Welcome to Why Make Music… a podcast where we dive into the world of creativity and inspiration,
and to learn how to create.
In this video, we will be looking at how to create a podcast to invite you to the world
of creativity.
We are boardcasting from planet Earth, now, without further ado, it is time for us to make our
journey to think, to talk, and to explore Why Make Music...
Hello, hello, hello, hello there my fellow listeners, how are, how's everybody today?
What is going on in the world of podcasting today?
Hi, my name is ThinkTimm ,
and this is Why Make Music… the Podcast, Episode 008.
This episode is actually gonna be the conclusion
of last week's episode,
which was Let's Talk Influences.
The reason why I want to continue this week with the,
Why Make Music… Let's Talk Influences
is because seriously, I kid you not,
the time got away from me last week,
and I was completely unaware
that we almost did a little over an hour,
and during that time,
I did not get really far into my influences.
I do believe,
this is the part of the podcast
where I offer the introduction for those who are new
and have not been listening.
So first and foremost,
I want to suggest that you go back
and listen to episodes one through seven.
Not right now, don't cut it off, don't stop,
but check it out sometime.
So I'm ThinkTimm,
I'm a independent musician, producer,
songwriter, artist.
I am currently independently distributing my music
through United Masters.
My goal is to grow a community,
to grow a fan base,
to find, relate, and meet other creative people.
I am a hobbyist musician,
turning independent musician.
So basically with that being said,
I am the writer, sponsor, producer, artist.
I am doing it all.
So I am here to talk about Why Make Music…..
I think the topic, the question, the statement,
Why Make Music…, as I've said before,
is a very, very interesting topic.
Very interesting conversation starter
when it comes to speaking to someone who's creative.
So last week we dove into the topic of
let's talk influences.
Prior to that, we took a journey through
the time management of an independent producer.
We looked at the amount of music being released
by independent musicians daily,
which was a very shocking number per the internet.
It was basically saying that almost 120,000 songs
are released daily.
That's amazing in itself.
So we also spoke about why would you want to
and what's the psychological makeup of a person
that's attempting to, I guess, get their music
or get their art heard and the effects
that might have on the person.
We also spoke about in the past,
the attempt of trying to converse
with people on social media.
We talked about how to perhaps do some marketing
feeding on social media, especially when you are not necessarily
the social media friendly type that likes to post constantly
all the time daily because you have to feed those algorithms.
So with all that said, I am learning my way around here,
but last week we had such a cool topic
of let's talk influences.
And for those who did not listen,
the long short version of it is basically
I've had creative people, musicians around me
and my family in my neighborhood my entire life.
And I am truly giving props to them for being there.
Household growing up, my uncle, musician,
hobbyist bands in the 70s,
my stepfather carried it from my house
carried it from the 70s into the 80s,
gigging with bands around Philadelphia,
introducing our household to tons of music,
musical styles, teaching us not directly,
not forcing us to learn it, but it was there.
We took a liking to it.
I have a brother who's an excellent drummer,
not by profession , but this is something he does when he's,
so when you need a drummer, he wants to get down
and he gets down and he's really good.
My thing is that I am a multi-instrumentalist,
meaning that I start on the bass, I moved to the guitar,
I play some piano, keyboards, mess around on drums.
As for my personal recording,
currently I'm using the digital audio workstations
that are available on laptops, computers, PCs.
My favorite ones that I use are Apple Logic Pro
and FL Studios.
So also in the back of these podcasts are tracks
that are either left over from other projects
or drums I lifted from my own projects,
but everything is my own original material, no samples.
I'm doing all the playing, the programming,
and the production.
So let's pick up where we left off at.
In the prior episode, I gave major props to artists
such as from John Williams to Quincy Jones,
to Sly and the Family Stone, the Rolling Stones,
the Beatles, these are things that I heard
when I was younger that helped me
form my opinion on the music.
Elvis Presley, I know there's a line from a rap song,
Elvis was a hero the most, but he never meant blank to me.
Listen, normally I don't go into artists
and relate to what's going on
and make it a name dropping scenario,
but these influence episodes, I have to say names
or I create a large guessing game
that wouldn't really be fun.
But Public Enemy was also a big influence.
So when I left off basically, we were talking about
the late 70s going into the 80s.
At this point, I've discovered the greatest influence
on me musically and my way of thinking
and the way of being, which was I came across the 45
of Soft and Wet by Prince.
I was too young to really get into the lyrical content of it
and my mother brought the 45, the smaller record
that plays at 45 RPMs and I still have it to this day.
And I say it's my mother because her name is written on it
in black ink, so I guess she's had it since she was
a young person maybe going over to parties
and playing records, whatever, so you tag your stuff.
That was a major influence.
This was prior to 1999, before Controversy,
before Purple Rain, before whatever.
So this was Prince establishing himself his first single
and it was impressive to a kid that was under the age of 10.
Now that I'm older and the lyrical content, Soft and Wet,
wow, went over my head completely, but it is what it is.
But I grew up in Philadelphia.
I grew up on a regular street, not a single home,
but some row houses, about 60 houses per block.
At one end of my block was a Baptist church,
at the other and further up on the,
about two or three blocks up was a Catholic school
that I went to.
I currently don't prescribe or have any religious
affiliation to anything,
but that also was forms of music in places
that people played music and these are places that
in my childhood I frequent, which helped me also
get a grasp on what everyone was doing around me.
So as a, I guess a tween,
going from young age into teenage years
and you find yourself being at the,
on the, I guess the precipice of rap music
taking over the world and you have pop music,
everybody from Debbie Gibson to Cindy Larper
Madonna, man, Culture Club with Boy George,
George Michaels, you had a whole bunch of cultural
pop people, then you had a whole bunch of R&B groups
going on, you had a bunch of older groups
that were making the transition into, I guess,
popular R&B music, you had groups like the Whispers,
you had Luther Vandross out there singing,
you had the Spinners, the Pointer Sisters,
you had Aretha Franklin that was making, I guess,
a grand transition from the Motown sound
and bringing that into the 80s.
You had great collaborations, you had Annie Lennox
and the Eurythmics, you had so many different sounds
going on at that time, you had people that were great
and still around and kicking, you had Stevie Wonder
with songs like I Just Called to Say I Love You,
That’s What Friends Are For, which was with Dionne Warwick,
you've had Part Time Lover, you had the group DeBarge
that was housed in the 80s with El DeBarge,
Bunny DeBarge, James DeBarge, shockingly,
if you did not know, the DeBarge group was
the younger siblings of the group Switch,
which was also another laid back R&B group.
On the rock side of things, you had, I guess,
what they call the 80s hair bands coming out
and you had Bon Jovi around kicking,
you still had Aerosmith, which had been around
from the 70s, The Rolling Stones, oh dear,
The Rolling Stones, John Cougar, Melling Camp,
Bruce Springsteen, you had Billy Joel,
Billy Joel had that hot track in the 80s, Uptown Girl.
So just like today, where you have a large cross section
of music that fell into the pop category,
we had that then. And at the same point,
while that was going on, we had the introduction
of MTV, BET, VH1, The Box, where people, artists,
were showing music videos much more than
they're showing on TV now.
There were music video shows that catered to,
whether it be the top five, top ten, a certain genre of music.
You had the Country Music Channel, CMT,
you had a whole bunch of them out there that basically
were extension of radio stations and marketing tools
to get the artists into your homes and get you familiar
with the artists.
So as a young man, I took all of that in.
You will find me listening to anything I can listen to.
You can find me watching whatever I can watch.
I realized at an early age that music was something
that I wanted to do, but the only thing is that
I was too grounded in reality, more or less.
So I knew that you had to finish high school,
go to college, get a career, and you have responsibilities.
With all that being said, when I was younger
and I was growing up and living my life,
the area I lived in in Philadelphia was a regular middle class neighborhood,
but we had a bunch of stars that wanted to be stars,
and it was kind of cool because you don't necessarily know.
Last week on episode seven, I spoke of people that were on my,
we called it a block, my street, and when I say my block, my street,
in urban vernacular, we're talking about the hundredth of a block
that you live on, so your address is blank, blank, whatever,
and that would be, your block would be all the numbers from the first two
or the first one number on up until you get to the next digit.
So like say if you lived on the 69th hundred block or whatever,
the 69th hundred block is yours, and then you had a 70th hundred,
then you had a 68th down, or whatever like that.
So that's how we identified the cross sections.
I don't know if that's just a Philadelphia thing, but I'm just saying,
so if I say my block, you know what I'm talking about.
I'm not talking about a cell block or a jail block.
I'm just talking about a city street type thing, but on my street, yo,
I kid you not, currently where I live at, there are not a lot of kids,
so it's funny when I tell stories about on my block,
there had to be at least at any given time, 20 or 30 kids, 20 to 30 kids.
So that means that you had groups and subgroups of people who mixed
and mingled, and just on your street alone, you felt as though you had
friends, adversaries, enemies, people you like, you could rank your
little social groups or whatever, but we had a whole bunch of things
going on, so I know my house was the live music.
Like I said, my stepfather had instruments.
We played music. We played it loud.
Everyone was aware that, oh, that's what was going on there.
They were aware of my Prince fandom. They were aware of me.
The thing that was going on everywhere else is that we had friends,
neighbors down the block that were like I spoke of my older friend
who turned me on to Quincy Jones and Phoebe Snow and the Beatles,
Buddy Holly Kiss.
He was very instrumental in my voyage into Prince also
because he was older, so he had access to the music that I didn't have
access to.
He was a rapper at the time frame.
I'm like he had a name. He went by the name Grand Wizard Casanova,
later to be changed to Prince Casanova.
He had a partner named Sundown, and I think there was a girl in the
group. I can't remember what her rap name was, and then they had a
whole little production coming with a few people from a blocks over,
a boy dude named Flash that did some things.
It was a nice thing. They went and did, I guess, community centers,
playgrounds, block parties or whatever, and they were good.
I'm like considering for the time, I'm like that was the early stages
of rap, so you know the popular rap tracks were like Kurtis Blow and
Planet Rock and Grandmaster Flash and the Furious Five.
So I'm not saying that they were like the epitome of rap, but they were
good.
And then the next little sub generation up there, you had the people
like I mentioned last week, which were Jazz and Rich, and then you had
a dude that lit a few doors up for me who was the DJ, and he had the
most lucrative situation going on because I know that he had a group
that he was DJing for, and he had a manager and a whole bit, and I
thought they got a little bit of airplay, and the manager would come
around.
He was rocking like a Mercedes Benz, and when you're 12, 13 years old
and you see that, and you see someone that's maybe four or five years
older than you relating and doing whatever you think, okay, this is
something, but this was the 80s, and hip hop was new, and people were
realizing, which was still, I guess, from what I understand, an
extension of the 70s that everyone always has something in them to
make them want to make music.
If you notice, if I get on the rant, I am always going to bring it
back around to why make music.
So the thing that I'm saying here is that my environment around me is
what instilled in me what still, obviously, if you hear the dates
that I'm putting out as far as the time that I'm talking about, I am
older, and I am still making music now.
Now, if I would have had the knowledge I have now, then I might be
a household name by this point in life, because, like I said, you live
your life, and you have responsibilities, and you live, you go to college,
you get a job, you have a career, you have a family, you do all those
things, but if you ever think about the people that we as a society tend
to put on that celebrity admiration pedestal, and those who create, these
are the people who never let go of their dreams.
These are the people who follow through, not saying you had to be a
starving artist or you had to somehow put off your responsibilities, but
no, you may have had a support group that supported you.
If you were an actor, you might have took theater and high school,
college, and then went on to do plays.
If you were a dancer, you know there are tons of young ladies and young
men that are going to dance schools and going to dance competitions, and
not everyone is going to make their way to dancing with the stars, but
there are people that could go and become teachers for the next generation,
or they'll go and dance in college.
They'll go and they might possibly just go out dancing and enjoy dancing,
but the thing is that they prioritize the things that are important to
them and things that make them happy.
We all do it.
So the thing is when I say why make music, this is a question that now
we are at eight episodes in eventually as our listening audience grows.
I would like the listeners to comment, hit me up on social media and tell
me their stories and maybe we can connect and I won't be here talking to
myself and we could talk about why you do what you do.
Hopefully it's music, but I'm open because I know I'm enjoying what I'm
doing, so I would like to share and maybe somehow incorporate other
aspects of it.
But the influences I had were a bit of everything coming from everywhere.
You know, we had rap music, we had R&B music, we had R&B artists that were
basically my age or a little older because you think like remember the
song Candy Girl, new addition, you know, you had Menudo like a cannonball.
You had all types of young kids out there being put out there to move and
sell record and merchandise.
You had every young kid had something going on because we could relate to
the young market of rappers.
You have to understand right now rap has basically grown up with me, so
therefore when I sit back and say, oh, there were no 40, 50-year-old rappers
when I was a kid because rap wasn't 40, 50 years old.
So now we have your Rakim, your Jay-Zs, your Chuck Ds, your LLs, your
KRS ones, people who have been around Kool Mo Dee, Nas.
We lost some good ones, but we are living now the lifespan of a genre of
music because you have to understand when I was younger, Smokey Robinson
was old to me.
He's still around.
He's still much older now, but he wasn't my generation.
I'm like, I did not have the time to appreciate a Sam Cooke or say like
Kenny Rogers or a Chuck Berry.
I missed Jimi Hendrix.
The Beatles wasn't popping.
I got duets with Paul McCartney and MJ, but I wasn't catching the Eagles or
nothing like that, you know, so, but the thing is that you have to be aware of
all the sounds that you can take in.
And a couple of episodes ago, I did music statistics and that's when I was
talking about how much music is being put out.
Shockingly, it says that in our lifetime that we take in over a million songs.
It's weird when you say that, considering the fact that you think that you
probably only hear like the same 20 or 30 songs every day, but anywho.
We take it in, we're fully immersed at the same time, completely unaware of
all the sounds that we hear and that surrounds us at any given time.
These are the fabrics that are woven into our minds and our memories that
allow us to relate, understand and find joy and memories that are created or
basically memories that are kind of, I guess, hyped up because of music.
You know, like, I'm not going to lie to you.
It's almost like I don't sample, but sampling is a way kind of, sort of, to
paying homage to other forms of music because you take a track that
previously existed and whether you know it or not, someone heard that song
and someone is fully aware of the origin of that sample.
And they may not even like you as an artist, but they might appreciate the
rebirth of that said song.
So it's all relative when it comes from your influences.
Take, for example, I'm sure without saying Dr. Dre from Compton, Inglewood
is a fan of George Clinton, is a fan of the Gap Band.
It's obvious in his music, the samples that he used are samples from that
era from those artists in that time.
So what's the greatest, biggest shout out you can give as a musician if
that's your cup of tea, the sample, and then the greater part of that is, it's
like a gift that keeps on giving because not only are you like making their
music kind of more relevant, but because of publishing and copyright laws,
they get paid or at least they should get paid if their paperwork and
everything was filed properly and they are the real owners of their music.
But we do know that the music industry is, as they say, a little shady.
So not everyone who wrote a song is getting paid for that song or not
everyone that you thought wrote the song actually wrote the song.
So that's an episode for another day.
But my influences, as you can see, ranged.
And to go back, I would say I have a special place in my heart for hip hop
and I have a special place in my heart for rock music and pop music.
And I tend to like artists that have a large catalog.
I like artists that will be around and not necessarily transcend the test of time,
but they're confident enough to do what they do.
And hopefully they can find the financial backing to always continue to put out
music and be true to themselves.
I'm not a big fan of chasing the hit or liking someone because they're popular.
I could get down with someone who has a similar style to something I like.
And I'm not ashamed to say that I'm a fan of music and it doesn't necessarily have to be lyrical.
So I know that's a kind of odd thing when you think of liking rap because rap is verbal.
But you can like rap and not. The funny thing is that I'm not saying I don't necessarily dissect everything
that a rap artist, a rapper says in a song, but I've been known to be unaware of what they're saying
because I like the cadence and the delivery.
And I sometimes may not necessarily catch on to the things that are a little bit more inappropriate for a crowd.
Since I've gotten older and I have a family, I tend to pay more attention to the lyrics,
especially when my offspring was younger.
But now that I'm getting a little older and they're older, I tend not to judge what they listen to or what they're intaking.
Because I know when I was their age, I was listening to far worse stuff than what they're listening to currently.
The only difference is that it wasn't necessarily being played as openly.
The raunchier things were not necessarily being played on the radio.
So therefore, just casually flipping through the dials while you're driving in your vehicle or watching TV,
you tend not to have seen the things that might be a little bit more offensive verbally than you do nowadays.
But not judging by no means.
Like I told you before, music is a business.
You can never ever judge anyone for making money off of their talent, their skill or their way of projecting someone else's vision through their acts.
To me, a musical artist could be like an actor.
Like when you see Robert De Niro, you see Denzel Washington playing a role.
You see Julia Roberts, you see Kerry Washington.
You don't ask if they wrote the lines that they're saying.
Did they create the character that they're portraying?
So I think music has such an identity because it hits you harder than so many other art forms that you really want to connect with.
The artist, the person, the writer who came up with the piece that you're listening to or the piece that you like, you know.
So there's been plenty of times that I listened to other entertainers cover an artist that I like because I like the song and I wanted to see their take on it.
But at the same time, I never forgot that the person who wrote the song wrote the song and you always have in the back of your mind a comparison of how do they do versus the original.
Or you might have a stance that sometimes I say like, I'm not going to lie to you.
As a Prince fan, I tend not to want to have another artist cover a Prince song because Prince was Prince and not necessarily will you do it justice.
And unlike a lot of things, you like the song delivered by the person who wrote the song.
But I'm not going to lie to you.
The funny thing is that after Prince passed away, I've never watched any of those tribute performances of his quote unquote contemporaries performing his tracks.
Realistically, the only person that I dig doing covers of his track for some reason is Sheila E.
Yeah, it's weird.
So she does this hell of a version of America and it sounds very much so like she captures the energy that he put into his music.
And if you're a Prince fan, you know that they did a lot of recording together, just the two of them.
So maybe it was all in the same vein realistically.
I would love to perhaps see the MPG just perform the music and maybe pipe in his vocals or whatever on keyboards, but not like the new singer guy they have covering Prince.
You're spoiled as a fan, you become spoiled and everybody holds their fandom in a certain way.
That's how I tend to hold that one because it was such a major influence. It's not like saying that you're a fan of a basketball team or a football team or sports organization that you rock with the team, no matter who the players are.
You know, so when you have someone that, as I say, it's the reason why I make music, sincerely, it's because, like I said, towards the end of the last episode, when I was younger and you were looking at the albums and CDs before the
cassette tapes in the back of a Prince album or CD or cassette tapes that produced, arranged, composed, and performed by, a lot of times, it was a situation that I still use to this day.
Because, in comparison, a lot of music that we get and that we receive from artists, musicians, creative entities, it might be, or it may be, it may not be, but most of the time it is
a song made up of a full band of people or several people went into the studio and they came back out with this product and it might go under the umbrella of the name of a person.
So, as an example, I will entertain the biggest debate, I guess, for my age range of entertainers.
When I was growing up, it was like Coke and Pepsi, you always had to choose one side or the other, which you did not necessarily really have to do, but if you were going to do so, I guess you just had to put things in perspective.
People to this day, they hold MJ, Michael Jackson, to such a high esteem as an entertainer, and I get it, I understand, I've seen him perform, I've seen him do his thing, and yes, he is captivating in the way that he moves, is very entertaining.
But if you remove all the visual situations from it, if you had to wake up, this is what I tell folks nowadays, if that person, and I'm not saying that this is the way it should go, my word is not the law, I am not the most intelligent person in the world,
I don't expect people to take my opinion and say it's fact, but what drove me to be a basically lifelong fan of the people who influenced me was the fact that say,
if I heard a song by Miles Davis, other than the extra arrangement that might have been put to it, that's Miles, the horn arrangements, I've seen video, I've seen footage of him playing other instruments,
and instructing other people what to play to get the final product.
What I'm getting at is that as a producer, we have a lot of solitary producers in our world of entertainment currently. Back to my favorite, back to my why I make music and why make music was because of, like I said,
that simple phrase, produced, arranged, composed, and performed by Prince.
With that being said, to me, it was a situation that when you go, if Prince were to wake up and go into the studio every day by himself, he, we may still have the same or close to the same creative output.
That we have now.
Short of engineers and some band members that added flavor to it.
But I would say, possibly, a good majority of his catalog would still be his catalog.
The reason why I say that is that there are few artists that do it all.
And by that, I'm not saying that they're, I'm not saying that it's special because I know for a fact that there are thousands of multi instrumentalists that are just as good, if not as good as Prince.
It's just that they didn't necessarily have that lightening in the bottle with that time they didn't have the opportunity to show improve just like when you talk about sports.
You always hear the story of, oh, there was this player who didn't go to college that played around the way that was just as good as Michael Jordan or Kobe Bryant or Steph Curry, you know, but they didn't go to college, but you wouldn't want to meet him at the playground.
He'll drop 50 on you without a problem. So like I know for a fact that these people may not necessarily be the greatest of all times.
I had a guitar player that played for me.
Years ago, when a bass player that played for me that I would tell you, we will bury a mug.
We will bury people seriously because they were that good.
You know, and I was honored that I could play with them and they thought I was okay, you know, so it was kind of cool was I think, but like I said, the thing is that when you're putting that position to quote unquote, say what influenced you or what made you do what you do.
I know I'm like a lot of feedback as a child of this late 70s into the 80s.
And I say hands down that Prince has it because, like I said,
he was the one stop shop
for his crop product.
I do believe greatly, and I am open for debate and conversation about this, but
without Quincy Jones.
I don't believe we will have off the wall thriller or bad.
And those were the landmark albums that put MJ out there.
And Quincy Jones is still alive today and there's tons of committed documentaries that are basically saying that
the thriller was made by committee off the wall had other musicians drag Greg Philanus to keyboard player.
He had a lot of veteran studio musicians that were laying down tracks for Quincy Rod Templeton, the writer.
So you know a lot of people now Michael Jackson gets credit for writing songs, but did he
lay the tracks down because
some of the songs are great when they're by themselves and they're just instrumentals and I can't give credit.
Not that anyone's judging or thinking that I need to give credit to, but if you are making music,
it's the whole collective that is getting judged.
And like I said, I rather give credit where credit is due as opposed to just putting it under the umbrella
of one person. So I love going on YouTube and hearing the stories and listening to the stories or watching the videos of
the musician that came in that's basically unknown.
That might have played the majority of something on some album or some song that you're familiar with, but it's a shame they didn't get credit.
But I like the fact that they're speaking on it and they don't a lot of times they're not even upset or bothered by it.
It's just the fact that it was what it was and I encourage every listener to go and what do you guys do now?
Wikipedia look up the credits for these songs and the producers that are on the song.
So if you I'm just going to throw it out there. There's an album that came out recently and I kid you not.
There was like 16 songs on the album and there were at least a hundred if not a hundred more people listed under the production credits.
And that's a lot of pie to cut up to give everybody their percentage of that money between samples that were used and everybody putting their hand in the bowl
to give their opinion and getting credit for this stuff. That's a lot of money.
And then I'm sure it was a big time artist. That's why I'm not saying any names and I know this person.
I know this person and I've never seen this person play an instrument on stage or maybe once in the video behind scenes.
I saw this person played a piano or something but not enough to say that they produced the song and other like now possibly lyric lyrically.
They did it. They might have wrote the song.
But I don't think a lot of times these people that were given credit to put pen to paper or set back and put a baseline or a drum line down.
So all I'm saying is that when it comes to making music, I personally tend to put a lot of weight on the collective experience.
And the thing is, don't get me wrong. I give credit to everybody that's involved, but I just want everyone who is involved to get credit.
So don't say that. Oh, one person is a better entertainer than another person when you're dancing to someone else's song or a song that might have been around before.
They even hooked up with that person.
I think that's one thing I kind of respect about the hip hop game. And sometimes when people pull no punches, it's like, oh, I had a producer.
I heard this track. This track inspired me. I rapped over top of it. We made a few changes so forth and so on.
But sometimes you have a situation where there's no shame in the fact that the track was made at one time and then it inspired someone to put lyrics over top of it.
And listen, that's another thing. I know when I get towards the end of these podcasts, I tend to go on these crazy rants because I look at the clock and I'll be thinking like, oh, my God, I got so much more to say.
And times ticking away. But think about it. And I say it all the time. You can be creative. You can be very creative. You can rap about anything.
You can rap about being on another planet. You don't have to necessarily had lived and walked in the footsteps of the lyrics that you are saying.
The reason why I say that is that rap, pop, songwriting all together is such a creative art form.
And it's so many people that a lot of times we still expect these folks to be living every word that they say.
And the thing is, don't get me wrong. I don't I don't think it's necessary. I'm like, be creative. Expand your mind. Tell a story. Some of the greatest stories ever written down.
The person did not necessarily have to experience it in order for it to happen. I'm like, listen, we have a whole genre of books called science fiction fantasy.
You know, so not everything is nonfiction and we enjoy good stories that have a bit of truth to them and are based in reality. But it doesn't necessarily mean that these writers did the thing.
So all I'm saying is that, listen, I know there are a lot of aspiring songwriters that feel as though, oh, I don't have the life experience. So therefore, I don't know.
Now, don't get me wrong, over a period of time, your experience will expand your writing. You can read books to help you expand your writing. You become more educated in the world or in life itself.
But it doesn't necessarily mean that you need to go out there and do all the things that you say or that you write about.
So I'm gonna leave you with a thought and next week I'm going to get back to my normal talking about making my music and my production. But I wanted to open up a bit and let you into my thoughts.
Once again, make note, there was nothing negative about anything I appreciate and I love all music. I love all music creators.
Anybody that can put a thought down is great. But just give credit where credit is due. That's all I ask. I'm like, especially because, like I told you a few episodes ago, I'm trying to crack the code.
And I'm trying to figure out what makes this music industry or this lack of music industry work and work to my benefit. So therefore, I want to make sure that everyone's fully aware that you can do it by yourself.
You can work hard, you can put the time in, you can sit back and say, oh, I did it. And the funny thing is that as a independent person who I ventured into this sharing music with everybody for the simple fact that whether I was sharing it with you or not.
I'm still going to be doing it. So that's the thing. That's the point that I'm getting at. When you do something, you don't do it for the love of other people.
I know for a fact that whether I'm sitting here playing music for myself or now, mind you, I wouldn't be doing a podcast and just recording myself talking for the sake of doing that.
But as far as creating sound and music, I'm going to hopefully do this forever. You know what I'm saying? Like I look forward to sharing this with my grandkids, great grandkids and leaving tapes and files for them to find, to sit back and say, oh, this dude has some ideas.
And music is music. I tell you, as long as I don't play something in the wrong key and make you turn your nose up and think, what the hell is he doing?
It should be OK. Like I have some bad stuff. One day maybe I'll put some stuff in the background. I just be like hot garbage, you know, and you'd be like, oh, that don't sound right.
They are because, you know, sometimes you're making a song and you can just like beer to the left and go the wrong way. But with all that being said, thank you. Thank you. Thank you for tuning in.
We have crossed over the hour mark. I hope I kept you entertained. I hope you tune in again. I hope you listen. I need you to like, subscribe, press that button.
Hit me up on my social media accounts. They're all T H I N K T I M M at Instagram, Twitter, Facebook.
What else I got going on? I started a discord page. I don't have anything on it yet. Listen, I'm telling you, I'm being honest. It's a lot of work trying to maintain all these things and live your life.
Because I have a very nice regular everyday life that I try to involve myself in when I'm not doing this music thing. So in all honesty, hit me up. I promise I will get back to you.
I am trying my best to be proficient with social media. I am trying to engage. I am trying to give myself a presence on air. I'm trying not to flood my timeline with stupid stuff.
So thank you once again. This is why make music dot dot dot episode eight. Let's continue to talk about influences.
Next week, we're going to get back into the regular do it yourself music production and we'll talk some cool stuff and we'll have fun.
Thank you for tuning in. Thank you for listening. Thank you for hanging out. I greatly appreciate it. Once again, I say it sincerely. I'm very, very humble because I do check the analytics and you guys are doing good.
Thank you for listening because I'm nobody and I would definitely say being nobody without you guys listening and I don't I ain't gonna lie to you. I don't want to be somebody.
All I want to do is share my music, tell a story, hopefully something I can say will motivate and create the next Prince Michael Jackson. Billy Idol used to be the man. How about Adam Ant? Y'all remember Adam Ant that he was crazy back in the day.
Whitney Houston, Mariah Carey, Stevie Nicks, the man, Jane Charles. I don't want to fall in love. Peace out. Shout out to the chick who put out my song on the map.
Nothing compares to you Sinead O'Connor. Tori, Tori Amos. Let me go pop on. Let me tell you. Shout out to that new chick out there now. Chappell Rosner. She got it going on. I like her stuff.
Shout out to all the pop boy bands. NSYNC, New Kids on the Block, New Edition, ABC, Bel Biv Devo, Boys to Men, L.A. Reeve, Babyface. Man, Red Hot Chili Peppers.
I would give a shout out to U2, but they got the Grammy for Prince back in 1987. We had Sign o’ the Times, you know. You know Joshua They was not as funky as Sign O’ the Times.
I don't know what to say. Peace. Peace out.