Supah Mario Interview: Going #1 with Drake vs. Developing an Artist

I went number one with Drake, and I didn't even look at that as my success because it was Drake. At this point, it's about can I develop artist? Can I go number one with someone that I developed with someone who's fresh, new on the market? Can I build them up? Can I build myself up with them? Can I find that one person I have that chemistry with and make an album? The One More Time podcast is just getting into the film industry, super heavy. I'm beyond thrilled to be welcoming in yet another legendary American actor. It's LaKeith Stanfield. Oh my god! On the pod. Oh my god. Live in the flesh. Should we just go full send in the film? I think so. We get all these legendary actors. Music is trash these days. bro. I'm over music. Let's get in the film industry for sure. Bruh. Have you got that before? Yes.

Yes. Thank God. But I I feel like I shaved well enough to not look so much like it's not connecting. Like, I thought I was going more like uh you know I've gotten like Mike Tomlin before. That was my backup. That was my backup. So much better, Henry. I swear. I thought Lakeith. Redo it. Just kidding. It's been it's been Lakeith, Mike Tomlin is in the guy from Loving Basketball. Oh. When I was younger. Yeah, yeah. I know it's the eyes. I get it. All right, all jokes aside, we're still in music. God damn it. We got super producer Super Mario in that building. Thank you for coming, man. Man, appreciate it. Appreciate it. Shout out to Benton James for the alley-oop here for sure. Um, all right, so you tweeted recently, take a step back today and examine your progress, not your failures, look at your impact, your progress, and who and what you've inspired. Yeah. All right. I wanted to just like I wanted to unpack that and and understand like you did your own examination clearly. Yeah.

So like, let's just talk about it. What what do you feel has been your impact so far? Uh well, I I I told everybody else to take that examination and I didn't spend as much time. We're doing it right now, Mario. But live on the spot. Listen. If it's a therapy session, I'm gonna be honest. You're on you're on a couch of sorts. So yeah. Uh I feel like he did want to lay down also, just for the record. I definitely I'm tired as shit. Yeah. the boom mic didn't reach where he wanted his head to be. So he had to sit up. But I was about to bring a pillow. Yeah. See. But if we if we're being honest, bro, I think I was actually talking to myself in that tweet, and it it stems from like the past two years, like in COVID and stuff, and like this, some of the stuff that people have been through, and people being halted in their uh in their goals, and you know, I think it came from like a place of self-motivation. You know, we don't everybody doesn't feel comfortable talking, everybody doesn't have any, you know, someone to talk to.

So it's like it was for me, it was just like, yo, use yourself as motivation. Take a step back from the negative thoughts, the intrusive thoughts, and look at what you've been able to do. And to answer your question, I don't know what my impact has been because I've never taken a step back to really look. I um I'll see comments like you're the goat, blah, blah, blah. Stuff like that all the time, but I take that with a grain of salt because everybody gets caught at. We were just talking about how the word goat is just doesn't mean anything anymore. It's so overused. Right. Yeah. Yeah, like you make like a good chicken parmesan, like goated. This chicken parm is goated. Like we are just using it for anything. I think you said like, yeah, you get a pizza from Pizza Hut. Pizza Hut's goated. Pizza Hut's goated. Yeah, man. But it's it's real. It's watered down. Yeah. Right. But but all right, so impact aside, you know, the next thing you wanted to examine was like the progress. Yeah. That's something you you gotta be able to talk a little bit about, like where you came from, bro. And like you were talking about how we're out in the country, but like you're from the fucking I'm from the sticks, bro.

Yeah, the sticks of South Carolina. Yeah. And now you're obviously like, you know, you you were living in LA for a bit, spending time there. You're obviously in the mix here in Atlanta. Like, so you know, talk at least a little bit about like how do you feel you've progressed, right? Like over over the years since you really started making waves in music. I mean, to be honest, it's amped up at least 90%. It's, you know, I've I've pretty much reached every goal that I had in mind during the time that I was uh dreaming about where I want to be. Yeah. So I mean, the progress has been immense, you know. And and I think the pinnacle of the success for me is the fact that I'm able to raise two kids and you know, in in a family in a comfortable home, you know, pay for two cars, and you know, I'm not rich, but so what happens when you meet all your goals? Do you now have to do you have new goals at this point? Yeah, absolutely. So, what's 2024 look like? Because we're kind of at the beginning, you know, we're at the beginning of the year right now. What what are you setting out to do this year?

Would you say, man? Um, so the first part of my career was about getting noticed, getting the exposure, working with every artist that I've looked up to. Did it. I couldn't believe I did it. You know, it's some of that stuff was godsend. Yeah. Um, at this point, it's about can I develop artist? Can I can I find that one person I have that chemistry with and make an album? Uh I went number one with Drake, and I didn't even look at that as my success because it was Drake. It's like yeah, I went number one, but it was it's Drake, bro. You know what I'm saying? Yeah. But now it's like, can I go number one, you know, with someone that I developed with someone who's fresh, new on the market? Can I build them up? Can I build myself up with them? That type of thing. Yeah. So that's my goals for this year. No, for sure. So you and DC the Don have been locked in. The the picture from Big Bear Lake, like was that an album lockout? Meaning, like, did y'all did like a camp of writers, producers, him go to, you know, somewhere to make the album?

Or or like you know, how did that work? We did part one of the album in Big Bear. Okay. And he just did another camp uh because of the holidays, I didn't go, but I sent a couple of my guys out there to work. And um uh he's it wasn't so much of a camp of just inviting any random people. He has a list of people that he trusts to work with. And it was just all the guys that that we came up with in one house. It's like the bro, he just needed that, you know what I'm saying? He needed that that brotherly getaway. Yeah. So yeah, just to get the vibe. Yeah, so how long do y'all go back? Um, I've known DC for about, let me see, about six years too. Yeah, because you, you know, you said something about like obviously you were on like a run, a tear of working with every artist that you looked up to pretty much, right? So, and you said something about like he was still here now after you like had that legendary run and like now you're wanting to lock back in and he was there. Yep.

So so is that something where did he feel some type of way as you like went and worked with all these, you know, Drake level artists over the years? Because he was still dropping music and I was still sending beats. Okay. So the the relationship was always there, but the amount of time that we got to spend working together, being in the studio, that kind of like dissipated a little bit. Yeah. So it's got to be tough to maintain those relationships, man. Of like, you know, because people are gonna look at you and be like, you switched up. I mean, because you know, we have people that, you know, shit, we've been doing this how many episodes now? One hundred and seventy something. Five. I don't know, whatever. Yeah, One hundred seventy five episodes, right? Congratulations, bro. Yeah, it's it's definitely, you know, it's something we're proud of for sure. But I guess we struggle with, or I struggle with, I'm sure you know you do as well, probably. It's like the people that were there early on in our like podcasting careers, even like you can't give the same amount of attention, maybe that you want to or that you once did, and it's like, you know, you switched up, we haven't heard from you. Like, I'm not saying we get those like, you know, accusations thrown at us all the time or anything, but I kind of feel some type of way when I think back of like shit, we haven't really pumped enough like energy and time back into those people that were there early on, type type shit, right?

And it's obviously the same thing for you where you weren't able to lock in with DC maybe as much as you wanted to over the years as you started, as work just started picking up for you, right? Yeah, because I mean at the end of the day, that's how I looked at it. I looked at it as work, you know, and um, even though this is a passion for me, I make music because I love music, I had to support my family. And luckily, he was very understanding of that. He knows I got kids, you know, he knows I live a uh a pretty simple life, and I I'm not always in the mix. And even if we are connected and working, he's not gonna see me all the time because I got kids. So I'm I'm lucky enough to have people around me that understand that. So that's the flip side of it. And yeah, it does get frustrating when you deal with artists and friends from your past that don't understand that you know I'm just a little bit busier now, you know. Like I I talk to my mom every day or every other day, you know. Sometimes she'll hit me and be like, I ain't heard from you, you know. Look, man, I'm exhausted and overwhelmed.

I got a baby that's about to turn one year old. And I'm trying to stay on these beats. It's crazy how the expectations of moms when you talk to them like all the time. If you don't, to your point, if you take like a little bit of a break, they think something's wrong. My parents live literally like three streets down from me. So we're like in the same neighborhood. I see them all. I saw her this morning, see them all the time, and yet, like, we'll go two days without seeing each other. Like, I just I was worried about you, like I thought something was, you know, are you okay? And I'm like, Mob, similar story. I just fucking saw you this morning. I moved when I moved here a year later. My mom moved the next street over. Of course. There you go. You sound literally like me. That's why I was like, okay, I get it, bro. Starting the family compound. Yeah, bro. Honestly, if I could have it that way, I would have everybody on the same same neighborhood. We will own the neighborhood. My sister, my sister's on my street. So dope. That's a blessing. It's pretty amazing. I'm not gonna lie. Like, y'all don't get on each other's nerves, do y'all?

Of course we do, like to some degree. They do, but it's also very nice. Like, you know, I have kids, she has kids, so like being able to just walk down the street, have them like hang out, et cetera. Like, it's definitely more of a blessing than it is anything else, you know what I mean? That's fair. Yeah, for sure. I'm interrupting this podcast with a very special announcement. February 9th, here in Atlanta, Georgia, at the center stage vinyl. We are putting on our very first concert experience featuring headliners Suave and Ben Riley with support by Will Hill and Cam the Artisan, DJ set by Dos Diaz, hosted by Manny Akio, all six of which we've interviewed on this podcast. Tickets are available now at omtpresents.com. Go cop yours today. And now back to the episode. So what do you think, like DC the Don or you know, any of the artists that you work with, like what do you think they value most out of you, right? Like if you're looking inward, being like, all right, they can work with any producer, right? Um, you know, why why Mario? You know, what do they tell you, or or like what do you think your biggest strengths are as a producer for them?

Um I'm gonna just tell you what I think. I think it's the versatile, I think I'm versatile enough to I think I'm just versatile. Bro, literally my next note is versatility as a producer. How important is that? Yeah. Because if you want to keep going in this industry and you want to expand, it's very important. Yeah, because artists switch up their sounds all the time. And if you want to lock in with one artist, it's like if that artist is on something new now, then okay, now you gotta go switch artists and find someone who's back on your same sound. I know it's it's crazy though, because I was thinking about it and I was like, but but is it that bad if I if I became like the king of a certain type of sound? Because like a lot of people talk about like what's your sound as a producer, and someone as versatile as you, it's like I don't even think I could describe your sound and like someone like a Rick Rubin. You can't define his sound, right? For example. So I did think about it though, and I was like, well, would it be that bad if I had like a very Yeah, if you were just a master of that thing? Is it like Jack of all trades, master of none, maybe?

I I have I I do have a sound that I personally consider to be mine. Which is what? How would you describe it to someone who doesn't even know shit about music? I like my sounds to sing. I like the sounds, the synths to sound like they're singing. Ooh. That's a fire description. If you pay attention, like even to the stuff that I post on Instagram, there's always a some progression in the background that's humming along with the with the rest of the song. It's your background singers. Yeah. Until I can real get some real singers. Because I I grew up making beats, wishing somebody was rapping to them or singing to them. And I would just harmonize things using leads and stuff. So I'm really big on leads and and chords. You ever sample yourself? You have like a mic in your studio? I do, but I haven't I've never used a mic. I asked people about this mic, they said it was trash, and I never touched it. I mean, but did you try it? You know, you gotta decide for yourself. I didn't try it. Mario. Come on, bro. Honestly, I just redid my setup and I I downloaded a bunch of stuff for like sampling and pitch shifting and stuff like that. And now I'm kind of motivated to try it, but we'll see.

We'll see how it goes. Nothing more motivating than spending some bread to like on some stuff. It's like I gotta use this now. I I spend money on plugins when I'm bored. He's got a plug-in addiction. I love it. Yeah, bro. I ain't gonna lie. I love it. But you also said you were on uh you still use a lot of stock, I think, in an interview you did. Um maybe that was a while back. It might have been producer grand. No, you made some beat off of Sacred Hearts too. Yeah, yeah, yeah. With Nexus stock plugins, I saw. Yeah, yeah. But Nexus isn't stock. It's cute. you're trying to speak the lingo. Well, he put something about he's right, but I I have I used to I started off in FL just using citrus. Yeah. Uh-huh. That's stock plug in. Yeah. Okay. See, he confused me, Henry. Don't fucking look at me like that. He meant he used a preset within Nexus, which is a third-party plugin. Okay. Third party. Y'all are teaching me things right now. Yes, sir. Absolutely. So, you know, so you mentioned obviously goal for 2024 is like developing an artist. And so I think another artist you've been locked in with is Ali. Ali.

Yeah. Like honey. Okay. Well, he used to go by like honey. Okay. Formerly known as Like Honey. Okay. Is it well? So is it Ali? Yeah. Okay. And so, like, just taking either, you know, Ali as an example. I think, you know, I think it's safer to say it like Ali. Ali. Yeah. Okay. Yeah. Okay. It's probably safer. Let's be safe here, Mario. Congratulations, bro. Yeah. I'm like, don't get me in trouble with Ali. All right. So, you know, you know, either speaking on like him and kind of the approach there, or just any any artist that you're trying to like develop. What what is the approach, right? So someone like you who's worked with the biggest of the bigs, right? Like, you know, you've got someone like Ali who's a new developing artist, and you want to be a part of that like come up and like that development process. Like, what is the actual approach? Because I think our audience, even if they're up and coming producers and they want to build with, you know, a peer of theirs who's, you know, maybe at, at like the starting point of their career. I feel like this advice and like how you're actually going about it and what what tactically is playing out is super helpful for them.

You know what I mean? Yeah. Yeah. So like, how are you doing it? What's the what's the what's the plan? Well, my approach with every artist is a little different. It just depends on who I'm working with. Sometimes I like to let the artist take the lead, especially if they're an artist like Ali because he's a producer as well. And I'm just a helping hand in that sense. You know, I'm just okay. Well what do you need from me? Oh, I just bro, I just need that Mario sauce. I just need you to add. Do what you do to this. Okay, cool. You've got all the recording, you've got all the editing. You you know how you want your project to sound. You take the lead. Um, with let's say, like, there's a there's a girl I want to work with um from London, and I have just this concept in my mind of what her sound is supposed to sound like I'll I'll start the ideas for the songs sometimes I ask them to send me acapellas just so they can just so I can hey let me redo the song that you already recorded to show you where I want to go with this project that's huge that's huge I'm telling you, man. that's so big it's one thing to make a beat but like you gotta rap on it or you need a rapper to rap on it like that doing that test just testing like what what is rapping or singing on this beat sound like because a beat you might not be sure about you add vocals and you're like that oh my god this beat is it or a beat you might be like this beat is crazy I love it and then you add vocals and now it's like it's too much or it's too busy and it's like okay I got to go back to the drawing board take some stuff out EQ down some stuff to make it work. So yeah the vocal the acapella test is crazy that and that back and forth between just one song starts to build a relationship between you and the artist they start to trust you more and then once they see your commitment to the work to getting the song done and also your commitment to um to uh or or your your talent level once you sent in the song it's like okay yeah we could really use this guy like yeah I I think I want to let him take control of this project.

Yeah so so did she already like did she have a song that was already out that you're were like yo that ain't it but I got something in mind or was it it wasn't out I always ask artists to send me unreleased music or or music they aren't sure about okay like send me your trash songs I guarantee you I can turn them up yeah I like that that's fire yeah because why wouldn't they like I'm not they're not doing anything with that. What do they have to lose? Yeah, there's nothing. For sure. So I mean, what are you gonna throw it back in the trash again or you revamped the song. That's and that's what I've done with a lot of the songs that I'm working on for DC right now. Is he'll he'll record. I'll send him a beat, he'll record to it, he'll hate the song. He didn't like how it sounded on the beat. I was like, bro, just send me the vocals. I'm gonna do an entirely new beat. You're gonna love the song. Will you change up the vocals too? Like maybe pick a bar out of the verse and make a hook out of it kind of thing. A lot of edits, um, even pitching down some stuff. Yes. Uh, which gives him an idea for a new song or whatever. You know, I'll even take parts of the verse and turn that into the hook. Yeah.

There's a guy I'm working with, um, his name is Blake Young. I did his entire project and we did that project just like that. I just took random parts of songs and made them brand new songs. I love that. So, so as someone who, you know, off camera, you were telling us you clearly are somewhat of a homebody. You like you like to be with your family, you like to be, you know, kind of out of the way sometimes, right? Like, are you a type then that is completely fine with just like sending stuff back and forth? Like, do you feel that there's there's just some producers we've had on here who like are are on the side of like I don't see I'm not sending a fucking pack, like I'm not I gotta be in the studio, I gotta be in person. Like they almost have this, I don't even know if it's holier than thou type shit, but it kind of feels like they only will do it this way. I think they just think their strengths are in studio in person. Yeah, so so I respect it, I respect uh a person who feels more comfortable working face to face with the artists. That's how they build their camaraderie. Yeah, and I I I get it.

I should probably be doing that sometimes too, if we being honest. Maybe not though. Maybe that maybe you're just you just make heat, and you know, that's and that's your thing. I just don't get along with everybody. Yeah, I'm a very, very like empathic person. So like I can feel people's energy all the time. Once the studio fills up with too many people, it's like, okay, yeah, like we ain't getting no work done today. I can tell. One of the most relatable things he said in the interview that I was like, This is me. You said uh you're your most productive at night when like people aren't hitting you up and people aren't around and you can just there's no distractions. Like I feel that way. To a T. I mean, I don't I don't know when this happened, but at some point the studio turned into the strip club. Yeah. I don't know if you've been in situations, but the studio used to be for recording music. Now it's a party every day. So which can be inspiring to some people. I get it. Like, you know, they they might write a bar away to make the girls like turn up or like that might, yeah, that might work for them. You get instant feedback too.

It's like instant A&Ring. Yeah, I'm I'm pretty sure it was Kawan Prather who obviously legendary A&R and you know, music exec, producer, writer, et cetera, Outcast, you know, TI, et cetera. He he said that I mean, shit, that they liked having people in the studio, especially people that they like trusted, because it was like even if it was a party vibe, you could just see the actual like live reactions, and it was almost yeah, like to your point, instant feedback. In Atlanta, I've noticed that because they have those large um lounge areas, you could literally kick everybody out of the room. Hey, y'all go go, you know, it's liquor in there, y'all go hang out in there, man. I'm about to record this verse. Yeah. And then get the feedback after you've laid down what you need to lay down. So I get that, especially at Patchwerk. I used to love going to Patchwerk. Yeah. So when do you feel most inspired, right? Like, there's some art or there's some producers that need to be like by themselves in their own home studio. There's some that need to be like on vacation. There's some that get inspired while they're driving. Kind of like, is there some themes around like when you feel like the most inspired?

And I guess what would those be? Everything you just mentioned falls into that category for me. Yeah. So being in my own studio, uh having alone time, quiet time, inspiring, getting new sounds, always inspiring. Going on vacation, going for long drives, like take taking trips to other states, getting to listen to just random music. And the thing is, I find it most inspiring when I'm not searching the music. When I'm just letting that bitch shuffle and shit just playing. Yeah. That's when I get the most inspired. I love that. Yes. That's it. And I honestly, it's just those things right there. Yeah. Because when you're not thinking about it. Yes. You're not thinking about making music, you're not thinking about making hits and your crew the pressure of this career that you've built. You're just kind of vibing and chilling, thinking about life, the weather's nice. And then like a hard song plays. And you're like, that chord progression is crazy. Yeah. And all of a sudden you're just remotivated and you're back in it. He said it, bro. It takes you back to before you looked at it like a job or a task that has to be completed. Yeah.

So that freedom, just that you know, just space out and let shit come to you. Speaking of that, I would love to know, like, do you because we talked about this? We don't even like, we can't listen to music the same anymore. It's just because when it's music is your job. You've noticed. Is that kind of like ruined music for you? Like being in music. I don't want to say ruined, but I do. At the same time, I'm gonna be I'm gonna be honest. I I I feel that way, but I'm not sure if it's the fact that I'm in music business that did it. Maybe just getting older or I that maybe that or the fact that I don't just none of this shit is inspiring, bro. None of this shit that I've been hearing is inspiring. Ooh. No disrespect to nobody. No, let's unpack it. No disrespect for sure. Y'all are trash. I mean, hey, hey, I'm always down to talk some controversial shit. So if, you know, no, I mean that's good for a podcast. All right, so we had the Grammy nominee for songwriter of the year, Theron Thomas on here. He's written hits for everyone and their mother, right? So he has a theory about why he thinks people say that today's music sucks.

So I would like to ask you, what is your theory around like what why do you think that the caliber of music is maybe lacking right now? Hmm. Hmm. I think artists are afraid. Artists are too critical of their own music. They're too critical, but aren't taking advice from their listeners. Mm-hmm. The only it feels like the only people that they're taking advice from are people who have an invested interest, interest at the time. So like maybe the producer who made the song. Like, yeah, man, yeah, that's that's the one. Put that shit out because he made it. You know, or the AR who needs you to drop this specific type of project. Yeah. Cause that's gonna get them a pay raise or whatever the fuck. Um, I think it's more narrative driven and whatever, you know, whatever the agenda is at the time, versus actually liking your own shit and letting your listeners tell you what the fuck is good. And I think another thing about DC is he he he lets his listeners, he he lets his community tell him what to put out.

Uzi was doing that four times. Uzi let people tell him what to put out. Yeah, so how do you think artists are gonna uh surpass the average lifespan, right? Like what's it going to take for an artist? If you gotta go independent after your first deal or some shit, you know, like that first deal, I don't think they're doing the 360 shit anymore, but now it's to a point where it's like we'll sign you for like one album and see how that goes. Yeah, bro. If that shit fails, at least you gain the platform. Take that bitch over, learn what you need to learn, and start making the music you want to make and listen to your fucking fans. Excuse my language. My daughter's over there. Yeah. Shout out to Harley and I know I was kind of nervous on me if I if I should be dropping F bombs or not. She's good. Yeah. she seems tapped into the interview. No, it is it is the best time to be independent, you know. Like it used to be like independent, you couldn't even be independent. You had to get the approval of these five guys wearing suits. And so, yeah, like and I don't I don't want to sound like the the old guy who's like just grumpy at the music because I'm not, You're not, like anti-label necessarily.

No, not at all. Like if the if I feel like the labels should be more of an uh an investor anyway, you know, like you should have creative control over your shit, but hire companies, it's it's not even the labels, it's the marketing guys. It's it's the in it's the investor guys or the or the people that are putting your music in certain places. It's the it's the blogs, bro. bro. That's who I got a problem with sometimes. I'm gonna be honest. And I'm not calling out nobody, you know. Y'all are picking and choosing what songs is hot and asking artists and then making these fake ass blog posts about oh, everybody's loving this new kid named O T Y F, whatever dude. Lil such and such. Yeah, and and and and 90% of the comments is like, bro, we've never heard of this guy. You just made up some stats. Like, we don't know him. Yeah, probably just got paid for a post. to be honest. And that's it. Everything is a paid promo type of thing now.

Yeah, payola. So organic. Yeah, so I think things gotta get back organic. Yeah, it's it's interesting though, right? Because so Theron's theory was that basically like the ARs don't hold any power anymore. Because actually, it's kind of like the opposite of what you were saying almost, is that like he thinks that the fans have become the ARs. Because to your point, like artists actually are. Some artists are letting their fans decide what they like and what they don't like. And Theron's opinion. Bro, it's the internet. How do we know who's a fan for real? Like we don't know what's who's behind these screens for real. Yeah. Exactly. And so I think his point was is that like our you know, the general fan population doesn't really know what they want sometimes. That's true. And they don't know what's good or good enough or what something like if something could have been better that they dropped versus what they did drop or whatever, right? So I feel like it's but then you got Yachty, who a hacker found Poland and dropped it and dropped snippets of Poland. Allegedly.

No, that well, unless that's a crazy. marketing scene. Crazy PR stunt, come on, bro. That would be insane. But uh Yachty allegedly didn't even want to drop that song, didn't like that song, and it became huge. And he started this whole wave of this artificial vibrato and and is go is just going crazy with it now. Do you think the fans know what they want? Um no. No, I don't. I think I think you I think if you build a wave, you spend enough time away, people start to miss you. And if you come back with something kind of similar to your old shit that people uh gravitate to or are familiar with, they're like, yes, he's back. You know, you you go away long enough and come back with an album, they'll miss you. I also think that we live in a time where things are fast-paced, and you gotta keep up when it comes to music too. Like just in life in general, you gotta keep up. So I think that translates to music in a certain way where people feel like um I have to make music to fit where we are in life right now. And and and and what's happening is people are begging.

We I didn't want one. Even though, even though they say they don't know what they want, there you can tell when somebody genuinely what someone genuinely needs. They don't know what they want, but I don't know if subsequently is the word. Mm-mm. Good one. No, subconsciously. Let's let's say that they subconsciously tell you what they need. Oh, this song speaks to my soul. Oh man, I had the situation happened to me, and the song really talks about that. And then you got the guys like in the comments who's like, oh yeah, man. I uh I I I really fuck with this beat, or oh yeah, um, such and such really went crazy on the verse. Okay, you got people that like music for surface level things, and you got music that really speaks to people. So I think we need all of it. There's a lot more surface level music too now. Well, but I think there is a large group of people that need feeling music, they need music they can feel right now. That's all I like.

So that's all I like. It's a balanced thing. I'm I'm very hypercritical of like, you know, we do these live reviews from our our community, they submit music, we review it. And I would say nine times out of ten, my feedback is what are you talking about? It's concepts, substance. You're not making me feel shit. This is surface-level. You just punched in every bar, it doesn't actually mean shit. Like, uh so I I would agree, and and and and I think you were hitting something uh uh you know, that you didn't even maybe know what you were saying about, like the the speed, the speed at which music is having to be made. I think it's I think it's fucking up a lot of stuff. Because and and I'm part of the problem because I know that like as an independent artist specifically, you gotta make music put it out. You can't put out one project a year as an independent artist. I don't think you better be dropping every month, every couple weeks, even. Uh you you can't be the type that like only drops one EP a year when you're trying to make a name for yourself, right? Like that that's for the Cardies of the world.

That's for the the the biggest of the big artists who can get away with those like infrequent drops, right? The Frank Ocean's. Yeah, so I I feel like the demand that the general population of fans is putting on artists is a big contributor, man, to like the the subpar quality of it. I just well I think I mean, remember back in the day, like before we had so much of the internet thing, when an artist was in between albums because you need time to make a good album, what were they doing? They were doing appearances, they were showing up on uh SNL, they were doing MTV cribs, they were they were doing things to stay in your face that weren't necessarily songs. And I think that's why they brought in this content era. So make content. The content doesn't have to be about music, but stay in people's face while you're making your next album. But that's the problem. Artists, this is the this is actually perfect. You're saying this. Artists can't make enough content outside of music that they're not good enough at content creation on average, in general, the people we talk to at least, they don't want to make content anyways. Like they don't like that part of the business, they don't like that part of their job.

So when it comes to like I don't think the conscious, content should be left up to the artists. I think we need more of y'all. We need people to host more things. Yeah. So these artists can come on and and just feature in these situations. I I would agree. We're a great platform. We'll make you free content if you come do our show. Shout out Mario for fucking plugging us. Yes. Um but no, no, I mean I I think it's true. I think it's that um artists should be taking more time. Cause I do think that we even talked about this the other day of like people will do one session and they'll make the song and like they'll just think like that's the song. It's so hard for artists to go back to pull up a song that they already worked on. Oh man. And it's like, come on, bro. You know, I know you can make it better. That is true. That is very true. And I honestly I never thought about that until now. I've never worked with an artist that likes to go back and revisit the song to see unless. Why? Hate it. completely no. Actually, you know what? And DCM on your ass, because you like this too, bro.

I'd be having to ask you to send me the song. Tell him because you really be ready to throw that bitch in the trash, bro. Like hey man. Uh yeah, artists gotta stop doing that. Why do you think that they won't go back? Because like the excuses I've heard are like it's not gonna be the same vibe. It's, you know, that's exactly what I think. That is what it is, but like there's an intoxicating feeling of making a new song and it's hard. And it's a drug. You want that, yeah. You would people want to feel that feeling. He can relate to that because he records himself and he's been on the mic. You know, I've tried to rap before, but like I'm not that um into it. I'm not involved enough to know what it is about, you know, from the artist's perspective that makes them feel that way. Yeah, yeah. So now he's been in definitely countless sessions, but like for me, I look at it as I I look, I don't I hate calling it lazy, but I kind of do feel like you just think that was the best. That was just the best. Like that was it. And and to and like, you know, thank God to be honest, there's there's beats that I've started that I won't go back to.

So that's kind of the same thing, yeah. Yeah. Now that I think about it, you probably could make it fire though. Yep. But it's definitely laziness, bro. Okay. But you're also talking about being someone who is like doing a lot of post production. You're switching things that like you thought were gonna be the hook or the verse, and now they're the hook or whatever, right? So like I think artists need to get away from just like receiving beat, rapping over beat, mixing song, and put and I say mixing lightly, meaning like just making it sound a little bit better than the rough, like just like volume-wise borderline, mastering it and then putting it out. I think we have to get away from that. I think that that's not a song. That's beat and lyrics on top. I don't think it's mixtape-esque. I don't think it's a song that much, man. I think also the collaborative effort takes a lot more pressure off of either me or the artist in whatever situation it is. If I'm making a beat, I think the beat's trash and I don't want to go back to it. Uh it takes an artist to come in and say, bro, what the fuck is that?

Pull that up, pull that back up. Now now we gotta finish. Now I'm motivated. Yeah. It took it took me saying, DC, what the you about to throw this, bro? Send me the uh let me work on it. Me work on it, send it back to him. Bro, you just changed the whole vibe. Yeah, it has to be a back and forth uh thing between the artist and whoever else is involved to keep the energy flowing for that particular thing. Yes. How often do you think either the artist or the producer are wrong about their own stuff? Meaning like you thought some shit was trash, an artist said pull, you know, exactly the situation you're describing, and then it ends up being an amazing song. Does that hot does that happen like more times than not? Yeah. Yeah. In my case, yeah. Yeah. No, we've had a lot of producers on here who they all say it's like it'll be the beats that they made in 15 minutes in their boxers, you know, in the kitchen, that they weren't even serious about, that they didn't even think anything about, that they accidentally played in a session and then tried to skip it, but the artist was like, no, go back to that one. What was that one?

Yep. Be those. Yep. It's like that. Um because for us, I think beats are ear candy. And we love to hear a lot of sounds. And I think for artists, artists is looking for space. Yes. Is this so is the song carrying enough in me to write a song where you know I can shine on it? And I've noticed that artists love beats with a lot of space, not too many sounds in them. And that's why those unfinished beats catch the ear, because you ain't went in and put 30 sounds in them. Yeah. That's so true, man. It's it's you want you want to add a lead. Like, you want as a beat maker, you want your beat to sound all the way pleasing just as the beat. You want the beat to almost be the song. It's like, no, it's just a beat. But think about it, they also, when we go in and play beats in the studio, they're like, turn that bitch up, turn it up, make sure it's loud, make sure it's loud. They want the bitch to be full force when they first hear it, especially here in Atlanta.

Yeah. I that that's probably why us as producers feel that way now. Like we've developed this attitude of this beat's gotta be completely finished by the time we get it to the artist. Because from 2000 and maybe 2005 to 2013, that's the type of shit that was going on. They wanted full beats, you know, and and and artists were rapping over that. And now you have a new generation of artists that believe it or not, are storytellers. They do, they they view their voice as an instrument and they want the song to, you know, they're like, hold on, hold on. Like the beat has to take a backseat to what I'm trying to say. Yeah. So, you know. How many beats are you making a day? Now? Yeah. None. None. No, I'm gonna be honest. Maybe for a week. Bro, I I don't think I'm I think I made maybe 30 beats last year. Really? Yeah, bro. I had a baby. Okay, yeah.

And this and this one is different. Amen, bro. I just had, you can ask her sisters. I just had I just had my second. Um second? Yeah. Yeah. So they're like uh very close. Yeah, yeah. So speaking of, like, how does how does the music business and fatherhood like play together, right? Like they don't play together. They don't fight against each other. They're very they're very contentious, right? Like, because you know, you even mentioned that like, you know, certain hours are tough, right? Like, like how do you manage that? Um, I just sleep less. Yeah. A lot of coffee. Yeah. For a while, I was on Adderall. Yeah. Just trying to get beats done. Then I just, I was like, I can't do that shit. Like, I'm not sleeping at all now. So I got off that shit. And now it's just um very carefully managing my time. I literally had to have a talk with family and be like, look, we need your help. Like, I still have to make money. I still have to have a career here. It really got tough.

It got tough to a point where I had to um, because we live in Atlanta, we don't have any family here right now. So it was just us, and we don't trust daycares. I I don't think anybody should trust daycares right now. Bro, my wife and I have already gone through three, and we have a fucking, he's only one year and a half. Like it's like we're averaging a different daycare every six months because it's hard, bro. Yeah, it's hard. It's expensive as fuck. Oh, don't even. Yeah, that that's just a whole other con. But just to your point of like trusting someone with your kid is like it's a very like it's a weird, it's a weird thing that you're doing. Like you're just like sending your little toddler off to God knows who, who's could have a just a bad day and you know alive. Exactly. Yeah, right. But the fact that that's risky, right? That but that's the bar, it's like keep them alive, you know, and like somewhat well fed, and like yeah, that's it, yeah. Man, it's it's tough. But yeah, so so with all that in mind, and you know the safety of my child being regarded, uh, it's just a thing of having a conversation, realizing that both parents are gonna have to sacrifice a little bit to keep providing.

And like I said, sleeping less, bro. How many hours a night? Man, I just last five, four, bro. Four, bro. Yesterday I slept from five, yeah, five, yeah, five to nine, bro. Five to nine. I was fucked up, bro. And I stayed up the rest of the night and I came here today. Jeez, we appreciate you making it. We're dug it bro. We're going to get in and being early, actually. When I know maybe the second or third person in 170 episodes. I know to be a little early. I'm usually pad, I'm usually padding it so that I can still get to whatever I need to do family-wise, as if the the guest is gonna be an hour late. So, like, thank you for being early for sure. Um, so you know, over the years, is there something you can point to where like your approach to producing like fundamentally changed? Right? Like, I was doing it this way, or I thought this was that, and it's light bulb moments, yeah. Yeah, and it just like wasn't at all, right? Like making music non-stop, no matter whether you have a project going on or not, it's always been the thing with me.

Just to keep your skills sharp. There we go. Always making music, no matter whether you're getting work or not, whether you're unmotivated or not. Because I've learned somebody taught me, I used to think that motivation uh was automatic. It comes to you. I didn't realize you could build motivation just by starting. Yes. Just do it. And then the motivation or the excitement will build up as you start making the music. You have to force yourself. I started looking at music as an exercise. So when I looked at it like that, that's that's that's one change. That's the Kato thing. That's huge. No, that's that's huge because I do feel like everyone thinks, and this is this even goes, this is actually a perfect, you know, type, you know, I guess callback to the whole artist not wanting to work on an old song. Is that like you think that the inspiration was the it was perfect that one day. Like, who the fuck are you to say that the the next time when you're not feeling motivated actually might be the best time? So so in my in my in my mind, that's what that's what you're saying, is that like your greatest work, or maybe it's not that time, but then that third time or the fourth time or the fifth time, whatever, when you don't really feel like getting up and and writing a song, you don't really feel like getting up and you know, making a beat, whatever.

You don't feel like going to the studio to work with an artist, like just persevering through that like those like ruts and kind of those like you know, dips in in motivation. Music is such a personal thing that your your worth, your level of create creativity is subjective. It's so subjective. You can feel like you're not batting a hundred, somebody else can feel like you've done an outstanding job. Yeah. That's huge. I mean, literally, even like we we literally walk off interviews, and you'll be like, that was the best interview like we've ever done, and I'll think it was trash, because like I thought that my even my personal contribution to it or something. I got my like in my head, just not feeling confident about it or whatever. So, how do we know when a song is actually done? Yeah. How do we know when we've achieved the perfect mix? We don't, we don't, it's all subjective. Uh the fans, you know, will fight in comments all the time about the quality of a song or the depth of a song. And like, fuck y'all, it's out now.

And you listen to it, and I'm getting paid. I don't give a fuck out of it. No, because I I'm honestly thinking about the uh Mexico Dro interview. Yeah. Right? Where like I thought it was like, okay, I was like, oh man, like I don't think I touched on these subjects. Like, you know, I have my fucking list, and sometimes I get like so obsessed with like me thinking that we need to talk about these things and this, that, the third. And I was like, bro, this was a legendary thing. And it's our I think it's our biggest one. It's one of our biggest ones. You know, and that's why all of this is a collaborative effort. He he you bring something, he brings something, and y'all balance each other out. Yeah, we bring something, the artists bring something, we have to balance each other out. Ultimately, we meet in the middle, we put the shit out, and let the fans fight after that. If y'all want to talk about it after it's already out, me and me and dog didn't already agree this shit cool to go. We're just out now, you know. How how often is it like an agreement thing where it's like it has to be for for me and people I work with? Okay, so so you are kind of firm about like if we're gonna do business and and create together, I need you to value my opinion and like we're gonna say when this is when this is done together.

If I'm if I'm working, if like a DC situation or or artists, I'm developing, yes. If it's a placement situation where I you know I don't really get to be in the room and stuff like that, I kind of I'm just stuck with whatever they whatever they do. Yeah, I'm sure there's there's situations. Right? What? There's definitely situations where you probably wanted to change something in the in a song. 90% of my catalog. No. I'll be honest. Yeah. People used to trash my mixes on my beats, bro. Like that's why he really I never would have thought. I don't think so. No, and I yeah, and I mixed. He did ask if we knew anyone that could help, you know. Yeah, mixing. I think, I think I think you don't need to focus as much on sound selection or sorry, on mixing because of your sound selection. I think your sound you pick the right sound, it carries that sound the sound selection carries, bro. It carries. A mix is not as important when you're picking sounds that are already hitting the way they need to be hit. I just had a problem with that on the project. On the on the all right, so like we put out songs.

I'm listening to Kodak Black and Persona, right? Yeah. And like fire. I love trademark. I love like we came up, all of us came up doing this shit. I listened to his beats and it's so fucking full and loud without peaking. And he's like, Yeah, uh, I don't really do much, bro. Like, and then I was I just sat there and kept trying to figure it out. What I realized is I put a lot more sounds, I layer things more. He doesn't necessarily do that. He'll pick four drums, hi hat, open hi-hat, snare kick or big a snare 808. You might have two or three snares layered. Yeah. Yeah. I might I I snares, claps, 50 fucking synths. Hey, I you know what I need to learn how to do? I need to learn how to stack synths inside of one VST instead of stacking sense as channels. That's what I do. I stack my synths as channels. This is real geek talk right now. Yeah, Yeah. I know. I love this. I'm like, oh shit.

This is me. I I don't know how to like what it was it called creating a um like using multiple sounds, but in just one plug-in. Yeah, yeah. Like like layering, yeah. Like Omnisphere, you can have like 10, you know, stacks of sounds. I never learned how to do stacks. I just always do them in their individual Yeah. Chains. And your computer's probably running hot because of what you got 10 instances of Nexus going. Yep. But but so like, does it matter? Yes on my CPU, yes. Well, okay. Definitely on the CPU. Other than the hardware restrictions, like, does it actually matter? There's I guess there's more um Does it matter when it comes to the mix? Like, you can achieve the same thing uh if they're separate, but it might take a couple extra steps, is all. Okay. So he's making it harder on the engineer or what? Oh, yeah. Bro, I track my beats out. Oh man. they're like, what the fuck am I working with here, Mario? Especially when I first started, like Since one, since two, since three, synth four, synth five. five.

Synth 50. Man, he said 50. Wasn't naming them, it wasn't naming them, nothing. Audio 12. Mm-hmm. All that. Yeah, I'm used to that though. Oh my gosh, man. Um, all right, so um, you know, what are you most excited about this year? What'd you say? Man, just uh getting back in the mix. Yeah, there's nothing specific. Because like the baby has has fucked, it's like I'm telling you. Fuck your world up in a good way, of course, but also just weird ways. Yes, yes, yes. And I I I the way things are lining up, I I feel like it's a this is you know, I believe in like karma and things like that, and I think this is a really good year for karma, and I really put in a lot of work family wise. So I'm I'm really just excited to see um my family get back to normal and just having a normal household without bottles and diapers everywhere because she's gonna turn one and stuff like that. Yeah, I got a I got a while still. And being able to get back to the fucking studio, because I like I'm an introvert, but this baby has made me want to go outside. Okay, so now I'm about to be outside looking at the city.

It's a blessing. I can totally relate, my friend. Yeah, it's got my baby's got me wanting to go to the club, and I'm not even a club guy. So I can totally fucking relate. Well, Mario, we've entered a final segment of the podcast, my friend. Okay, okay, sir. Is this the final segment? This is the final segment. Mario, this is the rapid fire rampage. We're gonna share the mic. Yes. Starting with some short answer questions. Keep it very simple. It's a three-part rampage. The word association is last. Oh. It's three parts to it. Yeah. It's getting intense around here. So short answer first. What is the best Mario video game? Super Mario? Say it nice and loud into the mic. Super Mario? Yes. And is that spelled S-U-P-A-H? Super Mario? I don't know if they made that one yet, but I think where is the original Super Mario?

Was that out on like NES or which system was that? I don't fucking know. You had to play some Mario games growing up. Nah. Really? Nope. Maybe you're not, no. That is wild. That's a hot take. Poser. Yeah, right. Damn poser. I thought he was a legit Mario. I am the legit Mario. I lived that life. I didn't play it. Okay, fair enough. I lived the plumber life. Shit, Janitor, that's close enough. That's true. Wow. I forgot how on the nose this guy's former job was. He was literally cleaning up. Yeah. That's amazing. What are three things you're hearing that beginner producers are getting wrong with their production? Where are they missing the mark? Um I don't think anybody's getting it wrong. I think they're I think they're just experimenting. Okay. I I I that's that's my honest answer.

Okay. That's a cool answer. Yeah. Keep going, y'all. Y'all got this. You have an unlimited budget to make an album. Who's on it? And how do you spend this unlimited budget for this album? It's on my album. Yeah. Is there a certain amount of features? No. Unlimited. Oh my god. Anything. You got a feature that you want to piece? Who do you want to hear on the album, Harley? Who do you want? Ice Spice. Ice Spice is on the album. Bro. Yes. I'm going with Ice Spice too. I want ice spice on the album. Okay. She's on fire. We got it. Um doesn't matter how much it costs. Right. She's on it. We got ice spice. I want Kanye on the album. Okay, we got Ye. Ye's on it. Ye's on there. All right. I want Cardi on the album. Cardi's on there. Boom. Cardi B or Cardi? I want Playboi Carti on the album. I just, I don't know. I want I want old Playboi Carti on the album. Okay. Well, like, regular voice Carti. Okay, well, I'm sure there's a price to get regular Cardi on there. Yeah.

For sure. Yeah. Um, I'm gonna be honest. I also I want I want Bad Bunny on the album. Bad Bunny. Bad Bunny. Bad Bunny. That's how you have to say it. Bad Bunny. Anybody else? SZA. SZA? Yeah, we need SZA. Nice. We need SZA. Kendrick. Kendrick for sure. Ooh. Kendrick. Okay. Okay, and then how what are some ways you would spend this money to like, would you do anything crazy? Yeah. To make the album, would you spend on yes? I would pull some Kanye shit and like we'll do the album on a spaceship. Okay, yeah. Right. Right behind the moon. Yeah, yeah. Not quite on another planet, just right behind the moon. Behind the moon. Just to just, you know, just ducked away. Yeah. Ducked away behind the moon. Yeah. Vibing out. Yeah. I love that. Perfect. Mario, what are your three desert island plugins? What the fuck is that? If you could only have three plugins the rest of your life, you're on a desert island making beats, and you can only have three plugins. You thought Desert Island was like a company that made plugins. Shout out Desert Island.

We love a sponsorship. I got everything. Why don't I know about this? Nah, for real. On some real shit. Nexus, for sure. Because I start, that's the first plugin I've ever owned. Yeah. Um. Do you still have to have the dedicated stupid key though? USB key? The e-licenser? No. They got away from that. What? You didn't know this? No, because I stopped using it because I had to plug in this one USB for one plugin. Ever since Nexus 2, they went cloud. Oh my god. Thank God. I might go back to Nexus. Yeah. No. Do it, bro. Why did you ask anybody else this? I just gave it up. I don't know. Oh my god. It was just pissing me off. Oh, man. So so so Nexus. Yeah. Sylenth. Sylenth. And Trilian. Trillion. Wow. Oh. Not that one. That's definitely not the right sound effect. God love the trillion. You didn't like those choices. Yeah, he hit the want, want, want. Oh man. Yeah. Oh, yeah. He can't get that phone. You don't need to repeat it at this point. Jesus. Mario, you just hired a personal assistant who's with you 24 7. What are their main jobs?

I already know it. I got one idea. I got one idea for you. This is not for you. I got one idea for you. You say it? Babysitting. Babysitting. Yeah. I was like, babysitting, bro. babysitting. bro. I was like, everybody else gonna be like rolling blunts, bro. Yeah. You might not trust daycares, but this personal assistant can watch your child. I know for a fact. What else? Harley's some type of way. What? What would you have him do? You have an assistant that'll do anything for you, Harley. Yeah, Harley. This is your assistant now. Do my homework. Okay. Fire answer. That's heat. Yeah. Okay. Personal homework doer. She's going straight to college. Hell yeah. Yeah. And I'm gonna I'm gonna say, I'm gonna say we need a chef. Yeah. Gotta eat good. We don't have time for that. I need my girl to be able to take a break. Yeah, we no one has time to cook. Oh my god. I feel like all I do is cook and dishes and laundry. I ain't gonna lie, I can't cook. I do HelloFresh, so I can follow instructions. That's about it.

That's what I do. Put me on. I will. Yeah. I'll send you a box. I'll get $70 like gift card or something. Yeah, it'll help me. Fire. Um okay. Final one of the short answer. Uh, we're gonna need your phone for this one. Do you have it? She got it. Harley's got it. Forgive me if it this is the most like old man interview I've ever done. Like nobody's talking about lean and drugs. I've only talked about like I hate talking about lean and drugs. Health and shit. Oh, no, we actually just interviewed Kid Hazel. It was like the health one. but it was like the most healthy and like spiritual and heady interview ever. So what are the last three DMs that you sent? I'm getting real personal. All right. That I sent. Mm hmm. I got a lot in here that's to me. Um wow, oddly enough, DC. Whoever shot whoever shoot your videos need an award, bro. And then before that, Ali.

Really? Perfect two plugs. Yeah. Oh, I was just hearting some shit that he said to me. Uh but yeah. Still, yeah. What he said. Okay. He said, hey. That gives us nothing, but we're gonna just yeah, it's okay. Something like that. Number three. What number three? That's two. I hit up. Y'all know who Blackie is? There's an artist, the African artists. Oh, yes, yes, yes, yes. I hit up Blackie asking if I can send some beats. I still send the can I send beats? See? Super Mario Caliber producers are still in DMs saying can we send DMs? Shoot shots, man. Shoot your shot, bro. My whole my whole career is made up off of sending DMs. Yes, so artists. How many have you sent? How many? How many how many songs have I got? How many artists have you hit up in your career? Oh my god. It's gotta be such a um hundreds, thousands? What do we it's definitely approaching the thousand? No, it's about 150.

That's it. Yeah. That sounds light, bro. I mean, it's all alias artists that I feel like I would never see again. Yeah. Yeah. Yeah. My my top, probably like my top favorite artist that I've hit up that I know I'm just not gonna be able to get in touch with. Okay. Hey, now with that attitude, you're not. You're right. You're right. Gotta be more positive. Come on. Man. Manifest positivity. That's right. That's what we're doing. All 2024. Okay, moving on to the this or that portion. We'll give you two choices. You can pick one. A couple of these are producer specific, but a few of these we can get Harley involved. Harley for jump in. Absolutely. Start with drums or start with melodies. I start with melodies. Give up your driver's license or give up FL Studio. They can have my driver's license, bro. I'm never gotta drive again. We got Uber. You got a personal assistant. He's a driver now, too. Let's add that to the roles and responsibilities. Yep. Flow switch or beat switch. Ooh, that's tough. I would like for them both to switch up at the same time. But if I had to choose.

You do. I gotta choose. I'm gonna go flow switch. Snares or claps? Snares. Learn every instrument or have every artist's phone number. Have every artist's phone number. But damn, Mario can play the drums, y'all. I'm just saying. That's because he can already play like a bunch of instruments and you're like, doesn't have any. A little bit here and there. a little bit here and there. You on the drums is fire. Thank you, bro. Yeah, dude. I was impressed. This one's for Harley. Um, robots or aliens. Aliens. Aliens. Okay. AI needs to chill. Ten platinum records or one diamond record. Ten platinum records. Traditional placement or sync placement? Say it again. Traditional placement or sync placement. Is this a only ever had this type of thing?

Just like if you could only have one right now. Right now? You could get I've never had a sync placement, so I don't believe it. I don't believe that. Really? You've never had your stuff in a TV show or a movie or a video game? But it started off as a placement for an album. Oh, okay. So you never made something specific for sync. All right. Yeah, Yeah, I'm surprised too. That's shitty question, bro. Shitty question. All right. Last one. I have a magic coin. I flip it. Heads, the next five songs you produce go diamond. But if it's tails, you lose a pinky. Do you flip the coin? Go get the coin right now. Where's the coin at? That was fire. I don't need this pinky. I love it. Okay. I'm gonna go with my take my chances on that one. Probably just call the ambulance. Yeah, yeah, you'll be fine. We'll bandage you up, man. You're not hitting many FL Studio keys with the pinky. Yeah. He'll be just he'll be just fine. Yeah.

Okay, this is the much anticipated word association. I'm gonna say one word. Y'all just give me the first word that you think of off the top of your head. You ready? First word. Look, you asked to come with me. Don't start this. You acting sleepy and stuff. All right, we're going. Starting with hip hop. Wait, wait. I'm gonna go. All right, start over. Hip hop. Outkast. Juice. Tupac. Jet. Sun. College. Diploma. Oh bars. That's a bar. Bars. Let's go, Harley. But you need the diploma to go to college. That's fair. I'm a tough coach, bro. Duck. Duck. Goose.

Goose. I was like, come on, Harley. He gave me the idea. Harley, wake up. Wake up, Harley. I knew you had it in you. Come on. Party. Next door. It's taking too long, man. I ain't got time for this, man. Let's go. Lawyer. Josh. Sorry, y'all don't know. I'm sure he's a fire lawyer, though. FL Studio. Save my life. Luigi. Me. Let's go. That was a moment. That's wholesome. Goat. Me. She was like, okay, dad. Didn't join in on that one. She was like, I heard y'all talk about goat being overused. Yeah. Exhibit C right here. Chill out, dad. Loop. Makers. Cake.

Birthday cake. TikTok. Dance. Ghost town. And this last one is for Harley. Super. Mario. Let's go. Shout out to Harley. Joining in on the fun on the One More Time podcast. This has been Super Mario. Yes. Hey man, if this ain't the most wholesome interview I've ever done. The most wholesome uh word association. For sure, most wholesome word. We loved it. We loved it. We're we're a family-friendly podcast here, most of the time. As always, please like, comment, and subscribe. Drop a comment if you like this interview. Follow us on Spotify, Apple Podcasts. We are here every week. Every week. Appreciate you, Mario. Absolutely. Until next week, what are we doing? Getting out of here. Getting the fuck out of here. Oh, sorry, Harley. Peace. Harley, she light one more time. Party she light one more time. Hey, party one more time.