Comparison, The Ego, Intuition | Addison Scott

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Let's get into it. There is by the Oregon,

Addison: by the

Michael Morgan: Oregon, by the Oregon fingers on brand can go in the background [00:01:00] on brand. Happy to see it. Okay. So usually the way it goes, I read off a bunch of topics that I chose for you specifically. And then I have you choose wherever you want to start. Um, my buddy, Justin carp, who I interviewed his wife on the last live, he gave me the idea, like, maybe you should send it out in advance if people could think about it in like a, you know, have their own ideas before it starts.

So I was like, sure, I'll test it. Uh, so you're the first test. Um, and I will let you know a secret. All of these topics are the same topics that I asked Ray. So exact same topics. I thought that would be kind of fun.

Addison: Nice. Oh, I think you should just pick one to start with.

Michael Morgan: Alright, great. Give me a, give me a number

Addison: we're going to go with.

Well, what are we out of? How many, like

Michael Morgan: 11

Addison: let's go with. Let's go with 11.

Michael Morgan: Okay. Uh, I actually had a 14. Sorry, [00:02:00]

Addison: let's go with 11.

Michael Morgan: All right. Practice. Let's talk about practice. So what is your relationship with practice? Like where did you see. And now, uh, for people that don't know, you're a musician, but you're also a photographer and a videographer and a, a, an, a comedian who has never performed on stage yet, as far as I know.

And if you have, and haven't been there, I'd be very upset, um, but never happened. Um, so yeah, like, I'm curious about your relationship with the idea of practice from like day one to now.

Addison: Uh, so I think I'll always like, didn't think of practice in the normal sense of the word, like, okay, I'm going to sit down from two to five and practice.

It was always the things that I really wanted to do. So it was just like, I guess, w I never, [00:03:00] it is practice, obviously. You're like, I'm going to sit down and just get better at this thing. But it was always like for me with like guitar, for example, or, or drums that I wanted to play in a band, so I needed to get good enough to be in a band.

And then it was like, when I didn't realize when I realized that it wasn't good enough, then I just kept playing, kept playing, kept playing. Um, I'm completely self-taught as you know, like through everything I've done. Now it's a lot easier than when we were kids, because we have the internet, which is like, it feels like a cheat code, you know, because before it was like, I'm just gonna figure this out by fucking up a whole bunch.

And then, you know, oh wait, it . Actually sounded better.

it has a producer, like a year ago I heard a song I did. And then compared to like the song I finished yesterday, it was like, holy shit. Like this sounds substantially better. And the [00:04:00] practice is just doing it every day. I always say to people like, shockingly, if you do something every day, you will get better.

Michael Morgan: Yeah. That's the cheat. That's like the cheat code that no one wants to hear because they're like, it's not like hitting one button. You have to hit 360, 365 buttons a year. Like, all right. Doing it, checking in and checking in. But

Addison: yeah. And that's why I think doing too many things, I feel in my personal experience, I'll never get great at one.

So it's been about focusing on the. One or two things that I really want to be doing, because I think we could be making money and living with whatever you want. Obviously it's not like immediate, but it's about that practice, right? It's about just continuously growing and going up a step each month, every few months.

And then all of a sudden you're like, oh, I'm making a living from this thing. [00:05:00]

Michael Morgan: Right. Um, you said, when I realized I wasn't good enough when you were younger, that's when you kept practicing, like what was the, so that was one motivation to keep practicing, but how did you even know that you weren't good enough?

Or what did that mean? What did not good enough mean then?

Addison: So a pro and a con about myself is that I'm very hard on myself as in, I think we're all hard on ourselves, but I like talk like shit to myself when I'm like in practice, I've gotten way better at not talking like shit to myself, like in my day to day, you know?

But I've always been very real with myself. Like it's obvious if you're, if, if, if you're looking at the top of the food chain in your industry, and then you look at yourself, if you're open enough and you know, not we're all in our ego a bit and that's okay. But if you're like not in it a lot or less than [00:06:00] 50%, I feel.

You got to know that, okay. You're not there yet. And like with production, it was frustrating because in my mind I hear the songs, but they're not sounding like what, you know, I think they could have been at the time. So I was always like, I think it was easy for me to know that it's, you're not good enough and not good enough.

Not like you're suck. Obviously you have days like that. Some days I wake up and I think I'm a great producer after I finished the song. And then there's days where like I listened back, I'm like, this is a steaming pile of shit. Like you're the worst ever.

Michael Morgan: Right. So you have a very like polar view of your performance at any time, or at least you did do.

And you gave that example, which means you still kind of have that view of like, I'm either really, really doing well, or like really, really not. I identify with that. [00:07:00] Um, but, um, I'm curious, you mentioned hierarchies by saying, like, if you look at the top of the food chain, which is implicitly an implicit hierarchy, um, how does that, how, what's your relationship with hierarchy?

Like, are you comfortable navigating hierarchy? Does it feel like you're, you do suck if you are lower on the food chain, um, what has your relationship been with that?

Addison: I think for a long time and I'm sure a lot of. Uh, if there's people in here that are artists, I'm sure there are, can relate to, is that like the death of an artist and a human is comparing your journey and where you're at with other peoples.

And especially with social media, it's become so much worse for so many people's mental health. Um, and just emotional stability. I think, um, at this point I don't, I kind of use it as a [00:08:00] weapon for myself where I'm looking at something, someone I may look up to or a sound I hear, um, or production or a thing or a vocal thing.

And I've just like, I believe that I can do any of those things. Right. So I just need to be exposed to it. And then obviously some things come straight from me that I may have not heard, but I'm totally comfortable with. I don't think it's a hierarchy. Like, like it is a bit, but I think the definition of success for me is just making an abundance amount of money so I could live life on my terms.

Right. And I think in, in music, it's just about when I say like the top of the food chain, um, I'm talking like things I'm exposed to that. I didn't have a choice too. Right? Like if you're on the radio, if you're on a Spotify playlist, you're hearing these things that are being fed to you and people.

Reacting to it. [00:09:00] And that doesn't mean I'm going to react to it, but if I do, I'm like, oh, wow, what was that about? Oh, I want to do that in something. Right. And like, you know, I've always been a sponge in the way of like, I'm not going to replicate it identity, but I want to take it and then use it in my own way.

And then it's in your tool belt, right?

Michael Morgan: Integrated. Yeah. So you're saying basically you're using hierarchies maybe earlier on or for some people, which I assume means also you in the past purchase that really hurts the artist when you're viewing hierarchies as, um, I'm here, they're over here and now that I'm lower, I'm worse or there's some value judgment.

And instead you're reframing it to say, um, someone that's up here has maybe more financials, stability or, you know, certainty. Um, but what are they actually doing? Is it really that different from what I can do and saying like, well, it's not, I could actually do those things. Like, you know, they can make a song, I can make a song.[00:10:00]

It's more about how comfortable am I with my journey upwards. Uh, and not to, to them. Yeah. Not to even meet them because eventually your journey up is different than theirs.

Addison: Yeah. And I, and journeys aren't I think journeys in a perfect world. You know, when people get to LA, for example, they want the journey to be this elevator ride, right?

When in reality, life is just this thing that's moving and you hope to be steadily inclined, uh, going up in what you want. Right? Like, and obviously there's going to be divots, as you know, I've had a lot of fucking falls and, um, but dude that used to kill me. I mean, you know, when all your friends are getting signed to pub deals and you know, you're just as good and you're seeing people get cuts in their lives being changed.

And I mean, I've been out in LA for eight years and it's taken me seven years until [00:11:00] I'm in a place where, you know, I'm really comfortable in my own skin. Um, you know, I feel good financially and musically and emotionally, obviously it's still a battle, but I'm in such a better place and that shit will kill your whole vibe.

Like you'll miss out on years of your life. And not even know you like wake up and be like, how have I been out here for, for seven years? Because you're just have this carrot in front of your face and seeing all these people on Instagram and doing this, being here, being here. And then you're like, I think I, I want to S I wanted to separate my happiness and music.

Cause I always, it was just one thing. It was like, if I'm. Successful in music. I am not happy. I'm not whole. And I wasn't taking, you know, you don't take care of yourself emotionally, mentally, physically, because you're like, I'm going to take care of myself. When, when this comes, I'm going to take care of myself.

I don't care. I'm not going to unpack the [00:12:00] boxes in my room until I get that amount of money in my bank account. Right. And yeah. And it was right. Who like showed me that shit. Like, yo, make this a home. You're here right now. But like, I was never present. I just wanted to be like, okay, I got the next show. If I do this show and that ANR is here, this is going to happen.

And then I'm going to be here and then I'll make a house, a room when I'm in my mansion and went up. You know what I mean?

Michael Morgan: Yeah. And anything before that is a dungeon until that. Yeah. It's punishment until till that end goal and wow. Um, so many things right there and a lot of people are going off in the comments.

Cause I think it resonates one. I just wanted to

Addison: have them, by the way, just to know

Michael Morgan: they're going nuts out there. I wanted to pause to acknowledge, um, your journey because I've seen it. I'm like I said before, maybe before you joined that, I've known you, you're one of the people I've known the longest and I've seen your journey from high school all the way to now and the ups and downs and [00:13:00] everything in between, um, or upset you thought were down or downs that you thought were up, you know?

And, um, I just am so happy to see where you're at now because to me it's success. Uh, and it has been the whole time, but. I know the same for myself is like, I don't see this successes other people see, and then I see successes, other people don't in my own personal life. And so, uh, I'm just really happy to be in this moment with you where you're at now learned and been able to integrate and then to work together on stuff is just a privilege.

I

Addison: mean, I've known you since ninth grade and like walking around the schools of high school, being like where the halls of high school being like we're going to tour, like, that's all we want to do. All we want to do is play music and do this and do that. And it's crazy that, you know, we're here now and we're adults in this world and we're okay.

But when you just said, you know, thinking about your, [00:14:00] even you, you know, you're here and then you think about like what other people are doing. And my way of thinking now is like, look at the people that don't have shit, man. Like every day I'm exposed to it. Right? And it's, and it's our choice to whether we acknowledge it, where like where we're from, if a homeless person walks by you, you know, you, you look the other way.

That's where we're from, right? You like, oh no, no, no, no, no, no. Well, and now it's like, this person is somebody's son, right? This person could be someone's father. We don't know anything about anyone. And I already made it. I'm living in a house. I have a roof over my head. I'm able to buy food. I don't have to go to a job.

I don't like, like I won, you know, winning to me

Michael Morgan: and I

Addison: wasn't kicked in the Dick so many times in the industry. I don't think I would have that mindset and I didn't meet. [00:15:00] Right. Cause right. Obviously was a huge part of changing my way of thinking.

Michael Morgan: Yeah, it's great. I mean, you know, I want to give a lot of credits or re I want to give a lot of credit and those of you that have watched her live and I got a lot of feedback from people loved, really loved it.

She is someone that definitely is inspiring. I think to your point, the, the experience changes you too, and then your own personal learnings and things you pick up along the way. I think all of those things integrated is really what has brought you here. And not one thing I don't think there is even a way to even know, uh, w all that, you know, because so many things that influenced it.

But, um, I think there's a lot that she she's brought. Uh, can you expand on some of the things you've learned from her?

Addison: Yeah. So when I met Ray, I, we actually met on Tom Petty's day of the, the day he died at a Tom petty [00:16:00] jam session, which was just so serendipitous for us. Um, but I remember living in north Hollywood, waking up, going to get coffee, and there was a boot on my.

Um, so there's a boot on my car. A boot, if you don't know, guys is when you have too many tickets and you, you have to pay like two grand to get this shit off. Um, I had like $200 in my pocket. I had rented three days. I was a fucking mess and I was always stressed about like making my bills.

Addison: And this is just the big, the example of like how she changed my life. So she was like, Hey, let's go for a walk. I'm like, okay. And she's like seven years younger than me. And just moved to LA. She's like beaming of light. And I just dealt with like the suicide of my investor and my whole [00:17:00] musical journey exploding.

And she's like, Hey, can you, do you want to try a different way of thinking? And I'm like, yeah. I mean, I've tried everything else. So like, whatever you got I'm down. And it was that beginning three years ago of like gratitude and manifesting and meditating and being grateful and letting go of my fear of money, like do what I love every day.

Be the best person I can, you know, make the best decisions and the money will follow suit. And I only could speak to my personal journey and it's worked for me and she's helped me stay in that place. I never spoke to like God or the universe in that way. I think I wanted to believe I was this spiritual person, but I wasn't.

And I mean, it changed that should change as you gratitude when you like, are just thankful for being fucking alive instead of being so caught up in the [00:18:00] everyday bullshit, like, oh, I can move my legs today. Thank you. Like there's people that just can't walk, they can't run, you know, they can, whatever it is.

And I never thought of anything like that. And I think a lot of us don't because we're just like, I think scared. I think people are scared to really face the possibility that we do die.

Michael Morgan: That we're all dying. Yes. You know, I think to face the totality that is life means that you have to face the totes, uh, totality and certainty that is death, but the totality of life is everything.

It's literally every single person, um, may going off. Um, it's every single person that exists and every experience that's ever been had and realizing that like, we're just one small instance of experience. And what we can do is [00:19:00] infinite in many ways. And it's really hard to know actually the impact we have.

When we get into that phase of everything's bad, I can't do this. I can't do that. I haven't done this. It's like, you're diminishing that small spec that you're making on the whole totality of things. Um, and it happened so quick. And like you said, it happens without even knowing it's happening sometimes.

Um, which is sad, but I think you're right when you, yeah,

Addison: no, go ahead. No, I was just going to say, when you think about everything we were taught about, you need to do this, you need to go to college, you need to get a job. You need to be have health insurance, all this things. Right. Which is like all great.

And that's fine. And it's, you know, some people are like, oh, you shouldn't live with your family when you're a certain age, all this shit. And it's like, can we just all just take a moment and be like, [00:20:00] we're all just here dying. We're all gonna die. And can we just like, have obviously take care of ourselves?

Yes. You weren't having good health and you're sure, but it's like, can we like enjoy our lives? There's just like, it's like mom and dad, you don't fucking know. I don't fucking know. We all don't know why the fuck we're here at all. It's like, so let's be good people as much as we can be. We all fuck up.

Let's have fun. Let's laugh a lot. Go to the beach in Hawaii a lot. And yeah. And like,

Michael Morgan: yeah,

Addison: right. Like what the

Michael Morgan: fuck? It's very, it's so simple. And it's, it's those simple things that I think we miss, we miss, we just, it goes right over our head because we're always looking for this complex answer to everything.

I mean, not

Addison: always, but

Michael Morgan: often look [00:21:00] right. It's just things take time. Uh, there's an end to that time and there's an infinite way that you can impact the world and you will never know what that is like.

Addison: And it's also so true when they sit like, dude, if you do something every day and you are real with yourself and passionate and you want to get better, like you will make a living from it, I believe.

Right. Um, but when you're that, like, it really is about that journey. Like, bro, I can't tell you how much fun I had when I lived in a practice space in Ronkonkoma like on a mattress on my floor, you know what I mean? Like there's just some of the best times in my life, like yeah, I have a house now in a home and it's great.

And I I'm so grateful, but like brushing your teeth in a, in an extended handicap bus in like Ohio, you know, like those things are, do I want to sleep on the floor now? No, I'm so [00:22:00] happy. I did like, yeah. If you just like, if I just went straight to a bus and like, you know, it wouldn't have you, it's not the same.

I wouldn't like have any, like if, if my first project one log took off, like we all thought it would, I would not be the same person. One. I don't even know if I'd be alive. I would have been a maniac. And like, I think it is our fault that define us and like what we come back from and how you come back positive and not jaded and be like, ah, cause then you start seeing other musicians that like, you may think are good and then you're like, fuck them.

They're so lame.

Michael Morgan: Like who sign them? I think there's another thing here, which is like, recognizing, like in my experience, I'm switching what I was doing to something else completely. And being able to abandon what it meant to you, the narrative that it meant to you, the, you know, all of the ego [00:23:00] feeling bullshit of like what it meant to be a designer working in a corporate space, you know, like, and then saying like, none of that was real.

I'm about to do something new. None of that's real either, but like I'm excited about it and I want to pursue it and I think it will affect people and like, but there's that piece as well. It's just. That narrative piece of you building up something, uh, to be more than it is. And it having a negative effect on either changing or growing or,

Addison: but then you can become because you become prideful about it, right?

It's like, no, I said that this is what I was going to do, and this is what is going to happen. And it's like, are we really that small minded to think that like, when you're having those conversations about yourself, like everyone that you've ever known is being like, man, I really hope he doesn't stop doing that thing.

That he promised us all that [00:24:00] everybody's too. Self-consumed that? You know what I mean? I was like, like my definition of success was so different. It's like, I'm going to be this huge rock star playing arenas and listen, that would be great. It would be fun. It would be a lot of fun, but things change things, move things like a musician will always make music.

Right. And me making music every day with the love of my life is great. And it's, I just want to play. And because it's just, I think it is accepting that because I've been there. No, this is the way this is how I ha and you'll like purposely just being broken, broke and broken. I feel like it's like one of my captain America.

I just, even, he can't predict I can do this all day.

He's our

Michael Morgan: first Marvel reference.

Addison: You have $1, you can't pay rent. I could do [00:25:00] it all

Michael Morgan: day long, all day forever because I told my friends in high school that I that's what I am.

Addison: Right. High school that they promised they were going to fucking go to space or an accountant. Now it's like, uh, yeah,

Michael Morgan: we all changed.

But I think that's such a point that gets looked over a lot is like, you should be excited, passionate, committed to the journey, but also realizing that this is still a narrative you're giving yourself. And any moment you should, you can and should, and could change that if need be, if it makes sense. And having that self evaluation is really important.

How has, how was introspection developed for you like over the years?

Addison: Um,

Michael Morgan: there's a topic of intuition. Uh, maybe those are related.

Addison: Yeah. I think looking inward you're you're talking about, right. I think that what we were just talking [00:26:00] about goes hand in hand with that, where it's. I'm more free now to create art, because I don't have this false pressure that we put on ourselves that I have to make this kind of music, because that like, it's funny, what got me to LA was being completely me.

And then when I got to LA, I was trying to be someone else it's like, the whole thing was fun and it's broad it's place will do that to you. And you don't even realize, you know, and I feel like now I'm more me than I was then. And I feel so free because I don't have any, there's nothing. Like I used to write songs and pigeonhole myself and this, this, that there's nothing there anymore.

It's like, w what am I going to write to, okay. Maybe this song isn't for our band. Cool. This still is fucking great. Let's give it to sink. Let's give it to, you know, some or whatever.

Michael Morgan: [00:27:00] Um, okay, hold on. I have a question there, because I was talking to Justin, uh, carp Lauren carps husband, who I interviewed on the last episode, we were kind of recapping the whole discussion.

And he was like, what really struck me was when you guys were talking about how early on, like, because she's a teacher. So she's teaching, she's teaching art to students from elementary school to high school. So she's mentioned how, you know, in elementary school, they're like, I can do anything. Like I'm the best painter ever.

And then like in high school, Yeah. Like what, what should I do? Like what's right. Like, what is this like, meeting? Is this passing like, is this good? And I'm teaching students now that are even older than that asking me the same thing is this right. Is this good? Um, and all of that, and I'm like, is it right to you?

Like, do you think it's, do you think it would be right to me? Like as a person, not as a teacher, you know? And I think that like, um, you know, you, you see that change. So I want to, uh, bring that up [00:28:00] because you were saying what Justin mentioned was how that really struck a chord with him. He is I'm sorry. I was losing the part for a second key is, um, someone that has been a creator, a songwriter, but he's like now when I pick up a guitar, I just write that song that I would have written before.

And I was like, yeah, I think that's a practice. I think you can practice your way out of that. Uh, do you agree with that? And like, how do you go about breaking out of that mold? Because I know you can, and I've heard so many different types of songs for me.

Addison: You're saying of just getting in that place of like writing the same thing over and over and getting

Michael Morgan: out of that place.

Right,

Addison: right. Um, I think at first, when I did my first DP, I felt like it's so raw. I talked to you about this, that when you're starting something, when it's like the first thing of that thing, so let's say me and you were just going to start a band, right. We're going to get together. Let's write five songs and.[00:29:00]

If there's going to be magic at first in this band, it's going to happen there, right? There's no, nobody knows who you are. There's no pressure you're putting on yourself. You see, there's no ceiling. And I think that's what happened with me with my first record. And it was like, ah, this is fucking awesome.

You know, I don't know what I'm doing, but I feel like it's working. And then you hit that place where you're like, oh, I gotta be, I gotta make something now as good as that thing, because people reacted to that. And I did write the same song over and over and over. And I'd be like, fuck, like this sounds, you know, but I think we're in a place for me, if we're talking musically where there's so many sounds that are in our able to be in our ears, through the internet and through Spotify where, I mean, just for example, the, the app splice that literally every producer uses [00:30:00] nowadays.

I mean, I start songs with something from that. And then by the finals, you know, the ending of the song, that thing is not even in it, but when you hear something like when it was just me and you growing up, it's much harder when you just have a guitar and you're just like, you get stuck in these boxes.

Right. But it's like, when you could hear a trumpet, when you could hear, uh, a Glock and anything, some, I think you got to just keep going. Like, if I say, I want to write a song today, I could be listen there's days when I try five ideas in a row and I got nothing. Right. And I feel like the shittiest songwriter ever, and I'm like, okay, this isn't happening, but I do believe you can work through that.

And I mean, you've pushed me like melodically to find different melodies and it's like, we'll see how many melodies you can make to this. Like, just go.

Michael Morgan: That was a fun experience for people that don't know. Like there was a night I was over, you were working on a [00:31:00] song, you pulled up a splice loop and then you were playing that splice loop on your guitar.

No, you were singing over it. And I was like, all right, for this first go around the first, like 10 times it repeats St or eight, um, seeing, um, you know, using one, uh, using one note predominantly, or like seeing where the end it progressively gets higher or, you know, kind of throwing these exercises in hearing.

I felt like when we got to the, one of the last ones, uh, it was progressively getting more interesting and better. And it started with, could have just recorded that one thing, the first thing,

Addison: you know, and, and I think what Justin is talking about and what just came to me is like, when you're writing, even if it's just you alone or if you're painting or I'm sure, but all I could speak to is, you know, music.

You don't even want to mess up in front of yourself. You don't want to like [00:32:00] fuck up, but it's like in those fuck-ups is when you will break through to those new things, because it's like, listen, at the end of the day, I'm playing this thing with six metal strings that some guy invented and it's like, do whatever the fuck you want.

Like try different shit out. And I think that's where the, um, the breakthroughs will happen.

Michael Morgan: Um, so I want to hop on a topic here. Um, I want to talk about limits cause we're kind of circling around that topic. So what are your thoughts on limits and how have you, because I think you've mentioned a few instances of this, but what has your relationship with limits been also?

Yeah, Graybar just pulled this comment out and it blew my mind when you said it, uh, that I don't even want to fuck up in front of myself. I think that's tremendous. That's a huge statement. So real. Uh, and it's definitely, again, another practice. I think [00:33:00] speaking to Justin, like it's another practice you can do is like how comfortable are you fucking up in front of yourself playing a weird chord and making that the predominant part of the song or.

Singing a weird melody inspired by a different culture or something like how open are you to even doing it? Because if you're not anything outside of the box is going to feel like a fuck up or a mistake or something to get. And then the answer is

Addison: everyone that creates anything is like, I think the genius a lot of times is in the fuck-ups like, there's so many times that I'll fuck up and Ray will be like, wait, wait, what was that?

And if, and if you look at that from like a point of view of science, it's like, okay, well, every time I fuck up eight out of 10 times, she's going, what is that? It's like, let's, let's see what that's about to see what we can get there because yeah, of course, you're going to keep doing the same thing. We're we're listen.

Right. If you're on stage at a jam night. Yeah. You [00:34:00] fucking do it, you know, and play and be cool. Right. Be Mr. Cool guy. But when you're in your bedroom, who are you? Who am I playing for? Where I go, no, dude, go to the, I, you know, the A's going to work. You don't want, I don't want to, I don't want to offend my dog and my Teddy bears right now for this performance.

Right.

Michael Morgan: But it's, it's I wrote down like setting up your own personal hierarchy, um, and. JC JC and I are working on the record. He said, I'm going to remember this the next time we're going to the studio, bro, which is going to be soon. Him and I are working on this collaborative poetry, ambient music, my kind of acoustic music record, which should be really cool.

But yeah, I think I felt that last summer in the studio, I was so afraid to fuck up. And there were people around, obviously, so maybe the stakes were higher, but, but I don't think JC was going to be like, I'm not your friend anymore. Cause he tried this melody, but

Addison: so we want to fuck up in [00:35:00] front of those people, right?

Like, because again, you're not out of show. You're not like, let them see if people are in a studio, they probably want to see the process and they probably want to see the real process

Michael Morgan: by signing off. Sorry, grabber.

Addison: We want to see the fuck up. You want, I mean, when we were kids, if you're watching the bet, if we're watching Tom DeLonge sing, I miss you.

And he like hits the wrong note and he's like, oh fuck. Yeah, like bro, that's part of the ma and then like, we go to, you know, we're listening to the song with our friends and we're like, dude, that's the part when he like totally told mark to suck his balls, you know

Michael Morgan: what I mean? By the way, that was an excellent tons along your impression.

Do you have any more that you can share?

Addison: I don't even remember doing it. You said,

Michael Morgan: oh fuck. And it's Tom DeLonge boys.

Addison: I blacked out there. It was, well,

Michael Morgan: those of you that got to witness that you are privileged and, uh, luckily this is recorded. [00:36:00] Um, JC just hit upon people. You're okay with fucking up creatively in front of, I think that's true.

But I think sometimes you're the person that you're not okay. Plugging up in front of. So no matter who you're with that, and that's the point we're getting at is like, no matter who you're with, if you're afraid to do it, it's not going to happen. Uh, and then people won't be able to see that beauty. Um, I'm thinking about a record.

Uh, when I put out my first record bloom, before that I had all these recordings of those songs on voice notes. And there were like dark and sad versions of songs that I polished a little bit. So I like to spend all this time recording the record. And then I play my buddy, like all of those demos, like the actual record in sequence, but the demo version, he was like, wait, why didn't you put this out?

And I'm like, no, no, no, like that's too real. But he was like, I think all of these are better. Like every single one. And I was like, but that only took me a minute, you know? Like that only sets me the time to make it. Um, so yeah, anyway, [00:37:00]

Addison: just to make the best decision, right. So we don't know what's going to resonate with anyone, right.

So we need to make what is going to get us excited. To push something out there and get behind it in, in a hundred percent way. Right. And it's like, yeah, that's happened to me too, where it's like, oh, people think the demo's better. And this person that we also hold people's opinions too, sometimes too high of a standard.

Like why, if you like, yeah, I value your opinion. Right. If you tell me something now, like I can't, that can't like change everything that I thought about it. Like obviously I made certain decisions and if I'm super behind it, why am I allowing one person? Cause like what's crazy to think about is what you're telling me to change or possibly change.

What if that's the thing that [00:38:00] actually is going to resonate with people and you

Michael Morgan: don't know any.

Addison: Right. And that's why I'm so careful nowadays when people ask me to give like actual feedback on music, like I always am like, Hey, just to be clear, I don't know, fucking anything. Like, I can tell you what this is doing to me and what I would do differently.

But also like, I don't know. Maybe that weird thing that I think sounds weird is going to make a bunch of kids dance to it on Tik TOK and like get you famous. I don't know

Michael Morgan: exactly. Yeah, yeah, exactly. Exactly. It's so subjective. Um, and maybe, and, and contextual certain moments when I was playing the demo of that record in a car after we had like dinner and we were sitting outside and we had like a great night and I was like, yeah, I want to play you.

These songs, that context might be a better, like, those songs might resonate better, but in a general, maybe more broad contexts, they [00:39:00] won't. So it's like, there's also that, which is so important. Um,

Addison: oh no. And also like, who says you can't be like, Hey, here's the same record, but get them on. Right.

Michael Morgan: Even that exactly.

Yeah.

Addison: Nothing

Michael Morgan: matters. I mean, Jason is like, I need to hear those. I gotta find him. I really gotta find them. There's somewhere. You know me it's somewhere on Dropbox. Oh, this

Addison: guy's got files of low band logos from when we're 15. It's

Michael Morgan: all there. Um, okay. Let's hop into another. Give me another number

Addison: five.

Michael Morgan: Ooh.

Okay. Cool. Identity. I love that. Um, okay. What's your relationship with identity? I mean, you've been an artist in art and the identity of the artists are often very inner woven. Sometimes people find a healthy separation between them. What has your relationship been with identity and identifying [00:40:00] as anything really, um, throughout your creative career?

Addison: I think I've always pretty much been the, the artist is the person I think for me, um, I think there was elevated and, you know, like, even, so even when I like was acting and doing the, like the comedy web series, it was like me, but I would like, then it would be an elevated version of me right. In this funny way.

Or when I was doing the big dramatic Addison project, it was like, that's me, but a bit on steroids in the bigger picture. Um, but I think at this point, I think I always loved the performance art of it and character kind of vibe, you [00:41:00] know, when like the cameras are on, you get to be this person. And I think there's something really beautiful about that.

Like prince or Freddy. Um, and I, I love even Gaga did it so well. Um, but nowadays I feel like I just, my identity is me and musically. Like I'm pretty comfortable in my skin now. And you know, obviously like when you're on stage, you want to be like a little. Get a little creme guy.

Michael Morgan: Um, Ray had mentioned the many selves.

Um, do you feel that there are many selves to you and how do they use?

Addison: I am my mind goes to there's many genres inside of me and Ray and I think [00:42:00] it is interesting, right? Like I could kind of sing in any style and then it's like, so how do you choose, right. I think you choose based on what you actually like, where does it go when you just do it?

Not when someone's like, Hey, I'm going to hire you to sing this Bruno Mars vibe, or I'm going to hire you to sing this maroon five vibe for me. What is it that you go to when you just pick up an instrument? Um, but I don't think the identity changes totally. Like, I think it's, it's re I mean, in that aspect, what I'm talking about is more voice acting, right.

Except

Michael Morgan: you're single, right. Where you're intentionally adding another layer to, uh, on top of you or around you, so that it isn't you at the core, they're asking for something specific, something that inherently, if they're asking for Bruno Mars, they're asking you for him [00:43:00] through you, like channeling him, um, right.

As an artist, like, what is that relationship been with? Like the identity of one love or the identity of rose colored world or like, and how you relate to that identity. And has it been an evolution towards pulling it closer to you further from you having a separation between those things?

Addison: Got it was always, so this is how I explain it when I was one love.

I felt like who I was being was the person that I wanted to be. I wasn't there, there was a gap, right? Like I want it to be the super spiritual and there was parts of that in me, for sure. But I want it to be this positive manifester, beautiful person. I wasn't at the time I was, I mean, I was kind of, I had, you know, moments like that.

And then at the beginning of RCW, when we were, you know, creating, I [00:44:00] mean, it's gone through so many evolutions to finally land something out where I feel like there's no gap anymore. For me in my, like the music we're making and the person I'm being is coming together in, in the first time, like the smallest, there's no real separation between those.

Like, I don't feel like there's any fraudulence going on. And I don't mean that like, even in a negative way when you are right. It's just part of

Michael Morgan: the, there's no additional layers that you've constructed. They're just the layers that you have built naturally over the years. Right, right. Interesting. Yeah.

And she was talking, I think more internally as well, like the many selves that are internally the many layers that are internal. So, you know, like I was thinking that there damn like I love animation, but I also love songwriting. And I also love being a son and like, uh, a cousin, you know? And like, those things are not [00:45:00] related per se.

Um, sometimes there are parallels and there are obviously some, three ways, but the many selves, uh, the many identities, you almost carry in that, in that way as well. Or do you feel like that's

Addison: the same thing? I think that identity that you're speaking of, at least with you or myself, like you're still being the same person in each one of those.

So like you were, and it's like Michael Morgan to risk family to his work, to this, this, I feel like you're being the same person all around. Right. Like there's not,

I got to speak to them like this and I got to do this. And that's, I think all about, you know, you're trying to please people and I've been there, you've been there in our lives. And I know I'm trying to just be like, say how I really feel. Nice way, you know, and [00:46:00] be like, no, I don't, I don't think that's cool that you just said that instead of being like, huh.

Okay.

Michael Morgan: That has me thinking, like the further we disconnect with our core self, whatever that means. And there's obviously philosophers have studied this way deeper than we are going to in the next 10 minutes. But, um, the further you get away from your core identity, the easier it is to allow sort of like negativity to hit these other identities.

It's like, oh, when I'm, you know, the artists and people give me feedback. Like I pander to that, let's say, but if it's like, well, would you like, do you feel good about that? It's like, no. So the closer you get to like that sense of self, the easier to say, Hey, that hurt me. Like it's not an external layer.

It's not a facade. It's it's me. And it's hurtful.

Addison: Yeah. Because it's also hard to give your honest opinion rather than wanting to [00:47:00] say what you think someone wants to hear or saying something that you think will position yourself better in a certain situation.

Michael Morgan: Yes. And that's how you develop these false identities.

I would say that's difficult.

Addison: I think we've all been there. I'm

Michael Morgan: still there at times. Like, I don't even think it's a, like, you're there and then you're not, I think there's times where yeah, you could slip back,

Addison: but I think it's about being aware. Like when you're not aware of these conversations, like we have often, it's like, it's hard to not be there more often than not.

Michael Morgan: Um, yes. It's easy to recognize when you're slipping into that. Am I just pleasing these people or do I actually like feel this way? Um, and I think early on it's, it's hard to notice the difference, cause you've like, you've put so much into that identity.

Addison: Um, there's also so much weight sometimes [00:48:00] in those relationships, you know?

And it's like, when you know that you meet someone that, you know, could potentially change the way that you've live. Right. It's hard to, but again, it's such a catch 22 because like the thing that is going to make you, like, if you want to work, let's say you want to work with this person. The thing that's going to make them want to work with you.

If they want to work with you or not. Right. You have, they want to work with you or they don't want to work with you, but your best shot of them wanting to work with you is probably you just being a hundred percent yourself.

Michael Morgan: Right. Because you said it then wanting to work with you. So who's the, you the one that they want or the one that you are.

Yeah.

Addison: They don't want to work with what you think that they want or this weird thing. And I think we do that a lot. And artists do that. I did it for so long and it's like, fuck it. I just want to like make music that I seriously love, like this [00:49:00] record that we're going to put out. It's like, I love it so much that I want to go out there and play it every night with everything in me.

And like, I haven't felt that way in years because it's always just been about somebody in my year being like, no, this is what you need to make. Like, this is what they like this single. So we got to make four more like this. And then it's like, how did this happen? Like, why am I making, what is, why am I making a funk record?

I do not like, you know,

Uh, let's talk about, uh, well, we kind of, I mentioned it. I don't know if we really touched on it, but intuitions, how has, uh, and I think we're actually getting to that in a way.

Michael Morgan: How has, um, so we talked about identity, um, How has the intuition started playing a role in your process and, um, does it, and what does it look like? What does it feel like?

Addison: Okay. So obviously we both know what intuition means, but I would love to know what the definition

Michael Morgan: of Intuit. Sure. Yeah. Yeah. So [00:50:00] intuition is defined as the ability to understand something immediately without the need for conscious reasoning.

Addison: So really it's saying gut feeling.

Michael Morgan: Yeah. Or what you said earlier, which is, um, where do you go when you just play? You know, when you just play the instrument that the intuitive mind,

Addison: I would say that for me, listening to my intuition rank advance for this, I'm typically like, correct about a lot of interactions with people or moves or mute music.

And I'm not always right. And musically, I don't mean that, but I'm saying like, intuitively I am listening to that more like for so long, I like would have that intuition and then I would go with someone [00:51:00] else. Right. Let's say the guy that was paying for the marketing, like I would run with his intuition and it never, if does pay I'm upset because.

I'm not happy. I didn't get to try it the way that I was feeling, why, uh, it was always based on fear of finances. Oh, well, I'm not going to be able to, you know, pay my bills. I'm not going to be able to, or fear of ruining a relationship that can potentially pay the bills. Right. It just always had to do with fear.

And not that I don't have fear, but I have a lot less fear nowadays. So it's like, well, fuck it. I'm going to go with my intuition and what, it's great. Having a partner that our integration a lot of times are aligned.

Michael Morgan: What is the downside of intuition in your opinion?

Addison: I think it's a battle within yourself [00:52:00] because you don't know, that's the thing about intuition.

It's like, I could be right. I could be wrong. Like if you're making a bat kind of fight, you're like, my intuition says this guy's gonna win, but you're going to watch it biting your nails because

Michael Morgan: you don't know. Right. Right.

Addison: So I think the downside, I don't think there's a downside of having intuition because we all have that gut feelings.

And I would probably S if we took a poll, I would think it's likely that people are like, often saying, fuck, I should have went with. I just knew something was up, you know, or, I mean, how many times did we say that? Yeah. Like, ah, there was something off about that. I knew it.

Michael Morgan: I knew it from day one, but you know, XYZ.

Definitely.

Addison: No, it was to beat to be true. I knew that guy. [00:53:00] Wasn't going to give me a million dollars for an envelope.

Michael Morgan: That guy, um, you mentioned fear. I want to talk about fear. Um, what do you fear? Can you tell me every single thing that you're afraid of on this lie?

Addison: All right. This is going to be awhile.

All right. So a fear of death. I'm going to talk about all the fears that I've had because some of them are in. I loved it.

Michael Morgan: I didn't actually mean for you to answer this question, but I love so much that you're you are,

Addison: you're having money. I'm always fearing. Something is hardly, definitely wrong with me.

Knee hurts, dying elbow gone tomorrow. Can't even see remove it. I, no, but fear is such plays such a role in, in my life and it was literally one sight. Let go of fear all [00:54:00] around and I still like have bouts with it, but it literally changed. In every way, it changed it. If you don't have fear of money and you just know that it's going to come in, whether you, you know, it just will, like every time I've let go of it, you get the call.

Like, it's all good. Then you can just start actually living. Like, if you don't have fear, like so many people has fear of money and stability, and that's why so many people go work a job that they're not entirely happy with, which by the way, I'm not judging. Like there's a piece of me when I was super broke, that wishes.

I was able to do that. Like I wish I wished that I could be okay with just going in and getting the paycheck and bright. But for me, the exciting part of life is not knowing. I don't want to know how much I'm going to make this week. I want to, I can make a million dollars this week. I don't know. Right. Or I could make nothing, but I think that's exciting.

It's just all about living life on my terms. And I think, [00:55:00] but the fear is what holds us back. The fear is what, you know, keeps us locked up inside of ourselves. Like in everything. If you think about it. Yeah. Oh, I don't know if I want to write a song. What if, what if no one likes it? What if nobody listens to it?

Okay. Then nobody listens to it and nothing changes from right now. What if it's bad then? Okay. Then don't put it out until it's not bad.

Michael Morgan: Like yep. There's so many like being liked stability, illness, money, death, and death. Anxiety is a written about, well thought through, uh, concepts with early philosophers, existential philosophers who were obsessed with that question is like they were saying essentially people's identities are formed because of death, anxiety.

Um, so like their fear [00:56:00] of knowing that they'll die, subconsciously leads them to develop identity is and breaking them is almost a form of death. So like if you shatter it, you're in the unknown now. So then like now you might think about death. Now you might realize that it's finite. Um, so I always thought that was a really interesting concept.

The link between fear identity. Well, that

Addison: reminds me of, I was having really bad, um, anxiety do, as I said, you know, I have like medical anxiety for me, which means I'm always thinking that something is wrong with me and I'm going to die. And, um, I had this heart thing that I was having, I told you about, and I wound up like going to get an EKG and I was fine.

And then like, by the way, it just never happened. Again. The thing that I was having, cause it was like all in my mind. Um, but I, I started researching online. I don't know how I came about it. It was like divine timing. [00:57:00] Every person that has had not near death experiences, like literally died and then came back.

They all say the same thing. Like, no matter what age, and they have no fear of death, literally they're able to start living. Like their biggest thing is like, I wish this happened sooner. Like, because whatever happens, we don't know. Right. But if I'm like, I'm a, I'm like a factual guy. That's what I like.

Like, obviously I have faith and all that, but like when it comes to shit like that, I'm like, all right. But I got to like, hear it from these people. And they're the closest ones that did it, but came back to talk. Typically when you die, you can't come back and be like, oh guys, it's going to be fine. You don't have to worry about it.

It's great. You know? And they all say the same thing. It was just calming. And it wasn't like you should look at, it's just, it's wild and

Michael Morgan: not. [00:58:00] Is there a name for this, these kinds of people? I feel like there's definitely like a catchy name on the internet for these kinds of people.

Addison: I think it's, uh, what's do they call them NDEs?

I dunno why I'm making it up near

Michael Morgan: the near-death experience. ERs.

Addison: I don't know. But dude, some of these people were out for like, you know, 20 minutes out to lunch, like see you later. And they always returned with that, bro. They have no fear of that. Anymore. And they can just live their life.

Michael Morgan: There is a near death experience, research foundation, N D E R F.

There are over 4,900 experiences from all over the world about these near death experiences. Insane. Yeah. I know nothing about this organization, but fascinating.

Addison: I know nothing about this organization, et cetera. I started it and we're taking charities [00:59:00] live in the air,

Michael Morgan: but yes, we are raising money for them.

Hopefully

Addison: you can just spend money and I'll give it to them. I

Michael Morgan: promise. Promise. Um, if I ever have a near death and come back, I'll give it back to you.

Addison: Um, but yeah, fear goes away, which is crazy.

Michael Morgan: That's so cool. That's so cool. And I heard, um, some hallucinogens, like they're, they're trying, um, you know, to give mushrooms or psilocybin to, um, like near death cancer patients like terminally ill people that are freaking out about dying, having these experiences coming back from it, like totally accepting of their fate.

Um, fascinating

Addison: when I did silicide, I mean, it changed my life. Like it was fucking beautiful so I can

Michael Morgan: let's do it right now. I'm repping.

Um, okay. [01:00:00] We got fear. Um, let's talk about, let's talk about weight, cause we've covered a lot of these. Let's talk about an environment

so the environment for creative process, uh, what is your relationship with environment? Uh, how has the environment helped you create, how has it hurt creativity? How can it be improved?

Addison: So for me, what I've realized is that my studio needs to be clean or else one I'm less inclined to go sit down to work.

And then my sessions are dirtier. If like I have some papers on my desk, like if everything in the area super clean and simple, my sessions are cleaner and simple. And I feel like translates to [01:01:00] the end result being that, like, reflecting that.

Michael Morgan: Hmm. I see that.

Addison: Okay. But I think for music too, like I know you're all about setting the environment and, uh, you know, it's hard to like make rock songs if you're in your pajamas, because like, you don't feel like, you know, you got to put on those tight jeans and really just rock out and you're in your

Michael Morgan: house unless you're making pajama rock in which case,

Addison: which is actually thank you for mentioning that.

It's a good segue into the release of my solo record called Johnny rock. I'll be there while he does soft rock.

Michael Morgan: Pajama rock. I like it. Um, so environment, uh, has it always been that way? Have you always cared about that? Or like have there been more suitable environments for other projects?

Addison: No, I never cared about that at all.

And, um, I would say, I would think that it didn't [01:02:00] help

Michael Morgan: meaning it didn't help the creative process.

Addison: It didn't mean that I think it could have went like if I was living when I was living in the practice space, for example, that I spoke about, it was like, and I just had my guitar there. I think that probably because that fit the environment for what I was doing at the time, but I think the environment could work against you though, for sure.

Michael Morgan: Um,

Addison: but it's, for me, it's more about my environment here. Like it's so hard to create any art out of desperation. I mean, it's hard to create anything out of desperation. I think where you're like, I need to do this in order to do this. Or, you know, it's hard to make music when you don't know how you're paying rent in two

Michael Morgan: days, you know, it's, it's tough [01:03:00] and I'm sure a lot of people for that.

Yeah. I mean, I know, I feel like there's always so many mythical stories of. Mythical, just really being rooted in the fact that it is a myth in that, not that there's like wizards or anything, but mythical stories of like artists, where they were like, uh, you know, we had no money and we were like needed to make it.

And then we made this amazing record. That's like the best record ever and got them super famous. Like there's a lot of that narrative. I don't know how often that's the case.

Addison: And I also don't know how true it is. I also, like, I'm not saying that they didn't need to make the record or whatever, but what were the circumstances?

You know, I just don't, we don't know, like where you living on the street, where you close to living on the street, do you mean that you need to make this record or else you'd be dropped from a major label? Like what does it mean? Exactly. But I think [01:04:00] it could, I think it, like, I think the, the desperation, if it's like this long term thing could help you if there's like this fire in you then.

Sure. But if it's like, what I'm talking about is the day-to-day don't know how you're going to pay for food. It's hard to write from that. You know, there's always so many songs you could write about not being able to pay for your shit. Yeah.

Michael Morgan: So I like that distinction between the long-term versus short-term despair, where.

Long-term saying I'd love to be there. You have this vision. You're like really working towards it, riding the roller coaster like every day is

Addison: like, I need this shit. Yeah. I think that could be used as fire for sure.

Michael Morgan: Right, right. Love that. So mental [01:05:00] environment, physical environment.

I feel. Always worked with at least one person on every project you've worked on. So I think you might be someone that is a semi expert in collaboration. I'm an Instagram expert in collaboration, and I'd love to hear your thoughts on, um, collaboration over the years. How has thinking about collaboration changed?

What have you learned? What are the challenges there?

Addison: All that growing up in a band's collaboration with multiple individuals is definitely a challenging thing. And, you know, bands that stay together for so long. Like I commend you. It's awesome. Um, when I first moved to LA and I signed my first publishing deal, it was like I was in a new session every day with a different person and meeting them.

And that collaboration is very interesting because you're like, Hey, [01:06:00] how are you? I'm Addison, nice to meet you. Let's write a song. You know? Um, I got kind of burnt out on that. Um, so then I just found the people that I love collaborating with. And I've kind of kept it in that home. Um, especially in this project with Ray.

I mean, it started as just her and I, I mean, most of the songs start with just me and her, um, to completely. Um, it's funny. You just mentioned that I didn't realize that every musical situation I've been in there has been yeah. Someone which makes me wonder eventually down the line now that I'm capable of fully producing and finishing records, what it would, what it would sound like if I just made a full record, like sitting in a room by myself, like with not a Stttus,

Michael Morgan: I would love to produce both you [01:07:00] and Ray's records separately.

Like I think both of you should both make records. Cause I think there'll be wildly different. And I think that after what you make together will also be wildly different and inspired by those kinds of individual journeys. Yeah. So I

Addison: think that sounds great, but that would be then having me collaborate with some true.

Oh yeah.

Michael Morgan: Right, right. Nevermind. It was a trick question.

Addison: I don't know what it would sound like if I was just like sitting there not having any influence from anyone, you know, for instance,

Michael Morgan: that's what I just said. Made no sense. Apologies to everyone that had to hear that though. Sorry about that. Yeah, that's a great, great point.

Just you, just her working on a record. I would be, I know that I would love both, but I'm, I don't know. It either would sound like I have an idea.

Addison: I have an idea. I think [01:08:00] Ray's would say, well, we don't want

Michael Morgan: to, we don't want to bait anyone we don't want.

Um, because maybe like you get into it and then you realize, well, there's some deeper, like there's a deeper influence that I'm going for. Um, who knows, but that's cool. I want to see it happen. Yeah, me too. One day, one day. So a collaboration. Yeah, but you've worked with people this whole time. So to, to psychoanalyze it for a bit, why do you think that is early on and now what do you like about

Addison: it?

Um, insecurities and self esteem issue. I mean, because I started as a drummer and being told, I couldn't really sing as you're aware of. Um, it took a long time for me to, that's why I say like me being considered a singer, living in LA and you know, not having to work a normal job, like I won. Right. Cause it's like [01:09:00] nobody around me growing up, expected that to even be a thing, there was like stick to drums.

That's what you're good at. And it's like, well, fuck you. I think I could be good at different things too. It's also like, again, you're taking this to heart from people that why, like, they don't know what he mean. Like it's not like when somebody would be like stick to drums. It was like, you know, John Mayer telling me that or somebody

Michael Morgan: like, right.

But even he he's a guitarist, you know, about drunk,

Addison: but you know what I'm saying? It's not like some amazing vocalists that would say that to me. It's like some guy from Plainview. It's like, wait a second. Why am I taking this so seriously?

Michael Morgan: Okay. So there's another point. So there's another topic about feedback.

And there's an intersection here, which is that during collaboration, there's inherently an endless feedback loop that you were agreeing, [01:10:00] or sometimes unconsciously agreeing to like, Hey, we're going to partner, which means like I'm producing your record. That means you and I are now linked in a feedback loop where you say things and I say things and it's back and forth.

So early on you're saying is that you were in a feedback loop with people whose opinion you didn't even really admire or like aspire towards, but you didn't even know that then you were just in it and they were giving feedback and it was affecting you beyond just, uh, being a drummer. But what, what else you could be.

So that's really interesting. And it's something that

Addison: why John was the first, not first. I mean, you were actually my first collaboration that, yeah, I felt like I was heard. Right. Like when we did that first pity when we were 16, like within a week. Yeah. That was stream of consciousness, things, aligning and things, just working in trusting [01:11:00] each other.

It's like, Hey Addison, here's these lyrics that I wrote. Okay, well, here's the melodies that should be here mean to you and trusting each other. Like not even like changing anything,

Michael Morgan: like yeah. And I

Addison: think that's what then happened. My second one was with John, which is how I wound up being here in LA because we just listened to each other.

We trusted each other and that, and the art intuition aligned for a long time. So it was like, oh yeah, fuck it. Let's do that. Let's do it. You know? And now I would say with Ray it's like that, um, again, and I've definitely had other people like that. Like my boy Genesee. Um, but somebody, I mean, Ray and I, obviously we have differences of opinion sometimes.

And both of us sometimes go either her, to me or me to her. Like, if she's like, no, like we [01:12:00] can't that melody shouldn't change in the course. And I'm like, I'm telling you just go with this right now. Like if you hate it later, we could I'm down to change it. You know? And a lot of times it's like, oh fuck, that was a good move for me to her.

Stick to this, the melody that we still tried, you know, and then she liked us something else. And I don't like it. And then like, I'm like, fuck, I'm so happy you did that. You know? But a lot of times it's like, we're going to say the same things almost at the same time, but that's because we it's so different because not only are we living together, we are in love and like linked emotionally, and then we're making music together.

And it's literally like, we have a USB drive, like fucking plugged into each other. She's like, I think you should be putting the store. I'm like already on it.

Michael Morgan: You know? Well, some of that though is having now developed patterns together. That is like, you know, so there's like, I like [01:13:00]