January 26, 2022 • 29 mins
Minnie questions Goldie, musician, DJ, artist, and pioneer of the UK drum and bass scene. Goldie shares how a traumatic injury led to love letters, how access to art influenced his childhood (and why he feels it is important for our culture today), and what happens when you rush the final stages of a painting.
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Speaker 1 (00:00):
Yeah. With me and my partner, we laughed so hard.
I mean, I think I paid myself this morning with laughter.
It's a little bit, it's a little bit game out
and I'm like, you know, we're laughing, believe or not.
Of the ceramic tiles. I mean, it was all to
do with what do you want for Christmas? And you know,
(00:20):
do you know do we have an Ella verse for
twelve years? And she doesn't want diamonds, You doesn't want cars.
She just wants sereric titles. I'm like, this is brilliant
because it was. I couldn't wish for anything better. Hello,
I'm Mini Driver. Welcome to The Many Questions Season two.
I've always loved Christ's Questionnaire. It was originally an nineteenth
(00:43):
century parlor game where players would ask each other thirty
five questions aimed at revealing the other player's true nature.
It's just the scientific method really. In asking different people
the same set of questions, you can make observations about
which truths appeared to me universe. I love this discipline
and it made me wonder, what if these questions were
(01:05):
just the jumping off point, what greater depths would be
revealed if I ask these questions as conversation starters with
thought leaders and trailblazers across all these different disciplines. So
I adapted prus questionnaire and I wrote my own seven
questions that I personally think a pertinent to a person's story.
They are when and where were you happiest? What is
(01:26):
the quality you like least about yourself? What relationship, real
or fictionalized, defines love for you? What question would you
most like answered, What person, place, or experience has shaped
you the most? What would be your last meal? And
can you tell me something in your life that's grown
out of a personal disaster? And I've gathered a group
(01:46):
of really remarkable people, ones that I am honored and
humbled to have had the chance to engage with. You
may not hear their answers to all seven of these questions.
We've whittled it down to which questions felt closest to
their experience or the most surprising, or created the most
fertile ground to connect My guest today on many questions?
(02:09):
Is the artist Goldie? To me? Goldie was the face
and sound of drummer, bass and jungle in the UK
in the early nineties. He captured this electric vibe and
blasted it from the Midlands in England to London and
onto New York. He started out as a street artist
and art is where he has returned to. Now, you're
(02:35):
such a considered bloke. If you can tell me where
and when were you happiest, If you're talking past tense,
the happiest times, I always been making musical painting. It's
not past tense. It's really now in the present. Really,
I have a fascination with time. That the reason on
every day I wake up and think I'm here and
(02:56):
I'm very, very lucky. And I walk up to the
mountain our high copples like a ten came hard going
up and down. And I do that like three or
four times a week. I am in an end of smiles. Indeed, yes,
you know for me being up in the jungle and
into the lake and a lot of the times, I
do a lot of a lot of it on my own.
But just being in that environment and seeing life in
(03:17):
death in front of you, right in front of you,
is a really beautiful reminder of how how insignificant we are.
And I got there and scream and crying and laugh,
and I find that being the happiest there's an urgency
as well. There's always been that thing where I feel like,
even though I came here to retire, I actually did
(03:37):
the reverse and found myself in a whole of the
way and finding what happiness really means. Because having all
of the cars and ferraris and all of this stuff,
it just never made me happy. It really didn't. And
I felt that I was very destructive, and I felt
that all the things that you think are going to
make you happy actually don't and helps the wealth. And
it's weird that's changed. I know so little now and
(03:59):
that makes me more at peace with myself. And we
said that time doesn't exist. Do you mean that it
really is just a human mental construct that we've created
to sort of give life? Meaning what do you mean
by that? You know, when you study or you look
at deja vous or the sense of being somewhere, it
happens to me a lot places, and whether it's in
(04:22):
the jungle or just the moment. I do think that
we you know, this is mental construct, but I also
feel that it's also preordained. I feel that whatever souls
have passed through, this is the one that I remember,
and this is the one that has accounts. And it
doesn't mean I go to that and hug trees all
day long. You know, I can eff and blind like
most when he stubs his toe. Oh, I mean I
(04:43):
sometimes hug trees well swearing. So I mean I think
I don't feel like they're mutually exclusive. I just think
that the idea that there is an old time of
a fascination with it is that it's all happening at
the same moment. Everything is concurrent, Everything is concurrent. The
most poignant thing for me is the power of manifestation.
We're just this electric energy and we have this electorcy
(05:03):
that we can actually lie to light bulb. It's just
the shifting energy thinking well, okay, then if I can
create this positive energy, then there will be something because
it's the energy is just moving into some of the place.
Whether it's conscious or not, it's different. And there are
lots of question do I want to be part of
the big one, the singular? Well do you have a choice?
Like do you have a choice? Individual? You don't? We
want to be an individual. That's that's ego, that's just
(05:25):
the ego. Yeah, But I sometimes think maybe bits of
my body think that they have autonomy my lungs are
just like, yeah, I won't do anyone. I just cruising.
I just got me alveol cooking. Everything's cool. I'm just
bringing in the oxygen, you know what I mean. Like
we attached all these mental ideas about belonging. Like Addison,
my boyfriend, who is a mutual friend of well, he's
(05:47):
a mutual friend of Goldiar me. He's my love. He
is always talking about tribes and how this sense of
belonging is so fundamental to our human experience, that we
find our tribes in tiny pocket in large pockets, and
that it is the sort of atavistic past time that
humans will always come back to. So we say we
(06:07):
want to be individual, which maybe we do. We are
born alone, we die alone, and yet in the in
between we always want to be part of something. Well.
I think the tribalism is especially concurrent with the idea
of culture, tribalism moving into the metropolis of New York
and rising from the ashes. You know that culture is amazing.
We think of what on the shoulders of giants with
(06:27):
New York and coming out of the depravity of New York,
what you personally, all of my friends, the guys that
I chased that the people that I chased that dream
and went to New York and found the Bronx on fire,
thinking this isn't the American dream and is this is
different than what it said on the tin and what
it was going to be. And it was important to
my growing because again it was straight into a tribe
(06:47):
that where I could belong to crew. But I felt,
you know, the whole idea of tribalism in New York
with the crews, you know, actually did positive stuff when
he kind of changed from the negative gangs into positive
dances and painters and hip hop cult. She came along
and it changed everything, and even even that became gentrified
in lots of other ways, like everything does, but without
going too far off piece. I think the idea of
(07:09):
being happy in finding one's place, it really is about
letting go exactly. Can you tell me something that has
grown out of a personal disaster. I would never have
(07:29):
met my wife unless I severed my left femur water
ski jump the TV show. It was the last session
of the day. I've nailed the all day three jumps,
last one showing off sock off, landing the water to
wait soil. It's turned the leg snapped the femur, and
it was like, this was the end of me. This
is like your legs flowing in the water that way.
(07:50):
You think this is the end of it. And I
was in hospital for like four months and the guy
next to me had his leg amputated. They were going
to cut it off. When you've gone through everything and
you've got a divorce and you've gone through you know,
the ego and the drugs and a rock and roll
and you you have nothing. I kind of met when
we my leg was broken. I was in pieces. I
was never gonna walk again properly. I was done. I
(08:11):
was at the bottom of it all. And I think
it was great meeting then, because I healed in a
really good way. That's amazing. I went to Shanghai on
a pair of crutches, you know, just before I started
in this whole yoga thing. And wait, why did you
go to Shanghai? I went to DJ and Shanghai a
place called bon Bone, and it was a gig that
was canceled and it got reslotted and I went there
and I still had crutches, and I was limping into
(08:33):
this dinner at the New Heights in Hong Kong. I
was sitting at dinner and my friend was on the
phone and he said, he said, look, I'm not gonna
make it for the dinner. And we've got like twenty
people at this dinner table come to host me, And
what do you mean you're not coming? And all of
a sudden, I just saw this woman walking hang On,
Dave hang On, and she was standing there and all
of a sudden, it pops his head around the court.
He was with her, and that was it. And we
(08:54):
never looked back. We even went to Beijing and I
wrote on the wall and never forget it. In the
back of a changing room after I've done a gig,
I wrote Sakoko on the war in ga fee Laires,
and that's going to be the name of our daughter. Yeah,
we actually dated. I'd seen her in Shanghai and then
went on this little tour stay in Japan. It was
the stranger said, I've got to say this because it's
(09:15):
really important. We were staying in Japan. I'd arranged when
I first met her in Hong Kong to let's meet
up somewhere. Let's meet up in Japan. And we had
this big suite and we sat and watched a wonderful
film called Ashes to Snow by James Coburn, is a
prolific photographer filmmaker. And we sat holding hands on this
(09:36):
bed and we cried and never made out. And we
spent a year writing lets before we even got together,
a whole year, and those those letters turned into love
Box One, Love Box to love Box Free, which we
have in this house for my daughter when she grows up,
she will have all of these letters. There are hundreds
of them. I mean, like I was in England and
(09:56):
I was writing a letter a day. At one point
it was insane. After all of the disasters I'd had.
This wonderful love came is wonderful love letters. But I've
constantly had a real support of my wife and friends
to be able to have this time to write stuff
and and really explore these different things, you know, unlike
a lot of my friends that can read really well,
(10:17):
and I can't. But I can write, but I can't
read that well. But I love the idea of legacy,
and I love the idea of my different children understanding
different things. And I write them letters sometimes so that
when I do pass on that they can read them
and they can understand it from the horse's mouth. Yeah,
what are we going to really leave? That's important for
me is legacy is important? To legacy is important so
(10:40):
that you know, the kids have paintings and they have
books and writings, and they have my words and not
the idea where you know, I saw the art world
and lots of people that died penniless. And also some
critics decize that they think they understand what the painting
means and the part of the artist is long gone.
But in the digital age and where we are now,
everything is kind of recorded. We have the ability to
(11:01):
pick up a phone record our thoughts and feelings. You know,
some people write books and do different things. There's not
a day that goes by. I don't think of death
in a good way of what you know, it's death
coming and it's there. And what do I want to
leave behind? A phone, some pictures and means my legacy
is my phone with twenty four thousand photographs and nineteen
(11:23):
thousand videos. What question would you most like answered? I
saw that earlier on and I thought this is gonna
be very tricky. I think for me, the government that
are in power, why are they determined to kill the
arts if you could honestly answer it, because there seems
(11:45):
to be an agenda with it. It doesn't make any
sense to me at all. Everything the human race has
ever experienced, we've come out of it through art music.
So why do they in schools make it like art
and music are some kind of dessert that you don't
need and that it's this extra curricular concept. Yeah, within
(12:07):
the school frame, yeah, but it's more to do with
funding and why won't you invest in your child? Well,
you're not children before it's growing up. What was their playlists,
what was their album collections were? What ardly they're like
when they were young. It just seems like all of
that generation of government, I just don't understand their agenda
with it. And that question i'd like to be answered,
Why don't you fund the arts in the way that
(12:29):
it should be got such a great I want to
know that too. I feel fascinated with that because I
find that it's really weird because there was a big
debate about the m b E and it was this
whole thing about you know, they gave me this Bluepeeter
badge and said you're great, and we've got to explain
to America an MBAT. When m B is a member
of the British Empire, the Queen gives you this medal.
(12:51):
It's for services to music and arts. I always felt like, great, fantastic,
My mom would have loved it, and it's great, thank you.
It sits on the shelf upstairs. It's a thing, and
it's great, thank you very much. But the thing what
gets me is that they were closing clubs at the time.
Fabrica was got closed down, and there was this big
debate about people giving us these accolades, but yet they
(13:14):
take away the school that my son went to, and
he could have got a school on the estate that
he lived, and then he ended up doing twenty five
years in prison along with a lot of other kids
because they had no community, because the heart was sorn
out of it. And I'm thinking to myself that part
of the reason for living in another place was it
felt really odd that can't you see the wood for
(13:34):
the trees, that we were not investing in the youth
in the way that we should be doing. And that
really saddens me a lot. It does. It saddens me
a lot, and I like watching her grow. Cocle Sacoco
is an amazing creature. And they have Chance who's twenty three.
And I'm going to be a grandfather in February, which
I'm really looking forward to. I'm like granddad at last.
(13:54):
I speak to my son a lot, who's his Majesty's
hotel for another fifth deen years? He has fifteen more
years to go. There was a twenty five year sentence
that he received and he did that. He's doing the
whole thing and it was the beginning of the downfall
of the estate. And the estate in England is the
projects is, you know, government funded housing, which rarely has
(14:16):
a community that hasn't been created by the community itself.
It's like the governments don't really seem to support the
building in places for people to hang out and be
part of their own community within these huge housing environments.
I thought I'd learned a lot from New York and
the Bronx and being in Garrison Avenue and all those
boys in the Chad's Crew whim affiliated with. And I
was there at eighteen and I saw it really young
(14:38):
of how that place was, like wow, it was still
leveled in areas and it was just like they hadn't
even rebuilt the Bronx and seeing how the community aspect
of fell apart there, but they got together theirselves to
do a lot of stuff Logan. It was the same
in Harlem. It was the same, you know, of people
coming back together and building their communities themselves, not ever
relying on the government or in England the councils. And
(15:01):
I think that's where we're going, that's where we're heading. Well,
that's where England's heading in that respect because we have
to look after our own and have that community aspect.
Do you find that the things that you're teaching your
children now are very much because of things that weren't
taught to you when you were younger? Very interesting? Yes,
I found with a lot of early therapy that I
(15:21):
was doing and especially like the work of gabbled Matti
and trauma is very amazing. It's to deal with trauma
in my experience have been separated and growing and moving
on and breakdowns and everything else, and seeing again in
a third party, seeing like a pad lock upstairs from
Cambodia with a key that set on the shelf, with
beautiful pieces of sculpture and things that I never saw
(15:43):
in a home when I was a kid, knowing that
she's growing up in this space and she's seeing these things,
and I'm seeing it through her eyes almost, and I'm
setting it up so I'm seeing you through her eyes.
And I think that's what for me, what the Hoffman
process was about. The Hoffman's a very beautiful process for
me because it kind of me to get back to
being that child and instead of suffocating my own in
(16:03):
a child, understanding what that's like. You can't just say, well,
it's different one week. We're growing up for her worlds
that's so well that she doesn't know any difference. So
learning her all the right tools and giving her the
right stuff and when she gets emotion and seeing her
grow all of these wonderful things. And with some of
my first kids, I never experienced that, and having conversations
with my older kids about me not being there and
(16:26):
having an adult conversation. You know, my son did the
Hoffman which was amazing, and he's a lovely boy, Danny,
and seeing what he went through, and it's really beautiful
to to kind of pay back in a lot of ways.
To Halfman is a kind of is it a cognitive
behavioral therapy situation? The Halfman process is it's like a
quad of you know, it's the west and the east
where west meats east, and it's to deal with going
(16:47):
back into your timeline and looking at where the trauma
comes from. And my issues were abandonment and be misunderstood.
I chose drama, bass music and graffiti. You know, you
repeat these things that you gravitate towards. The work with
Serena Gordon and those guys at the Hoffman has been
amazing because you know, everyone goes to therapy and unpacks
(17:09):
the box, but no one wants to know how the
box are designed, how was the box manufacturer that fits
the stuff inside it? And I love that aspect of
it because when you start to unpack it and you
realize that we are like our mothers and fathers, whether
we like it or not, and you start you know,
we we've we fight to get away from that, but
yet we're very much the same, and what changes is
our characteristics of what we decide to put it into
(17:31):
our lives. From an energetic point of view, so I
found that was a really good process. I found it
was a beautiful process. And I think it's the same
thing with the record label. You know, my labels twenty
six years old, you were kind of like the mold
town of DNB with this integral music. You know, I've
got kids at the age of three making exceptional albums
continuing to do so. And I love that because it's
(17:52):
something that I've always served because you have to create
this platform, and you know, these kids have following me,
they do this stuff, and they're making some amazing, easy music.
And I find that probably the most rewarding of all
because you knows a kid called Spencer, he was twenty
two at the time and he just then his first
remix for me and he was playing after Me and
Egg in King's Cross and he came on after me
(18:12):
after playing it out and I murdered it and he
came on and he absolutely just destroyed the club in
a good way. And seeing this kid taking the reins
and these kids like who is this guy? And is
this protege? And there are a few of these protejays
have come along with the music, and so many of
the artists on the label are phenomenal, you know, Phase
and all these are the kids. I could go on
(18:33):
with a list of the artists that we have, but
I found that the most rewarding over the years, because
when you're not the guy you know, you kind of
fall away. You do something else, and that's something else.
He's providing a platform for others. All right, So this
might go back to your roots or it maybe where
you're currently. But what would be your last meal? Oh?
(18:58):
It says easy, that's easy. It's bacon ex Sani, Sani
has a sandwich BAGINGI right, listen, it's truly, says banging
Sany from Dunsley Farm in shrin in Hartfordshire, England. Wait
back bacon or streaky bacon, dreaky man smoke streaky okay,
crispy or still a bit floppy? Just about to turn
(19:19):
with the egg over? Easies you guys, say on some beautiful,
beautiful sour doll with poppy seeds, says to me, trimming
on the edge. And that's me with a couple of Yorks.
Should see, I'm yours, say me. That's my meal, probably
the most unhealthy meal I mean, but that's my thing.
Lived in Thailand for twelve years. I was just remembering
(19:44):
arriving at to thirty in the morning. I was on
my way to Cambodia, and I went walking down to
the streets of Bangkok, and I was so hungry, and
all they really seemed to be were lovely shiny black
insects on skiers at the side of the road having
just come off a fire. And I was like, very well,
one in Bangkok delicious though. I mean, I don't eat
(20:04):
pork myself, but I do understand a bacon and eggs,
ARENI that's a mood. That's a proper mood. And the
other thing is that I find beautiful with six million eggs,
you know, boil the water for six minutes, the waters boiling,
and then put the eggs for six minutes. They're perfect, exactly.
And some soldiers boil taken soldiers might actually be my
last male. Really wow, look at that up one out
(20:25):
that there and a cup of tea. What person, place,
or experience has most altered your life? I think Mr
the Hearst, my art teacher. I think that he changed
(20:47):
my life completely. He sat me in front of the
window and said, draw this. You need to get past.
I don't know if you know this. In the State,
we had a thing called the no level, which is
like a It's like a pre s a T. It's
like an s A T that you take when you're sixteen,
and then you take another load of exams when you're eighteen,
called A levels. So you were studying for your O levels.
I was studying for the level in art. And I
(21:08):
was great at sculpture in my hands. Anything you put
in my hands, I could do it, and I could sculpture.
I was That's the thing I loved. And he said,
you can do all of that. It's great. You know
you're natural fantastic, but you're not. You need to step back,
you need to You've got to draw this side of
you have to draw. And he got me to draw
a newspaper and ash tray and you know, say glass,
paper and iron. And he got me through this exam
and after hours, the children's armor was into the time
(21:31):
said you could stay after school for a couple of
hours each night and stay with the art teacher. And
he changed my life. And weirdly enough, in him doing that,
I did a documentary it's really rare on Red Bull.
It was called The Alchemist, and I actually went to
surprise him when his sev on his birthday, to thank
him for what he'd done for me. I kind of
went into this little hall in Birmingham in the parish
(21:53):
church and you know, with an entourage of people and
managers and people who were there. And I was on
tour somewhere and I sneaked in and walked in. It
was arranged by his wife, and I sneaked in and
sat right next to him, and he looked at me,
and he didn't even reckon if you look back, and
carried a looking while he was talking. And then he
looks and he just burst into tears. And he was
a great moment. And I think those kind of moments
kind of stay with me. It is because he he
(22:13):
grew up in a children's home and he reached into
that experience and saw more in you and asked more
of you. Yeah. Well, at the time, I was getting
beat and I was getting bullied at school as you
start to walk on the canal on the way home,
so I get beat up going on the main road.
It was just crazy. I mean it was there was
a period of five years where it was just like
it was hell for me. But the art class was everything,
(22:36):
and that was it. And and that's why I think
I always gravitated towards that, the sense of art, and
especially when graffiti came. That was the answer. Not only
was he ar and a new form of art, there
was guys doing it together. There was tribalism and community
and he was brilliant and you could paint trains and
stuff and all his mad stuff and you know, break
the law as well, and it was illegal and he
(22:58):
was illegal, you know. And it's it's crazy because I
have a wonderful gallery in the heart of Bangkok and
it's called the Aurum Gallery Latin for Gold, and I
have all of my friends are from around the world,
you know, from New York, from Japan, from Mexico, from
l a and it's a brilliant contemporary gallery. And I
think to myself again, it's one of those moments where
(23:19):
I'm going there on Monday. I was there two weeks ago,
and I watched in on the Wednesday and the staff
we're just opening up and there's no one in there
and just walking around this space. And it's beautiful because
my daughter can run around in there and she's looking
at all his art and she's drawing away. She loves it.
She's just really into it. But just seeing people, that's
the one thing you see that I think music has
(23:41):
been compromised because you can download it and the quality
sometimes he's a bit and you can reproduce it and
everything else, and people want to buy staff. But you
can't stop the idea of tribal idea of a human
being standing in a room with a painting. It just
can't be beaten. Whether it's the National Portrait Gallery or
it's a contemporary gallery, just being in a space sweet
art is something beautiful. I find it's amazing that that's
(24:03):
where your initial way out of what you described as
being hell through art and all through your life, through
the music and the graffiti and the crazy cruise in
New York, all the way to Thailand and back to art.
Spit mad. That isn't Yeah, it's nice. I mean it
seems to subscribe to your idea of it all being foretold.
(24:24):
I think in that way, but also think in turning
allowing myself to be happy is something that I couldn't do.
That everything's allowed. And I spent so much time in
chasing complexity because my life has always been very intense.
It is unpacking that and being here in Thailand helps
me to do that. So it helps you to simplify
and to be able to just see that the imperfection
(24:46):
is beautiful. An hour ago, I started like three sessions.
I started at one till three in the morning that
I got up, we did the school rue baby, and
I got back went straight at it. So from nine
all the way through, I do like a full a shift. Today.
I would not stop. I was just this just driven
with this painting. Driven. And not only was I driven
(25:07):
by the painting. I'm doing two at the same time,
and I've done them both before in different ways. It's
this style that I'm doing. It's just this complicated layers
and there were nine layers and I get to the
eighth layer and I rushed the layer and I messed
the layer up, and I'm like, I just got to
keep reminding myself that I just need So now I've
got to spend three or four hours in the morning
(25:29):
because I just didn't let the black dry in time.
And I've done it before and I'll do it again,
but each time i'll do it, I'm just at that
moment where I'm like, I'm driven by something. For me,
it's like music. I find that I'm driven by something
far greater than myself. And I don't know what if
it's just the spirit going mad, or I just get
(25:49):
driven to do something and it's not almost like it's
finished because I've done this before, but it's finding something
else in the painting. And I tried something else and
it kind of worked. But of course my sort of
things that I do that make these mistakes, they teach
me something. So I'm just like, I won't do it
with the second painting because it's it's it's the next
in line. But again, it was one of those things
(26:10):
that I it was it was all the way down
and I was trying to complete it in a time
frame when there is no time. So I kind of
shot myself in the foot. I think that's the thing
with people that gravitate to music, and when you do
this thing in the night and you kind of you
blow up, But all of a sudden, you give the
responsibility to all these people because you become this ego
because when you when I was a kid, all the
powers taken away from me. You know, you've got to
(26:30):
go in that room. You've gotta go there and you
have to do this, so you didn't have any empowerment.
So when you get the money in the cars and
all that rock and roll, that sense of you know,
you're giving it away. It's the ego giving it away,
and it's really lying on a minute, when am I
going to take charge of this year? You know, just
terrific stories of this guy's just knocked out, this guy
and that guy's just driving your mate, your mates car
and he's done that, and everyone's pulling and pushing you,
(26:51):
and I just got sick of that. I got sick
of all of the pulling and pushing, of almost tearing
an artist apart. That's what the scary part of sobriety
was the idea that people got away with lots of
ship while Goali was drunk, called god, he was just
crazy because they just got away with the money that people.
And it's like it was insane in the nineties for
me in that respect. And I just feel, you know,
(27:12):
pretty unscathed. I feel like I've got some battle wounds
and some scarf. But the great thing is the healing
process is amazing here. And I feel, you know, maybe
fifties six scaring to fifty seventies a new thirty our
second that ah, that's just brilliant. Oh my god, gold.
It's so I could literally talk to you for hours
and hearing where you are and how you have created
(27:34):
your life. It sounds so patronizing, going it's inspiring. It's
sucking beautiful that life unfolds and that you allow for
the evolution and you haven't judged the evolution and you've
taken the hits and you watch your son is still
taking a hit in one way, but you're still connected.
I love the how in your life and what your
life was. You are. I think that's a really beautiful thing.
(27:56):
And I don't know what else we're here to do
except being these lives that we've been evan you know,
and live it all. Thank you so much, Goldie. He
runs about as deep and considered as anyone I've ever
met in my life actually, and talking to him was
an absolute joy. Goldie has a new single out with
(28:19):
his band Subjective called Lost. Mini Questions is hosted and
written by Me Mini Driver, supervising producer Aaron Kaufman, Producer
Morgan Lavoy, Research assistant Marissa Brown. Original music Sorry Baby
(28:40):
by Mini Driver, Additional music by Aaron Kaufman. Executive produced
by Me Mini Driver. Special thanks to Jim Nikolay, Will
Pearson Addison, No Day Lisa Castella and a Nick Oppenheim
at w kPr de La Pescador, Kate Driver and Jason Weinberg,
(29:02):
and for constantly solicited tech support Henry Driver h.
Yeah. With me and my partner, we laughed so hard.
I mean, I think I paid myself this morning with laughter.
It's a little bit, it's a little bit game out
and I'm like, you know, we're laughing, believe or not.
Of the ceramic tiles. I mean, it was all to
do with what do you want for Christmas? And you know,
(00:20):
do you know do we have an Ella verse for
twelve years? And she doesn't want diamonds, You doesn't want cars.
She just wants sereric titles. I'm like, this is brilliant
because it was. I couldn't wish for anything better. Hello,
I'm Mini Driver. Welcome to The Many Questions Season two.
I've always loved Christ's Questionnaire. It was originally an nineteenth
(00:43):
century parlor game where players would ask each other thirty
five questions aimed at revealing the other player's true nature.
It's just the scientific method really. In asking different people
the same set of questions, you can make observations about
which truths appeared to me universe. I love this discipline
and it made me wonder, what if these questions were
(01:05):
just the jumping off point, what greater depths would be
revealed if I ask these questions as conversation starters with
thought leaders and trailblazers across all these different disciplines. So
I adapted prus questionnaire and I wrote my own seven
questions that I personally think a pertinent to a person's story.
They are when and where were you happiest? What is
(01:26):
the quality you like least about yourself? What relationship, real
or fictionalized, defines love for you? What question would you
most like answered, What person, place, or experience has shaped
you the most? What would be your last meal? And
can you tell me something in your life that's grown
out of a personal disaster? And I've gathered a group
(01:46):
of really remarkable people, ones that I am honored and
humbled to have had the chance to engage with. You
may not hear their answers to all seven of these questions.
We've whittled it down to which questions felt closest to
their experience or the most surprising, or created the most
fertile ground to connect My guest today on many questions?
(02:09):
Is the artist Goldie? To me? Goldie was the face
and sound of drummer, bass and jungle in the UK
in the early nineties. He captured this electric vibe and
blasted it from the Midlands in England to London and
onto New York. He started out as a street artist
and art is where he has returned to. Now, you're
(02:35):
such a considered bloke. If you can tell me where
and when were you happiest, If you're talking past tense,
the happiest times, I always been making musical painting. It's
not past tense. It's really now in the present. Really,
I have a fascination with time. That the reason on
every day I wake up and think I'm here and
(02:56):
I'm very, very lucky. And I walk up to the
mountain our high copples like a ten came hard going
up and down. And I do that like three or
four times a week. I am in an end of smiles. Indeed, yes,
you know for me being up in the jungle and
into the lake and a lot of the times, I
do a lot of a lot of it on my own.
But just being in that environment and seeing life in
(03:17):
death in front of you, right in front of you,
is a really beautiful reminder of how how insignificant we are.
And I got there and scream and crying and laugh,
and I find that being the happiest there's an urgency
as well. There's always been that thing where I feel like,
even though I came here to retire, I actually did
(03:37):
the reverse and found myself in a whole of the
way and finding what happiness really means. Because having all
of the cars and ferraris and all of this stuff,
it just never made me happy. It really didn't. And
I felt that I was very destructive, and I felt
that all the things that you think are going to
make you happy actually don't and helps the wealth. And
it's weird that's changed. I know so little now and
(03:59):
that makes me more at peace with myself. And we
said that time doesn't exist. Do you mean that it
really is just a human mental construct that we've created
to sort of give life? Meaning what do you mean
by that? You know, when you study or you look
at deja vous or the sense of being somewhere, it
happens to me a lot places, and whether it's in
(04:22):
the jungle or just the moment. I do think that
we you know, this is mental construct, but I also
feel that it's also preordained. I feel that whatever souls
have passed through, this is the one that I remember,
and this is the one that has accounts. And it
doesn't mean I go to that and hug trees all
day long. You know, I can eff and blind like
most when he stubs his toe. Oh, I mean I
(04:43):
sometimes hug trees well swearing. So I mean I think
I don't feel like they're mutually exclusive. I just think
that the idea that there is an old time of
a fascination with it is that it's all happening at
the same moment. Everything is concurrent, Everything is concurrent. The
most poignant thing for me is the power of manifestation.
We're just this electric energy and we have this electorcy
(05:03):
that we can actually lie to light bulb. It's just
the shifting energy thinking well, okay, then if I can
create this positive energy, then there will be something because
it's the energy is just moving into some of the place.
Whether it's conscious or not, it's different. And there are
lots of question do I want to be part of
the big one, the singular? Well do you have a choice?
Like do you have a choice? Individual? You don't? We
want to be an individual. That's that's ego, that's just
(05:25):
the ego. Yeah, But I sometimes think maybe bits of
my body think that they have autonomy my lungs are
just like, yeah, I won't do anyone. I just cruising.
I just got me alveol cooking. Everything's cool. I'm just
bringing in the oxygen, you know what I mean. Like
we attached all these mental ideas about belonging. Like Addison,
my boyfriend, who is a mutual friend of well, he's
(05:47):
a mutual friend of Goldiar me. He's my love. He
is always talking about tribes and how this sense of
belonging is so fundamental to our human experience, that we
find our tribes in tiny pocket in large pockets, and
that it is the sort of atavistic past time that
humans will always come back to. So we say we
(06:07):
want to be individual, which maybe we do. We are
born alone, we die alone, and yet in the in
between we always want to be part of something. Well.
I think the tribalism is especially concurrent with the idea
of culture, tribalism moving into the metropolis of New York
and rising from the ashes. You know that culture is amazing.
We think of what on the shoulders of giants with
(06:27):
New York and coming out of the depravity of New York,
what you personally, all of my friends, the guys that
I chased that the people that I chased that dream
and went to New York and found the Bronx on fire,
thinking this isn't the American dream and is this is
different than what it said on the tin and what
it was going to be. And it was important to
my growing because again it was straight into a tribe
(06:47):
that where I could belong to crew. But I felt,
you know, the whole idea of tribalism in New York
with the crews, you know, actually did positive stuff when
he kind of changed from the negative gangs into positive
dances and painters and hip hop cult. She came along
and it changed everything, and even even that became gentrified
in lots of other ways, like everything does, but without
going too far off piece. I think the idea of
(07:09):
being happy in finding one's place, it really is about
letting go exactly. Can you tell me something that has
grown out of a personal disaster. I would never have
(07:29):
met my wife unless I severed my left femur water
ski jump the TV show. It was the last session
of the day. I've nailed the all day three jumps,
last one showing off sock off, landing the water to
wait soil. It's turned the leg snapped the femur, and
it was like, this was the end of me. This
is like your legs flowing in the water that way.
(07:50):
You think this is the end of it. And I
was in hospital for like four months and the guy
next to me had his leg amputated. They were going
to cut it off. When you've gone through everything and
you've got a divorce and you've gone through you know,
the ego and the drugs and a rock and roll
and you you have nothing. I kind of met when
we my leg was broken. I was in pieces. I
was never gonna walk again properly. I was done. I
(08:11):
was at the bottom of it all. And I think
it was great meeting then, because I healed in a
really good way. That's amazing. I went to Shanghai on
a pair of crutches, you know, just before I started
in this whole yoga thing. And wait, why did you
go to Shanghai? I went to DJ and Shanghai a
place called bon Bone, and it was a gig that
was canceled and it got reslotted and I went there
and I still had crutches, and I was limping into
(08:33):
this dinner at the New Heights in Hong Kong. I
was sitting at dinner and my friend was on the
phone and he said, he said, look, I'm not gonna
make it for the dinner. And we've got like twenty
people at this dinner table come to host me, And
what do you mean you're not coming? And all of
a sudden, I just saw this woman walking hang On,
Dave hang On, and she was standing there and all
of a sudden, it pops his head around the court.
He was with her, and that was it. And we
(08:54):
never looked back. We even went to Beijing and I
wrote on the wall and never forget it. In the
back of a changing room after I've done a gig,
I wrote Sakoko on the war in ga fee Laires,
and that's going to be the name of our daughter. Yeah,
we actually dated. I'd seen her in Shanghai and then
went on this little tour stay in Japan. It was
the stranger said, I've got to say this because it's
(09:15):
really important. We were staying in Japan. I'd arranged when
I first met her in Hong Kong to let's meet
up somewhere. Let's meet up in Japan. And we had
this big suite and we sat and watched a wonderful
film called Ashes to Snow by James Coburn, is a
prolific photographer filmmaker. And we sat holding hands on this
(09:36):
bed and we cried and never made out. And we
spent a year writing lets before we even got together,
a whole year, and those those letters turned into love
Box One, Love Box to love Box Free, which we
have in this house for my daughter when she grows up,
she will have all of these letters. There are hundreds
of them. I mean, like I was in England and
(09:56):
I was writing a letter a day. At one point
it was insane. After all of the disasters I'd had.
This wonderful love came is wonderful love letters. But I've
constantly had a real support of my wife and friends
to be able to have this time to write stuff
and and really explore these different things, you know, unlike
a lot of my friends that can read really well,
(10:17):
and I can't. But I can write, but I can't
read that well. But I love the idea of legacy,
and I love the idea of my different children understanding
different things. And I write them letters sometimes so that
when I do pass on that they can read them
and they can understand it from the horse's mouth. Yeah,
what are we going to really leave? That's important for
me is legacy is important? To legacy is important so
(10:40):
that you know, the kids have paintings and they have
books and writings, and they have my words and not
the idea where you know, I saw the art world
and lots of people that died penniless. And also some
critics decize that they think they understand what the painting
means and the part of the artist is long gone.
But in the digital age and where we are now,
everything is kind of recorded. We have the ability to
(11:01):
pick up a phone record our thoughts and feelings. You know,
some people write books and do different things. There's not
a day that goes by. I don't think of death
in a good way of what you know, it's death
coming and it's there. And what do I want to
leave behind? A phone, some pictures and means my legacy
is my phone with twenty four thousand photographs and nineteen
(11:23):
thousand videos. What question would you most like answered? I
saw that earlier on and I thought this is gonna
be very tricky. I think for me, the government that
are in power, why are they determined to kill the
arts if you could honestly answer it, because there seems
(11:45):
to be an agenda with it. It doesn't make any
sense to me at all. Everything the human race has
ever experienced, we've come out of it through art music.
So why do they in schools make it like art
and music are some kind of dessert that you don't
need and that it's this extra curricular concept. Yeah, within
(12:07):
the school frame, yeah, but it's more to do with
funding and why won't you invest in your child? Well,
you're not children before it's growing up. What was their playlists,
what was their album collections were? What ardly they're like
when they were young. It just seems like all of
that generation of government, I just don't understand their agenda
with it. And that question i'd like to be answered,
Why don't you fund the arts in the way that
(12:29):
it should be got such a great I want to
know that too. I feel fascinated with that because I
find that it's really weird because there was a big
debate about the m b E and it was this
whole thing about you know, they gave me this Bluepeeter
badge and said you're great, and we've got to explain
to America an MBAT. When m B is a member
of the British Empire, the Queen gives you this medal.
(12:51):
It's for services to music and arts. I always felt like, great, fantastic,
My mom would have loved it, and it's great, thank you.
It sits on the shelf upstairs. It's a thing, and
it's great, thank you very much. But the thing what
gets me is that they were closing clubs at the time.
Fabrica was got closed down, and there was this big
debate about people giving us these accolades, but yet they
(13:14):
take away the school that my son went to, and
he could have got a school on the estate that
he lived, and then he ended up doing twenty five
years in prison along with a lot of other kids
because they had no community, because the heart was sorn
out of it. And I'm thinking to myself that part
of the reason for living in another place was it
felt really odd that can't you see the wood for
(13:34):
the trees, that we were not investing in the youth
in the way that we should be doing. And that
really saddens me a lot. It does. It saddens me
a lot, and I like watching her grow. Cocle Sacoco
is an amazing creature. And they have Chance who's twenty three.
And I'm going to be a grandfather in February, which
I'm really looking forward to. I'm like granddad at last.
(13:54):
I speak to my son a lot, who's his Majesty's
hotel for another fifth deen years? He has fifteen more
years to go. There was a twenty five year sentence
that he received and he did that. He's doing the
whole thing and it was the beginning of the downfall
of the estate. And the estate in England is the
projects is, you know, government funded housing, which rarely has
(14:16):
a community that hasn't been created by the community itself.
It's like the governments don't really seem to support the
building in places for people to hang out and be
part of their own community within these huge housing environments.
I thought I'd learned a lot from New York and
the Bronx and being in Garrison Avenue and all those
boys in the Chad's Crew whim affiliated with. And I
was there at eighteen and I saw it really young
(14:38):
of how that place was, like wow, it was still
leveled in areas and it was just like they hadn't
even rebuilt the Bronx and seeing how the community aspect
of fell apart there, but they got together theirselves to
do a lot of stuff Logan. It was the same
in Harlem. It was the same, you know, of people
coming back together and building their communities themselves, not ever
relying on the government or in England the councils. And
(15:01):
I think that's where we're going, that's where we're heading. Well,
that's where England's heading in that respect because we have
to look after our own and have that community aspect.
Do you find that the things that you're teaching your
children now are very much because of things that weren't
taught to you when you were younger? Very interesting? Yes,
I found with a lot of early therapy that I
(15:21):
was doing and especially like the work of gabbled Matti
and trauma is very amazing. It's to deal with trauma
in my experience have been separated and growing and moving
on and breakdowns and everything else, and seeing again in
a third party, seeing like a pad lock upstairs from
Cambodia with a key that set on the shelf, with
beautiful pieces of sculpture and things that I never saw
(15:43):
in a home when I was a kid, knowing that
she's growing up in this space and she's seeing these things,
and I'm seeing it through her eyes almost, and I'm
setting it up so I'm seeing you through her eyes.
And I think that's what for me, what the Hoffman
process was about. The Hoffman's a very beautiful process for
me because it kind of me to get back to
being that child and instead of suffocating my own in
(16:03):
a child, understanding what that's like. You can't just say, well,
it's different one week. We're growing up for her worlds
that's so well that she doesn't know any difference. So
learning her all the right tools and giving her the
right stuff and when she gets emotion and seeing her
grow all of these wonderful things. And with some of
my first kids, I never experienced that, and having conversations
with my older kids about me not being there and
(16:26):
having an adult conversation. You know, my son did the
Hoffman which was amazing, and he's a lovely boy, Danny,
and seeing what he went through, and it's really beautiful
to to kind of pay back in a lot of ways.
To Halfman is a kind of is it a cognitive
behavioral therapy situation? The Halfman process is it's like a
quad of you know, it's the west and the east
where west meats east, and it's to deal with going
(16:47):
back into your timeline and looking at where the trauma
comes from. And my issues were abandonment and be misunderstood.
I chose drama, bass music and graffiti. You know, you
repeat these things that you gravitate towards. The work with
Serena Gordon and those guys at the Hoffman has been
amazing because you know, everyone goes to therapy and unpacks
(17:09):
the box, but no one wants to know how the
box are designed, how was the box manufacturer that fits
the stuff inside it? And I love that aspect of
it because when you start to unpack it and you
realize that we are like our mothers and fathers, whether
we like it or not, and you start you know,
we we've we fight to get away from that, but
yet we're very much the same, and what changes is
our characteristics of what we decide to put it into
(17:31):
our lives. From an energetic point of view, so I
found that was a really good process. I found it
was a beautiful process. And I think it's the same
thing with the record label. You know, my labels twenty
six years old, you were kind of like the mold
town of DNB with this integral music. You know, I've
got kids at the age of three making exceptional albums
continuing to do so. And I love that because it's
(17:52):
something that I've always served because you have to create
this platform, and you know, these kids have following me,
they do this stuff, and they're making some amazing, easy music.
And I find that probably the most rewarding of all
because you knows a kid called Spencer, he was twenty
two at the time and he just then his first
remix for me and he was playing after Me and
Egg in King's Cross and he came on after me
(18:12):
after playing it out and I murdered it and he
came on and he absolutely just destroyed the club in
a good way. And seeing this kid taking the reins
and these kids like who is this guy? And is
this protege? And there are a few of these protejays
have come along with the music, and so many of
the artists on the label are phenomenal, you know, Phase
and all these are the kids. I could go on
(18:33):
with a list of the artists that we have, but
I found that the most rewarding over the years, because
when you're not the guy you know, you kind of
fall away. You do something else, and that's something else.
He's providing a platform for others. All right, So this
might go back to your roots or it maybe where
you're currently. But what would be your last meal? Oh?
(18:58):
It says easy, that's easy. It's bacon ex Sani, Sani
has a sandwich BAGINGI right, listen, it's truly, says banging
Sany from Dunsley Farm in shrin in Hartfordshire, England. Wait
back bacon or streaky bacon, dreaky man smoke streaky okay,
crispy or still a bit floppy? Just about to turn
(19:19):
with the egg over? Easies you guys, say on some beautiful,
beautiful sour doll with poppy seeds, says to me, trimming
on the edge. And that's me with a couple of Yorks.
Should see, I'm yours, say me. That's my meal, probably
the most unhealthy meal I mean, but that's my thing.
Lived in Thailand for twelve years. I was just remembering
(19:44):
arriving at to thirty in the morning. I was on
my way to Cambodia, and I went walking down to
the streets of Bangkok, and I was so hungry, and
all they really seemed to be were lovely shiny black
insects on skiers at the side of the road having
just come off a fire. And I was like, very well,
one in Bangkok delicious though. I mean, I don't eat
(20:04):
pork myself, but I do understand a bacon and eggs,
ARENI that's a mood. That's a proper mood. And the
other thing is that I find beautiful with six million eggs,
you know, boil the water for six minutes, the waters boiling,
and then put the eggs for six minutes. They're perfect, exactly.
And some soldiers boil taken soldiers might actually be my
last male. Really wow, look at that up one out
(20:25):
that there and a cup of tea. What person, place,
or experience has most altered your life? I think Mr
the Hearst, my art teacher. I think that he changed
(20:47):
my life completely. He sat me in front of the
window and said, draw this. You need to get past.
I don't know if you know this. In the State,
we had a thing called the no level, which is
like a It's like a pre s a T. It's
like an s A T that you take when you're sixteen,
and then you take another load of exams when you're eighteen,
called A levels. So you were studying for your O levels.
I was studying for the level in art. And I
(21:08):
was great at sculpture in my hands. Anything you put
in my hands, I could do it, and I could sculpture.
I was That's the thing I loved. And he said,
you can do all of that. It's great. You know
you're natural fantastic, but you're not. You need to step back,
you need to You've got to draw this side of
you have to draw. And he got me to draw
a newspaper and ash tray and you know, say glass,
paper and iron. And he got me through this exam
and after hours, the children's armor was into the time
(21:31):
said you could stay after school for a couple of
hours each night and stay with the art teacher. And
he changed my life. And weirdly enough, in him doing that,
I did a documentary it's really rare on Red Bull.
It was called The Alchemist, and I actually went to
surprise him when his sev on his birthday, to thank
him for what he'd done for me. I kind of
went into this little hall in Birmingham in the parish
(21:53):
church and you know, with an entourage of people and
managers and people who were there. And I was on
tour somewhere and I sneaked in and walked in. It
was arranged by his wife, and I sneaked in and
sat right next to him, and he looked at me,
and he didn't even reckon if you look back, and
carried a looking while he was talking. And then he
looks and he just burst into tears. And he was
a great moment. And I think those kind of moments
kind of stay with me. It is because he he
(22:13):
grew up in a children's home and he reached into
that experience and saw more in you and asked more
of you. Yeah. Well, at the time, I was getting
beat and I was getting bullied at school as you
start to walk on the canal on the way home,
so I get beat up going on the main road.
It was just crazy. I mean it was there was
a period of five years where it was just like
it was hell for me. But the art class was everything,
(22:36):
and that was it. And and that's why I think
I always gravitated towards that, the sense of art, and
especially when graffiti came. That was the answer. Not only
was he ar and a new form of art, there
was guys doing it together. There was tribalism and community
and he was brilliant and you could paint trains and
stuff and all his mad stuff and you know, break
the law as well, and it was illegal and he
(22:58):
was illegal, you know. And it's it's crazy because I
have a wonderful gallery in the heart of Bangkok and
it's called the Aurum Gallery Latin for Gold, and I
have all of my friends are from around the world,
you know, from New York, from Japan, from Mexico, from
l a and it's a brilliant contemporary gallery. And I
think to myself again, it's one of those moments where
(23:19):
I'm going there on Monday. I was there two weeks ago,
and I watched in on the Wednesday and the staff
we're just opening up and there's no one in there
and just walking around this space. And it's beautiful because
my daughter can run around in there and she's looking
at all his art and she's drawing away. She loves it.
She's just really into it. But just seeing people, that's
the one thing you see that I think music has
(23:41):
been compromised because you can download it and the quality
sometimes he's a bit and you can reproduce it and
everything else, and people want to buy staff. But you
can't stop the idea of tribal idea of a human
being standing in a room with a painting. It just
can't be beaten. Whether it's the National Portrait Gallery or
it's a contemporary gallery, just being in a space sweet
art is something beautiful. I find it's amazing that that's
(24:03):
where your initial way out of what you described as
being hell through art and all through your life, through
the music and the graffiti and the crazy cruise in
New York, all the way to Thailand and back to art.
Spit mad. That isn't Yeah, it's nice. I mean it
seems to subscribe to your idea of it all being foretold.
(24:24):
I think in that way, but also think in turning
allowing myself to be happy is something that I couldn't do.
That everything's allowed. And I spent so much time in
chasing complexity because my life has always been very intense.
It is unpacking that and being here in Thailand helps
me to do that. So it helps you to simplify
and to be able to just see that the imperfection
(24:46):
is beautiful. An hour ago, I started like three sessions.
I started at one till three in the morning that
I got up, we did the school rue baby, and
I got back went straight at it. So from nine
all the way through, I do like a full a shift. Today.
I would not stop. I was just this just driven
with this painting. Driven. And not only was I driven
(25:07):
by the painting. I'm doing two at the same time,
and I've done them both before in different ways. It's
this style that I'm doing. It's just this complicated layers
and there were nine layers and I get to the
eighth layer and I rushed the layer and I messed
the layer up, and I'm like, I just got to
keep reminding myself that I just need So now I've
got to spend three or four hours in the morning
(25:29):
because I just didn't let the black dry in time.
And I've done it before and I'll do it again,
but each time i'll do it, I'm just at that
moment where I'm like, I'm driven by something. For me,
it's like music. I find that I'm driven by something
far greater than myself. And I don't know what if
it's just the spirit going mad, or I just get
(25:49):
driven to do something and it's not almost like it's
finished because I've done this before, but it's finding something
else in the painting. And I tried something else and
it kind of worked. But of course my sort of
things that I do that make these mistakes, they teach
me something. So I'm just like, I won't do it
with the second painting because it's it's it's the next
in line. But again, it was one of those things
(26:10):
that I it was it was all the way down
and I was trying to complete it in a time
frame when there is no time. So I kind of
shot myself in the foot. I think that's the thing
with people that gravitate to music, and when you do
this thing in the night and you kind of you
blow up, But all of a sudden, you give the
responsibility to all these people because you become this ego
because when you when I was a kid, all the
powers taken away from me. You know, you've got to
(26:30):
go in that room. You've gotta go there and you
have to do this, so you didn't have any empowerment.
So when you get the money in the cars and
all that rock and roll, that sense of you know,
you're giving it away. It's the ego giving it away,
and it's really lying on a minute, when am I
going to take charge of this year? You know, just
terrific stories of this guy's just knocked out, this guy
and that guy's just driving your mate, your mates car
and he's done that, and everyone's pulling and pushing you,
(26:51):
and I just got sick of that. I got sick
of all of the pulling and pushing, of almost tearing
an artist apart. That's what the scary part of sobriety
was the idea that people got away with lots of
ship while Goali was drunk, called god, he was just
crazy because they just got away with the money that people.
And it's like it was insane in the nineties for
me in that respect. And I just feel, you know,
(27:12):
pretty unscathed. I feel like I've got some battle wounds
and some scarf. But the great thing is the healing
process is amazing here. And I feel, you know, maybe
fifties six scaring to fifty seventies a new thirty our
second that ah, that's just brilliant. Oh my god, gold.
It's so I could literally talk to you for hours
and hearing where you are and how you have created
(27:34):
your life. It sounds so patronizing, going it's inspiring. It's
sucking beautiful that life unfolds and that you allow for
the evolution and you haven't judged the evolution and you've
taken the hits and you watch your son is still
taking a hit in one way, but you're still connected.
I love the how in your life and what your
life was. You are. I think that's a really beautiful thing.
(27:56):
And I don't know what else we're here to do
except being these lives that we've been evan you know,
and live it all. Thank you so much, Goldie. He
runs about as deep and considered as anyone I've ever
met in my life actually, and talking to him was
an absolute joy. Goldie has a new single out with
(28:19):
his band Subjective called Lost. Mini Questions is hosted and
written by Me Mini Driver, supervising producer Aaron Kaufman, Producer
Morgan Lavoy, Research assistant Marissa Brown. Original music Sorry Baby
(28:40):
by Mini Driver, Additional music by Aaron Kaufman. Executive produced
by Me Mini Driver. Special thanks to Jim Nikolay, Will
Pearson Addison, No Day Lisa Castella and a Nick Oppenheim
at w kPr de La Pescador, Kate Driver and Jason Weinberg,
(29:02):
and for constantly solicited tech support Henry Driver h.
Host
Minnie Driver
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