it 765 00:44:32,640 --> 00:44:35,120 reflected what's happening at the altar etcetera. 766 00:44:35,760 --> 00:44:38,760 You don't remember that stuff. You remember the the, the vibe, 767 00:44:38,760 --> 00:44:40,680 the essence of what it meant to be in a church. 768 00:44:40,680 --> 00:44:44,640 But what do you remember is when they tell you, hey, pick up the 769 00:44:44,640 --> 00:44:47,440 book in front of you and sing along with us, right? 770 00:44:47,560 --> 00:44:50,640 And you remember and you actually recite the words, 771 00:44:51,080 --> 00:44:53,480 right? There's something about words, 772 00:44:54,360 --> 00:44:56,560 right? This engraved thing. 773 00:44:56,920 --> 00:45:00,400 When you read words or when you recite or when you you write 774 00:45:00,400 --> 00:45:02,680 them down. Even better when you write them 775 00:45:02,680 --> 00:45:07,560 down it does something in your brain which which triggers 776 00:45:07,560 --> 00:45:14,920 memory you know and that kind of you know impact that words have 777 00:45:14,920 --> 00:45:17,720 on us. It it's why we have to 778 00:45:17,720 --> 00:45:26,640 prioritize lyrics in such a way to make them well thought, you 779 00:45:26,640 --> 00:45:30,840 know I like I like lyrics that are that are deeper than than 780 00:45:30,840 --> 00:45:33,480 surface level stuff. I, I, I, I can't get really into 781 00:45:33,480 --> 00:45:37,040 a lot of surface level music, but that kind of stuff, I mean, 782 00:45:37,040 --> 00:45:39,440 it could be fun, but it's not, it's not going to be anything of 783 00:45:39,440 --> 00:45:43,320 substance. But when you, when you record 784 00:45:43,320 --> 00:45:47,840 and you you sing lyrics that have a lot of deep meaning and 785 00:45:47,840 --> 00:45:50,160 you listen to that stuff on the other side, as a consumer, I 786 00:45:50,160 --> 00:45:53,760 mean you can tell, you can tell the emotion of what somebody had 787 00:45:53,760 --> 00:45:56,320 when they were saying those words. 788 00:45:56,320 --> 00:46:00,920 They might be trembling or they might be, you know, full of joy. 789 00:46:01,840 --> 00:46:04,840 Those kinds of emotions that come through. 790 00:46:07,120 --> 00:46:09,800 It's words that that that give that to us. 791 00:46:10,000 --> 00:46:11,200 They trigger memories too. You. 792 00:46:11,400 --> 00:46:14,040 Know they trigger memories. And you know, you know, yeah, 793 00:46:14,640 --> 00:46:16,720 words don't hurt. You know, sticking stones may 794 00:46:16,720 --> 00:46:18,200 break my bones. Words will never hurt me. 795 00:46:18,200 --> 00:46:19,960 You know, like it's the biggest lie I've ever heard. 796 00:46:19,960 --> 00:46:21,600 Because it's like words are the thing. 797 00:46:21,600 --> 00:46:22,520 They do hurt. Yeah, they. 798 00:46:22,560 --> 00:46:27,440 Can't that, that, that actually, you know, hit the soul in in a 799 00:46:27,440 --> 00:46:33,440 different way, you know, So I, I, I look at all this and I and 800 00:46:33,440 --> 00:46:38,520 I say what's what, what serves the music, the song, what, what 801 00:46:38,520 --> 00:46:44,080 is going to be the most effective way for me to deliver 802 00:46:44,360 --> 00:46:48,360 my message and why is it so important? 803 00:46:48,360 --> 00:46:52,040 Like why does anybody care? Why should I share this? 804 00:46:53,200 --> 00:46:56,000 You have to, you have to be able to answer those kinds of 805 00:46:56,000 --> 00:47:01,440 questions and answer them truthfully with yourself because 806 00:47:01,440 --> 00:47:05,600 I I believe in, in in making something that should be your 807 00:47:05,600 --> 00:47:08,120 greatest work. You should always strive to make 808 00:47:08,120 --> 00:47:10,800 your greatest work. You know, a scientist like 809 00:47:10,880 --> 00:47:14,880 Einstein doesn't go in you know, looking for Cheetos. 810 00:47:14,880 --> 00:47:19,120 You know, he's looking to, he's looking to to to create what's 811 00:47:19,120 --> 00:47:22,040 the the equation for general relativity. 812 00:47:22,200 --> 00:47:24,240 You know, like that's his greatest work. 813 00:47:24,400 --> 00:47:27,200 You know, and I'm not saying we have to be Einstein, but it's 814 00:47:27,200 --> 00:47:32,040 like there's a Eureka moment for for these types of folks and you 815 00:47:32,040 --> 00:47:35,200 know, where where is your Eureka moment at night? 816 00:47:36,600 --> 00:47:40,480 Strive for that. Dig deeper because we need we 817 00:47:40,480 --> 00:47:45,040 need that. For the humanities, for Pete's 818 00:47:45,040 --> 00:47:48,120 sake, we need that. Yeah, and we do need something 819 00:47:48,120 --> 00:47:51,880 different, man. Probably has something that's 820 00:47:51,880 --> 00:47:56,560 worth telling. And don't sell yourself short 821 00:47:56,560 --> 00:48:01,200 because you're not right now in a position like other artists 822 00:48:01,200 --> 00:48:04,760 are. You have your own value to add, 823 00:48:04,760 --> 00:48:09,640 so make it the best that you can possibly do so that you can tell 824 00:48:09,640 --> 00:48:13,360 the story that's worth telling. You know everybody has their own 825 00:48:13,360 --> 00:48:15,160 take on life. What's yours? 826 00:48:16,600 --> 00:48:19,360 Good stuff, dude. Well guys, we're we're kind of 827 00:48:19,360 --> 00:48:21,680 getting towards the end here wrapping things up. 828 00:48:21,680 --> 00:48:24,520 So once they thank you so much, We do have a metal song for you. 829 00:48:24,520 --> 00:48:26,320 So we're we're doing that like right now. 830 00:48:26,880 --> 00:48:28,720 But at first I want to say thank you for listening. 831 00:48:28,920 --> 00:48:30,920 We appreciate you guys appreciate all the support. 832 00:48:31,640 --> 00:48:34,400 Don't forget to head over to metalmastermind.com. 833 00:48:34,680 --> 00:48:37,800 Check out the courses that we have for you get guitar courses, 834 00:48:37,880 --> 00:48:40,280 we talked about theory. We've got music production, 835 00:48:40,280 --> 00:48:41,600 songwriting, all that good stuff. 836 00:48:42,600 --> 00:48:44,280 Ken Dude, Metal Song of the Week. 837 00:48:44,320 --> 00:48:48,280 I'm going to shoot it off with a song by a band called Serenity. 838 00:48:48,960 --> 00:48:55,400 The song is called Age of Glory. It's off the War of Ages album 839 00:48:55,400 --> 00:48:58,960 that was released in 2013. They're sort of, they sort of 840 00:48:58,960 --> 00:49:02,960 remind me a mix of Nightwish and Camelot and it's it's definitely 841 00:49:02,960 --> 00:49:08,000 kind of a of kind of a symphonic power metal style theme there, 842 00:49:08,000 --> 00:49:10,400 but really cool tune. There's some orchestration in 843 00:49:10,400 --> 00:49:13,200 the beginning of it. They've got, you know, the clean 844 00:49:13,200 --> 00:49:15,680 male vocals, but there's a female vocalist that comes in in 845 00:49:15,680 --> 00:49:17,840 the bridge. So it's just one of those songs, 846 00:49:17,840 --> 00:49:20,560 you know, we just got finished talking about having key 847 00:49:20,560 --> 00:49:22,640 changes, having different things happening. 848 00:49:23,120 --> 00:49:26,560 This song has a lot of elements, so it's a great song to display 849 00:49:26,560 --> 00:49:28,160 for for this kind of conversation. 850 00:49:28,800 --> 00:49:31,920 Awesome. I I'm going. 851 00:49:31,920 --> 00:49:34,880 I'm going with Belfagore today. Belfagore. 852 00:49:35,400 --> 00:49:39,200 Love Belfagore? Their album Conjuring the Dead 853 00:49:39,200 --> 00:49:43,280 is a classic. In particular, I like the song 854 00:49:43,280 --> 00:49:47,240 In Death, which actually comes after the song called Conjuring 855 00:49:47,240 --> 00:49:50,160 the Dead, which is a fantastic tune. 856 00:49:50,160 --> 00:49:55,400 But in Death is, I don't know, it's got this rhythmic structure 857 00:49:55,400 --> 00:49:59,680 to it and the guitar tone is just it's so gnarly in this 858 00:49:59,680 --> 00:50:02,520 album that the drums sound just gigantic. 859 00:50:04,560 --> 00:50:06,240 But yeah, it it's very, very cool. 860 00:50:06,240 --> 00:50:09,000 I I strongly recommend if you haven't heard of Belfagorde, 861 00:50:09,360 --> 00:50:12,680 definitely go check them out, and if you do, if you haven't 862 00:50:12,680 --> 00:50:16,960 heard in depth, check that out. Two cool tunes for you guys to 863 00:50:16,960 --> 00:50:19,520 go listen to guys. Thank you once again for 864 00:50:19,520 --> 00:50:21,800 listening, for being a part of Metal Mastermind. 865 00:50:21,800 --> 00:50:25,200 You guys are Metal Mastermind, You're part of this community 866 00:50:25,200 --> 00:50:27,920 and we appreciate you. Until next time, as always, 867 00:50:27,920 --> 00:50:29,440 create your own sound.