July 22, 2022 • 34 mins
DL Warfield is the founder of Goldfinger Creative, a creative service agency helping brands & artists gain market share and bragging rights.
He has helped design the imagery for several artists and brands: Michael Jackson, Outkast, Pink, Usher, The Atlanta Falcons, Playboy, and Ford.
DL shares his journey in the art world, his internships, his collaborations with Outkast & T.I, and how art should be seen as a business.
Host IG:@itstanyatime
Guest IG: @dlwarfield
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Episode Transcript
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Speaker 1 (00:00):
Hey, Money Movers. I'm your host Tandy Sam and welcome
back to Money Moves, the podcast powered by Greenwood. Our
daily podcast is determined to give you the keys to
the Kingdom of financial stability, wealth and advising. Our next
(00:23):
guest is a world renowned artist and the founder of
gold Finger Creative. He has helped design the imagery for
some of your favorite artists and brands Michael Jackson, Outcast,
Pink Usher, the Atlanta Falcons, Playboy Ford, just to name
a few. Money Movers. Please welcome the iconic visionary artist
d L Warfield. D L. How are you. I'm doing well?
(00:45):
How about yourself? I am doing great. I'm so happy
to have you here. Absolutely, it's on him to be here,
you know, like I was. I remember Ran and Uh
when Ryan and Paul were first even talking about the
concept of Greenwood and to see what it's done and
how it's expected the community is amazing. So I'm honored. Well,
thank you. We are so honored to have you here.
(01:06):
You know, you have been creating art and adding value
in sunshine and joy and happiness to so many people's lives.
I have seen your art in restaurants across Atlanta. Your
art has now gone across the globe into so many homes.
So thank you so much for all that you create
in your design eye. But for those of us who
aren't as familiar with some of your work and pieces,
(01:27):
can you tell us how you really broke into the game.
You've been hustling and creating for a long time, but
how did you get here? Tell us a little bit
about yourself. Man, it's so many steps, and uh, like
I don't know, you know, how religious you are or
how religious the audience are. But you know, like I
do believe it's angels. But and you know, obviously I
(01:48):
believe in God, but I believe in angels. But I
think a lot of times like angels are the people
that speak to you and push you in the right direction.
And so at a very very young age, you know,
like I had great people that recognize things and me
that I didn't necessarily seeing myself that gave me those opportunities,
and it was just like one after another. So for instance,
like being being a third grader and you know, like
(02:12):
other teachers getting me out of my classroom to come
draw things on their class on their class chalkboards for
their students. You know, and like little things like that. Yeah,
and so you know I would look at that like
all right, cool, like I'm getting out of math, you know.
But it's like somebody recognized in my talent, you know.
And so I had those all along the way from
(02:33):
like you know, doing play productions with my godfather and
his sister and then recognizing talents, you know, and letting me,
you know, design the uniforms and design the you know,
like all of the backdrops and things like that. And
you know, at the time, like when you're a kid,
you're just creating and you're just doing anything, and you're
being an artist in this purist form, you're not necessarily
(02:54):
thinking about the commerce side of it, you know. Uh.
And then high school the exact same thing. Like my
senior year, Uh, one of the art teachers worked out
a deal where they built an art studio in the
bottom of my high school and I didn't have to
go to class, Like I could just go to my
art school and paint, like I had to take tests
and things like that, but I was like, who does that?
(03:16):
Like who who goes out on a limb like that
for students, you know, And so like that was a
great high school encounter that I had. Another great high
school encounter that I had was meeting a gentleman that
worked for art instruction schools. And I don't know if
you had this in Canada, but we had TV guys
in America, and the TV guy, you know, you open
(03:39):
it up and it might be a picture of a turtle,
and they're like, can you draw tippy turtle? You know?
Or can you draw a pirate? And so one time
I actually drew it. You mail it in, you know,
and then we got a phone call saying, hey, your
kid has town, you know. And at the time, like
we couldn't afford to do the correspondence courses, you know.
And so the gentleman gave me a great piece of advice.
(04:01):
He was like, if you're artists, you gotta let the
world know, you know. And I was like, man like,
I mean that. That was one thing that he said
that I remembered. And he said it in nineteen eight six, Ok,
this is before we had social media, before everyone with tweet, Like,
I mean, how do you let the world know about
your art? Right? And so? But and so then he
(04:21):
asked me, He's like, are you on the yearbook staff?
I was like, no, he's like, the yearbook staff needs
you know, artists and designers. I was like, okay, are
you on the on the are you on the newspaper staff? No, Well,
newspaper staffs need cartoonists. So you know, like the second
semester I got involved and I ended up winning like
the state championship for in journalism for high school yearbook
(04:45):
and high school newspaper art you know. And so like,
you know, one like I come from a background, like
the only thing I had, you know, for the most
part was just like love and support where we didn't
have really financial means. And then I grew up like
I was a single parent kid as well. So in
any time like a mail gave me like good advice,
like I would take that advice, you know. And so
these people that told me these things, like I would
(05:06):
just listen and I would just do it, you know,
and I wouldn't complain. I would just try it, you know.
And so but they all worked out, you know, and
you know, I think that you know, also being an athlete,
you know, all of my life, you know, all through
college and dealing with like rejection and training and things
not working out and losing even though you got your best,
(05:29):
gave your best effort, Like all of those helped build
the foundation of who I am as an artist where
I'm at today, you know, I mean, I just feel
like there's such an interesting intersection between being an athlete
being excellent at something and losing even though you gave
your best effort, but actually having this backbone discipline like that. Yeah,
(05:53):
and I like, I went to a great art school,
but I tell people that, like, I learned more through
sports that prepared me to be an artist. And I
did an art school, you know, like our school doesn't.
I mean, it kind of it shows you things, but
it doesn't prepare you for the for the adversity that
you have to deal with in life, you know. And
so sometimes you know to to you know, to your point,
(06:16):
you could be the best person for the best job
and steal moves, you know, and and and it is
what it is, you know, And so what are you
gonna do the next day? You're gonna give up? Are
you gonna get up and fight again? And so that's
always pretty much been my attitude. So you've had a
you know, incredibly prolific career. Um, you've made a lot
of money, not only selling art but also partnering with brands,
(06:39):
And I think there are two very separate things. You've
got artists who are just going to create, you know,
art and sell it however they can. But you've also
you know, been very successful at helping corporations and brands,
you know, see the beauty and art. How do you
sort of navigate both of those things. They're very different,
but they both you know, help you make these money moves, right,
(06:59):
and so I think like they're very they're very different,
but I see them as the same because even in
the fine art world, like at the end of the day,
it's about sales, you know, and so uh, you know,
if somebody is acquiring a piece of art and it's
for millions and millions of dollars, like, but it's just
on canvas, then the only way that you're you can
(07:20):
quantify that is it's an investment piece really, you know,
and they're gonna look to scale up from that. But like,
what is the value that you put on actual pain
and what is the value that you put on actual canvas?
You know? And so if you look at it like that,
and then if you look at it, you know, like
how I mentioned before, like uh, being investment in transactional
(07:42):
Like I think that people are paying to own a
part of that person, as you know, and so those
are the So that's like the mystical thing that you
can't quantify but you just gotta have. And so I think,
like as far as dealing with brands and working with brands,
a lot of times it's like the exact same way,
like it's going to get the sales and it's gonna
(08:03):
get you. Do people want to talk to you? And
do people want to you know, be around you when
they do, they want to hear your ideas and so
like I think a lot of times consumers and and
and people outside of like artists, like they try to
draw wedges, but I see it it's all the same.
But I just see it's like you serve just you know,
you're serving a different audience. But like I've always looked
(08:26):
at its being the same, Like to me, fashion automotive
design into your design, Uh, it's really you know, it's
it's all art like it it gets down to like
decision making, taste level, composition and things like that. So
what has helped me be successful, I think and maybe
stick out is even when I worked with the brands,
(08:46):
and they might have the rules. I approached it like
a fine artist, so I try to look at what's
not there, you know, And and the beauty about making
artists you get to create something in a space, in
an atmosphere of something that's not there to world. So
to me it's the same incredible. So let's talk about
some of these iconic pieces um you have done. You know,
(09:08):
a lot of different installations, some of which are my favorite.
You've done sort of pair. I don't even know if
I could call it a parody. For example, some of
my favorite collections that you've done is my Boyfriend Is Black? Yeah,
that that came up. I actually, like I came up
with the idea a couple of years before I did it,
And a lot of times that's how I worked because
(09:29):
as you know, like got journal, a sketch book. I
have sketch books. I mean it's like and it's just
like idea upon idea, and so I write things down
so I don't forget it and I can come back
to it, you know. But like that idea my Boyfriend
Is Black was was based and inspired by me and
my wife's relationship going up with st Louis and so
(09:49):
we've been together since. Like h grew up in an
area that wasn't very accepted for uh, you know, of
interracial relationships. And I used to joke and say, like
one of the worst things that like a white family
could hear at that time outside of this stick up,
is my boyfriend is black, you know. And so that's
kind of like how we got to it. And so
(10:12):
you know, uh, you know, so aesthetically, like when I
went to build the show, you know, I just started
mashing up people from different cultures and different genres and
just creating like a visual tension and a dialogue, you know.
And so it wasn't just white and black relationships. I
mean it was you know, it was you know, homosexual relationships. Uh,
(10:34):
it was any type of mix up that you could
think of that might be interesting. But when you thought
about it, you could actually see those people together. Like
I could see Tupac with Audrey, I could see JFK
with Rihanna, like I could see that, you know what
I mean, like and and so um, yeah, so that's
that's how that came about. But yeah, that that was
(10:54):
a fun That was a fun one to work on
it and and uh, like the notes that I got
in my inbox of things like that, or people just
being excited to like be celebrated in that way, you know,
because at that time, I think I did to Show
in two thousand and sixteen, like I hadn't really seen
any type of installation that spoke to that, because you know,
(11:15):
at the end of the day, like we're all the same. Really, yeah,
so that's yeah, So that's so that show spoke to that.
So some of some of your other incredible collaborations, for example,
included Outcast Michael Jackson talk about one of your favorites,
give our audience sort of one of your favorite album
(11:36):
cover collaborations and how on earth did those happen? Yeah, So,
I mean I got a lot. I mean i'll touch on,
I'll touch on a couple, you know, but but I
have I have a lot, so obviously, uh, you know,
I'll speak to like Outcast, a t A Leens, and
so I mean it was yeah, yeah, but it was
(12:00):
it was iconic. But the conversations that we had was
so much more iconic than what we delivered, you know
what I mean even getting to that, because one it
was it was collaboration in its purest, purest form Like
that was an idea that I brought to the label
that I you know, presented to the label that was
(12:20):
an R and B label that hadn't done anything like that. So,
you know, our their formula at LA Face was hey,
let's show uh, let's show a close up beauty shot
of whoever it is so it could be a guy.
It was just an R and B cover with the
close up and that was it, you know. And so
like when Big Boy and Dre walked in and they
told l A L A like what the album title
(12:41):
was A T Aliens, I was like, let's make a
comic book and we all high five and then we
went off to the races, you know. And so I
mean between those guys, the you know, the guys on
my staff not just Sawyer, Vince Robinson, and then I
had an outside illustrated that worked on the WIS named
Frank Gomez, and then big Big Big Rube wrote everything.
(13:02):
I mean, it was great, you know, and it was
I just wish we had more time, you know, to
to do it, but but it it was. It was
a fun project and we were doing that at the
same time, you know, we had a bunch of other
projects going on, but that was that was fun. Like
TLC's fan mail, uh you know, like visually, like that
was very iconic looking, but like I designed that cover
(13:24):
two years before it came out, you know, and so
like I found a photographer named Sevgenia, you know, he
did a photo of Naomi Campbell that was on Photo magazine,
and so I just tore it, tore it off and
I had it on my wall. On Monday, l A
came in. He was like, and I said, when TLC
does the next album, we gotta do the cover like this.
(13:45):
And he was like okay, And I don't think he's
really taken serious, so asked the you know, so when
they started working on that third album, like I did
a rendering and then I had a company out in
California trin like a three D sample of it it,
and so I sent it to all the girls, right,
and then I sent it to Dallas because I was like,
(14:06):
if I take it to l A, he might shut
the ship down, right, yeah, because he might be like, no,
we ain't, no, that's weird. So but I sent it
to all the girls and so his phone started getting
you know, you know, they were them up, like hey,
what's this? Is this whatever? And he's like, man, what
are they showing me? And he's like the idea, And
so I pre sold it before, like I know, before
(14:27):
he had a chance to shut it down, you know.
And so that was a great one, I mean, the
Usher's Confessions, just because like the music was so great,
you know, and and honestly, like I did other versions
of the cover that I thought should have been a cover,
but what he went with was fine. But I thought
that that those images did a great job of really
(14:48):
matching the music, you know. And then uh, lastly I
would probably say uh t I s Libra And the
reason being is because one like uh, you know, he
he hit me up and it was kind of last minute,
you know, and so I went and met him down
at the studio and he was like what do you
(15:08):
think it should be? And you know that it was
a direction that they were going in, and I was like, nah,
like let's do something else. And so I had the
idea of maybe celebrating women. So I just did like
a little sketch, you know, on a naptive and by
how are you gonna do that? And I'm like, trust
I'm gonna do it. So you know, had these women
polls and kind of build the shape of the Leaber scales.
(15:29):
And but that was fun and it was easy. A
great thing about that is we got a chance to
give a young Atlanta of a young Atlanta photographer an
opportunity to shoot legendary rap artists you know in Atlantic
and so shout out to Rios who did a great job.
And so uh yeah, So you know, I love being
(15:50):
able to give young people opportunities that have put in
and work and and we have definitely deserved that opportunity.
You know what's interesting and you know speaks I think
to your legacy in this industry as well as like
you really have a deep understanding of the business, right
you know, your ability to work with brands and you
know have them come back over and over again to
work with you again. Where did you sort of learn
(16:12):
this the art the acumen of being an artist? But
who has a business lens? That's tough? And like how
did you learn that it's tough? Because like they don't
address it in school and a matter of fact, like
I think a lot of times like they approach it
like don't worry about the be the side of everything,
just be a good artist. And I'm like, that is
the wrong thing to tell. Yeah, They're like, don't worry,
(16:32):
you'll get a manager to do this and in this
and like you need to know the business. Yeah, And
so like with me, like I had going back to
what I said earlier, just like listening to people that
just said, hey, you should do something right, and so
like meeting people and them telling me, you know, you
should do an internship. Like they were telling me to
do internships when I don't even know interns what they were,
(16:54):
you know. And so every single summer, like when I
was in college, I had an internship and so I
learned more from my internships actually that I learned in college,
because like art school doesn't teach you how to work
as an artist. They just teach you about art and
things like that. But working working as an artist is
like working for your best friends to day, you know,
and he just want you to change stuff just because
(17:16):
he can't make the change stuff. But I had like
great internships, and through those internships, I got great mentors,
and like one of the biggest things that I learned
about in the internship uh situation that I had is
as an artist, you have to figure out ways to
promote yourself. And so like one of the places that
I interned at it was called Merits, and Merits had
(17:39):
the third largest art staff behind Hallmark and Walt Disney
and everybody like they had an over a hundred illustrators
and designers, and everybody there was freelancing, you know. I
mean they had jobs, but they were also bustling on
the side, you know. And so guys would like get
off work at like six seven and then go to
the home studios and work to like four o'clock and more,
(18:01):
you know, and make and make maybe more money than
they were getting paid. Right. But a lot of some
of these guys like they would build like put together
like these really cool promotional packages just you know, like
now people like DM do some stuff, but now like
guys will take a box, you open up the box something,
it's the whole whole experience. And so I learned that,
(18:22):
and so I actually like used those tips on smaller
levels to get my internship. So like one time I did,
I did a situation where I took a grant out
a hand on money, so everything was like on a budget,
but I took like a Chinese food box, right, and
then I put like my name and logo on it.
And then I bought like a little pack of fortune cookies,
(18:44):
but I took the fortunes out and I put like
my name, and you know, it's like, hey, a great
intern called d O Waterfield or if you need a
great artist called and I sent and I sent those
to the marketing director like the same thing. They called
me to come down for an interview, and I got
the intern ship, you know, is the hustle that I think,
you know, because of course we have so much more
(19:05):
accessibility where you can just d M someone and send them,
you know, a picture, but like that old school stuff,
yeah you got. And I think, like now because everything
is digital, like analog works, you know, like go back
to basic things like actually calling people on the phone
or mailing them things because they don't get it. But
(19:25):
if everybody is DM and somebody, do you want to
be the guy that's d m N or do you
want to be the guy that's putting something physical in
their hands? And then I'll tell you like a great one.
So what got me to Lface. It's like I was
working for Tommy Boy Records in New York. I started
their calling line, and uh, I had I met people
at LA Face before I went to New York because
(19:48):
I was in Atlanta for some NFL football workouts Stone,
So I met people at LA Face stayed in contact.
So about a year later they called and asked what
I'd be interested an interviewing as the creative director, and
I was like absolutely, So they flew me down. I
killed the interview. I did my follow up a couple
(20:08):
of days back, and the lady that hired me, she's like, yeah,
you know what, they really liked you, but they think
he might be too young, et cetera. And I was like,
oh hell no. So then like the competitive athletes side
of me kicked in. I was like, there's no way, Like,
there's no way I'm not getting that job. Like I
already had Lisa pack, you know. I was like, we
can go with to it. Yeah. And so the day
(20:29):
that I spoke to her, you know, I loved work,
early said I wasn't feeling well. I went by a
prop store and I bought like fake dynamite clock like
stuff that looked like like a C four pack, and
I bundled it all together with wires and I made
it look like a bondable, and then I cut out
letters out of magazine and made that look like a
(20:49):
ransom note and it said higher deal word field to
get the job or else. So I took that wounded
up fed accident overnight it at the l A read
like after he got it, like an hour later, they
called from his office and they said, and A said,
if he has to send a bomb down here to
get the job, highers as, that's how I got the job. Wow,
(21:10):
that's a great story. Now, I don't know if the
money moves audience should do that in this I don't know,
but I love it. You might have to put a
disclaimer on this h on this episode, you might have
to put a disclaimer. We are not advising that you
create simulated bomber put it in FedEx, you know what.
(21:30):
But yeah, but it was a situation where like I
felt something slipping away, and I was like, what am
I gonna do? Like this? This type of opportunity doesn't
come along so when people so when I talk to
young people and they talk about I've been I heard
paying my dudes or whatever, I'm like, really, like, how
you have you really been paying your dudes, have you
really exhausted all your options? Are you giving it everything
(21:53):
that you've got? You know? And then sometimes I can
follow up, but have you done this, this and this?
And they'll strike out on all of those, and I'm like,
you ain't You ain't really trying to do what you're
saying trying? Yeah, And you know what, I think that
like folks today think once is enough. Oh I tried,
and then they go and move on to try someone else.
So I tried, and they move on to try something else,
(22:15):
you know, and so they think that just because you
gotta know it's it is such an offense to your
character as a man or woman or this that you're
just like forget you not again, Like maybe they didn't
hear you, maybe the time wasn't right, And I don't know,
like I say the same thing to young people all
the time, or does anyone who's trying to get out
there right, because because one, it's not easy, nobody owes
(22:38):
you anything and nobody cares about your excuses. So like
if you understand that, you know, and sometimes like you're
gonna do things for people and they're not gonna do
things for you, and that's it is what it is,
but you have to keep going, like you can't let things,
you know, let those types of situations stop you, which
goes back to being an athlete. Okay, you lost two
(23:00):
games in a row. We still donna try to win
this game, but we're just gonna through the time. You know.
That's the same thing. I love that. Okay, So let's
move to like the present day. You've got your hands
in a lot of different projects and pots um, you
just recently completed an incredible project with t I the Apartments.
Tell us about that. Man, so, uh like, after me
(23:22):
and t I did uh like you know, his leader stuff.
You know, we were talking and I was like, man,
you know, like the one thing that Atlanta doesn't have
that we should have, being like the number one, uh
you know, number one city in the world for filmmaking,
I was like, we should have a writer shop, you know.
And so between him myself, a guy named Champa Hagans uh,
(23:47):
Mike Jordan's a lady name you know, their name, Nina Lee,
Like we got together, we just started coming up with
just these ideas and these storylines, right, and so we
probably came up with like six really good idea is
but as far as like execution departments was the the
you know, it was the it was the fastest one.
(24:08):
So you know, so we shot a pilot over the summer.
Like it's in the editing process like right now. And
the best way to private it's like if it feels
like the office, but it's but it's in you know,
the southwest Atlanta in an apartment complex. And then yeah,
(24:30):
and so I mean it was a fun project to work.
You know. It's just it's amazing, like you know, going
from like white and stuff on sticky notes and putting
them up to like actually being on you know, being
at a table read you know, with people from like
DC Young Fly to like well, you know, just like
that part. It was amazing. Man. So it was fun.
So you know it's being edited right now. Uh and
(24:53):
hopefully somebody will pick it up. You know. We got
a bunch of other yeah. Yeah, and so we called it.
We called the biding Room the Sauce Room, and the
Sauce Room means a Southern Artists United, the Southern Artists United, right,
I can't I can't remember, but that's but that's well,
(25:14):
I'm gonna switch us and take us to a sort
of a more philanthropic side to you as well. So
instead of being a businessman and artists a creative you
do some amazing work with the Boys and Girls um
Club of Detroit. Tell us about that man. So that
working opportunity came from a relationship man that was probably
(25:36):
at least fifteen years old, you know. And so uh
the gentleman that is the uh, the CEO of Boys
and Girls Up Detroit to Sean Wilson. I met Sean
Wilson when he was running Usher's New Look Foundation. And
so with new Look, like I did a bunch of projects,
you know, with with them a lot of things that
spoke to economic empowerment and financial literacy for young people. Uh,
(26:01):
and then also create a pathway. So I did that
with him, and then he went to Ford. Did the
same thing with him at Ford, and then when he
went to Boys and Girls CAUP, he was like, hey, so,
you know, would you be interested in doing this? You know?
And it takes me a little bit back to what
I did at the face man, and I have to
manage the team, but everything is virtuals. I have like
(26:21):
a great you know, group of like writers and designers
you know that I worked with and uh right now,
like I'm taking them through like a rebranding process, but
then also uh ideation like how to think entrepreneur, you know,
and so like a lot of times I think artists
on staffs, uh they catch what's given to them, you know,
(26:43):
versus throwing ideas to something just and see if that
can happen. So kind of teaching them and pushing them
to do things like that, like if you got an idea,
why don't you speak about it and maybe we can
make it into something because we have the platform and
it's kind of like an open slate versus you're just
waiting to get a mark ard to design something, you know.
Like that's different. And so yeah, so Boys and Girls Club,
(27:07):
like what they push is getting young people ready to
own their first home, start their first business, and you know,
and I think those are two great things, you know,
and be entrepreneurs. And outside of like the sports music
and kid friendly activations, like they have like their young
people talking that type of language. And so because I
(27:30):
knew the type of leader he was and how innovative
he was, I was like, this would be a you know,
a great opportunity. I mean, it's adding more to my plate.
But when you see the face of these kids light
up is working and their parents you know, and so like,
I know, like how valuable like that was for me.
And I think whenever you have an opportunity to like
make a young person dream, you gotta take that opportunity,
(27:52):
you know. So that's what I'm out with them do. Wow,
you were doing some incredible work. And I feel like
it's only just ramping up. There's so much more to
come and you out your hands and so much in
different communities. Um, from you know, music to art to this.
Can you tell us as we close out the interview,
what advice do you have for aspiring artists? You know,
(28:13):
we're seeing the world change where we've got Web three
and n f T s come in. But you know
what would you leave with our audience right now for
ones that want to be successful artists? Right? So I'll say, like,
don't be afraid to try to do things right and
and don't like never know everything, you know, always try
to figure some things out and uh, ask some really
(28:34):
really good questions and um, outside of that, like really
be committed to like whatever it is that you say
that you're gonna do, you know, like I don't have
to give anybody ideas on what, you know, what type
of art that they should make. But as far as
like integrity and handling your business, like I say, really
really stand on that as an artist because a lot
of times, you know, like artist can be flaky, you know,
(28:58):
but uh, the way to fix that and the way
to really really get to where you want to go
is about really standing on your word and honoring your word,
you know. And you know it's not often, you know
a lot of times it's not the best artist that
goes to furthest it's the one that's more the most
committed and the one you know, that does what he
says it's gonna do, you know. And I think like
those are the people that I see even from a
(29:20):
far whether or no him or not, But like their
consistency and the delivery is what makes them great, whether
you like the artwork or not. And it's the same
thing that goes with sports, you know, be right, right train,
I mean, it's the same thing. It's just a long game.
So don't chase the fast situation, you know, being there
you know, for the long game. That's what I would
(29:40):
probably say, And then I'll just ask a couple of
questions on sort of the business behind eart. UM, let's
talk about management. You know a lot of times and
you touched on this a little bit, they're like, oh,
you know, times are changing where artists know that they
need to understand the business. Um. They need to understand
the splits, like what it means when you sell your
art through a gallery you sell direct to consue, or
(30:00):
what are some of the best lessons that you have
for artists um to share with us in that realm.
I would say that, you know, if your work whoever
you're working with, always have an agreement. You know, if
you have an agreement before you start a project, you know,
like that's gonna like at least you have something that
you can go back to the legal situation, you don't
(30:22):
have to have a retainer a lawyer on a retainer,
but definitely no a retainer, I mean definitely no a
lawyer starting that can help you. I think that that's
that's very very important. UM. You know, like it doesn't matter. Uh,
Like you you have to really watch when people come
to you with opportunities to do things for free. You know,
(30:43):
you have to really watched that because a lot of
times artists will be taking advantage of because at the
end of the day, like what we really want to
do is create, and I think like some sometimes people
can see that and they take advantage of artists, especially
young artists. So you have to kind of really really
gauge that. I mean, it will be times where you
will have to give things away for free, and so
(31:03):
my rule is usually with that, it's like, Okay, well,
how is it making things better for young people? You know,
like if it speaks to speaks to the kids and
things like that, that's one thing. But if you're trying
to get your clothing line off the ground because whatever
now you pay, you know, and so things that are
educational and things that are like red crumbs for the
next generation, you know, like I've given those things await
(31:25):
a lot for free. But other than that, it's it's
it's it's B two B you gotta pay. Yeah. I would, yeah,
so so I would. I would say that. And I
think and even when you do give things away for free,
don't expect anything in return, you know, And if you
do it like that, then you're never disappointed. I think
that's great because I think disappointment you know that that
(31:47):
sits down and roots in your soul and you just
become better and you don't need to because you're giving
away things for free. That's the expectation, right absolutely. Oh deal,
thank you so much for your time with us today
before we leave. Do you have any great project that
you want to tease for us um that are coming up?
And so it's a it's a it's a very very beautiful,
(32:07):
will crafted and luxury fashion brand in Atlanta. They do
mainly bespoke clothing called Hidiaki be Spolk. Yeah. So yeah,
So I mean, if you like time for it, if
you like Glue the time, you like Cannelli, like you
would like Hideaki and your time is who owns it
is a great person, really good dude. And so we
(32:29):
we partnered together and for about maybe like seven eight months,
like we were pitching like this billion dollar golf brand
to do a fashion capsule for them, and we actually
just closed the deal, so we can't say what the
name is yet. Like imagine like if James Bond wore
the golf close, Like that's what it's gonna feel like.
(32:49):
So Paul Paul is going on everything. It's like the
Kingsman for like swa. But but yeah, but it's gonna
be but it'll be fun, it's gonna be texy, it's
gonna it's gonna be cool. So well, congratulations. Alright, dl um,
please tell our Money Movers audience where they can find
and follow you on social media to keep up with
(33:10):
all that you were creating. Okay, yep, so on social
media like Twitter, Instagram, you can follow me at d
L Warfield and you could also follow at American Flag
Remix to see that body of work that I create.
And then my cash app is, uh, come on, make
(33:31):
that money move money, Money Moves money. I love it.
I love it. D L. Thank you so much for
your time today. Thank you all that you can create
and contribute to, you know, creating beauty in this world.
So we appreciate you and money Movers. Make sure you
follow DL Warfield on all his social media handles so
(33:53):
that you can also be abreast of what he is creating.
All right, thank you, Tanya, thank you Green. Alright, money Movers,
that's all the time we have for today, but make
sure to tune in each and every day to the
Money Moves podcast wherever you listen to your Money Moves
and if we helped you make your money move, please
make sure to let us know by sending us alike,
sharing the knowledge on your social media, and or leave
(34:14):
us a review on Apple Podcasts. Thank you so much
for tuning in Money Moves audience. If you want more
or a recap of this episode, please go to the
bank Greenwood dot com and check out the Money Moves
podcast blog. Money Moves is an I Heart Radio podcast
powered by Greenwood Executive produced by sun Wise Media, Inc.
(34:37):
For more podcast on iHeart Radio, visit the i heart
Radio app, Apple Podcasts, or wherever you get your podcasts
from
Hey, Money Movers. I'm your host Tandy Sam and welcome
back to Money Moves, the podcast powered by Greenwood. Our
daily podcast is determined to give you the keys to
the Kingdom of financial stability, wealth and advising. Our next
(00:23):
guest is a world renowned artist and the founder of
gold Finger Creative. He has helped design the imagery for
some of your favorite artists and brands Michael Jackson, Outcast,
Pink Usher, the Atlanta Falcons, Playboy Ford, just to name
a few. Money Movers. Please welcome the iconic visionary artist
d L Warfield. D L. How are you. I'm doing well?
(00:45):
How about yourself? I am doing great. I'm so happy
to have you here. Absolutely, it's on him to be here,
you know, like I was. I remember Ran and Uh
when Ryan and Paul were first even talking about the
concept of Greenwood and to see what it's done and
how it's expected the community is amazing. So I'm honored. Well,
thank you. We are so honored to have you here.
(01:06):
You know, you have been creating art and adding value
in sunshine and joy and happiness to so many people's lives.
I have seen your art in restaurants across Atlanta. Your
art has now gone across the globe into so many homes.
So thank you so much for all that you create
in your design eye. But for those of us who
aren't as familiar with some of your work and pieces,
(01:27):
can you tell us how you really broke into the game.
You've been hustling and creating for a long time, but
how did you get here? Tell us a little bit
about yourself. Man, it's so many steps, and uh, like
I don't know, you know, how religious you are or
how religious the audience are. But you know, like I
do believe it's angels. But and you know, obviously I
(01:48):
believe in God, but I believe in angels. But I
think a lot of times like angels are the people
that speak to you and push you in the right direction.
And so at a very very young age, you know,
like I had great people that recognize things and me
that I didn't necessarily seeing myself that gave me those opportunities,
and it was just like one after another. So for instance,
like being being a third grader and you know, like
(02:12):
other teachers getting me out of my classroom to come
draw things on their class on their class chalkboards for
their students. You know, and like little things like that. Yeah,
and so you know I would look at that like
all right, cool, like I'm getting out of math, you know.
But it's like somebody recognized in my talent, you know.
And so I had those all along the way from
(02:33):
like you know, doing play productions with my godfather and
his sister and then recognizing talents, you know, and letting me,
you know, design the uniforms and design the you know,
like all of the backdrops and things like that. And
you know, at the time, like when you're a kid,
you're just creating and you're just doing anything, and you're
being an artist in this purist form, you're not necessarily
(02:54):
thinking about the commerce side of it, you know. Uh.
And then high school the exact same thing. Like my
senior year, Uh, one of the art teachers worked out
a deal where they built an art studio in the
bottom of my high school and I didn't have to
go to class, Like I could just go to my
art school and paint, like I had to take tests
and things like that, but I was like, who does that?
(03:16):
Like who who goes out on a limb like that
for students, you know, And so like that was a
great high school encounter that I had. Another great high
school encounter that I had was meeting a gentleman that
worked for art instruction schools. And I don't know if
you had this in Canada, but we had TV guys
in America, and the TV guy, you know, you open
(03:39):
it up and it might be a picture of a turtle,
and they're like, can you draw tippy turtle? You know?
Or can you draw a pirate? And so one time
I actually drew it. You mail it in, you know,
and then we got a phone call saying, hey, your
kid has town, you know. And at the time, like
we couldn't afford to do the correspondence courses, you know.
And so the gentleman gave me a great piece of advice.
(04:01):
He was like, if you're artists, you gotta let the
world know, you know. And I was like, man like,
I mean that. That was one thing that he said
that I remembered. And he said it in nineteen eight six, Ok,
this is before we had social media, before everyone with tweet, Like,
I mean, how do you let the world know about
your art? Right? And so? But and so then he
(04:21):
asked me, He's like, are you on the yearbook staff?
I was like, no, he's like, the yearbook staff needs
you know, artists and designers. I was like, okay, are
you on the on the are you on the newspaper staff? No, Well,
newspaper staffs need cartoonists. So you know, like the second
semester I got involved and I ended up winning like
the state championship for in journalism for high school yearbook
(04:45):
and high school newspaper art you know. And so like,
you know, one like I come from a background, like
the only thing I had, you know, for the most
part was just like love and support where we didn't
have really financial means. And then I grew up like
I was a single parent kid as well. So in
any time like a mail gave me like good advice,
like I would take that advice, you know. And so
these people that told me these things, like I would
(05:06):
just listen and I would just do it, you know,
and I wouldn't complain. I would just try it, you know.
And so but they all worked out, you know, and
you know, I think that you know, also being an athlete,
you know, all of my life, you know, all through
college and dealing with like rejection and training and things
not working out and losing even though you got your best,
(05:29):
gave your best effort, Like all of those helped build
the foundation of who I am as an artist where
I'm at today, you know, I mean, I just feel
like there's such an interesting intersection between being an athlete
being excellent at something and losing even though you gave
your best effort, but actually having this backbone discipline like that. Yeah,
(05:53):
and I like, I went to a great art school,
but I tell people that, like, I learned more through
sports that prepared me to be an artist. And I
did an art school, you know, like our school doesn't.
I mean, it kind of it shows you things, but
it doesn't prepare you for the for the adversity that
you have to deal with in life, you know. And
so sometimes you know to to you know, to your point,
(06:16):
you could be the best person for the best job
and steal moves, you know, and and and it is
what it is, you know, And so what are you
gonna do the next day? You're gonna give up? Are
you gonna get up and fight again? And so that's
always pretty much been my attitude. So you've had a
you know, incredibly prolific career. Um, you've made a lot
of money, not only selling art but also partnering with brands,
(06:39):
And I think there are two very separate things. You've
got artists who are just going to create, you know,
art and sell it however they can. But you've also
you know, been very successful at helping corporations and brands,
you know, see the beauty and art. How do you
sort of navigate both of those things. They're very different,
but they both you know, help you make these money moves, right,
(06:59):
and so I think like they're very they're very different,
but I see them as the same because even in
the fine art world, like at the end of the day,
it's about sales, you know, and so uh, you know,
if somebody is acquiring a piece of art and it's
for millions and millions of dollars, like, but it's just
on canvas, then the only way that you're you can
(07:20):
quantify that is it's an investment piece really, you know,
and they're gonna look to scale up from that. But like,
what is the value that you put on actual pain
and what is the value that you put on actual canvas?
You know? And so if you look at it like that,
and then if you look at it, you know, like
how I mentioned before, like uh, being investment in transactional
(07:42):
Like I think that people are paying to own a
part of that person, as you know, and so those
are the So that's like the mystical thing that you
can't quantify but you just gotta have. And so I think,
like as far as dealing with brands and working with brands,
a lot of times it's like the exact same way,
like it's going to get the sales and it's gonna
(08:03):
get you. Do people want to talk to you? And
do people want to you know, be around you when
they do, they want to hear your ideas and so
like I think a lot of times consumers and and
and people outside of like artists, like they try to
draw wedges, but I see it it's all the same.
But I just see it's like you serve just you know,
you're serving a different audience. But like I've always looked
(08:26):
at its being the same, Like to me, fashion automotive
design into your design, Uh, it's really you know, it's
it's all art like it it gets down to like
decision making, taste level, composition and things like that. So
what has helped me be successful, I think and maybe
stick out is even when I worked with the brands,
(08:46):
and they might have the rules. I approached it like
a fine artist, so I try to look at what's
not there, you know, And and the beauty about making
artists you get to create something in a space, in
an atmosphere of something that's not there to world. So
to me it's the same incredible. So let's talk about
some of these iconic pieces um you have done. You know,
(09:08):
a lot of different installations, some of which are my favorite.
You've done sort of pair. I don't even know if
I could call it a parody. For example, some of
my favorite collections that you've done is my Boyfriend Is Black? Yeah,
that that came up. I actually, like I came up
with the idea a couple of years before I did it,
And a lot of times that's how I worked because
(09:29):
as you know, like got journal, a sketch book. I
have sketch books. I mean it's like and it's just
like idea upon idea, and so I write things down
so I don't forget it and I can come back
to it, you know. But like that idea my Boyfriend
Is Black was was based and inspired by me and
my wife's relationship going up with st Louis and so
(09:49):
we've been together since. Like h grew up in an
area that wasn't very accepted for uh, you know, of
interracial relationships. And I used to joke and say, like
one of the worst things that like a white family
could hear at that time outside of this stick up,
is my boyfriend is black, you know. And so that's
kind of like how we got to it. And so
(10:12):
you know, uh, you know, so aesthetically, like when I
went to build the show, you know, I just started
mashing up people from different cultures and different genres and
just creating like a visual tension and a dialogue, you know.
And so it wasn't just white and black relationships. I
mean it was you know, it was you know, homosexual relationships. Uh,
(10:34):
it was any type of mix up that you could
think of that might be interesting. But when you thought
about it, you could actually see those people together. Like
I could see Tupac with Audrey, I could see JFK
with Rihanna, like I could see that, you know what
I mean, like and and so um, yeah, so that's
that's how that came about. But yeah, that that was
(10:54):
a fun That was a fun one to work on
it and and uh, like the notes that I got
in my inbox of things like that, or people just
being excited to like be celebrated in that way, you know,
because at that time, I think I did to Show
in two thousand and sixteen, like I hadn't really seen
any type of installation that spoke to that, because you know,
(11:15):
at the end of the day, like we're all the same. Really, yeah,
so that's yeah, So that's so that show spoke to that.
So some of some of your other incredible collaborations, for example,
included Outcast Michael Jackson talk about one of your favorites,
give our audience sort of one of your favorite album
(11:36):
cover collaborations and how on earth did those happen? Yeah, So,
I mean I got a lot. I mean i'll touch on,
I'll touch on a couple, you know, but but I
have I have a lot, so obviously, uh, you know,
I'll speak to like Outcast, a t A Leens, and
so I mean it was yeah, yeah, but it was
(12:00):
it was iconic. But the conversations that we had was
so much more iconic than what we delivered, you know
what I mean even getting to that, because one it
was it was collaboration in its purest, purest form Like
that was an idea that I brought to the label
that I you know, presented to the label that was
(12:20):
an R and B label that hadn't done anything like that. So,
you know, our their formula at LA Face was hey,
let's show uh, let's show a close up beauty shot
of whoever it is so it could be a guy.
It was just an R and B cover with the
close up and that was it, you know. And so
like when Big Boy and Dre walked in and they
told l A L A like what the album title
(12:41):
was A T Aliens, I was like, let's make a
comic book and we all high five and then we
went off to the races, you know. And so I
mean between those guys, the you know, the guys on
my staff not just Sawyer, Vince Robinson, and then I
had an outside illustrated that worked on the WIS named
Frank Gomez, and then big Big Big Rube wrote everything.
(13:02):
I mean, it was great, you know, and it was
I just wish we had more time, you know, to
to do it, but but it it was. It was
a fun project and we were doing that at the
same time, you know, we had a bunch of other
projects going on, but that was that was fun. Like
TLC's fan mail, uh you know, like visually, like that
was very iconic looking, but like I designed that cover
(13:24):
two years before it came out, you know, and so
like I found a photographer named Sevgenia, you know, he
did a photo of Naomi Campbell that was on Photo magazine,
and so I just tore it, tore it off and
I had it on my wall. On Monday, l A
came in. He was like, and I said, when TLC
does the next album, we gotta do the cover like this.
(13:45):
And he was like okay, And I don't think he's
really taken serious, so asked the you know, so when
they started working on that third album, like I did
a rendering and then I had a company out in
California trin like a three D sample of it it,
and so I sent it to all the girls, right,
and then I sent it to Dallas because I was like,
(14:06):
if I take it to l A, he might shut
the ship down, right, yeah, because he might be like, no,
we ain't, no, that's weird. So but I sent it
to all the girls and so his phone started getting
you know, you know, they were them up, like hey,
what's this? Is this whatever? And he's like, man, what
are they showing me? And he's like the idea, And
so I pre sold it before, like I know, before
(14:27):
he had a chance to shut it down, you know.
And so that was a great one, I mean, the
Usher's Confessions, just because like the music was so great,
you know, and and honestly, like I did other versions
of the cover that I thought should have been a cover,
but what he went with was fine. But I thought
that that those images did a great job of really
(14:48):
matching the music, you know. And then uh, lastly I
would probably say uh t I s Libra And the
reason being is because one like uh, you know, he
he hit me up and it was kind of last minute,
you know, and so I went and met him down
at the studio and he was like what do you
(15:08):
think it should be? And you know that it was
a direction that they were going in, and I was like, nah,
like let's do something else. And so I had the
idea of maybe celebrating women. So I just did like
a little sketch, you know, on a naptive and by
how are you gonna do that? And I'm like, trust
I'm gonna do it. So you know, had these women
polls and kind of build the shape of the Leaber scales.
(15:29):
And but that was fun and it was easy. A
great thing about that is we got a chance to
give a young Atlanta of a young Atlanta photographer an
opportunity to shoot legendary rap artists you know in Atlantic
and so shout out to Rios who did a great job.
And so uh yeah, So you know, I love being
(15:50):
able to give young people opportunities that have put in
and work and and we have definitely deserved that opportunity.
You know what's interesting and you know speaks I think
to your legacy in this industry as well as like
you really have a deep understanding of the business, right
you know, your ability to work with brands and you
know have them come back over and over again to
work with you again. Where did you sort of learn
(16:12):
this the art the acumen of being an artist? But
who has a business lens? That's tough? And like how
did you learn that it's tough? Because like they don't
address it in school and a matter of fact, like
I think a lot of times like they approach it
like don't worry about the be the side of everything,
just be a good artist. And I'm like, that is
the wrong thing to tell. Yeah, They're like, don't worry,
(16:32):
you'll get a manager to do this and in this
and like you need to know the business. Yeah, And
so like with me, like I had going back to
what I said earlier, just like listening to people that
just said, hey, you should do something right, and so
like meeting people and them telling me, you know, you
should do an internship. Like they were telling me to
do internships when I don't even know interns what they were,
(16:54):
you know. And so every single summer, like when I
was in college, I had an internship and so I
learned more from my internships actually that I learned in college,
because like art school doesn't teach you how to work
as an artist. They just teach you about art and
things like that. But working working as an artist is
like working for your best friends to day, you know,
and he just want you to change stuff just because
(17:16):
he can't make the change stuff. But I had like
great internships, and through those internships, I got great mentors,
and like one of the biggest things that I learned
about in the internship uh situation that I had is
as an artist, you have to figure out ways to
promote yourself. And so like one of the places that
I interned at it was called Merits, and Merits had
(17:39):
the third largest art staff behind Hallmark and Walt Disney
and everybody like they had an over a hundred illustrators
and designers, and everybody there was freelancing, you know. I
mean they had jobs, but they were also bustling on
the side, you know. And so guys would like get
off work at like six seven and then go to
the home studios and work to like four o'clock and more,
(18:01):
you know, and make and make maybe more money than
they were getting paid. Right. But a lot of some
of these guys like they would build like put together
like these really cool promotional packages just you know, like
now people like DM do some stuff, but now like
guys will take a box, you open up the box something,
it's the whole whole experience. And so I learned that,
(18:22):
and so I actually like used those tips on smaller
levels to get my internship. So like one time I did,
I did a situation where I took a grant out
a hand on money, so everything was like on a budget,
but I took like a Chinese food box, right, and
then I put like my name and logo on it.
And then I bought like a little pack of fortune cookies,
(18:44):
but I took the fortunes out and I put like
my name, and you know, it's like, hey, a great
intern called d O Waterfield or if you need a
great artist called and I sent and I sent those
to the marketing director like the same thing. They called
me to come down for an interview, and I got
the intern ship, you know, is the hustle that I think,
you know, because of course we have so much more
(19:05):
accessibility where you can just d M someone and send them,
you know, a picture, but like that old school stuff,
yeah you got. And I think, like now because everything
is digital, like analog works, you know, like go back
to basic things like actually calling people on the phone
or mailing them things because they don't get it. But
(19:25):
if everybody is DM and somebody, do you want to
be the guy that's d m N or do you
want to be the guy that's putting something physical in
their hands? And then I'll tell you like a great one.
So what got me to Lface. It's like I was
working for Tommy Boy Records in New York. I started
their calling line, and uh, I had I met people
at LA Face before I went to New York because
(19:48):
I was in Atlanta for some NFL football workouts Stone,
So I met people at LA Face stayed in contact.
So about a year later they called and asked what
I'd be interested an interviewing as the creative director, and
I was like absolutely, So they flew me down. I
killed the interview. I did my follow up a couple
(20:08):
of days back, and the lady that hired me, she's like, yeah,
you know what, they really liked you, but they think
he might be too young, et cetera. And I was like,
oh hell no. So then like the competitive athletes side
of me kicked in. I was like, there's no way, Like,
there's no way I'm not getting that job. Like I
already had Lisa pack, you know. I was like, we
can go with to it. Yeah. And so the day
(20:29):
that I spoke to her, you know, I loved work,
early said I wasn't feeling well. I went by a
prop store and I bought like fake dynamite clock like
stuff that looked like like a C four pack, and
I bundled it all together with wires and I made
it look like a bondable, and then I cut out
letters out of magazine and made that look like a
(20:49):
ransom note and it said higher deal word field to
get the job or else. So I took that wounded
up fed accident overnight it at the l A read
like after he got it, like an hour later, they
called from his office and they said, and A said,
if he has to send a bomb down here to
get the job, highers as, that's how I got the job. Wow,
(21:10):
that's a great story. Now, I don't know if the
money moves audience should do that in this I don't know,
but I love it. You might have to put a
disclaimer on this h on this episode, you might have
to put a disclaimer. We are not advising that you
create simulated bomber put it in FedEx, you know what.
(21:30):
But yeah, but it was a situation where like I
felt something slipping away, and I was like, what am
I gonna do? Like this? This type of opportunity doesn't
come along so when people so when I talk to
young people and they talk about I've been I heard
paying my dudes or whatever, I'm like, really, like, how
you have you really been paying your dudes, have you
really exhausted all your options? Are you giving it everything
(21:53):
that you've got? You know? And then sometimes I can
follow up, but have you done this, this and this?
And they'll strike out on all of those, and I'm like,
you ain't You ain't really trying to do what you're
saying trying? Yeah, And you know what, I think that
like folks today think once is enough. Oh I tried,
and then they go and move on to try someone else.
So I tried, and they move on to try something else,
(22:15):
you know, and so they think that just because you
gotta know it's it is such an offense to your
character as a man or woman or this that you're
just like forget you not again, Like maybe they didn't
hear you, maybe the time wasn't right, And I don't know,
like I say the same thing to young people all
the time, or does anyone who's trying to get out
there right, because because one, it's not easy, nobody owes
(22:38):
you anything and nobody cares about your excuses. So like
if you understand that, you know, and sometimes like you're
gonna do things for people and they're not gonna do
things for you, and that's it is what it is,
but you have to keep going, like you can't let things,
you know, let those types of situations stop you, which
goes back to being an athlete. Okay, you lost two
(23:00):
games in a row. We still donna try to win
this game, but we're just gonna through the time. You know.
That's the same thing. I love that. Okay, So let's
move to like the present day. You've got your hands
in a lot of different projects and pots um, you
just recently completed an incredible project with t I the Apartments.
Tell us about that. Man, so, uh like, after me
(23:22):
and t I did uh like you know, his leader stuff.
You know, we were talking and I was like, man,
you know, like the one thing that Atlanta doesn't have
that we should have, being like the number one, uh
you know, number one city in the world for filmmaking,
I was like, we should have a writer shop, you know.
And so between him myself, a guy named Champa Hagans uh,
(23:47):
Mike Jordan's a lady name you know, their name, Nina Lee,
Like we got together, we just started coming up with
just these ideas and these storylines, right, and so we
probably came up with like six really good idea is
but as far as like execution departments was the the
you know, it was the it was the fastest one.
(24:08):
So you know, so we shot a pilot over the summer.
Like it's in the editing process like right now. And
the best way to private it's like if it feels
like the office, but it's but it's in you know,
the southwest Atlanta in an apartment complex. And then yeah,
(24:30):
and so I mean it was a fun project to work.
You know. It's just it's amazing, like you know, going
from like white and stuff on sticky notes and putting
them up to like actually being on you know, being
at a table read you know, with people from like
DC Young Fly to like well, you know, just like
that part. It was amazing. Man. So it was fun.
So you know it's being edited right now. Uh and
(24:53):
hopefully somebody will pick it up. You know. We got
a bunch of other yeah. Yeah, and so we called it.
We called the biding Room the Sauce Room, and the
Sauce Room means a Southern Artists United, the Southern Artists United, right,
I can't I can't remember, but that's but that's well,
(25:14):
I'm gonna switch us and take us to a sort
of a more philanthropic side to you as well. So
instead of being a businessman and artists a creative you
do some amazing work with the Boys and Girls um
Club of Detroit. Tell us about that man. So that
working opportunity came from a relationship man that was probably
(25:36):
at least fifteen years old, you know. And so uh
the gentleman that is the uh, the CEO of Boys
and Girls Up Detroit to Sean Wilson. I met Sean
Wilson when he was running Usher's New Look Foundation. And
so with new Look, like I did a bunch of projects,
you know, with with them a lot of things that
spoke to economic empowerment and financial literacy for young people. Uh,
(26:01):
and then also create a pathway. So I did that
with him, and then he went to Ford. Did the
same thing with him at Ford, and then when he
went to Boys and Girls CAUP, he was like, hey, so,
you know, would you be interested in doing this? You know?
And it takes me a little bit back to what
I did at the face man, and I have to
manage the team, but everything is virtuals. I have like
(26:21):
a great you know, group of like writers and designers
you know that I worked with and uh right now,
like I'm taking them through like a rebranding process, but
then also uh ideation like how to think entrepreneur, you know,
and so like a lot of times I think artists
on staffs, uh they catch what's given to them, you know,
(26:43):
versus throwing ideas to something just and see if that
can happen. So kind of teaching them and pushing them
to do things like that, like if you got an idea,
why don't you speak about it and maybe we can
make it into something because we have the platform and
it's kind of like an open slate versus you're just
waiting to get a mark ard to design something, you know.
Like that's different. And so yeah, so Boys and Girls Club,
(27:07):
like what they push is getting young people ready to
own their first home, start their first business, and you know,
and I think those are two great things, you know,
and be entrepreneurs. And outside of like the sports music
and kid friendly activations, like they have like their young
people talking that type of language. And so because I
(27:30):
knew the type of leader he was and how innovative
he was, I was like, this would be a you know,
a great opportunity. I mean, it's adding more to my plate.
But when you see the face of these kids light
up is working and their parents you know, and so like,
I know, like how valuable like that was for me.
And I think whenever you have an opportunity to like
make a young person dream, you gotta take that opportunity,
(27:52):
you know. So that's what I'm out with them do. Wow,
you were doing some incredible work. And I feel like
it's only just ramping up. There's so much more to
come and you out your hands and so much in
different communities. Um, from you know, music to art to this.
Can you tell us as we close out the interview,
what advice do you have for aspiring artists? You know,
(28:13):
we're seeing the world change where we've got Web three
and n f T s come in. But you know
what would you leave with our audience right now for
ones that want to be successful artists? Right? So I'll say, like,
don't be afraid to try to do things right and
and don't like never know everything, you know, always try
to figure some things out and uh, ask some really
(28:34):
really good questions and um, outside of that, like really
be committed to like whatever it is that you say
that you're gonna do, you know, like I don't have
to give anybody ideas on what, you know, what type
of art that they should make. But as far as
like integrity and handling your business, like I say, really
really stand on that as an artist because a lot
of times, you know, like artist can be flaky, you know,
(28:58):
but uh, the way to fix that and the way
to really really get to where you want to go
is about really standing on your word and honoring your word,
you know. And you know it's not often, you know
a lot of times it's not the best artist that
goes to furthest it's the one that's more the most
committed and the one you know, that does what he
says it's gonna do, you know. And I think like
those are the people that I see even from a
(29:20):
far whether or no him or not, But like their
consistency and the delivery is what makes them great, whether
you like the artwork or not. And it's the same
thing that goes with sports, you know, be right, right train,
I mean, it's the same thing. It's just a long game.
So don't chase the fast situation, you know, being there
you know, for the long game. That's what I would
(29:40):
probably say, And then I'll just ask a couple of
questions on sort of the business behind eart. UM, let's
talk about management. You know a lot of times and
you touched on this a little bit, they're like, oh,
you know, times are changing where artists know that they
need to understand the business. Um. They need to understand
the splits, like what it means when you sell your
art through a gallery you sell direct to consue, or
(30:00):
what are some of the best lessons that you have
for artists um to share with us in that realm.
I would say that, you know, if your work whoever
you're working with, always have an agreement. You know, if
you have an agreement before you start a project, you know,
like that's gonna like at least you have something that
you can go back to the legal situation, you don't
(30:22):
have to have a retainer a lawyer on a retainer,
but definitely no a retainer, I mean definitely no a
lawyer starting that can help you. I think that that's
that's very very important. UM. You know, like it doesn't matter. Uh,
Like you you have to really watch when people come
to you with opportunities to do things for free. You know,
(30:43):
you have to really watched that because a lot of
times artists will be taking advantage of because at the
end of the day, like what we really want to
do is create, and I think like some sometimes people
can see that and they take advantage of artists, especially
young artists. So you have to kind of really really
gauge that. I mean, it will be times where you
will have to give things away for free, and so
(31:03):
my rule is usually with that, it's like, Okay, well,
how is it making things better for young people? You know,
like if it speaks to speaks to the kids and
things like that, that's one thing. But if you're trying
to get your clothing line off the ground because whatever
now you pay, you know, and so things that are
educational and things that are like red crumbs for the
next generation, you know, like I've given those things await
(31:25):
a lot for free. But other than that, it's it's
it's it's B two B you gotta pay. Yeah. I would, yeah,
so so I would. I would say that. And I
think and even when you do give things away for free,
don't expect anything in return, you know, And if you
do it like that, then you're never disappointed. I think
that's great because I think disappointment you know that that
(31:47):
sits down and roots in your soul and you just
become better and you don't need to because you're giving
away things for free. That's the expectation, right absolutely. Oh deal,
thank you so much for your time with us today
before we leave. Do you have any great project that
you want to tease for us um that are coming up?
And so it's a it's a it's a very very beautiful,
(32:07):
will crafted and luxury fashion brand in Atlanta. They do
mainly bespoke clothing called Hidiaki be Spolk. Yeah. So yeah,
So I mean, if you like time for it, if
you like Glue the time, you like Cannelli, like you
would like Hideaki and your time is who owns it
is a great person, really good dude. And so we
(32:29):
we partnered together and for about maybe like seven eight months,
like we were pitching like this billion dollar golf brand
to do a fashion capsule for them, and we actually
just closed the deal, so we can't say what the
name is yet. Like imagine like if James Bond wore
the golf close, Like that's what it's gonna feel like.
(32:49):
So Paul Paul is going on everything. It's like the
Kingsman for like swa. But but yeah, but it's gonna
be but it'll be fun, it's gonna be texy, it's
gonna it's gonna be cool. So well, congratulations. Alright, dl um,
please tell our Money Movers audience where they can find
and follow you on social media to keep up with
(33:10):
all that you were creating. Okay, yep, so on social
media like Twitter, Instagram, you can follow me at d
L Warfield and you could also follow at American Flag
Remix to see that body of work that I create.
And then my cash app is, uh, come on, make
(33:31):
that money move money, Money Moves money. I love it.
I love it. D L. Thank you so much for
your time today. Thank you all that you can create
and contribute to, you know, creating beauty in this world.
So we appreciate you and money Movers. Make sure you
follow DL Warfield on all his social media handles so
(33:53):
that you can also be abreast of what he is creating.
All right, thank you, Tanya, thank you Green. Alright, money Movers,
that's all the time we have for today, but make
sure to tune in each and every day to the
Money Moves podcast wherever you listen to your Money Moves
and if we helped you make your money move, please
make sure to let us know by sending us alike,
sharing the knowledge on your social media, and or leave
(34:14):
us a review on Apple Podcasts. Thank you so much
for tuning in Money Moves audience. If you want more
or a recap of this episode, please go to the
bank Greenwood dot com and check out the Money Moves
podcast blog. Money Moves is an I Heart Radio podcast
powered by Greenwood Executive produced by sun Wise Media, Inc.
(34:37):
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