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Welcome to Send Me On My Way.

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I'm your host, Audrey Dean Kelly.

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And on this podcast, we're gonna talk about everything

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from music to pop culture to reality TV

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to pretty much whatever I want.

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So let's get into it.

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All right, y'all.

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On today's episode, I wanna get into the story

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of how I moved to New York City from Arkansas back in.

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Let's see, what would that have been?

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2013.

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So just to paint the picture,

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I was a 24 year old living in Arkansas at the time,

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living in my mom's house that she has since gotten rid of.

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But anyways, I was doing music for a living

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and I was booking gigs all over Arkansas,

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playing a little bit in Nashville.

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I played some shows in Los Angeles,

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but the majority of my income at that point

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was coming from my live shows.

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And because I was living at home,

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I had saved up a decent little nest egg.

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And so we'll get into kind of what happened there.

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But yeah, when I left Los Angeles,

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my goal was always to end up in New York City.

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But I'm someone who,

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I think sometimes people look at me

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and think that I come from money

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because I'm related to celebrities,

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but it is so far from the case.

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I mean, my father lived in a trailer until the day he died.

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So I, you know, in one of my older songs,

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Bluesyway Love, I said, I've seen many things.

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I've been broke in limousines.

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And it's just the perfect picture of my life,

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which has been, you know, these amazing experiences,

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but being the poorest one there.

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So that doesn't really tie back into this episode.

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So let's get back on track.

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So yeah, I was playing shows in Arkansas.

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At that point, I was making a mistake

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in that I was oversaturating my market.

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Because I was doing it for a living there,

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I was booking gigs.

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Like I remember when I first did it,

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I was booking gigs like every other,

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like every three days in the same town.

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Now, most musicians will listen to that and be like,

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yeah, no shit, Sherlock, you shouldn't do that.

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You're not gonna be able to have people

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come out every single night.

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And yeah, I learned that the hard way.

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But alas, your girl was trying and she was going.

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But at the time, I had some male musician,

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we'll call them the cool kids.

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And they were kind of a popular band in Littorock

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at the time.

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They had had a modicum amount of success.

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But at the time, there was definitely this vibe

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within the music landscape in Littorock

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of like, I was not the cool artist.

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I was the artist who was trying way too hard.

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And like, guys, this was in the era of like the,

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not steampunk, but like,

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like you remember the Luminers,

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it was like very folky, very like,

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you know, big ensemble bands.

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And me being a solo girl singing pop music,

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you know, there were certain bars

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that would not book me like the cool bar in Arkansas.

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You guys all know which one I'm talking about.

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But the only way they finally let me play there

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was when these cool kids kind of decided,

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okay, finally she can come sing,

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but we're all gonna be on stage and we're gonna curate

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and it's gonna be controlled by us.

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So I had done a show with them and one of the guys,

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and like, I went to high school with these guys.

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So he had approached me.

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He had come to one of my shows

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and there was always this air of like,

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oh, you're good, but you need me to help you.

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And I wanna focus in on that because that is something

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that has been part of the power struggle

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in the music industry between the artist

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and the producers.

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There is this like landscape of you need me to help you

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because I have some authority.

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But let me tell you, it took me a really long time

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to figure out that that's not the case,

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that they can make their kind of music

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and that's nice and that's good and it's good music too.

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But if you're making music that you like

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and you're proud of, don't let some other artist

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who doesn't even listen to the same music

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that you like to listen to tell you what kind of artist

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you need to be to be good.

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No matter what, as long as you're making art

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that is reflective of you, you're good, baby, you're good.

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So it took me a really long time to get to that point.

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And once I got to that point,

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where I've really finally embraced like I'm a pop artist,

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I make pop music, I'm not trying to be someone

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other than that because that is what I listen to,

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that is what I love.

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So to finally be in my skin,

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it made it so that like once I finally embraced that,

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I started pouring out so much more music out of me.

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But this story is about how I got to that point

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and this story is about how I got to New York City,

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so let's backtrack the cool kids at the time.

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I had done a collaboration with them

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on one of their things.

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And so I got into this studio and granted this new studio

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in town had just opened that everybody was talking about.

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And like, look, making music back then

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was different than it is today.

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And I'm not gonna discount the difference

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of like what quality studio musicians bring to the table

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and a quality studio setting.

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However, here's what happened.

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These guys start courting me and they are telling me

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they're gonna help me make an album.

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Again, this goes back to the complex

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of we're cool, you're not, let us help you be cool.

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Let us tell you what your music should sound like

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and oh, by the way,

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at first it was framed like we're gonna help you

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and they brought me in and showed me the studio

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and I was like, oh, sweet, this is great.

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Then once we start to get into it,

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they tell me, oh, so it's gonna be about $10,000.

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But we'll, and even that, that's a discount

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because we're discounting some of our musician time.

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So $10,000 to record an album in Arkansas.

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I want you to hear that, $10,000 to record an album

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in Arkansas.

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There's something we say in my family,

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it's called, when we joke, it's like the Steenburgen discount.

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Yeah, that's what was happening here

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and let me tell you, the Steenburgen discount

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is not a discount, it's when people think that you have money

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and so they try to take advantage of you.

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Let me tell you, I did have money at that point.

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I had, and I'm like laughing about how I used to store

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my money because so much of my money was in cash.

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I used to have like a teapot that I kept all of my tips in.

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So here I am.

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I have these musicians that are so much cooler than me

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trying to convince me to spend $10,000

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on a studio album with them.

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And these guys, when they come to my shows,

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they kind of have this air of like, we're watching you,

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like you're auditioning for us.

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And I'm like, oh, it's just funny

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because like young Audrey, who is not in her confidence

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and not in her element, really fell for this crap.

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But in the end, I didn't and here's what happened.

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So they're telling me $10,000.

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And so at that time I'm like, fuck, that's like,

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all my money that I've saved up.

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And granted, I'm living in my mom's house

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that like my mom had gotten remarried

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so she was living with my stepdad.

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And so this house was like the house that I grew up in.

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I was living in for free.

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And I wanted to get out of there.

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Not, but look, my mom was incredibly generous

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for letting me live there, but like,

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there's just something like,

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when you're still living under your parents' roof,

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like there's just an element of control

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that I wanted to get away from them.

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And I wanted to come to New York.

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So here I am with a nest egg of cash.

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And these musicians are trying to convince me

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that in order to be cool,

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I need to pay them all this money

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for them to record my album.

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And so I say, fuck that.

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And instead I take that money

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and I sell, you know, most of my belongings.

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I pack me and my little pug, Pearl,

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rest in peace, in my Prius.

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And I up and moved to New York City.

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And I will say it wasn't that simple in the sense

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that I did have help in that my mom's old sorority sister

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let me stay at her place in Connecticut

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for the first month while I was getting off my feet.

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She helped me with a job.

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But I made that choice for myself

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to not let these other musicians

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who tried to convince me that I needed them

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to be honest with you, take advantage of me.

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Cause that's what they were trying to do.

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And I know that.

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I know that now, because let me tell you,

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they booked a show in New York years later

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when I had a beautiful apartment

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and I had hustled and set my life up.

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And so they were coming to play a show in New York

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and they asked me if they could crash at my apartment

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to which I said, sure.

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Let me tell you what happened.

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So they show up at my apartment.

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They have me and my roommates

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order food for them, feed them,

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drink our drinks, act like they're too cool to be there

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because they've got, you know,

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their little hipster friends in the city.

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Yeah, they basically hung out at my apartment,

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let us pay for fucking food for them, complained.

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And then we're like, we're gonna go to some party

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and not invite you to come out with us.

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But like maybe we'll end up back at your place

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at the end of the night.

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They were jerks to my roommates.

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I mean, literally when they left,

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my roommates were like, who the fuck did they think they were?

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And I still think that today.

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So don't be that person.

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If someone is kind enough to offer to host you,

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don't come into their apartment,

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expect for them to feed you and disrespect them

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because yeah, that's what happened.

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And we definitely felt that.

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So that was when I realized, my God,

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I made the right decision by not giving $10,000 of my money

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to these guys who were trying to take advantage of me.

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And instead, betting on myself, betting on my dreams,

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moving to New York, and now granted,

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it may have been, look, your journey in the music industry

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may not be a linear line.

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It's gonna look a lot more like the stock market

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than my experience, which means like if you back out

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and you look at stocks, the S&P, whatever,

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in the past 10 years, you're gonna see ups and downs

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and ups and flows, and it's gonna be the same thing

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for your music career.

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You're gonna have times where you have detours,

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and I definitely had that in my 20s

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when I moved to New York City because here's the reality,

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I had to get a full-time job.

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I lived with two roommates, so the reality of doing

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my vocal scales and having that practice space,

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there was a trade-off, there was,

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there was, but as I sit here,

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looking out at my beautiful tree in my backyard,

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in my midtown apartment, that I fully pay for all myself,

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that my beautiful children live in with me.

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When I look around at the incredible experiences

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I've had, the projects that I've been able to work on

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through Louis Vuitton, through coming here,

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I am so glad, I'm so grateful to that 24-year-old girl

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who didn't buy the bullshit that someone else was selling her.

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I didn't take the shit, and I could have spent that money

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and you know what, I think had I done that,

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I would have, I'm not saying the album

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wouldn't have sounded good, but it's not the kind of music

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I wanna make, I like pop music,

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I love the way I make music now,

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and that brings me to the second point,

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and I'll do an entire another episode about this, but

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it's, the industry's changed,

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you can make music in a very different way,

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especially if you're on the pop route.

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You don't have to pay for studio time in a lot of cases,

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and let me tell you, you can,

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there's so many resources on YouTube,

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one of my favorite accounts, Sides, Seeds, S-E-E-I-T-S,

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Sabrina Sideman, look her up, she's amazing,

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but she gives you tutorials and hacks on logic,

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and so I just want young artists in this,

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industry to know that first of all,

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the landscape has changed,

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it's don't let some male producer make you think

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that you need them to produce your album, okay?

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Like in some cases, if you get to that level,

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and I'm not saying never work with a male producer,

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you can, but if somebody is trying to get you

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to pay $10,000, so that they, like,

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I'm sorry, but like in not a major market,

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like $10,000 to have a studio album done in Arkansas,

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no, like you wouldn't even be charged that

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to do that in New York City, and that's the honest truth,

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so I am very grateful to that girl.

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So anyways, I moved to New York,

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and I busk in the subway,

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and I get a job at a juice company,

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and in episode two, we talked about what happened

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with the producer, so we don't need to go back into that,

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but in general, this story is just to tell you

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that like you just, sometimes you have to trust

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your gut instinct, and especially as an artist

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in this industry, people will try to take advantage of you,

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especially if they think you have money,

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and like people always have thought I have money

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because of the way I carried myself,

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and I mean granted, look, I've been put in the nicest

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private schools, the nicest, I mean, got Occidental,

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every kid I knew almost had a trust fund,

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so of course people associate me with that,

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and they think she's wealthy, we can take advantage of her,

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and if they only knew, if they only knew, I am not.

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So yeah, if anybody's doing that to you,

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take the leap, it might work out for you in the end,

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and it did for me, so I think that's gonna be

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the end of episode three, I think we've talked about enough,

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if you guys have questions, I'm gonna open up

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some discussions, and yeah, this podcast isn't necessarily

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always going to be about my music story,

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there are gonna be some other topics,

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like I have a whole 80 HD episode

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that we're gonna dive into next,

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because I guess that is kind of tied into music,

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but it's all about how you can yield 80 HD

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as a superpower in some cases, if you know

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how to work with it, so stay tuned for the next episode,

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and as always, thanks for listening guys, love ya.

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I'll see you guys next time.

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I'll see you guys next time.

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Can we see back, can we wake up?

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Even on the golden days of the summer, so

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we can take a drive in the moonlight,

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sometimes on the summer, summer, summer,

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and then I hope to set back on the beach with a friend.

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We all took something we didn't have to do,

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it was the waves running,

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I don't want this feeling to end,

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can we soak up the last reason,

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then I like the summer that we've been.

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Can we see back, can we wake up?

333
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Even on the golden days of the summer, so

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we can take a drive in the moonlight,

335
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sometimes on the summer, summer, summer,

336
00:21:06,120 --> 00:21:10,120
and then I hope to see back, can we wake up?

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Even on the golden days of the summer, so

338
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we can take a drive in the moonlight,

339
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sometimes on the summer, summer, summer,

340
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and then I hope to set back on the beach with a friend.

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Can we see back, can we wake up?

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Even on the golden days of the summer,

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so we can take a drive in the moonlight,

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sometimes on the summer, summer,

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summer, summer, summer,

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and then I know now, I don't want this feeling to end forever.

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Can we see back, can we wake up?

348
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Even on the golden days of the summer, so

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can we take a drive in the moonlight,

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sometimes on the summer, summer, summer,

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and then I hope to see back, can we wake up?

